Niccolò Piccinni (1728-1800) - Sinfonia 'Iphigenie en Tauride' (1781)
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- Опубліковано 22 гру 2024
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Composer: Niccolò Piccinni (1728-1800)
Work: Sinfonia (overture) 'Iphigenie en Tauride' (1781)
Performers: Austrian TonkuenstIer Orchestra; Ernst Maerzendorfer (1921-2009, conductor)
Drawing: Jan Bulthuis (1750-1801) - De Hedendaagsche Burgerkamer (1794)
Image in high resolution: flic.kr/p/2nii2xV
Further info: www.discogs.co...
Listen free: No available
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(Vito) Niccolò (Nicola) (Marcello Antonio Giacomo) Piccinni [Piccini]
(Bari, 16 January 1728 - Passy, nr Paris, 7 May 1800)
Italian composer. He received his earliest musical education at the Conservatorio di Sant’Onofrio in Naples under Francesco Durante beginning in 1742. In 1754 he began a career as an opera composer in the city with Le donne dispiatose at the Teatro Fiorentini, establishing a reputation as a facile and competent composer of opera buffa. Two years later, his Zenobia for the Teatro San Carlo solidified his stature in opera seria. Thereafter followed over two decades where his operas were performed throughout Italy, even though his official position in Naples was as second maestro di cappella at the main cathedral. In 1774 he was encouraged to immigrate to France at the behest of Neapolitan ambassador Caraccioli, where he was promoted as the Italian rival to Christoph Willibald von Gluck. The polemics of the Gluck-Piccinni feud, a continuation of the Querelle des bouffons regarding the supremacy of French or Italian operas, was largely carried out by the composers’ adherents; Piccinni publicly refuted the controversy in a newspaper article in 1781. In 1778 his Roland established him as a composer of French grand opera, and although he participated in productions by an Italian troupe of opera buffa at the Académie royale, he continued to write in the French style. His most famous works were Atys and Didone, both from 1783; both works achieved international fame over the next decade. By 1785, however, his fame began to be eclipsed by colleagues Antonio Sacchini and Antonio Salieri, and he retired with a state pension. In 1791 he returned to Naples to avoid the French Revolution, but his familial ties to the Jacobins meant four years of house arrest. In 1798 he returned to Paris in broken health. His pension was partially restored by Napoleon, and Piccinni spent the remainder of his life as an inspector for the Conservatoire. Piccinni was known for his gift of lyrical melody, his dramatic timing, and his colorful orchestration, which in his French works is close to Gluck. Although it was claimed he had composed over 300 operas, only 111 authentic works in this genre have survived; other compositions include four oratorios, two Masses, nine Psalm settings, 10 secular cantatas, a Magnificat, two symphonies, a flute concerto, and four keyboard sonatas. Piccinni can be considered one of the most important figures in late 18th-century opera, who achieved an international stature.
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This sinfonìa by Niccolo Piccinni, when considered alone, is a masterpiece of his instrumental music, along with the Flute Concerto in D major.
However, he composed about 140 Opera songs, and it is certain that he was a master of opera buffa.
This sinfonìa is an overture to Opera, despite being composed of three movements, and an overture to "Ifigenia of Tauris".
In particular, the 1st and 3rd movements are excellent, and I think they have a flashy presence across the slow movements.
Magnifique ouverture qui laisse présager une rivalité serrée avec son rival Gluck à la cour de France....!!!
Un altro grandissimo Italiano quasi dimenticato!!
insieme a Paisiello e Cimarosa... altro che sto cazzo di amadeus, fin troppo sopravvalutato
Com variedade textural, sempre a presença das flautas, a sinfonia como uma abertura.
He can be unknown composer, but he's as good as the famous composers from his age.
It's a great musical piece.
Dieses Werk hat seinen hohen Ansprüchen genügt und sicherlich gibt es immer noch Steigerungen, diese Fülle an Klängen ist hier eines Spitzenplatzes würdig.
Magnífico! ❤️
Niccolo Puccini is an unknown maestro to me.It is doubtful whether he got the deserving recognition during his lifetime.Unheralded and poorly compensated financially he had got his recognition after more than two centuries of his lifetime.Will it be gratifying to the soul of maestro Puccini that we are enjoying the fruits his labour centuries after his death? Maybe. Thanks and Ciao!
Very nice! ❤
Wunderbar!
Looks like he had a hard life, but Conservatorio Niccolò Piccinni in Bari was named in his honor and it's a No.1 higher music education school in the country. This is a wonderful overture. I'm curious about his choral works too.
If you curious, please check it out on Patreon 😉
@@Reciclassicat Thank you very much! I love Salve Regina, especially#06, which requires tremendous voice control of soprano. Did you hear that wonderful descent? 🤩 Very operatic, the live recording makes it even more impressive. 🎶🎶
Insanely beautiful! I guess Piccinni masterworks were exclusively the vocal...
Feels like Mozart at times.
Piccinni's piece sounds like Mozart when he (Mozart) was uninspired. But it's good. I can see why he (Piccinni) was a successful composer.
You mean when Mozart was young and was composing the the main style of that time, the Galant.
Now I know why he isn't in the standard repertoire, the non-standard repertoire, the travelling singers' repertoire, or any school's repertoire.
Someone said below that this sounds like uninspired Mozart. That is too kind to Piccinni. This is weak soup served with dashes of elaborate seasoning.
Judging the whole composer career just by one short symphony is clearly unfair.... greetings.
Utterly ignorant opinion with little obvious knowledge of Galant music practice in general or Italian Galant in particular.
@@Mercer1012If you're saying this third rate composer is the epitome of galant composition, I'm ROFL.
@@Reciclassicat That is fair. But then, perhaps a libk to something better?
@@emreyigit3404 Third rate in your opinion. You cannot compare Galant and Classical as they are two different styles. As I said, your opinion is quite ignorant of the musical subtleties of the 18th century.