FOOTNOTES:[1]Collegium musicum No. 29.[2]Riemann: Handbuch, II³, p. 121.[3]Usually Nicolo Logroscino is named as having gone before him, but, as that composer is in evidence only from 1738 (two years after Pergolesi’s death), the date of his birth usually accepted (1700) seems doubtful (cf. Kretzschmar inPeters-Jahrbuch, 1908).—Riemann:Ibid.[4]Born in Naples, date unknown; died there in 1763. He was one of the creators ofopera buffa, his parodistic dialect pieces—Il governatore,Il vecchio marito,Tanto bene che male, etc.—being among its first examples. In 1747 he became professor of counterpoint at theConservatorio dei figliuoli dispersiin Palermo.[5]After his return to Naples his three last works,Armida,Demofoonte, andIfigenia in Tauride, passed over the heads of an unmindful public. The composer felt these disappointments keenly. Impaired in health he retired to his native town of Aversa and died there August 25, 1774.[6]Baldassare Galuppi, born on the island of Burano, near Venice, In 1706; died in Venice, 1785, was a pupil of Lotti. He ranks among the most eminent composers of comic operas, producing no less than 112 operas and 3 dramatic cantatas in every musical centre of Europe. He also composed much church music and some notable piano sonatas.[7]Oskar Bie;Die Oper(1914).[8]Bohuslav Czernohorsky (1684-1740) was a Franciscan monk, native of Bohemia, but successively choirmaster in Padua and Assisi, where Tartini was his pupil. He was highly esteemed as an ecclesiastical composer. At the time when Gluck was his pupil he was director of the music at St. Jacob’s, Prague.[9]Born 1712; died 1778. Though not a trained musician he evinced a lively interest in the art from his youth. Besides hisDevin du village, which remained in the French operatic repertoire for sixty years, he wrote a ballet opera,Les Muses galantes, and fragments of an opera,Daphnis et Chloé. His lyrical scene,Pygmalion, set to music first by Coignet, then by Asplmayr, was the point of departure of the so-called ‘melodrama’ (spoken dialogue with musical accompaniment). He also wrote aDictionnaire de musique(1767).[10]Le petit prophète de Boehmisch-Brodahas been identified by historians with the founder of the Mannheim school, Johann Stamitz, for the latter was born in Deutsch-Brod (Bohemia), and but two years before had set Paris by the ears with his orchestral ‘sonatas.’ The hero of the Grimm pamphlet is a poor musician, who by dream magic is transferred from his bare attic chamber to the glittering hall of the Paris opera. He turns away, aghast at the heartlessness of the spectacle and music.[11]Pierre Alexandre Monsigny, born near St. Omer, 1729, died, Paris, 1817.Les aveux indiscrets(1759);Le cadi dupé(1760);On ne s’avise jamais de tout(1761);Rose et Colas(1764), etc., are his chief successes in opera comique.[12]François-André-Danican Philidor, born, Dreux, 1726; died, London, 1795. Talented as a chess player he entered international contests successfully, and wrote an analysis of the game. His love for composition awoke suddenly and he made his comic-opera debut in 1759. His best works are:Le maréchal férant(1761);Tom Jones(1765), which brought an innovation—thea capellivocal quartet; andErnelinde, princesse de Norvège(1767), a grand opera.[13]Sonnenfels, a contemporary Viennese critic, was active in his endeavors to uplift the German stage. (Briefe über die Wienerische Schaubühne, Vienna, 1768.)[14]Gluck’s marriage was childless, but he had adopted a niece, Marianne Gluck, who had a pretty voice and pursued her musical training under his care. Both Gluck’s wife and niece usually accompanied him in his travels.[15]AfterIphigénie en AulideParis became the international centre of operatic composition. London was more in the nature of an exchange, where it was possible for artists to win a good deal of money quickly and easily; the glory of the great Italian stages dimmed more and more, and Vienna, Dresden, Berlin, and Munich were only locally important. Operatic control passed from the Italian to the French stage at the same time German instrumental composition began its victories.[16]Gluck declared that the music of Armide was intended ‘to give a voluptuous sensation,’ and La Harpe’s assertion that he had madeArmidea sorceress rather than an enchantress, and that her part was ‘une criallerie monotone et fatigante,’ drew forth as bitter a reply from the composer as Wagner ever wrote to his critics.[17]W. H. Hadow: Oxford History of Music, Vol. V.[18]During this period he produced his famous operas,Le gelosie vilane; Fernace(1776),Achille in Sciro(1779),Giulio Sabino(1781).[19]André Erneste Modeste Grétry, born, Liège, 1742; died, near Paris, 1813. ‘His Influence on theopéra comiquewas a lasting one; Isouard, Boieldieu, Auber, Adam, were his heirs.’—Riemann.[20]The ParisConservatoire de Musique, succeeding the BourbonÉcole de chant et de déclamation(1784) and the revolutionaryInstitut National de Musique(1793), was established 1795, with Sarrette as director and with liberal government support. Cherubini became its director in 1822, and its enormous influence on the general trend of French art dates from his administration.[21]The two theatres, after about ten years’ rivalry, united as the Opéra Comique which, under government subsidy, has continued to flourish to this day.
FOOTNOTES:[1]Collegium musicum No. 29.[2]Riemann: Handbuch, II³, p. 121.[3]Usually Nicolo Logroscino is named as having gone before him, but, as that composer is in evidence only from 1738 (two years after Pergolesi’s death), the date of his birth usually accepted (1700) seems doubtful (cf. Kretzschmar inPeters-Jahrbuch, 1908).—Riemann:Ibid.[4]Born in Naples, date unknown; died there in 1763. He was one of the creators ofopera buffa, his parodistic dialect pieces—Il governatore,Il vecchio marito,Tanto bene che male, etc.—being among its first examples. In 1747 he became professor of counterpoint at theConservatorio dei figliuoli dispersiin Palermo.[5]After his return to Naples his three last works,Armida,Demofoonte, andIfigenia in Tauride, passed over the heads of an unmindful public. The composer felt these disappointments keenly. Impaired in health he retired to his native town of Aversa and died there August 25, 1774.[6]Baldassare Galuppi, born on the island of Burano, near Venice, In 1706; died in Venice, 1785, was a pupil of Lotti. He ranks among the most eminent composers of comic operas, producing no less than 112 operas and 3 dramatic cantatas in every musical centre of Europe. He also composed much church music and some notable piano sonatas.[7]Oskar Bie;Die Oper(1914).[8]Bohuslav Czernohorsky (1684-1740) was a Franciscan monk, native of Bohemia, but successively choirmaster in Padua and Assisi, where Tartini was his pupil. He was highly esteemed as an ecclesiastical composer. At the time when Gluck was his pupil he was director of the music at St. Jacob’s, Prague.[9]Born 1712; died 1778. Though not a trained musician he evinced a lively interest in the art from his youth. Besides hisDevin du village, which remained in the French operatic repertoire for sixty years, he wrote a ballet opera,Les Muses galantes, and fragments of an opera,Daphnis et Chloé. His lyrical scene,Pygmalion, set to music first by Coignet, then by Asplmayr, was the point of departure of the so-called ‘melodrama’ (spoken dialogue with musical accompaniment). He also wrote aDictionnaire de musique(1767).[10]Le petit prophète de Boehmisch-Brodahas been identified by historians with the founder of the Mannheim school, Johann Stamitz, for the latter was born in Deutsch-Brod (Bohemia), and but two years before had set Paris by the ears with his orchestral ‘sonatas.’ The hero of the Grimm pamphlet is a poor musician, who by dream magic is transferred from his bare attic chamber to the glittering hall of the Paris opera. He turns away, aghast at the heartlessness of the spectacle and music.[11]Pierre Alexandre Monsigny, born near St. Omer, 1729, died, Paris, 1817.Les aveux indiscrets(1759);Le cadi dupé(1760);On ne s’avise jamais de tout(1761);Rose et Colas(1764), etc., are his chief successes in opera comique.[12]François-André-Danican Philidor, born, Dreux, 1726; died, London, 1795. Talented as a chess player he entered international contests successfully, and wrote an analysis of the game. His love for composition awoke suddenly and he made his comic-opera debut in 1759. His best works are:Le maréchal férant(1761);Tom Jones(1765), which brought an innovation—thea capellivocal quartet; andErnelinde, princesse de Norvège(1767), a grand opera.[13]Sonnenfels, a contemporary Viennese critic, was active in his endeavors to uplift the German stage. (Briefe über die Wienerische Schaubühne, Vienna, 1768.)[14]Gluck’s marriage was childless, but he had adopted a niece, Marianne Gluck, who had a pretty voice and pursued her musical training under his care. Both Gluck’s wife and niece usually accompanied him in his travels.[15]AfterIphigénie en AulideParis became the international centre of operatic composition. London was more in the nature of an exchange, where it was possible for artists to win a good deal of money quickly and easily; the glory of the great Italian stages dimmed more and more, and Vienna, Dresden, Berlin, and Munich were only locally important. Operatic control passed from the Italian to the French stage at the same time German instrumental composition began its victories.[16]Gluck declared that the music of Armide was intended ‘to give a voluptuous sensation,’ and La Harpe’s assertion that he had madeArmidea sorceress rather than an enchantress, and that her part was ‘une criallerie monotone et fatigante,’ drew forth as bitter a reply from the composer as Wagner ever wrote to his critics.[17]W. H. Hadow: Oxford History of Music, Vol. V.[18]During this period he produced his famous operas,Le gelosie vilane; Fernace(1776),Achille in Sciro(1779),Giulio Sabino(1781).[19]André Erneste Modeste Grétry, born, Liège, 1742; died, near Paris, 1813. ‘His Influence on theopéra comiquewas a lasting one; Isouard, Boieldieu, Auber, Adam, were his heirs.’—Riemann.[20]The ParisConservatoire de Musique, succeeding the BourbonÉcole de chant et de déclamation(1784) and the revolutionaryInstitut National de Musique(1793), was established 1795, with Sarrette as director and with liberal government support. Cherubini became its director in 1822, and its enormous influence on the general trend of French art dates from his administration.[21]The two theatres, after about ten years’ rivalry, united as the Opéra Comique which, under government subsidy, has continued to flourish to this day.
FOOTNOTES:
[1]Collegium musicum No. 29.
[1]Collegium musicum No. 29.
[2]Riemann: Handbuch, II³, p. 121.
[2]Riemann: Handbuch, II³, p. 121.
[3]Usually Nicolo Logroscino is named as having gone before him, but, as that composer is in evidence only from 1738 (two years after Pergolesi’s death), the date of his birth usually accepted (1700) seems doubtful (cf. Kretzschmar inPeters-Jahrbuch, 1908).—Riemann:Ibid.
[3]Usually Nicolo Logroscino is named as having gone before him, but, as that composer is in evidence only from 1738 (two years after Pergolesi’s death), the date of his birth usually accepted (1700) seems doubtful (cf. Kretzschmar inPeters-Jahrbuch, 1908).—Riemann:Ibid.
[4]Born in Naples, date unknown; died there in 1763. He was one of the creators ofopera buffa, his parodistic dialect pieces—Il governatore,Il vecchio marito,Tanto bene che male, etc.—being among its first examples. In 1747 he became professor of counterpoint at theConservatorio dei figliuoli dispersiin Palermo.
[4]Born in Naples, date unknown; died there in 1763. He was one of the creators ofopera buffa, his parodistic dialect pieces—Il governatore,Il vecchio marito,Tanto bene che male, etc.—being among its first examples. In 1747 he became professor of counterpoint at theConservatorio dei figliuoli dispersiin Palermo.
[5]After his return to Naples his three last works,Armida,Demofoonte, andIfigenia in Tauride, passed over the heads of an unmindful public. The composer felt these disappointments keenly. Impaired in health he retired to his native town of Aversa and died there August 25, 1774.
[5]After his return to Naples his three last works,Armida,Demofoonte, andIfigenia in Tauride, passed over the heads of an unmindful public. The composer felt these disappointments keenly. Impaired in health he retired to his native town of Aversa and died there August 25, 1774.
[6]Baldassare Galuppi, born on the island of Burano, near Venice, In 1706; died in Venice, 1785, was a pupil of Lotti. He ranks among the most eminent composers of comic operas, producing no less than 112 operas and 3 dramatic cantatas in every musical centre of Europe. He also composed much church music and some notable piano sonatas.
[6]Baldassare Galuppi, born on the island of Burano, near Venice, In 1706; died in Venice, 1785, was a pupil of Lotti. He ranks among the most eminent composers of comic operas, producing no less than 112 operas and 3 dramatic cantatas in every musical centre of Europe. He also composed much church music and some notable piano sonatas.
[7]Oskar Bie;Die Oper(1914).
[7]Oskar Bie;Die Oper(1914).
[8]Bohuslav Czernohorsky (1684-1740) was a Franciscan monk, native of Bohemia, but successively choirmaster in Padua and Assisi, where Tartini was his pupil. He was highly esteemed as an ecclesiastical composer. At the time when Gluck was his pupil he was director of the music at St. Jacob’s, Prague.
[8]Bohuslav Czernohorsky (1684-1740) was a Franciscan monk, native of Bohemia, but successively choirmaster in Padua and Assisi, where Tartini was his pupil. He was highly esteemed as an ecclesiastical composer. At the time when Gluck was his pupil he was director of the music at St. Jacob’s, Prague.
[9]Born 1712; died 1778. Though not a trained musician he evinced a lively interest in the art from his youth. Besides hisDevin du village, which remained in the French operatic repertoire for sixty years, he wrote a ballet opera,Les Muses galantes, and fragments of an opera,Daphnis et Chloé. His lyrical scene,Pygmalion, set to music first by Coignet, then by Asplmayr, was the point of departure of the so-called ‘melodrama’ (spoken dialogue with musical accompaniment). He also wrote aDictionnaire de musique(1767).
[9]Born 1712; died 1778. Though not a trained musician he evinced a lively interest in the art from his youth. Besides hisDevin du village, which remained in the French operatic repertoire for sixty years, he wrote a ballet opera,Les Muses galantes, and fragments of an opera,Daphnis et Chloé. His lyrical scene,Pygmalion, set to music first by Coignet, then by Asplmayr, was the point of departure of the so-called ‘melodrama’ (spoken dialogue with musical accompaniment). He also wrote aDictionnaire de musique(1767).
[10]Le petit prophète de Boehmisch-Brodahas been identified by historians with the founder of the Mannheim school, Johann Stamitz, for the latter was born in Deutsch-Brod (Bohemia), and but two years before had set Paris by the ears with his orchestral ‘sonatas.’ The hero of the Grimm pamphlet is a poor musician, who by dream magic is transferred from his bare attic chamber to the glittering hall of the Paris opera. He turns away, aghast at the heartlessness of the spectacle and music.
[10]Le petit prophète de Boehmisch-Brodahas been identified by historians with the founder of the Mannheim school, Johann Stamitz, for the latter was born in Deutsch-Brod (Bohemia), and but two years before had set Paris by the ears with his orchestral ‘sonatas.’ The hero of the Grimm pamphlet is a poor musician, who by dream magic is transferred from his bare attic chamber to the glittering hall of the Paris opera. He turns away, aghast at the heartlessness of the spectacle and music.
[11]Pierre Alexandre Monsigny, born near St. Omer, 1729, died, Paris, 1817.Les aveux indiscrets(1759);Le cadi dupé(1760);On ne s’avise jamais de tout(1761);Rose et Colas(1764), etc., are his chief successes in opera comique.
[11]Pierre Alexandre Monsigny, born near St. Omer, 1729, died, Paris, 1817.Les aveux indiscrets(1759);Le cadi dupé(1760);On ne s’avise jamais de tout(1761);Rose et Colas(1764), etc., are his chief successes in opera comique.
[12]François-André-Danican Philidor, born, Dreux, 1726; died, London, 1795. Talented as a chess player he entered international contests successfully, and wrote an analysis of the game. His love for composition awoke suddenly and he made his comic-opera debut in 1759. His best works are:Le maréchal férant(1761);Tom Jones(1765), which brought an innovation—thea capellivocal quartet; andErnelinde, princesse de Norvège(1767), a grand opera.
[12]François-André-Danican Philidor, born, Dreux, 1726; died, London, 1795. Talented as a chess player he entered international contests successfully, and wrote an analysis of the game. His love for composition awoke suddenly and he made his comic-opera debut in 1759. His best works are:Le maréchal férant(1761);Tom Jones(1765), which brought an innovation—thea capellivocal quartet; andErnelinde, princesse de Norvège(1767), a grand opera.
[13]Sonnenfels, a contemporary Viennese critic, was active in his endeavors to uplift the German stage. (Briefe über die Wienerische Schaubühne, Vienna, 1768.)
[13]Sonnenfels, a contemporary Viennese critic, was active in his endeavors to uplift the German stage. (Briefe über die Wienerische Schaubühne, Vienna, 1768.)
[14]Gluck’s marriage was childless, but he had adopted a niece, Marianne Gluck, who had a pretty voice and pursued her musical training under his care. Both Gluck’s wife and niece usually accompanied him in his travels.
[14]Gluck’s marriage was childless, but he had adopted a niece, Marianne Gluck, who had a pretty voice and pursued her musical training under his care. Both Gluck’s wife and niece usually accompanied him in his travels.
[15]AfterIphigénie en AulideParis became the international centre of operatic composition. London was more in the nature of an exchange, where it was possible for artists to win a good deal of money quickly and easily; the glory of the great Italian stages dimmed more and more, and Vienna, Dresden, Berlin, and Munich were only locally important. Operatic control passed from the Italian to the French stage at the same time German instrumental composition began its victories.
[15]AfterIphigénie en AulideParis became the international centre of operatic composition. London was more in the nature of an exchange, where it was possible for artists to win a good deal of money quickly and easily; the glory of the great Italian stages dimmed more and more, and Vienna, Dresden, Berlin, and Munich were only locally important. Operatic control passed from the Italian to the French stage at the same time German instrumental composition began its victories.
[16]Gluck declared that the music of Armide was intended ‘to give a voluptuous sensation,’ and La Harpe’s assertion that he had madeArmidea sorceress rather than an enchantress, and that her part was ‘une criallerie monotone et fatigante,’ drew forth as bitter a reply from the composer as Wagner ever wrote to his critics.
[16]Gluck declared that the music of Armide was intended ‘to give a voluptuous sensation,’ and La Harpe’s assertion that he had madeArmidea sorceress rather than an enchantress, and that her part was ‘une criallerie monotone et fatigante,’ drew forth as bitter a reply from the composer as Wagner ever wrote to his critics.
[17]W. H. Hadow: Oxford History of Music, Vol. V.
[17]W. H. Hadow: Oxford History of Music, Vol. V.
[18]During this period he produced his famous operas,Le gelosie vilane; Fernace(1776),Achille in Sciro(1779),Giulio Sabino(1781).
[18]During this period he produced his famous operas,Le gelosie vilane; Fernace(1776),Achille in Sciro(1779),Giulio Sabino(1781).
[19]André Erneste Modeste Grétry, born, Liège, 1742; died, near Paris, 1813. ‘His Influence on theopéra comiquewas a lasting one; Isouard, Boieldieu, Auber, Adam, were his heirs.’—Riemann.
[19]André Erneste Modeste Grétry, born, Liège, 1742; died, near Paris, 1813. ‘His Influence on theopéra comiquewas a lasting one; Isouard, Boieldieu, Auber, Adam, were his heirs.’—Riemann.
[20]The ParisConservatoire de Musique, succeeding the BourbonÉcole de chant et de déclamation(1784) and the revolutionaryInstitut National de Musique(1793), was established 1795, with Sarrette as director and with liberal government support. Cherubini became its director in 1822, and its enormous influence on the general trend of French art dates from his administration.
[20]The ParisConservatoire de Musique, succeeding the BourbonÉcole de chant et de déclamation(1784) and the revolutionaryInstitut National de Musique(1793), was established 1795, with Sarrette as director and with liberal government support. Cherubini became its director in 1822, and its enormous influence on the general trend of French art dates from his administration.
[21]The two theatres, after about ten years’ rivalry, united as the Opéra Comique which, under government subsidy, has continued to flourish to this day.
[21]The two theatres, after about ten years’ rivalry, united as the Opéra Comique which, under government subsidy, has continued to flourish to this day.