Giuseppe Bonno Vídeos
compositor austríaco
- ópera, música sacra
- Austria
- compositor, director de orquesta
Última actualización
2024-05-08
Actualizar
František Xaver Brixi Alessandro Scarlatti Scarlatti Francesco Feo Francesco Durante Reuter Bonno 1693 1715 1731 1732 1735 1744 1748 1749 1757 1759 1771 1788 1803
★ Follow music ► (http•••) Composer: František Xaver Brixi +••.••(...)) Work: Missa Integra D-Dur Performers: Eva Mirgová (soprano); PavIa Aunická (alto); James Griffett (tenor); Jirí SuIzenko (bass); Brno Academic Choir; Gioia deIIa musica Praha Painting: José Camarón Bonanat +••.••(...)) - San Francisco confortado por los ángeles (1788) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / František Xaver Brixi (Prague, 2 January 1732 - Prague, 14 October 1771) Organist and composer, son of Šimon Brixi +••.••(...)). He received his musical education at the Piarist Gymnasium, Kosmonosy (1744–9), where in 1748 he was classified ‘felicissimus ingenii’. In his last year at the Gymnasium his teacher was Václav Kalous (1715–86), a composer who was also choirmaster at the monastery church. In 1749 Brixi left for Prague where he became organist first at St Havel, and later at the churches of St Martín, St Mikuláš and St Mary na Louži. He soon became one of the best-known composers in Prague, evidence of which can be seen in that from 1757 to his death he was consistently chosen to write the musica navalis for St John’s Eve. On 1 January 1759 he was appointed Kapellmeister of St Vít Cathedral, thus attaining at the age of 27 the highest musical position in the city. At the same time he is said to have become choirmaster of the Benedictine monastery of St Jiří at Hradčany in Prague. He died 12 years later of tuberculosis in the hospital of the Brothers of Charity. Brixi was one of the leading musical figures of mid-18th-century Bohemia. His tremendous output of about 500 works was rooted in the Neapolitan style, particularly that of Alessandro Scarlatti, Francesco Feo and Francesco Durante, and he was also influenced by the Viennese school of Mancini, Reuter and Bonno. Brixi’s style is distinguished from that of his contemporaries by its fresh melodic writing, vivacious rhythm and lively bass lines, and from that of his predecessors by its simple yet effective instrumentation. He often made use of folk music in his works. During his lifetime his music was widely disseminated in Bohemia and Moravia, as well as in other countries, especially Austria, Bavaria and Silesia. He had a profound effect on Bohemian musical taste, and Mozart’s favourable reception in Prague in the 1780s was at least partly due to Brixi’s lasting influence. The easy appeal of his musical style left an impression on Czech composers for the rest of the 18th century.
Antonio Salieri Carl Schütz Schütz Gassmann Anselm Hüttenbrenner Gluck Giuseppe Bonno Ponte Albrechtsberger Michael Haydn Haydn Georg Reutter Reutter Eybler Leopold Hofmann Hofmann Opera Vienna 1745 1750 1763 1765 1766 1771 1773 1774 1775 1778 1780 1781 1782 1784 1786 1788 1800 1804 1820 1824 1825 1860
★ Follow music ► (http•••) Composer: Antonio Salieri +••.••(...)) Work: Orgelkonzert C-Dur (1773) Performers: Anton Gansberger (organ); Leondinger Symphony Orchestra Drawing: Carl Schütz +••.••(...)) - Námestie vo Viedni (1780) Image in high resolution: (http•••) Painting: Joseph Willibrord Mähler +••.••(...)) - Antonio Salieri Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Antonio Salieri (Legnago, 18 August 1750 - Vienna, 7 May 1825) Italian composer, mainly active in Vienna. Born in Legnago in the Veneto, he studied violin and keyboard with his brother Francesco and with a local organist, Giuseppe Simoni. After the deaths of his parents between 1763 and 1765 he was taken to Venice, where his musical education continued. The Viennese composer F.L. Gassmann, in Venice to oversee the production of his opera Achille in Sciro in 1766, noticed Salieri's talent and ambition and took the youth back to Vienna with him. Under Gassmann's direction he began an intensive programme of musical training. Described by his student Anselm Hüttenbrenner as ‘the greatest musical diplomat’, Salieri won the friendship of people who could help him build a career. Having earned Gassmann's paternal affection, he developed close relations with Metastasio, Gluck and Joseph II. Opportunities to write operas soon offered themselves to Salieri. His success in Vienna owed much to the support of Joseph II, who was also helpful to him in Italy and France through his influence with his brothers Leopold (Grand Duke of Tuscany) and Ferdinand (governor of Lombardy) and his sister Marie Antoinette. As early as 1771 Joseph sent a copy of Armida to Leopold, reporting that it had been performed with great success in Vienna. The following year he asked Leopold about the possibility of Salieri writing an opera for Florence. When Gassmann died in 1774 Joseph appointed Salieri his successor as Kammerkomponist, an appointment that led to his also being made, at only 24 years of age, Gassmann's successor as music director of the Italian opera in Vienna. Between 1778 and 1780 he wrote five operas for theatres in Milan. In 1780 Joseph II commissioned him to write a Singspiel to be performed by the Nationaltheater's German troupe: one of only two operas in German by Salieri, Der Rauchfangkehrer (1781) enjoyed considerable success until it was overshadowed by Mozart's Die Entführung aus dem Serail. Salieri's exploration of operatic genres continued in 1782. Gluck, too weak to undertake the composition of a work commissioned by the Paris Opéra, handed the commission to Salieri. Armed with a letter of recommendation from Joseph, he went to Paris for the first time to oversee the production of Les Danaïdes (1784). Its success led to commissions for two more French operas, and during the rest of the decade Salieri divided his time and energy between composing tragédie lyrique in Paris and opera buffa in Vienna. The second of his French operas, Les Horaces, failed when it was given in 1786, but the following year he achieved one of his greatest operatic triumphs with Tarare, on a libretto by Beaumarchais. Returning to Vienna in 1784 after the première of Les Danaïdes, Salieri busied himself with composing and directing Italian comic operas at the Burgtheater. In February 1788 Joseph granted the position of Hofkapellmeister to Salieri, who had frequently acted in that capacity since 1775 for the ailing Giuseppe Bonno. Salieri succeeded Bonno in March 1788. He remained in this office until his retirement in 1824, his tenure the longest in the history of the Hofmusikkapelle. The 1790s left Salieri without the steadfast patronage of Joseph II, without the opportunity to write operas for Paris (cut off from him by the Revolution), without the theatrical talent of Da Ponte and without the stimulating rivalry of Mozart. Salieri's last complete opera, Die Neger, was given to sparse applause in 1804. As Hofkapellmeister, Salieri attended closely to the selection of new instrumentalists and singers, filling such posts as organ builder, overseeing the acquisition of instruments and keeping the music library in good order. Hofkapelle records for the period from 1820 to Salieri's retirement in 1824 show that for regular services under his direction he most frequently chose masses by Albrechtsberger, Joseph and Michael Haydn, Georg Reutter the younger, Eybler, Leopold Hofmann and Mozart. Salieri, who benefited so much from his teachers and mentors, devoted much of his energy to teaching, especially after retiring from operatic composition.
o
- cronología: Compositores (Europa). Directores de orquesta (Europa).
- Índices (por orden alfabético): B...