Stefano Ronchetti-Monteviti Vidéos
compositeur italien
Commémorations 2024 (Naissance: Stefano Ronchetti-Monteviti)
- opéra, musique classique, musique liturgique
- royaume d'Italie
- compositeur ou compositrice, professeur ou professeure de musique
Dernière mise à jour
2024-05-09
Actualiser
Antonio Buzzolla Gioachino Rossini Giuseppe Verdi Lauro Lauro Rossi Alberto Mazzucato Stefano Ronchetti Monteviti Giulio Ricordi Rosen Helmuth Rilling Gabriela Beňačková Cornelia Kallisch Matthews Luana Devol Rockwell Blake Bou Wyatt Riccardo Chailly Santa Maria Antonio Bazzini Carlo Pedrotti Antonio Cagnoni Federico Ricci Ricci Alessandro Nini Raimondo Boucheron Carlo Coccia Gaetano Gaspari Pietro Platania Teodulo Mabellini Basilica San Petronio Gächinger Kantorei Latvian Radio Choir Liceo Teatro Comunale Bologna Rheingau Musik Festival Avery Fisher Hall Radio France Montpellier Festival Teatro Scala 1782 1800 1805 1808 1809 1810 1811 1813 1815 1817 1818 1823 1828 1868 1869 1871 1873 1876 1877 1880 1881 1885 1888 1893 1896 1897 1901 1907 1970 1988 1989 1998 2001 2003 2017
Antonio Buzzolla - Requiem for Rossini - I. Introitus Requiem in G minor The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life. Verdi had proposed this collaboration in a letter from 17 November 1868, four days after Rossini's death, to his publisher at Casa Ricordi, Tito Ricordi (1811–1888), stating that after the performance, the manuscripts should be sealed in the archives of the Liceo musicale Rossini. The city council of Bologna and the Accademia Filarmonica of Bologna received this idea favourably and a committee of three members (Lauro Rossi, Alberto Mazzucato, Stefano Ronchetti-Monteviti) of the Milan Conservatory was established in Milan with Giulio Ricordi as secretary. The committee chose the composers and assigned their tasks; Angelo Mariani agreed to conduct. Mariani was also involved in Rossini commemorations in Pesaro, Rossini's birthplace, which were planned for August 1869. Despite Mariani's pleading invitation to Verdi on 19 August 1869, Verdi replied on the same day indignantly that he would not attend. In a letter from 24 August, Mariani expressed his distress at that response. Meanwhile, the committee had asked the impresario of the Teatro Comunale di Bologna, Luigi Scalaberni (1823–1876), to lend the performers, orchestra and chorus for the performance in Bologna on 13 November. Scalaberni refused on 6 October for commercial reasons because the performance of the mass would impede the success of his opera season. The municipal authorities then suggested to defer the commemorations until December, after the opera season. Verdi objected to such a delay and also to a suggestion by the committee to relocate the performance to Milan. In a letter from 27 October 1869 to Ricordi, Verdi rails against delay or relocation, and not only blames Mariani for the situation, but remarks: "Who would be the conductor at Milan? It cannot and must not be Mariani." The performance of the composition, which was finished by the summer of 1869, was then cancelled. The manuscript subsequently fell into oblivion. Giuseppe Verdi adapted his own contribution, the concluding Libera me, as the basis for that section when composing his own Messa da Requiem. The complete Messa per Rossini was discovered by American musicologist David Rosen in 1970 and premiered in 1988 by the Gächinger Kantorei conducted by Helmuth Rilling at the European Music Festival in Stuttgart and later at other festivals, such as the Rheingau Musik Festival in 2001. The first performance in the United States took place in October 1989 in New York at Avery Fisher Hall, also conducted by Rilling, with the soprano Gabriela Beňačková, the mezzo Cornelia Kallisch, the tenor James Wagner, the baritone Jacob Will and the bass Brian Matthews, the Gächinger Kantorei and the New York Philharmonic. The work has subsequently been recorded on CD. The first performance in France takes place in 1998 at the Radio France-Montpellier Festival in Montpellier, under the direction of Enrique Diemecke, with the soprano Luana DeVol, the mezzo-soprano Phyllis Pancella, the tenor Rockwell Blake, the baritone Stefano Antonucci, the bass Felipe Bou, the Latvian Radio Choir and the Montpellier-Languedoc-Roussillon Philharmonic Orchestra. The first performance in the United Kingdom was given in 2003 at the Royal Academy of Music (London) by the Trinity Chorale and Trinity Orchestra, conducted by John Wyatt (Director of Music, Aldenham School). In November 2017, Riccardo Chailly conducted this Requiem in concerts at the Teatro alla Scala in Milan. On 9 December 2017, after 148 years and a month, the Requiem was finally performed in the Basilica of San Petronio in Bologna, the place Giuseppe Verdi originally had in mind for this work. Organized and created by "Succede solo a Bologna APS", Lorenzo Bizzarri conducted the Cappella Musicale di Santa Maria dei Servi (orchestra and choir) and the Corale Quadriclavio, both from Bologna. Enjoy this amazing composition! by: Antonio Buzzolla (1815–1871) Antonio Bazzini (1818–1897) Carlo Pedrotti (1817–1893) Antonio Cagnoni (1828–1896) Federico Ricci (1809–1877) Alessandro Nini (1805–1880) Raimondo Boucheron (1800–1876) Carlo Coccia (1782–1873) Gaetano Gaspari (1808–1881) Pietro Platania (1828–1907) Lauro Rossi (1810–1885) Teodulo Mabellini (1817–1897) Giuseppe Verdi (1813–1901)
Antonio Buzzolla Gioachino Rossini Giuseppe Verdi Lauro Lauro Rossi Alberto Mazzucato Stefano Ronchetti Monteviti Giulio Ricordi Rosen Helmuth Rilling Gabriela Beňačková Cornelia Kallisch Matthews Luana Devol Rockwell Blake Bou Wyatt Riccardo Chailly Santa Maria Antonio Bazzini Carlo Pedrotti Antonio Cagnoni Federico Ricci Ricci Alessandro Nini Raimondo Boucheron Carlo Coccia Gaetano Gaspari Pietro Platania Teodulo Mabellini Basilica San Petronio Gächinger Kantorei Latvian Radio Choir Liceo Teatro Comunale Bologna Rheingau Musik Festival Avery Fisher Hall Radio France Montpellier Festival Teatro Scala 1782 1800 1805 1808 1809 1810 1811 1813 1815 1817 1818 1823 1828 1868 1869 1871 1873 1876 1877 1880 1881 1885 1888 1893 1896 1897 1901 1907 1970 1988 1989 1998 2001 2003 2017
Antonio Buzzolla - Requiem for Rossini - I. Introitus Kyrie in G minor The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life. Verdi had proposed this collaboration in a letter from 17 November 1868, four days after Rossini's death, to his publisher at Casa Ricordi, Tito Ricordi (1811–1888), stating that after the performance, the manuscripts should be sealed in the archives of the Liceo musicale Rossini. The city council of Bologna and the Accademia Filarmonica of Bologna received this idea favourably and a committee of three members (Lauro Rossi, Alberto Mazzucato, Stefano Ronchetti-Monteviti) of the Milan Conservatory was established in Milan with Giulio Ricordi as secretary. The committee chose the composers and assigned their tasks; Angelo Mariani agreed to conduct. Mariani was also involved in Rossini commemorations in Pesaro, Rossini's birthplace, which were planned for August 1869. Despite Mariani's pleading invitation to Verdi on 19 August 1869, Verdi replied on the same day indignantly that he would not attend. In a letter from 24 August, Mariani expressed his distress at that response. Meanwhile, the committee had asked the impresario of the Teatro Comunale di Bologna, Luigi Scalaberni (1823–1876), to lend the performers, orchestra and chorus for the performance in Bologna on 13 November. Scalaberni refused on 6 October for commercial reasons because the performance of the mass would impede the success of his opera season. The municipal authorities then suggested to defer the commemorations until December, after the opera season. Verdi objected to such a delay and also to a suggestion by the committee to relocate the performance to Milan. In a letter from 27 October 1869 to Ricordi, Verdi rails against delay or relocation, and not only blames Mariani for the situation, but remarks: "Who would be the conductor at Milan? It cannot and must not be Mariani." The performance of the composition, which was finished by the summer of 1869, was then cancelled. The manuscript subsequently fell into oblivion. Giuseppe Verdi adapted his own contribution, the concluding Libera me, as the basis for that section when composing his own Messa da Requiem. The complete Messa per Rossini was discovered by American musicologist David Rosen in 1970 and premiered in 1988 by the Gächinger Kantorei conducted by Helmuth Rilling at the European Music Festival in Stuttgart and later at other festivals, such as the Rheingau Musik Festival in 2001. The first performance in the United States took place in October 1989 in New York at Avery Fisher Hall, also conducted by Rilling, with the soprano Gabriela Beňačková, the mezzo Cornelia Kallisch, the tenor James Wagner, the baritone Jacob Will and the bass Brian Matthews, the Gächinger Kantorei and the New York Philharmonic. The work has subsequently been recorded on CD. The first performance in France takes place in 1998 at the Radio France-Montpellier Festival in Montpellier, under the direction of Enrique Diemecke, with the soprano Luana DeVol, the mezzo-soprano Phyllis Pancella, the tenor Rockwell Blake, the baritone Stefano Antonucci, the bass Felipe Bou, the Latvian Radio Choir and the Montpellier-Languedoc-Roussillon Philharmonic Orchestra. The first performance in the United Kingdom was given in 2003 at the Royal Academy of Music (London) by the Trinity Chorale and Trinity Orchestra, conducted by John Wyatt (Director of Music, Aldenham School). In November 2017, Riccardo Chailly conducted this Requiem in concerts at the Teatro alla Scala in Milan. On 9 December 2017, after 148 years and a month, the Requiem was finally performed in the Basilica of San Petronio in Bologna, the place Giuseppe Verdi originally had in mind for this work. Organized and created by "Succede solo a Bologna APS", Lorenzo Bizzarri conducted the Cappella Musicale di Santa Maria dei Servi (orchestra and choir) and the Corale Quadriclavio, both from Bologna. Enjoy this amazing composition! by: Antonio Buzzolla (1815–1871) Antonio Bazzini (1818–1897) Carlo Pedrotti (1817–1893) Antonio Cagnoni (1828–1896) Federico Ricci (1809–1877) Alessandro Nini (1805–1880) Raimondo Boucheron (1800–1876) Carlo Coccia (1782–1873) Gaetano Gaspari (1808–1881) Pietro Platania (1828–1907) Lauro Rossi (1810–1885) Teodulo Mabellini (1817–1897) Giuseppe Verdi (1813–1901)
Ivan Zajc Verdi Stefano Ronchetti Monteviti Alberto Mazzucato Lauro Lauro Rossi Town Theatre 1832 1850 1855 1860 1862 1863 1870 1872 1876 1878 1889 1908 1914
Ivan Zajc +••.••(...)) Symphony in C minor (Symphonic Tonepoems), Op. 394 I. Allegro (Impatience) 0:00 II. Andante (Dream-vision of happiness) 10:17 III. Scherzo: Allegro giusto (Illusion/Delusion) 16:45 IV. Finale: Allegro grandioso (Victory and triumph) 20:13 Croatian Radio-Television Symphony Orchestra Robert Homen, conductor Ivan Zajc (also Croatian: Ivan plemeniti Zajc, Italian: Giovanni di Zaytz; pronounced [ǐʋan zâjts]; August 3, 1832 – December 16, 1914), was a Croatian composer, conductor, director and teacher who for over forty years dominated Croatia's musical culture. Through his artistic and institutional reform efforts, he is credited with its revitalization and refinement, paving the way for new and significant Croatian musical achievements in the 20th century. He is often called the Croatian Verdi. Ivan Dragutin Stjepan Zajc was born in Fiume, modern-day Rijeka, Croatia. His musical talent was evident very early on in his life, as he began to study the piano and violin at the age of five, performed in public by the age of six, and even began to compose his own music by the age of twelve. Nevertheless, despite his early musical success, his military bandmaster father was opposed to the idea of a career in music and wanted him to study law instead following the completion of his secondary education. In the end, Zajc's professors prevailed and he entered the Milan Conservatory in 1850 with his father's consent. Zajc studied in Milan from 1850 to 1855, under the supervision of Stefano Ronchetti-Monteviti (counterpoint and composition), Alberto Mazzucato (orchestration), and Lauro Rossi (dramatic music). During this period, Zajc took his studies very seriously and regularly won prizes as one of the conservatory's most talented students. He was awarded first prize at his graduation examination for the opera La Tirolese (1855), which was performed on stage in the same year. Zajc's future as a composer and conductor in Milan was secure, but the death of his parents in the meantime forced him to return to Rijeka. Back home, he accepted the post of conductor and concert master of the Town Theatre Orchestra, taught stringed instruments at the Philharmonic Institute, and simultaneously wrote numerous compositions with his characteristic speed and ease. In 1860, his opera Amelia ossia Il Bandito was met with great success, though two years later, after a prolonged illness, Zajc chose to move to Vienna where opera and theatre were flourishing. His eight year stay there (1862–1870) was marked by further success, though he settled for composing operettas rather than operas. His first Viennese work, Mannschaft an Bord (1863), was enormously well received and his later operettas only served to strengthen his growing reputation. Yet interestingly, it was in Vienna where Zajc became involved with the Croatian academic society Velebit and frequently met with young Croatian students. Influenced by such Croatian cultural figures as bishop Josip Juraj Strossmayer and poets Petar Preradović, Ivan Trnski, August Šenoa, and Matija Divković, Zajc chose patriotism over world fame and returned to Croatia. Upon his arrival in Zagreb in 1870, Zajc was presented with two posts: director and conductor of the Croatian Opera and director and teacher at the Croatian Institute of Music. It was during this period that Zajc made his colossal contribution to Croatian musical culture, not only through his compositions, but also through his leadership in reorganizing Zagreb's musical institutions. He was also an excellent vocal teacher and succeeded in training several prominent singers. Zajc was an exceptionally prolific composer as evidenced by almost 1000 works, from Op. 234 to Op. 1202, produced during his time in Zagreb. Included in this number are Mislav (1870), Ban Leget (1872), his masterpiece Nikola Šubić Zrinjski (1876), and Lizinka (1878), in addition to operettas, musical comedies, cantatas, songs and choral compositions, concerti, chamber music, and many other works. Zajc's appointment at the opera was held until 1889, when owing to financial difficulties the organization lapsed for a time, but Zajc retained his post at the school until 1908, when he finally retired. He is credited with reviving Croatian music during a period of musical stagnation after the collapse of the Illyrian Movement and raising it to the artistic level where it stands today. His efforts paved the way for new and significant Croatian musical achievements in the early 20th century, which Zajc himself lived to see until his death on December 16, 1914 in Zagreb.
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