Gaetano Andreozzi

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Gaetano Andreozzi

Gaetano Andreozzi (born May 22, 1755 in Aversa ; † December 21 or 24, 1826 in Paris ) was an Italian opera composer . He was mother to his uncle, Niccolò Jommelli even Jommellino called.

Life

Gaetano Andreozzi studied singing, harmony and counterpoint with Pietro Antonio Gallo , Fedele Fenaroli and his uncle Niccolò Jommelli at the Conservatorio di Santa Maria di Loreto in Naples .

On February 28, 1779, the oratorio Giefte was his first work in Rome . He then wrote a series of operas for Florence and Venice. He composed his first opera seria in 1778 for Venice. In 1784 he traveled to Saint Petersburg for a performance of his Didone abbandonata , where he possibly also wrote Giasone e Medea . In 1785 he was back in Naples. In spring 1786 he married his student, the soprano Anna de Santi (1772–1802) in Florence . Andreozzi worked mainly in northern Italy, but also worked frequently in Naples and from 1790 in Rome. From May to December 1791 he most likely accompanied his wife on her trip to Madrid, where his operas Angelica e Medoro and Didone abbandonata were performed in the Teatro de los Caños del Peral . During the Napoleonic Wars , the demand for his works decreased significantly. In 1801 he separated from his wife, who took a job in Dresden and died shortly afterwards in a carriage accident. In the meantime he returned to Naples, where he wrote further operas and worked as impresario at the Teatro San Carlo until 1806 . He also made a reputation as a singing teacher. In 1825, when his financial situation deteriorated, he moved to Paris, where he was supported by his former pupil Maria Karolina , a daughter of King Francis I of Naples . His family stayed behind in Naples. Andreozzi died in Paris in December 1826.

Andreozzi wrote both comic and serious operas, with the serious genre clearly predominating from 1790 at the latest. He used texts from almost all the important librettists of his time. His works were performed in all important houses and often revised. His operas Catone in Utica , the first version of which he wrote in 1786, and Agesilao from 1788, with which he established his reputation as a composer of serious operas, were particularly successful . Because of the general preference for tragic subjects at the time, he revised his opera Angelica e Medoro for a performance in Florence in 1792 by deleting the third act with the original happy ending. His opera Saulle , written for Naples for Lent in 1794, was repeatedly performed in other cities such as Lisbon, Ferrara, Verona and Florence until 1811.

style

Andreozzi's music follows the tradition of the Neapolitan school , which is not only noticeable in the operas, but also in his sacred works. The contemporary preference for ensemble movements and choirs is evident in his serious operas. Some of these ensembles are extended arias with insertions of other characters. It is mainly composed of three-part arias. But there are also minuets, rondo and Dal Segno arias . The ensemble movements usually start slowly and then accelerate in tempo to add to the drama of the plot. Andreozzi liked to use contrapuntal techniques in the ensembles and choirs. The symphonias consist of a single movement with two themes, a short development and a shortened recapitulation. Only the main characters have longer recitatives, but they are not relevant to the story. Andreozzi rarely used the three-part aria form in his later operas. The cavatines , choirs and ensemble movements continue to increase in number and complexity and also contain recitative sections. The key does not usually change within a scene. The buffa operas have the usual introduction and multi-part narrative finals. In addition, there is another ensemble in the middle of each act, which from the middle of the 1790s also becomes the story behind.

In his works Andreozzi often worked with the contrast between wind and string parts. Simple string accompaniments also contrast with tutti passages. He used solo instruments such as oboes, clarinets, bassoons or horns for various purposes as a counterpart to the vocal line, but also within recitatives. In the secondary voices, arpeggiated or oscillating figures and tone repetitions often appear . Often there are dialogues between the singing voice and the orchestra. The influence of his uncle and teacher Niccolò Jommelli is particularly noticeable in his preference for wind voices, crescendos, chromatic tone sequences and the choice of keys.

Works

Operas

Agesilao - title page of the libretto, Venice 1787
Catone in Utica - title page of the libretto, Florence 1787
Saulle - title page of the libretto, Florence 1799
  • L'equivoco, dramma giocoso per musica in three acts; June 8th 1781, Florence, Teatro della Pergola
  • Arbace, dramma per musica; Libretto: Gaetano Sertor ; Autumn 1781, Livorno, Teatro Nuovo; Spring 1785, Florence, Teatro degli Intrepidi
  • I pazzi per disimpegno, dramma giocoso per musica in two acts; Libretto: Pier Antonio Bagliacca ; Carnival 1782, Venice, Teatro San Moisè
  • L'olimpiade , dramma per musica in three acts; Libretto: Pietro Metastasio ; Spring 1782, Pisa, Teatro dei Nobili
  • Baiazet , dramma per musica in three acts; Libretto: Agostino Piovene ; February 7th 1783, Florence, Teatro della Pergola
  • L'amore industrioso, intermezzo in two acts; Libretto: Ferdinando Casorri ; August 24th 1783, Florence, Teatro degli Intrepidi
  • Medonte, re d'Epiro, dramma per musica in three acts; Libretto: Giovanni De Gamerra ; Mass 1783, Alessandria, Teatro Civico; Carnival 1792, Pavia, Teatro dei Quattro Cavalieri Associati
  • Didone abbandonata , dramma per musica in three acts; Libretto: Pietro Metastasio; 1784, Saint Petersburg, Teatro Hermitage
  • Quello che può accadere, dramma giocoso per musica in two acts; Carnival 1784, Venice, Teatro San Samuele
  • Giasone e Medea, opera seria in two acts; 1785, Saint Petersburg ?; November 4, 1793, Naples, Teatro San Carlo ; Autumn 1800, Florence, Teatro della Pergola
  • Le tre fanatiche, commedia per musica in two acts; Libretto: Giuseppe Palomba ; Carnival 1785, Naples, Teatro del Fondo
  • Catone in Utica , tragedia per musica in three acts; Libretto: Pietro Metastasio; Carnival 1787, Cremona, Teatro dell'Associazione; October 10, 1791, Florence, Teatro della Pergola; Mass 1788, Reggio, Teatro Pubblico; revised in two acts autumn 1789, Livorno, Teatro degli Armeni; Spring 1791, Genoa, Teatro Sant'Agostino
  • Virginia, dramma per musica in three acts; Libretto: Luigi Romanelli ; Carnival 1787, Genova, Teatro Sant'Agostino; Carnival 1788, Perugia, Teatro del Verzaro; March 25, 1788 as La caduta dei Decemviri , Florence, Teatro degli Intrepidi detto della Palla a corda; Carnival 1791, Reggio, Teatro Pubblico
  • Agesilao, re di Sparta, dramma per musica in three acts; Libretto: Francesco Ballani ; Carnival 1788, Venice, Teatro San Benedetto ; Mass 1788, Brescia, Teatro dell'Accademia degli Erranti; revised in two acts Autumn 1788, Florence, Teatro della Pergola; Carnival 1792, Perugia, Teatro del Pavone; Carnival 1792, Verona, Teatro Filarmonico ; Spring 1793, Trieste, Ces. Reg. Teatro
  • Arminio, dramma per musica in three acts; Libretto: Ferdinando Moretti ; May 7th 1788, Venice, Teatro San Benedetto
  • Teodelinda, dramma per musica in three acts; Libretto: Giandomenico Boggio ; January 24, 1789, Turin, Teatro Regio ; Mass 1789, Crema, Teatro
  • Giovanna d'Arco, ossia La pulzella d'Orleans, dramma serio in four acts; Libretto: Antonio Simone Sografi ; June 27, 1789, Vicenza, Teatro Eretenio; Summer 1797, Venice, Teatro La Fenice
  • Artaserse , dramma per musica in three acts; Libretto: Pietro Metastasio; Autumn 1789, Livorno, Armeni
  • La morte di Giulio Cesare, dramma per musica in two acts; Libretto: Gaetano Sertor; December 27, 1789, Rome, Teatro Argentina; Spring 1790, Florence, Teatro degli Intrepidi; Carnival 1796, Genoa, Teatro Sant'Agostino
  • Il finto cieco, opera buffa; Libretto: Pietro Trinchera ; 1791, Naples, Teatro Nuovo
  • Angelica e Medoro, dramma per musica in three acts; Libretto: Gaetano Sertor; March 1, 1791, Venice, San Benedetto; May 5, 1791, Madrid, Teatro de los Caños del Peral, revised in two acts on April 10, 1792, Florence, Teatro degli Intrepidi
  • Amleto, dramma per musica in two acts; Libretto: Giuseppe Maria Foppa based on Jean-François Ducis ; June 12, 1792, Padua, Teatro Nuovo; Mass 1794, Brescia, Teatro dell'Accademia degli Erranti
  • Gli amanti in Tempe, azione pastorale in two acts; Libretto: Giovanni De Gamerra; 4th August 1792, Florence, Teatro degli Intrepidi
  • Le nozze inaspettate, commedia per musica in two acts; 1793, Naples, Teatro dei Fiorentini
  • Sofronia ed Olindo, azione tragica per musica in two acts; Libretto: Carlo Sernicola ; February 17, 1793, Naples, Teatro San Carlo; February 22, 1795, Naples, Teatro del Fondo; as Amelia ed Ottiero Herbst 1797, Triest, Ces. Reg. Teatro; Spring 1798, Venice, Teatro San Benedetto; 1800, Palermo, Teatro di Santa Cecilia
  • Ines de Castro, dramma per musica in two acts; Libretto: Cosimo Giotti ; 8 September 1793, Florence, Teatro della Pergola
  • Saulle, dramma per musica in two acts; Libretto: Francesco Salfi ; Lent 1794, Naples, Teatro del Fondo; 1796, Naples, Teatro dei Fiorentini; 1799, Florence, Teatro della Pergola; 1802, Naples, Teatro del Fondo; 1807, Lisbon, Teatro de São Carlos; 1809, Ferrara, Teatro Comunale; as L'ombra di Samuele ossia La morte di Saulle 1809, Verona, Teatro Filarmonico; 1811, Florence, Teatro della Pergola
  • La principessa filosofa, ossia Il contravveleno, commedia ridotta ad uso melodrammatico in two acts; Libretto: Antonio Simone Sografi based on Donna Diana by A. Moreto; October 6, 1794, Venice, Teatro San Benedetto; 1795, Verona; Summer 1800, Lisbon, Teatro de São Carlos; Spring 1807, Verona, Teatro Filarmonico; Revised as Il disprezzo vinto dal disprezzo August 2, 1795, Naples, Teatro del Fondo
  • Arsinoe, dramma per musica in two acts; Libretto: Michele Rispoli ; 13 August 1795, Naples, Teatro San Carlo
  • Il trionfo di Arsace, dramma per musica; Libretto: Francesco Ballani; December 26th 1795, Rome, Teatro Argentina
  • La vergine del sole, dramma per musica; Libretto: CL Rossi after Jean-François Marmontel ; 1797, Palermo, Teatro di Santa Cecilia; Carnival 1808, Verona, Teatro Filarmonico; in two acts September 1799, Livorno, Teatro degli Accademici Avvalorati; Carnival 1808, Verona, Teatro Filarmonico
  • La morte di Cleopatra, dramma per musica in three acts; Libretto: Gaetano Rossi and Antonio Simone Sografi; 1797, Palermo, Teatro di Santa Cecilia
  • Argea, dramma per musica in three acts; Libretto: Giandomenico Boggio; December 26th 1798, Turin, Teatro Regio
  • Pamela nubile, dramma comico-serio per musica in two acts; Carnival 1800, Parma, Teatro Ducale; Fair 1800, Udine, Teatro
  • Sesostri, dramma per musica in two acts; Libretto: Pietro Pariati ; January 12, 1802, Naples, Teatro San Carlo
  • Armida e Rinaldo, dramma per musica in two acts; Libretto after Torquato Tasso : Gerusalemme liberata ; September 2, 1802, Naples, San Carlo
  • Il trionfo d'Alessandro, opera seria in two acts; Libretto: Andrea Passaro ; 1803, Naples, Teatro San Carlo
  • Piramo e Tisbe, dramma per musica in two acts; Libretto: Giovanni Schmidt ; May 30, 1803, Naples, Teatro San Carlo
  • Il trionfo di Claudia, dramma serio per musica in two acts; 8 September 1803, Florence, Teatro della Pergola
  • Sedesclavo, dramma per musica in two acts; Libretto: Michelangelo Prunetti ; 3rd February 1805, Rome, Teatro delle Dame
  • Il trionfo di Tomiri, dramma per musica in two acts; Libretto: Filippo Cammarano ; Lent 1807, Naples, Teatro San Carlo
  • Tutti i torti son dei mariti, burletta in one act; June 7, 1814, Florence, Teatro di via del Cocomero
  • Il trionfo di Alessandro Magno il Macedone, dramma serio in two acts; Libretto: Andrea Passaro; January 17, 1815, Rome, Teatro Argentina; Carnival 1816, Naples, Teatro San Carlo

Spiritual works

  • Giefte, oratorio; December 20, 1779, Rome, Congregazione
  • Isacco figura del redentore , oratorio in two parts; Libretto: Pietro Metastasio; Sept 1785, Iesi
  • La passione di Gesù Cristo , oratorio; Libretto: Pietro Metastasio; 1799, Naples, Teatro San Carlo
  • Assuero ossia La regina Ester, oratorio; 1798, Palermo, Chiesa di Santa Cecilia
  • La morte di Saulle, oratorio sacro per musica (together with Domenico Mombelli ); Libretto: Giuseppe Caravita ; Lent 1804, Lisbon Teatro San Carlo; Lent 1805, Livorno, Teatro degli Accademici Avvalorati
  • Il trionfo d'Israele, o sia La disfatta di Seon, dramma per musica in two acts (doubtful); Lent 1812, Messina, Teatro della Monizione

Other vocal works

  • Partenope sul lido etrusco, azione teatrale in one act; Libretto: Cristoforo Boccella ; May 22, 1785, Lucca, Castiglionelli
  • La pace tra Amore ed Imeneo, componimento drammatico; Libretto: Lorenzo Pignotti ; September 11, 1787, Florence, Teatro degli Intrepidi
  • Il ritorno de 'numi, cantata; Libretto: Ferdinando Maria Villani ; 1801, Naples, Teatro del Fondo

Instrumental works

  • Six string quartets, op. 1; 1786, Florence
  • Three quintets for flute and string quartet; 1793, Venice
  • Three quintets for oboe and string quartet

Web links

Commons : Gaetano Andreozzi  - collection of images, videos and audio files

Digital copies

  1. ↑ L'equivoco. Libretto (Italian), Florence 1781. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  2. ↑ Arbace. Libretto (Italian), Florence 1785. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  3. ↑ I pazzi per disimpegno. Libretto (Italian), Venice 1782. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  4. ↑ Quello che può accadere. Libretto (Italian), Venice 1784. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  5. ^ Giasone e Medea. Libretto (Italian), Naples 1793. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  6. ↑ Le tre fanatiche. Libretto (Italian), Naples 1785. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  7. ^ Catone in Utica. Libretto (Italian), Florence 1787. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  8. ↑ La caduta dei Decemviri. Libretto (Italian), Florence 1788. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  9. ↑ Agesilao, re di Sparta. Libretto (Italian), Venice 1787. Digitized in the Corago information system of the University of Bologna .
  10. ↑ Arminio. Libretto (Italian), Venice 1788. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  11. ↑ Teodelinda. Libretto (Italian), Turin 1789. Digitized in the Internet Archive .
  12. ^ Giovanna d'Arco, ossia La pulzella d'Orleans. Libretto (Italian), Venice 1797. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  13. ^ La morte di Giulio Cesare. Libretto (Italian), Florence 1790. Digitized in the Internet Archive .
  14. ↑ Amleto. Libretto (Italian), Padua 1792. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  15. ↑ Gli amanti in Tempe. Libretto (Italian), Florence 1792. Digitized in the Internet Archive .
  16. ↑ Le nozze inaspettate. Libretto (Italian), Naples 1793. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  17. ^ Sofronia ed Olindo. Libretto (Italian), Naples 1793. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  18. ↑ Ines de Castro. Libretto (Italian), Florence 1793. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  19. ↑ Saulle. Libretto (Italian), Florence 1799. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  20. ↑ La principessa filosofa, ossia Il contravveleno. Libretto (Italian), Venice 1794. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  21. ↑ Il disprezzo vinto dal disprezzo. Libretto (Italian), Naples 1795. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  22. ↑ Arsinoe. Libretto (Italian), Naples 1795. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  23. ^ Il trionfo di Arsace. Libretto (Italian), Rome 1795. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  24. ↑ Argea. Libretto (Italian), Turin 1798. Digitized at Google Books .
  25. ↑ Pamela nubile. Libretto (Italian), Parma 1800. Digitized in the Corago information system of the University of Bologna .
  26. ↑ Sesostri. Libretto (Italian), Naples 1802. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  27. ↑ Armida e Rinaldo. Libretto (Italian), Naples 1802. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  28. ^ Piramo e Tisbe. Libretto (Italian), Naples 1803. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  29. ^ Il trionfo di Claudia. Libretto (Italian), Florence 1803. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  30. ↑ Sedesclavo. Libretto (Italian), Rome 1805. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  31. ↑ Il trionfo di Tomiri. Libretto (Italian), Naples 1807. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  32. ^ Il trionfo di Alessandro Magno il Macedone. Libretto (Italian), Rome 1815. Digitized version of the Museo internazionale e biblioteca della musica di Bologna .
  33. ↑ La morte di Saulle. Libretto (Italian), Lisbon 1804. Digitized from the Museo internazionale e biblioteca della musica di Bologna .
  34. ↑ Il ritorno de 'numi. Libretto (Italian), Naples 1801. Digitized in the Corago information system of the University of Bologna .

Individual evidence

  1. ↑ a b c d e f g h i Marita P. McClymonds:  Andreozzi, Gaetano. In: Grove Music Online (English; subscription required).
  2. ^ A b Renzo Bonvicini:  Andreozzi, Gaetano, detto Jommellino. In: Alberto M. Ghisalberti (Ed.): Dizionario Biografico degli Italiani (DBI). Volume 3:  Ammirato – Arcoleo. Istituto della Enciclopedia Italiana, Rome 1961.
  3. ↑ Werner Bollert:  Andreozzi, Gaetano. In: Friedrich Blume (Hrsg.): The music in past and present (MGG). First edition, Volume 1 (Aachen - Blumner). Bärenreiter / Metzler, Kassel et al. 1949, DNB 550439609 , Sp. 465–466 (= Digital Library Volume 60, pp. 2523-2526).
  4. ^ Il trionfo d'Israele, o sia La disfatta di Seon (Gaetano Andreozzi) in the Corago information system of the University of Bologna . Retrieved August 20, 2015.
  5. ↑ Il trionfo d'Israele, o sia La disfatta di Seon. Library record in the Servizio Bibliotecario Nazionale . Retrieved August 26, 2015.
personal data
SURNAME Andreozzi, Gaetano
ALTERNATIVE NAMES Jommellino
BRIEF DESCRIPTION Italian opera composer
DATE OF BIRTH May 22, 1755
PLACE OF BIRTH Aversa
DATE OF DEATH December 21, 1826 or December 24, 1826
Place of death Paris