Niccolò Jommelli

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Niccolò Jommelli

Niccolò Jommelli (also Nicola Jommelli ; born September 10, 1714 in Aversa near Naples , † August 25, 1774 in Naples) was an Italian composer of the Neapolitan school . His main fields were church music and opera .

Life

Training and first successes

Jommelli (the family name is a Neapolitan dialect of Gemello = twin) received his first music lessons from a canon named Muzzillo, who directed the choir of the cathedral of Aversa. Muzzillo recommended that the father send the talented boy to one of the famous conservatories in Naples for further training. In 1725 Jommelli was accepted into the Conservatorio Sant'Onofrio , where Ignazio Prota and Francesco Feo were his teachers; In 1728 he moved to the Conservatorio della Pietà dei Turchini .

In the spring of 1737 Jommelli's first work for the stage, the opera buffa L'errore amoroso , appeared at the Teatro dei Fiorentini in Naples. With Ricimero Re dei Goti , successfully performed at the Teatro Argentina in Rome in 1740 , he created his first work in the opera seria genre , which from then on formed the focus of his work. After Astianatte premiered on the same stage the following year, Jommelli was already celebrated as a master. Nevertheless, he used a stay in Bologna on the occasion of the performance of Ezio to take lessons from Padre Giovanni Battista Martini , the “Oracolo della Musica”, for a few weeks. Only after the renowned Accademia Filarmonica in Bologna had accepted him as a member in 1741 did he feel completely sure of his talent.

His further career was rapid. He was probably the first opera composer to have two full-length works premiered on the same day: Merope in Venice and Semiramide riconosciuta in Turin, both on December 26, 1741 at the start of the carnival season. Even Johann Adolf Hasse was impressed by Jommellis compositions and gave him the position as director of the Ospedale degli Incurabili in Venice, which he held from 1745 to 1747. The performances of the passion oratorio La passione di Gesù Cristo during Holy Week in Rome in 1749 earned him the applause of influential Vatican circles. Through the mediation of Cardinal Albani, Jommelli received an invitation to the imperial court in Vienna for the season immediately following. Regardless of the short-term appointment, he managed to perform two new operas in Vienna ( Achille in Sciro and Catone in Utica ) as well as arrangements of three earlier ones ( Merope , Ezio and Didone abbandonata ).

In papal service

While still in Rome, Jommelli had been appointed maestro coadiutore (Vice Kapellmeister) of the Cappella Giulia at St. Peter's Basilica by decree of April 20, 1749 , where he was to begin his service on January 1, 1750. However, he let this date pass and instead went to Venice to perform the opera buffa L'uccellatrice . Perhaps he was hoping to get a job in Vienna after the hugely successful season in Vienna. The Congregazione di Santa Cecilia then wanted to cancel the contract, but Pope Benedict XIV stood up personally for Jommelli, who finally began his service on June 14, 1750. His new post was connected with numerous administrative duties and did not fill him as a musician. As far as church service allowed, Jommelli continued to write operas for the Roman stages.

At the Württemberg court

The offer of Duke Carl Eugen von Württemberg to come to Stuttgart and take up his duties as court conductor opened up a new perspective for Jommelli. After writing two new operas for Stuttgart on a trial basis, Fetonte (first version, not identical to the work of the same name from 1768) and La clemenza di Tito , Jommelli officially received his new office by decree of November 24, 1753, which he will hold for the next dressed for sixteen years. His service contract granted him far-reaching powers that went far beyond the powers otherwise usual for court musicians. In addition, he was allowed to take six weeks' leave every year in order to travel to Italy and to maintain his contacts there. His duties included the composition of two new operas each year, which were to be performed on February 11th and November 4th, the birthday and name day of Carl Eugen.

The Württemberg court (who moved his residence to Ludwigsburg in 1764 ) experienced what was probably the most glamorous period in its cultural history under Jommelli and the ballet master Jean-Georges Noverre, who was also engaged with him . The effort that was made for the opera productions as the main means of courtly representation brought the duke, on the part of the nobility, also accused of being extravagant. The highlight in this regard was the performance of the second version of Fetonte on February 11, 1768, when 436 extras, including 86 on horseback, populated the stage of the Ludwigsburg court theater.

The circumstances that led to Jommelli's dismissal from the Württemberg service have not been fully clarified. While he was on vacation in Italy in the spring of 1769 to settle private matters, a singer from the court orchestra is said to have denounced him to the duke (what he brought up against his superior has not been recorded). On his return, Jommelli learned that Carl Eugen had hired new singers for the next season, which, according to the contract, was actually part of Jommelli's own skills. On September 27, 1769, Jommelli submitted his resignation, which was apparently granted without further formalities. However, he kept in touch with the Duke by letter.

Homecoming and the last years of life

Jommelli settled in the Naples area, but did not consider his career as an opera composer to be over. Of the works he created in Italy in the last years of his life, only Armida abbandonata was able to assert himself to some extent after an initial failure. The opulent style, enriched with French influences, which Jommelli had perfected in his Stuttgart operas and did not want to give up, was not in demand in Italy. Instead, the works of a new generation of composers dominated the field, referred to in music historiography as the "Nine-Neapolitan School" and cultivated a lighter, more popular style. They include Antonio Sacchini and Josef Mysliveček , among others .

At the end of 1771 Jommelli suffered a stroke, but continued to compose cantatas and operas for the Portuguese court, with which he had negotiated a new contract. King José I of Portugal's offer to take over from Davide Perez as court conductor in person in Lisbon , he had rejected and instead undertook to regularly send new compositions "from home" to Lisbon for a fee. On August 25, 1774, Jommelli attended a performance of his last Miserere setting in the house of Saverio Mattei , which was sung by the famous soprano Anna Lucia De Amicis . The following night he died of a second stroke.

Jommelli was buried at the instigation of his brother, an Augustinian monk, in the tomb of St. Thomas of Villanova in the church of Sant'Agostino degli Scalzi (Santa Maria della Verità). In 1924, the musicologist Ulisse Prota-Giurleo Jommelli's remains were transferred to the Cappella Tufarelli because the crypt was in poor condition. The monks have kept silent about the exact location of the tomb to this day.

meaning

Niccolò Jommelli in Johann Caspar Lavater's Physiognomic Fragments , around 1775

Besides church music, Jommelli's importance lies mainly in the field of opera. Although he also wrote comic operas, he is primarily one of the most prominent representatives of the opera seria around the middle of the 18th century. His early operas such as Astianatte (a version of the Hector and Andromache episode from Homer's Iliad ) and Caio Mario show his special talent for tragic situations and passionate affects, for the representation of which he exhausted the usual musical vocabulary to the limit of the possible . A trademark of his operas is the above-average frequent use of the Accompagnato recitative , which allowed greater freedom in the use of musical stylistic devices than was possible in the closed form of the aria , which was subject to much stricter conventions. Jommelli deepened the expression of lyrical moods through sensitive melodies, differentiated use of woodwind instruments in particular, and harmonics rich in shading with frequent changes between major and minor.

At about the same time as the symphonists of the Mannheim School around Johann Stamitz , he began to work with smooth transitions between different volume levels in the orchestra accompaniment. Already in the score of his Artaserse from 1749 (before his stay in Germany) he used the performance instruction “crescendo il forte”. The gradual rise and fall of a tone as a messa di voce was one of the foundations of Italian bel canto , but its transfer to the orchestral apparatus as a whole was quite a novelty and led to greater flexibility and expressiveness in the musical language. The question of a possible influence between Jommelli and the Mannheim school has not yet been fully clarified.

Jommelli's Stuttgart operas, of which Fetonte (after the Phaeton saga from Ovid's Metamorphoses) is considered the most representative, also contain large choir and ballet scenes based on the model of the French tragédie lyrique , which, not least, met the representational needs of the ducal court. He created dramatic core situations by seamlessly amalgamating orchestral recitatives, aria-like solo passages and choral movements into well-composed blocks of scenes.

The combination of elements of the Italian and French operatic tradition in Jommelli's late works is reminiscent at first glance of the reform operas by Christoph Willibald Gluck , which is why Jommelli was often called the “Italian Gluck” - just like his contemporary Tommaso Traetta . But while Gluck overcame the formal scheme of the number opera by practically canceling it, Jommelli's endeavor was only to expand this scheme to the limit of his capacity. From a formal point of view, the Finale of Fetonte (1768) with the mythological world fire is an oversized Accompagnato recitative (17 pages of the score in the edition of the Monuments of German Music , Volume 32/33), which ends in a trio with choir. Most of all, he resembles Gluck in the unusually violent expression of the tragic in some of his scenes for his time. Pietro Metastasio , imperial court poet in Vienna and literary leading figure of the Opera seria, has written to Jommelli to express his concerns in this regard. After the great solo scene of Berenice in the third act of Vologeso, Duke Carl Eugen is said to have even said that he would not be able to cope with listening to this piece a second time.

Jommelli's church music, especially his Requiem and the oratorio La passione di Gesù Cristo , were also greatly appreciated. As was common in Italy at the time, they make use of similar stylistic devices as the opera, but make more frequent use of contrapuntal compositional techniques such as canon and fugue. Jommelli also used these in his later operas, which, conversely, were said to be too reminiscent of church music.

Works

He created 220 works for the stage, including more than 60 operas, as well as numerous serenatas and pasticcios , oratorios , cantatas and in addition to masses, hundreds of sacred works and chamber music.

Operas

  • L'errore amoroso, commedia per musica; Libretto: Antonio Palomba ; Spring 1737, Naples, Teatro Nuovo
  • L'Odoardo, commedia per musica; Winter 1738, Naples, Teatro dei Fiorentini
  • Ricimero re de'Goti, dramma per musica; Libretto: Apostolo Zeno , Francesco Pariati ; January 16, 1740, Rome, Teatro Argentina
  • Astianatte, dramma per musica; Libretto: Antonio Salvi ; February 4, 1741, Rome, Teatro Argentina; 1743 in Perugia; 1755 at the King's Theater on Haymarket, London; 1763 in Barcelona
  • Ezio , dramma per musica (first version); Libretto: Pietro Metastasio; April 29, 1741, Bologna, Teatro Malvezzi; on January 31, 1768 in the local Teatro Comunale
  • Merope, dramma per musica; Libretto: Apostolo Zeno; December 26, 1741, Venice, Teatro San Giovanni Grisostomo; Winter 1747 in Palermo; 1751 in Barcelona; 1753 in Pesaro
  • Don Chichibio, intermezzi; December 30th 1741, Rome, Teatro Valle
  • Semiramide riconosciuta , dramma per musica (first version); Libretto: Pietro Metastasio; January 20, 1742, Torino, Teatro Regio
  • Eumene, dramma per musica (first version); Libretto: Apostolo Zeno; May 5, 1742, Bologna, Teatro Malvezzi
  • Semiramide, dramma per musica; Libretto: Francesco Silvani ; December 26th 1742, Venice, Teatro San Giovanni Grisostomo
  • Tito Manlio, dramma per musica (first version); Libretto: Gaetano Roccaforte ; Carnival 1743, Torino, Teatro Regio
  • Demofoonte , dramma per musica (first version); Libretto: Pietro Metastasio; June 13, 1743, Padova, Teatro Obizzi; 1754 in Lodi; 1755 in London
  • Alessandro nell'Indie , dramma per musica (first version); Libretto: Pietro Metastasio; December 26th 1743, Ferrara, Teatro Bonacossi
  • Ciro riconosciuto , dramma per musica; Libretto: Pietro Metastasio; January 20, 1744, Ferrara, Teatro Bonacossi; on May 4, 1744 in Bologna; 1758 Carnival in Mantua
  • Antigono , dramma per musica; Libretto: Pietro Metastasio; September 1744, Crema, Grande; Autumn 1746 in Lucca; Carnival 1757 in Cremona
  • Sofonisba, dramma per musica; Libretto: Antonio Zanetti , Girolamo Francesco Zanetti ; December 26th 1745, Venice, Teatro San Giovanni Grisostomo
  • Caio Mario, dramma per musica; Libretto: Gaetano Roccaforte; February 12, 1746, Rome, Teatro Argentina; many more performances in other cities
  • Tito Manlio , dramma per musica (second version); Libretto: Jacopo Antonio Sanvitale after Matteo Noris ; November 12th 1746, Venice, Teatro San Giovanni Grisostomo
  • Didone abbandonata , dramma per musica (first version); Libretto: Pietro Metastasio; January 28, 1747, Rome, Teatro Argentina
  • Eumene, dramma per musica (second version); Libretto: Apostolo Zeno; May 30, 1747, Naples, Teatro San Carlo; 1765 and 1772 in Barcelona
  • L'amore in maschera, commedia per musica; Libretto: Antonio Palomba; Carnival 1748, Naples, Teatro dei Fiorentini
  • Ezio , dramma per musica (second version); Libretto: Pietro Metastasio; November 4, 1748, Naples, Teatro San Carlo; Carnival 1749 in Perugia
  • La cantata e disfida di Don Trastullo, intermezzo; Carnival 1749, Rome, Teatro della Pace; many more performances in other cities; 1763 in Munich; 1772 in Hamburg
  • Artaserse , dramma per musica (first version); Libretto: Pietro Metastasio; February 6, 1749, Rome, Teatro Argentina; Carnival 1751 in Mannheim
  • Demetrio , dramma per musica; Libretto: Pietro Metastasio; Spring 1749, Parma, Teatro Ducale; 1751 in Madrid; 1753 in Mannheim
  • Achille in Sciro , dramma per musica (first version); Libretto: Pietro Metastasio; August 30, 1749, Vienna, Burgtheater; 1755 in Barcelona
  • Ciro riconosciuto , dramma per musica (second version); Libretto: Pietro Metastasio; November 15, 1749, Venice, Teatro San Giovanni Grisostomo
  • Didone abbandonata , dramma per musica (second version); Libretto: Pietro Metastasio; December 8, 1749, Vienna, Burgtheater
  • Euridice, favola pastorale per musica (pasticcio); Libretto: Giampietro Tagliazucchi ; 1750, Vienna, Nuovo Privilegiato Imperial Teatro
  • L'uccellatrice , intermezzo; May 6, 1750, Venice, Teatro San Samuele ; Carnival 1753 in Bologna and Vicenza; on September 25, 1753 as Il paratajo or La pipée in Paris; Autumn 1760 in Florence; on February 22, 1770 at the King's Theater on the Haymarket, London; 1772 Carnival in Pescia
  • Cesare in Egitto, dramma per musica; Libretto: Giacomo Francesco Bussani ; 1751, Strasburgo, Teatro
  • La villana nobile; Carnival 1751, Palermo, de'Valguarneri di S Lucia
  • Ifigenia in Aulide, dramma per musica; Libretto: Mattia Verazi ; February 9, 1751, Rome, Teatro Argentina; 1751 also in Mannheim; 1753 in the Teatro San Carlo in Naples; 1755 in Barcelona
  • Ipermestra , dramma per musica; Libretto: Pietro Metastasio; October 9, 1751, Spoleto, Nuovo Teatro
  • Talestri, dramma per musica; Libretto: Gaetano Roccaforte ; December 28, 1751, Rome, Teatro delle Dame; 1757 in Genoa (?); 1764 in Barcelona
  • I rivali delusi, intermezzo; Carnival 1752, Rome, Teatro Valle
  • Attilio Regolo , dramma per musica; Libretto: Pietro Metastasio; January 8, 1753, Rome, Teatro delle Dame; on March 23, 1761 as pasticcio at the Teatro San Carlo in Naples; 1754 and 1762 in London
  • Demofoonte , dramma per musica (second version); Libretto: Pietro Metastasio; 3rd February 1753, Milan, Regio Ducal Teatro
  • La reggia de'fati, cantata; Libretto: Gaetano Eugenio Pascali ; March 13, 1753, Milan, Regio Ducal Teatro; 1763 in Bologna
  • Semiramide riconosciuta , dramma per musica (second version); Libretto: Pietro Metastasio; April fair 1753, Piacenza, Teatro Ducale; on September 23, 1753 in Madrid
  • La clemenza di Tito , dramma per musica (first version); Libretto: Pietro Metastasio; August 30, 1753, Stuttgart, Ducal Theater
  • Baiacet , dramma per musica; Libretto: Agostino Piovene ; December 26th 1753, Torino, Teatro Regio
  • Don Falcone, intermezzo; January 22, 1754, Bologna, Teatro Marsigli Rossi; 1758 in Munich
  • Lucio Vero , dramma per musica; Libretto: Apostolo Zeno; January 26th 1754, Milan, Regio Ducal Teatro
  • Catone in Utica , dramma per musica; Libretto: Pietro Metastasio; August 30, 1754, Stuttgart, Teatro Ducale
  • Pelope, dramma per musica; Libretto: Mattia Verazi; February 11, 1755, Stuttgart, Teatro Ducale; 1768 Carnival in Lisbon
  • Enea nel Lazio, dramma per musica; Libretto: Mattia Verazi; August 30, 1755, Stuttgart, Ducal Theater; revised in 1766 in Ludwigsburg; 1767 Carnival in Lisbon
  • Artaserse , dramma per musica (second version); Libretto: Pietro Metastasio; August 30, 1756, Stuttgart, Teatro Ducale
  • Il Creso, dramma per musica; Libretto: Giuseppe Gioacchino Pizzi ; February 5, 1757, Rome, Teatro Argentina; 1765 in Barcelona
  • Temistocle , dramma per musica (first version); Libretto: Pietro Metastasio; December 18, 1757, Naples, Teatro San Carlo; Autumn 1763 in Palermo
  • Tito Manlio, dramma per musica (third version, revision of the first version); January 6, 1758, Stuttgart, Teatro Ducale; on January 6, 1758 in Stuttgart
  • Ezio , dramma per musica (third version); Libretto: Pietro Metastasio; February 11, 1758, Stuttgart, Teatro Ducale
  • Nitteti , dramma per musica; Libretto: Pietro Metastasio; February 11, 1759, Stuttgart, Herzogliches Theater; on June 6, 1770 in Lisbon
  • Endimione, ovvero Il trionfo d'Amore , pastorale; Libretto: Pietro Metastasio; Spring 1759, Stuttgart, Ducal Teatro; Revised on June 29, 1780 (second version) as serenata per musica L'Endimione in Lisbon
  • Alessandro nell'Indie , dramma per musica (second version); Libretto: Pietro Metastasio; February 11, 1760, Stuttgart, Herzogliches Theater; on June 6, 1776 in Lisbon
  • L'isola disabitata , azione per musica; Libretto: Pietro Metastasio; March 13, 1760, London; on November 4, 1761 in Ludwigsburg; on March 31, 1780 in Lisbon
  • Caio Fabrizio, dramma per musica (with Giuseppe Colla ); Libretto: Mattia Verazi; November 4, 1760, Mannheim, Corte Elettorale Palatina; 1782 in Kassel
  • Arianna e Teseo, dramma per musica (pasticcio); Libretto: Pietro Pariati , Francis Colman ; 16th December 1760, London, King's Theater on Haymarket
  • L'olimpiade , dramma per musica; Libretto: Pietro Metastasio; February 11, 1761, Stuttgart, Teatro Ducale; Revised on March 31, 1774 by João Cordeiro da Silva in Lisbon
  • Semiramide riconosciuta , dramma per musica (third version); Libretto: Pietro Metastasio; February 11, 1762, Stuttgart, Teatro Ducale; 1771 Carnival in Lisbon
  • Didone abbandonata , dramma per musica (third version); Libretto: Pietro Metastasio; February 11, 1763, Stuttgart, Herzogliches Theater; also revised in 1777, 1780 and 1782
  • Il trionfo d'amore, azione pastorale; Libretto: Giampietro Tagliazucchi; February 16, 1763, Ludwigsburg, Teatro in una delle corti del Ducal Palazzo
  • La pastorella illustrious, azione per musica; Libretto: Giampietro Tagliazucchi; November 4, 1763, Stuttgart, Herzogliches Theater; January 1773 in Lisbon
  • Demofoonte , dramma per musica (third version); Libretto: Pietro Metastasio; February 11, 1764, Stuttgart, Ducal Theater
  • Il re pastore , dramma per musica; Libretto: Pietro Metastasio; November 4, 1764, Ludwigsburg, Ducal Teatro; Carnival 1770 revised by João Cordeiro da Silva in Lisbon
  • La clemenza di Tito , dramma per musica (second version); Libretto: Pietro Metastasio; January 6, 1765, Ludwigsburg, Schlosstheater; revised on June 6, 1771 by João Cordeiro da Silva in Lisbon; on February 11, 1786 as The Meekness of Titus in Stuttgart
  • Imeneo in Atene, componimento drammatico; Libretto: Silvio Stampiglia ; November 4, 1765, Ludwigsburg, Schlosstheater; on March 19, 1773 in Lisbon
  • Temistocle , dramma per musica (second version); Libretto: Pietro Metastasio; November 4, 1765, Ludwigsburg, Teatro in una delle corti del Ducal Palazzo
  • La critica, dramma comico; Libretto: Gaetano Martinelli ; 1766, Ludwigsburg, Castle Theater; Spring 1772 in Koblenz; 1775 Carnival in Lisbon
  • Vologeso , dramma per musica (second setting by Lucio Vero ); Libretto: Mattia Verazi after Apostolo Zeno; February 11, 1766, Ludwigsburg, Schlosstheater; Carnival 1769 in Lisbon
  • Il matrimonio per concorso, dramma giocoso per musica; Libretto: Gaetano Martinelli; November 4, 1766, Ludwigsburg, Ducal Teatro; in Milan on September 11, 1768; Carnival 1770 in Lisbon
  • Il cacciatore deluso, La Semiramide in Bernesco, dramma serio-comico; Libretto: Gaetano Martinelli; November 4, 1767, Tübingen, Ducal Teatro; 1771 Carnival in Lisbon
  • Fetonte, dramma per musica; Libretto: Mattia Verazi; February 11, 1768, Ludwigsburg, Schlosstheater; on June 6, 1769 in Lisbon
  • La schiava liberata, dramma serio-comico; Libretto: Gaetano Martinelli; December 18, 1768, Ludwigsburg, Schlosstheater; on March 31, 1770 in Lisbon
  • Armida abbandonata , dramma per musica; Libretto: Francesco Saverio De Rogatis ; May 30, 1770, Naples, Teatro San Carlo; Spring 1771 in Naples; on March 31, 1773 in Lisbon; on December 26, 1774 at the Teatro della Pergola in Florence; on August 13, 1780 at the Teatro San Carlo in Naples
  • Demofoonte , dramma per musica (fourth version); Libretto: Pietro Metastasio; November 4, 1770, Naples, Teatro San Carlo; on June 6, 1775 in Lisbon; on January 10, 1778 in Stuttgart
  • L'amante cacciatore, intermezzo; Libretto: Antonio Gatta ; Carnival 1771, Rome, Teatro della Pallacorda
  • Achille in Sciro , dramma per musica (second version); Libretto: Pietro Metastasio; January 26th 1771, Rome, Teatro delle Dame
  • Le avventure di Cleomede, dramma serio-comico; Libretto: Gaetano Martinelli; April 1771; on June 6, 1772 in Lisbon
  • Ifigenia in Tauride, dramma per musica; Libretto: Mattia Verazi; May 30, 1771, Naples, Teatro San Carlo; Carnival 1776 in Lisbon
  • Ezio , dramma per musica (fourth version); Libretto: Pietro Metastasio; July 1771; Revised on April 20, 1772 by João Cordeiro da Silva in Lisbon
  • Cerere placata, serenata; Libretto: Michele Sarcone ; September 14, 1772, Naples, Perrelli
  • Il trionfo di Clelia , dramma per musica; Libretto: Pietro Metastasio; Early 1774; Revised on June 6, 1774 by João Cordeiro da Silva in Lisbon
  • L'accademia di musica, divertimento teatrale per musica; Libretto: Gaetano Martinelli; Carnival 1775, Lisbon, Real Teatro di Salvaterra
  • La conversazione, divertimento teatrale per musica; Libretto: Gaetano Martinelli; Carnival 1775, Lisbon, Real Teatro di Salvaterra
  • La pellegrina, opera buffa; sent to Lisbon according to a letter to Silva

Serenates

  • Perché da l'alta reggia, componimento drammatico; Libretto: Flaminio Scarselli ; July 12th 1747, Rome, Teatro Argentina
  • Siam nel Parnaso, o amica, componimento drammatico; Libretto: G. Pizzi; February 28, 1751, Ronciglione (lost)
  • La reggia de 'Fati (with Giovanni Battista Sammartini as the first two acts of La serenata ); Libretto: G. Pascali; March 13, 1753, Milan, Regio Ducal
  • La pastorale offerta (with Giovanni Battista Sammartini as the third act of La serenata ); Libretto: G. Pascali; March 19, 1753, Milan, Regio Ducal
  • Il giardino incanto; 1755, Stuttgart (lost)
  • L'asilo d'Amore ; Libretto: Pietro Metastasio; February 11, 1758, Stuttgart, Court Theater
  • Le cinesi ; Libretto: Pietro Metastasio; 1765, Ludwigsburg, Schlosstheater (lost)
  • L'unione coronata; Libretto: Gaetano Martinelli; September 22, 1768, Solitude (lost)
  • Cerere placata; Libretto: M. Sarcone; September 14th 1772, Naples, Perelli Palace
  • Misera, dove mai (for the wedding of the Duke of Casamassimo and the Duchess of S Donata)
  • La partenza (first part of GB Zonca)
  • Arcadia conservata (one aria is attributed to Ignaz Holzbauer ); around 1765 or later

Cantatas and secular vocal works

  • Armida, libretto: EV de Romanis; 1746, Rome (lost)
  • E quando sarà may
  • Gia la notte; Libretto: Pietro Metastasio, La pesca
  • Giusti numi (Didone abbandonata)
  • No, non turbarti, o Nice; Libretto: Pietro Metastasio, La tempesta
  • Partir conviene
  • Perdona, amata Nice; Libretto: Pietro Metastasio, La gelosia
  • Le frondi l'erbe (Autunno)
  • Lucinda e Fileno
  • Oh come oltre l'osato (Venere ed Amore)
  • Scendi propizio; Libretto: Pietro Metastasio, Epitalamio II
  • Solfeggi

Oratorios

  • Il sacrificio di Abramo ; Libretto: Pietro Metastasio; 1742, Venice; revised on March 19, 1760 in the Arciconfraternita di San Girolamo della Carità in Rome; 1762 in Hamburg; 1764 in the oratorio di S. Filippo Neri in Venice; many more performances
  • La Betulia liberata , componimento sacro per musica; Libretto: Pietro Metastasio; 1743, Venice; 1743 also in Rome; in March 1750 in the Congregazione di San Filippo Neri in Bologna; 1757 in Castel San Pietro; on February 25, 1768 at the King's Theater on the Haymarket, London; 1785 in Venice
  • Gioas re di Giuda (in Latin as Joas ); Libretto: Pietro Metastasio; 1745, Venice
  • Judah proditor; Libretto: J. de Bellis; around 1745/46, Venice (lost)
  • La passione di Gesù Cristo ; Libretto: Pietro Metastasio; 1749, Rome; 1770 at the King's Theater on Haymarket, London; 1772 in Florence
  • Giuseppe riconosciuto ; Libretto: Pietro Metastasio; 1749, Rome, Collegio Nazareno
  • Le spose di Elcana; Libretto: CE Santa Colomba; 1750, Palermo, Chiesa del monastero del S Salvadore (lost)
  • La natività della Beatissima Vergine (Ove son? Chi mi guida?); Libretto: G. Luca; 1750, Rome, Collegio Nazareno
  • La gloriosa ascensione al cielo di Nostro Signor Gesù Cristo (In queste incolte rive); Libretto: F. Perazzotti; May 20, 1751, Rome, Collegio Capranica
  • La natività della Beatissima Vergine (Che impetuoso è questo torrente); 1751, Rome, Collegio Nazareno
  • La natività della Beatissima Vergine (Non più: l'atteso istante); Libretto: GL Bendini; 1752, Rome, Collegio Nazareno
  • Il sacrificio di Gefte; 1753, Palermo, Chiesa del monastero di S Maria di Monte Vergine (lost)
  • La reconciliazione della Virtù e della Gloria; 1754, Pistoia, Palazzo del magistrato supremo (lost)
  • Gerusalemme convertita; Libretto: Apostolo Zeno; 1755, Palermo, Congregazione di S Filippo Neri (lost)
  • Il sogno di Nabucco; 1755, Palermo, Congregazione di S Filippo Neri (lost)

measure up

  • Kyrie, Gloria in F major; 1745, Venice, Incurabili
  • Credo in D major; around 1745, Venice, Incurabili
  • Missa pro defunctis in E flat major; February 1756, for the Duchess of Württemberg
  • Missa solemnis in D major; 1766, Stuttgart
  • Missa in D major ( Credo , Sanctus and Agnus Dei are arrangements of the Missa solemnis from 1766); 1769 Naples
  • several dubious works

Other spiritual works

  • Graduals, sequences, offertories, responsories, lamentations, cantics, antiphons, psalms
  • Motets, solo cantatas and arias
  • Hymns
  • Spiritual duets

Instrumental works

  • Six sonatas for two flutes / violins and basso continuo (Nos. 1 and 4 not by Jommelli); 1753, London
  • Divertimento in G major for two violins, viola and basso continuo
  • Divertimento in E flat major for two violins, viola, horn and basso continuo
  • Sinfonia for Salterio , Strings and Basso continuo
  • Ciacona in E flat major for orchestra
  • Concerto in G major for flute and orchestra
  • Concerto in D major for harpsichord, orchestra and basso continuo
  • Concerto in F major for harpsichord and orchestra
  • Concerto in G major for harpsichord, orchestra and basso continuo
  • March in F major and two minuets in C major and B major for harpsichord
  • Sonata in C major for harpsichord; 1769, Rome
  • Duo in C major for harpsichord / piano four hands
  • Nine quartets for two violins, violoncello and basso continuo
  • Napolitano in D major for flute, two violins and basso continuo
  • Sonata in D major for two flutes and basso continuo
  • Concerto… da camera in F minor for two violins and basso continuo
  • Sonata in G major for two violins / flutes and basso continuo
  • Sonata in G major for two violins / flutes and basso continuo, PS No. 1
  • Sonata in G major for two violins and bass, PS No. 5

literature

Web links

Commons : Niccolò Jommelli  - Collection of images, videos and audio files
personal data
SURNAME Jommelli, Niccolò
ALTERNATIVE NAMES Jomelli, Nicola
BRIEF DESCRIPTION Italian pre-classical composer
DATE OF BIRTH September 10, 1714
PLACE OF BIRTH Aversa near Naples
DATE OF DEATH August 25, 1774
Place of death Naples