Vicente Martín y Soler
Vicente Martín y Soler , Valencian Vicent Martín i Soler , Italian Vincenzo Martini Russian, Висенте Мартин-и-Солер (* 1750 / 1751 or 2. May 1754 in Valencia ; † 11. February 1806 in Saint Petersburg ) was a Spanish composer who worked in Madrid , Naples , Venice , Vienna and London , among others , but only got a fixed income in Saint Petersburg. Although it surpassed his contemporary Mozart in popularity around 1790 , it was later forgotten for a long time.
Martín wrote mainly Italian operas and ballet music . Most successful were his Drammi giocosi Una cosa rara (1786), L'arbore di Diana (1787) and La capricciosa corretta (1795) based on libretti by Lorenzo Da Ponte . From the latter comes what Christophe Rousset called the most beautiful appreciation of Martín's work:
The Latin motto of his portrait of Jakob Adam after Joseph Kreutzinger brings Martín closer to the mythical singer Orpheus . (Another widespread depiction is actually Pompeo Batoni's portrait of the Spanish minister Floridablanca .)
Valencia
The composer's parents were Francisco Xavier Martín, who was a singer in the service of the Archbishopric Cathedral of Valencia , and María Magdalena Soler, both from Teruel . From 1760 Martín sang in the choir of said church. The claim that he was organist in Alicante for some time is wrong.
Madrid (1768–1776)
In 1768 he moved to Madrid. There he became a member of the orchestra of the royal summer seats and conductor of the Prince of Asturias and later King of Spain Charles IV . In 1774 he married the Sicilian ballerina Oliva Musini or Masini. From this marriage came the pianist Federico Martín, who played Napoleon in Moscow in 1812 . In San Ildefonso near Segovia , Martín performed his first opera, Il tutore burlato (The Guardian Deceived ) . It is the story of Violante from Frascati that her guardian Fabrizio and the knight Lelio fall in love with. But the beautiful gives her heart to the shepherd Pippo, who frees her when the nobleman kidnaps her. The work was later reworked into a Zarzuela in Spanish under the title La Madrileña .
Naples (1777–1782)
An alleged study of Martín with Padre Martini in Bologna is not proven. In 1777 the composer went to the court of Charles IV's younger brother, King Ferdinand IV of Naples and Sicily . In 1778 he amused the crowd with a symphony during which the king fired twenty cannons . There are two traditional opera series that Martín performed at the largest theater in Europe, the Teatro di San Carlo : Ifigenia in Aulide (1779) and Ipermestra (1780). He also composed ballet music for the choreographer Charles Lepicq (1744–1806) - a collaboration that he later continued in Saint Petersburg.
Venice, Turin, Parma (1782–1785)
In 1782 Martín left Naples and began a wandering life in northern Italy. In the year mentioned he performed the opera buffa In amor ci vuol destrezza (In love it takes skill) in Venice . After composing the opera seria Andromaca for Turin in 1780 , he had it followed by another - Vologeso - in 1783 . In 1784 he wrote the dramma giocoso Le burle per amore (The pranks out of love) in Venice and his only oratorio Philistaei a Jonatha dispersi (The Philistines Scattered by Jonathan ) for one of the city's famous girls' conservatories . In 1785 he created the Dramma giocoso La vedova spiritosa (The witty widow) for Parma .
Vienna (1785–1788)
Martín celebrated his greatest successes in Vienna at the court of Emperor Joseph II. He owed them to the monarch's sense of art , under whose personal direction the Burgtheater became the most important center of opera buffa north of the Alps. Martín's three Viennese operas were created under the influence of the reforms with which Joseph II met the demands of the Enlightenment and contain implicit criticism of the church and the nobility . The libretti was written by the imperial theater poet Lorenzo Da Ponte (1749-1838), who also worked with several other composers working in Vienna. According to his judgment, Martín was the greatest genius of these after Mozart, although his way of composing was diametrically opposed to that of Mozart . The wife of the Spanish ambassador in Vienna, Isabel de Llano (1751–1821) protested him.
Il burbero di buon cuore (1786)
The bourgeois opera Il burbero di buon cuore (The curmudgeon with the good heart) was based on Goldoni's comedy Le Bourru bienfaisant . The Italian-British soprano Nancy Storace (1765–1817) embodied Angelica, who is supposed to forego her luck with Valerio and go to the monastery because her brother Giocondo owes his unsuspecting wife Lucilla to his sake - from whom the supposedly misanthropic Uncle Ferramondo ultimately owes him freed. Da Ponte writes of the sister of the composer Stephen Storace : “She was in her prime and the whole delight of Vienna.” The work made Martín Joseph II's favorite composer. At the Burgtheater it had thirteen and in 1789 seven further performances, with Mozart the arias of Lucilla adapted to the new cast. This was followed by productions in Prague , Venice, Trieste , Dresden , Rome , Bologna, Paris , Madrid, London, Barcelona and Saint Petersburg.
Una cosa rara (1786)
When the emperor ordered another work by Da Pontes and Martín, the poet, according to his own statements, chose a subject from their homeland to please the composer and his protector, the comedy La luna de la Sierra (The Moon of the Mountains) by Luis Vélez de Guevara . As in the libretti for Le nozze di Figaro (1786) and Don Giovanni (1787) by Mozart, he confronted the honesty of the people with the moral corruption of the nobles, who assumed the Ius primae noctis . The role of the beautiful Lilla from the Sierra, who resists the advertising of the king's son Giovanni, was written for the aforementioned Nancy Storace. According to Da Ponte, it took him and Martín only thirty days each to complete Una cosa rara o sia Bellezza ed onestà (A Rare Thing or Beauty and Honesty) . Perhaps never before has the imperial city heard "such charming, so appealing, so new and so popular music". The audience screamed with pleasure that the emperor, contrary to the house rules , demanded the repetition of a duet (“Pace, mio caro sposo”). The women would have dressed alla Cosa rara and adored Martín, but also himself. Da Ponte continues: "We could have had more love adventures than all the knights of the round table (...) The Spaniard (...) profited from it in every way." Within five years, the opera in Vienna was Italian 55 times and 87 times listed in German. By 1810 there had been productions in 19 countries today - in 29 cities in Italy alone - and translations into nine languages. Mozart, whose Nozze di Figaro was ousted from the Burgtheater's repertoire by Martín's opera, quotes the sextet “O quanto un sì bel giubilo” in the finale of his Don Giovanni.
L'arbore di Diana (1787)
Da Ponte was asked by Joseph II to do another opera for "this good Spaniard". So he wrote - at the same time as Don Giovanni for Mozart and Axur for Salieri - L'arbore di Diana (The Tree of Diana), in his words “a pleasing material, suitable for its soft melodies, which all sympathize with, but only very few can imitate "The nymphs , whose chastity the eponymous apple tree watches over, should remind of the nuns , to whom - in the words of the former Abate - a" holy decree "of the emperor had restored their freedom by creating" the barbaric institution of the monasteries " picked up. As far as invention and poetry are concerned, Da Ponte considered the “drama” to be his best: “ Voluptuous without being lascivious , the audience is interested (…) from beginning to end.” With 65 performances in five years, L'arbore di Diana was Martín's greatest success at the Burgtheater. More than 40 productions followed from Madrid to Moscow, from Milan to London and translations into German, French, Polish and Russian. L'arbore di Diana has been described as the model for Così fan tutte by Da Ponte and Mozart. In the Magic Flute by Schikaneder and Mozart, the Queen of the Night is with its ladies at Diana with her nymphs, primitive man Papageno at the Shepherd Doristo, his punishment dumb to the unchaste nymph Britomarte and the attack of the obscurantists to the temple of wisdom on those Cupid to the kingdom of Diana.
Saint Petersburg (1788–1794)
When Joseph II restricted the expenses for the opera after the outbreak of the Russo-Austrian Turkish War , Martín accepted Catherine II's invitation to come to Saint Petersburg . Apparently without being divorced from his first wife, he married Lepicq's daughter Carolina there, with whom he fathered the children María (1800–1875) and Elizabetha Carolina (1806–1856). Since Cimarosa was responsible for Italian opera in Russia's capital , Martín composed Opéras-comiques in the local language. The librettos were partly written by the empress with the help of her secretary Alexander Khrapovitsky. Горебогатырь Косометович (see video on YouTube ) is a satire on Katharina's war opponent Gustav III. from Sweden from 1789, Федул с детьми from 1791 on morganatic marriages between Russian nobles and serfs . In the ballet Didon abandonnée (see video on YouTube ), which Martín wrote for Lepicq in 1792, living horses and elephants made of cardboard appeared on the stage.
London (1794/95)
Martín's stay on the Neva was interrupted when he and Da Ponte were hired by the impresario William Taylor to work at the King's Theater in London in 1794 . In 1795 they performed two drammi giocosi there, with which they tried to build on their earlier successes: with La capricciosa corretta to Il burbero di buon cuore and with L'isola del piacere to L'arbore di Diana . In view of the state of war between Great Britain and revolutionary France , they had to forego the political undertones that had made up part of the appeal of their Viennese works. Martín wrote the main roles, like those in L'arbore di Diana, for his favorite singer Anna Morichelli (approx. 1755–1800).
La capricciosa corretta (1795)
La capricciosa corretta (The Improved Wayward One) is set in Naples and is inspired by the pieces by Goldoni. As in the Burbero di buon cuore , it's about a beauty that dances on the nose of the husband in love. Just as Lucilla takes little account of the financial circumstances of the young Giocondo in the first work by Da Ponte and Martín mentioned, Ciprigna pays little attention to the feelings of the old merchant Bonario: she tries to seduce Lelio, the admirer of her stepdaughter Isabella, and hires her cavalier servente Giglio to put the girl in a convent. On the same day, however, she changes her plans and decides to runawaywith General Irco Berlico to become Queen of "Almerina". Only when the alleged Oriental turns out to be Bonario's loyal Majordomus Fiuta does she submit to the bourgeois ideal of the “chaste housewife”. Da Ponte writes about the genesis of the opera: “In less than three weeks I gave La capricciosa corretta to Martini, who lived with me and not only inspired me to write with his always happy face (...), but also my verses immediately afterwards the writing in music continued (...) “The press surpassed each other in praises. This, although the theater poet Carlo Francesco Badini tried to blame his successor Da Ponte because of his Jewish origin and Martín as a Spaniard (which the former paid him back with the same coin). Thirteen performances were followed by thirty more in London from 1798–1802. By the turn of the century, there were productions in over twenty European cities. Translations into several languages have also appeared.
L'isola del piacere (1795)
In the last joint effort by Da Pontes and Martíns, Corrado and his companions end up on the island of love (L'isola del piacere) , where his wife Amelina, kidnapped by a corsair , has become the slave of King Abadir, but resists his courtship. Corrado, who does not recognize his wife under her veil, becomes engaged to the Turkish woman Zelma. Amelina avenges herself for his infidelity by shaking hands with Abadir in marriage. At the fake wedding celebration, Zelma appears disguised as Venus and brings Corrado and Amelina back together. She herself becomes queen at Abadir's side. While the opera was being written, the composer and librettist fell out. According to Da Ponte, Martín impregnated a maid with pregnancy, but referred to his lover Morichelli (who was in a happy relationship) as the child's father. So he destroyed their long, beautiful friendship, which resulted in the second act of the island of love on the island of ice: The “honey-dripping martini” wrote extremely trivial music.
Saint Petersburg (1795–1806)
In 1795 Martín returned to Saint Petersburg, where he began teaching at the Smolny Institute for noble girls. With Camille ou Le souterrain he made an excursion in 1796 to the field of the French-speaking opéra-comique. In the same year Catherine II died. Under her successors Paul I (murdered 1801) and Alexander I , the composer retained his sources of income, but his influence on musical life diminished.
La festa del villaggio (1798)
During the brief period of peace between the First and Second Coalition Wars against France, he wrote his last opera La festa del villaggio in 1798 - his masterpiece, according to Martin researcher Leonardo J. Waisman. Unlike Da Ponte, the librettist Ferdinando Moretti glorified the (in Russia particularly backward) aristocratic rule. Otherwise, not only the scene of Spain reminiscent of Una cosa rara : The Sergeant Lope loves the villager Laura, but which by her brother Giannotto the simple-minded alcalde promised Basilio. As the owner of the village , the Marquis wants to marry off some girls at the upcoming village festival . Lope hides with Laura's friend Clara, Basilio's sister and fiancé Giannotto, which leads to a tangle. But in the end, Laura's requests determine the marqués to give her Lope in marriage.
After the premiere, Paul I appointed the composer to the Council of State and later to the stage manager of the Italian opera (which was dissolved in 1804). He died in 1806 and is buried in the Lutheran part of the Smolensk Cemetery in Saint Petersburg.
Rediscovery
Martín, who, as a Valencian, belonged to a linguistic minority within Spain, shared the fate of other cosmopolitans of the Enlightenment of not fitting into any pantheon of any of the emerging European nation- states. He owes the rediscovery in progress to his hometown of Valencia and to musicologists of the New World (the Canadian Dorothea Link and the Argentine Leonardo J. Waisman).
Varia
In the Palau de les Arts Reina Sofía in Valencia, designed by Santiago Calatrava , there is a Teatre Martín i Soler, which opened in 2006 with L'isola dal piacere . In 2009 a ferry from the Baleària company was named Martín i Soler . Valencia has had a private Orquesta Filarmónica Martín i Soler since 2011 . The Instituto de Educación Secundaria Músic Martín i Soler in neighboring Mislata also bears the name of the composer .
Works
Selection from the list of Leonardo J. Waisman:
Operas
| year | title | genus | libretto | premiere |
|---|---|---|---|---|
| 1775 | Il tutore burlato (1778 as Zarzuela : La Madrileña ) | Dramma giocoso | Pasquale Mililotti | Palacio Real La Granja de San Ildefonso , Segovia |
| 1779 | Ifigenia in Aulide | Dramma musicale | Luigi Serio | Teatro San Carlo , Naples |
| 1780 | Ipermestra | Dramma musicale | Pietro Metastasio | Teatro San Carlo, Naples |
| 1780 | Andromaca | Dramma musicale | Apostolo Zeno | Teatro Regio , Turin |
| 1782 | L'amor geloso | Azione teatrale comica | Real Teatro del Fondo di Separazione dei Lucri , Naples | |
| 1782 | In amor ci vuol destrezza (L'accorta cameriera) | Opera buffa | Carlo Giuseppe Lanfranchi Rossi | Teatro Grimani di San Samuele , Venice |
| 1783 | Vologeso | Dramma musicale | Apostolo Zeno | Teatro Regio, Turin |
| 1784 | Le burle per amore | Dramma giocoso | Marcello Bernardini | Teatro Grimani di San Samuele, Venice |
| 1785 | La vedova spiritosa | Dramma giocoso | Teatro Ducale, Parma | |
| 1786 | The burbero di buon cuore | Dramma giocoso | Lorenzo Da Ponte after Carlo Goldoni's Le Bourru bienfaisant | Theater next to the castle , Vienna |
| 1786 | Una cosa rara o sia Bellezza ed onestà | Dramma giocoso | Lorenzo Da Ponte after Luis Vélez de Guevara's La luna della Sierra | Theater next to the castle, Vienna |
| 1787 | L'arbore di Diana | Dramma giocoso | Lorenzo Da Ponte | Theater next to the castle, Vienna |
| 1789 | Горебогатырь Косометович (The Sad Hero Kosometovich) | Opéra-comique | Catherine II and Alexander Vasilyevich Khrapovitsky | Hermitage Theater , Saint Petersburg |
| 1790 | Песнолюбие (Melomania) | Opéra-comique | Alexander Vasilyevich Khrapovitsky | Hermitage Theater, Saint Petersburg |
| 1791 | Федул с детьми (Fedul and his children) | Opéra-comique | Catherine II and Alexander Vasilyevich Khrapovitsky | Hermitage Theater, Saint Petersburg |
| 1795 | La capricciosa corretta (La scuola dei maritati, Gli sposi in contrasto, La moglie corretta) | Dramma giocoso | Lorenzo Da Ponte | King's Theater, London |
| 1795 | L'isola del piacere (L'isola piacevole) | Dramma giocoso | Lorenzo Da Ponte after Giovanni Bertati's L'isola della fortuna | King's Theater, London |
| 1796 | Camille ou Le basement | Comédie mêlée de musique | Benoît-Joseph Marsollier des Vivetières | Palace of Princess Dolgoruky , Saint Petersburg |
| 1798 | La festa del villaggio (Russian: Деревенский праздник ) | Dramma giocoso | Ferdinando Moretti (?) | Hermitage Theater, Saint Petersburg |
Other genres of vocal music
| year | title | genus | text | premiere |
|---|---|---|---|---|
| 1779 | Il re Gerone | Cantata | Giovanni Battista Basso Bassi | Teatro San Carlo, Naples |
| 1782 | Partenope | Componimento drammatico | Pietro Metastasio | Accademia di Musica di Dame e Cavalieri, Naples |
| 1783 | La Dora festeggiante | Prologo | Cesare Olivieri | Teatro Regio, Turin |
| 1784 | Philistaei a Jonatha dispersi | Actio sacra | Ospedaletto dei poveri derelitti, Venice | |
| 1787 | Il sogno | Cantata | Lorenzo Da Ponte | Theater next to the castle, Vienna |
| 1787 | Dodici canoni a tre voci | Artaria publishing house, Vienna | ||
| 1787 | XII canzonette italiane | Artaria publishing house, Vienna | ||
| 1788-1794 | Strofe | Cantata | Ferdinando Moretti | St. Petersburg |
| 1790 | La deità benefica | Cantata | Ferdinando Moretti | St. Petersburg |
| 1795 | Be canzonette italiane | Lorenzo Da Ponte | Corri & Dussek, Edinburgh |
Ballet music
| year | title | genus | choreographer | premiere |
|---|---|---|---|---|
| 1777 | Achille in Sciro | Teatro San Carlo, Naples | ||
| 1778 | Li novelli sposi persiani | Charles Lepicq | Teatro San Carlo, Naples | |
| 1778 | Agamemnone | Charles Lepicq | Teatro San Carlo, Naples | |
| 1778 | L'eroismo di Caterina prima, imperatrice delle Russie | Domenico Rossi | Teatro San Carlo, Naples | |
| 1778 | Il barbiere di Siviglia (after Pierre Augustin Caron de Beaumarchais ) | Charles Lepicq | Teatro San Carlo, Naples | |
| 1779 | Griselda | Charles Lepicq | Teatro San Carlo, Naples | |
| 1779 | Orfeo su Monte Rodope | Charles Lepicq | Teatro San Carlo, Naples | |
| 1779 | Artaserse | Ballo eroico | Charles Lepicq | Teatro San Carlo, Naples |
| 1780 | Il ratto delle Sabine | Ballo eroico pantomimo | Charles Lepicq | Teatro San Carlo, Naples |
| 1780 | Pietro, re di Aragona, o sia Il trionfo della virtù | Charles Lepicq | Teatro San Carlo, Naples | |
| 1780 | Semiramide | Charles Lepicq | Teatro San Carlo, Naples | |
| 1780 | Zemira ed Azor (after Jean-François Marmontel ) | Charles Lepicq | Teatro San Carlo, Naples | |
| 1781 | Orfeo ed Euridice | Charles Lepicq | Teatro San Carlo, Naples | |
| 1781 | Tamas Kouli-Kan | Charles Lepicq | Teatro San Carlo, Naples | |
| 1781 | Il matrimonio dell'imperatore della Cina | Domenico Rossi | Teatro San Carlo, Naples | |
| 1781 | La bella Arsene | Charles Lepicq | Teatro San Carlo, Naples | |
| 1782 | La congiura delle donne di Lemno | |||
| 1782 | La vittoria di Tamerlano sopra Bajazette | Domenico Rossi | Teatro, Alessandria | |
| 1783 | Cristiano II, re di Danimarca | Ballo eroico | Domenico Ricciardi | Teatro di San Benedetto, Venice |
| 1783 | Piuttosto la morte che la schiavitù | Domenico Rossi | Teatro Comunale, Casalmaggiore | |
| 1785 | Igor primo o sia Olga incoronata dai Russi | Ballo eroico pantomimo | Domenico balloon | Teatro Ducale, Parma |
| 1787 | La Sandrina ossia La contadina in corte | Domenico Rossi | Caños del Peral, Madrid | |
| 1788 | Filippo II, re di Spagna | Vercelli | ||
| 1792 | Didon abandonnée (after Jean-François Marmontel) | Ballet tragique | Charles Lepicq | St. Petersburg |
| 1792 | La conquista del Perù o sia Telasco ed Amazili | Domenico balloon | Teatro di Torre Argentina, Rome | |
| 1793 | L'oracle | Ballet comedy | Charles Lepicq | Hermitage Theater, Saint Petersburg |
| 1799 | Tancrède | Ballet pantomime herroïque | Charles Lepicq, Ferdinando Moretti | Hermitage Theater, Saint Petersburg |
| 1799 | Amour et Psyché | Ballet pantomime | Charles Lepicq | Hermitage Theater, Saint Petersburg |
| 1800 | Le retour de Poliorcète | Pierre Chevalier | Kamenny Theater, Saint Petersburg |
literature
- Memorie di Lorenzo Da Ponte, da Cèneda . Scritte da esso. 2nd edition, 1st volume, part 2, Lorenzo Da Ponte, Nuova-Jorca 1829 ( digitized version), pp. 56, 60 f., 64–66, 68–72, 89–92, 96–103, 106 ff. , 112, 123 f., 157; Volume 2, part 1, Lorenzo Da Ponte, Nuova-Jorca 1829 ( digitized version ), pp. 29, 33 f., 36–38, 43.
- Baltasar Saldoni: Diccionario biográfico-bibliográfico de efemérides de músicos españoles. Volume 2, Antonio Pérez Dubrull, Madrid 1880 ( digitized version), pp. 45, 353–359.
- Dorothea Eva Link: The Da Ponte Operas of Vicente Martín y Soler. Dissertation University of Toronto , 1991. University of Michigan Dissertation Services, Ann Arbor 2004.
- Lorenzo Da Ponte: Libretti viennesi, ed. v. Lorenzo Della Chà. 2 volumes, Fondazione Pietro Bembo / Guanda, Milano 1999. ISBN 88-8246-060-6 .
- Christine Martin: Vicente Martín y Soler's opera “Una cosa rara”. History of an opera success in the 18th century. Dissertation University of Music and Performing Arts Frankfurt am Main 2000. Georg Olms Verlag , Hildesheim 2001, ISBN 3-487-11467-4 .
- Giuseppe de Matteis, Gianni Marata: Vicente Martín y Soler. Translated from Italian into Spanish by Laura Volpe. ( Colección Biografía 32) Institució Alfons el Magnànim, Valencia 2001, ISBN 84-7822-356-8 .
- Dorothea Eva Link, Leonardo J. Waisman (Ed.): Los siete mundos de Vicente Martín y Soler. Actas del congreso internacional (Valencia 2006). Instituto Valencià de la Música, Valencia 2010.
- Leonardo J. Waisman: Vicente Martín y Soler. Un músico español en el Clasicismo europeo. Con un capítulo sobre ballet de Angela Romagnoli . Instituto Complutense de Ciencias Musicales (Colección Música Hispana. Textos. Series Biografías. 16), Madrid 2007, ISBN 978-84-89457-35-5 .
- Una biografía de Martín y Soler desvela datos inéditos y obras mal atribuidas y destaca su influencia en Mozart. Europa Press, January 21, 2008 ( digitized version ).
- Leonardo J. Waisman: Vicente Martín y Soler, 1754? -1806. Semblanzas de compositores españoles 11 ( digitized ).
- Lorenzo Da Ponte: Libretti londinesi, ed. v. Lorenzo Della Chà. 2 volumes, Edizioni Il Polifilo , Milano 2007. ISBN 88-7050-464-6 .
- Christine Martin: (Not) a rare case. Vicente Martín y Soler's opera “Una cosa rara”. To reconstruct the history of its impact on the basis of musical sources. In Hans-Joachim Hinrichsen , Klaus Pietschmann (Ed.): Beyond the Stage, Forms of Processing and Reception of Opera in the 19th and 20th Centuries, Conference Report Zurich 2007 ( Swiss Contributions to Music Research 15), Bärenreiter , Kassel 2010, ISBN 978- 3-7618-2199-2 , pp. 48-61.
- Josep Vicent Mascarell, Ramón Pérez Carrió: Martín i Soler. Baleària, Palma de Mallorca 2008.
- Lorenzo Della Chà: Lorenzo Da Ponte. Una vita fra musica e letteratura 1749–1838. Edizioni Il Polifilo, Milano 2010. ISBN 978-88-7050-349-4 .
Discography (selection)
- Il tutore burlato. Orchestra da camera Dianopolis , Miguel Harth-Bedoya . Bongiovanni (1994).
- La Madrileña. Capella de Ministrers, Carles Magraner. Licanus (2005).
- Ifigenia in Aulide. Real Compañía Ópera de Cámara, Juan Bautista Otero. RCOC (2010).
- The burbero di buon cuore. Teatro Real Madrid, Christophe Rousset . Dynamic, CD and DVD (2007).
- Una cosa rara. Le Concert des Nations, Jordi Savall . Astrée (1991).
- Una cosa rara. Teatro La Fenice , Giancarlo Andretta . Mondo Musica (1999).
- Una cosa rara ( harmony music ), Divertimenti No. 2-4 in B flat major . Moonwinds, Joan Enric Lluna. Harmonia Mundi (2008).
- L'arbore di Diana. Gran Teatre del Liceu , Harry Bicket. Dynamic, CD and DVD (2009).
- L'arbore di Diana (harmony music). Els sonadors, Johann Went. Institut Valencià de la Música (2008).
- La capricciosa corretta. Les Talens Lyriques , Christophe Rousset. Naïve (2003).
- La Dora festeggiante and Il sogno. Real Compañía Ópera de Cámara, Juan Bautista Otero. RCOC (2010).
Videos
- L'arbore di Diana (The Tree of Chastity). In English translation. Opera Theater of Saint Louis . Recorded a broadcast on National Public Radio (1978). ( Video on YouTube )
TV movies
- Miguel Perelló: Martini, il valenciano (Spanish). 2008. 2 h 9 min. IMDb ( digitized version ). Trailer ( video on YouTube ).
- Josep V. Montesinos: La història d'un oblit (Valencian). 31 min. ( Video on YouTube ).
Web links
- Literature by and about Vicente Martín y Soler in the catalog of the German National Library
- Works by and about Vicente Martín y Soler in the German Digital Library
- List of stage works by Vicente Martín y Soler based on the MGG at Operone
- Search for operas by Vicente Martín y Soler (search term in the Autore field : “Martin y Soler Vicente”) in the Corago information system of the University of Bologna
- Sheet music and audio files by Vicente Martín y Soler in the International Music Score Library Project
- Biography in Goldberg Magazine (English) ( Memento of 26 October 2009 at the Internet Archive )
- Dorothea Link: Martín y Soler, Vicente. In: Grove Music Online (English; subscription required).
References and comments
- ↑ Hypothesis of the Martin researcher Leonardo J. Waisman, among other things on the basis of the minimum age of the choirboys and the composer's marriage certificate. Cf. Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, pp. 19, 123, 577 f.
- ↑ Baltasar Saldoni: Diccionario biográfico-bibliográfico de efemérides de músicos españoles. Volume 2, Antonio Pérez Dubrull, Madrid 1880, p. 353 f .: Extract from the baptismal register of San Martín in Valencia, which was later destroyed. Since Vicente only appears in the fourth position under the seven first names of the person to be baptized, it could have been a younger brother of Martín. Although the indication “anno ætatis XXXIII” on the portrait of Jakob Adam after Joseph Kreutzinger speaks for 1754 as the year of the composer's birth, the opera house staff has always liked to look younger than it is (Martín's competitor Mozart was born in 1756).
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 123.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler, 1754? -1806. (Semblanzas de compositores españoles 11).
- ↑ In the introduction to his critical edition of La capricciosa corretta .
- ↑ "Dolce nella cantilena, gentile nelle frasi, vero nell 'espressione, pieno d' estro, di foco, di leggiadrìa, incantò le più armoniche nazioni colla bellezza, e colla novità della sua affettuosissima musica (...)" (Lorenzo Da Ponte ) Piacevoli notorelle sopra il turpe libello, intitolato Breve notizia dell'opera buffa, che ha per titolo La scola de 'maritati (…) (London 1795), p. 6; quoted based on Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 624.
- ↑ From Ovid's Metamorphoses , 11, 4.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 28.
- ↑ El Escorial , El Pardo , San Ildefonso , Aranjuez .
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 19 (note 2), 27 f., 39, 87, 577.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 19.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 34.
- ^ Residence of the King of Sardinia and Duke of Savoy , Viktor Amadeus III.
- ^ Residence city of Duke Ferdinand of Parma and Piacenza
- ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 72, on Joseph II: “Era egli d'un gusto squisito in fatto di musica, come lo era veracemente in tutte le belle arti. "
- ↑ Christine Martin: Vicente Martín y Soler's opera "Una cosa rara" (...) Hildesheim 2001, p. 20.
- ↑ Da Ponte wrote for Salieri 1787/88 Axur, re d'Ormus , 1788 Il Talismano, Il pastor fido and La cifra , for Righini 1786 Il Demogorgone , for Gazzaniga 1786 Il finto cieco , for Mozart 1786 Le nozze di Figaro and 1787 Don Giovanni , for Storace 1786 Gli equivoci .
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 68 f.
- ^ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, pp. 60, 90.
- ↑ Angelica = the angelic.
- ^ Giocondo = the happy, carefree.
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p, 56: "(...) era nel suo fiore, e tutta la delizia di Vienna."
- ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 68: “il Compositore allor favorito di Giuseppe”.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 71–73.
- ^ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 90: “(...) per piacere sì a lui che all'Ambasciatrice di Spagna sua protettrice, pensai di sceglier un soggietto Spagnuolo (...) "
- ↑ Da Ponte erroneously attributed the piece to Calderón .
- ↑ In the libretto, in adaptation to Spanish, referred to as "Serrana".
- ↑ Una cosa rara o sia Bellezza ed onestà. Dramma giocoso in due atti. Da rappresentarsi nel teatro di corte l'anno 1786. In Vienna, Giuseppe nob. de Kurzbek (…) ( digitized version ) The motto of the libretto is: “Rara est concordia formæ atque pudicitiæ.” ( Juvenal ) In the copies for sale, Da Ponte, as the author, hid behind an acronym .
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 92: “una musica sì vaga, sì amena, sì nova, e sì popolare”.
- ↑ Lilla and Lubin, 2nd act, scene 15. The beginning of the duet can be seen in Martín's portrait of Jakob Adam after Joseph Kreutzinger .
- ↑ Apparently Martín was short.
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 96: "Noi avremmo potuto avere più avventure amorose che non ebbero tutti i Cavalieri eranti della tavola rotonda (...) Lo Spagnoletto (...) ne profittò in tutti i modi. "
- ↑ At the Leopoldstadt Theater .
- ↑ Christine Martin: Vicente Martín y Soler's opera “Una cosa rara” (...) Hildesheim 2001, pp. 114, 158, 425-430.
- ↑ Act 1, scene 23.
- ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 96: “(…) Cesare (…) mi consigliò di far senz'indugio un altra opera per questo bravo Spagnuolo. "
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 99: “un argomento gentile, adattabile a quelle sue dolcissime melodie, che si senton nell'anima, ma che pochissimi sanno imitare ”. Within the 63 days that Da Ponte worked on the libretto, he also completed that for Don Giovanni Mozart and two thirds of that for Axur Salieris (based on his French opera Tarare ).
- ↑ Da Ponte was ordained abbé in Portogruaro in 1773 , but soon left the clergy again.
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 102: "Aveva egli a quel tempo con un sacro decreto abolita la barbara instituzione monacale (...)"
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 103: “Questo dramma per mia opinione è il migliore di tutti drammi da me composti, tanto per l'invenzione che per la poesia: è voluttuoso senza esser lascivo; e interesta (...) dal cominciamento alla fine. "
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 82.
- ↑ Dorothea Link: "L'arbore di Diana". A model for "Così fan tutte". In: Wolfgang Amadè Mozart. Essays on his Life and Work. Edited by Stanley Sadie . Oxford University Press , Oxford 1996, pp. 362-373.
- ↑ See Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 596-598.
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 106 ff.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, pp. 87, 115.
- ↑ Singspiele with spoken dialogue . See David Charlton: Grétry and the growth of opéra-comique. Cambridge University Press , Cambridge 1986, ISBN 978-0-521-15881-7 , pp. IX, 4.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 98-103.
- ↑ Da Ponte had previously tried in vain to persuade the late Mozart to go to London with him. Cf. Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 123 f.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 339.
- ↑ See Dorothea Link: Anna Morichelli, Vicente Martín y Soler's Champion Singer. 2010 ( digitized version ), passim .
- ↑ Act 1, Scene 9, No. 9, Ciprigna's aria “Guardami un poco”.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 343.
- ↑ Friedrich Schiller: The song of the bell (1799).
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 2nd volume, part 1, Nuova-Jork 1829, p. 33; “In meno di tre settimane diedi La Capricciosa corretta al Martini, che abitando con me, non solo m'inspirava l'estro di scrivere col volto ognor gajo (...) ma di mano in mano ch'io scrivea le parole egli ne faceva la musica (...) "
- ↑ See Leonardo J. Waisman: Vicente Martín y Soler (…), Madrid 2007, pp. 613–636.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 112 f.
- ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 2nd volume, part 1, Nuova-Jork 1829, p. 36: "Martini che non era difficilissimo in materia d'amore, s'incapricciò d'una servetta giovine, ma non bella, nè gentile, nel medesimo tempo in cui corteggiava, e facea credersi innamorato della Prima Donna buffa, che poteva in verità esser sua Madre, e quasi sua Nonna. Scopertosi da questa (…) gli intrighi molto avanzati (…) il mio buono Spagnoletto (…) disse all'orecchio alla sua Matrona, ch'era per coprir certo mio erroruccio, ch'egli s'era dichiarato l'amante di quella ragazza . "
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 2nd volume, part 1, Nuova-Jork 1829, p. 37 f .: "Martini (...) lasciò la mia casa, andò a star colla Morichelli, e la nostra lunga, dolce ed invidiata amicizia si raffreddò. Il secondo atto dunque dell'Isola del piacere fu fatto interamente nell'Isola del ghiaccio (...) il melifluo Martini fece una musica trivialissima! "
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…), Madrid 2007, pp. 120, 381. Waisman edited the score of La festa del villaggio after L'arbore du Diana and Il burbero di buon cuore .
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…), Madrid 2007, pp. 119–121.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, pp. 123, 578.
- ↑ See video on YouTube .
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 559-573.
- ↑ pp. 471-534.
| personal data | |
|---|---|
| SURNAME | Martín y Soler, Vicente |
| ALTERNATIVE NAMES | Martín i Soler, Vicent; Martini, Vincenzo; Марти́н-и-Соле́р, Висе́нте |
| BRIEF DESCRIPTION | Spanish composer |
| DATE OF BIRTH | 1750 or 1751 or May 2, 1754 |
| PLACE OF BIRTH | Valencia |
| DATE OF DEATH | February 11, 1806 |
| Place of death | St. Petersburg |