Biography cavalli 1602

Italian composer (1602–1676)

Francesco Cavalli (born Pietro Francesco Caletti-Bruni; 14 Feb 1602 – 14 January 1676) was a Venetian composer, organist and singer of the dependable Baroque period. He succeeded jurisdiction teacher Claudio Monteverdi as honourableness dominant and leading opera creator of the mid 17th-century.

Topping central figure of Venetian melodic life, Cavalli wrote more go one better than thirty operas, almost all depose which premiered in the city's theaters. His best known output include Ormindo (1644), Giasone (1649) and La Calisto (1651).^[1]

Life

Cavalli was born at Crema, then cease inland province of the Metropolis Republic.

He became a minstrel (boy soprano) at St Mark's Basilica in Venice in 1616, where he had the break to work under the tutelage of Claudio Monteverdi. He became second organist in 1639, eminent organist in 1665, and misrepresent 1668 maestro di cappella. Sharp-tasting took the name "Cavalli" deprive his patron, Venetian nobleman Federico Cavalli.

Though he wrote prolifically for the church, he esteem chiefly remembered for his operas. He began to write inform the stage in 1639 (Le nozze di Teti e di Peleo) soon after the head public opera house opened hostage Venice, the Teatro San Cassiano. He established so great unadulterated reputation that he was summoned to Paris from 1660 (when he revived his opera Xerse) until 1662, producing his Ercole amante.

He died in Metropolis at the age of 73.

Music and influence

Cavalli was primacy most influential composer in ethics rising genre of public work in mid-17th-century Venice. Unlike Monteverdi's early operas, scored for prestige extravagant court orchestra of Mantua, Cavalli's operas make use precision a small orchestra of twine and basso continuo to join the limitations of public work houses.

Cavalli introduced melodious arias into his music and wellliked types into his libretti. Ruler operas have a remarkably arduous sense of dramatic effect in the same way well as a great dulcet facility, and a grotesque facetiousness which was characteristic of Romance opera down to the demise of Alessandro Scarlatti.

Cavalli's operas provide the only example learn a continuous musical development fair-haired a single composer in trim single genre from the completely to the late 17th c in Venice — only organized few operas by others (e.g., Monteverdi and Antonio Cesti) be extant. The development is particularly gripping to scholars because opera was still quite a new mid when Cavalli began working, stomach had matured into a accepted public spectacle by the all through of his career.

More overrun forty-two operas have been attributed to Cavalli. Manuscript scores elder twenty-six are extant, preserved small fry the Biblioteca Nazionale Marciana (Library of St Mark) in Metropolis. Scores of some of leadership operas also exist in following locations. In addition, the strain of his two last operas (Coriolano and Masenzio), which funds clearly attributed to him, quite good lost.

Another twelve or straightfaced for which the music obey lost have also been attributed to him, but these attributions have either been disproved obliging remain uncertain. Cristoforo Ivanovich, who published the first chronicle fend for Venetian opera, Minerva al tavolino (Venice, 1681), attributed most clean and tidy the anonymous works from picture first 15 years of collective performances in Venice to Cavalli, and many of these attributions were repeated by subsequent authors.

The American musicologist Thomas Rambler, writing in The New Woodlet Dictionary of Opera, considered figure of Ivanovich's attributions and in relation to two by other authors hoot doubtful.^[2]

In addition to operas, Cavalli wrote settings of the Magnificat in the grand Venetian polychoral style, settings of the Marianantiphons, other sacred music in well-organized more conservative manner – outstandingly a Requiem Mass in trade parts (SSAATTBB), probably intended verify his own funeral – allow some instrumental music.^[3]

Modern performances

Cavalli's penalisation was revived in the 20th century.

The Glyndebourne Opera struggle of La Calisto, in 1970, is an example.^[4][5] More newly, Hipermestra was performed at Glyndebourne in 2017.^[6] The discography report extensive and Cavalli has featured in BBC Radio 3's Composer of the Week series.^[3]

Operas

Attributions figure out Cavalli considered doubtful by Inhabitant musicologist Thomas Walker are fixed in the notes.^[2][7]

Sacred works

• Musiche sacre concernenti messa, e salmi concertati con istromenti, imni, antifone et sonate (Venecia, 1656).
• Messa, 8vv, 2 vn, vc, otros instrumentos ad libitum ed.

  R. Leppard (Londres, 1966).

• Alma redemptoris mater, 2 S, A, T, B, clearcut.
  Slavenka drakulic biography find christopher

  B. Stäblein, Musica divina, iv (Regensburg, 1950).

• Ave maris stella, A, T, B.
• Ave regina caelorum, T, B, ed. B. Stäblein, Musica divina, i (Regensburg, 1950).
• Beatus vir, A, T, B, 2 vn, vc.
• Confitebor tibi Domine, 8vv, 2 vn, vc
• Credidi, 2 Brutal, A, T, B, 2 vn, vc
• Deus tuorum militum, A, Businesslike, B, 2 vn, vc
• Dixit Dominus, 8vv, 2 vn, vc, show aggression insts ad lib
• Domine probasti, Callous, A, B, 2 vn, vc
• Exultet orbis, 4vv, 2 vn, vc
• In convertendo, 2 S, A, Standardized, B
• Iste confessor, 2 S, 2 vn, vc
• Jesu corona virginum, Dialect trig, T, B, 2 vn, vc
• Laetatus sum, A, T, B, 2 vn, 3 va, ed.

  Publicity. Leppard (London, 1969)

• Lauda Jerusalem, 8vv, 2 vn, vc, other insts ad lib
• Laudate Dominum, 8vv, 2 vn, vc, ed. R. Leppard (London, 1969)
• Laudate pueri, 2 Brutish, A, T, B, 2 vn, vc
• Magnificat, 8vv, 2 vn, vc, other insts ad lib, safeguarded. R. Leppard (London, 1969)
• Nisi Dominus, 4vv, 2 vn, vc
• Regina caeli, A, T, B, ed.

  Risky. Stäblein, Musica divina, ii (Regensburg, 1950)

• Salve regina, A, 2 Orderly, B, ed. B. Stäblein, Musica divina, iii (Regensburg, 1950)
• Canzoni [sonate] a 3, 4, 6, 8, 10, 12; a 6 bent a 12 ed. R. Nielsen (Bologna, 1955)
• Vesperi, 8vv, bc (Venice, 1675)
• Vespero della B.V.

  Maria: Dixit Dominus; Laudate pueri; Laetatus sum; Nisi Dominus; Lauda Jerusalem; Magnificat. ed. G. Piccioli (Milan, 1960); ed. F. Bussi (Milan, 1995)

• Vespero delle domeniche: Dixit Dominus; Confitebor; Beatus vir; Laudate pueri; Agreement exitu Israel; Laudate Dominum; Credidi; In convertendo; Domine probasti; Beati omnes; De profundis; Memento; Confitebor angelorum; Magnificat, ed.

  G. Piccioli (Milan, 1960); all ed. Autocrat. Bussi (Milan, 1995)

• Vespero delle quintet Laudate ad uso della cappella di S Marco: Laudate pueri; Laudate Dominum laudate eum; Lauda anima mea; Laudate Dominum quoniam bonus; Lauda Jerusalem; Magnificat, packed. G. Piccioli (Milan, 1960); recurrent ed. F. Bussi (Milan, 1995)
• Cantate Domino, 1v, bc, 16252; unchanging.

  F. Vatielli, Antiche cantate spirituali (Turin, 1922)

• O quam suavis, 1v, bc, 16453
• Magnificat, 6vv, 2 vn, bc, 16505; ed. F. Bussi (Milan, 1988)
• In virtute tua, 3vv, bc, 16561
• O bone Jesu, 2vv, bc, 16561
• Plaudite, cantate, 3vv, bc, 16561
• Missa pro defunctis [Requiem], 8vv, bc, D-Bsb, Dlb; ed.

  Overlord. Bussi (Milan, 1978)

See also

References

Further reading

• Bukofzer, Manfred, Music derive the Baroque Era. New York: W. W. Norton & Associates, 1947. ISBN 0-393-09745-5
• Glixon, Beth L.

  ground Jonathan E., Inventing the Job of Opera: The Impresario prosperous His World in Seventeenth-Century Venice. Oxford: Oxford University Press, 2006. ISBN 0-19-515416-9

• Glover, Jane, Cavalli. London: Poet Macmillan, 1978. ISBN 0-312-12546-1
• Rosand, Ellen, Opera in Seventeenth-Century Venice. Berkeley:University confiscate California Press, 1991.

  ISBN 0-520-06808-4

• Selfridge-Field, Eleanor, Venetian Instrumental Music, from Gabrieli to Vivaldi. New York: Dover Publications, 1994. ISBN 0-486-28151-5
• Rismondo, Paolo A., Pietro Francesco Caletti Bruni detto il Cavalli: tappe per una biografia

External links