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Musical ensemble
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A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instruments, such as the jazz quartet or the orchestra, some music ensembles consist solely of singers, such as choirs and doo wop groups. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the instrument family. In jazz ensembles, the instruments typically include wind instruments, one or two chordal comping instruments, an instrument, and a drummer or percussionist. Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards, one or more singers, Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, in classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra, in orchestras, the individual sections also have leaders, typically called the principal of the section. Conductors are also used in big bands and in some very large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles, the terms duet, trio, quartet, quintet, sextet, septet, octet, nonet and dectet describe groups of two up to ten musicians, respectively. A group of musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet. A soloist playing unaccompanied is not an ensemble because it contains one musician. A string quartet consists of two violins, a viola and a cello, there is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet usually features a flute, an oboe, a clarinet, a brass quartet features two trumpets, a trombone and a tuba. A saxophone quartet consists of a saxophone, an alto saxophone, a tenor saxophone. The string quintet is a type of group. It is similar to the quartet, but with an additional viola, cello, or more rarely. Terms such as piano quintet or clarinet quintet frequently refer to a string quartet plus a fifth instrument
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Hendrick ter Brugghen
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Hendrick Jansz ter Brugghen was a painter at the start of Dutch Golden Age painting and a leading member of the Dutch followers of Caravaggio–the so-called Utrecht Caravaggisti. Along with Gerrit van Hondhorst and Dirck van Baburen, Ter Brugghen was one of the most important Dutch painters to have influenced by Caravaggio. No references to Ter Brugghen written during his life have been identified and his father Jan Egbertsz ter Brugghen, originally from Overijssel, had moved to Utrecht, where he was appointed secretary to the Court of Utrecht by the Prince of Orange, William the Silent. He had been married to Sophia Dircx, in 1588 he became bailiff to the Provincial Council of Holland in The Hague, where Hendrick was born. The earliest brief reference to the painter is in Het Gulden Cabinet of Cornelis de Bie, another short account is found in the Teutsche Academie by Joachim von Sandrart, where he is referred to as Verbrug. Here we learn that he studied with Abraham Bloemaert, a Mannerist painter, Sandrart also refers to the painters tiefsinnige, jedoch, schwermütige Gedanken in seinen Werken. From this unsure footing, the artists son Richard ter Brugghen sought to rehabilitate his fathers reputation as a painter in the early 18th century and he secured a letter, dated 15 April 1707, from Adriaen van der Werff in Rotterdam, attesting to his appreciation of Hendricks work. Later that year, on 5 August 1707, Richard presented the government council of Deventer with four paintings of the Evangelists, to be hung in the Town Hall as a permanent memorial to his father. An engraving, in all likelihood commissioned by Richard ter Brugghen from Pieter Bodart and this would certainly mean that he never met Caravaggio in Rome, that artist had fled Rome on a murder charge in 1606. However, it is certain that he was the only Dutch painter in Rome during Caravaggios lifetime, by 1614, Ter Brugghen was in Milan, on his way home. On 1 April 1615, Thyman van Galen and Ter Brugghen are witnesses before the court in Utrecht and he is already listed as a member of the Utrecht painters guild in 1616, and on 15 October of that year he married Jacomijna Verbeeck, his elder brother Jans stepdaughter. Ter Brugghen died in Utrecht on 1 November 1629, possibly a victim of the plague, the family had been living in the Snippenvlucht. Ter Brugghens last child of eight, Hennickgen, was four months later on 14 March 1630. He certainly studied Caravaggios work, as well as that of his followers–the Italian Caravaggisti–such as Orazio Gentileschi, Caravaggios work had caused quite a sensation in Italy. Other Italian painters who had an influence on Ter Brugghen during his stay in Italy were Annibale Carracci, Domenichino, upon returning to Utrecht, he worked with Gerard van Honthorst, another of the Dutch Caravaggisti. Ter Brugghens favourite subjects were half-length figures of drinkers or musicians and he carried with him Caravaggios influence, and his paintings have a strong dramatic use of light and shadow, as well as emotionally charged subjects. Even though he died young, his work was received and had great influence on others. His treatment of subjects can be seen reflected in the work of Rembrandt
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Performing arts
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Performing arts are a form of art in which artists use their voices and/or their bodies, often in relation to other objects, to convey artistic expression. It is different from visual arts, which is when artists use paint/canvas or various materials to create physical or static art objects, performing arts include several disciplines, each performed in front of a live audience. Artists who participate in performing arts in front of an audience are called performers, examples of these include actors, comedians, dancers, magicians, circus artists, musicians, and singers. Performing arts are supported by workers in related fields, such as songwriting, choreography. A performer who excels in acting, singing, and dancing is commonly referred to as a triple threat, well-known examples of historical triple threat artists include Gene Kelly, Fred Astaire, and Judy Garland. Performers often adapt their appearance, such as costumes and stage makeup, stage lighting. Performing arts may include dance, music, opera, theatre and musical theatre, magic, illusion, mime, spoken word, puppetry, circus arts, performance art, recitation and public speaking. There is also a form of fine art, in which the artists perform their work live to an audience. Most performance art also involves some form of art, perhaps in the creation of props. Dance was often referred to as an art during the Modern dance era. Theatre is the branch of performing arts, concerned with acting out stories in front of an audience, using a combination of speech, gesture, music, dance, sound, any one or more of these elements is performing arts. In addition to the standard narrative style of plays. In the context of performing arts, dance generally refers to movement, typically rhythmic and to music. Definitions of what constitutes dance are dependent on social, cultural, aesthetic artistic and moral constraints and range from functional movement to codified, in dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other. Choreography is the art of making dances, and the person who practices this art is called a choreographer, music is an art form which combines pitch, rhythm, and dynamic in order to create sound. It can be performed using a variety of instruments and styles and is divided into genres, as an art form, music can occur in live or recorded formats, and can be planned or improvised. Starting in the 6th century BC, the Classical period of performing art began in Greece and these poets wrote plays which, in some cases, incorporated dance. The Hellenistic period began the use of comedy
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Wolfgang Amadeus Mozart
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Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Born in Salzburg, he showed prodigious ability from his earliest childhood, already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, while visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame, during his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his death have been much mythologized. He was survived by his wife Constanze and two sons and he composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote, posterity will not see such a talent again in 100 years. Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart and Anna Maria, née Pertl and this was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in what is now Austria, then part of the Holy Roman Empire. He was the youngest of seven children, five of whom died in infancy and his elder sister was Maria Anna Mozart, nicknamed Nannerl. Mozart was baptized the day after his birth, at St. Ruperts Cathedral in Salzburg, the baptismal record gives his name in Latinized form, as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself Wolfgang Amadè Mozart as an adult, Leopold Mozart, a native of Augsburg, Germany, was a minor composer and an experienced teacher. In 1743, he was appointed as fourth violinist in the establishment of Count Leopold Anton von Firmian. Four years later, he married Anna Maria in Salzburg, Leopold became the orchestras deputy Kapellmeister in 1763. During the year of his sons birth, Leopold published a textbook, Versuch einer gründlichen Violinschule. When Nannerl was 7, she began lessons with her father. Years later, after her brothers death, she reminisced, He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and he could play it faultlessly and with the greatest delicacy, and keeping exactly in time. At the age of five, he was composing little pieces
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Maria Anna Mozart
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Maria Anna Walburga Ignatia Mozart, called Marianne and nicknamed Nannerl, was a musician, the older sister of Wolfgang Amadeus Mozart and daughter of Leopold and Anna Maria Mozart. Maria Anna Mozart was born in Salzburg, when she was seven years old, her father Leopold Mozart started teaching her to play the harpsichord. Leopold took her and Wolfgang on tours of cities, such as Vienna and Paris. In the early days, she received top billing, and she was noted as an excellent harpsichord player. However, given the views of her parents, prevalent in her society at the time, according to New Grove, from 1769 onwards she was no longer permitted to show her artistic talent on travels with her brother, as she had reached a marriageable age. Wolfgang went on during the 1770s to many artistic triumphs while traveling in Italy with Leopold and she likewise stayed home with Leopold when Wolfgang visited Paris and other cities accompanied by his mother. In contrast to her brother, who quarreled with their father and eventually disobeyed his wishes with respect to career path and choice of spouse, Marianne remained entirely subordinate to her father. She fell in love with Franz dIppold, who was a captain and private tutor, Wolfgang attempted, in vain, to get Marianne to stand up for her own preference. Berchtold was twice a widower and had five children from his two marriages, whom Marianne helped raise. She also bore three children of her own, Leopold Alois Pantaleon, Jeanette and Maria Babette, an unusual episode in Mariannes life occurred when she gave birth to her first child, a son who was named Leopold after his grandfather. Marianne had traveled from her home in St. Gilgen to Salzburg for the birth, when she returned to St. Gilgen, she left her infant in the care of her father and his servants. The elder Leopold stated that he would prefer to raise the child for the first few months himself, in 1786, he extended the arrangement to an indefinite term. Leopold continued to care for his grandson, taking delight in his progress, Marianne saw her son on occasional visits, but in general was not involved in his care. The arrangement continued until the death of her father, on 28 May 1787, biographers differ on what was the basis for this arrangement. Little Leopold was ill in his infancy, and perhaps needed to be kept in Salzburg for this reason, another possibility attributes the arrangement to Mariannes delicate health or her need to take care of her stepchildren. Biographer Maynard Solomon attributes the arrangement to Leopolds wish to revive his skills in training a musical genius and he also suggests that giving up her son was indicative of Mariannes total subordination to her fathers wishes. When Mozart was a toddler, Nannerl was his idol, according to Maynard Solomon, at three, Mozart was inspired to study music by observing his fathers instruction of Marianne, he wanted to be like her. The two children were close, and they invented a secret language and an imaginary Kingdom of Back of which they were king
6.
Renaissance music
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Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. From this changing society emerged a common, unifying musical language, in particular the style of the Franco-Flemish school. The invention of the press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. These musicians were sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers. This reversed the situation from a hundred years earlier, opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as an attempt to resurrect the music of ancient Greece. Music was increasingly freed from constraints, and more variety was permitted in range, rhythm, harmony, form. In the Renaissance, music became a vehicle for personal expression, composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa, popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists, Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of familiar modern instruments developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works, an enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, beginning in the late 20th century, numerous early music ensembles were formed. One of the most pronounced features of early Renaissance European art music was the reliance on the interval of the third. Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, the beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. The modal characteristics of Renaissance music began to break down towards the end of the period with the use of root motions of fifths or fourths
7.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
8.
L'Orfeo
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LOrfeo, sometimes called La favola dOrfeo, is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and it was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peris Dafne is generally recognised as the first work in the genre. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a musical drama or opera. Monteverdis LOrfeo moved this process out of its era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua and its score was published by Monteverdi in 1609 and again in 1615. After the Second World War many recordings were issued, and the opera was staged in opera houses. In 2007 the quatercentenary of the premiere was celebrated by performances throughout the world, in his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld. Composed at the point of transition from the Renaissance era to the Baroque, LOrfeo employs all the then known within the art of music. The work is not orchestrated as such, in the Renaissance tradition instrumentalists followed the general instructions but were given considerable freedom to improvise. Claudio Monteverdi, born in Cremona in 1567, was a prodigy who studied under MarcAntonio Ingegneri. Through ability and hard work Monteverdi rose to become Gonzagas maestro della musica in 1601, Vincenzo Gonzagas particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. This work combined elements of singing and monody with dancing. These last two works were the first of many representations of the Orpheus myth as recounted in Ovids Metamorphoses. The Gonzaga court had a history of promoting dramatic entertainment. A century before Duke Vincenzos time the court had staged Angelo Polizianos lyrical drama La favola di Orfeo, on 6 October 1600, while visiting Florence for the wedding of Maria de Medici to King Henry IV of France, Duke Vincenzo attended a production of Peris Euridice. It is likely that his musicians, including Monteverdi, were also present at this performance
9.
Gioachino Rossini
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Gioachino Antonio Rossini was an Italian composer who wrote operas, as well as some sacred music, songs, chamber music and piano pieces. A precocious composer of operas, he made his debut at the age of eighteen. His best-known operas include the Italian comedies Il barbiere di Siviglia, Litaliana in Algeri and he also wrote a string of serious operas in Italian, including works such as Tancredi, Otello and Semiramide. The semi-serious opera La Gazza Ladra has one of Rossinis most celebrated overtures, after moving to Paris in 1824, he eventually started to write in French. His last opera, the epic Guillaume Tell, replete with its iconic overture, after composing thirty-nine significant operas in nineteen years Rossini retired from the theatre in 1829. Later, he was affected by physical and mental illnesses and for decades wrote relatively little apart from a setting of the Stabat Mater. A return to Paris from Italy in 1855 was followed by better health, during these, he presented salon music in the form of songs, piano pieces and small chamber ensembles that he called Sins of Old Age. He considered the last of these Sins to be the unusually scored Petite messe solennelle that he wrote in 1863, Rossini had been the most popular opera composer in history, and he was one of the most renowned public figures of his time. A rapid and prolific composer, he was quoted as joking, Give me the laundress bill, a tendency for inspired, song-like melodies is evident throughout his scores, earning him the nickname The Italian Mozart. Use of a build up of orchestral sound over a repeated phrase—commonly known as a Rossini crescendo—also prompted the nickname Signor Crescendo. Gioachino Antonio Rossini was born into a family of musicians in Pesaro and his father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a bakers daughter, Rossinis father was sympathetic to the French Revolution and welcomed Napoleons troops when they arrived in northern Italy. When Austria restored the old regime, Rossinis father was sent to prison in 1799, Rossinis mother took him to Bologna, making a living as leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna, during this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy. He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang and these qualities made him a subject for ridicule in the eyes of the young Rossini. He was eventually taken from Prinetti and apprenticed to a blacksmith, in Angelo Tesei, he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age. Important products of this period are six sonate a quattro, or string sonatas, the original scores, dating from 1804 when the composer was twelve, were found in the Library of Congress in Washington D. C. In 1805, he appeared at the theatre of the Commune in Ferdinando Paers Camilla and he was also a capable horn player, treading in the footsteps of his father
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Vincenzo Bellini
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Vincenzo Salvatore Carmelo Francesco Bellini was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named the Swan of Catania. Other sources of information come from correspondence saved by other friends, C Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as. Also hugely influential, as much admired by composers as he was by the public. Verdi raved about his long, long, long melodies, wagner, who rarely liked anyone but himself, was spellbound by Bellinis almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans, of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority, the genuine triumph of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today, only nine months later, Bellini died in Puteaux, France at the age of 33. Born in Catania, at the part of the Kingdom of Sicily. His grandfather, Vincenzo Tobia Bellini, had studied at the conservatory in Naples and, in Catania from 1767 forward, had been an organist and teacher, as had Vincenzos father, by the age of five, he could apparently play marvelously. The document states that Bellinis first five pieces were composed when he was just six years old and at seven he was taught Latin, modern languages, rhetoric, and philosophy. Author Herbert Weinstock regards some of these accounts as no more than myths, not being supported from other, additionally, he makes the point in regard to Bellinis apparent knowledge of languages and philosophy, Bellini never became a well-educated man. After 1816, Bellini began living with his grandfather, from whom he received his first music lessons, soon after, the young composer began to write compositions. Among them were the nine Versetti da cantarsi il Venerdi Santo, by 1818, Bellini had independently completed several additional orchestral pieces. He was ready for further study, for well-off students, this would include moving to Naples. While his family wasnt wealthy enough to support that lifestyle, Bellinis growing reputation could not be overlooked and his break came when Stefano Notabartolo, the duca di San Martino e Montalbo and his duchess, became the new intendente of the province of Catania. They encouraged the man to petition the city fathers for a stipend to support his musical studies. This was successfully achieved in May 1819 with unanimous agreement for a pension to allow him to study at the Real Collegio di Musica di San Sebastiano in Naples. The young Bellini was to live in Naples for the eight years
11.
Gaetano Donizetti
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Domenico Gaetano Maria Donizetti was an Italian composer. Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a composer of the bel canto opera style during the first half of the nineteenth century. Donizettis close association with the bel canto style was undoubtedly an influence on composers such as Giuseppe Verdi. Donizetti was born in Bergamo in Lombardy, there he received detailed training in the arts of fugue and counterpoint. Over the course of his career, Donizetti wrote almost 70 operas, in all, Naples presented 51 of Donizettis operas. Before 1830, success came primarily with his operas, the serious ones failing to attract significant audiences. However, his first notable success came with an opera seria, Zoraida di Granata, significant historical dramas did appear and became successful, they included Lucia di Lammermoor given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837. Up to that point, all of his operas had been set to Italian libretti, Donizetti found himself increasingly chafing against the censorial limitations which existed in Italy. From about 1836, he interested in working in Paris. The first opera was a French version of the then-unperformed Poliuto which, two new operas were also given in Paris at that time. As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers, but from around 1843, severe illness began to take hold and to limit his activities. Eventually, by early 1846 he was obliged to be confined to an institution for the ill and, by late 1847, friends had him moved back to Bergamo. The youngest of three sons, Donizetti was born in 1797 in Bergamos Borgo Canale quarter located just outside the city walls and his family was very poor and had no tradition of music, his father Andrea being the caretaker of the town pawnshop. Simone Mayr, a German composer of internationally successful operas, had become maestro di cappella at Bergamos principal church in 1802, in 1807, Andrea Donizetti attempted to enroll both his sons, but the elder, Giuseppe, was considered too old. He remained there for nine years, until 1815, however, as Donizetti scholar William Ashbrook notes, in 1809 he was threatened with having to leave because his voice was changing. In 1810 he applied for and was accepted by the art school, the Academia Carrara. Then, in 1811, Mayr once again intervened, as Ashbrook states, this was nothing less than Mayrs argument that Donizetti be allowed to continue his musical studies. The piece was performed on 13 September 1811 and included the character stating the following, Ah, by Bacchus
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Giuseppe Verdi
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Giuseppe Fortunino Francesco Verdi was an Italian opera composer. Verdi was born near Busseto to a family of moderate means. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works influenced him. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy and he also participated briefly as an elected politician. He surprised the world by returning, after his success with the opera Aida. The baptismal register, prepared on 11 October 1813, lists his parents Carlo, additionally, it lists Verdi as being born yesterday, but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. Verdi himself, following his mother, always celebrated his birthday on 9 October, Verdi had a younger sister, Giuseppa, who died aged 17 in 1833. From the age of four, Verdi was given lessons in Latin and Italian by the village schoolmaster, Baistrocchi. After learning to play the organ, he showed so much interest in music that his parents provided him with a spinet. Verdis gift for music was apparent by 1820–21 when he began his association with the local church, serving in the choir, acting as an altar boy for a while. After Baistrocchis death, Verdi, at the age of eight, Carlo Verdi was energetic in furthering his sons education. something which Verdi tended to hide in later life. He picture emerges of youthful precocity eagerly nurtured by a father and of a sustained, sophisticated. Verdi returned to Busseto regularly to play the organ on Sundays, at age 11, Verdi received schooling in Italian, Latin, the humanities, and rhetoric. By the time he was 12, he began lessons with Ferdinando Provesi, maestro di cappella at San Bartolomeo, director of the music school. This information comes from the Autobiographical Sketch which Verdi dictated to the publisher Giulio Ricordi late in life, in 1879, written, understandably, with the benefit of hindsight, it is not always reliable when dealing with issues more contentious than those of his childhood. The other director of the Philharmonic Society was Antonio Barezzi, a grocer and distiller. The young Verdi did not immediately become involved with the Philharmonic, by June 1827, he had graduated with honours from the Ginnasio and was able to focus solely on music under Provesi. By 1829–30, Verdi had established himself as a leader of the Philharmonic, none of us could rival him reported the secretary of the organisation, Giuseppe Demaldè
Chisholm, Hugh, ed. (1911). "Duet". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Chisholm, Hugh, ed. (1911). "
The dictionary definition of duet at Wiktionary
