MANCINI, Francesco (1672-1737) - Recorder Sonatas

Obra d'Adriaen Coorte (c.1665-c.1710), pintor holandès (1)

- Recordatori de Francesco Mancini -

En el dia de la celebració del seu 344è aniversari de naixement

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Parlem de Pintura...

Adriaen Coorte (?Middelburg, c.1665 - ?Middelburg, c.1710) va ser un pintor holandès, actiu entre el 1683 i el 1707. Pintor de quadres de petit format, sovint de natures mortes o d'escenes amb animals, la seva formació i biografia són desconegudes. Per tant, es creu que va néixer a Middelburg i que es va formar a Àmsterdam amb Melchior d'Hondecoeter a l'entorn del 1680 fruit d'algunes similituds de forma, estil i signatura d'obres. A partir del 1683, es creu que va tornar Middelburg, on va obrir un taller, i on va signar els seus petits però curosament equilibrats bodegons. Les seves obres van seguir, en general, un mateix patró pel que fa a composició, tècnica i temàtica: petits arranjaments de flors, fruites o verdures, petxines en lloses de pedra i il·luminació zenital amb un fons fosc que contrasta amb el primer pla de l'escena. El seu treball va ser hereu d'una tradició més pròpia de principis del segle XVII. A partir del 1695 va formar part de la Confraria de Sant Lluc de Middelburg. Va morir en una data posterior al 1707.

Font: En català: No disponible - En castellano: No disponible - In english: Adriaen Coorte (c.1665 - c.1710) - Altres: Adriaen Coorte (c.1665 - c.1710)

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Parlem de Música...

Francesco Mancini (Napoli, 16 de gener de 1672 - Napoli, 22 de setembre de 1737) va ser un compositor italià. El 1688 va entrar al Conservatori di S Maria della Pietà dei Turchini com estudiant d'orgue de Provenzale i Ursino. Després de sis anys de formació, va entrar a treballar com a organista a la mateixa ciutat de Nàpols. A l'entorn del 1700 va entrar al servei del rei abans d'assolir, el 1704, la condició de principal organista de la Capella Reial. El 1708 va ascendir al càrrec de mestre de capella però el desembre del mateix any va haver de cedir el seu lloc a Alessandro Scarlatti quedant relegat a les funcions de segon mestre de capella, si bé el 1718 va ser notificat per escrit que seria oficialment el successor de Scarlatti quan aquest abandonés el càrrec. El 1720 va ser nomenat director del Conservatori di S Maria di Loreto on va tenir un rol important en la formació dels nous alumnes. El 1725 va succeir a Scarlatti i va romandre en aquest càrrec la resta de la seva vida si bé el 1735 es va jubilar prematurament fruit d'una malaltia, morint el setembre de 1737 a Nàpols.

OBRA:

Vocal secular:

Stage:
performed in Naples unless otherwise stated
Il nodo sciolto e ligato dall’affetto, o vero L’obligo e l disobligo vinti d’amore (dm boscareccio, 3), Rome, Jan 1696
Ariovisto (dm, 3, P. d’Averara), NB, 10 Nov 1702
Silla (melodramma, 3, A. Rossini), NB, ?27 Jan 1703; for musical source of Act 2 scene xxiv see Romagnoli (1995)
La costanza nell’honore (dm, 3, F. Passarini), NB, 1st week of June 1704
Gli amanti generosi (dm, 3, G.P. Candi, rev. G. Convò and S. Stampiglia), NB, ?carn. 1705, I-Mc (facs. in IOB, li, 1978) [see also L’Idaspe fedele, 1710]
La serva favorita (melodramma, 3, G.C. Villifranchi, rev. Convò), NB, sum. 1705, Mc
Alessandro il grande in Sidone (dm, 3, A. Aureli, rev. Convò), NB, 1706, Act 1 Nc, arias in Nc and D-MÜs (Sant. Hs. 2464, listed as Chi scherzo d’amor col foco)
Turno Aricino (dm, 3, Stampiglia and F. Falconi), Fiorentini, 4 Feb 1708, MÜs
Artaserse [12 arias and scene buffe] (dm, 3, ?rev. G. Papis), NB, 2 July 1708, arr. of G.M. Orlandini, Artaserse, 1706
L’Engelberta, o sia La forza dell’innocenza [Act 3 and part of Act 2] (dm, 3, A. Zeno and P. Pariati), Palazzo Reale, 4 Nov 1709, A-Wn, with Albinoni, Pimpinone (int); also perf. with Melissa Schernita [Act 1 and part of Act 2 by A. Orefice] (int), lib US-Wc
L’Idaspe fedele [Hydaspes] (op, 3, G.P. Candi, rev. Convò and others), London, Queen’s, 23 March 1710, arias in GB-Ge, Lbl, I-Rsc, US-Cu, arias (London, 1710) [rev. by ?N. Grimaldi of Gl’amanti generosi]
Mario fuggitivo (dm, 3, Stampiglia), NB, 27 Dec 1710
Abdolomino [10 arias] (dm, 3, Stampiglia), NB, 1 Oct 1711, arr. of G. Bononcini, Abdolomino, 1709
La Semele (favola per musica, N. Giuvo), Piedimonte Matese, Palazzo Ducale, 14 Dec 1711
Selim re d’Ormuz (dm, 3, G.D. Pioli), NB, 24 Jan 1712
Agrippina [16 arias and int] (dm, 3, V. Grimani), NB, 18 Feb 1713, arias in D-Dl, I-Nc, arr. of Handel, Agrippina, 1709
Artaserse re di Persia [prol, int and 14 arias] (dm, 3, F. Silvani), Palazzo Reale, 8 Oct 1713, arr. of A. Lotti, Il tradimento traditor di se stesso, 1711
Il gran Mogol (dm, 3, D. Lalli and A. Birini), NB, 26 Dec 1713, MC
Il Vincislao (dm, 3, Zeno), NB, 26 Dec 1714, aria in Nc
Alessandro Severo (dm, 3, Zeno), Rome, Alibert, carn. 1718, arias in D-MÜs
La fortezza al cimento (melodramma, 3, Silvani), NB, 16 Feb 1721
Il Trajano (dm, 3, ?G. Biavi), NB, 17 Jan 1723, I-Nc, with Colombina e Pernicone (int) (int ed. C. Gallico, Milan, 1989), arias in Rc
L’Oronta (dm, 3, C.N. Stampa), NB, carn. 1728, with Perichitta e Bertone (int)
Il Cavalier Bardone [Bertone] e Mergellina (int, ?A. Belmuro), Turin, Carignano, aut. 1730
Il ritorno del figlio con l’abito più approvato [arias] (pasticcio, 3), Prague, Sporck, carn. 1730
Alessandro nell’Indie (dm, 3, P. Metastasio), NB, carn. 1732, with La Levantina (Eurilla e Don Corbolone) (int), aria in D-Bsb
Don Aspremo [13 arias] (commedia, 3, D. Carcajus), Nuovo, wint. 1733
Demofoonte [6 arias] (dm, 3, Metastasio), NB, 20 Jan 1735, without int, I-MC, Acts 1–2 and int, Nc, collab. D. Sarro and L. Leo, int and recit G. Sellitti
Doubtful: Alfonso [prol and int] (G.D. Pallavicini), Collegio dei Nobili, 20 Oct 1697; Il Cavalier Brettone (int), Conservatorio di S Maria di Loreto, 1720; see Romagnoli (1998)
Music in: F. Gasparini: Ernelinda, 1713; Creso re di Lidia, London, 1714

Other secular vocal:
Cara mura adorate (serenata), 1702, D-MÜs
Il giorno eterno (serenata, N. Giuvo), Naples, Palazzo Reale, 19 March 1708
Amore nel cuore di Partenope (serenata, G. Papis), Naples, Palazzo Reale, 1 Oct 1708
Dafne in alloro (cant. a 3), Naples, Palazzo Reale, 19 Oct 1716
Cori per il Maurizio, in A. Marchese, Tragedie Christiane (Naples, 1729)
Mentre in dolce riposo (serenata), MÜs, I-Plc
Nell’ore più quiete (serenata), Nc
Over 200 cants. (see Wright)

Vocal religiosa:

Oratorios:
Dolorose canzoni, Naples, Congregazione di SS Spirito di Palazzo, 1698
L’amor divino trionfante nella morte di Cristo, Rome, Arciconfraternita della Pietà della Nazione dei Fiorentini, 4th Sunday of Quaresima 1700
La notte gloriosa (G.A. Minotti), Naples, S Maria del Porto, Christmas 1701
La nave trionfante sotto gli auspici di Maria Vergine (F. Falconi), Palermo, Convento dell’immacolata Concezione del Sacro, 1701
L’Arca del Testamento in Gerico (A. Perrucci), Naples, Oratorio del SS Rosario di Palazzo, 1704
Gli sforzi della Splendidezza e della Pietà, Palermo, S Lorenzo, 1707
Il genere umano in catene, Siena, Collegio Tolomei, 1708
Il Giuseppe venduto, Palermo, Ospedale di S Bartolomeo, 1711
Il sepolcro di Cristo Signor nostro, Naples, Congregazione della Madonna, 6 April 1713
Il sepolcro di Cristo fabbricato dagli Angeli, Florence, Compagnia di S Jacopo, 12 April 1716
La caduta di Gerico, Lucca, S Maria Corteorlandini, 1721
Il zelo animato, ovvero Il gran profeta Elia (rev. A. Perrucci), Naples, Conservatorio di S Maria di Loreto, 1733, I-Nc

Music in: Sara in Egitto [1 aria] (pasticcio, D. Canavese), Florence, Congregazione ed ospizio di Gesù, Maria e Giuseppe e della SS Trinità, 2 Feb 1708; Dal trionfo le perdite, ovvero Jefte che sagrifica la figlia [2 arias] (pasticcio, Canavese), Florence, ?Compagnia della Purificazione, 2 Feb or 19 March 1716

Other sacred vocal:
Cants., masses, motets, Mag, Vesper, Pss: A-KR, Wn; B-Bc; CZ-Pak, Pnm, Prague, Křižovnici; D-Bsb, Dl, GB-Lbl; I-Nc, Nf

Instrumental:

2 Toccata di cembalo, 1716, Nc
XII Solos, fl, hpd/b vn (London, 1724); rev. Geminiani (1727)
10 sonatas a 4, fl, 2 vn, vc, bc;
2 sonatas a 5, fl, 2 vn, va, vc, bc: in Concerti di flauto, violini, violetta, e basso di diversi autori, 1725, Nc (see Giani)

Font: En català: No disponible - En castellano: No disponible - In english: - Altres: 

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Parlem en veu pròpia o en veu d'altri...

As far as is known, Mancini’s first composition was the pastoral opera Il nodo sciolto e ligato dall’affetto, written for Rome. From 1702 onwards Mancini worked almost continuously at composing and arranging operas. He was most productive when he was Scarlatti’s deputy; his creative output slowed down following his appointments as Director of S Maria di Loreto and then as maestro of the royal chapel. While Mancini composed serenades, pieces for special occasions and cantatas throughout his life, his oratorios are concentrated in the period 1698–1708, with several later exceptions, including his last oratorio, Il zelo animato, which appears to have been intended as an exercise for his pupils at S Maria di Loreto. Mancini’s contribution to sacred music was considerable, and the wide distribution of his music in libraries throughout Europe is a reflection of its popularity. Instrumental music was not of primary concern to Mancini, and that which remains appears to have been intended for teaching purposes (for example the two toccatas for harpsichord).

The peculiarity of his instrumental writing can be seen in his sonatas, for example the rich harmonies accompanying the melodies and the contrapuntalism of the second movements, which are often almost proper fugues (see Giani). While Mancini did not travel far from Naples, except for the occasional trip to Rome, stylistically his music fits into the transition between Scarlatti’s generation and the era of the spread of Neapolitan opera across Europe. His operas, which display a preference for the pathetic style (but he was no stranger to the comic), make simultaneous use of archaic features, such as a thick contrapuntal texture, swift rate of harmonic change and fast-moving bass line, as well as more modern features, such as the precise delimitation and greater extension of the sections of his arias and the use of the harmonic pedal. Mancini’s instrumentation is varied and colourful; the many directions for the bass part, which often indicate detailed orchestration and which may vary within a single aria, are also of importance. He was a skilful writer of melodies, able to achieve a perfect balance between words and intonation, even in recitatives, and able to shape the vocal line effectively as well as simply.

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Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Ricardo Kanji (recorder); Marc Destrubé (violin); Irmgard Schaller (violin); Emilio Moreno (viola); Hidemi Suzuki (violoncello); Jacques Ogg (harpsichord)
AMAZON: MANCINI, F. - Seven Recorder Sonatas

IMSLP: Francesco Mancini (1672-1737)

CPDL: Francesco Mancini (1672-1737)

SPOTIFY: MANCINI, F. - Seven Recorder Sonatas



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