Francesco Mancini (1672-1737)
- Missa septimus a 5 concertata
Performers: Claire Lеfilliâtre (soprano); Marina Smoldеrs (soprano); Lode Somеrs (tenor); Waltеr Van Der Vеn (bass);
Currеndе ensemble; Erik Van Nеvеl (conductor)
Further info: Mancini - Missa septimus
---
Italian organist and composer. He entered the Conservatorio di S Maria
della Pietà dei Turchini in 1688 as a student of organ, where he studied
with Provenzale and Ursino; after six years he was employed as an
organist. At the beginning of the 18th century he entered the service of
the viceroy and in 1704 became the principal organist of the royal
chapel. He was appointed maestro di cappella there in 1708 but by
December of that year the post was returned to Alessandro Scarlatti and
Mancini became his deputy (in 1718 he obtained a guarantee that he would
succeed Scarlatti). In 1720 he became Director of the Conservatorio di S
Maria di Loreto, and so played an important part in the training of a
new generation of composers. Mancini succeeded Scarlatti in 1725,
remaining in the post until his death. In 1735, however, he suffered a
stroke and remained semi-paralysed until his death two years later. 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. 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.
Cap comentari:
Publica un comentari a l'entrada