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261:; but the marriage of his daughter Claire to a French democrat named Pierre Prades-Prestreau brought him disgrace – he was accused of being a revolutionary and placed under house arrest for four years. For the next nine years he maintained a precarious existence in Venice, Naples and Rome; but he returned in 1798 to Paris, where the public received him with enthusiasm, but he made no money. He died in
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198:, “I talked to Piccinni at the Concert Spirituel; he is always most polite to me and I to him when we do by chance meet. Otherwise I do not seek much acquaintance, either with him or any of the other composers; they understand their work and I mine, and that is enough.“ Piccini collaborated with the poet and dramatist
168:
commented in 1768 that individuals “of weight and consideration” should not be blamed for condemning “those puny gentlemen” who, as enthusiasts of
Italian opera, were able to “feel its minuet niceties, and to be of course in rapture with the languishing Cecchina’s of Piccini
164:. It also set off a debate about the merits of the new sentimental style, especially in England, where conservative reactionaries were wary of the supposed feminizing influence of modern Italian music.
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Piccinni produced over a hundred operas, but although his later work shows the influence of the French and German stage, he belongs to the conventional
Italian school of the 18th century.
232:– simultaneously. The Parisian public was divided into two rival parties, which, under the names of Gluckists and Piccinnists, carried on an unworthy and disgraceful war. Gluck's masterly
133:, which "enjoyed a two-year run in Rome and was played in all the important European capitals. It can probably be called the most popular opera buffa of the 18th century...... Pergolesi's
175:].” This modern music, Baretti decried, “far from having any power of increasing courage or any manly virtues, has on the contrary a tendency towards effeminacy and cowardliness.”
242:
followed on 23 January 1781. The antagonism of the rival parties continued, even after Gluck left Paris in 1780; and an attempt was afterwards made to inaugurate a new rivalry with
246:. Piccinni remained popular, and on the death of Gluck, in 1787, proposed that a public monument be erected to his memory – a suggestion which the Gluckists refused to support.
145:
represents a special moment in the history of eighteenth-century music in which comedy began to take on a new dramatic force. It is the moment at which the self-consciously
312:
Piccinni also wrote a number of sacred works, for voices with various accompanying forces, and also two symphonies (in D major and in G major) and a flute concerto.
224:, used original texts. All his later works were successful, but the directors of the Grand Opera conceived the idea of deliberately opposing him to
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He had married in 1756 his pupil
Vincenza Sibilla, a singer, whom he never allowed to appear on the stage after their marriage. A grandson,
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on several projects designed to advance the cause of the operatic reform. Marmontel's first librettos took as their foundation texts
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An
Account of the Manners and Customs of Italy; with observations on the mistakes of some travellers, with regard to that country
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61:. Although he is somewhat obscure today, Piccinni was one of the most popular composers of opera—particularly the
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In 1784 Piccinni became professor at the Royal School of Music, one of the institutions from which the
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157:. This can especially be seen in the sensitive writing of Cecchina's act 2 aria "Una povera ragazza".
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265:, near Paris. During his life, he worked with the greatest librettists of his age, including
104:(his father, although himself a musician, was opposed to his son following the same career).
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The opera was such a success that fashions of dress, shops, and houses were all named after
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269:. After his death a memorial tablet was set up in the house in which he was born at Bari.
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in 1789, Piccinni returned to Naples, where he was at first well received by
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153:(the opera's librettist) is married with the developing musical language of
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who was a struggling musician looking for a job in Paris. Mozart wrote to
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by persuading the two composers to treat the same subject –
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This article is about the person. For the conservatory, see
190:(the Paris Opera). This was when he came into contact with
81:
538:
Holmes, William C. (October 1952). "Pamela
Transformed".
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region. From the age of fourteen, he was educated at the
276:, became a successful repetiteur and composer in Paris.
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Notice sur la vie et les ouvrages de
Niccolo Piccinni
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The most complete list of his works was given in the
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Six years after this, Piccinni was invited by Queen
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57:of symphonies, sacred music, chamber music, and
53:; 16 January 1728 – 7 May 1800) was an Italian
238:was first produced on 18 May 1779. Piccinni's
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533:(11th ed.). Cambridge University Press.
182:to Paris. He became the first Italian after
253:was formed in 1794. On the outbreak of the
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582:International Music Score Library Project
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118:La Cecchina, ossia la buona Figliuola
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100:, thanks to the intervention of the
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458:. Vol. I. Dublin. p. 293.
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960:Italian Classical-period composers
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346:Great Italian and French Composers
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470:"Revue des documents historiques"
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578:Free scores by Niccolò Piccinni
452:Baretti, Giuseppe Marco Antonio
970:18th-century Italian composers
472:. February 9, 1876. p. 15
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348:. Dodo Press. pp. 11–13.
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438:Memoires of the Musical Drama
50:[nikkoˈlɔppitˈtʃinni]
28:Niccolò Piccinni Conservatory
985:Italian male opera composers
592:Choral Public Domain Library
499:Niccolò Piccinni (biography)
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965:Neapolitan school composers
825:Giovanni Battista Pergolesi
440:. London. pp. 134–135.
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90:Conservatory of San Onofrio
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344:Ferris, George T. (2007).
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287:Rivista Musicale Italiana
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554:10.1093/mq/xxxviii.4.581
436:Hogarth, George (1838).
419:". In Laura Macy (ed.).
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274:Louis Alexandre Piccinni
186:to write operas for the
107:Piccinni's first opera,
19:Not to be confused with
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530:Encyclopædia Britannica
206:had written for Lully,
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855:Gian Francesco de Majo
149:theatrical project of
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561:Pierre-Louis Ginguené
541:The Musical Quarterly
497:Robert Cummings.
392:www.librettidopera.it
80:Piccinni was born in
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840:Alessandro Scarlatti
830:Francesco Provenzale
700:Iphigénie en Tauride
235:Iphigénie en Tauride
230:Iphigénie en Tauride
990:Musicians from Bari
885:Johann Adolph Hasse
413:Lazarevich, Gordana
184:Jean-Baptiste Lully
115:of his early life,
109:Le donne dispettose
890:Domenico Scarlatti
875:Giovanni Paisiello
668:Il finto astrologo
660:Le donne vendicate
652:La buona figliuola
422:Grove Music Online
382:La buona figliuola
369:Holmes (Oct. 1952)
308:Non-operatic works
143:La buona figliuola
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980:Italian musicians
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880:Domenico Cimarosa
815:Francesco Durante
804:Neapolitan School
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724:Diane et Endymion
708:Adèle de Ponthieu
355:978-1-4065-2375-1
259:King Ferdinand IV
255:French Revolution
204:Philippe Quinault
98:Francesco Durante
21:Niccolò Piccinino
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480:– via
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950:1800 deaths
945:1728 births
676:L'americano
476:14 November
417:La Cecchina
386:La Cecchina
380:"Libretto,
162:La Cecchina
147:sentimental
123:opera buffa
66:opera buffa
939:Categories
397:7 November
267:Metastasio
212:1778, and
196:his father
169: [
155:classicism
63:Neapolitan
917:Biography
240:Iphigénie
200:Marmontel
84:, in the
732:Pénélope
503:AllMusic
454:(1768).
316:See also
244:Sacchini
127:libretto
68:—of the
55:composer
46:Italian:
903:Portals
590:in the
584:(IMSLP)
580:at the
388:) 1760"
125:with a
735:(1785)
727:(1784)
719:(1783)
711:(1781)
703:(1781)
695:(1780)
687:(1778)
684:Roland
679:(1772)
671:(1765)
663:(1763)
655:(1760)
352:
294:Operas
209:Roland
192:Mozart
86:Apulia
929:Opera
716:Didon
644:Opera
328:Notes
280:Works
263:Passy
226:Gluck
221:Didon
121:, an
59:opera
692:Atys
478:2022
399:2022
350:ISBN
215:Atys
96:and
82:Bari
76:Life
550:doi
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415:. "
172:sic
129:by
92:by
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