Niccoló Jommelli

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Jommelli, Niccoló


Born Sept. 10, 1714, in A versa, near Naples; died Aug. 25, 1774, in Naples. Italian composer, representative of the Neapolitan school of opera.

Jommelli became a member of the Bologna Philharmonic Academy in 1741. He composed more than 70 operas; among his most outstanding were Merope (1741), Artaxerxes (1749), and Phaethon (1753; 2nd version, 1768). Jommelli also wrote church music (for example, the famous Miserere) and intermezzi (for example, Don Falcone, which was performed in St. Petersburg in 1779). Anticipating the operatic reforms of C. W. Gluck, he assigned an important place to the accompanied recitative and intensified the dramatic role of the chorus and the orchestra in his operas.


Livanova, T. N. Istoriia zapadno-evropeiskoi muzyki do 1789 goda. Moscow-Leningrad, 1940.
Abert, N. Niccoló Jommelli als Opernkomponist. Halle, 1908.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
As a vocal teacher for several families of Naples' elite, Sigismondo tells of many notable episodes he witnessed, including important accounts of singers and composers he personally knew: of the vocalist Ferdinando Mazzanti, of his female pupils, of his first encounter with Porpora, and especially of his friendship with Niccolo Jommelli.
McClelland mentions in "Chapter One: Ombra Music in Context," that the earliest version of the term is associated with Mozart's contemporary, the widely respected composer Niccolo Jommelli (p.
The score (now lost, alas) was by Niccolo Jommelli, who was an assistant maestro in the pope's own chapel at the time; and the semi-audible text was by the tragedian, civil servant and professor of rhetoric Flaminio Scarselli.
Chiti fares better on that front, at times commenting in colorful fashion on the latest singers and composers to hit the Roman stage, typically in a dismissive and derogatory fashion (Niccolo Jommelli is cited with some regularity for a while, having been involved around 1750 at both the Basilica of St.
178) is complete when Niccolo Jommelli is appointed Kapellmeister in 1753.
Metastasio) 17 Jan 1749 Baldassare Galuppi, L'Olimpiade (Metastasio) 17 Jan 1750 Johann Adolf Hasse, Demofoonte (Metastasio) 17 Jan 1751 Niccolo Jommelli, Artaserse (Metastasio) 4 Nov 1751 Niccolo Jommelli, L'Ifigenia [in Aulide] (M.
It is interesting to read Niccolo Jommelli's assessment of two violinists at the Stuttgart court, but he also provides evidence that a keen understanding of the orchestra was to be found in places besides Mannheim: Concerning the orchestra, the one subject of distinction is presently Sig.
In his letters, the midcentury composer Niccolo Jommelli refers to both serious and comic works simply as operas, but he also differentiates them, as in a letter dated 13 June 1769: "un'opera Seria, ed un'altra grottesca.
Indeed, several important operatic premieres took place at court, including Johann Christian Bach's Temistocle (5 November 1772) and Niccolo Jommelli's Cajo Fabrizio (5 November 1760).