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Amilcare Ponchielli

Amilcare Ponchielli (August 31, 1834 – January 16, 1886) was an Italian composer, largely of operas.

Contents

Biography

Born in Paderno Fasolaro, now Paderno Ponchielli, near Cremona, Ponchielli won a scholarship at the age of nine to study music at the Milan Conservatory, writing his first symphony by the time he was ten years old.

Two years after leaving the conservatory he wrote his first opera -- it was based on Alessandro Manzoni's great novel I promessi sposi (The Betrothed) -- and it was as an opera composer that he eventually found fame.

His early career was disappointing. Maneuvered out of a professorship at the Milan Conservatory that he had won in a competition, he took small-time jobs in small cities, and composed several operas, none successful at first. In spite of his disappointment, he gained much experience as the "capobanda" in Piacenza and Cremona, arranging and composing over 200 works for wind band. Notable among his "original" compositions for band are the first-ever concerto for euphonium (Concerto per Flicornobasso, 1872), fifteen variations on the Neapolitan song "Carnevale di Venezia", and a series of festive and funeral marches that resound with the pride of the newly unified Italy and the private grief of his fellow Cremonese. The turning point was the big success of the revised version of I promessi sposi in 1872, which brought him a contract with the music publisher G. Ricordi & Co. and the musical establishment at the Conservatory and at La Scala. The ballet Le due gemelle (1873) confirmed his success.

The following opera, I Lituani (The Lithuanians) (1874), was also well received, being performed later at Saint Petersburg (as Aldona - November 20, 1884). His best known opera is La Gioconda, which his librettist Arrigo Boito adapted from the same play by Victor Hugo that had been previously set by Mercadante (Il Giuramento, 1837) and Carlos Gomes (Fosca, 1873). It was first produced in 1876 and revised several times. The version that has become so popular today was first given in 1880.

In 1876 he started working on I mori di Valenza (the project dates back to 1873), an opera he never finished, although it was completed later by Arturo Cadore and performed posthumously in 1914.

After La Gioconda, Ponchielli wrote the monumental biblical melodrama in four acts Il figliuol prodigo (Milan, Teatro alla Scala, December 26, 1880) and Marion Delorme, from another play by Victor Hugo (Milan, Teatro alla Scala, March 17, 1885). In spite of their rich musical invention, neither of these operas met with the same success but both exerted great influence on the composers of the rising generation, like Puccini, Mascagni and Giordano.

In 1881, Ponchielli was appointed maestro di cappella of the Bergamo Cathedral, and from the same year he was a professor of composition at the Milan Conservatory, where among his students were Giacomo Puccini and Pietro Mascagni.

He died in Milan and was interred there in the Cimitero Monumentale.

Although in his lifetime Ponchielli was very popular and influential, in introducing an enlarged orchestra and more complex orchestration, the only one of his operas regularly performed today is La Gioconda. It contains the great tenor romanza "Cielo e mar", a superb duet for tenor and baritone "Enzo Grimaldo" [1], the soprano set-piece "Suicidio!" and the ballet music "The Dance of the Hours", known even to the non-musical from its use in Walt Disney's Fantasia (1940), the UK hit single 'Like I Do' by Maureen Evans (1962), burlesques by Allan Sherman ("Hello Muddah, Hello Fadduh", 1963), in the children's record Gossamer Wump (released in 1949 by Capitol Records), and Spike Jones (1949), and, to a lesser degree, the 1966 Perrey and Kingsley song, "Countdown To 6."

See also

References

  1. ^ Faulkner, Anne Shaw: What we hear in music, p.542, Kessinger Publishing (2005) ISBN 1419168053

Bibliography

  • Kaufman: Annals of Italian Opera: Verdi and his Major Contemporaries; Garland Publishing, New York and London, 1990. (contains premiere casts and performance histories of Ponchielli's operas)
  • Budden, Julien (1992), 'Ponchielli, Amilcare' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7
  • Various authors: Amilcare Ponchielli; Nuove Edizioni, Milan, 1985
  • Various authors: Amilcare Ponchielli 1834-1886, Cremona, 1984
  • Sirch-Howey: The Doctrine of a Critical Edition of the Band Music of Amilcare Ponchielli (http://philomusica.unipv.it/annate/2004-5/saggi/sirchhowey/index.html)

External links


Amilcare Ponchielli (August 31, 1834 – January 16, 1886) was an Italian composer, largely of operas.

Contents

Biography

Born in Paderno Fasolaro, now Paderno Ponchielli, near Cremona, Ponchielli won a scholarship at the age of nine to study music at the Milan Conservatory, writing his first symphony by the time he was ten years old.

Two years after leaving the conservatory he wrote his first opera -- it was based on Alessandro Manzoni's great novel I promessi sposi (The Betrothed) -- and it was as an opera composer that he eventually found fame.

His early career was disappointing. Maneuvered out of a professorship at the Milan Conservatory that he had won in a competition, he took small-time jobs in small cities, and composed several operas, none successful at first. In spite of his disappointment, he gained much experience as the bandmaster (capobanda) in Piacenza and Cremona, arranging and composing over 200 works for wind band. Notable among his "original" compositions for band are the first-ever concerto for euphonium (Concerto per Flicornobasso, 1872), fifteen variations on the Neapolitan song "Carnevale di Venezia", and a series of festive and funeral marches that resound with the pride of the newly unified Italy and the private grief of his fellow Cremonese. The turning point was the big success of the revised version of I promessi sposi in 1872, which brought him a contract with the music publisher G. Ricordi & Co. and the musical establishment at the Conservatory and at La Scala. The ballet Le due gemelle (1873) confirmed his success.

The following opera, I Lituani (The Lithuanians) (1874), was also well received, being performed later at Saint Petersburg (as Aldona - November 20, 1884). His best known opera is La Gioconda, which his librettist Arrigo Boito adapted from the same play by Victor Hugo that had been previously set by Mercadante (Il giuramento, 1837) and Carlos Gomes (Fosca, 1873). It was first produced in 1876 and revised several times. The version that has become so popular today was first given in 1880.

In 1876 he started working on I mori di Valenza (the project dates back to 1873), an opera he never finished, although it was completed later by Arturo Cadore and performed posthumously in 1914.

After La Gioconda, Ponchielli wrote the monumental biblical melodrama in four acts Il figliuol prodigo (Milan, Teatro alla Scala, December 26, 1880) and Marion Delorme, from another play by Victor Hugo (Milan, Teatro alla Scala, March 17, 1885). In spite of their rich musical invention, neither of these operas met with the same success but both exerted great influence on the composers of the rising generation, like Puccini, Mascagni and Giordano.

In 1881, Ponchielli was appointed maestro di cappella of the Bergamo Cathedral, and from the same year he was a professor of composition at the Milan Conservatory, where among his students were Giacomo Puccini, Emilio Pizzi, and Pietro Mascagni.

He died in Milan and was interred there in the Cimitero Monumentale.

Legacy

Although in his lifetime Ponchielli was very popular and influential, in introducing an enlarged orchestra and more complex orchestration, the only one of his operas regularly performed today is La Gioconda. It contains the great tenor romanza "Cielo e mar", a superb duet for tenor and baritone "Enzo Grimaldo" [1], the soprano set-piece "Suicidio!" and the ballet music "The Dance of the Hours", known even to the non-musical from its use in Walt Disney's Fantasia (1940), Alan Sherman's novelty song, "Hello Muddah, Hello Fadduh", and other popular works.

See also

References

  1. ^ Faulkner, Anne Shaw: What we hear in music, p.542, Kessinger Publishing (2005) ISBN 1419168053

Bibliography

  • Kaufman: Annals of Italian Opera: Verdi and his Major Contemporaries; Garland Publishing, New York and London, 1990. (contains premiere casts and performance histories of Ponchielli's operas)
  • Budden, Julien (1992), 'Ponchielli, Amilcare' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7
  • Various authors: Amilcare Ponchielli; Nuove Edizioni, Milan, 1985
  • Various authors: Amilcare Ponchielli 1834-1886, Cremona, 1984
  • Sirch-Howey: The Doctrine of a Critical Edition of the Band Music of Amilcare Ponchielli (http://philomusica.unipv.it/annate/2004-5/saggi/sirchhowey/index.html)

External links


1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

AMILCARE PONCHIELLI (1834-1886), Italian musical composer, was born near Cremona on the 1st of September 1834. He studied at the Milan Conservatoire. His first dramatic work, written in collaboration with two other composers, was Il Sindaco Babbeo (1851). After completing his studies at Milan he returned to Cremona, where his opera I Promessi sposi was produced in 1856. This was followed by La Savojarda (1861, produced in a revised version as Lina in 1877), Roderigo, re dei Goti (1864), and La Stella del monte (1867). A revised version of I Promessi sposi, which was produced at Milan in 1872, was his first genuine success. After this came a ballet, (1873), and an opera, I Lituani (1874, produced in a revised version as Alduna in 1884). Ponchielli reached the zenith of his fame with La Gioconda (1876), written to a libretto founded by Arrigo Boito upon Victor Hugo's tragedy, Angelo, Tyran de Padoue. La Gioconda was followed by Il Figliuol prodigo (1880) and Marion Delorme (1885). Among his less important works are Il Parlatore eterno, a musical farce (1873), and a ballet, Clarina (1873). In 1881 Ponchielli was made maestro di cappella of Piacenza Cathedral. His music shows the influence of Verdi, but at its best it has a distinct value of its own, and an inexhaustible flow of typically Italian melody. His fondness for fanciful figures in his accompaniments has been slavishly imitated by Mascagni, Leoncavallo, and many of their contemporaries. Ponchielli died at Milan on the r 7th of January 1886.


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