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297:, who examined several such works, testifies that Jommelli's piece, though being just "a rigid school work", could well rank among the best admission pieces now stored in the Bolognese Accademia Filarmonica. During the early 1740s he wrote an increasing amount of religious music, mainly oratorios, and his first liturgical piece still extant, a very simple "Lætatus sum" in F major dated 1743, is part of the Santini collection in
268:, presented in the Roman Teatro Argentina in January 1740, brought him to the attention and then the protection of the Duke of York, Henry Benedict. The duke would later be raised to the rank of cardinal and procure Jommelli an appointment at the Vatican. During the 1740s, Jommelli wrote operas for many Italian cities: Bologna, Venice, Turin, Padua, Ferrara, Lucca, Parma, Naples and Rome.
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lists as being composed for Venice are to be found four oratorios: "Isacco figura del
Redentore", "La Betulia liberata", "Joas" and "Juda proditor"; some numbers in a collection of solo motets called "Modulamina Sacra"; one Missa breve in F major with a Credo in D major, probably a second Mass in G
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said that
Jommelli studied with Martini, and claimed to have learned with him "the art of escaping any anguish or aridity". Nonetheless, his constant travelling to produce his many operas seems to have prevented him from ever taking composition lessons on a regular basis. Moreover, his relationship
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Although two of his earliest biographers, Mattei and
Villarosa, give 1748 as the year when Jommelli gave up his employment in Venice, his last compositions for the Incurabili are from 1746. He must have left Venice at the very end of 1746 or at the beginning of the following year, because on 28
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to the
Ospedale degl' Incurabili in Venice is not definitively documented. But in 1745, he did start writing religious works for the women's choir of the church of the Incurabili, San Salvatore, as part of his obligations as chapel master along with teaching the more advanced students of the
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by
Metastasio. These tended to concentrate more on the story and drama of the opera than on flashy technical displays by the singers, as was the norm in Italian opera at that time. He wrote more ensemble numbers and choruses, and, influenced by French opera composers such as
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institution. There are no manuscripts of
Jommelli's music composed for the Incurabili, but there are many copies of different versions of several of his works that may, with some certainty, be attributed to his period as maestro there. Among the music
492:) in a much more prominent way to depict what was going on in the story, including passages for orchestra alone, rather than consigning it to merely support for the singers. From Hasse, he learned to write orchestrally accompanied
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to Rome in 1749, a year-long commemoration celebrated by the Roman
Catholic Church every fifty years, so this was an important occasion for the Roman aristocracy to show off. Jommelli was summoned by the Cardinal Duke of York,
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in
Stuttgart in 1753. This period saw some of his greatest successes, including the composition of what are regarded as some of his best works. Many were staged at the Duke's private theatres in the Palace of
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of that city, as application for admission, his first known sacred composition, a five-voice fugue a cappella on the final words of the small doxology, "Sicut erat". Musicologist
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January 1747 Jommelli was staging at the
Argentina theatre in Rome his first version of "Didone abbandonata", and in May at San Carlo in Naples a second version of "Eumene".
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in Venice, one of that city's colleges for female musicians. This full-time employment required him to compose sacred music (mostly settings of the
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with
Martini was not without mutual criticism. The main result of his stay in Bologna and his association with Martini was to present to the
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recitative to increase the tension at certain dramatic moments in his operas. Speaking of obbligato recitative for
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and other sacred works, but by far the most important part of his output were his operas, particularly his
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in 1771 which partially paralyzed him, but continued to work until his death three years later, in Naples.
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Requiem, Coro e Orchestra Ghislieri conducted by Giulio Prandi (studio recording, 2019), Arcana Label
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Some time around 1745, Hasse recommended Jommelli for a position as the Director of Music at the
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and was of some help to him in his elder years, and three sisters. His father was a prosperous
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L'Italie il y a cent ans, ou lettres écrites d'Italie à quelques amis en 1739 et 1740
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Six trio sonatas, played by the Accademia Farnese (Oct. 20, 1997), Mondo Musica label
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and France, he was responsible for certain operatic reforms including reducing
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Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in
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in preparing for the Jubilee festival year that brought both Jommelli and
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Shortly after his time in Bologna, Jommelli moved to Venice and composed
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749:(Ferrara, 1744; later in Bologna and Venice) – libretto by Metastasio
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rather than just "secco" recitatives for voice and continuo (mainly
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Istituto Internazionale per lo studio del '700 musicale napoletano
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per 4 voci, coro e strumenti (Rome, 1743) – libretto by Metastasio
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in G minor for 5 voices (SSATB), choir and continuo, HC1.23 (1750)
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still played annually in Rome, and who presented him to Cardinal
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in D for Soprano, Alto, Tenor, Bass, Choir and Orchestra (1766)
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It was the need of an active chapel master for the basilica of
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Jommelli finds a place among the composers commemorated on the
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recitative was better than anything he had heard in France.
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When this proved successful, he was enrolled in 1725 at the
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797:(Vienna, 1749; much later in Rome) – libretto by Metastasio
98:; 10 September 1714 – 25 August 1774) was an Italian
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1102:(Naples, 1770) – libretto by Francesco Saverio de' Rogati
785:(Rome, 1747; later in Stuttgart) – libretto by Metastasio
1014:(Ludwigsburg, 1763) – libretto by Giampiero Tagliazucchi
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into his work. He used the orchestra (particularly the
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He subsequently visited Vienna before taking a post as
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merchant, who entrusted him for musical instruction to
1032:(Stuttgart, 1764) – libretto by Giampiero Tagliazucchi
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in G minor for 2 sopranos, strings and continuo (1774)
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The Church Music of Davide Perez and Niccolò Jommelli
779:(Venice, 1746) – libretto by Jacopo Antonio Sanvitale
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1094:(Ludwigsburg, 1768) – libretto by Gaetano Martinelli
1050:(Ludwigsburg, 1766) – libretto by Gaetano Martinelli
832:(Rome, 1751) – libretto by Giacomo Francesco Bussani
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in D for 2 sopranos, alto and tenor (1751, for Rome)
883:(Stuttgart, 1753) – libretto by Leopoldo de Villati
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639:per 4 voci (Venice, 1749) – libretto by Metastasio
276:When in Bologna in 1741 for the production of his
139:, a town some 24 kilometres (15 mi) north of
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516:Trio Sonata in D for 2 Flutes and Cello (c. 1750)
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719:(Venice, 1742) – libretto by Francesco Silvani
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930:(Stuttgart, 1755) – libretto by Mattia Verazi
859:(Rome, 1751) – libretto by Gaetano Roccaforte
847:(Palermo, 1751) – libretto by Antonio Palomba
763:(Rome, 1746) – libretto by Gaetano Roccaforte
596:in E minor for 8 voices (1753, for Stuttgart)
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990:(Mannheim, 1760) – libretto by Mattia Verazi
942:(Rome, 1757) – libretto by Giovacchino Pizzi
877:(Turin, 1753) – libretto by Agostino Piovene
791:(Naples, 1748) – libretto by Antonio Palomba
143:. He had one brother, Ignazio, who became a
713:(Bologna, 1742) – libretto by Apostolo Zeno
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106:. Along with other composers mainly in the
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1180:, conducted by Bernius (1997), Orfeo label
1174:, conducted by Bernius (1994), Orfeo label
1116:(Naples, 1771) – libretto by Mattia Verazi
996:(Stuttgart, 1761) – libretto by Metastasio
978:(Stuttgart, 1759) – libretto by Metastasio
912:(Stuttgart, 1754) – libretto by Metastasio
889:(Stuttgart, 1753) – libretto by Metastasio
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1273:International Music Score Library Project
1159:, Carlo Ipata (2010), Hyperion CDA 67784
853:(Spoleto, 1751) – libretto by Metastasio
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167:Conservatorio di Santo Onofrio a Capuana
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1140:(Naples, 1774) – libretto by Metastasio
1128:(1771) – libretto by Gaetano Martinelli
948:(Naples, 1757) – libretto by Metastasio
631:(Venice, 1745) – libretto by Metastasio
513:Sonata in C for Organ 4-Hands (c. 1750)
158:Muzzillo, the director of the choir of
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809:(Parma, 1749) – libretto by Metastasio
731:(Padua, 1743) – libretto by Metastasio
692:(Turin, 1741) – libretto by Metastasio
183:Conservatorio della Pietà dei Turchini
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803:(Rome, 1749) – libretto by Metastasio
578:(Psalm 51) in G a 4 concertato (1749)
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529:in Eb for Organ, Op. 5/13 (c. 1764)
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1247:. Curitiba: DeArtes-UFPR, 2008.
773:, 1746) – libretto by Metastasio
743:, 1744) – libretto by Metastasio
600:Pietà, pietà, Signore (Miserere)
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1284:Free scores by Niccolò Jommelli
1269:Free scores by Niccolò Jommelli
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1447:18th-century Italian composers
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1190:L'uccelatrice e il Don Narciso
1184:L'uccelatrice e il Don Narciso
897:L’uccelatrice e il Don Narciso
821:L’uccelatrice e il Don Narciso
683:(Bologna, 1741) – libretto by
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823:(Venice, 1751) – libretto by
698:(Venice, 1741) – libretto by
653:(Naples, 1737) – libretto by
225:, the Cardinal-Duke of York.
185:, where he was trained under
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1462:Italian male opera composers
1288:Choral Public Domain Library
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895:(Paris, 1753) – revision of
613:Isacco, figura del Redentore
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252:His first opera, the comedy
240:says that Jommelli's use of
126:Portrait of Niccolò Jommelli
16:Italian composer (1714–1774)
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1467:Neapolitan school composers
1346:Giovanni Battista Pergolesi
838:(Rome, 1751) – libretto by
674:(Rome, 1741) – libretto by
310:Isacco figura del Redentore
95:[nikkoˈlɔjomˈmɛlli]
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1153:Neapolitan Flute Concertos
1068:Il matrimonio per concorso
1048:Il matrimonio per concorso
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393:La passione di Gesù Cristo
272:Studies with Padre Martini
258:Giovanni Battista d'Avalos
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213:in late 1738. His first
118:Biographical information
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690:Semiramide riconosciuta
572:(Psalm 122) in F (1743)
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1376:Gian Francesco de Majo
1030:La pastorella illustre
547:(Requiem) in Eb (1756)
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1351:Francesco Provenzale
1138:Il trionfo di Clelia
1074:Il cacciatore deluso
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482:Jean-Philippe Rameau
295:Karl Gustav Fellerer
266:Ricimero rè de' Goti
1406:Johann Adolph Hasse
1120:L'amante cacciatore
1113:Ifigenia in Tauride
1092:La schiava liberata
1082:(Ludwigsburg, 1768)
1070:(Ludwigsburg, 1766)
1056:(Ludwigsburg, 1766)
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887:La clemenza di Tito
789:L'amore in maschera
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341:maestro di cappella
219:Ricimero re di Goti
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1411:Domenico Scarlatti
1396:Giovanni Paisiello
1249:(via Google Books)
1243:Maurício Dottori.
1224:Charles de Brosses
1172:Didone abbandonata
1166:Armida abbandonata
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1012:Il trionfo d'amore
1000:L'isola disabitata
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199:Johann Adolf Hasse
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988:Cajo Fabrizio
986:
983:
980:
977:
974:
971:
968:
965:
962:
959:
956:
953:
950:
947:
944:
941:
938:
935:
932:
929:
926:
923:
920:
918:(Milan, 1754)
917:
914:
911:
910:
906:
903:
900:
898:
894:
891:
888:
885:
882:
879:
876:
873:
870:
867:
864:
861:
858:
855:
852:
849:
846:
843:
841:
840:Mattia Verazi
837:
834:
831:
828:
826:
825:Carlo Goldoni
822:
818:
815:
814:Don Trastullo
811:
808:
805:
802:
799:
796:
793:
790:
787:
784:
781:
778:
775:
772:
768:
765:
762:
761:
757:
754:
751:
748:
745:
742:
738:
737:
733:
730:
727:
724:
721:
718:
715:
712:
709:
706:
705:Don Chichibio
703:
701:
700:Apostolo Zeno
697:
694:
691:
688:
686:
682:
679:
677:
676:Antonio Salvi
673:
670:
667:
664:
661:
658:
656:
652:
649:
648:
638:
637:
633:
630:
629:
625:
622:
621:
617:
614:
611:
610:
601:
598:
595:
592:
589:
586:
583:
580:
577:
574:
571:
568:
565:
562:
561:
552:
549:
546:
543:
542:
533:
532:
528:
525:
524:
515:
512:
511:
508:Chamber music
505:
503:
499:
495:
491:
487:
484:, introduced
483:
478:
474:
473:
468:
464:
454:
452:
448:
447:
442:
441:
436:
432:
428:
424:
419:
415:
414:Kapellmeister
405:
403:
399:
395:
394:
389:
385:
380:
376:
366:
359:
358:Opéra Garnier
354:
350:
347:
342:
337:
335:
334:Divine Office
331:
327:
317:
315:
311:
307:
302:
300:
296:
292:
287:
283:
282:Padre Martini
279:
269:
267:
263:
259:
255:
245:
243:
239:
235:
231:
226:
224:
220:
216:
212:
208:
204:
200:
196:
192:
188:
184:
180:
179:Francesco Feo
176:
172:
171:Ignazio Prota
168:
163:
161:
157:
153:
149:
146:
142:
138:
124:
115:
113:
109:
105:
101:
96:
88:
79:
75:
71:
61:
57:
53:
40:
36:
32:
27:
20:
1380:
1341:Leonardo Leo
1290:(ChoralWiki)
1244:
1227:
1219:
1198:
1189:
1183:
1177:
1171:
1165:
1157:Auser Musici
1152:
1137:
1131:
1125:
1122:(Rome, 1771)
1119:
1111:
1105:
1097:
1091:
1085:
1079:
1073:
1067:
1059:
1053:
1047:
1041:
1035:
1029:
1023:
1017:
1011:
1005:
999:
993:
987:
981:
975:
969:
963:
957:
951:
945:
939:
933:
927:
921:
915:
907:
901:
896:
892:
886:
880:
874:
871:(Rome, 1753)
868:
865:(Rome, 1752)
862:
856:
850:
844:
835:
829:
820:
816:(Rome, 1749)
813:
806:
800:
794:
788:
782:
776:
766:
758:
752:
746:
734:
728:
722:
716:
710:
707:(Rome, 1742)
704:
695:
689:
680:
671:
668:(Rome, 1740)
665:
659:
650:
634:
626:
618:
612:
599:
593:
587:
581:
575:
570:Laetatus sum
569:
563:
550:
544:
526:
470:
460:
444:
438:
411:
391:
390:'s oratorio
379:Davide Perez
372:
363:
340:
338:
323:
313:
309:
305:
303:
277:
275:
265:
261:
253:
251:
248:First operas
241:
233:
229:
227:
218:
210:
206:
194:
187:Niccolò Fago
175:Tomaso Prota
164:
134:
86:
85:
64:(1774-08-25)
1437:1774 deaths
1432:1714 births
1199:Il Vologeso
1178:Il Vologeso
1061:Il Vologeso
994:L'Olimpiade
952:Tito Manlio
946:Temistocle
902:Don Falcone
893:Il paratajo
819:Intermezzo
812:Intermezzo
777:Tito Manlio
723:Tito Manlio
498:harpsichord
494:recitatives
472:opere serie
446:opera seria
440:opera buffa
423:Ludwigsburg
375:St. Peter's
215:opera seria
203:opere buffe
189:, with Don
1426:Categories
1206:References
1146:Recordings
1106:Demofoonte
1054:La critica
1036:Temistocle
1018:Demofoonte
916:Lucio Vero
851:Ipermestra
760:Cajo Mario
729:Demofoonte
717:Semiramide
685:Metastasio
672:Astianatte
564:Beatus vir
435:grand tour
388:Metastasio
173:alongside
131:Early life
112:ornateness
77:Occupation
44:1714-09-10
1211:Citations
970:Endimione
875:Bajazette
801:Artaserse
753:Sofonisba
607:Oratorios
566:(c. 1750)
467:oratorios
242:obbligato
230:obbligato
145:Dominican
940:Il Creso
934:Penelope
857:Talestri
807:Demetrio
767:Antigono
594:Miserere
588:Miserere
582:Miserere
576:Miserere
527:Ciaccona
477:libretti
463:cantatas
416:to Duke
332:and the
234:Ricimero
100:composer
91:Italian:
80:Composer
1286:in the
1275:(IMSLP)
1271:at the
1237:Sources
1080:Fetonte
976:Nitteti
881:Fetonte
741:Ferrara
660:Odoardo
486:ballets
431:Leopold
360:, Paris
299:Münster
262:Odoardo
211:Odoardo
102:of the
711:Eumene
696:Merope
644:Operas
615:(1742)
558:Psalms
539:Masses
451:stroke
427:Mozart
320:Venice
306:Merope
141:Naples
137:Aversa
70:Naples
52:Aversa
771:Lucca
457:Works
156:Canon
152:linen
148:friar
958:Ezio
681:Ezio
504:'s.
369:Rome
330:Mass
312:and
278:Ezio
177:and
59:Died
38:Born
162:.
1428::
1226:,
1155:,
465:,
404:.
316:.
301:.
284:.
236:,
217:,
205:,
1317:e
1310:t
1303:v
769:(
739:(
89:(
46:)
42:(
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