Italian songwriters of the 20th century. Great composers of the world
Italian composers of the 18th century
R.K. Are you interested in the current revival Italian masters XVIII century?
I.S. Not really. Vivaldi was overrated - a boring person who could reuse the same form over and over. And despite my preference for Galuppi and Marcello (due more to Vernon Lee's 18th Century Studies in Italy than to their music), they are weak composers. As for Cimarosa, I always expect him to drop his four times four and turn into Mozart, and when that doesn't happen, I get more annoyed than if Mozart weren't there at all. I have deep respect for Caldar, since Mozart transcribed seven of his canons, but I know little of his music. Pergolesi? "Pulcinella" is the only "his" thing that I like. Another thing is Scarlatti, but even he did little to diversify the form.
Having spent part of the last two years in Venice, I have often heard this music. On the occasion of Goldoni's jubilee, many operas based on his stories were staged. I've always regretted not being able to fully appreciate Goldoni, with or without music - I don't understand his language - but I'm more interested in Goldoni than the musicians who wrote to his lyrics. However, in the theater of La Fenice or Chiostro Verde Sant Giorgio, everyone likes it a little more than anywhere else.
From Venetian music - this much richer and closer period to us - I would like to revive Monteverdi, the two Gabriels, Cipriano and Villart and many others - after all, even the great Obrecht was at one time a Venetian. True, last year I heard a concert of Giovanni Gabrieli - Giovanni Croce there, but almost nothing remained of the spirit of their music. The tempos were wrong, the melismas were missing or played incorrectly, the style and feeling were three and a half centuries ahead of their time, and the orchestra was eighteenth century. When will they finally understand that the main thing in the performance of Gabrieli's music is rhythm, and not harmony? When will they stop trying to extract choral effects from simple changes in harmony and will discover, articulate his wonderful rhythmic inventions? Gabrieli is a rhythmic polyphony. (I)
From the book Reader in Philosophy author Radugin A. A.Topic 7. Rationalism of the Age of Enlightenment and metaphysical materialism of the 18th century F. M. A. WOLTER… Whatever efforts I make in favor of my doubts, I am more convinced of the existence of bodies than of most geometric truths. It may seem strange, but I
From the book Philosophy: A Textbook for Universities author Mironov Vladimir VasilievichChapter 2. Philosophy in Russia XVIII century From the end of the XVII - beginning of the XVIII century. came new stage in the history of Russia. It was marked primarily by the objectively overdue transformations carried out by Peter I, which opened the way to the Europeanization of the country. Ideological rationale
From the book Discourses on Religion, Nature and Reason author Le Bovier de Fontenelle BernardFOREWORD At the Origins of the French Enlightenment of the 18th Century Among the great thinkers who prepared the French Enlightenment of the 18th century, important place owned by Bernard Le Bovier de Fontenelle. The multifaceted, talented and visionary Fontenelle did a lot for
From the book Volume 14 author Engels FriedrichVI. INFANTRY OF THE 18TH CENTURY Along with the displacement of the pike from the equipment of the infantry, all types of protective weapons disappeared, and from now on this branch of the army consisted of only one type of soldier armed with a flintlock gun with a bayonet. This change culminated in the early years of the Spanish War.
From the book The Problem of Personality in the Philosophy of Classical Anarchism the author Ryabov Petr From the book Fundamentals of Philosophy author Babaev YuriKant - 18th century thinker and founder philosophical problems XIX
From the book Dialogues Memories Reflections author Stravinsky Igor FyodorovichFrench composers R.K. Do you continue to be enthusiastic about Gounod, Messager and Lecoq? What does the juxtaposition of Gounod and Bizet tell you? I. S. Please, please. I had a certain predilection for Lecoq during the Mavra period and composed one melody "in memory of him"
From the book Cheat Sheets on Philosophy author Nyukhtilin Viktor7. Philosophy of the French Enlightenment of the 18th century and its representatives ENLIGHTENMENT is a socio-political movement Western Europe XVII-XVIII centuries, which wanted to correct the shortcomings of the social order by popularizing scientific knowledge and distribution
From the book From Spinoza to Marx author Lunacharsky Anatoly VasilievichMarx and Engels on French materialism of the 18th century recent times one may fear some displacement of Marxism with light hand Plekhanov towards the materialism of the 18th century, which led to an underestimation of the colossally important new ideas introduced into materialism by Marx.
From the book Philosophy: Lecture Notes author Olshevskaya NatalyaRussian Enlighteners II half of XVIII century To understand the philosophical process in Russia in terms of content great importance has a tracing of the concept and issues sequentially through several historical periods. They gave rise to various
From the book Philosophy. cheat sheets author Malyshkina Maria Viktorovna83. Areas of Philosophical Interests of Russian Enlighteners of the Second Half of the 18th Century
From the book Volume 26, part 2 author Engels FriedrichSmith's "in passing" theory that bread creates its own demand for itself, etc. (155) is a theory, with
From the book History secret societies, unions and orders the author Schuster Georg From the book The Idea of the State. Critical experience of the history of social and political theories in France since the revolution by Michel HenriTHE TRANSFORMATIONAL PHILOSOPHY OF THE 18TH CENTURY AND THE THEORY OF ENLIGHTENED DESPOTISM
From the author's bookHOW INDIVIDUALISTS IN THE 18TH CENTURY UNDERSTAND THE RELATIONSHIP OF THE INDIVIDUAL AND THE STATE In the era of administrative monarchy, the problem of the relationship of the individual to the state did not exist, because the state then had all rights, and only rights.
From the author's bookCHAPTER ONE THE TRANSITION OF INDIVIDUALISM IN THE 18TH CENTURY INTO THE 19TH CENTURY The individualistic politics of the 19th century are connected with the 18th century by three books, widely differing in manner and character: A Commentary on the Spirit of the Laws by Destu de Tracy, An Essay on the Guarantees of the Person to the Don and
There was a strong community between Russia and Italy in almost all branches of culture and art; it brought us closer and made us family. Many Russian composers and writers visited Italy at least once in their lives. Let's take a look at some of the biggest ones.
Glinka M. (1804-1857)
Another one of our compatriots, in love with Italy, to whom the Italians, in turn, reciprocated ... In 1830, he came to Italy to study "bel canto". Here he became friends with the Italian composers Bellini and Donizetti.
Glinka's creative heritage includes the opera "Venetian Night", the piece for piano "Capriccio" and many romances, the writing of which was inspired by Italian serenades. The most famous opera Glinka is dedicated to Ivan Susanin, who saved Moscow from the Polish invaders.
Tchaikovsky P. (1840-1893)
An outstanding composer, master symphonist, musical playwright, Pyotr Ilyich Tchaikovsky came to Italy so often and worked there so fruitfully that he is rightfully considered a "Russian Italian". Among the many beautiful works that he created, I would like to highlight those that were written in Florence: "Eugene Onegin" (1878), "Maid of Orleans" (1879), "Italian Capriccio" (1880). Ten years later, he returned to Florence again and, while living in the Washington Hotel, wrote the famous " queen of spades”(1890), and upon returning to Russia - the string sextet “Memories of Florence” (1892). Italy inspired the composer to create a suite for the famous ballet The Nutcracker.
Igor Stravinsky (1882-1971)
Composer and conductor Igor Stravinsky, buried in Venice. Living in America and traveling around the world, the outstanding composer and conductor Igor Stravinsky periodically came to Italy, which he loved so much that he expressed a desire to be buried in Venice on the island of San Michele, where the ashes of his friend, the great choreographer Sergei Diaghilev, rested. last will the great musician was performed. The coffin with his body, which arrived from New York, was met with a magnificent ceremony. The poet Joseph Brodsky was also present, who, watching the ashes of the great musician being carried on a gondola in the direction of the island of San Michele, sadly joked: “Here is the Grand Canal, Stravinsky went there ...” A quarter of a century later, Brodsky also rested next to Stravinsky... All long life composer and conductor Igor Stravinsky (he lived for 90 years) took place at a frantic pace. He fruitfully collaborated with the choreographer Sergei Diaghilev, commissioned by whom he wrote one of his the best works- ballet-tale "The Firebird" (1910). Among famous works Stravinsky's ballets "Petrushka", "Pulcinella", the opera "Oedipus Rex". In the center of Rome, on Via del Popolo, in the Hotel De Ruci there is an elegant cafe Stravinsky, which once again testifies to the great popularity of the Russian composer among Italians...
Italy was visited by many singers - the "golden voices" of Russia, but the most famous of them, of course, was Fedor Ivanovich Chaliapin.
Fyodor Ivanovich Chaliapin. (1873-1938)
You know everything about him, so we confine ourselves to mentioning two unforgettable evenings at the La Scala theater in Milan. The first took place in 1901, when Chaliapin performed the part of Mephistopheles in the opera of the same name (Toscanini conducted, Caruso performed the part of Faust), the second - in 1909, when he performed main party in the opera "Boris Godunov" (staged by the famous Toscanini). The Italians have the warmest memories of these evenings and the great maestro Chaliapin. Even Toscanini, who was famous for his bad temper, admitted that for the first time in his long career he worked in wondrous harmony with opera singer; Toscanini considered his talent outstanding and unique. You know that Chaliapin's first wife was an Italian ballerina, her name was Iola Tornaghi, that they had six children. After the divorce, the wife took the children to her homeland. One of Chaliapin's sons, Boris, became an artist, visited Gorky in Sorrento, the other, Fyodor, worked as an actor in one of the Roman theaters.
Pasternak B. (1890-1960)
Did you know that B. Pasternak's novel Doctor Zhivago was first published in Italian in Milan in 1957? Sometimes this or that work of a writer or poet becomes famous first abroad, and then in his own country. So it was with Boris Pasternak, whose novel Doctor Zhivago was first published in Italian in Milan in 1957. Italy was his favorite European country, in 1912 he lived for several months in Venice, which captivated him with its beauty: “I was lucky to learn that day after day I can go on a date with a piece of built-up space, as with a living person” ... In 1958, Pasternak became a laureate Nobel Prize, but the novel "Doctor Zhivago", beloved by foreign readers and filmed back in 1965, was published in the USSR only 30 years later (!) - in 1988 !!!
To the question: “Which Russian writers do you know?”, Italians call Fyodor Dostoevsky.
Dostoevsky F. (1821 - 1881)
Touching love for the Russian master of fine psychological analysis is quite understandable: the Italians are not only well acquainted with his work, but also consider it “their own” also because Fyodor Mikhailovich spent almost 5 years in Florence, where he rented an apartment next to Palazzo Pitti and where he wrote the novels “The Idiot” and “Demons” .
Gogol N. (1809-1852)
Gogol N. is one of the first "Russian Romans", because most spent his life in Rome. He was a Ukrainian, born near the ancient city of Poltava in a noble family. Gogol fell in love with Italy before he saw it for the first time. Gogol's house in Rome was located on the famous Felice Street (Happy Street, now it is Sistina Street). There is no need to list all of his wonderful works, we will limit ourselves only to those written in Italy: “Dead Souls”, a new edition of the comedy “The Inspector General” and the unfinished story “Rome”, where you will find Gogol's story about the arrival in the Eternal City in December 1845 of the Emperor of All Russia Nicholas I. It is simply unbelievable how quickly Gogol mastered Italian language! He was in perfect command colloquial speech and written language, which made it very popular in the Russian-Italian cultural environment.
Gogol was frequent guest in the salon of Zinaida Volkonskaya - another "Russian Roman". Grateful fans erected a monument to Gogol in 2003 in Rome at Villa Borghese. On the pedestal is engraved famous phrase: “I can write about Russia only in Rome ...” In letters to friends, Gogol wrote about Rome and Italy, either with delight, or with passionate longing, or with almost religious awe: “You fall in love with Rome very slowly, little by little - and already for life."
“Oh, Rome, Rome! Apart from Rome, there is no Rome in the world, I wanted to say - happiness and joy, but Rome is more than happiness and joy.
"What air! It seems that as you pull your nose, then at least 700 angels fly into the nasal nostrils. Amazing spring! “If you knew with what joy I left Switzerland and flew to my darling, to my beautiful Italy. She is mine! No one in the world can take her away from me! I was born here…”.
"... the whole of Europe in order to watch, and Italy in order to live."
“Here is my opinion! Who was in Italy, say "forgive" to other lands. Whoever was in heaven will not want to land. In a word, Europe compared to Italy is like a cloudy day compared to a sunny day.
“Oh, Italy! Whose hand will take me out of here? What a sky! What days! Summer is not summer, spring is not spring, but better than spring and summers like in other parts of the world. What an air! I drink, I don’t get drunk, I look, I don’t look enough. In the soul is heaven and paradise. I now have few acquaintances in Rome, or, better, almost no one. But I have never been so cheerful, so satisfied with life.
"... There is no better fate than to die in Rome..."
Kiprensky O. (1782-1836)
A brilliant portrait painter, nicknamed "Russian Van Dyck", an academician of the St. Petersburg and Neapolitan academies of arts, he was also a "Russian Roman" who lived in the capital of Italy for the last 20 years of his life. Kiprensky painted many portraits of Russian and Italian aristocrats and celebrities, the most famous of which is the portrait of A. S. Pushkin. This artist was so popular and loved by the Romans that they brought many legends and anecdotes about him to our days. According to one of them, the king of Bavaria once came to Kiprensky’s workshop and, not finding the master, left him his card signed “King of Bavaria”. Returning, the artist hurried to send his eminent guest his card, on which he wrote: "Orest Kiprensky - King of Artists." He was not only witty, but very kind person. The Romans said that when he left a cafe, he took out the remains of his lunch or dinner to stray dogs, who faithfully waited for him on the street. Kiprensky died in 1836 and was buried in Rome in the famous church of Sant'Andrea delle Fratte. The Academy of Arts paid a pension to his little daughter for several years.
Egorov A. (1776 - 1851)
Egorov A.-Italians nicknamed "Russian Raphael" ... One of the most gifted masters of academic drawing, A. E. Egorov, was awarded the title of "Russian Raphael" by his contemporaries. In 1803, together with other graduates, he ended up in Rome. There were many legends about his stay in Italy. It was said that at the very first visit to the natural class, the Russian artist amazed those present with his skill: he depicted the sitter with lightning speed, sitting at his feet (when Egorov came to the class, everyone convenient places were already busy). Once Yegorov had to stand up for the honor of Russian draftsmen: italian artist declared that a Russian would never be able to depict a human figure the way an Italian would. Egorov took the coal and with the words: “But this is how you know how?” in one stroke drew a man on the wall, beginning with thumb left leg. They say that after this incident, Italian art lovers offered as many gold coins for Yegorov's drawing as they fit on the surface of the drawing. The main place in the work of Egorov is occupied by works on religious themes - icons for St. Petersburg churches and cathedrals. The most famous picture Egorova - "The Torment of the Spaitel" (1814).
Bryullov K. (1799 - 1852)
Bryullov K. - in Rome they called Carlo il Grande ( Great Karl). He was French by birth, but the emperor, appreciating his great talent, granted him Russian citizenship, a Russian surname, and sent him abroad along with other pensioners. Russian Academy arts. Bryullov fully justified the trust by making his contribution to world culture! He lived in Rome almost all creative period his life until his death in 1852. It was in the Italian capital that Bryullov created famous painting: "The Last Day of Pompeii", which was called the most grandiose work visual arts centuries. Unfortunately for the Italians, the painting was bought by Prince Demidov (for 40,000 francs) and sent to St. Petersburg as a gift to Emperor Nicholas I. Somewhat earlier, in 1823, the painting by K. Bryullov “Italian Morning” was presented to the tsar. According to eyewitnesses, Nicholas I put the picture on a chair in his office and admired it for a long time, kneeling. Of course, this could only happen in the beautiful 19th century, when even emperors considered it their duty to kneel before a great work of art.) Karl Bryullov's talent was highly appreciated by his contemporaries: he was awarded the Orders of Vladimir III and IV degrees, was elected professor at the Florentine Academy of Arts. The story of his painting “Diana on the wings of the night”, which the artist painted before his death, is interesting. In this painting, he depicted a place in the non-Catholic cemetery in Rome where he wanted to be buried. His last wish was granted. When, a few years after Bryullov's death, the term of the paid lease of the cemetery plot ended, the state (Italy) paid for this place forever so that Bryullov's grave would be preserved forever.
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Giovanni Sgambati(Italian Giovanni Sgambati; May 28, 1841, Rome - December 14, 1914, ibid) - Italian pianist, conductor and composer.
He grew up in the city of Trevi, where he studied mainly church music (as a singer and choir conductor). In 1860 he returned to Rome, where a year later he met Franz Liszt, who settled here, and, impressed by his game, became his student. Sgambati performed Liszt's works as a pianist, conducted the orchestra accompanying Liszt, and in 1866 directed the performance of Liszt's Dante Symphony as a conductor. In 1869, in connection with the departure of Liszt, Sgambati also left Italy and went to Germany, where he met Richard Wagner and his music. In the 1880s Sgambati toured a lot, including with his own compositions. In 1893, Sgambati headed the Rome Philharmonic; after his death was named after him concert hall philharmonic. For a number of years he led the Queen's Piano Quintet, which performed under the patronage of the Italian Queen Margherita. He also provided significant assistance in the development of the musical career of Francesco Tosti.
In the creative heritage of Giovanni Sgambati - two symphonies, piano concert, a quartet, two piano quintets, songs and a significant number of church music from which the Requiem (1901) stands out. However, almost the famous work Piano arrangements of several numbers from Gluck's opera Orpheus and Eurydice, including the so-called Melody, have remained to Sgambati to this day.
()Music is the art of sounds and each sound in it has its own designation. Note (lat. nōta - “sign”, “mark”) in music is a graphic designation of sound piece of music, one of the main symbols of modern musical notation. Variations in…
How it all began...
The theme was four-bar. It was no different from hundreds of others like it. A common figure in musical rhetoric, a scholastic formula. The formula theme was impassive and enigmatic. Mysterious because, like any theme, it harbored unexplored possibilities - it was a grain from which, under the influence of the composer's creative thought, a magnificent and viable building should grow. It could be multi-tiered and polyphonic, this building, majestic and purposeful, strict in thought, but extravagantly ornamented in external sound. No wonder Signor Maestro Alinovi liked to compare the form of a fugue with the architecture of a Gothic cathedral. "Here and there," he said, "majesty is combined with abundance, the whole ensemble is subordinate to a single thought, sublime and abstract, and the details amaze with the boldness and diversity of true life."
But lately, Maestro Alinovi has rarely had to draw his favorite parallel between the construction of a fugue and the architecture of a Gothic cathedral. The youth was inexperienced in the art of erecting polyphonic buildings. Alas! Alas! The youth had no interest in polyphony. The young men were not taught that the music was there, inside this sometimes seemingly dry and abstract thematic material. They were not told anything about the greatness and strength of the composer's creative will, capable of wresting from any topic musical form grandiose and lively, just as Moses spewed water from a stone, and they were not pointed to examples where the development of musical thought leads to the deepest philosophical generalizations. Maestro Alinovi repeatedly repeated to himself with pain in his heart that this was the case. To find a melody that would win for the singer, a melody that was easy to remember, to be able to embellish this melody as effectively as possible - that's what everyone was striving for. And the most beautiful theme in the hands of composers underwent only a series of external, sometimes violent change and remained a dead formula. For not fertilized by the creative thought of the composer, it could not turn into live music.
()Italian composer Vincenzo Bellini made history musical culture as an outstanding master of bel canto. On the back of one of the gold medals issued during the composer's lifetime in his honor, a brief inscription read: "Creator of Italian melodies." Even the genius of G. Rossini could not overshadow his fame. The extraordinary melodic gift that Bellini possessed allowed him to create original intonations full of secret lyricism, capable of influencing the widest range of listeners.
Bellini's Oboe Concerto is fairly well known and built on the principle opera aria. The oboe here radiates sunny optimism and gentle warmth of Italy.
Concerto for oboe and orchestra in E flat major
Lyrical tragedy by Luigi Cherubini in three acts; libretto by F. B. Offman based on the tragedy of the same name by P. Corneille (which, in turn, goes back to the tragedies of Seneca and Euripides).
"Medea". Anselm Feuerbach (1879)
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Amilcare Ponchielli (August 31, 1834 – January 16, 1886) was an Italian operatic composer.
Born in Paderno Fasolaro (later renamed Paderno Ponchielli) near Cremona. At the age of nine, he won a scholarship to music education at the Milan Conservatory. Already at the age of ten he wrote his first symphony. He received his diploma from the conservatory in 1854. For the next two years, he served as organist in the Cremonese church of Sant Ilario, then as bandmaster of the National Guard in Piacenza ..
In the history of Italian music in the first half of the 20th century. Respighi entered as the author of bright program symphonic works (poems "Roman Fountains", "Pins of Rome").
The future composer was born into a family of musicians. His grandfather was an organist, his father was a pianist, he had Respighi and took his first piano lessons. In 1891-99. Respighi studies at the Music Lyceum in Bologna: playing the violin with F. Sarti, counterpoint and fugue with Dall Olio, composition with L. Torqua and J. Martucci. Since 1899 he has performed in concerts as a violinist. In 1900 he wrote one of his first compositions - "Symphonic Variations" for orchestra.
In 1901, as a violinist in the orchestra, Respighi came on tour to St. Petersburg with an Italian opera troupe. Here is a significant meeting with N. Rimsky-Korsakov. The venerable Russian composer coldly greeted the unfamiliar visitor, but after looking at his score, he became interested and agreed to study with the young Italian. The classes lasted 5 months. Under the direction of Rimsky-Korsakov, Respighi wrote Prelude, Chorale and Fugue for orchestra. This essay became his thesis in the Bologna Lyceum, and his teacher Martucci noted: "Respighi is no longer a student, but a master." Despite this, the composer continued to improve: in 1902 he took composition lessons from M. Bruch in Berlin. A year later, Respighi again visits Russia with the opera troupe, lives in St. Petersburg and Moscow. Having mastered the Russian language, he gets acquainted with interest with artistic life these cities, highly appreciating the Moscow opera and ballet performances with scenery and costumes by K. Korovin and L. Bakst. Ties with Russia do not stop even after returning to their homeland. A. Lunacharsky studied at the University of Bologna, who later, in the 1920s, expressed the wish that Respighi would come to Russia again.
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Leonardo Vinci (Italian) Leonardo Vinci, about 1690, Strongoli - May 27, 1730, Naples) - Italian composer of the Baroque era, a prominent representative of the Neapolitan opera school.
He studied music at the Neapolitan Conservatory Poveri di Gesu Cristo (Conservatorio dei Poveri di Gesù Cristo), where he studied with the composer Gaetano Greco. The Blind Pretender (Lo Cecato fauzo; Naples, 1719) is the first opera in the Neapolitan dialect. The most famous early opera is "Li zite 'n galera" (Naples, 1722; traditionally translated as "Girls in the Galley", but it would be more correct to translate the title as "The Newlyweds on a Boat"). One of the first to use texts by Pietro Metastasio for his operas. In total, he wrote more than 25 operas, including "Cato in Utica" (Rome, 1728; the aria "Confusa, smarrita" is still popular from it) and "Recognized Semiramide" ("Semiramide riconosciuta"; Rome, 1729). He also left works of sacred music (oratorios, cantatas, etc.). "Artaxerxes" ("Artaserse") - the greatest success of the composer (the aria "Vo solcando" is especially popular from there), the fruits of which he could not develop in connection with sudden death. The circumstances of Vinci's death are not clear.
The opera Artaxerxes, resumed today, was first presented to the public on February 4, 1730 at the Teatro delle Dame (not preserved to this day) in Rome. It is noteworthy that after the Roman premiere, Artaxerxes remained in the repertoire of various European theaters for more than 10 years.
()Abraham Bosse - The Five Senses
Antonio Draghi (1634/1635, Rimini - 1700, Vienna, Holy Roman Empire) - Italian composer of the Baroque era.
Antonio Draghi studied in Venice. Started my musical career as a chorister in Padua, in 1657 he first appeared on stage in Venice in the opera La fortuna di Rodope e di Damira.
After moving to Vienna in 1658, he served as court bandmaster and composer for Leopold I, Holy Roman Emperor.
In 1666 he composed his first opera, La Mascherata. He remained in Vienna until his death in 1700.
Draghi was one of the most prolific composers of his time. His contribution to the development Italian opera was especially significant. For Vienna Opera he composed over 170 solemn performances and operas. He also wrote about 50 oratorios, serenades for orchestra and other works.
()Ponchielli's name has been preserved in the history of music, thanks to one opera - La Gioconda - and two students, Puccini and Mascagni, although throughout his life he knew more than one success.
Amilcare Ponchielli is born August 31, 1834 in Paderno Fasolaro near Cremona, the village that now bears his name. The father, the owner of the shop, was a village organist and became the first teacher of his son. At the age of nine, the boy was admitted to the Milan Conservatory. Here Ponchielli studied piano, theory and composition for eleven years (with Alberto Mazzucato). Together with three other students, he wrote an operetta (1851). After graduating from the conservatory, he took on any job - organist in the church of Sant'Hilario in Cremona, bandmaster of the National Guard in Piacenza. However, he always dreamed of a career as an opera composer. Ponchielli's first opera, The Betrothed, based on the famous novel by the greatest Italian writer of the 19th century, Alessandro Manzoni, was staged in his native Cremona when its author had barely crossed the threshold of twenty years. In the next seven years, two more operas were premiered, but the first success came only in 1872, with a new edition of The Betrothed. In 1874, the Lithuanians based on the poem Konrad Wallenrod by the Polish romantic Adam Mickiewicz saw the light of day, the following year the cantata Donizetti's Offering was performed, and a year later the Gioconda appeared, bringing the author a real triumph.
Founded in Bologna music school, from which many good musicians came out, for example: Bononcini, Clari. He wrote psalms, motets, masses. The collection of spiritual writings of the Column was collected by order of Leopold I.
Giovanni Paolo was Kapellmeister of the Church of San Petronio in Bologna, among the founders and repeatedly chairman of the Accademia filarmonica; one of the most prominent Italian church composers 17th century. Many of his works have survived: 3 collections of 8-vowel psalms with organ (1681, 1686, 1694), "Motetti a voce sola con 2 violini e bassetto di viola" (1691), 2-3-vowel motets (1698), litanies and antiphons prst. Virgin Mary (1682), masses (1684), 8-vowel masses, psalms, etc. (1685), completetorias and sequences (1687), 8-vowel lamentations (1689), "Messe e salmi concertati" (1691), 3 -5-vowel psalms of Compline with instruments (1694) and 9 oratorios (1677-90); in addition, three operas by Colonna were staged in Bologna between 1672 and 1692. Many other compositions remained in the manuscript (Vienna, Bologna).
Giovanni Paolo Colonna, Laudate Dominum a tre cori (1672)
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World's Greatest Composers of All Time: Chronological and Alphabetical Listings, References and Works
100 Great Composers of the World
List of composers in chronological order
1. Josquin Despres (1450-1521)
2. Giovanni Pierluigi da Palestrina (1525-1594)
3. Claudio Monteverdi (1567 -1643)
4. Heinrich Schütz (1585-1672)
5. Jean Baptiste Lully (1632-1687)
6. Henry Purcell (1658-1695)
7. Arcangelo Corelli (1653-1713)
8. Antonio Vivaldi (1678-1741)
9. Jean Philippe Rameau (1683-1764)
10. Georg Handel (1685-1759)
11. Domenico Scarlatti (1685 -1757)
12. Johann Sebastian Bach (1685-1750)
13. Christoph Willibald Gluck (1713-1787)
14. Joseph Haydn (1732 –1809)
15. Antonio Salieri (1750-1825)
16. Dmitry Stepanovich Bortnyansky (1751-1825)
17. Wolfgang Amadeus Mozart (1756 –1791)
18. Ludwig van Beethoven (1770 -1826)
19. Johann Nepomuk Hummel (1778 -1837)
20. Nicollo Paganini (1782-1840)
21. Giacomo Meyerbeer (1791 -1864)
22. Carl Maria von Weber (1786 -1826)
23. Gioacchino Rossini (1792 -1868)
24. Franz Schubert (1797 -1828)
25. Gaetano Donizetti (1797 -1848)
26. Vincenzo Bellini (1801-1835)
27. Hector Berlioz (1803 -1869)
28. Mikhail Ivanovich Glinka (1804 -1857)
29. Felix Mendelssohn-Bartholdy (1809 -1847)
30. Fryderyk Chopin (1810 -1849)
31. Robert Schumann (1810 -1856)
32. Alexander Sergeevich Dargomyzhsky (1813 -1869)
33. Franz Liszt (1811 -1886)
34. Richard Wagner (1813 -1883)
35. Giuseppe Verdi (1813 -1901)
36. Charles Gounod (1818 -1893)
37. Stanislav Moniuszko (1819 -1872)
38. Jacques Offenbach (1819 -1880)
39. Alexander Nikolaevich Serov (1820 -1871)
40. Cesar Franck (1822 -1890)
41. Bedrich Smetana (1824 -1884)
42. Anton Bruckner (1824 -1896)
43. Johann Strauss (1825 -1899)
44. Anton Grigorievich Rubinstein (1829 -1894)
45. Johannes Brahms (1833 –1897)
46. Alexander Porfiryevich Borodin (1833 -1887)
47. Camille Saint-Saens (1835 -1921)
48. Leo Delibes (1836 -1891)
49. Mily Alekseevich Balakirev (1837 -1910)
50. Georges Bizet (1838 -1875)
51. Modest Petrovich Mussorgsky (1839 -1881)
52. Pyotr Ilyich Tchaikovsky (1840 -1893)
53. Antonin Dvorak (1841 -1904)
54. Jules Massenet (1842 -1912)
55. Edvard Grieg (1843 -1907)
56. Nikolai Andreevich Rimsky-Korsakov (1844 -1908)
57. Gabriel Fauré (1845 -1924)
58. Leos Janacek (1854 -1928)
59. Anatoly Konstantinovich Lyadov (1855 -1914)
60. Sergei Ivanovich Taneev (1856 -1915)
61. Ruggero Leoncavallo (1857 -1919)
62. Giacomo Puccini (1858 -1924)
63. Hugo Wolf (1860 -1903)
64. Gustav Mahler (1860 -1911)
65. Claude Debussy (1862 -1918)
66. Richard Strauss (1864 -1949)
67. Alexander Tikhonovich Grechaninov (1864 -1956)
68. Alexander Konstantinovich Glazunov (1865 -1936)
69. Jean Sibelius (1865 -1957)
70. Franz Lehár (1870–1945)
71. Alexander Nikolaevich Skryabin (1872 -1915)
72. Sergei Vasilyevich Rachmaninov (1873 -1943)
73. Arnold Schoenberg (1874 -1951)
74. Maurice Ravel (1875 -1937)
75. Nikolai Karlovich Medtner (1880 -1951)
76. Bela Bartok (1881 -1945)
77. Nikolai Yakovlevich Myaskovsky (1881 -1950)
78. Igor Fedorovich Stravinsky (1882 -1971)
79. Anton Webern (1883 -1945)
80. Imre Kalman (1882 -1953)
81. Alban Berg (1885 -1935)
82. Sergei Sergeevich Prokofiev (1891 -1953)
83. Arthur Honegger (1892 -1955)
84. Darius Millau (1892 -1974)
85. Carl Orff (1895 -1982)
86. Paul Hindemith (1895 -1963)
87. George Gershwin (1898–1937)
88. Isaak Osipovich Dunayevsky (1900 -1955)
89. Aram Ilyich Khachaturian (1903 -1978)
90. Dmitry Dmitrievich Shostakovich (1906 -1975)
91. Tikhon Nikolaevich Khrennikov (born in 1913)
92. Benjamin Britten (1913 -1976)
93. Georgy Vasilievich Sviridov (1915 -1998)
94. Leonard Bernstein (1918 -1990)
95. Rodion Konstantinovich Shchedrin (born in 1932)
96. Krzysztof Penderecki (b. 1933)
97. Alfred Garievich Schnittke (1934 -1998)
98. Bob Dylan (b. 1941)
99. John Lennon (1940-1980) and Paul McCartney (b. 1942)
100. Sting (b. 1951)
MASTERPIECES OF CLASSICAL MUSIC
The most famous composers in the world
List of composers in alphabetical order
| N | Composer | Nationality | Direction | Year |
| 1 | Albinoni Tomaso | Italian | Baroque | 1671-1751 |
| 2 | Arensky Anton (Antony) Stepanovich | Russian | Romanticism | 1861-1906 |
| 3 | Baini Giuseppe | Italian | Church Music - Renaissance | 1775-1844 |
| 4 | Balakirev Mily Alekseevich | Russian | "Mighty handful" - nationally oriented Russian music school | 1836/37-1910 |
| 5 | Bach Johann Sebastian | Deutsch | Baroque | 1685-1750 |
| 6 | Bellini Vincenzo | Italian | Romanticism | 1801-1835 |
| 7 | Berezovsky Maxim Sozontovich | Russian-Ukrainian | Classicism | 1745-1777 |
| 8 | Beethoven Ludwig van | Deutsch | between classicism and romanticism | 1770-1827 |
| 9 | Bizet Georges | French | Romanticism | 1838-1875 |
| 10 | Boito (Boito) Arrigo | Italian | Romanticism | 1842-1918 |
| 11 | Boccherini Luigi | Italian | Classicism | 1743-1805 |
| 12 | Borodin Alexander Porfiryevich | Russian | Romanticism - "The Mighty Handful" | 1833-1887 |
| 13 | Bortnyansky Dmitry Stepanovich | Russian-Ukrainian | Classicism - Church music | 1751-1825 |
| 14 | Brahms Johannes | Deutsch | Romanticism | 1833-1897 |
| 15 | Wagner Wilhelm Richard | Deutsch | Romanticism | 1813-1883 |
| 16 | Varlamov Alexander Egorovich | Russian | Russian folk music | 1801-1848 |
| 17 | Weber (Weber) Carl Maria von | Deutsch | Romanticism | 1786-1826 |
| 18 | Verdi Giuseppe Fortunio Francesco | Italian | Romanticism | 1813-1901 |
| 19 | Verstovsky Alexey Nikolaevich | Russian | Romanticism | 1799-1862 |
| 20 | Vivaldi Antonio | Italian | Baroque | 1678-1741 |
| 21 | Villa-Lobos Heitor | Brazilian | Neoclassicism | 1887-1959 |
| 22 | Wolf-Ferrari Ermanno | Italian | Romanticism | 1876-1948 |
| 23 | Haydn Franz Joseph | Austrian | Classicism | 1732-1809 |
| 24 | Handel Georg Friedrich | Deutsch | Baroque | 1685-1759 |
| 25 | Gershwin George | American | - | 1898-1937 |
| 26 | Glazunov Alexander Konstantinovich | Russian | Romanticism - "The Mighty Handful" | 1865-1936 |
| 27 | Glinka Mikhail Ivanovich | Russian | Classicism | 1804-1857 |
| 28 | Glier Reinhold Moritzevich | Russian and Soviet | - | 1874/75-1956 |
| 29 | Gluk Christoph Willibald | Deutsch | Classicism | 1714-1787 |
| 30 | Granados, Granados y Campina Enrique | Spanish | Romanticism | 1867-1916 |
| 31 | Grechaninov Alexander Tikhonovich | Russian | Romanticism | 1864-1956 |
| 32 | Grieg Edvard Haberup | Norwegian | Romanticism | 1843-1907 |
| 33 | Hummel, Hummel (Hummel) Johann (Jan) Nepomuk | Austrian - Czech by nationality | Classicism-Romanticism | 1778-1837 |
| 34 | Gounod Charles François | French | Romanticism | 1818-1893 |
| 35 | Gurilev Alexander Lvovich | Russian | - | 1803-1858 |
| 36 | Dargomyzhsky Alexander Sergeevich | Russian | Romanticism | 1813-1869 |
| 37 | Dvorjak Antonin | Czech | Romanticism | 1841-1904 |
| 38 | Debussy Claude Achille | French | Romanticism | 1862-1918 |
| 39 | Delibes Clement Philibert Leo | French | Romanticism | 1836-1891 |
| 40 | Destouches André Cardinal | French | Baroque | 1672-1749 |
| 41 | Degtyarev Stepan Anikievich | Russian | church music | 1776-1813 |
| 42 | Giuliani Mauro | Italian | Classicism-Romanticism | 1781-1829 |
| 43 | Dinicu Grigorash | Romanian | 1889-1949 | |
| 44 | Donizetti Gaetano | Italian | Classicism-Romanticism | 1797-1848 |
| 45 | Ippolitov-Ivanov Mikhail Mikhailovich | Russian-Soviet composer | 20th-century classical composers | 1859-1935 |
| 46 | Kabalevsky Dmitry Borisovich | Russian-Soviet composer | 20th-century classical composers | 1904-1987 |
| 47 | Kalinnikov Vasily Sergeevich | Russian | Russian musical classics | 1866-1900/01 |
| 48 | Kalman (Kalman) Imre (Emmerich) | Hungarian | 20th-century classical composers | 1882-1953 |
| 49 | Cui Caesar Antonovich | Russian | Romanticism - "The Mighty Handful" | 1835-1918 |
| 50 | Leoncavallo Ruggiero | Italian | Romanticism | 1857-1919 |
| 51 | Liszt (Liszt) Franz (Franz) | Hungarian | Romanticism | 1811-1886 |
| 52 | Lyadov Anatoly Konstantinovich | Russian | 20th-century classical composers | 1855-1914 |
| 53 | Lyapunov Sergey Mikhailovich | Russian | Romanticism | 1850-1924 |
| 54 | Mahler (Mahler) Gustav | Austrian | Romanticism | 1860-1911 |
| 55 | Mascagni Pietro | Italian | Romanticism | 1863-1945 |
| 56 | Massenet Jules Emile Frederic | French | Romanticism | 1842-1912 |
| 57 | Marcello (Marcello) Benedetto | Italian | Baroque | 1686-1739 |
| 58 | Meyerbeer Giacomo | French | Classicism-Romanticism | 1791-1864 |
| 59 | Mendelssohn, Mendelssohn-Bartholdy Jacob Ludwig Felix | Deutsch | Romanticism | 1809-1847 |
| 60 | Mignoni (Mignone) Francisco | Brazilian | 20th-century classical composers | 1897 |
| 61 | Monteverdi Claudio Giovanni Antonio | Italian | Renaissance-Baroque | 1567-1643 |
| 62 | Moniuszko Stanislav | Polish | Romanticism | 1819-1872 |
| 63 | Mozart Wolfgang Amadeus | Austrian | Classicism | 1756-1791 |
| 64 | Mussorgsky Modest Petrovich | Russian | Romanticism - "The Mighty Handful" | 1839-1881 |
| 65 | Headmaster Eduard Frantsevich | Russian - Czech by nationality | Romanticism? | 1839-1916 |
| 66 | Oginsky (Oginski) Michal Kleofas | Polish | - | 1765-1833 |
| 67 | Offenbach (Offenbach) Jacques (Jacob) | French | Romanticism | 1819-1880 |
| 68 | Paganini Nicolo | Italian | Classicism-Romanticism | 1782-1840 |
| 69 | Pachelbel Johann | Deutsch | Baroque | 1653-1706 |
| 70 | Plunkett, Plunkett (Planquette) Jean Robert Julien | French | - | 1848-1903 |
| 71 | Ponce Cuellar Manuel Maria | Mexican | 20th-century classical composers | 1882-1948 |
| 72 | Prokofiev Sergey Sergeevich | Russian-Soviet composer | Neoclassicism | 1891-1953 |
| 73 | Poulenc Francis | French | Neoclassicism | 1899-1963 |
| 74 | Puccini Giacomo | Italian | Romanticism | 1858-1924 |
| 75 | Ravel Maurice Joseph | French | Neoclassicism-Impressionism | 1875-1937 |
| 76 | Rachmaninov Sergei Vasilievich | Russian | Romanticism | 1873-1943 |
| 77 | Rimsky - Korsakov Nikolai Andreevich | Russian | Romanticism - "The Mighty Handful" | 1844-1908 |
| 78 | Rossini Gioacchino Antonio | Italian | Classicism-Romanticism | 1792-1868 |
| 79 | Rota Nino | Italian | 20th-century classical composers | 1911-1979 |
| 80 | Rubinstein Anton Grigorievich | Russian | Romanticism | 1829-1894 |
| 81 | Sarasate, Sarasate y Navascuez Pablo de | Spanish | Romanticism | 1844-1908 |
| 82 | Sviridov Georgy Vasilievich (Yuri) | Russian-Soviet composer | Neo-Romanticism | 1915-1998 |
| 83 | Saint-Saëns Charles Camille | French | Romanticism | 1835-1921 |
| 84 | Sibelius (Sibelius) Jan (Johan) | Finnish | Romanticism | 1865-1957 |
| 85 | Scarlatti Giuseppe Domenico | Italian | Baroque-Classicism | 1685-1757 |
| 86 | Skryabin Alexander Nikolaevich | Russian | Romanticism | 1871/72-1915 |
| 87 | Sour cream (Smetana) Bridzhih | Czech | Romanticism | 1824-1884 |
| 88 | Stravinsky Igor Fyodorovich | Russian | Neo-Romanticism-Neo-Baroque-Serialism | 1882-1971 |
| 89 | Taneev Sergey Ivanovich | Russian | Romanticism | 1856-1915 |
| 90 | Telemann Georg Philipp | Deutsch | Baroque | 1681-1767 |
| 91 | Torelli Giuseppe | Italian | Baroque | 1658-1709 |
| 92 | Tosti Francesco Paolo | Italian | - | 1846-1916 |
| 93 | Fibich Zdenek | Czech | Romanticism | 1850-1900 |
| 94 | Flotow Friedrich von | Deutsch | Romanticism | 1812-1883 |
| 95 | Khachaturian Aram | Armenian-Soviet composer | 20th-century classical composers | 1903-1978 |
| 96 | Holst Gustav | English | - | 1874-1934 |
| 97 | Tchaikovsky Pyotr Ilyich | Russian | Romanticism | 1840-1893 |
| 98 | Chesnokov Pavel Grigorievich | Russian-Soviet composer | - | 1877-1944 |
| 99 | Cilea (Cilea) Francesco | Italian | - | 1866-1950 |
| 100 | Cimarosa Domenico | Italian | Classicism | 1749-1801 |
| 101 | Schnittke Alfred Garrievich | Soviet composer | polystylistics | 1934-1998 |
| 102 | Chopin Fryderyk | Polish | Romanticism | 1810-1849 |
| 103 | Shostakovich Dmitry Dmitrievich | Russian-Soviet composer | Neoclassicism-NeoRomanticism | 1906-1975 |
| 104 | Strauss Johann (father) | Austrian | Romanticism | 1804-1849 |
| 105 | Strauss (Straus) Johann (son) | Austrian | Romanticism | 1825-1899 |
| 106 | Strauss Richard | Deutsch | Romanticism | 1864-1949 |
| 107 | Franz Schubert | Austrian | Romanticism-Classicism | 1797-1828 |
| 108 | Schumann Robert | Deutsch | Romanticism | 1810-1 |
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