Oakeley, Sir Herbert (Stanley)




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Ott, Lorenz Justinian [Joseph Marzellin]


(b Dietfurt an der Altmühl, bap. 28 April 1748; d Weyarn, Upper Bavaria, 6 April 1805). German composer. He attended the Jesuit seminary in Neuburg an der Donau (1759–64) and then studied logic at the Jesuit high school in Munich. In 1767 he joined the Augustinian prebendary institute in Weyarn as a novice, took his vows on 11 September 1768, was ordained on 6 October 1771, and became sub-dean at the monastery in about 1777. Having taught music at the monastery school, he was appointed music director in 1780 as successor to Bernhard Haltenberger (also known as Montenelli). Under Ott’s direction the Weyarn monastery became one of the most important centres of musical practice in Bavaria. His manuscript diary in the Munich Ordinariatsarchiv, covering the years 1776 to 1805, is an important source for the history of music in the institute.

Ott composed exclusively for his own monastery. Five symphonies, seven masses, a requiem, three Salve regina settings and ten Latin and German sacred works on a smaller scale survive (in D-FS), as do some sacred works of doubtful authenticity and several arrangements. His arrangements of operatic excerpts by Bernasconi and Sacchini as sacred works are examples of the musical parody frequently practised in the Bavarian monasteries of this period.


BIBLIOGRAPHY


R. Münster and R. Machold: Thematischer Katalog der Musikhandschriften der ehemaligen Klosterkirchen Weyarn, Tegernsee und Benediktbeuern (Munich, 1971)

M. Mayer: ‘Die Seelsorge der Weyarner Chorherren im ausgehenden 18. Jahrhundert nach den Tagebüchern des Chorherrn L.J. Ott’, Beiträge zur altbayerischen Kirchengeschichte, xxx (1976), 115–212

ROBERT MÜNSTER


Ottani, Bernardo


(b Bologna, 8 Sept 1736; d Turin, 26 April 1827). Italian composer, brother of Gaetano Ottani. In the early literature he is often confused with his older brother. He studied with Padre Martini, who remained a lifelong friend; the letters to his master, described by Tagliavini, survive in the Bologna Conservatory. His earliest composition to be performed was reportedly a cantata Il trionfo della gloria in 1760 in Bologna; this was followed in 1765 by an oratorio Le gare della potenza, and in the same year he was elected to Bologna’s Accademia Filarmonica. He was in Genoa by February 1766 to write an opera (of which the only known record is a letter from him to Martini); there he also gave lessons to the brother of the king of Sweden. In the autumn of that year he went to Venice to provide new music and revisions for a popular Piccinni opera. This work earned him a commission from the Teatro S Moisè to set a new comic opera, L’amore senza malizia, for 1768 the carnival season, and early that year he wrote to his teacher of its clamorous success. It was immediately taken on tour throughout northern Italy and central Germany. Ottani may have gone with the company to Germany, for the comedy was performed in Dresden that same year, and he wrote two further comic operas for the court there.

By late 1769 Ottani must have returned to Bologna, for then he was appointed maestro di cappella of the basilica of S Giovanni in Monte, an office he also held in the church of S Lucia, and three years later in the Collegio degli Ungheri. Church compositions apparently occupied him for the next few years. For Good Friday of 1770 he wrote another oratorio, and later that year he was one of ten musicians chosen by the Accademia to compose and conduct works for its annual day-long concert, which took place on 30 August with Burney and the Mozarts in attendance. Burney thought him ‘young and promising’, and described the Laudate pueri as containing ‘many ingenious, pretty things’. Shortly after this, on 9 October, Ottani was one of Wolfgang’s examiners for his election to the academy. In 1774 Ottani served as the academy’s president.



In the meantime, his reputation had been growing and he started to travel again on opera commissions: in 1776 to Turin, where he became a friend of Quirino Gasparini; in autumn and winter 1777–8 to Naples and Rome; and for those seasons the following year to Venice, Florence and again Turin. In spring 1778 he was primo cembalo at the Teatro Pubblico, Bologna, in the production of Gluck’s Alceste. Then in 1779 his serious opera Fatima, written for Turin, resulted in an appointment as maestro di cappella of the cathedral there, and he resigned his positions in Bologna. His new duties included teaching young members of the church music school; among his more distinguished graduates were the singer Felice Pellegrini (1774–1832) and the singer and theorist Federico Massimino (1775–1858). In 1780–81 he also taught the Princess Caroline, until her marriage to Anton of Saxony. He composed at least three opera serie after moving to Turin. They reflect the court's interest in innovatory opera seria, notably Calipso; a French-inspired piece with choruses, dance and stage spectacle. The orchestration is especially rich in wind solos and obbligatos including clarinet and bassoon. He devoted most of his attention to church music. According to early sources he composed 46 masses, and many motets, litanies, psalms and other sacred works. During the French occupation Ottani was involved in the dissolution of the Royal Chapel in 1798, the closing of the Teatro Regio and the shutting down of musical activity. Continuing his duties at the cathedral he wrote several religious compositions for the coronation of Napoleon and was nominated maestro di musica to the Prince and Princess Borghese. As the only survivor of the old order at the time of the Restoration, he was entrusted with the task of reorganizing a new Royal Chapel in 1814.

WORKS

operas


L’amore senza malizia (dg, P. Chiari), Venice, S Moisè, carn. 1768, D-Dl, Rtt?*, H-Bn, I-MOe (score and pts), P-La

Le virtuose ridicole (dg, C. Goldoni), Dresden, Piccolo, carn. 1769, D-Dl

L’amore industrioso (dg, G. Casori), Dresden, Piccolo, 21 Nov 1769, Dl, I-Tf

La semplicità in amore (dg), Udine, carn. 1771

Calipso (L’isola di Calipso) (os, Donzel), Turin, Regio, 26 Dec 1776, D-Bsb, P-La

Catone in Utica (os, P. Metastasio), Naples, Reale, Nov 1777, I-Nc, P-La

La sprezzante abbandonata, ovvero La finta sprezzante (dg), Rome, Dame, carn. 1778

Le industrie amorose (dg, G. Bertati), Venice, S Moisè, aut. 1778

Le nozze della Bita (dg, N. Tassì), Florence, Cocomero, aut. 1778, B-Bc

Fatima (os), Turin, Regio, carn. 1779, I-Mc, P-La

La Didone (os, Metastasio), Forlì, Pubblico, spr. 1779, I-Tf

Arminio (os, Coluzzi), Turin, Regio, carn. 1781, D-Dlb, P-La

Amaionne (os, F.S. Gambino), Turin, Regio, carn. 1784, La

Le clemenza di Tito (os, Metastasio), Turin, Regio, carn. 1798, duet I-Mc

Several arias and a duet for Piccinni’s Il fumo villana (orig. title Il cavaliere per amore), Venice, S Moisè, aut. 1766; new pieces for Traetta’s opera (?Le serve rivali), Venice, aut. 1767

Doubtful: Adriano, Mantua, 1765; arias I-MAav, duet Vc; Il maestro (ob), Munich, Hof., carn. 1770; Le Amazzoni (Bertati), Turin, Carignano, carn. 1784

Individual arias and ensembles in A-Wgm, CH-Zz, D-Bsb, Dl, DS, SWl, W, F-Lm, Pc, I-Fc, Gl, Mc, MAav (Ciro aria), Pca, Vmc and in contemporary anthologies

other works


Orats and cants.: Il trionfo della gloria (cant., P. Metastasio), Bologna, 1760; Le gare della potenza, e dell’amore (cant., C.L. Cecchilli), 2vv, Bologna, 1765; Il pianto de’ discepoli nella morte di Gesù Cristo (orat), Bologna, Good Friday, 1770; Direte all’ingrata (cant.), La partenza

Sacred vocal: Antifona, 4vv, I-Baf; Kyrie, 4vv, strs, hn, Bc; Kyrie, 4vv, strs, ob, hn, org, MOe, Gloria in excelsis, 4vv, strs, hn, Bc; Ave Regina coelorum, S, T, strs, hn, 1763, Bc*; Cum invocarem, 4vv, insts, Bc; Dixit, 4vv, ob, hn, Bc; Nisi Dominus, SAB, insts, Bc; Libera me Domine, 4vv, strs, bc, MOe; Mottetto, Vaga hyrundo viduata, B, B, orch, Genoa, 1785, VId

Instr: Fughe a tre e quattro voce, I-Bc; 6 sonates faciles, F-Pn; Sinfonien zu Opern, A-Wgm, I-Mc

BIBLIOGRAPHY


BurneyFI

BurneyGN

DEUMM

ES (L.-F. Tagliavini)

FétisB

GerberL

C. Gervasoni: Nuova teoria di musica (Parma, 1812/R)

C. Ricci: I teatri di Bologna nei secoli XVII e XVIII: storia aneddotica (Bologna, 1888/R), pp.xix, 486, 654

G. Sacerdote: Teatro regio di Torino: cenni storici … dal 1662 al 1890 (Turin, 1892), esp. 59

G. Barblan and A. Della Corte, eds.: Mozart in Italia (Milan, 1956), 77, 114, 257

O.E. Deutsch, ed.: Mozart: die Dokumente seines Lebens (Kassel, 1961, rev. 2/1981 by J.H. Eibl; Eng. trans., 1965, 3/1990)

W.A. Bauer and O.E. Deutsch: Mozart: Briefe und Aufzeichnungen (Kassel, 1962), i, 322, 385–6

M.-T. Bouquet and A. Basso: Storia del Teatro regio di Torino (Turin, 1976–)

JAMES L. JACKMAN/MARITA P. McCLYMONDS


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