(b Yecla, Murcia, 1733 or 1734; d Madrid, 12 Feb 1830). Spanish violinist and composer. He is probably the Oliver, mentioned by Eitner, who gave a concert in Frankfurt am Main on 18 April 1765 and appeared in London in 1767 as a virtuoso violinist. Under the name of Jean Oliver Astorga he published in London Six sonates à violon et basse op.1 (?1767, ed. L. Siemens Hernández, Madrid, 1991), Twelve Italian Songs and Duets for Voice and Harpsichord with Accompagnement for a Guittar op.2 (1768) and Six Sonatas for Two German Flutes or Two Violins and a Bass op.3 (?1769). Both sets of sonatas were dedicated to his patron, Willoughby Bertie, 4th Earl of Abingdon. He later returned to Spain, where he continued to compose, and on 30 March 1776 was appointed violinist to the royal chapel of Madrid. In 1789 he was appointed conductor of the Teatro de los Caños del Peral in Madrid, the theatre of the Italian Opera company, but Charles IV prevented him from taking up this post, wishing him to remain exclusively in his own service in the royal chapel. After about 1790 he was also a member of the King of Spain’s chamber music, and he worked industriously for Charles IV, particularly on the occasion of the Prince of Parma’s visit in 1807.
Oliver y Astorga’s instrumental music is in the galant style typical of the period. The violin sonatas require considerable technical proficiency for performing double stops and other idiomatic devices but rarely go beyond 3rd position. Six sonatas for violin and cello and five for viola and cello are in Madrid (E-Mp). Eitner also attributed three cantatas to him (B-Bc).
C.F. Pohl: Mozart und Haydn in London (Vienna, 1867/R), ii, 370
B. Saldoni: Diccionario biográfico-bibliográfico de efemérides de músicos españoles, i (Madrid, 1868/R), 252
K. Israel: Frankfurter Concert-Chronik von 1713–1780 (Frankfurt, 1876, rev. 2/1986 by P. Cahn), 47–8
R.X. Sànchez: Spanish Chamber Music of the Eighteenth Century (diss., Louisiana State U., 1975)
Composer, possibly identifiable with Meigret.
(fl late 14th century). French composer. Olivier may be the Johannes Olivier mentioned as a clerk of the diocese of Cambrai in a list of petitions to Pope Clement VII in 1378. His only extant work is the three-voice ballade Si con cy gist mon cuer (in F-CH 564; ed. in PMFC, xviii, 1981; CMM, liii, 1970, and in Koehler), which has complex syncopations in both cantus and contratenor; and the proportional relationships between voices, referred to in the text, give rise to 4 beats against 3, and 9 against 6 vertically.
L. Koehler: ‘Subtilitas in musica: a Re-Examination of Johannes Olivier's “Si con cy gist”’, MD, xxxvi (1982), 95–118
N.S. Josephson: ‘Intersectional Relationships in the French grande ballade’, MD, xl (1986), 79–97
Olivieri [de Massini], Angelo
(fl Rome, 1679–1702). Italian composer. He composed an oratorio, Innocentia in Joseph exaltata, for the Arciconfraternità del SS Crocefisso, sung at the church of S Marcello during Lent 1679, and a cantata, La terra tributaria con le quattre stagioni al presepe di Nostro Signore (libretto by Gaetano Monaci), performed at the Vatican on Christmas Eve 1680; the music of both these works is lost. Some of the nine secular cantatas by him in the Barberini collection (I-Rvat) are dated between 1680 and 1682. In January 1681 he set to music a comedy, Dalla padella alla bragia, by D.F. Contini for the wedding of Costanza Barberini and G.F. Caetani, Duke of San Marco (score in I-Rvat); it was performed in Palestrina and repeated shortly afterwards at the Collegio Clementino, Rome, for Queen Christina of Sweden. In 1684 Olivieri was commissioned by the Congregazione dei Musici di S Cecilia to compose a Te Deum to celebrate new papal constitutions, and in 1702 he was asked to write a requiem to commemorate King James II of England in S Lorenzo in Lucina. A four-voice motet, Confitebor tibi, is also extant (in I-Rvat, C.G.). Works such as the cantata Pensieri d’amore, for two sopranos, bass and continuo, show Olivieri’s music to be charming and lively, and similar in style to that of the young Alessandro Scarlatti.
Olivieri was possibly related to two other musicians active in Rome in the late 18th century: Onofrio Olivieri, a bass singer, and the composer and organist Paolo Olivieri.
EitnerQ; GroveO (M. Murata)
Registro della Congregazione generale incommincaito li 14 giugno 1684 (MS, I-Rsc)
Ragguaglio del tumulo onorario in S Lorenzo in Lucina … Roma, 1702 (MS, I-Rvat)
E. Celani: ‘Canzoni musicate del secolo XVII’, RMI, xii (1905), 109–50, esp. 117, 122, 126, 140
(d ?Rome, ?1623). Italian composer and poet. He described the contents of his 1617 volume as ‘youthful’ products, and according to his 1620 volume he had been in the service of the Duke of Altaemps. He was maestro di cappella of S Giovanni in Laterano, Rome, in 1622, but his name had disappeared from the records by 1623. He seems to have composed some sacred music, but his only surviving pieces are the secular La turca armoniosa, for two and three voices and continuo (Rome 1617), and La pastorella Armilla variamente cantata, for one to three voices and continuo (Rome, 1620). The 16 duets and five trios in the earlier volume show a fusion of the traditional polyphonic madrigal with the melodic features of the new monodic style; they include dialogue-like writing. (E. Schmitz: ‘Zur Geschichte des italienischen Continuo-Madrigals im 17. Jahrhundert’, SIMG, xi, 1909–10, pp.509–43, esp. 515)