Oakeley, Sir Herbert (Stanley)

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Oudot, Claude

(b Paris; d Paris, 1696). French composer and musician. He was a singer in the service of the Duke of Orleans and the dauphin and was maître de chapelle for the Jesuits at the Maison St Louis, Paris. In 1683 he was named maître de musique of the Académie Française. In the same year he competed unsuccessfully for a place in the royal chapel at Versailles. He conducted a performance of one of his motets in the Louvre chapel every year from 1680 to 1695 on the Feast of St Louis and also composed and conducted a Te Deum to celebrate the king's recovery from illness: all these works are lost. So too are his opera Les amours de Titon et l'Aurore, performed before Colbert at Sceaux in 1677 and heard again in 1679, his cantata Le banquet des dieux (1683), written for the birth of the Duke of Burgundy, his intermède Démétrius (1685), his dialogue Scène d'une bergère (1689) and his choruses for the tragedies Jephté and Judith by Boyer. His extant works comprise Stances chrestiennes, for two, three and four voices and continuo, printed by Christophe Ballard (Paris, 1692, 4/1722), settings of words by the Abbé Testu, which are sacred dialogues between two soloists and chorus; and six airs for solo voice and continuo (Paris, n.d.).



D. Launay: La musique religieuse en France du concile de Trente à 1804 (Paris, 1993)


Oudrid (y Segura), Cristóbal (Domingo)

(b Badajoz, 7 Feb 1825; d Madrid, 12 March 1877). Spanish composer and conductor. He studied singing and the piano with his father and taught himself the horn, the oboe and other instruments. He had no formal harmony or counterpoint lessons, but arranged some of the works of Haydn and Mozart for the flute, oboe, clarinet and cornet. In 1844 he went to Madrid, where he became the protégé of the Madrid writer Ramón de Mesonero Romanos (1803–82) and the friend of Baltasar Saldoni, who, as director of the Teatro Español, gave the premières of some of his symphonic works. He became known as a pianist, and for the next two or three years wrote songs and fantasias and other music for the piano, which he included in his concerts. His greatest success with the public came, however, from his zarzuelas. His first, La venta del puerto, o Juanillo el contrabandista, was written for the Teatro del Instituto in 1847, and in the same year La pradera del canal, written in collaboration with Cepeda and Iradier, was performed at the Teatro de la Cruz. From that time he composed five or six zarzuelas a year, his greatest successes being El postillón de la Rioja (1856) and El molinero de Subiza (1870), which had 300 performances in one year. The jota he wrote for Lombía’s play El sitio de Zaragoza has remained a popular favourite. After 1867 he conducted Italian opera in Madrid, in 1870 becoming director of the Teatro Real, where he died suddenly during a rehearsal of Mignon.


complete list of stage works in Peña y Goñi

88 zars, all first performed in Madrid, incl.: La venta del puerto, o Juanillo el contrabandista (1, M. Fernández), Príncipe, 16 Jan 1847; La pradera del Canal (1, Azcona), Cruz, 1847, collab. S. Iradier, L. Cepeda; Buenas noches, Sr. Don Simón (1, L. Olona), Circo, 16 April 1852, vs (Madrid, n.d.); Estebanillo (3, V. de la Vega), Circo, 5 Oct 1855, collab. Gaztambide; El postillón de la Rioja (2, Olona), Circo, 7 June 1856, vs (Madrid, n.d.); La flor de la Serranía (1, J. Gutiérrez de Alba), Verano, 2 Aug 1856, vs (Madrid, n.d.); El hijo del regimiento (3, V. Tamayo), Circo, 22 Aug 1857; Don Sisenando (1, Puerta Vizcaíno), Circo, 4 April 1858, vs (Madrid, ?1865); El joven Virginio (1, M. Pina), Zarzuela, 30 Nov 1858

El último mono (1, N. Serra), Zarzuela, 30 May 1859, vs (Madrid, n.d.); Enlace y desenlace (2, Pina), Zarzuela, 27 Sept 1859; Memorias de un estudiante (3, J. Picón), Zarzuela, 5 May 1860; Nadie se muere hasta que Dios quiere (1, Serra), Zarzuela, 19 Sept 1860, vs (Madrid, ?1860); A Rey mueto (1, L. Rivera), Zarzuela, 17 Nov 1860; Un concierto casero (1, Picón), Zarzuela, 3 Dec 1861; Un viaje alrededor de mi suegro (3, Rivera), Zarzuela, 24 Dec 1861, collab. Vázquez; La Isla de San Balandrán (1, Picón), Zarzuela, 12 June 1862; Influencias políticas (1, Pina), Zarzuela, 24 April 1863; Bazar de novias (1, Pina), Variedades, 9 March 1867; Un estudiante de Salamanca (3, Rivera), Zarzuela, 4 Dec 1867

La gata de Mari-Ramos (2, Pina), Zarzuela, 27 Jan 1870; El paciente Job (1, R. de la Vega), Zarzuela, 13 May 1870; El molinero de Subiza (3, Eguilaz), Zarzuela, 21 Dec 1870, vs (Madrid, ?1865); Ildara (4, R. Puente y Brañas), Zarzuela, 5 Jan 1874; Compuesto y sin novia (3, Pina), Zarzuela, 5 Dec 1875

Other stage works, incl.: Los polvos de la madre Celestina (magia, 3, Hartzenbusch); La pata de cabra (magia, 3, Grimaldi); Dalila (drama, 1, Gil-Rosales); Una zambra de gitanos (baile, 1)

Colección de canciones y melodías españolas (Valladares y Saavedra) (Madrid, ?1845)

Pf: Fantasía sobre motivos de María de Rohán (Madrid, ?1845); Hernani, fantasía (Madrid, ?1845); Variaciones sobre el jaleo de Jerez (Madrid, ?1845)



Obituary: La Correspondencia de España (15 March 1877)

B. Saldoni: Diccionario biográfico-bibliográfico de Efemérides de músicos españoles, i (Madrid, 1868), 70, 240–42; ii (Madrid, 1880), 108, 493

A. Peña y Goñi: La ópera española y la música dramática en España en el siglo XIX (Madrid, 1881, abridged 2/1967 by E. Rincon as España desde la ópera a la zarzuela)

E. Cotarelo y Mori: Historia de la zarzuela (Madrid, 1934)

M. Muñoz: Historia de la zarzuela española y del género chico (Madrid, 1946)


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