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Explora partituras de piano de Giovanni Battista Pergolesi en Zen Virtual Piano. Giovanni Battista Pergolesi was born in 1710 in Jesi, into a modest family, and within a few years he had lost all his immediate relatives. He studied violin in his hometown and, around the age of thirteen, was sent to Naples to continue his musical education at the Conservatorio dei Poveri di Gesù Cristo, where he studied under Gaetano Greco, Francesco Durante and, briefly, Leonardo Vinci. Violin study in his hometown and then conservatory teachers in Naples trace a training that moved from the local to the institutional. He made his debut with an oratorio for the Oratorians, La fenice sul rogo (March 1731), followed a few months later by the three-act sacred drama Li prodigi della Divina Grazia nella conversione e morte di San Guglielmo Duca d’Aquitania. The favourable impression of these works, combined with influential support in official circles, earned him a commission that same year to compose an opera seria for Naples’s principal theatre, the Teatro San Bartolomeo. Two sacred works in a single year led straight to the city’s main stage, which shows how quickly his name travelled. The libretto, by Gennarantonio Federico, who would become his preferred collaborator, was a triumph, as its revival in 1734 and again in 1748, twelve years after the composer’s death, shows. In November 1732 he was appointed assistant organist at the Royal Chapel, and the recommendation for his appointment highlighted the high expectations surrounding his career and the Chapel’s need for composers who write in the modern taste. A recommendation that stresses the Chapel’s need for composers in the modern style puts his appointment in the context of changing taste and of the Chapel’s stated needs. Britannica writes that his serious style is best illustrated in his Stabat Mater and in his masses, which show his ability to handle large choral and instrumental forces, and that his gift of comic characterization is best shown in the classic La serva padrona. In 1734 he was appointed deputy maestro di cappella of Naples, and in May he went to Rome to direct the performance of his Mass in F. His health began to fail, and in 1736 he left Naples for the Franciscan monastery at Pozzuoli, near Naples, where he finished his last work, the celebrated Stabat Mater; he died in extreme poverty at age 26 and was buried at the cathedral at Pozzuoli. A serious Stabat Mater and a work noted for comic characterization show a composer whose range ran from solemn to light. A final work finished in a monastery while his health failed makes the Stabat Mater the closing line of a short life.
Explora partituras de piano de Giovanni Battista Pergolesi en Zen Virtual Piano.
Giovanni Battista Pergolesi was born in 1710 in Jesi, into a modest family, and within a few years he had lost all his immediate relatives. He studied violin in his hometown and, around the age of thirteen, was sent to Naples to continue his musical education at the Conservatorio dei Poveri di Gesù Cristo, where he studied under Gaetano Greco, Francesco Durante and, briefly, Leonardo Vinci. Violin study in his hometown and then conservatory teachers in Naples trace a training that moved from the local to the institutional.
He made his debut with an oratorio for the Oratorians, La fenice sul rogo (March 1731), followed a few months later by the three-act sacred drama Li prodigi della Divina Grazia nella conversione e morte di San Guglielmo Duca d’Aquitania. The favourable impression of these works, combined with influential support in official circles, earned him a commission that same year to compose an opera seria for Naples’s principal theatre, the Teatro San Bartolomeo. Two sacred works in a single year led straight to the city’s main stage, which shows how quickly his name travelled.
The libretto, by Gennarantonio Federico, who would become his preferred collaborator, was a triumph, as its revival in 1734 and again in 1748, twelve years after the composer’s death, shows. In November 1732 he was appointed assistant organist at the Royal Chapel, and the recommendation for his appointment highlighted the high expectations surrounding his career and the Chapel’s need for composers who write in the modern taste. A recommendation that stresses the Chapel’s need for composers in the modern style puts his appointment in the context of changing taste and of the Chapel’s stated needs.
Britannica writes that his serious style is best illustrated in his Stabat Mater and in his masses, which show his ability to handle large choral and instrumental forces, and that his gift of comic characterization is best shown in the classic La serva padrona. In 1734 he was appointed deputy maestro di cappella of Naples, and in May he went to Rome to direct the performance of his Mass in F. His health began to fail, and in 1736 he left Naples for the Franciscan monastery at Pozzuoli, near Naples, where he finished his last work, the celebrated Stabat Mater; he died in extreme poverty at age 26 and was buried at the cathedral at Pozzuoli. A serious Stabat Mater and a work noted for comic characterization show a composer whose range ran from solemn to light. A final work finished in a monastery while his health failed makes the Stabat Mater the closing line of a short life.
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