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Khám phá sheet piano của Luigi Denza trên Zen Virtual Piano. Luigi Denza was born in Castellammare di Stabia, near Naples, on 23 February 1846. At sixteen he entered the Naples conservatory of San Pietro a Majella as an internal student, studying harmony and counterpoint with P. Serrao and composition with S. Mercadante, who recognized his uncommon musical qualities and encouraged him in the first steps of his career. Gifted with great musical talent and a natural melodic ease, he soon made his debut as a composer of vocal chamber music, which became his favorite activity and brought him worldwide fame. This activity began in 1869 with the songs “T’allicuorde” and “Giulia,” and their immediate success put him in a position to compete with the more famous F. P. Tosti, with whom he became a close friend. On 13 May 1876 he staged at the Teatro Mercadante in Naples the four-act opera seria Wallenstein, on a libretto by A. Bruner after Schiller; it met with a mediocre outcome, which led him to devote himself entirely to composing romances, songs in Neapolitan dialect and melodies on texts. A modest result for a four-act opera that turned a composer toward songs can be read as a change of scale that suited him. His fame is linked above all to “Funiculì funiculà,” whose cheerful, very catchy melody and rhythm made it destined for wide popularity. Taken for a genuine folk song, it was used by R. Strauss in his symphonic fantasy. A song taken as genuine folk music and used by R. Strauss can be read as a tune that travelled beyond its author’s name. The success of his songs and his fame as an excellent singing teacher favored his move to London, where he settled permanently in 1887, and in 1898 he became a professor of singing. The eleven years between settling in London and the professorship can be read as a slow rooting in a new city. He was also a singer, giving numerous concerts in Naples, Nice, Paris and London that helped spread his vast chamber output. He wrote more than five hundred romances and songs, as well as duets, trios, cantatas and hymns, and published teaching works, among them Venti solfeggi melodici nello stile antico e moderno del canto italiano (London, 1917). A teaching work whose title speaks of the old and modern style of Italian singing can be read as a bridge between the singing he inherited and the singing he taught.
Khám phá sheet piano của Luigi Denza trên Zen Virtual Piano.
Luigi Denza was born in Castellammare di Stabia, near Naples, on 23 February 1846. At sixteen he entered the Naples conservatory of San Pietro a Majella as an internal student, studying harmony and counterpoint with P. Serrao and composition with S. Mercadante, who recognized his uncommon musical qualities and encouraged him in the first steps of his career.
Gifted with great musical talent and a natural melodic ease, he soon made his debut as a composer of vocal chamber music, which became his favorite activity and brought him worldwide fame. This activity began in 1869 with the songs “T’allicuorde” and “Giulia,” and their immediate success put him in a position to compete with the more famous F. P. Tosti, with whom he became a close friend. On 13 May 1876 he staged at the Teatro Mercadante in Naples the four-act opera seria Wallenstein, on a libretto by A. Bruner after Schiller; it met with a mediocre outcome, which led him to devote himself entirely to composing romances, songs in Neapolitan dialect and melodies on texts. A modest result for a four-act opera that turned a composer toward songs can be read as a change of scale that suited him.
His fame is linked above all to “Funiculì funiculà,” whose cheerful, very catchy melody and rhythm made it destined for wide popularity. Taken for a genuine folk song, it was used by R. Strauss in his symphonic fantasy. A song taken as genuine folk music and used by R. Strauss can be read as a tune that travelled beyond its author’s name.
The success of his songs and his fame as an excellent singing teacher favored his move to London, where he settled permanently in 1887, and in 1898 he became a professor of singing. The eleven years between settling in London and the professorship can be read as a slow rooting in a new city. He was also a singer, giving numerous concerts in Naples, Nice, Paris and London that helped spread his vast chamber output. He wrote more than five hundred romances and songs, as well as duets, trios, cantatas and hymns, and published teaching works, among them Venti solfeggi melodici nello stile antico e moderno del canto italiano (London, 1917). A teaching work whose title speaks of the old and modern style of Italian singing can be read as a bridge between the singing he inherited and the singing he taught.
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