Oakeley, Sir Herbert (Stanley)


Orlandini, Giuseppe Maria



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Orlandini, Giuseppe Maria


(b Florence, 4 April 1676; d Florence, 24 Oct 1760). Italian composer. His early years appear to have been spent in Florence; oratorio librettos of 1711 and 1712 claim for him the title of maestro di cappella of Prince Giovanni Gastone of Tuscany. In 1719 he was made a member of the Accademia Filarmonica of Bologna. His name figures on the title-page of Benedetto Marcello’s Il teatro alla moda (c1720), so it must have been well known to Venetian opera audiences of that time. Between 1717 and 1731 he resided principally in Bologna. When Giovanni Gastone succeeded his father as Grand Duke of Tuscany in 1723, Orlandini continued to style himself maestro di cappella to that sovereign, although he was not confirmed in this position until April 1732. In the same month he was named maestro di cappella of Florence Cathedral. Since all his serious operas after this date were first performed in Florence, it may be assumed that Orlandini remained in his native city after that year. During the 1730s he served as resident composer at the Florentine Teatro della Pergola, functioning as impresario during the 1722 and 1751 seasons. From 1734 to 1757 he carried out, in addition, the duties of maestro at S Michele Berteldi in Florence.

The large number and wide spread of performances of his operas confirm the opinions of Burney, La Borde, Martini and Quadrio that Orlandini was highly celebrated as a composer of dramatic music. He was best known for his comic intermezzos, in which genre his importance almost certainly outweighs that of Pergolesi. Indeed, Orlandini’s Bacocco e Serpilla (under various titles and with added music by various composers) appears to have been the most frequently performed piece of musical drama in the entire 18th century. His fashionable and forward-looking operatic style can be seen as early as Antigona (1718), in which one finds light accompaniments, often with drum basses, simple, slow-moving harmony, frequent use of regular phrasing in two-bar units and reverse-dotted rhythm. Bacocco e Serpilla uses short, simple arias, with syllabic setting, wide leaps, repeated notes, lively recurring rhythms, static harmony and rudimentary accompaniments, all of which became standard in that genre during the following decades.

WORKS

stage


drammi per musica, in 3 acts, unless otherwise stated

Artaserse (P. Pariati ?and A. Zeno), Livorno, S Sebastiano, 1706; Naples, S Bartolomeo, 2 July 1708, addl music by F. Mancini

L’amor generoso (Zeno), Florence, Cocomero, aut. 1708, collab. R. Ceruti

L’odio e l’amore (M. Noris), Genoa, S Agostino, 1709

La fede tradita e vendicata (F. Silvani), Genoa, S Agostino, aut. 1709; Bologna, Marsigli-Rossi, 15 Aug 1712, addl music by F. Gasparini

Ataulfo re de’ Goti, ovvero La forza della virtù (after D. David), Rome, Capranica, carn. 1712

Teuzzone (Zeno), Ferrara, Bonacossi, spr. 1712, with addl music

Madama Dulcinea e il cuoco del Marchese del Bosco (int, Marchese Trotti), Rome, Capranica, carn. 1712; as La preziosa ridicola, Naples, S Bartolomeo, carn. 1716; A-Wn

L’innocenza difesa (Silvani), ? Ferrara, Bonacossi, spr. 1712; as Carlo re d’Alemagna, Bologna, Formagliari, 28 Oct 1713; as L’innocenza giustificata, Fano, Fortuna, sum. 1731


L’amor tirannico (D. Lalli), Rome, Capranica, carn. 1713; as Il Farasmane (5), Bologna, Formagliari, 20 Oct 1720; Pesaro, Pubblico, carn. 1721, addl music by A. Tinazzoli

Lisetta e Delfo (int), Rome, Capranica, carn. 1713

Bacocco [Bajocco] e Serpilla (int, A. Salvi), Verona, May 1715; as Il marito giocatore e la moglie bacchettona, Venice, S Angelo, carn. 1719; as The Gamester, London, King’s, 1 Jan 1737; as Serpilla e Bacocco, Venice, S Angelo, 1741; with addl music as Il giocatore, Paris, Opéra, 22 Aug 1752, Les ariettes du Joueur (Paris, c1752) [attrib. Doletti]; A-Wn (facs. in IOB, lxviii, 1984), B-Bc (facs. in IOB, lxviii, 1984), D-MÜs, ROu, W (2 copies, one attrib. Vinci), F-Pc, I-Fc, S-Skma

Amore e maestà (tragedia per musica, Salvi), Florence, Cocomero, 30 June 1715; as Arsace (rev. P.A. Rolli), London, King’s, 1 Feb 1721, addl music by F. Amadei; as Der ehrsüchtige Arsaces, Hamburg, 18 May 1722, arr. J. Mattheson, D-Bsb; rev., Florence, Pergola, carn. 1739, A-Wn, Act 2 GB-Lbl

La pastorella al soglio (G.C. Corradi), Mantua, Arciducale, carn. 1717

La virtù al cimento (Zeno), Mantua, Arciducale, carn. 1717; as La costanza trionfante, Recanati, fair and carn. 1720, addl music by Tinazzoli; rev. as Griselda, Venice, S Samuele, May 1720, arias A-Wn


La Merope (Zeno), Bologna, Formagliari, 24 Oct 1717

Lucio Papirio (Salvi), Naples, S Bartolomeo, 11 Dec 1717, arias and buffo scenes by F. Feo, doubtful, ? by F. Gasparini (see Strohm, 1989); Bologna, Formagliari, sum. 1718; Pesaro, Pubblico, carn. 1721, addl music by Tinazzoli

Antigona (tragedia, 5, B. Pasqualigo), Venice, S Cassiano, carn. 1718; Pesaro, Pubblico, carn. 1723, addl music by Tinazzoli; as La fedeltà coronata, Bologna, Malvezzi, 2 June 1727, GB-Lbl; as Antigona vendicata, Breslau, 1 Oct 1728

Le amazoni vinte da Ercole (Salvi), Reggio nell’Emilia, Pubblico, April 1718

Ifigenia in Tauride (tragedia, 5, Pasqualigo, after P.J. Martello), Venice, S Giovanni Grisostomo, carn. 1719, arias D-ROu and SHs

Il carceriero di se stesso (Salvi), Turin, Carignano, carn. 1720

Paride (5, F. Muazzo), Venice, S Giovanni Grisostomo, carn. 1720, arias SHs

Melinda e Tiburzio (int), Venice, S Angelo, carn. 1721; as La donna nobile, Venice, S Cassiano, carn. 1730


Nerone (tragedia per musica, A. Piovene), Venice, S Giovanni Grisostomo, carn. 1721, arias Mbs; as Nero, Hamburg, 17 Nov 1723, arr. Mattheson, Bsb

Nino (I. Zanella), Rome, Capranica, 7 Jan 1722, arias F-Pc; as Semiramide, Turin, Carignano, 1722; as Nino, Pesaro, Pubblico, carn. 1723, addl music by Tinazzoli

Ormisda (Zeno), Bologna, Malvezzi, 16 May 1722; as Artenice, Turin, Regio, carn. 1723, addl music by G.A. Giai and others

L’artigiano gentiluomo (Larinda e Vanesio) (int, Salvi, after Molière: Le bourgeois gentilhomme), Florence, 1722; as Le bourgeois gentilhomme, Florence, Pergola, carn. 1725; London, King’s, 1737

Alessandro Severo (Zeno), Milan, Regio Ducale, carn. 1723, GB-Lbl

L’Oronta (C.N. Stampa), Milan, Regio Ducale, carn. 1724

Berenice (Pasqualigo, after J. Racine), Venice, S Giovanni Grisostomo, carn. 1725, B-Bc, arias I-Vnm

Il malato immaginario (Erighetta e Don Chilone) (int, Salvi, after Molière: Le malade imaginaire), Florence, Pergola, carn. 1725


Un vecchio innamorato (int, D. Marchi), Florence, Pergola, carn. 1725

Monsieur di Porsugnacchi (Grilletta e Porsugnacco) (int, after Molière: Monsieur de Pourceaugnac), Milan, Regio Ducale, carn. 1727; as Pourceaugnac and Grilletta, London, King’s, 1737

Berenice (A.M. Lucchini: Farnace), Milan, Regio Ducale, carn. 1728

Adelaide (Salvi), Venice, S Cassiano, carn. 1729, GB-Lam, arias I-Vqs

L’impresario dell’isole Canarie (Dorina e Nibbio) (int, P. Metastasio), ? Venice, S Cassiano, 1729

Massimiano (G. Boldoni, after Pariati ?and Zeno: Constantino), Venice, S Giovanni Grisostomo, carn. 1731, B-Bc

Grullo e Moschetta (int), Venice, S Angelo, carn. 1732; London, King’s, 1737

Ifigenia in Aulide (Zeno), Florence, Pergola, carn. 1732

Il marito geloso (Giletta e Ombrone) (int), St Petersburg, 1734

Il Temistocle (Metastasio), Florence, Pergola, 3 Feb 1737

L’olimpiade (Metastasio), Florence, Pergola, sum. 1737


Le nozze di Perseo e Andromeda (azione drammatica, 2, Marchi), Florence, Pergola, 9 April 1738, A-Wgm, Wn

Balbo e Dalisa (int, Salvi), Rome, Capranica, carn. 1740, doubtful

La Fiammetta (commedia per musica), Florence, Cocomero, 29 Sept 1743

Lo scialacquatore (commedia per musica, Borghesi), Florence, Cocomero, 14 Sept 1744; as Lo scialacquatore alla fiera, Venice, S Cassiano, aut. 1745, with addl music

Probably arr. Orlandini: Arianna e Teseo (Pariati), Florence, Pergola, carn. 1739; Venceslao (Zeno), Florence, Pergola, 27 Dec 1741; Vologeso re de’ Parti (after Zeno), Florence, Pergola, Jan 1742

Arias in A-Wgm, Wn; B-Bc, Lc; D-Bsb, Dlb, SWl; F-Pc, Pn; GB-Lbl, Lgc, Mp, Ob; I-Bc, BGi, Fc, Mc, Rc; US-BE, FAlewis, Wc

oratorios and sacred cantatas


Il martirio di S Sebastiano (A. Ghirizzani), Florence, 1694

I fanciulli babilonesi, Florence, 1696


La costanza trionfante nel martirio di S Lucia (B. Colzi), Florence, 1705

Sara in Egitto (D. Cavanese), Florence, 1708, collab. others

Il figliuol prodigo (B. Pamphili), Siena, 1709, arias D-Dlb

Gli amori infelici di Ammone (Berzini), Florence, 1711

L’Assalone ovvero l’infedeltà punita, Florence, 1713

Dal trionfo le perdite ovvero Jefte che sagrifica la sua figlia (Cavanese), Florence, 1716, collab. others

Componimento per musica da cantarsi la notte del SSmo Natale (G.B. Pontici), Rome, 1721, arias, F-Pc

L’Ester (G. Melani), Bologna, 1723

Giuditta, Castel S Pietro, 1726

Jaele (D. Marchi), Florence, 1735

Assuero, Florence, 1738

Davidde trionfante (G.M. Medici), Florence, 1738


Il Gioas re di Giuda (Metastasio), Florence, 1744

Giuseppe riconosciuto (Metastasio), Florence, 1745

Tobia (Zeno), Florence, 1749

Componimento da cantarsi nel venerabile monastero di S Apollonia in Firenze (F. Casorri), Florence, 1750

Isacco figura del redentore (Metastasio), Florence, 1752

La deposizione dalla croce di Gesù Cristo Signor Nostro (G.C. Pasquini), Florence, 1760

miscellaneous


1 spiritual canzonetta, La ricreazione spirituale nella musica (Bologna, 1730)

3 canzonettas, Raccolta di varie canzoni (Florence, 1739, 1740)

22 sonate, a 3, B-Bc

1 sinfonia, hpd, D-Bsb

BIBLIOGRAPHY


BurneyH; La BordeE

F. Quadrio: Della storia e della ragione d’ogni poesia (Bologna, 1739–52)


G.B. Martini: Serie cronologica dei principi dell’Accademia de’ Filarmonici di Bologna (Bologna, 1776)

R. Strohm: Italienische Opernarien des frühen Settecento , AnMc, no.16 (1976)

R. Strohm: ‘Zu Vivaldis Opernschaffen’, Venezia e il melodramma nel Seicento, ed. M.T. Muraro (Florence, 1978), 237–48

R.L. and N.W. Weaver: A Chronology of Music in the Florentine Theater 1590–1750 (Detroit, 1978)

C.E. Troy: The Comic Intermezzo: a Study in the History of Eighteenth-Century Italian Opera (Ann Arbor, 1979)

R. Strohm: ‘Die Tragedia per Musica als Repertoirestück: zwei Hamburger Opern von Giuseppe Maria Orlandini’, HJbMw, v (1981), 37–54

W.C. Holmes: ‘An Impresario at the Teatro La Pergola in Florence: Letters of 1735–1736’, Music and Civilization: Essays in Honor of Paul Henry Lang, ed. E. Strainchamps, M.R. Maniates and C. Hatch (New York, 1984), 127–40

J.W. Hill: ‘Oratory Music in Florence, III: the Confraternities from 1655 to 1785’, AcM, lviii (1986), 127–77

F. Piperno: ‘Note sulla diffusione degli intermezzi di J.A. Hasse (1726–1741)’, Johann Adolf Hasse und die Musik seiner Zeit: Siena 1983 [AnMc, no.25 (1987)], 267–86

R. Strohm: ‘“Tragédie” into “Drama per musica”’, Informazioni e studi vivaldiani, ix (1988), 14–25; x (1989), 57–102; xi (1990), 11–26; xii (1991), 47–75


W.C. Holmes: Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century (Chicago, 1993)

W. Kirkendale: The Court Musicians in Florence during the Principate of the Medici (Florence, 1993)

JOHN WALTER HILL (work-list with FRANCESCO GIUNTINI)




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