(b ?Rome; d Rome, ?20/21 Sept 1683). Italian composer and organist. Nothing is known of his youth, but by 7 July 1660, when he accepted the boy castrato Francesco Picchino as a pupil, he was already maestro di cappella of the basilica of S Marco, Rome. Between 1667 and 1673 he regularly played the organ for the festivities on 25 August at S Luigi dei Francesi there. His wife was Orsola Foggia, daughter of Francesco Foggia. As a member of the Accademia di S Cecilia, Oliveri was given responsibility for important musical events, for example vespers on the feast day of the patron saint in 1669, and music for the monthly litanies in July 1678. From 1676 to 1683 he was an extra organist at S Giacomo degli Spagnoli. In July 1683 he received assistance from the Accademia di S Cecilia on account of an illness. A requiem mass was said for him on 22 September of that year in the church of the Maddalena, so he must have died some days previously. He was probably also maestro di cappella of S Maria in Trastevere at the end of his life.
It is not known whether Olivieri was related to the Giuseppe Olivieri who replaced Cifra at S Giovanni in Laterano in 1624, the bass Onofrio Olivieri, who was at S Maria Maggiore from January 1641 to October 1674, or the teacher Angelo Olivieri.
Motet, 3vv, in R. Floridus de Silvestris … istas alias cantiones (Rome, 1668)
Motet, 2vv, in R. Floridus de Silvestris … sacras cantiones (Rome, 1672)
Olivo [Olivi], Simpliciano [Sempliciano]
(b Mantua, 1594; d Parma, 20 Sept 1680). Italian composer. He probably received his musical education at Mantua. On 3 July 1631 he was appointed maestro di cappella of the Madonna della Steccata, Parma; he took up the post on 17 December in that year. He retired on 6 October 1679. The vocal writing in his op.2 psalms is typical of the polychoral style of the time, but he made the instruments unusually prominent by giving them independent interludes. His only surviving music is sacred; two operas, an equestrian entertainment and an oratorio are lost, as is a collection of madrigals attributed to him and dated 1681 by Fétis. Walther gave the date of the collection as 1618.
Salmi di compieta, con litanie in ultimo, concertati, 8vv, 2 vn, violetta, vc (ad lib), op.2 (Bologna, 1674)
Salmi per li Vesperi di tutto l'anno con il cantico della Beata Vergine, 8vv, op.3 (Bologna, 1674)
Motet, 2vv, bc, 16202
Le risse pacificate da Cupido (equestrian entertainment, B. Morando), Piacenza, Cittadella, carn. 1644, music lost
Il ratto d'Elena (op, Morando), Piacenza, Teatro Nuovo, 1646, music lost
Op, 23 Feb 1664, lost
Giona (orat), Parma, Oratorio della SS Trinità, 16 March 1672, lost
Carcerata ninfa, madrigali a più voci (Venice, 1681); lost (attrib. Olivo, FétisB; dated 1618 by WaltherML)
N.Pelicelli: ‘Musicisti in Parma nel secolo XVII’, NA, ix (1932), 217–46
L.Bianconi and T.Walker: ‘Dalla Finta pazza alla Veremonda: storie di Febiarmonici’, RIM, x (1975), 379–454, esp. 420–21
Ollone, Max(imilien Paul Marie Félix) d'
(b Besançon, 13 June 1875; d Paris, 15 May 1959). French composer, conductor and critic. Born into an aristocratic family with a lengthy, distinguished military lineage, d'Ollone struggled to reconcile these inherited responsibilities with his Utopian, socialist perspective of music. Thoroughly committed to the deeper appreciation of music through public education, he strove to impress its pivotal role in the evolution of the human character. He developed this philosophy through the study of theology and symbolist literature, and projected it through opera, his preferred medium of expression.
A pupil of Gédalge, Lavignac, Lenepveu and Massenet at the Paris Conservatoire, d'Ollone reaped numerous honours there and throughout his lengthy career, notably the Prix de Rome (1897) for his cantata, Frédégonde. Twice honoured by the Légion d'Honneur (Chevalier in 1926, Officier in 1938), he was appointed director of the Concerts populaires d'Angers (1907–15), at the Ministry of Fine Arts (1916), professor at the Ecole Normale de Musique (1919), Paris Conservatoire (1922), director of the Fontainebleau Conservatory (1923), inspector of music education (1931–42) and director of the Opéra-Comique (1941–4).
D'Ollone espoused an essentially Romantic tonal language based on Wagnerian principles of continuous motivic development, governed by classical and Franckian strictures. As he gained prominence within the administration of French musical education, he led an attack on what he felt to be the institutionalized, progressive dehumanization of music, generated chiefly by the Second Viennese School. His voluminous writings, culminating in the treatises Le langage musical (1952) and Le théâtre lyrique et le public (1955), disclose a prodigious intellect nurtured by a profoundly ecumenical spirituality.
Le passant (drame lyrique, 1), 1889
La terre promise (op, 1), c1889, unfinished
Bacchus et Silène (ballet-pantomime, 1, S. Sicard), 1901
Jean (drame lyrique, prol., 5 tableaux, M. d'Ollone), 1900–04, ? unperf.
Le retour (drame lyrique, 2, M. d'Ollone), 1907, Angers, 13 Feb 1913
L'étrangère (op, 1, M. d'Ollone), 1911, Paris, Concerts Colonne, 1913
Les amants de Rimini (drame lyrique, 4, M. d'Ollone), 1915, Paris, Opéra, 2 March 1916
Les uns et les autres (comédie lyrique, 1, P. Verlaine: Fêtes galantes), 1915, Paris, OC (Favart), 6 Nov 1922
L'arlequin (comédie lyrique, 5 [6 tableaux], J. Sarment), Paris, Opéra, 22 Dec 1924
George Dandin, ou Le mari confondu (oc, 3, M. Belvianes, after Molière), Paris, OC (Favart), 19 March 1930
La samaritaine (3, E. Rostand), 1930, Paris, Opéra, 23 June 1937
Le temple abandonné (ballet, 1, M. d'Ollone and B. Knaiseff), 1931
Orch: Fantaisie, pf, orch, 1897; Les villes maudites, 1899; Fantaisie sur des thèmes de Lenepveu, pf, str orch, 1901; Au cimetière, 1908; Lamento, 1908; Les funérailles du poète, 1908; Le ménétrier, vn, orch, 1910; Romanichels, vn, orch, 1925
Chbr: Scènes paiennes, vn, pf, 1895; Str Qt, 1898; Solo en fa, tpt, pf, 1902; Elégie, vc, pf, 1904; Fantaisie, hp, str qt, 1906; Fantaisie orientale, cl, pf, 1913; Nocturne, fl, pf, 1921; Pf Trio, 1921; Andante et allegro en style ancien, fl, pf, 1926; Romance et tarantelle, bn, pf, 1928; Andante et scherzo, 3 vc, 1933; Pf Qt, 1949
Pf: Minuetto, 1891; Petite suite, 1898; 6 études de concert, 1904
Vocal: Clarisse Harlowe (cant., Noël), 1895; Elévation, female chorus, 1896; Mélusine (cant., Beissier), 1896; Frédégonde (cant., Morel), 1897; Sous-bois, 1897; Nuit d'été, 1898; Saint François d'Assise (orat), 1898; La vision de Dante, poème lyrique, 1898; Les enfants pauvres, S, female chorus, 1906; Hymne à la musique, 1913; Le danseur éternel, 1922; Chant de Harem, 3vv, pf, 1928; Ad lucem aeternam (cant.), 1939; Hymne du matin, 1939; Messe pour Ste Thérèse, c1945–50; Requiem, unfinished; numerous songs for 1v, pf
15 leçons d'harmonie du Conservatoire National de Musique (Paris, 1927)
‘Impressions romaines inédites’, in H. Rebois: Les grands Prix de Rome de musique à l'Académie de France (Paris, 1932)
‘Souvenirs d'un compositeur’, Revue des deux-mondes (15 Dec 1948)
Le langage musical (Paris, 1952)
Le théâtre lyrique et le public (Paris, 1955)
Principal publishers: Durand, Enoch, Heugel, Leduc, Senart
R.Dumesnil: La musique contemporaine en France (Paris, 1949)
G.Favre: Silhouettes du Conservatoire (Paris, 1986)
R.N.Lenain: Max d'Ollone ou les partances vaines (thesis, U. Paris-Sorbonne IV), 1989