Thémire fuit un vaste espace Des jardins de honte à mes yeux Thémire fuit ta triste disgrâce Ici j’ai reçu ses adieux. Viens-tu auprès d’elle, ô zéphyr ? Oui sans doute elle t’attirait Viens, approche, et que je respire, Le souffle qu’elle respirait. Ruisseau sur les pas de Thémire, Coule à flots, pressée ébriétée Air de nuit, que tu respires Dans les vallons qu’elle a quitté. Dis Thémire que de la prairie, Sous l’absence, à ces jeunes fleurs, Que des bois la feuille flétrie, Que je languis, que je me meurs. (I’m not sure about all the lyrics)
Qué belleza! Pero a la vez cuanta desesperación, cuánta agonía. Habría algo en la vida del compositor qué causó esa huella? Un hecho inesperado, la partida de un amor no correspondido?
Consiglio a tutti la lettura cdel Viaggio Musicale in Italia del Burney. In quegli anni '70 del XVIII secolo il Burney, musicalmente ultaitalofilo e ultrafrancofobo come tutti gli inglesi (i suoi giudizi sull'opera francese sono divertentissimi), arriva nel presunto paradiso e se ne torna sostanzialmente deluso. Percepisce la fine della "spinta propulsiva". Un compositore minore della scuola napoletana, il Di Capua, addirittura glielo confessa. Gli dice che ormai lui e tutti tirano avanti a ripetere sostanzialmente le stesse cose. Non ha idea delle bombe che Haydn, Mozart e Beethoven stanno per sganciare. In Germania la musica va avanti e l'Italia resta irrimedibilmente indietro. Rossini sarà soprannominato il tedeschino perché adora la grande triade ed è angosciosamente consapevole del problema. Trova una sua personalissima strada, poi potrà produrre solo isolati perversi capolavori postmoderni come la Petite Messe Solennelle.
I could not disagree more with this evaluation. I agree that there was a decline in the Neapolitan tradition by the time Burney visited. I think even Jommelli himself told Burney, I forget. Burney met with Jommelli. But I also believe that the early settecento is the Augustan era of modern western music. It is the pinnacle of modern western music. What can one say? All good things come to an end. Too bad. It was so nice as long as it lasted. I have some ideas as to why it came to an end. The great French physicist and musicologist Jean Le Rond D'Alembert lamented that Pergolesi had died too young to turn western music upside down. As to Haydn, Mozart, and Beethoven, you state that "in Germany music moves forward." I could not disagree more. This trio learned everything from the Italians, e.g. Haydn from Porpora. But they can't hold melodies in the way that early settecento Italians did. It is something that was lost. Nothing wrong with Beethoven. But he is so loud (to hide deficiencies?). And Haydn's and Mozart's concertos all sound the same. If you've heard one, you've heard them all. In the moments in which they shine, it's all Italian music that they write. The rest is Haydn and Mozart muzac. But I agree with you on your initial observation. In 1770, Neapolitan music was not quite what it had been. It was so nice as long as it lasted. Music has never even been close to as good, Leonardo Vinci, Leonardo Leo, Giovanni Battista Pergolesi. (And one might add, Sarro, Durante, and many others.) PS I overstated the decline of Naples in the late eighteenth century. Remember Paisiello and Cimarosa. They were the most popular musicians of the late eighteenth century. Both of them are far more melodical than the repetitive boring Haydn, Mozart and Beethoven. The history of western music is totally messed up.
E' davvero desolante che la giusta riesumazione di belllissime opere del '700 italiano, come questa, debba avvenire all'insegna di becere e insensate contrapposizioni. Che Jommelli, così come Traetta, sia stato un grande compositore, i competenti lo hanno sempre saputo e detto. Quel che si può con sensatezza e pacatezza dire è che i musicisti italiani fino agli inizi degli anni '70 del XVIII compartecipano autorevolmente all'evoluzione che dal barocco, con la confusa parentesi-ponte dello stile galante, porterà allo stile classico. Però con i quartetti op. 20 e alcune delle sinfonie di quel periodo Haydn si porta mille miglia avanti a tutti (tedeschi compresi) e in tutta Europa è Mozart e nessun altro che capisce e lo segue. Questa mi sembra l'evidenza storica. Quanto a Luchesi, improvvidamente evocato, il suo Requiem, ascoltabile in youtube, è semplicemente imbarazzante: metterlo assieme al grande Jommelli è offensivo.
I completely disagree with this. There is no doubt in my mind that modern western music is Italy's gift to the world. Haydn is not "a thousand miles ahead." There is nothing wrong with his symphonies. But they all sound the same. And all that is pleasant in his music he learned from Porpora, the Neapolitan composer. Joseph, I regret to tell you. You're no Porpora. Porpora's music is far superior. But in order to strengthen the narrative of Teutonic superiority, Porpora's music was condemned as antiquated or the like. And he was relegated to the dustbin of musical history, But his star seems to be on the rise. Porpora was also superior to Handel, Nothing wrong with Handel, though. As to Mozart, it is beautiful music. But everything that is interesting in him is Italian. The rest is just Mozart muzac, let's just call it Mozac. There is too much Mozac in the world.
The radio just tricked me . They played this music but they didn't tell us the 50. Plus they only play the last movement; which is kind of the highlight of the whole piece. I was listening to each of the videos on youtube. I was saying, no that's not it, no that's not it. Then I decided to listen to the whole work on this video this video and voila it's the last movement. I love the staccato styling this work is done
Vedo che tanti coglioni ancora credono a mozart genio alla favola che ci hanno raccontato i veri geni erano molti autori italiani ma fermati dalla massoneria degli illuminati di baviera invidiosi dei musicisti italiani dovevano portare avanti i loro musicisti mozart beethoven hajden tutti e tre massoni sveglia italiani le favole son finite non siamo secondi a nessuno
