Nabokov, Nicolas [Nikolay]
Neri [Negri], Massimiliano
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- Neri Bondi, Michele
Neri [Negri], Massimiliano(b ?Verona, c1621; d Bonn, 1666 or after 1670). Italian organist and composer. He was the son of Giovanni Giacomo Negri (fl 1609–1643) and Caterina Hennes. His father was a musician known to have served at courts at Munich, Neuburg and Düsseldorf. His mother was a harpsichord teacher. Massimiliano Neri arrived in Venice while still a child, probably about 1631; his organ and composition teachers have not been determined. He served as first organist of S Marco, Venice, from December 1644 to 1664. He was also organist of SS Giovanni e Paolo (1644–6 and 1657–64) and S Caterina (1658). In 1648 Giacomo Soranzo, the dedicatee of his op.1, endowed him with a lifelong pension that was roughly equal to his earnings at S Marco. In 1658 he was tried before the Council of Ten for permitting Vespers at S Caterina to continue until an hour beyond ‘midnight’ (i.e. until 8 p.m.), but acquitted on account of conflicting obligations at S Marco. He may have been the teacher of Carlo Grossi, who succeeded him at SS Giovanni e Paolo. Neri was raised to the nobility by the Habsburg Emperor Ferdinand III in 1651, when he seems also to have visited Vienna, possibly for the emperor’s wedding (Neri was absent from Venice for three months from mid-April). In 1655 he was appointed maestro di musica at the orphanage of the Ospedaletto (or Derelitti) in Venice. He travelled to Cologne in the spring of 1663, and in the summer of 1664 entered the service of the elector there as organist and Kapellmeister. He was in search of a new position at Bonn (where his brother, Giuseppe, was a canon) when he died, previously thought to have been in 1666. However, recently discovered Venetian documents report that Neri was still in the employ of the Elector of Cologne in 1670. Even though most of Neri's works lack some parts, it is clear that his achievement as a composer of instrumental music was considerable. The sonatas and canzonas of his op.1 are distinguished by lively fugal writing and virtuoso passage-work as well as by slow movements of grace and substance. The op.2 sonatas are more enterprising and are scored for several different instruments, including cornetts, recorders, bassoons, trombones, theorbos and bowed instruments of all sizes. In his works for a large ensemble Neri united elements of Giovanni Gabrieli’s polychoral canzonas and Dario Castello’s ornamental sonate concertate; short ritornellos and concertino passages for two and three instruments of similar timbres occur in several of them. These features and his close attention to motivic detail make Neri’s later sonatas noteworthy precursors of Venetian concertos of the early 18th century. The innovations of scoring for selected ensembles and obbligato parts for such instruments as theorbo reflect the different institutions and locales that Neri's music represents. While its debts to Venetian practice are clear, the musical cultures of patrons in Verona and Vienna, and an exposure to music in various German courts, may have prompted some of Neri's stylistic characteristics. In Venice alone Neri had to respond to the diverse needs of the ducal Basilica di S Marco, the parish and monastic churches of S Caterina and SS Giovanni e Paolo respectively, the celebrated Ospedaletto and private patrons, for example Giacomo Soranzo. Such varied demands were unusual for a composer of instrumental music of the time.
BIBLIOGRAPHYU. Niemöller: ‘Rosier, Carl’, Rheinische Musiker, i, ed. K.G. Fellerer (Cologne, 1960) E. Selfridge: ‘Organists at the Church of SS. Giovanni e Paolo’, ML, i (1969), 393–9 S. Bonta: ‘A Formal Convention in Seventeenth-Century Instrumental Music’, IMSCR XI: Copenhagen 1972, 288–95 G. Ellero and others, eds.: Arte e musica all'Ospedaletto: schede d'archivo sull'attività musicale degli ospedali dei derelitti e dei mendicanti di Venezia (sec. XVI–XVIII) (Venice, 1978) E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994) ELEANOR SELFRIDGE-FIELD Neri Bondi, Michele(b Florence, 16 Oct 1750; d Florence, c1822). Italian composer. His original name was Michele Neri, but in 1773, owing to the presence in Florence of a singer with the same name, he changed his surname to Neri Bondi (sometimes mistakenly listed as Bondi Neri) while the singer let himself be known as Michele Angiolo Neri. After Ferdinando Rutini, Neri Bondi was the most prolific late 18th-century Florentine composer of comic operas. His most successful, I matrimoni in cantina, was heard twice in both Florence and Bologna, and also in Pisa, Lucca, Rome, Ravenna, Siena and Palermo; most of his other works were composed for and performed only in Florence. His forte was the composition of musical entertainments for those Florentine theatres (the Cocomero, Intrepidi, Piazza Vecchia, S Maria and Borgo Ognissanti) that, following government regulations, performed prose tragedies and comedies with incidental music as their principal fare. Only one of his comic operas, La locandiera, was performed at the Teatro di via della Pergola. Between 1779 and 1790 Neri Bondi was prominent as a music director, arranger and first harpsichordist in the small theatres, especially the Intrepidi, directing works by Andreozzi, Borghi, Cimarosa, Moneta and Valentini, as well as his own. Finally, in the carnival of 1790 for the grand reopening of the refurbished Pergola, he directed Amleto, with music by Luigi Caruso, afterwards remaining as music director. In the 1793 summer season he became the impresario of the S Maria, directing there in the summer and at the Pergola in the spring and autumn seasons. During carnival he simultaneously directed opera at the Pergola and served as impresario at the S Maria, but he resigned from the latter after one year. He opened a school of music in Fiesole in January 1796 and about the same time became maestro di cappella at S Maria de' Candeli (his sacred works date from this period), but continued as first harpsichordist at the Pergola until at least autumn 1822, when he was replaced by the second harpsichordist, Luigi Barbieri. WORKSoperasall first performed in Florence
sacred
BIBLIOGRAPHYMCL (‘Bondineri, Michele’) Indice de' spettacoli teatrali (Milan, 1764–1823) M. de Angelis: La felicità in Etruria (Florence, 1990) M. de Angelis: Melodramma spettacolo e musica nella Firenze dei Lorena (1750–1800) (Florence, 1991) R.L. and N.W. Weaver: A Chronology of Music in the Florentine Theater, ii: 1751–1800 (Warren, MI, 1992) ROBERT LAMAR WEAVER Yüklə 10,2 Mb. Dostları ilə paylaş:
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