Nikolaos Halikiopoulos Mantzaros (1795-1872) - Don Crepuscolo (1815) скачать в хорошем качестве

Nikolaos Halikiopoulos Mantzaros (1795-1872) - Don Crepuscolo (1815)

Autor: Nikolaos Halikiopoulos Mantzaros (1795-1872) Obra: Don Crepuscolo (1815) Intèrprets: Christοphοros StambοgIis (bass); Armοnia Atеnea Pintura: Jean-Léon Gérôme (1824-1904) - Young Greeks Attending a Cock Fight (1846) --- Nikolaos Halikiopoulos Mantzaros (Corfu, 8 November 1795 - Corfu, 12 April 1872) Greek composer, theorist and teacher. Of noble descent, his father was a prominent magistrate and he was initiated into music by his mother. He was taught the piano (1807) and violin (1809) by the brothers Hieronymos and Stephanos Poyagos (or Pogiago), harmony and counterpoint (apparently inadequately, see Alvanas, 1874, p.5) by the Italian S.M. Marchigiana and finally harmony and counterpoint and orchestration by the Italian theorist Cavalier Barbatti (1810–12/13). From 1815 Mantzaros composed an opera and various arias and cantatas (the earliest extant Greek orchestral scores) for the S Giacomo Theatre, Corfu, and must have been active as a teacher from about 1820. He became acquainted with Zingarelli, his life-long friend and mentor, in Corfu probably in August 1821; in 1835 Zingarelli offered him the succession of the directorship of the Conservatorio di S Pietro a Majella in Naples, which he declined. From 1823 until at least August 1826 Mantzaros toured Italy, and later often revisited Naples. In 1828 he began his friendship with Dionissios Solomos, the foremost contemporary poetical genius. His house became, and for almost 50 years remained, a conservatory, where he gave free tuition in piano, harmony and counterpoint, composition and instrumentation to both rich and poor. His many students included the most prominent composers of the Ionian school, such as Xyndas, Padovanis, Iossif Liveralis, Edouardos Lambelet, Carrer and Rhodotheatos as well as Giuseppe Persiani and Raffaele Parisini. In 1840, when the Corfu Philharmonic Society, the earliest Greek conservatory, was founded, Mantzaros was elected honorary life president. Until recently Mantzaros was regarded as a prominent theorist but a dry, academic and unimaginative composer, known only for the Greek national anthem (the opening 24 bars of his 1829–30 setting of Solomos's Hymn to Freedom). His compositions have received more favourable attention, however, since a reappraisal of his works by Leotsakos in 1988. Mantzaros's output can be divided into two periods. His earlier works, up to about 1840, comprise mostly purely instrumental, or instrumentally-accompanied vocal pieces. An Italianate influence can be heard in his arias and sinfonias, which have a melodic conception akin to the writing of Bellini and Donizetti. His opera Don Crepuscolo (1815), however, apart from containing buffo passages of a kind normally associated with Rossini, is Mozartian in style. His later works are almost exclusively for voice (sometimes with piano accompaniment). This move towards vocal music may have been influenced by the Greek Orthodox Church's rejection of instrumental music. During this period Mantzaros was concerned mainly with setting poetry, particularly by Petrarch and Solomos, but was also preoccupied with counterpoint. The 1829–30 (so-called ‘popular’) and 1842–3 versions of the Hymn to Freedom, apart from being perhaps the longest settings of any poetical texts, juxtapose a spontaneous homophonic style, echoing Ionian folklore, with climaxes of masterly polyphonic and fugal writing. Mantzaros was also an exquisitely unpretentious melodist, as is revealed in the one-voice settings of Solomos's short masterpieces, such as I xanthoula and I avgoula.