Luigi Ricci

Name: A Dictionary of Music and Musicians
Author: Luigi Ricci

A Dictionary of Music and Musicians (1900)

Summary

“A Dictionary of Music and Musicians”, published in 1900, is a work by Luigi Ricci. It explores elements such as Zingarelli, La Scala and opera.

Quotes from A Dictionary of Music and Musicians (Luigi Ricci)

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ Although in his 'Mercato di Monfregoso' and in his 'Secchia rapita' Zingarelli gives many proofs of a comic musical vein, he shone more in serious operas, and most of all in his numberless sacred compositions. Eminently conservative in style, and never deviating from the ancient landmarks, he was a most successful follower of Palestrina and Marcello. His sacred music is always well adapted to express the religious sentiment which he wishes to convey; it is never vague, extravagant or obscure; but is always limpid and natural, like a stream of placid water. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ Fenaroli was learned and religious, and his pupils loved him as a father. Although no great composer, he loved music, and as a teacher well deserves the gratititude of posterity. Zingarelli pursued his studies with such devotion as often tasked the patience of his master. When Fenaroli went for his autumn holidays to Ottaiano, his pupil would plod the eleven miles from Naples on foot, in order to submit to his master a fugue or motet, the return journey seeming but light if his composition were satisfactory. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ His tunes invariably sustain each other, and do not infringe the laws of harmony, of good taste and of propriety. Whether his music weeps with Jeremiah, exults with Ambrose, threatens with the Prophets, prays with the Shunammite, or triumphs with the Angels, it is invariably solemn and worthy of the Temple. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ The gentlemen who provided the funds for the building of La Scala enjoy the use of its boxes at a nominal rental whenever the theatre is open, each box having its owner. In all other respects the theatre has been the property of the town of Milan since 1872. The municipality grants to its lessee an annual sum of £9,800, and the owners of the boxes pay £2,920; and thus La Scala enjoys an endowment of £12,720 a year. The theatre is controlled by a Commission elected by the Common Council of Milan and the owners of its boxes. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ His principal work, however, during these ten years was sacred music, to which he was inclined by his nature and by the duties of his office. In the archives of the Santa Casa of Loreto is accumulated an immense quantity of manuscript music, known by the name of 'Annuale di Loreto.' To this great collection Zingarelli contributed the astounding number of 541 works, inclusive of 28 Masses, which are still sung in that church. As it is forbidden to copy the music of the 'Annuale,' the outside world must remain ignorant of its merits. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ If La Scala boasts of being the largest and most beautiful theatre of Italy, it has also the honour of having produced on its stage the largest number of new and successful operas and of great singers. We shall only mention here the most successful operas and ballets which, being written expressly for that stage, were first performed there; remembering that as the theatre has been open every year for 103 years, many other operas were given with varying success. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ On the last occasion, when Crescentini sang the part of Romeo, Napoleon, much affected, sent him from his own breast the star of the order of the Iron Crown. He also ordered Zingarelli to compose for his Imperial Chapel a Mass that should not last more than twenty minutes, had it rehearsed in his presence, and was so pleased with it as to give the composer 6000 francs. During his stay in Paris, Zingarelli was replaced at Rome by Fioravanti. In July 1810 he left Paris for Naples, where in February 1813 he was appointed Director of the Royal College of Music. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ In 1789 Zingarelli was called to Paris to compose an opera for the Académie Royale de Musique. He arrived in the thick of the fight between the Piccinnists and Gluckists. Martnontel wrote for him the book of 'L'Antigone,' which was represented on April 30, 1790. This opera was performed in Paris only three times consecutively, the Revolution having more attractions than music for the Parisian public. Zingarelli, as both a conservative and a religious man, soon fled from Paris, and returned to Milan through Switzerland at the beginning of 1791. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ La Scala has always been renowned for its splendid and gorgeous ballets, amongst which were most successful—
We should unduly prolong this article were we to mention the names of all the great artists who have gained their merited applause on the boards of La Scala. It is sufficient to state that few great artists can be found within the last hundred years who have not deemed it an honour and a duty to appear on that celebrated stage, and win the approval of the Milanese public. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ The design of his choruses is perfect and their colouring never false or overcharged. His fugues are held in high commendation for the completeness of their arrangement, and the clearness and taste with which they are written. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ The house holds 620 stalls, and in place of a pit there is standing-room for 600 persons. The boxes can accommodate 1900 spectators, and the gallery 500 more; so that the total capacity of the house for operatic representations is 3,600. ”

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Source: Wikisource

Luigi Ricci, A Dictionary of Music and Musicians (1900)

“ But the same theatre, when changed into a ball-room, can contain more than 7000 persons. This immense institution permanently employs 922 persons on its staff, distributed in the following way:—Artist-singers, 20 ”

Luigi Ricci

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