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Niccolò Jommelli
1714 - 1774
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N. Jommelli
Niccolò Jommelli (10/09/1714 - 25/08/1774), an Italian composer, from Aversa. From 1725 to 1728 he studied at the Conservatorio S. Onofrio in Naples, with Ignazio Prota and Francesco Feo; then he took further instruction at the Conservatorio Pietà dei Turchini, under Fago, Basso, and Sarcom.
Jommelli composed 17 masses: Missa [brevis] (1745), Missa pro defunctis (l756), Requiem (1764), Missa solemne (l766) and Missa (1769); 31 psalms; 5 Dixit Dominus; 3 Laudate pueri; 9 Miserere; 4 Magnificat; 3 Te Deum; 9 graduals, 1 sequenza, 6 offertoria, 3 responsoria, 6 lamentations, 14 antifones, etc
Ignazio Fiorillo (1715 – 1787), has made revisions to Niccolo Jommelli’s (1714-1774) Requiem.
Source: Grove’s dictionary of music and musicians
Missa pro defunctis in E flat major
Composed in:1756
Musical form:mass
Text/libretto:Latin mass
In memory of:the duchess Maria Augusta of Württemberg
Label(s):Bongiovanni GB 2215
Arcana A 477
This requiem has been written in occasion of the funereal ceremony of the duchess Maria Augusta of Württemberg (1706 - 1756), the mother of Carlo Eugenio, duke of Rome. A mixture of styles, not unusual for the period, is evident in Jommelli's Requiem in E (1756). Operatic solos (for soprano in the Benedictus, and for bass, with ‘heroic’ descending octaves, in the "Tuba mirum") are juxtaposed, somewhat uneasily, with stretches of pedestrian church counterpoint, one of them a double fugue for the "Pie Jesu" which compares strangely with later songlike settings of that text.
Author:Steven Chang-Lin Yu
Requiem in E flat for soprano, contralto, tenor, bass and orchestra, Adding to the paucity of recordings of Jommelli's music, this release brings us an hour-long requiem from 1756 when the composer was resident at the Würtemberg court in Stuttgart, a work which reflects the serene, contemplative reaction to death of the Reformist church in its fluent and decorous style. It contains:
- Requiem
- Kyrie
- Dies irae
- Salve me
- Oro supplex
- Pie Jesu
- Domine Jesu
- Hostias
- Sanctus
- Hosanna
- Benedictus
- Agnus Dei
- Dona eis requiem
- Lux aeterna
Source:www.recordsinternational.com and http://www.musicanet.org/en/cherchen.php
Jommelli, in his requiem of 1756, set the full sequence in a large quadripartite form within a generally dramatic, florid and sometimes lyric style. The alto solo at "mors stupebit" in the sequence is virtuoso in the use of runs, trills and ornaments. The expressive adagios of the "Libera me" contrast with the florid writing in the other parts of the work. As a whole, Jommelli's setting shows him to have been a very skilled contrapuntist.
Author:James W. Pruett
Source:The new Grove dictionary of music and musicians
Maria Augusta of
Composed in:1764
Musical form:mass
Text/libretto:Latin mass
From the late 17th century onwards, mainly through the contributions of leading opera composers such as Feo, Galuppi, Hasse, Pergolesi, Jommelli, Gassmann, Cimarosa and Gossec, individual movements of the requiem became gradually larger, the orchestration richer and the solo vocal writing more elaborate. In some cases, single texts, usually the sequence and the responsory, were set separately, either as independent motets or as a means of providing vivid contrast within chanted forms of the funeral service.
Author:Steven Chang-Lin Yu
Requiem in C minor
Musical form:mass
Text/libretto:Latin mass
After Jommelli's wife died, he set about composing another Requiem, in c-minor. He died before completing it. A copy is held in the Turchini Library, near Jommelli's home-town of Naples.