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Ferradini [Feradini, Ferrandini], Antonio

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Ferradini [Feradini, Ferrandini], Antonio

(b Naples, ?1718; d Prague, 1779). Italian composer. Fétis suggested 1718 as his birthdate. His earliest works are sacred pieces dating from 1739, and the oratorio Giuseppe riconosciuto (Naples, 1745). In 1751–2 he composed operas for the north Italian cities of Lugo and Sinigaglia, and contributed to a pasticcio produced at Forlì. Between 1757 and 1760 his operas were produced at more important centres in north central Italy and in Madrid. At Parma in Carnival 1757 he produced his only comic opera, to a libretto by Goldoni, Il festino, which is of historical interest as it was written during Goldoni’s stay in Parma. According to his memoirs, Goldoni was satisfied with Ferradini’s setting. Gerber rated him highly as a composer for both church and theatre and claims his Stabat mater was performed at the Crusaders’ church (St František) in Prague in 1780 and 1781 (text published as Compatimento pietoso dei figli al duolo della madre, Prague, 1781). Gerber’s assertion that Ferradini spent 30 years in Prague is doubtful (his operas were still being produced in Italy in the late 1750s), but he was probably there by 1763 when his setting of Giuseppe riconosciuto was performed.

Ferradini’s compositions are sometimes confused with those of the better-known Giovanni Battista Ferrandini, as some works bear only a surname. For example, the arias attributed to him in the pasticcio La finta frascatana are most likely the work of Ferrandini, as are four cantatas and five arias attributed to Ferradini by Eitner.



opera seria unless otherwise stated

Ermelinda, Lugo, Fair 1751

Ezio (P. Metastasio), Sinigaglia, 10 July 1752

Il re pastore (Metastasio), Madrid, Reale, 1756

Semiramide (Metastasio), Madrid, Reale, ?1756

Il festino (dg, C. Goldoni), Parma, Regio, carn. 1757

Solimano (G.A. Migliavacca), Florence, Pergola, carn. 1757

Ricimero (F. Silvani), Parma, carn. 1758, P-La

Antigono (Metastasio), Reggio, Fair 1758, La, S-Skma (excerpts)

Demofoonte (Metastasio), Milan, Regio Ducal, 26 Dec 1758, P-La

Didone (Metastasio), Lucca, aut. 1760, La


Music in: Artaserse (pasticcio, Metastasio), Forlì, Pubblico, spr. 1752; G. Latilla: L’opera in prova a all moda (dg, 3, G. Fiorini), Lodi, carn. 1752

Miscellaneous excerpts CZ-POa, D-Bsb, Dl, GB-LBl, I-MOe, PAc


Giuseppe riconosciuto (orat, Metastasio), Naples, 1745, ?D-Bsb, BS

Mass, 4vv, I-Fc* (dated Prague, 12 Sept 1775)

3 Ky-Gl, 2 in CZ-Pu (1 for S, A, SATB, orch), LIT

5 Cr, 2 in Pu, LIT (SATB, str), D-Bsb, DS (dated 1739)

Credidi, 4vv, 1739, Bsb, MÜs

Te Deum, 4vv, insts, 5 Nov 1773, Dl

Stabat mater, solo vv, orch, Bsb, I-Fc, PAc; vs, ed. L. Bettarini (Milan, 1969)

Gaude fideles turba, T, orch, CZ-LIT [?= Aria solennis, Pu]

Gaudete alatae mentes, A, orch, Pnm

Dextera Domini, 4vv, Pnm* (dated Prague, 29 March 1776)

Tenebrae factae sunt, pubd

other works

2 overtures, 1755, S-Skma; 1758, I-MAv; sinfonia, D-Bsb

?Quartetto Armonioso, 3 vn, vc, Bsb; Serenata Nocturna, 2 fl, b, MT

6 sonatas, hpd, Dl

12 duets for the Electress of Saxony, perf. 9 July 1769, Dl; 3 duets, 2 S, Dl; madrigals, 2 S, bc, I-PAc


Doubtful: addl nos. in Leo: La finta frascatana (ob, G. Federico), Naples, 1750; 5 arias, I-Bc; 4 cants., Bc







F. Torrefranca: Le origini italiane del romanticismo musicale: i primitivi della sonata moderna (Turin, 1930/R), 172–8

A. Iesuè: ‘Note su Antonio Ferradini’, NRMI, xv (1981), 241–6


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