See also:Italian composer, was
See also:born at Frattamaggiore, in the
See also:kingdom of Naples, on the 15th of
See also:March 1684 . At an early age he entered the Conservatorio dei poveri di Gesu Cristo, at Naples, where he received lessons from Gaetano
See also:Greco; later he became a
See also:pupil of Alessandro
See also:Scarlatti at the Conservatorio di Sant' Onofrio . He is also supposed to have studied under
See also:Pasquini and
See also:Pitoni in Rome, but no documentary
See also:proof of this statement can be given . He is said to have succeeded Scarlatti in 1725 at Sant' Onofrio, and to have remained there until 1742, when he succeeded Porpora as
See also:head of the Conservatorio di
See also:Santa Maria di
See also:Loreto, also at Naples . This
See also:post he held for thirteen years, till his
See also:death on the 13th of
See also:August 1755 at Naples . He was married three times . His fame as a teacher was all but unrivalled, and
See also:Jommelli, Paesiello, Pergolesi, Piccini and
See also:Vinci were amongst his pupils . A
See also:complete collection of
See also:works, consisting all but exclusively of sacred compositions, was presented by Selvaggi, a Neapolitan
See also:lover of
See also:art, to the
See also:Paris library . A
See also:catalogue of it may be found in
See also:Fetis's Biographie universelle . The imperial library of Vienna also preserves a valuable collection of Durante's
See also:manuscripts . Two requiems, several masses (one of which, a most
See also:work, is the Pastoral Mass for four voices) and the Lamentations of the
See also:Jeremiah are amongst his most important settings . The fact that Durante never composed for the stage brought him a somewhat exaggerated reputation as a composer of sacred
See also:music .
Although certainly one of the best
See also:church composers of his
See also:style and
See also:period, he is far inferior to
See also:Leo, and seems to have been the founder of the sentimental school of Italian church music . Leo and Scarlatti at their best have a solidity and dignity entirely wanting in Durante, and Alessandro Scarlatti at his worst is frivolous rather than sentimental . This type of music is characteristic of Durante as a man; intellectually uncultured, but sincerely devout . As a teacher he insisted on the strict observance of rules for which he either would not or could not give a reason, differing thus from Alessandro Scarlatti, whose first care was to develop his pupils' talents according to their own individualities, regarding all rules as subservient to his exquisite sense of musical beauty .
See also:Hasse rightly protested against Durante's being described as the greatest harmonist of Italy, a title which could be claimed only by Alessandro Scarlatti . (E . J .
DURANI, or DURRANI
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.