LEONARDO See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEONARDO LEO (1694–1744)

LEO (1694–1744)  , more correctly LIONARDO ORONZO SALVATORE DE See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

LEO, See also:

• ITALIAN

Italian musical composer,.,, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 5th of See also:

• AUGUST (originally Sextilis)

August 1694 at S . Vito dei Normanni, near See also:

• BRINDISI (anc. Brundisium, q.v.)

Brindisi . He became a student at the Conservatorio della pieta dei Turchini at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples in 1703, and was a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil first of Provenzale and later of Nicola Fago . It has been supposed that he was a pupil of See also:

• PITONI, GIUSEPPE OTTAVIO (1657-1743)

Pitoni and Alessandro See also:

• SCARLATTI, ALESSANDRO (1659-1725)

Scarlatti, but he could not possibly have studied with either of these composers, although he was undoubtedly influenced by their compositions . His earliest known See also:

• WORK

work was a sacred See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, L'Infedeltd abbattuta, performed by his See also:

• FELLOW

fellow-students in 1712 . In 1714 he produced, at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, an See also:

• OPERA (Italian for " work ")

opera, Pisistrato, which was much admired . He held various posts at the royal See also:

• CHAPEL

chapel, and continued to write for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, besides teaching at the conservatorio . After adding comic scenes to Gasparini's Bajazette in 1722 for performance at Naples, he composed a comic opera, La Mpeca scoperta, in Neapolitan See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect, in 1723 . His most famous comic opera was Amor viral sofferenze (1739), better known as La Finta Frascatana, highly praised by See also:

• DES

Des See also:

• BROSSES, CHARLES DE (1709-1777)

Brosses . He was equally distinguished as a composer of serious opera, Demofoonte (1735), Farnace (1737) and L'Olimpiade (1737) being his most famous See also:

• WORKS

works in this See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch, and is still better known as a composer of, sacred See also:

• MUSIC

music . He died of See also:

• APOPLEXY (Gr. arov n i.a, from aroaMvvew, to strike down, to stun)

apoplexy on the 31st of See also:

• OCTOBER

October 1744 while engaged in the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of new airs for a revival of La Finta Frascatana . Leo was the first of the Neapolitan school to obtain a See also:

• COMPLETE

complete mastery over See also:

• MODERN

modern See also:

• HARMONIC

harmonic See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint .

His sacred music is masterly and dignified, logical rather than passionate, and See also:

• FREE

free from the sentimentality which disfigures the work of F . See also:

• DURANTE, FRANCESCO (1684-1755)

Durante and G . B . See also:

• PERGOLESI (or PERGOLESE), GIOVANNI BATTISTA (1710-1736)
• PERGOLESI, MICHAEL ANGELO

Pergolesi . His serious operas suffer from a coldness and severity of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, but in his comic operas he shows a keen sense of See also:

• HUMOUR (Latin humor)

humour . His ensemble movements are spirited, but never worked up to a strong See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax . A See also:

• FINE

fine and characteristic example of his sacred music is the Dixit See also:

• DOMINUS (from an Indo-European root dam-, cf. Gr. Sapav, to subdue, and Eng. " tame ")

Dominus in C, edited by C . V . See also:

• STANFORD, SIR CHARLES VILLIERS (1852– )

Stanford and published by See also:

• NOVELLO, VINCENT (1781-1861)

Novello . A number of songs from operas are accessible in modern See also:

• EDITIONS

editions . (E . J .