Francesco Pasquale Ricci (1732-1817) - Sinfonia Diss Dur a piu Instrumenti ()

Buon compleanno Francesco Pasquale Ricci! 📯🎁 Composer: Francesco Pasquale Ricci (1732-1817) Work: Sinfonia Diss Dur a piu Instrumenti, Op.2 No.5 () Performers: Nеthеrlands Radio Chamber Orchestra; Jan Willеm de Vriеnd (conductor) Sinfonia Diss Dur a piu Instrumenti () 1. Spiritoso 0:00 2. Menuetto maestoso 6:25 Painting: Claude-Joseph Vernet (1714-1789) - Storm with a shipwreck by the coast HD image: Engraving: Daniël Stopendaal (1672-1726) - Plattegrond van Como HD image: Further info: Listen free: No available --- Francesco Pasquale Ricci (Como, 17 May 1732 - Loveno di Menaggio, Como, 7 November 1817) Italian composer. Born of a middle-class family, he received a liberal education, then concentrated on music with Vignate at Milan. He joined the Franciscan Order of the Friars Minor and used the title Abbate. Appointed maestro di cappella at Como Cathedral in 1759, he was nevertheless able to travel extensively and was absent from his duties during much or all of the time between early 1768 and December 1777. He visited Paris, London, and, most importantly, The Hague, where he appeared in concerts (1766-1780) and dedicated works to the prince and others attached to the court. In the 1760s and 70s a number of works, including symphonies, string trios, quartets and accompanied keyboard sonatas, were published there or in Amsterdam. Many of these appeared also in Paris and London, generally in the same edition with altered title-page. Several symphonies from the sets were also issued singly in periodical series. According to Brook, a work by Ricci () was probably the first to be published as a ‘symphonie concertante’. However, despite this title, the piece was probably an ordinary symphony, perhaps a reprint of a piece from the sets published in The Hague () and Amsterdam (op.2, ). His fame was spread by the impact of the first performance of his Dies irae, which was published and widely distributed. According to Fayolle, the audience was struck with a ‘saint effroi’ by the introduction at the ‘Tuba mirum’ of a trumpet sounding from the cupola (the printed score calls for horns). Ricci was not the first to attempt this effect, however. Ricci’s name appears with that of J.C. Bach in the Méthode … pour le forte-piano (Paris, ), devised for one of the conservatories at Naples. The nature of the collaboration is uncertain, but it is likely that the two musicians had become acquainted at Milan through Count Litta, a patron of both, and had continued their friendship in London. Ricci may merely have arranged and edited the work in memory of his deceased friend; the ascription to Bach may in any case be false.