Scan 179
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
65 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1L J Moss. The Solos of the One-Act Opéras-comiques by Nicolas Dalayrac (1753 1809) (diss, New York U, 1969)
2D Charlton Orchestration and Orchestral Practice in Paris, 1789-1810 (diss, U of Cambridge, 1973)
3'Motif and Recollection in Four Operas of Dalayrac', Soundings, vii (1978), 38
4DAVID CHARLTON
6Dal Barba, Daniel [Daniele] (Pius) (b Verona, 5 May 1715, d Verona, 26 July 1801). Italian composer, violinist, singer and librettist. In 1741 he began his 40-year career as a violinist and teacher in Verona. His singing début there in Pietro Chiarini's I fratelli riconosciuti (1743) was followed by a leading part in Il Siroe (1744) and in his own opera seria Il Tigrane (1744). During a stay in Venice in 1746-7, he sang in several operas buffe (Teatro S Angelo) and composed a parody, Il gran Tamerlano (Teatro Vendramin). Appearances in the Trent summer opera productions Artaserse and Il Demetrio preceded a two-year post at the Trent Bishopric. one of two readings
8Dal Barba, Daniel [Daniele] (Pius) (b Verona, 5 May 1715, d Verona, 26 July 1801). Italian composer, violinist, singer and librettist. In 1741 he began his 40-year career as a violinist and teacher in Verona. His singing début there in Pietro Chiarini's I fratelli riconosciuti (1743) was followed by a leading part in Il Siroe (1744) and in his own opera seria Il Tigrane (1744). During a stay in Venice in 1746-7, he sang in several operas buffe (Teatro S Angelo) and composed a parody, Il gran Tamerlano (Teatro Vendramin). Appearances in the Trent summer opera productions Artaserse and Il Demetrio preceded a two-year post at the Trent Bishopric one of two readings
9In 1749 Dal Barba succeeded Domenico Zanata, former maestro di cappella at Verona Cathedral, as maestro di cappella of the Filarmonica and Filotima academies in Verona. These lucrative positions resulted in the composition of a considerable number of masses and hymns. Except for a three-year absence, he remained maestro of the Accademia Filotima until its dissolution under Napoleon in the 1790s. Several operas and intermezzos also came from his association with the Accademia Filarmonica. He composed his own libretto for Il finto cameriere (Verona, 1749). In 1752 he contributed, along with members of the Veronese nobility, to a poetic anthology in honour of the new Venetian doge. Dal Barba met Leopold and Wolfgang Mozart at the Accademia Filarmonica in January 1770. Leopold noted in a letter (11 January 1770) that he 'sang extempore the most beautiful verses about Wolfgang'.
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12Having been nominated temporary maestro di cappella at the cathedral in April 1762, Dal Barba succeeded to the post on the death of Gerolamo Zanata in 1770. In addition to composing a large quantity of masses, hymns and motets, he taught counterpoint and thoroughbass in the school of acolytes. He retired from this position in 1779, but continued composing until 1791.
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15Dal Barba's 12 violin sonatas, composed about 1747 and dedicated to a Venetian patron, typically display his lyrical style. In these pieces ornate melodies are usually balanced within bipartite structures. Sacred compositions often include strings and wind, and contrast declamatory choral and arioso solo sections. His works display not only technical competence, but an intimate familiarity with current idioms and popular taste.
17WORKS
18OPERAS
19(music lost, printed libretto sources listed)
20Il Tigrane (opera seria, 3, ?Goldoni), Verona, Filarmonico, carn 1744, I-VEc
21Il gran Tamerlano (parody, 1, 'Verdacchi Predomosche'), Venice, Vendramin, aut 1746, Vcg
22Lo starnuto d'Ercole (intermezzo, 5), Verona, Seminario, c1748, VEC
23Il finto cameriere (intermezzo, 3, Dal Barba), Verona, S E Capitanio, carn 1749, VEC
24Ciro in Armenia (opera seria, 3, G Manfredi), Verona, Nuovo, carn 1750, VEC
25Artaserse (opera seria, 3, Metastasio), Verona, Nuovo, carn 1751, VEC
26Alessandro nell'Indie (opera seria, 3, Metastasio), Verona, Filarmonico, 1761; VEC
28Dalberg, Johann Friedrich Hugo 151
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31SACRED
32C Baronia guanto da una mortal malattia per le orazioni di S Filippo Neri, oratorio, Trent, 1748, lost, pr lib TRc, Verona, 1748, pr lib VEC, Florence, 1754, pr lib US-Wc
3356 works, I-VEcap, incl masses, Nunc sancte nobis spiritus, 4vv, insts, 1744, Responsori per l'esecue del Sommo Pontefice, 1769, Kyrie, 4vv, 1771, Salmi breve per tutto l'anno, 1772, Gloria, 4vv, insts, 1776, Litane della BVM, 4vv, insts, 1791
34Other works Magnificat, Alleluia, Pange lingua, all vv, orch, 1 Esg, 3 responsories, 1776, RVE, 3 motets, RVE
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37OTHER WORKS
38Inst 2 sinfonie piene, with 4 hn, Vlevt, Sinfonia a 3, Bb, advertised by Breitkopf, 1766, Fl conc, D-Ka, 12 sonatas, 6 for vn, b, 6 for 2 vn, c1747, autograph I-Mc, copies of some Gt(l), S-Uu, Sonata, vc, b, advertised by Traeg
39Vocal 6 cantatas, lv, vn, b, A-Wn, 2 arias, B-Bc
40Pedagogical Teorica e pratica musicale per suonare bene il violino, Verona, 1751, I-TRc
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43BIBLIOGRAPHY
44A Spagnolo Le scuole accoltali in Verona (Verona, 1904), 153, 157ff
45G Gagliardi Attori e spettatori a Verona nel secolo XVIII (Verona, 1907), 151
46C Garibotto 'Spettacoli lirici al Filarmonico nel settecento', Atti dell' Accademia d'agricoltura, scienze e lettere di Verona, 5th ser, i (Verona, 1924), 33, 38, 40, xii (Verona, 1934)
47V C Mazzanti 'Un teatro veronese anteriore al Filarmonico', Atti dell'Accademia d'agricoltura scienze e lettere di Verona, 5th ser i (Verona, 1924), 77, 88
48C Garibotto 'Teatri privati a Verona nel settecento', Atti dell'Accademia d'agricoltura, scienze e lettere di Verona, 5th ser, iv (Verona, 1927), 114
49V C Mazzanti 'I Accademia filotima e i teatri a Verona nel XVIII secolo', Atti dell'Accademia d'agricoltura, scienze e lettere di Verona, 5th ser, xii (Verona, 1934), 197
50A Gajoni-Berti Celebri cantanti veronesi (Verona, 1949)
51I Lenotti I teatri di Verona (Verona, 1949), 91, 16f, 89
52G Turini Il patrimonio musicale della Biblioteca capitolare di Verona dal secolo XV al XIX (Verona, 1952), 32f
53R Brenzoni 'Nell'entusiasmo di Verona', Mozart in Italia, ed G Barblan and A Della Corte (Milan, 1956), 54
54W A Bauer and O E Deutsch, eds Mozart Briefe und Aufzeichnungen, i (Kassel, 1962), 299, 303, 304
55A Gajoni-Berti Cronistoria del Filarmonico (1732 1938) (Verona, 1963), 12f
56M Dubiaga jr The Life and Works of Daniel Pius Dal Barba (1715-1801) (diss, U of Colorado, 1977)
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59MICHAEL DUBIAGA JR
61Dalberg, Johann Friedrich Hugo, Freiherr von (b Herrnsheim, nr Worms, 17 May 1760; d Aschaffenburg, 26 July 1812). German author, amateur composer and aesthetician. Born into a noble family, he was tutored at home and then received theological training at Göttingen. Though physically deformed, he was a virtuoso pianist by the time he reached Göttingen. He became a canon at Trier, Worms and Speyer, and a privy counsellor to the Elector of Trier, but he was able to devote most of his time and energy to scholarly pursuits including music. He studied composition with Ignaz Holzbauer and travelled extensively in Italy and England. His works about music and his compositions were published regularly in his lifetime and were regarded seriously by professionals.
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64Dalberg's writings cover such diverse subjects as meteorology, penal law and translations of works on oriental subjects. This wide range of interests that hints at the dilettante is also reflected in his writings on music. Their topics include the music of India, ancient Greek music, newly invented instruments and the history of harmony, and there is an important series of fanciful, highly imaginative works that reflect the aesthetic attitudes of early German Romanticism. Many of the latter reflect a strong interest in the nature of musical inspiration and its relation to the inner world of the artist. The earliest of these works appeared in the 1780s and establishes Dalberg as one of the first musical Romantics. His Blicke eines Tonkünstlers in die Musik
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