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André Campra

The most important composer for the French stage between Lully and Rameau, Campra was created in Aix-en-Provence in 1660. His dad, an beginner violinist, supplied him along with his initial music lessons, even though he was a gradual learner initially, he did start to show skill, and became a member of the choir of St. Sauveur in 1674. At one stage he nearly dropped his put in place the choir when he was captured giving unauthorized shows in secular theaters privately. In August of 1681 he became the music get good at on the cathedral of Ste. Trophime in Arles, and 2 yrs later shifted towards the same placement on the Cathedral of St. Étienne in Toulouse. In 1694 he had taken a keep of lack that became long lasting when he became music get good at at Notre Dame. Until he found its way to Paris he previously composed mainly sacred music, but despite the fact that he previously reached a high placement in the wonderful world of cathedral music, the dramatic stage once more began to pull his imagination. in 1697, he provided a new type of his very own invention, the opéra-ballet. A loosely plotted song-and-dance spectacle, L’Europe galante was well received by its aristocratic market. Its successors, the equivalent divertissements Vénus (1698) as well as the Venetian Carnival (1699), had been likewise successful. He previously released these in his youthful brother’s name because he was scared of shedding his cathedral session, but after these successes, he was self-confident in his capability to support himself with secular music. In 1700, he still left Notre Dame and composed his initial opera, Hesione. From the eight operas (or tragédies-lyriques) that adopted, just Tancrède (1702) and Idomenée (1712) have already been performed with any regularity in the twentieth hundred years. Campra assumed a prominent placement in the wonderful world of dramatic music; he was granted a posting monopoly and, in 1718, an annual no-strings-attached pension by Ruler Louis XV. In 1708, he composed his initial reserve of secular cantatas in French, specifying that he wished to combine the liveliness of Italian music using the delicacy of French music; this is followed by another reserve in 1714 and another in 1728. In 1720, Campra begun to compose sacred music once again, and in 1722 he was produced master from the royal chapel and formal composer and music movie director for the Prince of Conti. He composed a great deal of materials for the royal chapel between after that and his pension in 1742. Campra’s prolific composing was pretty much consistently divided among opéra-ballet, sacred music, and tragic opera. As the opéra-ballet was designed as light entertainment, Campra’s functions in the proper execution are musically advanced and mixed. They combine features of Italian music, especially an focus on melody, with numerous affects from Lully, offering new suggestions after French music experienced become relatively stale under Lully’s near-complete domination. Likewise, his tragic operas also display innovations, like the extremely atmospheric musical unique ramifications of Idomenée and Hesione; these paved just how for Rameau’s musical vocabulary. Like this of his modern Bach, Campra’s sacred music also wove Italian affects into an essentially traditional idiom.

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