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Ramón Carnicer

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Nationality
  
Spanish

Role
  
Composer

Name
  
Ramon Carnicer

Spouse(s)
  
married

Education
  
Carles Baguer


Ramon Carnicer httpsuploadwikimediaorgwikipediacommons77

Full Name
  
Ramon Carnicer i Batlle

Born
  
October 24, 1789 (
1789-10-24
)
Tarrega, Catalonia, Spain

Residence
  
until 1796, Tarrega; 1796-1806, La Seu d\'Urgell; 1806-1808 and 1814-1823, Barcelona; 1808-1814, Mahon; 1823-1827, Paris and London; 1827-1855, Madrid

Occupation
  
Composer, conductor and opera house director

Known for
  
Chile national anthem, ouverture for Il barbiere di Siviglia

Died
  
March 17, 1855, Madrid, Spain

Compositions
  
National Anthem of Chile, National Anthem of Chile, Don Giovanni Tenorio, Don Giovanni Tenorio, Cristoforo Colombo, Cristoforo Colombo, Adele di Lusignano, Adele di Lusignano

Similar People
  
Francisco Asenjo Barbieri, Carlos Baguer, Vicente Martin y Soler, Emilio Arrieta, Leopoldo Benedetto Vincenti

Ram n carnicer fantas a para clarinete y orquesta joan enric lluna


Ramón Carnicer i Batlle (October 24, 1789 – March 17, 1855) was a Spanish composer and opera conductor, today best known for composing the National Anthem of Chile.

Contents

Ramón Carnicer Ramn Carnicer Batlle 1789 1855

El poder de las mujeres ram n carnicer 1789 1855


Biography

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Carnicer was born in Tàrrega, Catalonia (Spain). His first major positions were as conductor for the opera, and he was influential in the development of the Spanish national opera style, zarzuela. He conducted the Italian Opera in Barcelona from 1818 to 1820, and the Royal Opera in Madrid from 1828 to 1830, as well as composing nine operas.

Ramón Carnicer Los restos mortales del escritor leons Ramn Carnicer sern

In 1830, he accepted a position as professor of composition at the Madrid Conservatory, which he would retain until his retirement in 1854. He composed a variety of songs, church music, and symphonies; his best-remembered composition today being the National Anthem of Chile. He died in Madrid in 1855.

Opera

Some of his operas are lost, but are known from references in documents of the period. However the authorship of several of the pieces is not fully clear.

  • Adele di Lusignano: Melodramma semiserio (1819), Opera in Italian, in two acts
  • Elena e Costantino: Dramma eroico-comico in due atti (1821, premiered again in 2005), Opera in Italian, libretto by Andrea Leone Tottola
  • Il dissoluto punito, ossia Don Giovanni Tenorio (1822, premiered again in 2006), Opera in Italian, in two acts, libretto by Giovanni Bertati.
  • Elena e Malvina (1827), Opera in two acts
  • Cristoforo Colombo (1829), Opera
  • Eufemio di Messina (1832), Opera
  • Guglielmo Tell (1834), Opera
  • Eran due or sono tre, o sea, Gli esposti (1836), Opera buffa in two acts. Libretto by Jacopo Ferretti
  • Ismalia o Morte ed amore (1838), Opera in two acts
  • Laura y Don Gonzalo (1841), òpera in 4 acts. Music attributed to Carnicer. Libretto attributed to Manuel Bretón de los Herreros
  • Ipermestra (1843), drama in three acts. Words by Pietro Metastasio. Authorship discussed
  • Lucrezia Borgia. Attributed opera, some believe he only collaborated in the composition
  • El sacristán de Toledo, opera. It's said he had only collaborated, composing incidental music

    • Instrumental

  • Fantasía en mi bemol mayor, for clarinet
  • Gran sinfonía en Re (1839)
  • Fantasía original para clarinete con acompañamiento de piano (1849)
  • Capricho para contrabajo con acompañamiento de piano (1852) (Capricho for doublebass with piano accompaniment)
  • Melodía fantástica con acompañamiento de piano
  • Sinfonía oriental
  • Solo de flauta (solo for flute)
  • Salmòdia for organ
  • 6 Sonates per a instrument de tecla'
  • Obertura (sinfonía) Composed for the premier of the opera Il barbiere di Siviglia by Rossini in Barcelona (1818)
  • A second overturefor that same opera

    • Vocal

  • El caramba: canción andaluza (ca. 1832), Voice and piano or guitar
  • Completas Fratres a 4 v., 4 voices, 6 instruments, accompaniment and continuo
  • La criada: canción española (ca. 1832), voice, guitar and piano
  • El currillo: canción andaluza (ca. 1835), voice, guitar and piano
  • La gitanilla (ca. 1831), song for voice, guitar and piano
  • Himno a los defensores de Gandesa (1838).
  • Himno patrio de la República de Chile (1828)
  • Himno patriótico, con motivo de la publicación del Estatuto Real (1834)
  • Himno patriótico [para el] cumpleaños de la Reina Doña Isabel II (1835)
  • El julepe: polo (1823), song for voice and guitar
  • Misa de Réquiem (1929), 4 voices and orchestra, in Latin. For Maria Josepa from Saxonia, Ferran VII third wife
  • Misa de Réquiem (1842), 4 voices and orchestra, in Latin
  • Misa solemne (entre 1806 i 1808), 8 voices and orchestra
  • El músico y el poeta (Los maestros de la Raboso), tonadilla a dúo
  • El no sé, song for voice, guitar and piano
  • La noticia feliz: polo y seguidillas (1823), song for voice, guitar and piano
  • El nuevo sereni (1825), song for voice, guitar and piano or guitar
  • Odas de Anacreonte (1832), text original grec d'Anacreont i traducció castellana de José del Castillo y Ayensa, comprèn les cançons per a veu i piano De si mismo, A una muchacha i Del amor y la abeja
  • El poder de las mugeres: canción española con acompañamiento de piano y guitarra (1836)
  • Psalmodia que contiene todos los tonos (1818)
  • Tantum Ergo
  • Tonadilla de la cantinera (1813)
  • Vigilias con orquesta para las exequias de Fernando VII (1833), in Latin
  • El chairo: canción española cantada en la ópera "El barbero de Sevilla" (1833), lyrics by Agustín Azcona

    • References

    Ramón Carnicer Wikipedia
    (Text) CC BY-SA


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