A Dictionary of Music and Musicians/Martin y Solar, Vicente

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A Dictionary of Music and Musicians
edited by George Grove

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1607429A Dictionary of Music and Musicians — Martin y Solar, VicenteGeorge GroveJ. A. Fuller-Maitland

MARTIN Y SOLAR, Vicente, born at Valencia in 1754 (whence he was known in Italy as 'Lo Spagnuolo'), was a choir-boy in the cathedral of his native town, and afterwards organist at Alicante. On the advice of an Italian singer, named Giuglietti, he went to Florence, where he was commissioned to write an opera for the next Carnival. His 'Iphigenia in Aulide' was accordingly brought out in 1781. Soon after this he produced a new opera, 'Astartea,' in Lucca, as well as a ballet, 'La Regina di Golconda.' In 1783 'La Donna festeggiata' and 'L'accorta cameriera' were brought out at Turin, and in the following year 'Ipermnestra' at Rome. In 1785 he went to Vienna, where he became acquainted with Da Ponte, who wrote for him the libretto of 'Il burbero di buon cuore,' produced Jan. 4, 1786. Here as elsewhere he speedily became the fashion, his operas, 'La capricciosa corretta,' 'L'arbore di Diana,' and 'La cosa rara' following one another in quick succession. This last work, produced Nov. 11, 1786, for a time threw 'Figaro' (produced six months before) into the shade. [See vol. ii. p. 391a. Mozart's opinion of his rival's powers is given on p. 396 of the same volume.] In the autumn of the following year 'Don Juan' appeared, and Martin unwittingly obtained immortality at the hands of his rival, since a theme from 'La Cosa rara' makes its appearance in the second finale of Mozart's masterpiece. (See also Köchel's Catalogue, 582, 583.) In 1788 Martin was appointed director of the Italian Opera at St. Petersburg, where he brought out 'Gli sposi in contrasto,' and a cantata 'Il sogno.' In 1801 the fashion for Italian opera passed away for a time, and a French opera took its place. Martin, thus deprived of his post, employed the rest of his life in teaching. He died in May 1810.^[1]

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↑ The article in Mendel's Lexicon, from which many of the above facts are taken, contains several gross mistakes, such as the statement that 'Don Juan' was brought out before 'La cosa rara' (in which case it would have been difficult for Mozart to have used one of the themes from the latter opera in the former!), and the inclusion among works by him, of the book of canons with pianoforte accompaniment, published by Birchall in London, and edited by Cianchettini. These are by Padre Martini.

[1] The article in Mendel's Lexicon, from which many of the above facts are taken, contains several gross mistakes, such as the statement that 'Don Juan' was brought out before 'La cosa rara' (in which case it would have been difficult for Mozart to have used one of the themes from the latter opera in the former!), and the inclusion among works by him, of the book of canons with pianoforte accompaniment, published by Birchall in London, and edited by Cianchettini. These are by Padre Martini.

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