1 00:00:06,900 --> 00:00:12,359 I was born with the name of Anastasio Martín Ignacio Vicente Tadeo Francisco Pelegrín Martín y Soler 2 00:00:12,359 --> 00:00:15,859 in Valencia on the 2nd May of 1754 3 00:00:15,859 --> 00:00:20,699 and I died in San Petersburgo on the 13th of January of 1806. 4 00:00:21,879 --> 00:00:23,960 My father was the tenor of Valencia's cathedral 5 00:00:23,960 --> 00:00:26,280 who initiated me in the musical studies. 6 00:00:26,739 --> 00:00:28,839 Then I was accepted in the cathedral's choir 7 00:00:28,839 --> 00:00:31,079 where I studied until 1764. 8 00:00:32,439 --> 00:00:34,439 After this, I went to Madrid 9 00:00:34,439 --> 00:00:37,119 to have more opportunities for developing my musical career. 10 00:00:37,700 --> 00:00:39,100 Later, in 1774, 11 00:00:39,520 --> 00:00:41,240 I was in charge of composing an opera. 12 00:00:41,700 --> 00:00:42,520 When I finished it, 13 00:00:42,700 --> 00:00:45,579 I represented it at el Palacio de la Granja de San Ildefonso. 14 00:00:46,899 --> 00:00:48,859 Il Tutorio Borlato is a comic opera 15 00:00:48,859 --> 00:00:50,700 in three acts about the Italian libretto 16 00:00:50,700 --> 00:00:51,600 of Filippo Livigno. 17 00:00:52,119 --> 00:00:54,039 The original text was written by Livigno 18 00:00:54,039 --> 00:00:55,140 for Giovanni Paesiello, 19 00:00:55,240 --> 00:00:57,140 who set it to music as a humorous drama. 20 00:00:57,719 --> 00:00:58,759 It was my first opera. 21 00:00:59,200 --> 00:01:01,600 Later, I moved to Naples in 1777 22 00:01:01,600 --> 00:01:03,759 because a close friend convinced Carlos 23 00:01:03,759 --> 00:01:05,659 Before that I was a good composer 24 00:01:05,659 --> 00:01:07,099 So he sponsored me 25 00:01:07,099 --> 00:01:10,040 There I started to compose operas and ballets 26 00:01:10,040 --> 00:01:11,480 With Charles Lepic 27 00:01:11,480 --> 00:01:13,019 A very well known choreographer 28 00:01:13,019 --> 00:01:16,159 I had a very good relationship with the king of Napoles 29 00:01:16,159 --> 00:01:18,480 So much that I was liberated by him 30 00:01:18,480 --> 00:01:20,140 From prison due to my debts 31 00:01:20,140 --> 00:01:24,239 There in Napoles I composed some good operas 32 00:01:24,239 --> 00:01:26,739 Such as Infigenia in Aulis 33 00:01:26,739 --> 00:01:28,379 In 1779 34 00:01:28,379 --> 00:01:30,579 And Andromache in 1780 35 00:01:30,579 --> 00:01:32,540 This last composition is a comedy 36 00:01:32,540 --> 00:01:33,859 that I divided in three acts, 37 00:01:34,260 --> 00:01:36,260 and I wrote it by basing myself 38 00:01:36,260 --> 00:01:37,260 in Zeno's Libretto. 39 00:01:37,939 --> 00:01:40,159 Later I moved again, this time to Vienna, 40 00:01:40,379 --> 00:01:42,359 Holy Roman Empire, where I was very 41 00:01:42,359 --> 00:01:44,500 successful. There I wrote operas 42 00:01:44,500 --> 00:01:46,519 about the text of Lorenzo da Ponte, 43 00:01:46,700 --> 00:01:47,760 who was an Italian poet. 44 00:01:48,180 --> 00:01:50,359 We became excellent friends. Some examples 45 00:01:50,359 --> 00:01:52,280 of those operas are Le Arbore 46 00:01:52,280 --> 00:01:54,719 di Diana and Una Cosa Rara. 47 00:01:55,579 --> 00:01:56,599 Le Arbore di Diana 48 00:01:56,599 --> 00:01:58,040 by Lorenzo da Ponte and me 49 00:01:58,040 --> 00:02:00,480 is also one of the 70 operas produced 50 00:02:00,480 --> 00:02:02,439 at the Burg Theater in Vienna, 51 00:02:02,540 --> 00:02:06,540 under the protection of the emperors José II e Leopoldo II 52 00:02:06,540 --> 00:02:09,139 between 1783 and 1792. 53 00:02:09,800 --> 00:02:12,139 This composition is a drama compound of three acts 54 00:02:12,139 --> 00:02:14,080 very musical and based on mythology. 55 00:02:15,259 --> 00:02:18,620 Una cosa rara brought special interest for several reasons. 56 00:02:19,060 --> 00:02:22,020 It was a work that accumulated the most important characteristics 57 00:02:22,020 --> 00:02:24,060 of the comic opera style of that time. 58 00:02:24,699 --> 00:02:27,639 It is a comic opera that I divided in two acts, 59 00:02:28,219 --> 00:02:29,759 lasting about two hours in total. 60 00:02:29,759 --> 00:02:35,300 Nesta historia, podemos ver, após as complicaciones causadas por la ilusión, 61 00:02:35,780 --> 00:02:38,340 a virtud do protagonista e do chavo sendo imposto. 62 00:02:38,719 --> 00:02:42,219 Unha bonita, pesada moza que rechaza unha poderosa e os seus díos 63 00:02:42,219 --> 00:02:44,039 para que ela seja loyal a ele. 64 00:02:44,699 --> 00:02:47,139 Algo que era moi estranho nesas épocas. 65 00:02:47,719 --> 00:02:50,039 Desde aí, o título Una cosa rara. 66 00:02:50,740 --> 00:02:55,080 A segunda componente do argumento é a chamada para a atención 67 00:02:55,080 --> 00:02:56,719 to the power of the rich 68 00:02:56,719 --> 00:02:58,719 to impose their will 69 00:02:58,719 --> 00:03:00,819 without anyone being able to oppose it. 70 00:03:01,340 --> 00:03:02,300 The work is simple 71 00:03:02,300 --> 00:03:03,719 and has pleasant melodies. 72 00:03:04,360 --> 00:03:06,020 Among the most inspiring moments 73 00:03:06,020 --> 00:03:08,080 are the overture, the first chorus 74 00:03:08,080 --> 00:03:10,900 and the end of at one. 75 00:03:11,759 --> 00:03:13,379 This composition was characterized 76 00:03:13,379 --> 00:03:14,919 because it's an instrumental 77 00:03:14,919 --> 00:03:15,780 and vocal work. 78 00:03:16,280 --> 00:03:17,860 It presents male and female voices. 79 00:03:18,439 --> 00:03:19,699 It has a dramatic character 80 00:03:19,699 --> 00:03:20,780 and a moderato tempo 81 00:03:20,780 --> 00:03:22,939 and a mezzo forte and forte intensity. 82 00:03:22,939 --> 00:03:30,719 Una cosa rara was so famous and good that Mozart used the final melody in his composition Don Giovanni Orso 83 00:03:30,719 --> 00:03:38,419 The melodies I composed were sung as domestic music and there were transcriptions for different instrumental ensembles 84 00:03:38,419 --> 00:03:42,819 Finally, I moved to Russia, more concretely to St. Petersburg 85 00:03:42,819 --> 00:03:47,400 There I was named the opera director of Catalina II of Russia Operas 86 00:03:47,400 --> 00:03:49,340 I composed some things in Russian 87 00:03:49,340 --> 00:03:52,759 and other things about Miguel de Cervantes' text 88 00:03:52,759 --> 00:03:55,340 such as El desgraciado héroe Kosmetovich 89 00:03:55,340 --> 00:03:56,620 in 1789 90 00:03:56,620 --> 00:03:59,939 and others when related to him 91 00:03:59,939 --> 00:04:01,460 such as La festa en Vilagio. 92 00:04:02,099 --> 00:04:03,500 This composition is a comedy 93 00:04:03,500 --> 00:04:06,219 which is about some celebration in the villa. 94 00:04:07,199 --> 00:04:08,460 The marquis will be attending 95 00:04:08,460 --> 00:04:11,400 and will be the generous donor of six gifts 96 00:04:11,400 --> 00:04:13,379 for the celebration of six marriages 97 00:04:13,379 --> 00:04:15,240 including those of the mayor 98 00:04:15,240 --> 00:04:17,019 and the administrator of the villa. 99 00:04:17,399 --> 00:04:22,060 It presents some cordophones and aerophones, with male and female voices 100 00:04:22,060 --> 00:04:28,420 Later, I tried to move again to London, where I had a lot of success with plays such as 101 00:04:28,420 --> 00:04:33,540 La Capriciosa Coreta, that I based on the comedy The Taminous View, by William Shakespeare 102 00:04:33,540 --> 00:04:39,019 He talks about the wealthy merchant Bonario, who has remarried Cipriana, much younger than him 103 00:04:39,019 --> 00:04:43,360 Cipriana's servants Giglio loves and praises what his mistress says 104 00:04:43,360 --> 00:04:46,100 Both the children of the first marriage 105 00:04:46,100 --> 00:04:48,600 Of Bonario, Valerio and Isabela 106 00:04:48,600 --> 00:04:50,639 As well as the servants of the house 107 00:04:50,639 --> 00:04:51,819 Are increasingly desperate 108 00:04:51,819 --> 00:04:54,120 Because of Cipriana out-hand tones 109 00:04:54,120 --> 00:04:56,300 And do not know what to do 110 00:04:56,300 --> 00:04:58,740 Things get more complicated 111 00:04:58,740 --> 00:05:01,300 When Count Lelia falls in love with Isabela 112 00:05:01,300 --> 00:05:03,860 And she reciprocates him 113 00:05:03,860 --> 00:05:07,040 Cipriana, unaware that the Count is in love with Isabela 114 00:05:07,040 --> 00:05:08,060 Starts filtering him 115 00:05:08,060 --> 00:05:09,839 One of the servants, Fiuta 116 00:05:09,839 --> 00:05:11,519 Has taken some initiative 117 00:05:11,519 --> 00:05:13,860 and sexually, trying to get 118 00:05:13,860 --> 00:05:16,060 Cipriana to moderate and stop interfering 119 00:05:16,060 --> 00:05:17,839 and annoying everyone with his whims. 120 00:05:20,509 --> 00:05:21,750 Finally, I returned to 121 00:05:21,750 --> 00:05:23,790 Charles Peterborough, where I spent the last 122 00:05:23,790 --> 00:05:25,769 years of my life, and where I 123 00:05:25,769 --> 00:05:27,550 dedicated myself to teaching music 124 00:05:27,550 --> 00:05:29,370 and composed some not very good 125 00:05:29,370 --> 00:05:31,430 and well-known sacred works, such as 126 00:05:31,430 --> 00:05:33,470 Salve a la Virgen de los Desamparados. 127 00:05:33,970 --> 00:05:34,750 Then, I died. 128 00:05:35,930 --> 00:05:37,689 I was so well-known as Mozart, 129 00:05:37,870 --> 00:05:39,170 but later I was forgotten. 130 00:05:39,649 --> 00:05:41,550 I was buried near the monastery of 131 00:05:41,550 --> 00:05:42,810 San Alejandro Nevitsky 132 00:05:42,810 --> 00:05:44,550 near some important authors 133 00:05:44,550 --> 00:05:47,430 such as Chavosky or Glinka. 134 00:05:47,949 --> 00:05:48,750 In my graceful home 135 00:05:48,750 --> 00:05:50,430 is the following inscription 136 00:05:50,430 --> 00:05:52,850 admired in the main cities 137 00:05:52,850 --> 00:05:53,930 and courts of Europe 138 00:05:53,930 --> 00:05:54,930 for his talent 139 00:05:54,930 --> 00:05:56,949 as well as for his beautiful 140 00:05:56,949 --> 00:05:58,170 and noble moral qualities.