Pietri Biberoni
From Plastic Tub
| Revision as of 15:16, 9 Nov 2004 The citizen (Talk | contribs) bio stuff ← Go to previous diff |
Revision as of 19:28, 9 Nov 2004 The citizen (Talk | contribs) Go to next diff → |
||
| Line 1: | Line 1: | ||
| [[Category:Personages]] | [[Category:Personages]] | ||
| ''Born 1763, Vacamadonna, Italy. Died 1820, enroute from New York City. He tries to arrive but being vaporic, cannot operate the doorhandles. Thus, he recieves nothing -- enraging him completely. He is a Coney Island bumper-car, expertly renovated.'' | ''Born 1763, Vacamadonna, Italy. Died 1820, enroute from New York City. He tries to arrive but being vaporic, cannot operate the doorhandles. Thus, he recieves nothing -- enraging him completely. He is a Coney Island bumper-car, expertly renovated.'' | ||
| - | |||
| - | "The whelp!" | ||
| Biberoni's parents were simple peasant living outside of Naples, suffering all the deprecations of the typical peasant. A deeply religious people, the elder Biberoni encouraged the young lad's participation in the Parish choir, where he showed a rare precociousness. Recognizing his potential, the Choirmaster sent him to Naples circa 1774, where he was instructed by the most illustrious masters of his day. He was, however, hopelessly enamored of folk tunes and jig music. Traditional dance captured his fancy. He embraced poetry. His work on composing grand operas became secondary, or negligible. | Biberoni's parents were simple peasant living outside of Naples, suffering all the deprecations of the typical peasant. A deeply religious people, the elder Biberoni encouraged the young lad's participation in the Parish choir, where he showed a rare precociousness. Recognizing his potential, the Choirmaster sent him to Naples circa 1774, where he was instructed by the most illustrious masters of his day. He was, however, hopelessly enamored of folk tunes and jig music. Traditional dance captured his fancy. He embraced poetry. His work on composing grand operas became secondary, or negligible. | ||
| - | Biberoni played the violin exceptionally, the terphsichord passably, the woodwinds he adored, especially the oboe. He eschewed brass and percussion, except the triangle, which he played himself as he conducted an orchestra in one of his comic pieces. His experience in this field was limited by his natural timidity. A speech defect gave him a pronounced lisping splutter such that he preferred to communicate with his musical abilities and ultimately, his poetry. Between the time he himself was a composer and teacher, roughly 1784, and his death in 1820, he was remarkably productive. | + | Biberoni played the violin exceptionally, the terphsichord passably, the woodwinds he adored, especially the oboe. He eschewed brass and percussion, except the triangle, which he played himself as he conducted his comic pieces. His experience in this field was limited by his natural timidity. A speech defect gave him a pronounced lisping splutter such that he preferred to communicate with his musical abilities and ultimately, his poetry. Between the time he himself was a composer and teacher, roughly 1784, and his death in 1820, he was remarkably productive. |
| He was a librettist for celebrated composer [[Paolo Grignotti]], with whome he shared many teachers. Biberoni collaborated with Grignotti on 27 operas and with other composers on 13 more, including the famous unfinished forty-first opera, finished infamously after his death by virtuoso violinist [[Flambini Lamenti]]. Biberoni's peculiarity was to write only in Italianized versions of Ethiopian slang and to use the word "jackal" as much as possible, as in this excerpt from ''Martini'': "You! Giacometto, you....Jackal!!" | He was a librettist for celebrated composer [[Paolo Grignotti]], with whome he shared many teachers. Biberoni collaborated with Grignotti on 27 operas and with other composers on 13 more, including the famous unfinished forty-first opera, finished infamously after his death by virtuoso violinist [[Flambini Lamenti]]. Biberoni's peculiarity was to write only in Italianized versions of Ethiopian slang and to use the word "jackal" as much as possible, as in this excerpt from ''Martini'': "You! Giacometto, you....Jackal!!" | ||
| Line 16: | Line 14: | ||
| He died of syphillis, consumption and malnutrition and is rumoured to be buried on the upper left side of the '''18th Century''' section of the ''Grand Paupers of Music'' funeral yard. As he died, he hummed a new tune he had invented to go along with the libretto of the "unfinished 41st" as it has come to be known. The pilot of the fateful ship ''Myrmidonia'' watched him die and wrote "Mine eyes let drop yet one salty tear; yet it were one which could have held Creation within." It was by other accounts just a catchy little jig he heard played by the drunken whore who gave him his deadly disease. | He died of syphillis, consumption and malnutrition and is rumoured to be buried on the upper left side of the '''18th Century''' section of the ''Grand Paupers of Music'' funeral yard. As he died, he hummed a new tune he had invented to go along with the libretto of the "unfinished 41st" as it has come to be known. The pilot of the fateful ship ''Myrmidonia'' watched him die and wrote "Mine eyes let drop yet one salty tear; yet it were one which could have held Creation within." It was by other accounts just a catchy little jig he heard played by the drunken whore who gave him his deadly disease. | ||
| - | The pilot , incidentally, was Copernicus Trowbridge|Copernicus Trowbridge's nephew Zephyron McKennerson. | + | The pilot , incidentally, was [[Copernicus Trowbridge|Copernicus]] Trowbridge's nephew Zephyron McKennerson. |
| == Desiderata == | == Desiderata == | ||
Revision as of 19:28, 9 Nov 2004
Born 1763, Vacamadonna, Italy. Died 1820, enroute from New York City. He tries to arrive but being vaporic, cannot operate the doorhandles. Thus, he recieves nothing -- enraging him completely. He is a Coney Island bumper-car, expertly renovated.
Biberoni's parents were simple peasant living outside of Naples, suffering all the deprecations of the typical peasant. A deeply religious people, the elder Biberoni encouraged the young lad's participation in the Parish choir, where he showed a rare precociousness. Recognizing his potential, the Choirmaster sent him to Naples circa 1774, where he was instructed by the most illustrious masters of his day. He was, however, hopelessly enamored of folk tunes and jig music. Traditional dance captured his fancy. He embraced poetry. His work on composing grand operas became secondary, or negligible.
Biberoni played the violin exceptionally, the terphsichord passably, the woodwinds he adored, especially the oboe. He eschewed brass and percussion, except the triangle, which he played himself as he conducted his comic pieces. His experience in this field was limited by his natural timidity. A speech defect gave him a pronounced lisping splutter such that he preferred to communicate with his musical abilities and ultimately, his poetry. Between the time he himself was a composer and teacher, roughly 1784, and his death in 1820, he was remarkably productive.
He was a librettist for celebrated composer Paolo Grignotti, with whome he shared many teachers. Biberoni collaborated with Grignotti on 27 operas and with other composers on 13 more, including the famous unfinished forty-first opera, finished infamously after his death by virtuoso violinist Flambini Lamenti. Biberoni's peculiarity was to write only in Italianized versions of Ethiopian slang and to use the word "jackal" as much as possible, as in this excerpt from Martini: "You! Giacometto, you....Jackal!!"
Despite his productivity, Biberoni never much with much critical or commercial success. He had a miserable marriage and a drinking problem. A firm beleiver in unguents and herbs, he nonetheless was prone to illness, exacerbated by a stressful temperament and restlessness that gave to him a ceaseless energy to write. But he was a dark man of increasingly self-loathing nature, a loner.
In 1818, aged 55, he went to America, where his music received a warm reception from the provincial crowds. He soon fell in with a decadent crowd which apparently put him contact with opium and wine, prostitutes and gernal dissipation. He caught an extremely virulent syphillis in December 1819, after which he decided to return to Switzerland, via Italy, for treatment. He died en route a bitter man.
He died of syphillis, consumption and malnutrition and is rumoured to be buried on the upper left side of the 18th Century section of the Grand Paupers of Music funeral yard. As he died, he hummed a new tune he had invented to go along with the libretto of the "unfinished 41st" as it has come to be known. The pilot of the fateful ship Myrmidonia watched him die and wrote "Mine eyes let drop yet one salty tear; yet it were one which could have held Creation within." It was by other accounts just a catchy little jig he heard played by the drunken whore who gave him his deadly disease.
The pilot , incidentally, was Copernicus Trowbridge's nephew Zephyron McKennerson.
Desiderata
- Biberoni was a target of ridicule at Fascist soirees led by Benito Mussolini. They referred to him as "that shit-eating dog from Padua," even though he'd never stepped foot in that city.
- Due to his uncommon sexuality he would blush at the mention of his father's sausage outlet.
