Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Inoue, Michiyoshi

(b Tokyo, 23 Dec 1946). Japanese conductor. After studying with Hideo Saito at the Tōhō Gakuen College of Music he became an associate conductor of the Tokyo Metropolitan SO in 1970. The following year he won the first prize at the Guido Cantelli Competition in Milan and conducted at La Scala. Between 1977 and 1981 he was chief guest conductor of the New Zealand SO. Returning to Japan, he was music director of the New Japan PO from 1983 to 1988, and was appointed principal conductor of the Kyoto Municipal SO in 1990. He also serves as president of the Japan Shostakovich Society. Inoue’s conducting is notable for its rhythmic vitality and emotional intensity; he has a broad repertory, and has shown an impressive command of difficult contemporary scores.

MASAKATA KANAZAWA

Insanguine [Monopoli], Giacomo (Antonio Francesco Paolo Michele)

(b Monopoli, nr Bari, 22 March 1728; d Naples, 1 Feb 1795). Italian composer and teacher. He was admitted to the Poveri di Gesù conservatory, Naples, on 19 January 1743, studying there with Abos and Feo until November 1743, when the conservatory was closed and he went to the S Onofrio. He studied there with Abos and Durante, becoming a mastricello until Durante’s death in 1755. In 1756 he had his first opera, Lo funnaco revotato, performed at the Teatro dei Fiorentini; it is said to have been highly successful and was revived there in 1760. Insanguine’s production of operas thereafter was somewhat intermittent, but he was also involved in the patching up of operas by other composers. According to remarks supposed to have been made much later by Paisiello, ‘Monopoli was the maestro delle pezze, that is, [he wrote] those numbers that were added in revising other composers’ scores at the impresario’s expense, as a result of which he lost standing among professional musicians’. The full extent of his work of this sort is not known. Most of his own operas written before 1770 were comic ones performed at Neapolitan theatres, and of these only Lo funnaco revotato is known to be extant. L’osteria di Marechiaro (1768) was particularly successful. In 1770 he had a work performed at the S Carlo for the first time, a setting of La Didone abbandonata. According to Prota-Giurleo, this commission began as an assignment to revise and direct Galuppi’s setting, and only when Galuppi’s work proved impossible of adaptation to the needs of the S Carlo was Insanguine asked to set the text anew. Perhaps because of the success of this work he thereafter composed mostly opere serie, including four for the S Carlo (as well as his completion with Errichelli of Gian Francesco de Majo’s last opera, Eumene, which was performed there in 1771). His last two operas for the S Carlo, Medonte (1779) and Calipso (1782), were not successful. Something of his standing at this time may perhaps be seen in the fact that he was paid only 230 ducats for Calipso, while among the composers of the other three operas performed that season, the popular Cimarosa, making his S Carlo début, received 340, the young Francesco Bianchi 250 and only the little-known Curci less (the minimum fee of 200 ducats).

Insanguine was made a teacher at the S Onofrio conservatory on 23 August 1767. In 1774 he succeeded Dol as secondo maestro there and as organist of the second choir at the Cappella del Tesoro in S Gennaro. In 1776 he became organist of the first choir and in 1781 maestro di cappella. In 1785 he succeeded Cotumacci as primo maestro at the conservatory, a post he held until his death. In 1793 the students complained that his age made him incapable of carrying out his duties and Salvatore Rispoli was appointed special secondo maestro.

The scanty references to Insanguine in contemporary lexicons suggest that he was little known outside Naples except as the composer of a few popular arias. The disrespect for him in Naples reflected in Paisiello’s remark above (although Paisiello is known to have been particularly lacking in charity towards most of his fellow composers) perhaps also appears in Villarosa’s judgment, repeated by Florimo and later writers, that he had ‘a style lacking in inspiration [estro] and taste’. Insanguine was an expert craftsman and always up to date (an aria in the library of the Royal College of Music, London, sung by Aprile in an unidentified opera seria at Palermo in 1766, is in a modern style more common in the 1770s and has no trace of galant intricacies); however, his music usually has a slightly perfunctory quality, reflected in the excessively regular working out of his aria forms.

WORKS

operas

NC	Naples, Teatro S Carlo
NFI	Naples, Teatro dei Fiorentini
NN	Naples, Teatro Nuovo

Lo funnaco revotato (oc, B. Saddumene or P. Mililotti, after F. Olivia), NFI, wint. 1756, GB-Cfm, US-Wcm

La Matilde generosa (oc), NFI, aut. 1757

Demetrio (os, P. Metastasio), Rome, Argentina, carn. 1759, P-La

Le sorelle tradite (oc), NN, sum. 1759

Il nuovo Belisario (oc), NFI, carn. 1765

La vedova capricciosa (oc, G. Palomba), NN, carn. 1765 [2 arias by C. de Franchi]

Le quattro malmaritate (oc, G. Palomba), NN, carn. 1766

L’osteria di Marechiaro (oc, F. Cerlone), NFI, wint. 1768

La finta semplice, ossia Il tutore burlato (oc, Mililotti), NN, spr. 1769

Pulcinella vendicato del ritorno di Marechiaro (farsetta), NFI, wint. 1769 [perf. with L’osteria di Marechiaro]

Il natal di Telefo (prol, S. Mattei), NC, 12 Jan 1770, I-Nc

La Didone abbandonata (os, Metastasio), NC, 20 Jan 1770, Nc, P-La

La dama bizzarra (oc, G. Ciliberti), NFI, wint. 1770

Eumene [Act 2] (os, A. Zeno), NC, 20 Jan 1771, I-Nc [Act 1 by G.F. de Majo, Act 3 by P. Errichelli]

Merope (os, Zeno), Venice, S Benedetto, 26 Dec 1772, P-La

Arianna e Teseo (os, P. Pariati), NC, 20 Jan 1773, I-Nc, P-La

Adriano in Siria (os, Metastasio), NC, 4 Nov 1773, I-Nc, P-La

Le astuzie per amore (ob, Mililotti), NFI, carn. 1777, I-Nc

Eumene (os, Zeno), Turin, Regio, carn. 1778, Tf, P-La [apparently a new, complete setting]

Medonte (os, G. de Gamerra), NC, 30 May 1779, I-Nc, P-La

Motezuma (os, V.A. Cigna-Santi), Turin, Regio, carn. 1780, I-Tf, P-La

Calipso (os), NC, 30 May 1782, I-Nc, P-La

Music in: Monte Testaccio, 1760; L’astuto balordo, 1761; La furba burlata, 1762; L’innamorato balordo, 1763; Le viaggiatrici di bell’umore, 1763; Monsieur Petitone, 1763; La giocatrice bizarra, 1764

sacred

I voti di David per Salomone (cant. on Ps lxxi, S. Mattei), 3vv, orch, Naples, 30 March 1775, I-Nc, ?Mc; Cantata per la traslazione del sangue di S Gennaro; La via della croce, 2vv, vn, b, Mc, Nc; Passio del venerdì santo, ?4vv, db, org, Nc

6 masses, Nc: E, 4 solo vv, 4vv, orch; SSB, bc; F, D, D, SATB, orch; A, 4vv, orch; 3 masses, Mc; Kyrie, SSB, bc, Nc; Christus et Miserere, Mc; 3 Miserere, Mc; Benedictus, 2vv, bc, ?Nc; 3 Dixit, Nc: B, SATB, orch, 1774; C, STB, orch; G, SATB, orch; 2 Te Deum: 1, Nc; 4vv, org, 1784, PAc; Exultando jam venite, motet, 4vv, orch, Nc; Et in saecula saeculorum, double chorus, bc, GB-Lbl; In tam fera et rea procella, S, orch, Lbl; Quoniam, S, ob, tpt, bn, I-Nc

other works

La speranza, cant., I-Mr

Pulcinelle finto maestro di musica (farsetta, 1, A. Casaccia), Mc

?Hpd sonata, Nc

Didactic: Regole con moti di basso, partimenti e fughe, Mc; Solfeggi, D-Bsb; Solfeggi, S, b, I-Mc; Scale, salti e solfeggi, B, b, Mc

BIBLIOGRAPHY

ES (U. Prota-Giurleo)

FlorimoN

GiacomoC

RosaM

S. di Giacomo: ‘Paisiello e i suoi contemporanei’, Musica e musicisti, lx (1905), 762–8; repr. in Napoli: figure e paesi (Naples, 1909) and Opere, ii (Milan, 1946)

E. Dent: ‘Ensembles and Finales in 18th-century Italian Opera’, SIMG, xi (1909–10), 534–69; xii (1910–11), 112–38

A. Mondolfi: ‘Destino e stile di Giacomo Insanguine detto Monopoli’, Gazzetta musicale di Napoli, iv (1958), 4–7

A. Giovane and U. Prota-Giurleo: Giacomo Insanguine detto Monopoli: musicista monopolitano (Bari, 1969)

DENNIS LIBBY (text), JAMES L. JACKMAN/MARITA P. McCLYMONDS (work-list)