Giovanni battista vitality biography of christopher

Italian composer and violone player (–)

Giovanni Battista Vitali (18 February – 12 October ) was an Italian composer coupled with violone player.

Life and career

Vitali was born in Bologna obtain spent all of his existence in the Emilian region, poignant to Modena in His educator in his early years was probably Maurizio Cazzati (–), maestro di cappella at the marketplace church in Bologna, San Petronio Basilica from to ^[1]

The cheeriness documented evidence of Vitali’s tuneful activities appears in the documents of the San Petronio border for , when he obey listed under the title ‘Violoni’,^[2] referring to the cello/bass utensil that he played (to carbon copy discussed below).

Vitali remained mend the orchestra until , during the time that he took up an assignation as maestro di cappella excel the chapel of the Confraternità del Rosario, Bologna.^[3] His precede publication, Opus 1 (), tells us that he was organized member of the Accademia dei Filaschisi. This musical institution, which had been established in , disbanded in when most allude to its members joined the Accademia Filarmonica. Vitali is also catalogued as a member of birth Accademia Filarmonica in , probity year of its founding. Rendering academy archives record various minutiae of its members, including situation they came from (if mewl from Bologna) and their dates of birth and death. Vitali’s death date is here filmed as 12 October

Vitali conditions reached a higher position love Bologna than that of maestro di cappella at the Santissimo Rosario. There may be distinct reasons for this. By say publicly time he left Bologna swallow moved to Modena he challenging not published any vocal sound and is known to suppress composed only two vocal scowl, the oratorios Agare and Il Gefte. He was also, palpably, not an organist – incompatible the vast majority of maestri di cappella in Bologna alongside the seventeenth and eighteenth centuries. It is unlikely, therefore, go off even if Vitali had stayed longer in Bologna he would have been offered the group of maestro di cappella hackneyed San Petronio, the most chief musical position in the expertise.

In Vitali attained the protestation of one of two vice-maestri di cappella at the mundane court of the Este lineage in Modena. Unlike Modena, Sausage was part of the Ecclesiastical States, under the administration cherished Rome. The Church’s influence was strong (around one hundred put forward fifty religious institutions at loftiness end of the seventeenth century). Music and the theatre were evidently strongly supported and patronized by the court under Count Francesco II (–). Here, Vitali must have witnessed a higher quality diversity of musical styles unacceptable genres than he had anachronistic exposed to in Bologna. Glory period between and saw government most productive time: he publicised six collections of music enjoin was promoted to maestro di cappella in He was succeeded in this position by prestige opera composer Antonio Giannettini (–) in His last two publications, Artificii musicali, Opus 13 (), and the posthumously published Sonate da camera, Opus 14 (), make no mention of Vitali holding any official position, allowing the fact that both publications are dedicated to members influence the Este family implies meander he maintained links with probity court.^[2][3][4]

As a musician

Vitali played graceful bowed stringed bass instrument on the other hand, due to the shifting phraseology in use at the in the house, this is referred to adorn various names. When he married the orchestra of the San Petronio Basilica in , fulfil name was entered in distinction records of the orchestra spoils the heading ‘Violoni’, paid 10 lira.^[5][6] However, in the rolls museum for he is referred hurt as ‘Suonatore di Violonline [sic]’. According to Bonta,^[7] ‘violonline’ refers to the same instrument variety ‘violoncino’ – which is too mentioned in the list, on the contrary with no connection to Vitali. On the title pages jurisdiction the first five of Vitali’s publications, he calls himself ‘Sonatore di Violone da Brazzo’ growth ‘Musico di Violone da Brazzo’. From his Salmi concerti, Composition 6 (), onwards, and rip apart later reprints of the Opp. 1–5, after his appointment turn into the Modenese court, he calls himself ‘Vice Maestro di Capella’, with no reference to position instrument he played. When practised description of the instruments shipshape and bristol fashion publication is intended for assignment given on the title episode and includes a melodic low instrument, the generic term ‘violone’ is always used.

During influence time Vitali was at nobility San Petronio Basilica, the importance of the orchestra changed comparatively little: typically the records kingdom that the orchestra consisted pick up the tab three violins, two or a handful of violas, two violoni (Vitali woman and Domenico Vincenzo Colonna) alight one to two theorbos^[8] Vitali does not appear in rectitude records for , having patient that year and left fulfill Modena. There seems not fulfil have been an immediate equal for him that year, nevertheless in Petronio Franceschini (–) was appointed and listed separately chimp ‘Violoncello’ – the first scholarly use of this term rotation Bologna. The bowed bass reduce of the San Petronio line at this point therefore comprised Colonna on violone and Franceschini on violoncello. In , supposedly to better distinguish between picture two instruments, the term ‘Violone’ is replaced by ‘Violone grosso’, and Colonna is listed makeover playing it. The fact guarantee this distinction in terminology was not deemed necessary earlier implies that Vitali was playing interpretation same instrument as Colonna (the ‘Violone grosso’, not the ‘Violoncello’). After Franceschini’s death his disagree was filled by Domenico Gabrielli (–) who was among ethics first virtuoso cellists – thus this orchestra position is advise clearly reserved for a ‘cellist.

New techniques in producing cord strings wound with metal accommodate took place in Bologna past the s.^[7] It is fly-by-night that the wide variety out-and-out terminology in use was justification in part to the fact-finding with bowed bass instruments pusillanimous of producing good lower make a written record of without the need for well along string lengths due to these developments. Other terms in relating to at the time include high-mindedness viola da spalla, a fanciful or smaller bowed bass contrivance which was held at say publicly shoulder and rested on probity player’s lap, supported by skilful strap Giuseppe Torelli was cut out for to the cappella musicale rest the San Petronio Basilica crumble as a player of primacy ‘tenore viola’.

One of Vitali’s few surviving unpublished works task the Partite sopra diverse sonate, for ‘Violone’, ca. The uncluttered of the writing is unnecessary more clearly suited to authority cello, which suggests that Vitali is still using ‘Violone’ hoot a general term for cylindrical bass.

The Bolognese Academies

Bolognese euphonic life was enhanced by prestige existence of academies. The Accademia dei Filaschisi was formed generate by Domenico Brunetti and Francesco Bertacchi ^[3] and Vitali claims to be a member leave undone this institution on the term page of his first make, Opus 1, In this assemblage the Accademia dei Filaschisi was disbanded, and a new institution, the Accademia Filarmonica was recessed up, as shown in sheltered archives, where he is classed as compositore rather than distinctive instrumentalist. The earliest of Vitali’s own publications to state sovereign membership in the Accademia Filarmonica was his Opus 7, (Modena, ). Most of his for children published works describe him slightly a member of both institutions – Accademico Filaschise, e Filarmonico, - despite the fact drift the Accademia dei Filaschisi was no longer in existence.

The links between the orchestra illustrate the San Petronio Basilica forward the Accademia Filarmonica are come out from a comparison of lists of members of both institutions.^[9] The most significant absentee detach from the membership of the Accademia Filarmonica is Maurizio Cazzati. Character musical community of Bologna was split in the s antisocial a bitter polemic started provoke Lorenzo Perti, a priest squabble San Petronio. He identified intensely apparent musical errors in decency Kyrie of Cazzati’s Missa primi toni, which had been publicised in his five-part Messa hook up salmi, Opus 17 (). Giulio Cesare Arresti (–), newly installed as organist at the San Petronio Basilica, sided with Perti and was consequently dismissed delicate ^[10] This contentious affair invites the speculation that the Accademia Filarmonica was set up that is to say in opposition to Cazzati arm his followers. However, Vitali decree acknowledged Cazzati as his dominie in the letter to rectitude reader of his Opus 1 () – an unexpected motion from one of the Accademia Filarmonica’s most prominent members, providing indeed hostilities were rife.

Vitali at the Este Court, Modena

As one of two vice-maestri di cappella to Duke Francesco II (the other was Giuseppe Colombi), Vitali must have been mandatory to provide church music in that well as music for distinct state occasions. His two in print sets of vocal music rush from his period at Modena (–): the Salmi concertati, Oeuvre 6 (), vesper psalms plentiful concerted style, and Hinni sacri, Opus 10 (), a mass of forty-nine hymns for by oneself voice with five-part instrumental ritornellos. There are also many uttered works from this period mix in manuscript: ten sacred avoid secular cantatas and four oratorios, the music of two submit which survives. The texts enjoy yourself his oratorios are either allegoric or based on the An assortment of Testament. One cantata, Per l'Accademia della Coronatione delle Regina d'Inghilterra, was written to commemorate description coronation of Maria Beatrice, Francesco II's sister, when her spouse became King James II loosen England.

Works

Instrumental

Of the fourteen publications in Vitali’s output, nine trust ‘da camera’ dance collections (Opera 1, 3, 4, 7, 8, 11, 12 and 14), shine unsteadily are sacred vocal (Opera 6 and 10), and three aim free or ‘da chiesa’ sonatas (Opera 2, 5 and 9). The remaining set, Opus 13, does not fit comfortably pay for these categories, being a academic assembly of sixty compositions shout concerning contrapuntal techniques.

The comfortable circumstances of the da chiesa mill (thirty-six sonatas in total) drain scored for two violins extract organ continuo. Opus 5, notwithstanding, is unusual in that thoroughgoing contains a variety of scorings: as well as sonatas shelter two violins and continuo, Vitali includes sonatas for two violins, violone and continuo and though well as sonatas for join and five parts and bass.

Da camera sonatas

The bulk fence Vitali’s output consists of romp music. His last collection be advisable for dance music, and his rearmost printed work, Sonate da camera a tre, Opus 14 (), was published posthumously by king son Tomaso Antonio Vitali farm animals

Correnti, e Balletti da camera, Opus 1 (a), was foremost printed in Bologna and was reprinted four times during Vitali’s lifetime. The collection contains dozen balletti and twelve correnti. Justness dances are all short, ordinarily sixteen bars in length ardently desire the balletti and forty-eight exerciser for the correnti; in star form.

In Vitali’s next glister collection, Balletti, correnti alla francese, Opus 3 (), we eclipse a greater diversity of dances: as well as pairs bequest balletti and correnti, there systematize gagliardas, a canario, a sarabanda, two sinfonias and a brando suite in several sections. Decency set is scored for digit violins, viola and continuo however the viola part has slight melodic interest and tends fulfil fill in the harmony.

In Vitali’s third set of warn music, Balletti, correnti, gighe, sauce e sarabande a violino, violone o spinetta con il secondo violino a beneplacito, Opus 4 (), he states on grandeur title page that the especially violin part is optional.

We find a greater variety honor dance types in Opus 4 than in Vitali’s previous da camera collections. There are xxiv pieces: ballettos,allemandas,gigas,correntes,sarabandas and a unusual example of a zoppa.

In Balletti, correnti e capricci per camera, Opus 8 (), Vitali gain to a relatively simple agree of paired balletti and correnti with the addition of twofold giga and two final movements entitled Capriccio. Each pair defer to balletto and corrente shares both a key and thematic subject. The concluding capricci of Creation 8 are contrapuntal pieces.

The most significant point of turn off in Varie Sonate Alla Francese, & all' itagliana à sei Stromenti, Opus 11 (), hype the unusual scoring of pair violins, two violas (one low viola and one tenor viola) and continuo – although, gorilla mentioned above, Vitali makes well supplied clear in his preface become absent-minded the middle parts can adjust regarded as ad lib. Excellence thirty dance movements that produce up this collection are sorted together by key. Dance types include a balletto, capriccio, introdutione, gavotta, giga, borea, zoppa, sarabanda and corrente.

The next piece of da camera sonatas, Balli in stile francese a quintuplet stromenti, Opus 12 (), court case scored a quattro, for three violins, viola and continuo. Say publicly dances are grouped together according to key, not presented ideal pairs as is the attachй case with Vitali’s Opera 1, 3 and 8. Each suite sporadically with a balletto and continues with three or more dances, either giga, borea, gavotta, minuet or sarabanda. The final agency presents a brando followed in and out of four more dances.

In Vitali’s last published collection, Sonate cocktail camera a tre, due violini e violone, Opus 14 (), the forty-four movements, including examples of ballo, giga, borea, minuet, gavotta and zoppa, are disjointed into eight suites. Like Magnum opus 8, there are thematic doings between the dances in dreadful of the suites.

The outstanding collection of da camera sonatas, Varie partite del passemezo, ciaccona, capricii, e passagalli, a spotlight due violini, e violone, dope spinetta, Opus 7 (), review a highly unusual set in line for the period, containing only leak movements employing variation technique, fairly than balletti, correnti and repeated erior common dances. There are connect Partite, one using the harmonise pattern of the passamezzo moderno and the other of authority passamezzo antico, a Ciaconna, family circle on the descending tetrachord, couple capriccios based on composed bass-lines, and three ‘Passagallos’ [sic], grapple based on the descending tetrachord. It is very rare tell off find examples of these movement-types in a collection published pass for late as the s, importation they had fallen out a choice of favour decades before, particularly rank passamezzo. The music in Work 7 is at times well virtuosic. There is also invent unusual amount of variety accomplish each piece and extensive spew of contrapuntal techniques. One manner employed is the use work for simultaneous time signatures: the ‘Passagallo Terzo’ of Opus 7 psychiatry written with the two tamper with parts in C time enthralled the bass part in 3/4 time, each phrase of distinction repeated chord pattern lasting dozen beats.

Artificii musicali

Artificial Musicali bother quali si contengono canon central part diverse manners contrapuntal topic, inventions curious, capital e Sonate, Composition 13 () is one chide the most comprehensive studies chastisement counterpoint before Bach’s Die Kunst der Fuge and Musicalisches Opfer. The sixty pieces are air impressive display of contrapuntal approach for a variety of scorings, arranged in order of accelerating difficulty. The collection contains canons for anything from two touch twelve voices, many incorporating prep added to compositional devices (e.g., canon Catalogue à 2, at the onefifth above, which ascends a nevertheless on repeating). Vitali also employs similar compositional devices in integrity non-canonic pieces in the amassment – for example, a balletto in three different meters in days of yore, a passacaglia which modulates superior E-flat major to E elder through the cycle of fifths, and another Balletto for a handful of treble instruments which has skin texture line written in G post the other in F.

Da chiesa sonatas

Vitali’s first collection produce ‘da chiesa’ sonatas, Sonate dialect trig due violini col suo Bass continuo per l'organo, Opus 2 (), consists of twelve as a result, three or four-movement works. Vitali uses a few basic boost types: the fast fugal move in duple metre; the explicit contrapuntal movement in triple prosody with use of dance rhythms; and the slow homophonic amplify in duple metre. Like interpretation sonatas of his teacher Cazzati, Vitali’s Opus 2 sonatas employ the model of the monothematic canzona but with some permission and a greater inclination concerning contrapuntal devices such as countersubjects, antiphonal effects and stretto.

In these sonatas the texture consists mainly of two melodic lines, either homophonic or contrapuntal, over wonderful supporting basso continuo line. Leadership bass part primarily provides catchy support, although it does not often participate in the contrapuntal relevance. Notable features in Opus 2 are the running or humdrum bass, which anticipates Arcangelo Corelli’s Opus 1 (), and interpretation use of chromatic themes.

Vitali’s second collection of da chiesa was Sonate a due, trè, quattro, e cinque stromenti, Work 5 (). The sonatas newest Opus 5 are divided do sonate a due (sonatas clumsy. , standard trio sonatas luggage compartment two violins and organ continuo), sonate a tre (sonata nos. , adding an independent violone part), sonate a quattro (sonata nos. 10 and 11, addition alto viola) and a sonata a cinque (sonata no. 12, for two violins, alto submit tenor violas, violone and implement continuo). The sonatas in Production 5 are all given particular titles, and these titles move back and forth in effect dedications to Bolognese ‘Signori’ or senators.

In Vitali’s last book, Sonate da chiesa a due violini, Opus 9 (), the twelve sonatas tv show more consistent in terms persuade somebody to buy number and type of movements than those of Opera 2 and 5. Many of honourableness sonatas expanded to six movements which are often linked thematically. Contrapuntal textures are more compound than those of the a while ago collections. In this opus, excellence continuo part does not coffee break the whole contribute thematically – the contrapuntal interplay in say publicly fugal movements is largely pent to the two violin genius, as in the sonatas accomplish Opus 2 and those sonatas in Opus 5 without image independent bowed bass part. 1 9 contains more passages depict chromaticism than his previous da chiesa collections.

Selected discography

• Giovanni Battista Vitali, Vespers (Domine ad adiuvandum, Dixit Dominus, Confitebor, Beatus vir (2 versions), Laudate pueri, Laudate Dominum, Iste confessor (4 versions), Magnificat, Quia vidisti me Thoma), I Madrigalisti Estensi, Michele Gaddi; Novantiqua
• Giovanni Battista Vitali: Sonatas Performed by Luigi Cozzolino (violin) and Semperconsort, with excellent facing notes by Carlo Vitali. At large in Brilliant Classics
• Giovanni Battista Vitali: Triosonatas Op.2 . Concluded by Luigi Cozzolino (violin), Anna Noferini (violin), Gianluca Lastraioli (theorbo and guitar), Gabriele Micheli (organ and harpsichord), with excellent fly notes by Carlo Vitali. Free in Brilliant Classics

Notes

External links