Piotr Wilk
Jagiellonian University, Musicology, Department Member
- Musicology, Early Music, Musicologia, Music History, Historical Musicology, Music Theory, and 41 moreMusicología histórica, Italian Baroque Music, Instrumental Music, Baroque Music, Baroque Instrumental Music, Performance Practice (Music), Critical edition of music, 17th-Century Music, 18th Century Music, 18th Century Music History, 17th/18th Century Music, Interpretation of 17-18th Century Music, Violin Music, Baroque Violin, Naples, Italian Music, Republic of Venice, Venetian Baroque Music, Violin Concerto, Violin performance practice, Baroque Violin Playing Technique, Polish music, Renaissance and Baroque Music Theory, Neapolitan Baroque music, Music, Musikwissenschaft, Musicología, Musica, History of music, Storia della musica, Performance Studies, Early Musical Instrument Iconography, Musical Instruments, History of the Kingdom of Naples, Cultural History of Naples and Campania, History of Venice, Venice, Venice and the Veneto, Baroque Music Performance Practices, Filologia Musicale, and Storia del Regno di Napoliedit
- He specializes on Italian instrumental music of the Baroque era. His doctoral dissertation Solo violin sonata of the ... moreHe specializes on Italian instrumental music of the Baroque era. His doctoral dissertation Solo violin sonata of the 17th century Italy, its form and technique won the Hieronim Feicht Prize of the Polish Composers Society in 2001. He is the member of the editorial board of the Dictionary of Music of the PWM Edition [Encyklopedia Muzyczna PWM] and the Scientific Board of the Complete Works of Henryk Wieniawski.edit
It is the first monograph in which the concertos of all composers active in this field in the Republic of Venice in the years 1695-1740 are methodically discussed. The Venetian instrumental concerto from Vivaldi’s time is portrayed here... more
It is the first monograph in which the concertos of all composers active in this field in the Republic of Venice in the years 1695-1740 are methodically discussed. The Venetian instrumental concerto from Vivaldi’s time is portrayed here through an extensive and thorough survey of the most complete and representative musical material that allowed for the making of conclusions as to its typology, form, style and technique. The concertos discussed here include 974 works by fifteen composers active in Venice, Brescia, Bergamo and Padua. Such an approach non only gives and exhaustive but also a more objective view on the history of the Baroque concerto in its Venetian variant. It shows Vivaldi’s work in a new and broad context, which allows us to better understand its unique character.
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The book attempts to provide a comprehensive outline of the concerto music written in a region that was the most fertile center credited with the most impressive and outstanding results in this regard. The Venetian instrumental concerto... more
The book attempts to provide a comprehensive outline of the concerto music written in a region that was the most fertile center credited with the most impressive and outstanding results in this regard. The Venetian instrumental concerto from Vivaldi’s time is portrayed here through an extensive and thorough survey of the most complete and representative musical material that allowed for the making of conclusions as to its typology, form, style and technique. Such an approach not only gives an exhaustive, but also more objective view on the history of the Baroque concerto in its Venetian variant. It provides enough details to identify composers of lesser and greater stature, as well as pinpoint relationships, similarities and stylistic differences between various authors and localities. In musicological literature, this book is the first monograph tackling this issue in such a way.
The concertos discussed here include not only those written in the city of Venice, but also in other centers of the Republic of Venice. Every composer from the Serenissima whose works have survived to our day is examined. The material investigated includes also the concertos of Florence-born F. M. Veracini, who started writing them during his several-year-long stay in Venice. Likewise, Locatelli’s L’Arte del Violino, Op. 3 that he wrote in Venice where he spent few years is among the works that have been thoroughly explored. Given the indisputable Venetian traits revealed not only in the collection’s title, Pensieri Adriarmonici, Op. 1, by Facco, a Padua-born composer in the service of the Spanish Crown, has also been closely looked at. The book covers the period spanning the years 1695 to 1740.
While taking up such a broad and complex issue that involved surveying such a large number of mostly unpublished music, it was necessary to limit the scope of the subjects covered. Therefore, the issues concerning the biographical data of the composers, the purpose of the works discussed, their reception and the area of influence, as well as the intricacies of authorship, variants, pasticcios, hybrids, sketches and transcriptions are not central to this publication and have only been briefly touched upon in the Introduction and the Appendices.
The concertos discussed here include not only those written in the city of Venice, but also in other centers of the Republic of Venice. Every composer from the Serenissima whose works have survived to our day is examined. The material investigated includes also the concertos of Florence-born F. M. Veracini, who started writing them during his several-year-long stay in Venice. Likewise, Locatelli’s L’Arte del Violino, Op. 3 that he wrote in Venice where he spent few years is among the works that have been thoroughly explored. Given the indisputable Venetian traits revealed not only in the collection’s title, Pensieri Adriarmonici, Op. 1, by Facco, a Padua-born composer in the service of the Spanish Crown, has also been closely looked at. The book covers the period spanning the years 1695 to 1740.
While taking up such a broad and complex issue that involved surveying such a large number of mostly unpublished music, it was necessary to limit the scope of the subjects covered. Therefore, the issues concerning the biographical data of the composers, the purpose of the works discussed, their reception and the area of influence, as well as the intricacies of authorship, variants, pasticcios, hybrids, sketches and transcriptions are not central to this publication and have only been briefly touched upon in the Introduction and the Appendices.
Research Interests: Cultural Studies, Early Music, Musicology, Baroque Music, Music analysis, and 18 moreHistorical Musicology, Republic of Venice, Antonio Vivaldi, Venice and the Veneto, Concerto, Italian Baroque Music, Giuseppe Tartini, Pietro Antonio Locatelli, Benedetto Marcello, Venetian Baroque Music, Francesco Maria Veracini, Tomaso Albinoni, Facco, Giacomo, Alessandro Marcello, Carlo Antonio Marino, Giulio Taglietti, Luigi Taglietti, and Carlo Tessarini
The subject-matter of the work is a seventeenth-century Italian sonata for a violin solo and continuo, its form and the technique. For the needs of the work, all known and preserved old prints and manuscripts with the Italian violin... more
The subject-matter of the work is a seventeenth-century Italian sonata for a violin solo and continuo, its form and the technique. For the needs of the work, all known and preserved old prints and manuscripts with the Italian violin sonatas of the discussed period have been analysed (altogether there are 220 compositions of thirty composers’ authorship, see: Wykaz I [Index I] and Aneks A [Appendix A]). Classified as Italian were the works of the Italian composers writing in Italy and at the Italianised European courts. The time frame chosen begins in 1617 with the first in history edition of solo sonatas from Biagio Marini’s Affetti musicali, Op. 1, and ends with the manuscript collection of Carlo Ambrogio Lonati, which was dated to the January of 1701, though, finding its concordances in the copies of Colombi from before 1694.
Research Interests: Music, Early Music, Music History, Musicology, Baroque Music, and 17 moreViolin, Ornamentation (Baroque Music), Music analysis, 17th-c Italian Music, Historical Musicology, Lombardia, Baroque Violin, Venice and the Veneto, Parma, Lazio, Violin Performance, Marché, Italian Baroque Music, Repubblica Di Genova, Ducato di Modena, Violin Sonata, and Instrumental virtuosity
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From Introduction Uccellini sent his Sonate over canzoni, op. 5, to the publishers in 1649, after eight years of work at the court of Francesco I d'Este. This collection is the first in a series of publications dedicated not to his... more
From Introduction
Uccellini sent his Sonate over canzoni, op. 5, to the publishers in 1649, after eight years of work at the court of Francesco I d'Este. This collection is the first in a series of publications dedicated not to his employer himself, as were Uccellini's earlier works (op. 3 and op. 4), but to influential dignitaries associated with the political sphere of d'Este interests. On 25th August 1649, from Venice, the composer appended the dedication to the young Cardinal Alderano Cybo Malaspina (1613 – 1700), papal legate to Romagna and then to Ferrara, and subsequently secretary to Pope Innocent X. It could well have been Francesco I d'Este himself who drew Uccellini's attention to the Cardinal as a potential addressee. Having become a widower in the same year, the Duke was making plans for a marriage with Lucrezia Barberini, and he must have had painful memories of his family's forfeiture in 1598 of the Duchy of Ferrara to the Church through the lack of a male heir. So he could not but be aware of the Pope's profound engagement in the campaign against the abuses practised by the Barberini family. As an ordained man from a noble family who performed a variety of diplomatic missions in the service of the Duke, Uccellini could have met Alderano Cybo personally, especially as his own family estate at Forlimpopoli was subject to the jurisdiction of the legate to Romagna. From the documents we know that in 1649 Cardinal Cybo was in direct contact with the authorities of Forlimpopoli, and from Uccellini's subsequent letter of 15th August 1663 to Cardinal Rinaldo d'Este we learn that the composer maintained regular contacts with the bishops of his province. But the preface to the Sonate over canzoni itself does not provide any hints about more intimate relations between Uccellini and the addressee of the collection. On the title-page the composer styles himself Capo di Musica Del Serenissimo Signore Duca di Modana (sic) which is surprising in view of the fact that at the court in Modena he held the office of Capo degl'Istromentisti, which is the title he used on all his other publications issued during his period of service with the d'Este family. Perhaps in an attempt to endow this publication with a superior status, he resorted to the synonymous but more dignified title Capo di Musica. As we know, he never performed the duties of maestro di cappella at the d'Este court, but only for Modena Cathedral.
Although his Sonate over canzoni were never reprinted as were opp. 4, 7, or 8, nevertheless they command a special position in the history of music. It is the first printed work consisting entirely of solo violin music, a collection which brought about a genuine breakthrough in the practice of publishing violin monodies. Apart from its twelve solo sonatas, which make up the main part of the collection, it also contains an ornamental climax, Sonata 13 in canone alla rovescia, in which a second violin part is read by means of a «head-over-heels» inversion of the solo part, and Tromba sordina a Violino solo, a closing virtuoso figuration on the D major chord. Prior to op. 5, Uccellini had already published six solo sonatas in op. 4, and he would return to the genre again in op. 7, in which he put four sonatas a Violino solo. Op. 5 is not only the most extensive record of his mature prowess as a composer for the violin, but also an example of the virtuoso solo repertoire played at the Modena court....
Uccellini sent his Sonate over canzoni, op. 5, to the publishers in 1649, after eight years of work at the court of Francesco I d'Este. This collection is the first in a series of publications dedicated not to his employer himself, as were Uccellini's earlier works (op. 3 and op. 4), but to influential dignitaries associated with the political sphere of d'Este interests. On 25th August 1649, from Venice, the composer appended the dedication to the young Cardinal Alderano Cybo Malaspina (1613 – 1700), papal legate to Romagna and then to Ferrara, and subsequently secretary to Pope Innocent X. It could well have been Francesco I d'Este himself who drew Uccellini's attention to the Cardinal as a potential addressee. Having become a widower in the same year, the Duke was making plans for a marriage with Lucrezia Barberini, and he must have had painful memories of his family's forfeiture in 1598 of the Duchy of Ferrara to the Church through the lack of a male heir. So he could not but be aware of the Pope's profound engagement in the campaign against the abuses practised by the Barberini family. As an ordained man from a noble family who performed a variety of diplomatic missions in the service of the Duke, Uccellini could have met Alderano Cybo personally, especially as his own family estate at Forlimpopoli was subject to the jurisdiction of the legate to Romagna. From the documents we know that in 1649 Cardinal Cybo was in direct contact with the authorities of Forlimpopoli, and from Uccellini's subsequent letter of 15th August 1663 to Cardinal Rinaldo d'Este we learn that the composer maintained regular contacts with the bishops of his province. But the preface to the Sonate over canzoni itself does not provide any hints about more intimate relations between Uccellini and the addressee of the collection. On the title-page the composer styles himself Capo di Musica Del Serenissimo Signore Duca di Modana (sic) which is surprising in view of the fact that at the court in Modena he held the office of Capo degl'Istromentisti, which is the title he used on all his other publications issued during his period of service with the d'Este family. Perhaps in an attempt to endow this publication with a superior status, he resorted to the synonymous but more dignified title Capo di Musica. As we know, he never performed the duties of maestro di cappella at the d'Este court, but only for Modena Cathedral.
Although his Sonate over canzoni were never reprinted as were opp. 4, 7, or 8, nevertheless they command a special position in the history of music. It is the first printed work consisting entirely of solo violin music, a collection which brought about a genuine breakthrough in the practice of publishing violin monodies. Apart from its twelve solo sonatas, which make up the main part of the collection, it also contains an ornamental climax, Sonata 13 in canone alla rovescia, in which a second violin part is read by means of a «head-over-heels» inversion of the solo part, and Tromba sordina a Violino solo, a closing virtuoso figuration on the D major chord. Prior to op. 5, Uccellini had already published six solo sonatas in op. 4, and he would return to the genre again in op. 7, in which he put four sonatas a Violino solo. Op. 5 is not only the most extensive record of his mature prowess as a composer for the violin, but also an example of the virtuoso solo repertoire played at the Modena court....
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From Introduction The name of Aldebrando Subissati (1606-1677) does not appear in any of the leading music lexicons or encyclopedias. If it hadn’t been for the fortunate survival of a manuscript of his violin sonatas, it would no doubt... more
From Introduction
The name of Aldebrando Subissati (1606-1677) does not appear in any of the leading music lexicons or encyclopedias. If it hadn’t been for the fortunate survival of a manuscript of his violin sonatas, it would no doubt have been forgotten. Since the first communiqué from 1980, research into the life and oeuvre of this violinist has expanded somewhat; however, it has for the moment not resulted in a critical edition of his works. […]
The twenty sonatas passed down in the Fossombrone manuscript Il primo libro delle sonate di violino, written in the years 1675-76, are the only surviving works of Subissati. Others of his compositions are mentioned by Polish sources. The manuscript personally drawn up in Fossombrone by the elderly Subissati, a year before his death, bears the traits of a musical testament, a record of the achievements of an entire artistic life. Talking into account the style of the surviving sonatas, they can be dated to the years 1630-1660 – that is, the period in which Subissati was most professionally active, and for a short time also worked for the king of Poland.
The name of Aldebrando Subissati (1606-1677) does not appear in any of the leading music lexicons or encyclopedias. If it hadn’t been for the fortunate survival of a manuscript of his violin sonatas, it would no doubt have been forgotten. Since the first communiqué from 1980, research into the life and oeuvre of this violinist has expanded somewhat; however, it has for the moment not resulted in a critical edition of his works. […]
The twenty sonatas passed down in the Fossombrone manuscript Il primo libro delle sonate di violino, written in the years 1675-76, are the only surviving works of Subissati. Others of his compositions are mentioned by Polish sources. The manuscript personally drawn up in Fossombrone by the elderly Subissati, a year before his death, bears the traits of a musical testament, a record of the achievements of an entire artistic life. Talking into account the style of the surviving sonatas, they can be dated to the years 1630-1660 – that is, the period in which Subissati was most professionally active, and for a short time also worked for the king of Poland.
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Although research on Neapolitan instrumental music of the 17th and 18th centuries has been undertaken for several decades, our knowledge on this subject is still very fragmentary. As far as the history of the concerto in Naples is... more
Although research on Neapolitan instrumental music of the 17th and 18th centuries has been undertaken for several decades, our knowledge on this subject is still very fragmentary. As far as the history of the concerto in Naples is concerned, it is surprising that this centre is completely omitted from the most important syntheses on this genre. Even if Naples did not release a figure like Vivaldi, more composers wrote concertos there than in Venice, Bologna and Rome combined.
From the beginning of the 18th century, the violin concerto became the most popular type of this genre. The 18th century lists of members of the Cappella Reale, Tesoro di San Gennaro, church and theatre orchestras, as well as professors employed at Neapolitan conservatories, give an enormous number of violinists active in these most important musical institutions of Naples. In the first half of the 18th century, such Neapolitan violinists as Nicola Matteis, Michele Mascitti, Giovanni Antonio Guido, Giovanni Antonio Piani and Angelo Ragazzi were known and respected in London, Paris and Vienna. Despite these apparently favorable conditions for the development of the violin concerto in Naples, only 17 such pieces from the first half of the 17th century have survived: the works of Francesco Barbella, Angelo Ragazzi, Nicola Fiorenza and Giovanni Battista Pergolesi. In this article they are discussed in detail and confronted with the works of Roman and Northern Italian composers. In the light of the preserved sources, it seems that in the first half of the 18th century in Naples, the flute and cello concertos enjoyed greater interest than the violin concerto. Similarly, flute, harpsichord or mandolin concertos were more numerous than violin concertos in the second half of the 18th century.
From the beginning of the 18th century, the violin concerto became the most popular type of this genre. The 18th century lists of members of the Cappella Reale, Tesoro di San Gennaro, church and theatre orchestras, as well as professors employed at Neapolitan conservatories, give an enormous number of violinists active in these most important musical institutions of Naples. In the first half of the 18th century, such Neapolitan violinists as Nicola Matteis, Michele Mascitti, Giovanni Antonio Guido, Giovanni Antonio Piani and Angelo Ragazzi were known and respected in London, Paris and Vienna. Despite these apparently favorable conditions for the development of the violin concerto in Naples, only 17 such pieces from the first half of the 17th century have survived: the works of Francesco Barbella, Angelo Ragazzi, Nicola Fiorenza and Giovanni Battista Pergolesi. In this article they are discussed in detail and confronted with the works of Roman and Northern Italian composers. In the light of the preserved sources, it seems that in the first half of the 18th century in Naples, the flute and cello concertos enjoyed greater interest than the violin concerto. Similarly, flute, harpsichord or mandolin concertos were more numerous than violin concertos in the second half of the 18th century.
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Giuseppe Tartini explored the secrets of the violin playing and the art of composition in Assisi and Ancona. It was not until the age of 30 that he settled permanently in Padua, and his first concertos, published as Op. 1 and 2 in the... more
Giuseppe Tartini explored the secrets of the violin playing and the art of composition in Assisi and Ancona. It was not until the age of 30 that he settled permanently in Padua, and his first concertos, published as Op. 1 and 2 in the years 1727– 1733, date roughly from that period. In this chapter, these works have been compared with the concertos composed in the Republic of Venice in the first four decades of the eighteenth century in order to answer the question of whether the composer worked according to the patterns prevailing in that music centre. The instrumental concerto was the leading music genre cultivated in the Republic of Venice at the time. About 1,000 compositions of this type have survived, establishing the Serenissima as the main centre of concerto production in Europe. Despite evident Venetian influences, Tartini’s works are distinguished by an original melodic style, seemingly inspired by Dalmatian folklore. The composer also followed different aesthetic norms, already foreshadowing the era of Classicism.
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When we talk about the Neapolitan school, we usually mean the composers of opera and vocal music, although multicoloured instrumental works were also developing in Naples. Knowledge of these is poor, even among those researching this... more
When we talk about the Neapolitan school, we usually mean the composers of opera and vocal music, although multicoloured instrumental works were also developing in Naples. Knowledge of these is poor, even among those researching this centre of music. The subject of this article is thus the Neapolitan instrumental work for various types of chamber and orchestral ensembles created over a period of 100 years, starting from the 1690s. Neapolitan performing practices differed from those known in other European centres. Despite practising the same genres (sonata, concerto, symphony), Neapolitan composers displayed different preferences for the scoring of music. Regardless of the genre, they were fond of an ensemble consisting of three or four violins and a bass voice. They avoided use of the viola: less frequently, they used the violin as a solo instrument, but more preferably flutes, a cello, a mandolin and keyboards. It was not the type of scoring of music in Naples that determined the choice of genre (sonata, concerto or symphony), but rather the texture and form. The musical genre also had no influence on whether the piece would be performed by chamber or orchestral ensemble.
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The instrumental output of Nicola Porpora has not aroused great interest among researchers. For this reason, even the lists of his works in the most important musical dictionaries are incomplete. However, his instrumental works enjoyed... more
The instrumental output of Nicola Porpora has not aroused great interest among researchers.
For this reason, even the lists of his works in the most important musical
dictionaries are incomplete. However, his instrumental works enjoyed considerable
interest during the composer’s lifetime and even after his death. The purpose of this
article is to draw attention to Porpora’s cello concertos. A closer analysis of previously
known sources allows us to increase the number of such concertos by five pieces. Four
of them have so far been considered to be trio sonatas, one has been preserved incompletely
as an anonymous piece in the Library of Conservatorio di San Pietro a Majella
(I-Nc, M.S. 84/5–8). These seven cello concertos, also known in sources as sonatas
or sinfonias, were written when very similar pieces were created in Naples by Nicola
Fiorenza, Leonardo Leo, Giuseppe de Majo and Nicola Sabatino. Although Porpora
was already active in Venice and London at that time, he most likely wrote these works
with the courts of Neapolitan aristocrats in mind — the Viceroy Aloys Thomas von
Harrach, the Duke of Maddaloni and the Marquis De Simone.
For this reason, even the lists of his works in the most important musical
dictionaries are incomplete. However, his instrumental works enjoyed considerable
interest during the composer’s lifetime and even after his death. The purpose of this
article is to draw attention to Porpora’s cello concertos. A closer analysis of previously
known sources allows us to increase the number of such concertos by five pieces. Four
of them have so far been considered to be trio sonatas, one has been preserved incompletely
as an anonymous piece in the Library of Conservatorio di San Pietro a Majella
(I-Nc, M.S. 84/5–8). These seven cello concertos, also known in sources as sonatas
or sinfonias, were written when very similar pieces were created in Naples by Nicola
Fiorenza, Leonardo Leo, Giuseppe de Majo and Nicola Sabatino. Although Porpora
was already active in Venice and London at that time, he most likely wrote these works
with the courts of Neapolitan aristocrats in mind — the Viceroy Aloys Thomas von
Harrach, the Duke of Maddaloni and the Marquis De Simone.
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It has often been postulated in the past that the works of Nicola Fiorenza should become the subject of detailed research. This article is the first to examine comprehensively the concertos of this outstanding Neapolitan violinist and... more
It has often been postulated in the past that the works of Nicola Fiorenza should become the subject of detailed research. This article is the first to examine comprehensively the concertos of this outstanding Neapolitan violinist and cellist, and to present a thematic catalogue of his concertos. It also verifies the existing lists of Fiorenza’s works, and examines the issues of authorship and genre classification of his works. It confirms that he was the author of 20 concertos, eleven of which were composed during the years 1726-1728, while a few may be dated to a later period. His works are presented against the background of the concerto genre developed during the first half of the eighteenth-century. Fiorenza is the author of the oldest Neapolitan cello and violin concertos. He continues the tradition of his Neapolitan predecessors in using the four-movement form of the concerto with fugues, but is one of the first to introduce the dominance of homophonic texture and ritornello forms. The great majority of his concertos survive as single parts, but in a few of cases sources suggest the use of scoring for doubled parts. When compared to concertos by Northern Italian composers, Fiorenza’s works do not foreground the virtuoso element to the same extent. The composer places greater emphasis on the work’s expressive aspect, elegance of sound and harmony, original tonal plan and beauty of cantilena. In one case he even uses a paraphrase of the famous Farinelli’s aria Sposa, non mi conosci. The audiences for these concertos were Neapolitan aristocrats; some of the concertos may have formed part of the repertory of the Real Cappella, others may have been performed by pupils of the Conservatorio Santa Maria di Loreto during religious ceremonies.
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In 27 of his concertos Tartini used 39 poetical mottos taken mostly from opera or cantata librettos. Up to now there have been discovered text concordances for 20 mottos, but not all of them can be established with one-hundred percent... more
In 27 of his concertos Tartini used 39 poetical mottos taken mostly from opera or cantata librettos. Up to now there have been discovered text concordances for 20 mottos, but not all of them can be established with one-hundred percent certainty. This article adds 16 new concordances, discusses probable functions of the mottos and the nature of the sources from which the composer drew them, as well as the varying degrees of certainty regarding these convergences. The author formulate a hypothesis, that the source of Tartini’s literary quotations could be some anthology of arias from operas and cantatas in his possession. Apart from poetic quotations the article compares also
the musical layer of some parts of Tartini’s concertos which carry incipits of arias by various authors with the originals, finding examples of subtle similarities. The author postulate to undertake in the future a detailed and wide-ranging research into musical quotations in Tartini’s concertos.
the musical layer of some parts of Tartini’s concertos which carry incipits of arias by various authors with the originals, finding examples of subtle similarities. The author postulate to undertake in the future a detailed and wide-ranging research into musical quotations in Tartini’s concertos.
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In this article, the author examines the six sonatas for two violins and basso continuo by M.J. Żebrowski, published in the collection of Johann Julius Hummel in Amsterdam, along with the sonatas by G.C. Spangenberg. This print has been... more
In this article, the author examines the six sonatas for two violins and basso continuo by M.J. Żebrowski, published in the collection of Johann Julius Hummel in Amsterdam, along with the sonatas by G.C. Spangenberg. This print has been preserved as an incomplete copy (no voice of the second violin) in the King’s College Library, Cambridge. The author, among others, attempts to clarify any doubts concerning the dating of the works considered and the entire foreign activity of Żebrowski. He also performs a characteristics of this type of composition in the 18th century (establishing the name, composers, transformations and development of forms) and performs a thorough and detailed analysis of Żebrowski’s sonatas, supported by numerous examples of music notations.
In conclusion, the author notes that these works, characterised by a typical of the turn of the Baroque and Classical periods galant style, are a further proof of Żebrowski’s excellent skills in composition. Therefore, it is worth to attempt to reconstruct the unpreserved second violin part, as such action may certainly lead to the enrichment of modest Polish chamber music repertoire of the late Baroque.
In conclusion, the author notes that these works, characterised by a typical of the turn of the Baroque and Classical periods galant style, are a further proof of Żebrowski’s excellent skills in composition. Therefore, it is worth to attempt to reconstruct the unpreserved second violin part, as such action may certainly lead to the enrichment of modest Polish chamber music repertoire of the late Baroque.
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Giulio Taglietti (ca. 1666-1718) considered one of the forerunners of the instrumental concerto. His Concerti e sinfonie, op. 2 (Venice, 1696) were the first Venetian publication ever to contain instrumental concertos. The compositions by... more
Giulio Taglietti (ca. 1666-1718) considered one of the forerunners of the instrumental concerto. His Concerti e sinfonie, op. 2 (Venice, 1696) were the first Venetian publication ever to contain instrumental concertos. The compositions by Taglietti are closely interlinked with his work for Collegio de’ Nobili and Oratorio alla Pace in Brescia. This article discuses two of the completely preserved collections of his musi: Concerti a cinque, op. 8 (Venice, 1710) and Concerti a Quattro con suoi rinforzi, op. 11 (Bologna, 1713). The works published in the collection exemplify compositions which include elements of a solo concerto, ripieno and grosso. Even though they were not so significant for the history of the genre as the concertos by Torelli, Vivaldi or Tartini, they provide a valuable source of information about the abundance of styles of an early Baroque concerto, broaden our perspective on the diversity of the genre, and show one of its local varieties. Working outside the mainstream musical centers, Taglietti did not blindly follow the patterns established by Corelli (Rome), Torelli (Bologna) or Gentili (Venice), but employed his individual compositional language, which judging by Dutch and English copies of his scores and high acclaim for his composition by Pierre Mortier, must have been widely enjoyed by the audiences.