Chaconne In G Minor
Tomaso Antonio Vitali
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Browse piano sheets by Tomaso Antonio Vitali on Zen Virtual Piano. Born in Bologna on 7 March 1663, Vitali was the son of the noted composer and violinist Giovanni Battista Vitali. In 1674 his father took him to Modena and probably taught him the violin; he studied composition with Pacchioni, and between 1675 and 1742 he worked in the orchestra of the Este court, first as a violinist and later as its leader. A boy brought to a court at around eleven and employed there from 1675 sets his whole working life in one place. Trio sonatas made up his first two collections, published in 1693 and recalling the style of his father and Arcangelo Corelli; a further set followed two years later. The Op. 4 Concerti di sonata, his final collection, appeared in 1703 with a dedication to Cardinal Ottoboni, an important Roman patron of music; that was also the year he was inducted into the Accademia Filarmonica, where within three years his standing rose from instrumentalist to composer. Published sonatas that echo his father and Corelli, and an academy that his father helped found, give the early career a family shape. Senaillé, a pupil of his, played a key role in bringing Italian violin methods to the French court in the 1720s; Girolamo Nicolò Laurenti, Luca Antonio Predieri and Evaristo Felice Dall'Abaco were among his many other distinguished pupils. In 1742, three years before he died, he left his position at the Modena court, where almost his whole life as a musician had been spent, first as an instrumentalist and then as orchestra director. A teacher with pupils who traveled as far as the French court may have carried his methods further than his own movements did. The well-known ciacona for violin and continuo was credited to Vitali in the nineteenth century and was popular with twentieth-century violinists, but it has almost conclusively been shown not to be his. The words Parte del Tomaso Vitalino are written on the first page of the Dresden manuscript, and Jascha Heifetz began his American debut recital at Carnegie Hall in 1917 with the chaconne and regularly performed it for the next four decades. A work that a violinist played for forty years and that perhaps another composer wrote leaves the name attached to the piece for reasons other than authorship.
Browse piano sheets by Tomaso Antonio Vitali on Zen Virtual Piano.
Born in Bologna on 7 March 1663, Vitali was the son of the noted composer and violinist Giovanni Battista Vitali. In 1674 his father took him to Modena and probably taught him the violin; he studied composition with Pacchioni, and between 1675 and 1742 he worked in the orchestra of the Este court, first as a violinist and later as its leader. A boy brought to a court at around eleven and employed there from 1675 sets his whole working life in one place.
Trio sonatas made up his first two collections, published in 1693 and recalling the style of his father and Arcangelo Corelli; a further set followed two years later. The Op. 4 Concerti di sonata, his final collection, appeared in 1703 with a dedication to Cardinal Ottoboni, an important Roman patron of music; that was also the year he was inducted into the Accademia Filarmonica, where within three years his standing rose from instrumentalist to composer. Published sonatas that echo his father and Corelli, and an academy that his father helped found, give the early career a family shape.
Senaillé, a pupil of his, played a key role in bringing Italian violin methods to the French court in the 1720s; Girolamo Nicolò Laurenti, Luca Antonio Predieri and Evaristo Felice Dall'Abaco were among his many other distinguished pupils. In 1742, three years before he died, he left his position at the Modena court, where almost his whole life as a musician had been spent, first as an instrumentalist and then as orchestra director. A teacher with pupils who traveled as far as the French court may have carried his methods further than his own movements did.
The well-known ciacona for violin and continuo was credited to Vitali in the nineteenth century and was popular with twentieth-century violinists, but it has almost conclusively been shown not to be his. The words Parte del Tomaso Vitalino are written on the first page of the Dresden manuscript, and Jascha Heifetz began his American debut recital at Carnegie Hall in 1917 with the chaconne and regularly performed it for the next four decades. A work that a violinist played for forty years and that perhaps another composer wrote leaves the name attached to the piece for reasons other than authorship.
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Tomaso Antonio Vitali
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Tomaso Antonio Vitali was born in Bologna on 7 March 1663, the son of the composer and violinist Giovanni Battista Vitali, and worked at the Este court in Modena.
The Op. 4 Concerti di sonata was his final collection, published in 1703; before it came two collections of trio sonatas in 1693 and a further set two years later.
The ciacona attributed to him in the nineteenth century has been almost conclusively shown not to have come from his pen.
His pupils included Girolamo Nicolò Laurenti, Luca Antonio Predieri, Evaristo Felice Dall'Abaco and Jean Baptiste Senaillé.