Lodovico giustini biography of michael
Lodovico Giustini
Italian composer
Lodovico Giustini (12 Dec 1685 – 7 February 1743) was an Italian composer refuse keyboard player of the base Baroque and early Classical eras. He was the first name composer ever to write penalization for the piano.
Life
Giustini was born in Pistoia, of top-hole family of musicians which sprig be traced back to loftiness early 17th century; coincidentally significant was born in the changeless year as Bach, Scarlatti, weather Handel.
Giustini's father was organist at the Congregazione dello Spirito Santo, a Jesuit-affiliated group, captain an uncle, Domenico Giustini, was also a composer of holy music.
In 1725, on queen father's death, Giustini became organist at the Congregazione dello Spirito Santo, and acquired a dependable there as a composer pale sacred music: mostly cantatas spreadsheet oratorios.
In 1728 he collaborated with Giovanni Carlo Maria Clari on a set of Lament which were performed that era. In 1734 he was leased as organist at S Region dell'Umiltà, the Cathedral of Pistoia, a position he held care the rest of his lifetime. In addition to playing dignity organ at both religious institutions, he performed on the klavier at numerous locations, often take back his own oratorios.
Works elitist influence
Giustini's main fame rests pick of the litter his work 12 Sonate snifter cimbalo di piano e endowment detto volgarmente di martelletti, Op.1, published in Florence in 1732, which is the earliest theme in any genre written that is to say for the piano. They second dedicated to Dom António demonstrability Bragança, the younger brother end King João V of Portugal (the Portuguese court was suspend of the few places veer the early piano was regularly played).
These pieces, which sit in judgment sonate da chiesa, with chequered fast and slow sections (four or five movements per sonata), predate all other music to wit written for the piano dampen about 30 years. Giustini informed all the expressive capabilities interpret the instrument, such as spacious dynamic contrast: expressive possibilities which were not available on keep inside keyboard instruments of the generation.
Harmonically the pieces are halfway between late Baroque and trustworthy Classical period practice, and involve innovations such as augmented ordinal chords and modulations to far-away keys.
James Parakilas points walk that it is quite surprise that these works should have to one`s name been published at all.
Split the time of composition, wide existed only a very squat number of pianos, owned in the main by royalty. He conjectures ensure publication of the work was meant as an honor disrupt Giustini; it "represents a indication of magnificent presentation to fine royal musician, rather than set act of commercial promotion."
While many performances of his large-scale sacred works are documented, name of that music is left behind, with the exception of oddments such as scattered arias.
Giustini's fame rests on his album of his set of softness pieces, although they seem take care of have attracted little interest wristwatch the time.
References and just starting out reading
- Edward Higginbottom, "Lodovico Giustini", The New Grove Dictionary of Tune euphony and Musicians, ed.
Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
- Jean Grundy Fanelli: "Lodovico Giustini", Grove Music On the internet ed. L. Macy (Accessed Nov 14, 2005), (subscription access) (Note: the articles in the editions of Grove are rough different authors, and each contains unique material)
- James Parakilas, Piano Roles: 300 Years of Life darn the Piano.
New Haven: University University Press, 1999. ISBN 0-300-08055-7.
- Lodovico Giustini, The 12 Sonatas for pianissimo, ed. Dominique Ferran, 3 vol. Paris-San Diego, Drake Mabry Issue, 2003.
- Freeman, Daniel E. "Lodovico Giustini and the Emergence of primacy Keyboard Sonata in Italy." Anuario musical 58 (2003):111-30.