#veracini

[mrbacf]

F. M. Veracini (1690-1768): Sonata in Sol minore op.5, n.1

[fuckyeahfarinelli]

Farinelli’s composers: FRANCESCO MARIA VERACINI (1690-1768)

Francesco Maria Veracini was an Italian composer and violinist, perhaps best known for his sets of violin sonatas. Veracini was born into a family of musicians and artists. His grandfather, Francesco (di Niccolò) Veracini was one of the first violinists of Florence, while his uncle  Antonio Veracini was that and a fine composer as well. Francesco Maria’s father Agostino was, ironically, one of the few Veracinis who did not play the violin even as an amateur; he was a druggist and undertaker. Veracini’s early training was provided by his uncle Antonio with whom the promising boy often performed in public.

Veracini left Florence before Easter 1711. Later that year he was a soloist at the Christmas masses at San Marco in Venice, but was never a regular member of the chapel orchestra. During 1714 Veracini appeared in a series of benefit concerts, and as soloist between the acts of operas, at the Queens Theatre in London. In 1716 he was again in Venice, where he dedicated a set of 12 solo sonatas to Prince Elector Friedrich August of Saxony, who came to celebrate carnaval. The Prince recruited not only singers, as he was told to do by his father, but also musicians for the court in Dresden. He hired an entire opera company with the castrati Senesino and Matteo Berselli. In 1718 the Prince also secured - at a very high salary - the services of Francesco Maria Veracini. He remained in Dresden until 1722, when on August 13 he leapt from a third-storey window in a fit of madness brought on by too much application to music and reading of alchemy, according to Mattheson. Veracini’s treatise hints that there was a plot against his life inspired by jealousy, however. In 1722, the arrogant Veracini was involved in a quarrel, staged probably by the composer and violinist Pisendel, which resulted in Veracini not coming out of his room for several days. Out of shame and despair, he finally publicly threw himself out of a window onto the street in Dresden. breaking his leg and hip. After the incident Veracini walked with a limp for the rest of his life. Back in his native Florence in 1723, Veracini played music in a church. During this time he suffered from his bad reputation and was said by Charles Burney to have been "usually qualified with the title of Capo pazzo" ["head lunatic]. That he re-established his reputation as a performer on his return to Italy we learn from Burney’s amusing story in which Veracini arrogantly showed Girolamo Laurenti “the way to play the first fiddle”. Back in London in 1733, Veracini appeared in many concerts. Perhaps he began immediately to play for the Opera of the Nobility, which presented his first opera, Adriano in Siria on 26 November 1735, with the composer leading and playing, and Francesca Cuzzoni, Antonio Montagnana, Farinelli and Senesino in leading roles. His other operas were La Clemenza di Tito, on a libretto based on Metastasio, and Partenio. There being no opera in London for the season of 1738/39, Veracini returned briefly to Florence where his uncle, wife and mother had died in his absence. Back in London he composed his last opera, Roselinda, based on Shakespeare's play As You Like It, a most unusual choice of material at that time. Burney scorned the music of Roselinda as "wild, awkward, and unpleasant". Veracini left London a little more than a year later. In 1745 or shortly after, he survived a shipwreck in which he lost two of his Stainer violins (the ones he called St. Peter and St. Paul), and all of his effects.

He returned to Florence, where he focused on church music. A parish priest who knew him characterized Veracini as one who left several good positions because he valued independence more than wealth. The reports of diarists and journalists reveal him as an eccentric and at times even a seeming madman. Hints of all these traits can be found in his treatise, Il trionfo della pratica musicale, which he wrote during his last years in Florence. Burney remarked that by travelling all over Europe he formed a style of playing peculiar to himself. The asteroid 10875 Veracini was named after him.

Sonate Accademiche No. 12

Prendi o cara  Adriano in Siria

Amor Dover Rispetto  Adriano in Siria

Meco Verrai Su Quella  Rosalinda

Largo

[violinoarteetecnica]

Francesco Maria Veracini (1690 - 1768) Nascido em Florença em 01 de fevereiro de 1690, foi um violinista excepcionalmente dotado, famoso pelas suas sonatas de violino. «Charles Burney escreve num dos seus livros viajantes que o grande Tartini o ouviu tocar em certa ocasião em Veneza e foi tal a depressão que lhe entrou, ao verificar a sua inferioridade técnica, que fugiu para Ancona e foi recluído por um longo período exclusivamente para praticar e poder estar à altura do seu rival. Foram precisamente sonatas de violino que permitiram a Veracini entrar em contacto com o eleitor da Saxónia, Friedrich August, que mais tarde seria também rei da Polónia. O príncipe, impressionado com a sua música, contratou-o para a corte de Dresden, onde já funcionava uma formidável companhia de ópera italiana dirigida por Lotti e à qual pertencia, entre outros, o castrato Senesino. Veracini morre em Florença em 31 de outubro de 1768. 🎨 Francesco Maria Veracini (1690-1768). #corderoliuteria #Veracini #birthday #violinesyviolinistas #Stainer #Amati #Stradivari #onthisday (em Botafogo, Rio De Janeiro, Brazil) https://www.instagram.com/p/CoH0a0tAP02/?igshid=NGJjMDIxMWI=

[tristankappwrites]

This is a new piece I started with today, after finally getting the printer driver to work on my PC to be able to print the sheet music. - Francesco Maria Veracini (1690-1768) Largo in F# Major. 😍😍😍 This is literally the most romantic baroque piece ever!! And it's not that hard. Thanks "Frankie" for writing such a beautiful piece! #largo #violin #piano #veracini #violinist #practice #music #musician #thankful #blessed #romantic #moltoespressivo

[markseow]

CD liner notes for Channel Classics: ‘Grandissima Gravita’ September 2017

CD liner notes by Mark Seow. Translated into German (Christiane Schima) and French (Clemence Comte). Vivaldi Sonata Op. 2 No. 2, Tartini Sonata Op. 2 No. 5, Veracini Op. 2 No. 5, Pisendel Sonata in C minor, Veracini Sonata No. 12 ‘Sonate Accademiche’. Performed by Rachel Podger (violin), Marcin Swiatkiewicz (harpsichord), Daniele Caminiti (theorbo), Alison McGillivray (cello)

THE SCENE: Vivaldi, Tartini, Veracini and Pisendel are slouched on divans. Loud and tipsy, they dominate this corner of heaven reserved for a very specific type of musician: the violinist-composer. Here, once a year, on the seventeenth day of the second month, these violinists gather to reminisce, gossip and argue. Their discussions often venture into the technical; they discuss bow technique, ornamentation, acoustics. This evening they also indulge in the personal. Stories flow with the ease and speed of wine from a jug, and it is at this point that we join them in salutation.

[gargantua]

Vivica Genaux

Meravigliosa Genaux e insuperabile Biondi

[classicalinfo-blog]

The Locatelli Trio - Francesco Maria Veracini - Sonate Accademiche (2007)

Francesco Maria Veracini - Sonate Accademiche (The Locatelli Trio) 2007 - Download Lossless

[saklambo]

Veracini: Sonata accademiche, Op.2-No.12

今までの記事では毎回違う作曲家を取り上げてきましたが、ついに2週目に突入する作曲家が登場（？）しました。 フランチェスコ・マリア・ヴェラチーニ（Francesco Maria Veracini）作曲の「アカデミック・ソナタ第12番 ニ短調」です。彼は名前から察する通りのイタリア人ですが、イギリスで活動していた時期もあったそうで、この作品はその頃に書かれたものです。 アカデミック、といってもこの場合だといわゆる「教育目的」というわけでなく、おそらく文字通りの意味での「アカデミー」、すなわち市民の音楽活動（つまりコンサート）の場のことを指しているものと思われます。 イギリスのアカデミーについて興味がある方は、コチラの論文（今井 2005）をご覧になると良いと思います。

さて、曲を聴いてみますと、まず初っ端からヴァイオリンの憂鬱な半音階的なフレーズを提示し、それを通奏低音がフーガのように追いかけます。そして物語はうねりを伴って動き始め、二楽章、三楽章とテーマの半音階を踏襲しながら、漸進と停滞を繰り返しているように思えます。4楽章のチャコーナで色々なものが弾けて、今までの鬱っぽさを振り切って切り替えて華やかにフィナーレを迎える......と思いきや、終盤でまた1楽章の半音階のテーマが再登場することによって、結局気が滅入ったまま、しかしまた一方でそれをどこかで噛み殺しながら結末へと突き進む、そんな感じでしょうか。とにかくこのネチネチした半音階がたまりません。楽章が進むごとに量的・質的に変化する半音階が、曲の全体像を浮き彫りにしているように思えます。

半音階に注目した作曲家は他にも何人かいます。特に有名なのがバッハの「半音階的幻想曲とフーガ ニ短調 BWV 903」です。バッハのほうの曲は「幻想曲（fantasia)」という名前の通り非常に自由で、僕個人の印象としては「流石は大バッハの洗練された完璧な半音階」ですが、一方でこのヴェラチーニの曲での半音階の使い方はバッハのそれとはベクトルが逆だと思います。「内なる狂気」というか、一種の「不調和」といったものを想起させられます。しかし、これも半音階の悪魔的な魅力であり、ヴェラチーニはそれを見事に譜面に書き起こしてくれた、僕はそう解釈しています。