Giovanni Battista Viotti

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Viotti, Giovanni Battista


Born May 12, 1755, in Fontanetto da Po (Vercelli Province, Italy); died Mar. 3, 1824, in London. Italian violinist, composer, and teacher.

A student of G. Pugnani, Viotti became a court musician in Turin in 1775. In 1781 he played at the court of Catherine II in St. Petersburg. From 1782 to 1792 he lived in Paris, and beginning in 1792, in England and other countries, periodically returning to Paris. Viotti had a decisive influence on the development of the French school of violin (among his pupils was P. Rode). An outstanding virtuoso violinist, Viotti was the composer of numerous works for violin and instrumental chamber ensembles (quartets, trios, duets). Of great significance are his 29 concerti for violin and orchestra, which were an important milestone in the development of the solo instrumental concerto (the most popular is Concerto No. 22 in A minor). Annual international music and dance competitions named after Viotti (founded in 1950) are held in the city of Vercelli.


Giazotto, R. G. B. Viotti. Milan, 1956.
References in periodicals archive ?
In 1797 Giovanni Battista Viotti (1755 1824) wrote in a letter of the magical effect of the music and its setting:
Less invasively, the modern bow began to emerge in the last quarter of the eighteenth century, a development widely attributed to Francois-Xavier Tourte with influence from Giovanni Battista Viotti.
Warwick Lister's excellent Amico: The Life of Giovanni Battista Viotti is exactly that: a book devoted Viotti's life but one which omits any detailed discussion of his music.
Mr Shaheen will be followed by a performance by Italian Ensemble Orchestra Camerata Ducale, dedicated to the performance of music composed by 18th century Italian violinist Giovanni Battista Viotti.
His name was Giovanni Battista Viotti and he had recently toured Europe with his teacher Gaetano Pugnani.
He demonstrates, for example, how performers gained entry into the higher levels of concerts, chiefly through private concerts held by connoisseurs and musicians; reports how Felice Giardini and Giovanni Battista Viotti used benefit concerts to obtain the larger gratuities and to attract aristocratic students; and analyzes the different levels of musicians organized both by ability and nationality.