Giovanni Battista Martini

(redirected from Padre Martini)

Martini, Giovanni Battista

 

(Padre Martini). Born Apr. 24, 1706, in Bologna; died there Oct. 4, 1784. Italian music theorist and historian, teacher, composer, choir director, singer, violinist, and harpsichordist. Franciscan monk.

Martini was a member and director of the Philharmonic Academy in Bologna. His principal theoretical work is Pattern, or Fundamental Practical Outline of Counterpoint (vols. 1-2, 1774-75). He wrote the History of Music (vols. 1-3, 1757-81), the first such work. His history deals only with ancient Greek and Roman music. Martini composed oratorios, works for organ and for harpsichord, vocal duets, and choruses with instrumental accompaniment. The musical world of 18th-century Italy centered on Martini. The conservatory and city library in Bologna are named after him.

References in periodicals archive ?
Talle examines the private collections of two amateurs--a professor of law in Gottingen and a bureaucrat from Fulda with a keen interest in music and musical theory, and with a network of Catholic acquaintances that stretches as far as Padre Martini in Bologna.
This was the tour during which the 14-year-old Wolfgang came under the scrutiny of some of the most learned Italian masters, including the legendary theorist Padre Martini, who put him through the most searching tests and pronounced himself well-pleased.
Hill Award for the best article on music librarian ship or best article of a music bibliographic nature published in 2010 was awarded to Kate van Orden and Alfredo Vitolo for their article "Padre Martini, Gaetano Gaspari and the Pagliarini Collection': A Renaissance Music Library Rediscovered," Early Music History 29 (2010): 241-324.
En Bolonia encontro en el famoso padre Martini (5)--el mismo a quien Niccolo Jommelli habia pedido lecciones--a un admirador motivado por el mas vivo entusiasmo.
In 1784 he sent the learned Padre Martini his portrait, entrusting it to L.
For a friend in Berlin (Reichardt?) Pichl obtained transcriptions of the operas of Leonardo Leo from Padre Martini. In a Latin letter of the 13th of June 1778 he listed four of his operas (Adriano in Siria, Artasserse, Olympiade, II Lucio Vero (11)) as well as 12 Cantate by F.
Cherubini, que se complacia componiendolos, resolvia todos los que el Padre Martini habia hecho grabar en las vinetas de su Historia de la Musica.
The correspondence shows Burney keeping up links with notable figures whom he had met on his Continental tours, including Padre Martini, Diderot, d'Holbach, Suard, and Jean-Jacques Rousseau.
Padre Martini's epistolary has been on the scholarly radar since at least the late nineteenth century, when librarian Federico Parisini published a selection of letters from the thousands that Martini exchanged with prominent music scholars and composers of his time.
Read especially chapter 7 on "Family honors and Private Music Making," the introduction to chapter 6 on "Padre Martini and the Dixit Dominus," and the following carefully nuanced passage near the end of the same chapter, with its insightful distinction between the composer and her compositions: The persistent allusions to the weakness of her sex from the composer of the splendid Dixit Dominies may strike some as a bit disingenuous; but those were very different times.
Item 1798 lacks: Mischiati, Oscar, "Padre Martini e la sua biblioteca," in Collezionismo e storiografia musicale nel Settecento: Ia quadreria e la biblioteca di Padre Martini.
One of the major sources for Padre Martini's letters (Anne Schnoebelen, Padre Martini's Collection of Letters in the Civico Museo Bibliografico Musicale in Bologna [New York: Pendragon Press, 19791) receives neither a footnote in chapter 3 nor a place in the bibliography.