Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
Furlana. See Forlana. Furlanetto, Bonaventura [‘Musin’]
Yüklə 17,54 Mb.
|
- Bu səhifədəki naviqasiya:
- WORKS
- BIBLIOGRAPHY
Furlana.See Forlana. Furlanetto, Bonaventura [‘Musin’](b Venice, 27 May 1738; d Venice, 6 April 1817). Italian composer. Of poor parents, he spent his childhood in the parish of S Nicolò dei Mendicoli, a district of Venice known for its fishermen and artisans, with which he always identified and where he chose to be buried. Musically he was almost self-taught, although he had some instruction from his uncle, Nicolò Formenti, who was an amateur organist, and from Giacopo Bolla, a priest. He studied literature and philosophy with Jesuit teachers, but had difficulty qualifying for the priesthood until the patriarch of Venice interceded for him, having been impressed by his music performed at S Nicolò. Later he renounced the ministry, but continued to wear ecclesiastical dress. Of Furlanetto's earliest surviving music, a Laudate Dominum of 1762 (in F-Pc) shows competence in the conservative style and a componimento sacro of 1763, La sposa de' sacri cantici, in the theatrical. The latter, written for the oratory of S Filippo Neri, Venice, was well received and was revived there in 1767, 1773 and 1784. Even more successful was his oratorio Giubilo celeste al giungervi della sant'anima performed at SS Giovanni e Paolo on 16 May in 1765, 1766 and 1767, which according to Caffi pleased audiences with its opera buffa traits. He also provided music to commemorate the canonization of Girolamo Miani at S Maria della Salute on 20 July 1768 and later that year he wrote an oratorio for the hospital choir at S Maria della Visitazione, commonly called the Pietà, where on 21 September 1768 he was appointed maestro, a position he held for nearly 50 years. In August 1770 Burney heard Furlanetto direct at the Pietà and reported that ‘the composition and performance which I heard tonight did not exceed mediocrity’. On 14 August Burney was more favourably impressed by his music at the church of S Maria Celeste and returned the following day for the feast of the Assumption, when he was again disappointed: the resources of this composer are very few; he has little fire and less variety, but he sins more on the side of genius than learning, as his harmony is good, and modulations regular and warrantable; yet I must own, that his music is to me tiresome, and leaves behind it a languor and dissatisfaction. Moreover Burney reported that Galuppi was ‘rather hurt at the encouragement and protection which ecclesiastical dunces, among whom is F[urlanetto], meet with as composers here’. And yet Caffi later claimed that Galuppi had respected Furlanetto and even encouraged him to complete one of his masses. The far higher quality of Furlanetto's music composed in the later 1770s and 1780s indicates that his musical talent developed considerably. Exceptionally gifted singers, such as Bianca Sacchetti and Benvenuta, whose range reached high a''' and for whom Furlanetto wrote out elaborate cadenzas, joined a growing roster of skilled singers at the Pietà in the mid-1780s. The fact that the scores of his earlier oratorios do not survive except in later revisions suggests his own recognition of his vastly improving abilities. His orchestral resources at that time came to include not only strings and the usual wind instruments but double bassoon, slide trombone, serpent, ‘doppio corno’ and percussion instruments: timpani, drums, bells, jingle bells (sonagli) and rattles (sistri). The psaltery, guitar and theorbo were also used for special effects. Furlanetto’s unusual bass lines may well have been prompted by the fact that Domenico Dragonetti assisted Furlanetto at the Pieta until the early 1790s. In 1774 Furlanetto competed unsuccessfully for the post of vicemaestro at S Marco. When Ferdinando Bertoni was excused to make his second trip to London (1781–3), Furlanetto was named organista supplementare to replace him. On 18 December 1794 he was appointed vicemaestro provvisorio, and on 23 December 1797 secondo maestro effettivo. The date of his election as maestro di cappella is given as 1814 by the Gazzetta privilegiata di Venezia of 10 April 1817, yet he must have succeeded Bertoni as primo maestro shortly after the latter's retirement on 11 June 1808. By the early 1800s Furlanetto had become known throughout northern Italy as the most important composer of sacred music in Venice. In 1811 he was unanimously elected maestro di contrappunto by the 40 dilettanti who had established the Istituto Filarmonico in Venice. A counterpoint treatise from this year is mentioned by Caffi, although the only surviving theoretical work, Lezioni de contrappunto (I-Vc), is dated 1789. Among his many composition students were Anselmo Marsand, Giovanni Pacini, the patrician Zambelli, the Abate G.B. Botti and his closest friend, Antonio Rota. Rota, a priest at S Vitale, sponsored concerts in his home and church, which Furlanetto conducted, and put in order Furlanetto's autograph scores, now in the Venice Conservatory and Marciana libraries, after his death. The liturgical works composed for S Marco would be easily distinguishable from those written for the Pietà were it not that a bass part occurs in many of the oratorio choruses. Some visitors mentioned the presence of a bass voice at the Pietà, and yet no male singer is ever named in any of the printed librettos. WORKSmany autographs, notably in I-Vc oratoriosAll for solo vv, chorus, orch; performed at Venice, Pietà, unless otherwise stated
cantatasall performed Venice, Pietà
solo motetsunless otherwise stated, for soprano or alto with strings, in I-Vc
other sacred
secular
theoretical works
BIBLIOGRAPHYBurneyFI CaffiS EitnerQ FétisB GerberL SchmidlD SchmidlDS F. Caffi: Della vita e del comporre di Bonaventura Furlanetto (Venice, 1820) B. Gamba: Galleria dei letterati ed artisti illustri delle provincie Veneziane nel secolo XVIII (Venice, 1824) G. Dandolo: La caduta della repubblica di Venezia ed i suoi ultimi cinquant'anni (Venice, 1856) G. Masutto: I maestri di musica italiani del secolo XIX (Venice, rev. 3/1882) M.A. Zorzi: ‘Saggio di bibliografia sugli oratorii sacri eseguiti a Venezia’, Accademie e biblioteche d'Italia, iv (1930–31), 226–46, 394–403, 529–43; v (1931–2), 79–96, 493–508; vi (1932–3), 256–69; vii (1933–4), 316–41 S. dalla Libera: ‘Cronologia musicale della Basilica di San Marco in Venezia’, Musica sacra [Milan], 2nd ser., vi (1961) D. and E. Arnold: The Oratorio in Venice (London, 1986) M. Marx-Weber: ‘Neapolitanische und venezianische Misererer – Vertonungen des 18. und frühen 19. Jahrhunderts’, AMw, xliii (1986), 137–63 G. Bianchini and C. Manfredi: Il fondo Pascolato del Conservatorio Benedetto Marcello: catalogo dei manoscritti (Florence, 1990) SVEN HANSELL Yüklə 17,54 Mb. Dostları ilə paylaş:
|