Pietro Gnocchi – composer

Influential musician was inspired by geography

Pietro Gnocchi studied
music in Venice

Baroque composer and writer Pietro Gnocchi, who is remembered for the unusual titles he gave to his music, was born on this day in 1689 in Alfianello in the province of Brescia in the region of Lombardy.

As well as writing a large quantity of sacred music and being choirmaster at Brescia Cathedral, Gnocchi, who has come to be regarded as a polymath because of his wide knowledge, wrote about history, geography, and archaeology. His works included a treatise on memorial tablets in the Brescia region, and a 25-volume history of ancient Greek colonies.

Gnocchi was the second of four sons born into a middle class family and he grew up to study music and to train as a priest. He then went on to study music in Venice and later travelled to Hungary, Vienna, and Munich.

After returning to Brescia, he was appointed as maestro di cappella at the cathedral now known as Brescia's Duomo Vecchio in 1723. Ten years later he applied to be the organist there, but was unsuccessful. He also worked at an orphanage, Orfanelle della Pietà, where it is thought he may have been a music instructor.

Although Gnocchi’s music was never published, it still exists in manuscript form and is regularly performed today. His choral music, which reveals the influence of his early training in Venice, included more than 60 masses, with surprising titles, such as Europe, Asia, Africa, and America. He also composed Requiems, sets of Vespers, various settings of the Magnificat and settings of the Miserere, as well as hymns and motets.

One of his settings for the Magnificat is entitled ‘Il Capa di Buona Speranza’, The Cape of Good Hope, reflecting his interest in geography.

Gnocchi also wrote some secular music, which included concertos and sonatas for stringed instruments, and some songs.

Most of his music manuscripts are now stored in the archives of Brescia Cathedral and the Church of Madonna delle Grazie in Brescia.

In 1762, Gnocchi successfully reapplied for his old position as maestro di cappella at Brescia Cathedral, as well as for the position of organist. He was to hold both these appointments until his death at the age of 86 in 1775 in Brescia, where according to his wishes, he was buried in the Church of San Giorgio. 

Brescia's Duomo Vecchio, also known as the 
Rotonda, where Gnocchi was maestro di cappella

His treatise on memorial tablets in and around Brescia, and his history of ancient Greek colonies, were bought by Prince Faustino Lechi of Brescia, who was a student of Gnocchi, and later became his friend and patron. Many of Gnocchi’s manuscripts are still preserved in the Bibliotheca Civica Queriniana di Brescia.

Gnocchi influenced Italian music through teaching other musicians in Brescia and passing on Venetian traditions to them. The pupils he mentored adopted his musical style and went on to occupy key ecclesiastical roles themselves, continuing to evoke the atmosphere of choral music, as it was performed in St Mark’s Basilica, throughout Lombardy.

Scholarly interest in Gnocchi’s music has grown in the 20th and early 21st centuries and studies have been written comparing Gnocchi’s sonatas and concertos with those of Vivaldi, noting the shared Venetian traits as well as the differences.

Ensembles specialising in Baroque music have played Gnocchi’s sonatas using period instruments and released recordings of his works, which have also enabled contemporary listeners to make comparison with the music of Vivaldi. A CD of sacred music written by Gnocchi for the churches of Brescia, performed by the Coro Claudio Monteverdi, is currently available. 

Brescia is a mix of Renaissance architecture
and ruins from its Roman past

Travel tip:

Brescia, the birthplace of Pietro Gnocchi, is a town of great artistic and architectural importance but, although it is the second city in Lombardy after Milan, and has Roman remains and well-preserved Renaissance buildings, it is not well-known to tourists.  Brescia became a Roman colony before the birth of Christ and you can still see remains from the forum, theatre, and a temple. The town was fought over by different rulers in the middle ages but came under the protection of Venice in the 15th century. There is a distinct Venetian influence in the architecture of the Piazza della Loggia, an elegant square in the centre of the town, which has a clock tower remarkably similar to the one in Saint Mark’s square in Venice. The Santa Giulia Museo della Città covers more than 3000 years of Brescia’s history, housed within the Benedictine Nunnery of San Salvatore and Santa Giulia in Via Musei. The nunnery was built over a Roman residential quarter, but some of the houses, with their original mosaics and frescoes, have now been excavated and can be seen while looking round the museum.

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Brescia's Cattedrale di Santa Maria Nuova,
known also as the Duomo Nuovo

Travel tip:

The Cathedral of Santa Maria Assunta in Brescia, known as the Duomo Nuovo (new cathedral) stands next to the Duomo Vecchio (old cathedral) in Piazza Paolo VI in the centre of the city. The unusually shaped Duomo Vecchio, also known as la Rotonda, is open to the public.  Designed by architect Giovanbattista Lantana, who took over the commission after it was originally given to Andrea Palladio, the Duomo Nuovo, which has a Baroque facade in Botticino marble, was built on the remains of the old basilica of San Pietro de Dom starting from 1604. Financial constraints caused the construction of the new cathedral repeatedly to be delayed. It was not completed until 1825, with the addition of Luigi Cagnola’s dome, at 80 metres (262ft) the third tallest in Italy.  The present dome was rebuilt after destruction during the Second World War. The interior contains a monument to the Brescian Pope Paul VI, found on the left transept. The circular Duomo Vecchio, on which construction began in 1100 and where Gnocchi was maestro di cappella, is regarded as a Romanesque triumph.  Brescia was named as a Capital of Culture, along with the nearby city of Bergamo, by the Italian Government as a symbol of the hope and rebirth following the devastating effects on both cities caused by the volume of death during the Covid 19 pandemic. 

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More reading:

How Brescia businessman Giovanni Treccani used his wealth to encourage learning and culture 

Alessandro Bonvicino, the Brescia painter acclaimed for outstanding altarpieces 

Success and sadness in the life of Antonio Vivaldi

Also on this day:

1935: The birth of soprano Mirella Freni

1950: The birth of fashion designer Franco Moschino

1964: Italy's appeal for help with Leaning Tower

1973: The birth of singer and actress Chiara Iezzi

1978: The birth of dancer Simone di Pasquale

(Brescia photographs by Wolfgang Moroder via Wiki Commons)

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