Antonio Buzzolla - composer, choirmaster and conductor

Output included operas, religious music and Venetian dialect songs

An illustration of Antonio Buzzolla, thought
to show him at the age of 25 in 1840

Antonio Buzzolla, a composer who was at various times a musician, conductor and choirmaster, was born on this day in 1815 in Adria, a town in the southern part of the Veneto region, situated between the mouths of the Po and Adige rivers.

Buzzolla, who was once a student of the opera composer Gaetano Donizetti, composed five operas of his own, as well as producing a substantial catalogue of religious music while serving as maestro di cappella at St Mark’s Basilica in Venice.

Yet during his life he was best known for composing ariette and canzonette - brief songs of a melodic, playful or sometimes sentimental nature - written in Venetian dialect. These songs became popular in the city, both for the light-hearted entertainment they provided and for the contribution they made to Venice’s musical identity.

It was a sign of the respect in which Buzzolla was held among his peers that he was invited by Giuseppe Verdi to contribute to a requiem mass he was organising for his fellow opera giant Gioachino Rossini following the latter’s death in 1869.

Buzzolla was born into a musical family. His father, Angelo Buzzolla, was maestro di cappella - choirmaster - at what was then Adria's cathedral. Angelo, who was also an accomplished violinist, provided his son with a well-rounded musical education that saw him become proficient on a range of instruments, including violin, flute, organ, piano and piccolo, by the age of 16. 

At this point, he left Adria to live in Venice, a city rich in opportunities to further his career. He had not been studying there long when he was invited to play in the orchestra at the Gran Teatro La Fenice, the city’s principal opera house, at first as a flautist before being promoted to second violin.

At the same time, he began to try his hand at composition, leading him to write his first opera, Il Ferramondo, which premiered at the Teatro Gallo, formerly the Teatro San Benedetto, in Venice in December, 1836, and was also performed in Trieste and Mantua.

The reception for Il Ferramondo was positive enough to persuade Buzzolla to go to Naples to study composition at the Conservatory of San Pietro a Maiella. His teachers included Donizetti and, later, Saverio Mercadante. His output there included a cantata for the Neapolitan court and vocal pieces performed at the Teatro San Carlo. 

Teatro La Fenice in Venice, where 
Buzzolla was an orchestra member

On returning to Venice, Teatro La Fenice premiered both of Buzzolla’s second and third operas, Mastini I della Scala in 1841 and Gli avventurieri the following year, which also saw his first works of sacred music performed. 

With his reputation now extending beyond Italy, Buzzolla took up a position as director of Italian Opera at the Berlin court of Frederick William IV of Prussia, to whose children he became tutor. From Berlin he toured Russia, Poland and France before being appointed director of the Théâtre de la comédie italienne in Paris, in 1846.

He returned to Venice again in 1848, directing two more operas, Amleto and Elisabetta di Valois, at Teatro la Fenice. He also conducted his own Requiem for four voices and large orchestra at the Basilica di San Marco.

In 1848, Venice briefly became an independent state following the uprising against the occupying army of Austria, and Buzzolla demonstrated his commitment to the cause by co-directing a patriotic concert at La Fenice in November of that year, featuring excerpts from Verdi's Macbeth and Attila alongside works by Rossini and Donizetti. 

Buzzolla’s operas were respected by his fellow composers and well received by audiences, yet his output was small. It was dwarfed, in fact, by his catalogue of short songs, which were mostly performed in Venice’s salons or at domestic gatherings in middle-class homes.

Written in the tradition of bel canto opera, which emphasises the beauty of the voice, these lyrical pieces had light-hearted themes based on everyday life in Venice, highlighting romance and nature in particular.

Buzzolla’s Canzonette Veneziane, a collection of 12 light-hearted songs in Venetian dialect, was published by Ricordi in 1852.

After the successful staging of Elisabetta di Valois in 1850, Buzzolla announced it would be his last opera. Where other composers of the mid-19th century, such as Giovanni Pacini and Errico Petrella, relentlessly exploited the popularity of opera by composing literally dozens of them, Buzzolla was less commercially driven and decided to devote himself to sacred music, the culmination of which was his appointment in 1855 as maestro of the Cappella Marciana, the choral and instrumental ensemble that provides musical service at Basilica di San Marco.

He held the prestigious position until his death in 1871, after which his body was interred in a tomb on the Isola di San Michele, the island in the Venetian Lagoon that houses the city’s main cemetery.

Adria in the Veneto, once a thriving seaport on
the Adriatic coast, is now several miles inland

Travel tip:

Adria, where Antonio Buzzolla was born and grew up, is a town in the Veneto about 23km (14 miles) east of Rovigo and just over 60km (36 miles) south of Venice. It is situated between the lower courses of the Adige and Po rivers. Today it lies inland, but in antiquity it was a major port on the Adriatic Sea, so influential that the sea itself took its name from the town. It thrived in particular during the Etruscan and Greek civilisations but fell into decline during the Roman era as the Po and Adige progressively silted up, pushing the coastline further east and robbing Adria of its direct maritime access. Over time it was absorbed into the territories of Ravenna and Venice before coming under French and Austrian rule. After incorporation in the new Kingdom of Italy in 1867, the late 19th and early 20th centuries brought land reclamation, new road networks and agricultural expansion. The Adria of today, with a population of around 19,500, is a relatively modern town with an economy based on agriculture, commerce, and light manufacturing. As a town boasting one of the longest continuous settlements in the whole of Italy, going back perhaps to the 12th century BC, it is home to the huge collection of relics preserved at the Museo Archeologico Nazionale di Adria. The Conservatorio Statale di Musica Antonio Buzzolla was established in Adria in 1975, and named in his honour. 

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The cemetery island of San Michele, with the
neighbouring island of Burano in the distance

Travel Tip:

The Isola di San Michele, where Buzzolla was buried, has been the home of Venice’s principal cemetery since the early 19th century. Situated between Venice and the island of Murano, it had previously been home to a Camaldolese monastery, built in the 13th century, and the Chiesa di San Michele in Isola, which was designed by the architect Mauro Codussi and built in 1469 as the first Renaissance church in Venice. The island was also used as a prison at one time. In 1807, when Venice was occupied by the French under Napoleon, the neighbouring island of San Cristoforo was designated as the city’s cemetery, only for it to become clear after only a few years that it was not big enough. In 1835, work began to fill in the narrow canal between the two islands to create one much larger island. Annibale Forcellini, an architect and engineer, was given the task of designing the cemetery complex, which retains the Chiesa di San Michele near the entrance and includes a domed chapel built in memory of the ancient Chiesa di San Cristoforo, which had been demolished during the construction of the original cemetery. As well as housing the remains of ordinary Venetian citizens, the cemetery has a sufficient number of illustrious occupants to have become a tourist attraction. In addition to Buzzolla, the remains of the poet Ezra Pound, the entrepreneur and Venice Film Festival founder Giuseppe Volpi, the psychiatrist Franco Basaglia, the writers Carlo and Gasparo Gozzi, the football manager Helenio Herrera, the avant-garde composer Luigi Nono, and others, are buried there.

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More reading:

How the overlooked work of Giovanni Pacini has enjoyed a revival

Nabucco - the Verdi opera that became a symbol of the Risorgimento

The Venetian lawyer who led fight to drive out the Austrians

Also on this day:

1603: The birth of Sicilian painter and architect Pietro Novelli

1886: The birth of football manager Vittorio Pozzo

1939: The election of wartime pontiff Pope Pius XII

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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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Bernardo Pisano – musician and priest

First composer to have collection of his music printed

A page from an early printed collection
of music by Bernardo Pisano

Bernardo Pisano, who is believed to have been the first composer of the Italian madrigal, was born on this day in 1490 in Florence.

Pisano - sometimes known as Pagoli - was so important in musical circles during his lifetime that he is also thought to have been the first composer anywhere in the world to have a printed collection of secular music devoted entirely to himself.

Although he was born in Florence, it is supposed that, because he used the name Pisano, he must have also spent some time living in Pisa. 

As a young man, he sang and studied music at the Church of the Santissima Annunziata in Florence. In 1512, he became maestro di cappella there in addition to supervising the choristers and singing in the chapels himself. 

As a favourite of the Medici family, he was appointed to sing in the papal chapel in Rome in 1514 after Cardinal Giovanni de’ Medici became Pope Leo X. While there, he also taught Francesco Corteccia, an organist and composer for Cosimo I de’ Medici.

Pisano stayed in Rome for the rest of his life, singing in the papal chapel choir, and he acquired ecclesiastical benefices from the Medici at the cathedrals of Seville and Lerida in Spain.

However, he made the mistake of returning to Florence in 1529 during the three-year period of republican government of the city. He was seized and imprisoned because he was known to have close connections to the Medici family. While he was being kept prisoner, he was accused of being a papal spy and tortured.

After the siege of Florence in 1529, the city was recaptured by papal troops and the Medici were returned to power there. Pisano was released and was able to go back to live in Rome.

Raphael's portrait of Pope Leo X, who
was Pisano's friend and patron

Pisano had written sacred music during his time as maestro di cappella at the Church of the Annunziata. But he was later to be more influential as a composer of secular music and he was believed to be history's first madrigalist.

Madrigals were sung during the 15th and 16th centuries by groups of between two and eight voices. In 1520, a Venetian printer published ‘Musica di Messer Bernardo Pisano sopra del canzone del Petrarca’. While the pieces in the collection were not actually called madrigals, they contained features that have been recognised in retrospect as being distinctive of the madrigal genre. 

The collection was made up of verses by the poet Petrarch set to music by Pisano. He was influenced by the literary theories of the poet and scholar Pietro Bembo, who was a secretary to Pope Leo X and later became a Cardinal appointed by Pope Paul III.

This publication was also the first known collection of secular music by a single composer to be printed. 

Later composers who became masters of the madrigal genre are known to have been aware of this work by Pisano and to have copied some of his stylistic traits from it.

In 1546, Pope Paul III appointed Pisano as maestro di cappella of his private chapel. Among the singers in his group was a Franco/Flemish musician, Jacques Arcadelt, who was later to become famous as a madrigal composer. 

Bernardo Pisano died in 1548 in Rome. He is buried in the Church of Santa Maria sopra Minerva next to the two Medici popes who had been his friends and patrons.

 Giovanni Battista Caccini's Renaissance-style
facade of the Basilica della Santissima Annunziata

Travel tip:

The Basilica della Santissima Annunziata, where Bernardo Pisano was maestro di cappella, is a minor Catholic basilica near the centre of Florence. The church was founded in 1250 by the seven original members of the Servite order and is located in Piazza Santissima Annunziata. In 1252 a friar was commissioned to produce a painting of the Annunciation for the church. He was said to have despaired about being able to do justice to the face of the Virgin and eventually fell asleep while working on it, but when he woke again the painting had been miraculously completed. He attributed this to the work of an angel. The painting has since attracted many pilgrims to visit it, including Pope Alexander VI, who gave a silver effigy to the church. It has since become the tradition for brides in Florence to visit the church to leave their bouquets there.

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The Gothic interior of the Basilica di Santa Maria
sopra Minerva in Rome, where Pisano is buried

Travel tip:

The Basilica di Santa Maria sopra Minerva, where Bernardo Pisano is buried, is in Piazza della Minerva in Rome. The name of the church is derived from the fact that the original structure was built directly over the ruins of a temple dedicated to the Egyptian goddess Isis, that had been wrongly ascribed to the Greek/Roman goddess Minerva. It is located to the east of the Pantheon in the Pigna rione of Rome in the ancient district known as Campus Martius. Dominican friars began building the present Gothic church structure in 1280, modelling it on Santa Maria Novella in Florence. In 1431 the church and adjacent convent was the site of a papal conclave, when 14 Cardinals sitting in the sacristy elected Pope Eugenius IV. After his death, a second conclave was held there in 1447 when 18 Cardinals elected Pope Nicholas V. The church houses a marble sculpture by Michelangelo, Cristo della Minerva, representing the figure of Christ carrying the cross, which is located to the left of the main altar.

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More reading:

How the madrigal genre influenced the composer Monteverdi 

The madrigal writer also known for a brutal murder

The Medici musician who invented the madrigal comedy

Also on this day:

1492: The death of Renaissance painter Piero della Francesca

1812: The death of Ascanio Sobrero, the chemist who discovered nitroglycerine

1935: The birth of tenor Luciano Pavarotti

2006: The death of film director Gillo Pontecorvo

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Giovanni Capurro - poet and songwriter

Neapolitan who wrote the words to ‘O sole mio

Giovanni Capurro wrote many songs
but made little money from them

Giovanni Capurro, a poet and songwriter best known for writing the lyric of the classic Neapolitan song ‘O sole mio, was born in Naples on this day in 1859. 

The son of a professor of languages, Capurro was a cultured man who would in time be considered one of the 19th century’s finest Italian poets, yet was never well rewarded for his art. He spent much of his working life as a journalist and died poor.

Capurro grew up in the Montecalvario district of Naples, an area of the city centre that climbs up the hill of San Martino to the west of Via Toledo. Although his first love was writing, and poetry in particular, he was also a talented musician, graduating from the Naples Conservatory after studying the flute. He was also blessed with a good singing voice.

He wrote poetry in both Italian and Neapolitan dialect, both in the form of song lyrics and volumes of poetry. The celebrated actor, Raffaele Viviani, made his first appearance on the stage of an established theatre - the Teatro Perella in Basso Porto - at the age of four, in a sketch written by Capurro entitled Scugnizzo - The Street Urchin.

Capurro published more than 30 lyrics that were put to music, none more famous than ‘O sole mio, which he wrote in 1898, asking Eduardo di Capua, a Neapolitan songwriter and composer, to set it to music. Di Capua, for many credited with writing the melody alone, was later declared only to be the co-composer, after a court in Turin was satisfied that the melody had been an adaptation of one di Capua had bought from another musician, Alfredo Mazzucchi.

The song was presented at the famous Piedigrotta Festival, the music competition in the Chiaia district of Naples that was the launching pad for many famous Neapolitan songs.

The cover of the first edition of the 
sheet music of Capurro's 'O sole mio

It had already been well received when played around Naples yet the judges for the competition decided it was worth only second place behind a song called Napule Bello. However, there was such a public outcry that the decision was reversed.

Capurro’s other songs included Carduccianelle, N'atu munasterio, Napulitanata, Ammore che gira, Totonno 'e Quagliarelle, 'O scugnizzo, 'O guaglione d' 'o speziale, Lily Kangy, Chitarra mia and 'A chiantosa.

Yet he received little money for any of them. He sold the rights to ‘O sole mio, to a publishing house for a one-time fee. 

Had he any notion of how famous it would become - it has featured in the repertoire of such illustrious tenors as Luciano Pavarotti, Enrico Caruso, Andrea Bocelli and Beniamino Gigli - he would surely have negotiated a royalties deal.

As it was, he did not write with the aim of making money, merely to indulge his own fascination with the art. Early in his writing career, his poem Carduccianelle adapted to Neapolitan the evocations of Classical world employed by Nobel Prize-winning poet Giosuè Carducci a few years earlier in his Odi Barbare. Neapolitan readers regarded it more as a curiosity than as a book of true poetry.

Capurri delighted in spending his evenings in salons, where he would sing, play the piano and amuse audiences with his imitations of famous performers, but made his living as a journalist.

Beginning with the socialist periodical La Montagna, he then wrote for the Naples political newspaper Don Marzio, before joining the staff of the daily newspaper, Roma, in 1896, working initially as a reporter before becoming a theatre critic.

Married with three children, Capurro died in Naples in 1920 at the age of 61.

The upper parts of Montecalvario offer some
stunning views over the city of Naples

Travel tip:

The Montecalvario neighbourhood is the area of central Naples that includes the northern part of the Quartieri Spagnoli - the Spanish Quarter - the network of teeming streets that was built in the 16th century to house Spanish soldiers after the armies of Ferdinand II of Aragon had defeated the French to take control of the city. The main part of Montecalvario is to the west of Via Toledo, one of the city’s main shopping thoroughfares, which follows a long, straight course from Piazza Dante, through Piazza Carità before ending at Piazza Trieste e Trento, near Piazza del Plebiscito. The bustling Mercato Pignasecca offers a chance to experience shopping with the locals, while a climb up to Corso Vittorio Emanuele, the street which borders the upper part of the neighbourhood, is worth it to find a vantage point for spectacular views over the city.

The church of Santa Maria di Piedigrotta, which
is the origin of the annual Festa della Madonna

Travel tip:

Piedigrotta is an area that forms part of ​​the Chiaia district of Naples, close to the port at Mergellina. It takes its name from its location at the foot of a tunnel - "ai pedi grotta" - built into the  Posillipo hill in Roman times. It is best known for its annual Festa della Madonna di Piedigrotta, an occasion of fireworks and parades that has been staged every September since the 1800s. For many years, the celebrations included an annual song competition, the Neapolitan Song Festival, which showcased the city’s tradition of street musicians entertaining audiences with folk songs in Neapolitan dialect. It did much to popularise Neapolitan Songs as a genre, challenging the city’s most talented lyricists to excel. The competition launched in 1890 and became enormously successful, but was suspended in the 1960s because of repeated public order incidents as crowds got out of control. There have been a number of attempts in recent years to revive the contest but it has yet to be reinstated as an annual event.

Also on this day:

Catania celebrates the Feast of Saint Agatha

1578: The death of painter Giovanni Battista Moroni

1887: Verdi’s Otello premieres in Milan

1932: The birth of football coach Cesare Maldini

1960: Movie La dolce vita shown in public for first time

1964: The birth of footballer and coach Carolina Morace

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Giovanni Legrenzi – composer

Maestro’s Baroque music is still played today by enthusiasts

Giovanni Legrenzi came from a musical
family in Clusone, near Bergamo

Organist and composer Giovanni Legrenzi, who was influential in the development of late Baroque music in Italy, was baptised on this day in 1626 at Clusone, near Bergamo, which was at the time part of the Republic of Venice.

Legrenzi was to become one of the most prominent composers of opera, vocal, and instrumental music working in Venice in the late 17th century.

His father, Giovanni Maria Legrenzi, had been a professional violinist and composer. One of his brothers, Marco, was also a talented musician. The brothers are believed to have been taught music at home and they became used to performing in their local church.

Giovanni Legrenzi became organist at the Basilica of Santa Maria Maggiore in Bergamo and was ordained as a priest in 1651. He became resident chaplain at the church, but continued to be involved in music and was given the title of first organist in 1653. The music he composed for Mass and Vespers was published in 1654.

Legrenzi is believed to have been involved in a gambling scandal and his appointment as organist was not reconfirmed the following year, but the offence was not considered to be serious and he had been reinstated by February 1655.

However, towards the end of that year, Legrenzi had resigned from his position in Bergamo and in 1656 he became maestro di cappella at the Academy of the Holy Spirit in Ferrara.

The Ospedaletto, where Legrenzi
worked during his time in Venice

The Academy was founded by a fraternity of laymen who presented services with music for members of aristocratic circles in Ferrara.

Legrenzi’s position at the Academy gave him time to compose his own music and by the early 1660s he had published eight volumes of his work and had broken into the world of opera.

He ended his association with the Academy and supported himself with the proceeds of his published music and with his income from the land he owned in his native Clusone.

By 1670, he had settled in Venice, where he took up a position as a music teacher at Santa Maria dei Derelitti, more commonly known as the Ospedaletto, where he received commissions to compose oratorios.

He was a finalist for the appointment of maestro di cappella the Basilica of San Marco in 1676, losing by one vote, but later in the year he became maestro di coro at the Ospedale dei Mendicanti.

He became vice maestro at San Marco in 1682 and, by this time, he was one of the leading opera composers of his day. Among his students were Francesco Gasparini and Tomaso Albinoni.

Legrenzi finally became maestro di cappella at San Marco in 1685 but by this time his health was beginning to fail. He died in 1690, probably due to kidney stones, which caused him a lot of pain in his last few months.

His great nephew inherited his music and his books and produced four publications of Legrenzi’s work posthumously. Some of the composer’s unpublished work still survives in manuscript form.

Legrenzi composed 19 operas between 1662 and 1685, which were very popular in their day, but only a few have survived. Early music groups still perform his instrumental music and some of his surviving operas are performed at festivals.

The frescoed exterior of the Torre dell'orologio
is one of the attractions of Clusone

Travel tip:

Clusone, a town in Val Seriana, just outside Bergamo, where Legrenzi was born, has been chosen as one of I borghi piu belli d’Italia - the most beautiful villages in Italy. It was founded around 1300 BC.  Situated about 35km (22 miles) northeast of Bergamo, it nestles on a plain against the backdrop of the Alpi Orobie - the Orobic Alps - which is an area that attracts visitors all year round. Apart from its proximity to ski resorts, Clusone is famous for the frescoes that decorate some of its most significant buildings, such as the Municipio (Town Hall), the Torre dell'orologio (Clock Tower) and the Oratorio dei Disciplini (Oratory of the Disciplines), which has a macabre offering entitled The Triumph of Death. Clusone also hosts a prestigious annual jazz festival.

The Basilica of Santa Maria
Maggiore in Bergamo

Travel tip:

The Basilica di Santa Maria Maggiore in Piazza Duomo in Bergamo, where Legrenzi served as organist, dates back to the 12th century. It is one of the most prestigious buildings in Lombardy and has a richly decorated cupola from the 16th century and some fine Flemish and Florentine tapestries and works of art. At the back of the church is an elaborate white marble monument designed by Vincenzo Vela, marking the tomb of opera composer Gaetano Donizetti, who was born in Bergamo and returned to die in his native city. Nearby there is a monument to his teacher Simon Mayr, who was once maestro di cappella in the basilica. There is also an elaborately carved wooden confessional designed by Andrea Fantoni in 1704 and an altar rail with wood carvings following designs by the Renaissance artist Lorenzo Lotto.

Also on this day:

1612: The death of composer Giovanni Gabrieli

1861: The death of anarchist Luigi Galleani

1901: The death of politician Francesco Crispi

1943: The death of mountain photographer Vittorio Sella

1990: The birth of footballer Mario Balotelli

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Mauro Giuliani – virtuoso guitarist

Maestro who perfected his technique so that his instrument seemed to sing

Mauri Giuliani was a 19th century
pioneer of guitar music

Leading 19th century guitarist and composer Mauro Giuliani was born on this day in 1781 in Bisceglie, a small town on the Adriatic coast near Bari in Puglia.

Growing up to become an accomplished cellist, singer and composer, Giuliani toured Europe playing in concerts and he became a musical celebrity while he was living in Vienna. He was  invited to play in chamber concerts in the botanical gardens of Schönbrunn Palace - the main summer residence of the Habsburg rulers - with other top musicians.

Giuliani moved to live in Barletta, also on the Adriatic coast when he was very young, where he learnt to play the cello, an instrument he never completely abandoned. But he began to devote himself to learning the six-string guitar, becoming a skilled performer on it very quickly.

Although he married Maria Guiseppe del Monaco and they had a son while he was living in Barletta, Giuliani moved abroad and settled in Vienna without his family, where he learnt the classical instrumental style and began to publish his own compositions. He went on to play in concerts all over Europe, defining a new role for the guitar in music.

He got to know Rossini and Beethoven and in 1814 he was appointed guitar virtuoso di camera to Empress Marie Louise, Napoleon’s second wife. In 1815, Giuliani appeared alongside a famous violinist and cellist in a series of concerts in the botanical gardens of Schönbrunn Palace, which were named the Dukaten Concerte, reflecting the price of the tickets, which was one ducat. He was also the official concert artist for the celebrations of the congress of Vienna in the same year.

The Schönbrunn Palace, summer residence of the
Habsburgs in Vienna, where Giuliani performed

Giuliani played the cello in the orchestra that gave the first performance of Beethoven’s Seventh Symphony. He had many of his compositions published in Vienna, which all showed a marked Italian influence, in particular, that of the music of Rossini. Giuliani also developed a teaching career while he was in the city. 

During his time in Vienna, he had a relationship with Anna Wiesenberger, with whom he had four daughters. After he left Vienna in 1819, he went on a concert tour of Bohemia and Bavaria before returning to Italy. He spent time in Venice and Trieste but finally settled in Rome.

In 1822, he brought one of his daughters, Emilia, over from Vienna to live with him, and she was educated in a nunnery in Rome. 

Giuliani travelled to Naples regularly to be with his father, who by then was seriously ill. In Naples there was a good reception for his artistry on the guitar and he was able to publish some of his compositions with Neapolitan publishers.

Giuliani's solo pieces are
still widely performed today

In 1826, he performed in Portici in Naples before Francesco I and the Bourbon court. He frequently appeared on stage playing duets with his daughter, Emilia, who had also become a skilled performer on the guitar.  

Guliani died in Naples in 1829. According to contemporary accounts, people who had heard Giuliani play the guitar were said to have found his expression and tone astonishing, and felt that he made the instrument seem to sing. Some said the sound he produced called to mind the lute players that had gone before.

Giuliani produced 150 compositions for the guitar and he also composed music for the guitar with an orchestra, and for guitar duets with a violin, or flute.

His concertos and solo pieces are still widely performed by professional guitarists today. Although, he did not publish a Method, the studies and exercises he left behind are still used in the training for a guitarist.

The bust of Giuliani
in central Bisceglie

Travel tip: 

Bisceglie, where Giuliani was born, is in the province of Barletta-Andria-Trani in Puglia, in southern Italy. The city looks out over the Adriatic and lies between Trani and Molfetta. A centre for agriculture and textiles, it dates back to prehistoric times and there are Bronze Age remains to be seen.  Its name is thought likely to be a derivation from the Latin word vigilae, meaning watchtowers. It was awarded Blue Flag beach certification in 2001 for high environmental and quality standards. An historic old city and a pleasant harbour area have made it a destination for tourists. There is a bronze bust of Mauro Giuliani, in Piazza Vittorio Emanuele II. There is also a small museum celebrating his life and achievements in Via Cardinale Dell'Olio.

The Colossus
of Barletta

Travel tip:

Barletta, where Giuliani grew up and learnt to play the cello, is a city with around 95,000 inhabitants on the Adriatic coast to the north of Trani. The area includes part of the battlefield of Cannae, an important archaeological site famous for the battle in 216 BC between the Romans and the Carthaginians, won by Hannibal. Barletta is home to the Colossus of Barletta, a bronze statue representing a Roman Emperor - thought to be Theodosius II - which stands at about 4m (13 feet) tall and is the largest surviving statue from the late Roman Empire.  According to folklore, the statue - known as Eraclio - once saved the city from a Saracen attack by convincing the Saracens that Barletta’s inhabitants were giants.  Barletta was recognised as Città d’Arte of Puglia in 2005 because of its beautiful architecture. 

Also on this day:

1835: The birth of Nobel Prize-winning poet Giosuè Carducci

1915: The birth of tenor Mario Del Monaco

1922: The birth of actor and director Adolfo Celi

1939: The birth of singer Peppino di Capri

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Francesco Morlacchi - composer

Umbrian popularised Italian opera in Dresden

Francesco Morlacchi's work in Dresden
furthered the popularity of Italian opera

The composer Francesco Morlacchi, who spent much of his career working for the Saxon court in Dresden and helped popularise Italian opera not only in Germany but further afield, was born on this day in 1784 in Perugia.

Morlacchi composed more than 20 operas, the most successful of which is Tebaldo e Isolina, a romantic melodrama around a love affair between members of rival families, which had its premiere in Venice in 1822.

A contemporary of Gioachino Rossini, Morlacchi had the opportunity in the same year to succeed Rossini as the maestro di cappella of the royal theatres in Naples, including the Teatro di San Carlo opera house. However, he chose to remain in Dresden.

Morlacchi was born into a family of musicians. His father, Alessandro, was a violinist at Perugia’s Cattedrale di San Lorenzo, where his maternal great-uncle, Giovanni Mazzetti, was the organist.

He began composing at a young age, studying first under Mazzetti and later with the cathedral’s maestro di cappella, the Neapolitan Luigi Caruso. He furthered his education in Loreto in Marche with Niccolò Zingarelli, another Neapolitan. Eventually, he secured a place at the school of Stanislao Mattei in Bologna, where he met Rossini.

Morlacchi’s first significant success was the drama Corradino, which was staged at the Teatro Imperiale in Parma during the 1808 carnival. 

This success led to commissions from opera houses in Rome and Milan and it was another drama, Le Danaidi, which was performed at the Teatro Argentina in Rome in 1810 that attracted the attention of a music periodical in Leipzig.

A photograph of the original score of Tebaldo
e Isolina, published by Ricordi in Milan in 1822

The composer was encouraged by a singer of his acquaintance, the contralto Marietta Marcolini, to go to Dresden, where he was appointed deputy Kapellmeister in 1810. Following the success of his Raoul de Crequi at the court theatre in 1811, he was appointed music director for life.

His new duties slowed down his opera production to a degree. He was also expected to prepare much sacred music and occasional cantatas for ceremonial occasions. He was also faced with trying simultaneously to satisfy the conflicting desires of the court and those of the paying public. He was often given a hard time by the critics, who took the opportunity to attack the court’s favouring of the traditional over the innovations being introduced in German opera. 

His work in Dresden between 1816 and 1817 exemplified this in a series of operas written in the 18th century comic-style, including a Barber of Seville (1816) based on the old text set to music by Giovanni Paisiello in 1782. This contrasted sharply with Rossini’s Barber of Seville, which also debuted in 1816, in which the music was set to a more casual and progressive text by Cesare Sterbini.

Morlacchi’s personal circumstances changed in 1816 when his wife, Anna Fabrizi, whom he had married in Perugia in 1805 and who moved with him to Dresden in 1810, decided she was tired of life in Germany and returned home.  Morlacchi established a new relationship with a woman called Augusta Bauer, with whom he is thought to have had four children in addition to the son he fathered with Anna. 

Morlacchi worked on several operas with the
acclaimed 19th century librettist Felice Romani

Alongside his work for the court in Dresden, Morlacchi toured with his operatic works, including Boadicea at Teatro di San Carlo in Naples (1818), Gianni di Parigi and Donna Aurora at Teatro alla Scala in Milan (1818 and 1821).

For Teatro La Fenice in Venice, he wrote Tebaldo and Isolina (1822), Ilda d'Avenel (1824) and I Saraceni in Sicilia(1828), as well as Colombo for the inaugural season of the Teatro Carlo Felice in Genoa (1828). 

The libretti for I Saraceni in Sicilia and Colombo were among several written for him by Felice Romani, a poet and scholar of literature and mythology who wrote for Gaetano Donizetti and Vincenzo Bellini and was considered to be a librettist comparable with Pietro Metastasio and Arrigo Boito.

The opera that enjoyed the most lasting success was Tebaldo e Isolina, appreciated by the public for the libretto by Gaetano Rossi and the masterful interpretation by the singers, in particular the tenor Gaetano Crivelli and the castrato Giovanni Battista Velluti. Over the next 10 years, the opera was performed in around 40 cities in Italy and abroad.

Morlacchi’s health declined in his later years but he continued to travel and was in Naples in 1839. By 1841 he was seriously ill but attempted to journey to Italy again, apparently wishing to see his wife again in Perugia. However, the journey proved too taxing and he died while staying in a hotel in Innsbruck in October, at the age of 57. 

He was interred in Innsbruck but in January 1842, a funeral was held in Perugia cathedral that included an address by Antonio Mezzanotte, the Perugian friend to whom the composer left all his music. 

In 1874, Perugia’s Verzaro theatre was renamed after him. In 1951 the remains were moved from Innsbruck to the cathedral of Perugia.

The Fontana Maggiore sits in front of Perugia's
cathedral in Piazza IV Novembre

Travel tip:

Perugia, where Francesco Morlacchi was born and where his remains are buried in the Cattedrale di San Lorenzo, is an ancient city that sits on a high hilltop midway between Rome and Florence. In Etruscan times it was one of the most powerful cities of the period.  The capital of the Umbria region, It is also a university town with a long history, the University of Perugia having been founded in 1308.  The presence of the University for Foreigners and a number of smaller colleges gives Perugia a student population of more than 40,000.  The centre of the city, Piazza IV Novembre, which is where the cathedral is situated, has a mediaeval fountain, the Fontana Maggiore, which was sculpted by Nicolo and Giovanni Pisano.  The city’s imposing Basilica di San Domenico, built in the early 14th century also to designs by Giovanni Pisano, is the largest church in Umbria, with a distinctive 60m (197ft) bell tower and a 17th-century interior, designed by Carlo Maderno, lit by enormous stained-glass windows. The basilica contains the tomb of Pope Benedict XI, who died from poisoning in 1304.  The Teatro Morlacchi is about 300m from the Cattedrale di San Lorenzo in Piazza Francesco Morlacchi.

With a history of catastrophic fires, Venice's
Teatro La Fenice is aptly named

Travel tip:

Teatro La Fenice in Venice, for which Morlacchi wrote his most successful opera, Tebaldo and Isolina, has had a fascinating history. The theatre, in Campo San Fantin, which is not far from Piazza San Marco, was named La Fenice, the Phoenix, when it was originally built in the 1790s, to reflect the fact it was helping an opera company rise from the ashes after its previous theatre had burnt down. But in 1836, La Fenice itself was destroyed by fire, although it was quickly rebuilt. Then in 1996, when the theatre burnt down again, arson was suspected, leading to a long criminal investigation. La Fenice had to be rebuilt once more at a cost of more than 90 million euros and was not able to reopen for performances until 2003.

Also on this day:

1497: The murder of Giovanni Borgia

1730: The birth of composer Antonio Sacchini

1800: The Battle of Marengo

1837: The death of poet and philosopher Giacomo Leopardi

1968: The death of Nobel Prize-winning poet Salvatore Quasimodo

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Giuseppe Tartini – composer and violinist

Baroque musician also contributed to science

As well as composing for violin, Tartini
established a new technique for playing

Giuseppe Tartini, who was influential in the development of music by establishing the modern style of violin bowing, was born on this day in 1692 in Pirano in the Republic of Venice.

A violinist, baroque composer, and theorist, Tartini also formulated the principles of musical ornamentation and harmony.

His birthplace of Pirano was part of Venetian territory in the 17th century but is now named Piran and is part of Slovenia.

Tartini spent most of his career in Padua, where he went to study divinity and law and became an expert at fencing. Before he reached the age of 20, he had secretly married Elisabetta Premazore, a protégée of the Archbishop of Padua, but this led to him being arrested on charges of  abduction. He disguised himself as a monk and fled the city, taking refuge in a monastery in Assisi.

Later, Tartini was allowed to return to his wife by the archbishop after news that his violin playing had attracted favourable attention had reached him.

Tartini became principal violinist and maestro di cappella at the Basilica of Sant’Antonio in 1721 and he was invited to Prague in 1723 to direct the orchestra of the Chancellor of Bohemia.

After his return to Padua in 1728 he founded a school of violin playing and composition there.

Tartini composed more than 100 violin concertos and many sonatas, including the Trillo del Diavolo (Devil’s Trill). He also composed music for trios and quartets and religious works.

His playing was said to be remarkable because of its combination of technical and poetic qualities, and his bowing technique became a model for later violinists. He was invited to go on a concert tour of Italy in 1740.

Tartini contributed to the science of acoustics with his discovery of the Tartini tone, which was a third note, heard when two notes are played steadily and with intensity.

He wrote a treatise on music, Trattato di musica, in 1754 as well as a dissertation on the principles of music harmony and a treatise on ornamentation in music.

Tartini died in Padua in 1770 at the age of 77.

Giotto's frescoes lining the Scrovegni Chapel in Padua
considered among the world's great artworks

Travel tip:

The elegant city of Padua, where Tartini was principal violinist and maestro di cappella at the Basilica di Sant'Antonio, is an important centre for pilgrims. The Scrovegni Chapel contains frescoes by Giotto, considered to be among the greatest works of art in the world. Dedicated to Santa Maria della Carita (Saint Mary of the Charity), the chapel was decorated with frescoes by Giotto between 1303 and 1305. He was commissioned to paint the frescoes by Enrico degli Scrovegni, who was hoping to atone for the sins of usury committed by himself and his dead father. The frescoes narrate events in the lives of the Virgin Mary and Christ and the stunning scenes cover the interior walls of the chapel. On the wall opposite the altar is Giotto’s magnificent Universal Judgment, which tells the story of human salvation and includes the figure of Enrico degli Scrovegni offering up a model of the chapel to the Virgin Mary in a desperate bid to save his father from hell. For more information visit www.cappelladegliscrovegni.it

The Basilica di Sant'Antonio in Padua is
visited by some five million pilgrims each year

Travel tip:

The enormous Basilica di Sant’Antonio di Padova, sometimes known as the Basilica del Santo, where Tartini was principal violinist and maestro di cappella, is one of the most important places of Christian worship in the world. An estimated five million pilgrims visit the basilica every year to file past and touch the tomb of their beloved Sant’Antonio, a Franciscan monk who became famous for his miracles. The magnificent church, in Piazza del Santo, is an architectural masterpiece created between the 13th and 14th centuries, but it was later enriched with works of art by masters such as Titian, Tiepolo and the sculptor Donatello. 

Also on this day:

1492: The death of Medici ruler Lorenzo the Magnificent

1848: The death of composer Gaetano Donizetti

1868: The birth of equestrian pioneer Federico Caprilli

1929: The birth of historian Renzo De Felice

(The portrait of Giuseppe Tartini, by an anonymous artist, is housed in the Museo del Castello Sforzesco in Milan)

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