Gian Francesco Malipiero – composer and musicologist

Musician revived interest in Monteverdi and composed music in the same spirit

Malipiero was born into an 
aristocratic Venetian family

A composer and editor whose work helped to rekindle interest in pre 19th century Italian music, Gian Francesco Malipiero, was born on this day in 1882 in Venice.

Malipiero’s own output, which included operas and orchestral works, has been assessed by experts as fusing modern techniques with the stylistic qualities of early Italian music.

The composer was born into an aristocratic Venetian family and was the grandson of the opera composer Francesco Malipiero. He studied music at the Vienna conservatory and then returned to Venice to carry on his studies.

He used to copy out the music of Claudio Monteverdi and Girolamo Frescobaldi at the Biblioteca Marciana in Venice, which inspired his love of music from that period.

He moved to Bologna to continue his studies and after graduating, returned to Venice and became an assistant to the blind composer Antonio Smareglia, which he later said taught him a great deal.

In 1913 he travelled to Paris where he was influenced by the music he heard there, from composers such as Ravel and Debussy. He attended the premiere of an opera by Stravinsky, La Sacre du Printemps, and described this experience as like awakening from a ‘long and dangerous lethargy.’ This was also when he first met the composer Alfredo Casello and the poet and playwright Gabriele D’Annunzio.

Malipiero found support from the
influential Gabriele D'Annunzio

For a while Malipiero was on good terms with Benito Mussolini, but he fell out of favour when the dictator did not like him writing the music for a Pirandello libretto. Although he dedicated his next opera to Mussolini, this did not help him regain the support of the Fascists.

Malipiero was appointed professor of composition at the Parma Conservatory in 1921 and subsequently became director at the Istituto Musicale Pollini in Padua.

In 1923 he joined with Casello and D’Annunzio in creating the Corporazione delle Nuove Musiche.

In the same year, he went to live permanently in the small hill town of Asolo in the Veneto, where he worked on editing a complete edition of Monteverdi’s work, making an invaluable contribution to the recovery and promotion of the composer’s music. He also collaborated with the Istituto Antonio Vivaldi in the publication of the complete instrumental works of the Venetian composer.

Malipiero was a prolific composer of operas, orchestral music, chamber music and music for the piano and the voice and said he found Asolo the ideal location for composing his own music. His work has been judged to reflect the spirit of 17th and 18th century Venetian music.

Malipiero died in Asolo in 1973 at the age of 91.

Malipiero used to study the music of Claudio
Monteverdi at the Biblioteca Marciana in Venice

Travel tip:

The Biblioteca Marciana in Venice, where Malipiero used to study the music of Monteverdi, is also known as the Sansovino Library after the architect Jacopo Sansovino, who designed it. It is opposite the Basilica in St Marks Square and is named to commemorate the patron saint of Venice. It is one of the earliest surviving public libraries and repositories of manuscripts in Italy and holds one of the world’s most important collections of classical texts. The library was founded in 1468 when a Cardinal and scholar donated his entire collection of Greek and Latin manuscripts to the Republic of Venice. The library is open to the public from Monday to Saturday but is closed on Sundays and Italian Bank Holidays.

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The Piazza Giuseppe Garibaldi is the main square
in the beautiful Veneto town of Asolo

Travel tip:

The beautiful hill town of Asolo in the Veneto, where Malipiero settled in later life, is known as ‘the pearl of the province of Treviso’ and ‘the city of a hundred horizons’ because of its beautiful views over the countryside and the mountains. The poet Robert Browning spent time in Asolo after he became a widower. He published Asolando, a volume of poetry written in the town, in 1889. The main road leading into the town is now named Via Browning in his honour. Asolo is also where the Queen of Cyprus, Caterina Cornaro, spent her last years. One of the main sights is the Castle of Caterina Cornaro, which now houses the Eleonora Duse Theatre.

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More reading:

How Monteverdi put the opera genre on the musical map

Why Girolamo Frescobaldi is seen as one of the 'fathers' of Italian music

The complicated genius of Gabriele D'Annunzio

Also on this day:

1848: The Five Days of Milan

1925: The birth of musician Alessandro Alessandroni

1944: The last eruption of Mount Vesuvius

1945: The birth of pop singer Bobby Solo

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Faustina Bordoni - mezzo-soprano

Brilliant career overshadowed by infamous on-stage fight

A portrait of Faustina Bordoni by the
Venetian painter Rosalba Carriera

Faustina Bordoni, a feted mezzo-soprano ranked as one of the finest opera singers of the 18th century, was born on this day in 1697 in Venice.

Such was her popularity that when she joined her husband, the German composer Johann Adolf Hasse, in the employment of the Court of Saxony, where Hasse was maestro di cappella, her salary was double his.

Yet for all her acting talent and vocal brilliance, Bordoni is more often remembered as one half of the so-called ‘rival queens’ engaged by George Frideric Handel to join the company of the booming Royal Academy of Music in London in the 1720s, where she and the Italian soprano Francesca Cuzzoni allegedly came to blows on stage.

Born into a respected Venetian family, Bordoni’s musical talent was nurtured by the composers Alessandro and Benedetto Marcello and by her singing teacher, Michelangelo Gasparini. 

She made her debut in Venice at the age of 19 in Carlo Francesco Pollarolo's Ariodante. The quality of her voice excited the critics, while audiences were instantly charmed by her youthful beauty and stage presence.

Fame came quickly. As well as continuing to perform in her home city, where she performed for composers such as Tomaso Albinoni and Giuseppe Maria Orlandini, Bordoni sang in venues across Italy and in both Vienna and Munich. Her fans began to refer to her simply as ‘Faustina’.

Bordoni's singing rival,
Francesca Cuzzoni

Her rivalry with Cuzzoni, a soprano from Parma of approximately the same age, probably began in Venice, although it was not until Bordoni arrived in London in 1726 that it came to a head in dramatic fashion.

Cuzzoni had been in London since 1722, establishing herself as one of the stars of the Royal Academy alongside the celebrated castrato, Senesino. Already known for a fiery temper, she had once allegedly refused to perform a role when she discovered Handel had initially written it for someone else.

When Handel, under pressure from the theatre management to engage more singers so they could meet a growing demand for performances as opera’s popularity soared, announced that Bordoni would be joining them in London, Cuzzoni was said to be furious.

After Bordoni’s debut alongside Cuzzoni in Handel’s Alessandro, London opera fans began to divide into factions who favoured Faustina and others who preferred Cuzzoni.

Watching opera in the 1700s was very different from today. Although theatres had wealthy patrons, they also provided entertainment for the masses and audiences did not necessarily conduct themselves with decorum, even to the extent of booing a singer considered a rival to their favourite. 

Johann Adolf Hesse, to whom
Bordoni was married in 1730

The Cuzzoni-Bordoni rivalry came to a head when they were cast to appear alongside one another in a performance of Giovanni Bononcini’s opera Astianatte at the King's Theatre, Haymarket, in June 1727.

Despite the presence of Caroline, Princess of Wales in the audience, rival factions took turns to jeer and catcall whenever one or the other began to sing and when the two singers appeared on the stage together a fight broke out in the stalls.

Although accounts in the newspapers were almost certainly exaggerated for dramatic effect, Cuzzoni was reported to have turned on Bordoni, sparking an exchange of insults. Soon they were said to have begun pulling at each other’s hair and tearing pieces from their costumes. After they were separated, the performance was abandoned.

Bordoni left England the following year after the Royal Academy was forced into closure with unsustainable debts, driven partly by the high salaries commanded by the singers.  She married Hasse in 1730 and they remained with the Saxon Court in Dresden for 30 years, enjoying the status of a celebrity couple. Bordoni sang in 15 operas written by her husband, as well as continuing to travel regularly to the major opera houses of Italy.

She and Hasse left Dresden for Vienna in 1763 and ultimately to Venice in 1773. Bordoni is said to have continued to sing into her 70s before settling into a comfortable retirement. She died in Venice in 1781 at the age of 84.

Teatro La Fenice opened
its doors in 1792

Travel tip:

Opera was so popular in Venice in the 18th century that the city boasted no fewer than seven opera houses. The biggest of these, the Teatro San Benedetto in San Marco, was destroyed in a fire in 1771. Rebuilt, it became the object of a legal dispute involving the Venier family, who owned part of the land on which the theatre was built. The Venier family won the case and the company running the theatre had to sell up. On a different site, they built another opera house and called in Teatro La Fenice - the Phoenix Theatre - to symbolise its rise from the flames. Work was completed in April 1792 and the new opera house inaugurated on 16 May with a performance of I giochi di Agrigento by Giovanni Paisiello, to a libretto by Alessandro Pepoli.

Travel tip:

Faustina Bordoni and her husband Johann Adolf Hasse are buried within the Church of San Marcuola in the Cannaregio district of Venice, overlooking the Grand Canal, opposite the Fontego dei Turchi, between Santa Lucia railway station and the Rialto.  The church is actually dedicated to Saints Ermagora and Fortunato. The name San Marcuola is thought to be rooted in Venetian dialect. The church is thought to have been built originally in the 12th century. It was restructured in the 18th century by Giorgio Massari in accordance with plans drawn up by Antonio Gaspari, but the façade remained unfinished.  The interior is notable for a Last Supper by Jacopo Tintoretto, thought to be one of the Venetian painter’s earliest works.  

Also on this day:

1282: Sicily rises up against the French

1815: The Proclamation that began the Risorgimento movement

1892: The birth of Futurist painter and graphic artist Fortunato Depero

1905: The birth of urban engineer and architect Ignazio Gardella

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Giuseppe Torelli – violinist and composer

Brilliant musician could both perform and write beautiful music

Torelli is ranked alongside Arcangelo Corelli
as a developer of the Baroque concerto

Talented musician Giuseppe Torelli, who played the viola and violin and was a composer during the late Baroque era, died on this day in 1709 in Bologna in Emilia-Romagna.

He is remembered for contributing to the development of the instrumental concerto and for being the most prolific Baroque composer for trumpets and he is ranked with Arcangelo Corelli as a developer of the Baroque concerto and concerto grosso.

Torelli was born in Verona in 1658. He learnt to play the violin and studied composition with Giacomo Antonio Perti.

At the age of 26 it is known that he was a member of the Accademia Filarmonica as a violinist. Two years later he was employed as a viola player at the Basilica di San Petronio in Bologna. He stayed there for about ten years until the orchestra was disbanded because of financial constraints.

His first published works were ten sonatas for violin and basso continuo and 12 concerti da camera for two violins and basso continuo.

Around 1690 Torelli began writing his first trumpet works. It is considered unusual for a strings player to compose works for the trumpet but it is thought Torelli may have been inspired by the virtuoso trumpeter Giovanni Pellegrino Brandi, who occasionally performed with the San Petronio orchestra.

In 1687 it went on record that Torelli’s music was being played at the Sanctuary Maria della Steccata in Parma in Emilia Romagna by Giuseppe Corsi da Celano, a composer and teacher.

Francesco Antonio Pistocchi, with
whom Torelli collaborated

By 1698, Torelli had become maestro di concerto at the court of Georg Friedrich II, Margrave of Brandenburg Ansbach. He conducted the orchestra for Le pazzie d’amore e dell’interesse, an idea drammatica composed by the maestro di cappella, his friend Francesco Antonio Pistocchi, the composer and castrato singer 

After 1701, Torelli was known to be back in Bologna, where he is listed as a violinist in the newly reformed cappella musicale at San Petronio, directed by his former composition teacher, Perti.

Torelli and Pistocchi appeared in a number of concerts together in the early years of the 18th century. At around this time Torelli composed 12 concerti grossi con una pastorale, Op 8, which features one of his most popular pieces, the Christmas Eve concerto No 6.

Torelli died, aged 50, on 8 February 1709 in Bologna. His manuscripts were conserved in the San Petronio archives. He had composed many sonatas, concertos and symphonies, including more than 30 concertos for trumpets.

He had many pupils, the most notable being Francesco Manfredini. His brother, Felice Torelli was a painter with a good reputation in Bologna.

The unfinished facade of the Basilica di San
Petronio, one of Europe's largest churches

Travel tip:

The Basilica di San Petronio, which dominates Bologna’s Piazza Maggiore, is a huge structure, 132m (144yds) long, 60m (66yds) wide and 47m (154ft) tall, which makes it the sixth largest church in Europe and is seen as a symbol of the city, even if it is not actually Bologna’s cathedral (that being the nearby Duomo di San Pietro). Indeed, despite construction starting in 1380, it was not consecrated as a church until 1954, having been built as a civic temple and not transferred from the city to the diocese until 1929.  It is notable for its unfinished facade, the red and brick marble of Domenico da Varignana’s design abandoned when it had barely reached one third of the building’s height, following the intervention of Pope Pius IV, who considered the project too expensive and ambitious and ordered that the city’s focus switch instead to the building of the Archiginnasio, the official seat of the University of Bologna.

The balcony of the Casa Giulietta, which remains
one of Verona's most visited attractions

Travel tip:

Verona, where Torelli was born, is now the third largest city in the northeast of Italy, with a population across its whole urban area of more than 700,000. Famous now for its wealth of tourist attractions, of which the Roman amphitheatre known the world over as L’Arena di Verona is just one, the city was also the setting for three plays by Shakespeare – Romeo and Juliet, The Two Gentlemen of Verona and The Taming of the Shrew  - although it is unknown whether the English playwright ever actually set foot in the city.  Nonetheless, Casa Giulietta in Via Cappello, about five minutes’ walk from the Arena, is still promoted as the balcony where Shakespeare’s famous scene with Romeo took place.

Also on this day:

1591: The birth of painter Guercino

1751: The death of Trevi Fountain architect Nicolo Salvi

1848: Uprising in Padua

1945: The death of Olympic fencer Italo Santelli

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