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Tomaso Albinoni

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Name  Tomaso Albinoni
Parents  Antonio Albinoni
Role  Composer
Tomaso Albinoni httpsuploadwikimediaorgwikipediacommons22
Died  January 17, 1751, Venice, Italy
Spouse  Margherita Rimondi (m. 1705–1721)
Music director  Ballet Adagio, Mother and Son, Sentenced to Death
Compositions  Pimpinone, Pimpinone, Concerto in B-flat, Concerto in B-flat, La Statira, La Statira, Artamene, Artamene, Concerto for Oboe in D minor - op 9 no 2, Concerto for Oboe in D minor - op 9 no 2, Adagio, Adagio, Anytime - Anywhere, Anytime - Anywhere, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: I Allegro moderato, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: I Allegro moderato, Concerto pour 2 trompettes en ut majeur, Concerto pour 2 trompettes en ut majeur, Sinfonia in G major for 2 Oboes: III Allegro, Sinfonia in G major for 2 Oboes: III Allegro, Violin Concerto in F major - op 10 no 7: I Allegro, Violin Concerto in F major - op 10 no 7: I Allegro, Sonata in D major - op 6 no 7: IV Allegro, Sonata in D major - op 6 no 7: IV Allegro, Violin Concerto in D major - op 10 no 6: II Andante, Violin Concerto in D major - op 10 no 6: II Andante, Sonata in B-flat major - op 6 no 3: IV Presto, Sonata in B-flat major - op 6 no 3: IV Presto, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: II Affettuoso, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: II Affettuoso, Violin Concerto in F major - op 10 no 7: II Andante, Violin Concerto in F major - op 10 no 7: II Andante, Concerto in D major - Op 7 No 6: I Allegro, Concerto in D major - Op 7 No 6: I Allegro, Concerto for Two Oboes in G major - op 9 no 6: I Allegro, Concerto for Two Oboes in G major - op 9 no 6: I Allegro, Concerto for 2 violins in D minor - op 5 no 7: I Allegro, Concerto for 2 violins in D minor - op 5 no 7: I Allegro, Concerto for Two Oboes in G major - op 9 no 6: III Allegro, Concerto for Two Oboes in G major - op 9 no 6: III Allegro, Violin Concerto in C major - op 10 no 11: I Allegro, Violin Concerto in C major - op 10 no 11: I Allegro, Sonata in C minor - op 6 no 10: IV Allegro, Sonata in C minor - op 6 no 10: IV Allegro, Concerto in F major - op 7 no 9: III Allegro, Concerto in F major - op 7 no 9: III Allegro, Sonata in A minor - op 6 no 6: I Grave, Sonata in A minor - op 6 no 6: I Grave, Sonata in A major - op 6 no 11: III Adagio, Sonata in A major - op 6 no 11: III Adagio, Sonata in E minor - op 4 no 2: III Largo, Sonata in E minor - op 4 no 2: III Largo, Sonata in E minor - op 6 no 8: IV Allegro, Sonata in E minor - op 6 no 8: IV Allegro, Sonata in D minor - op 6 no 4: III Adagio, Sonata in D minor - op 6 no 4: III Adagio, Sonata a cinque in G minor - op 2 no 6: II Allegro, Sonata a cinque in G minor - op 2 no 6: II Allegro, Concerto for 2 Oboes in C major - op 9 no 9: I Allegro, Concerto for 2 Oboes in C major - op 9 no 9: I Allegro, Concerto in C major for 2 Oboes - op 7 - no 11: II Adagio, Concerto in C major for 2 Oboes - op 7 - no 11: II Adagio, Violin Concerto in G minor - op 10 no 8: II Largo, Violin Concerto in G minor - op 10 no 8: II Largo, Sonata in B-flat major - op 6 no 12: III Adagio, Sonata in B-flat major - op 6 no 12: III Adagio, Violin Concerto in C major - op 10 no 11: III Allegro assai, Violin Concerto in C major - op 10 no 11: III Allegro assai, Concerto in C major for 2 Oboes - op 7 - no 11: I Allegro, Concerto in C major for 2 Oboes - op 7 - no 11: I Allegro, Sonata in F major - op 6 no 5: II Allegro, Sonata in F major - op 6 no 5: II Allegro, Sonata in G major - op 6 no 9: IV Allegro, Sonata in G major - op 6 no 9: IV Allegro, Sonata in F major - op 4 no 3: III Adagio, Sonata in F major - op 4 no 3: III Adagio, Sonata in A major - op 6 no 11: IV Allegro, Sonata in A major - op 6 no 11: IV Allegro, Concerto in D major for 2 Oboes - op 7 no 8: I Allegro, Concerto in D major for 2 Oboes - op 7 no 8: I Allegro, Balletto in G major - op 3 no 3: III Corrente Allegro, Balletto in G major - op 3 no 3: III Corrente Allegro, Concerto for Two Oboes in F major Adagio, Concerto for Two Oboes in F major Adagio, Concerto for Strings - op 7 no 1 in D major: II Allegro assai, Concerto for Strings - op 7 no 1 in D major: II Allegro assai, Sonata in D minor - op 6 no 4: IV Allegro, Sonata in D minor - op 6 no 4: IV Allegro, Sonata in C major - op 6 no 1: III Largo, Sonata in C major - op 6 no 1: III Largo, Sonata in G minor - op 4 no 4: I Adagio, Sonata in G minor - op 4 no 4: I Adagio, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: III Presto, Concerto for Trumpet - Three Oboes - Bassoon and Continuo in C major: III Presto, Sonata in D major - op 6 no 2: I Grave, Sonata in D major - op 6 no 2: I Grave, Violin Concerto in C major - op 10 no 11: II Larghetto, Violin Concerto in C major - op 10 no 11: II Larghetto, Sonata in E minor - op 4 no 2: II Allegro, Sonata in E minor - op 4 no 2: II Allegro, Concerto in D major - Op 7 No 6: III Allegro, Concerto in D major - Op 7 No 6: III Allegro
Similar People  Remo Giazotto, Antonio Vivaldi, Arcangelo Corelli, Johann Pachelbel, George Frideric Handel

Tomaso albinoni oboe concerto in d minor op 9 n 2


Tomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was an Italian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, such as the concertos.

Contents

1 Hour Classical Music with TOMASO ALBINONI - Concertos for Oboe and Violin (Full Recording)[HQ]


Biography

Tomaso Albinoni Tomaso Albinoni adagio in sol minore YouTube

Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. His first opera, Zenobia, regina de Palmireni, was produced in Venice in 1694. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.

Tomaso Albinoni BAROQUE MUSIC PAGE biogs pictures music samples

In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.

Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.

Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However, it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes mellitus.

Music and influence

Most of his operatic works have been lost, having not been published during his lifetime. However, nine collections of instrumental works were published, meeting with considerable success and consequent reprints; thus it is as a composer of instrumental music (99 sonatas, 59 concertos and 9 sinfonias) that he is known today. In his lifetime these works were favorably compared with those of Corelli and Vivaldi, and his nine collections published in Italy, Amsterdam and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni wrote at least fifty operas of which twenty-eight were produced in Venice between 1723 and 1740. Albinoni himself claimed 81 operas (naming his second-to-last opera, in the libretto, as his 80th). In spite of his enormous output of operas, today he is most noted for his instrumental music, especially his oboe concertos. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his 12 concerti a cinque, op. 7) and publish such works, although earlier concerti featuring solo oboe were probably written by German composers such as Telemann or Handel. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.

His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes (Fugue in A major on a theme by Tomaso Albinoni, BWV 950, Fugue in B minor on a theme by Tomaso Albinoni, BWV 951) and frequently used his basses for harmony exercises for his pupils. Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s.

Although respected by many today, the New York Times described him as merely a "workaday Baroque composer."

The famous "Adagio in G minor" for violin, strings and organ, the subject of many modern recordings, is by some thought to be a musical hoax composed by Remo Giazotto. However, a discovery by musicologist Muska Mangano, Giazotto's last assistant before his death, brought up new findings. Among Giazotto's papers, she discovered a modern but independent manuscript transcription of the figured bass portion and six fragmentary bars of the first violin, "bearing in the top right-hand corner a stamp stating unequivocally the Dresden provenance of the original from which it was taken". This provides support for Giazotto's account that he did base his composition on a source.

References

Tomaso Albinoni Wikipedia


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