"Батарея, обними меня скорее!"

[vertebra_p]

У нас холодрыжник собачий -25 с ветром, весной даже не пахнет. Солнце злое - ледяное, и сугробы выше человеческого роста. По обочинам такие горы снега, что машин не видно, чую будем мы нынче в лето на лодках вплывать... А в прошлом году 8 марта снега уже не было, эх, ведь где-то сейчас цветы цветут. Зиму я конечно люблю, но серую и мягкую, а не эту стеклянную злыдню с ядовитым взглядом.
Поэтому весенней итальянской музыки сюда от Джована Баттиста Грациоли. Душевный такой композитор оказывается.

Три капли о композиторе:

Вот что знает про него Гроув (переводить мне лениво - учите английский). Кстати, Джован и Джованни - это одно и то же имя? У меня весей инфы о нём: три слова из Гроува и обложка диска, на которой его назвали Giovan Battista Grazioli...

Grazioli, Giovanni Battista (Ignazio)

(b Bogliaco, Lake Garda, 6 July 1746; d Venice, 6 Feb 1820). Italian composer and organist, father of the composer Alessandro Grazioli. He moved at an early age to Venice, where he studied with Bertoni. In 1778 he temporarily replaced Bertoni as organist at S Marco when the latter was granted a leave of absence to go to Paris and London. On 28 May 1782 he became second organist and on 21 January 1785, first organist, when Bertoni was made maestro di cappella; he remained in this post until 1789.

Grazioli composed a large number of sacred vocal works, most of which survive only in manuscript. It is his three sets of six keyboard sonatas opp.1–3, however, that have attracted the greatest interest among musicologists, even though they clearly display the limitations of a school of composers in decline. While there are some more modern features in his music (the sonatas op.3, for example, have violin accompaniment), Grazioli’s works displays conservative influences. These include monothematicism and the expressive use of a recitative style still closely based on opera, as in the introduction to sonata op.3 no.1, which still clearly preserves the use of a basso continuo. The sonatas are all in major keys and are in three movements, usually in the sequence fast-slow-fast. The middle movement is always in a contrasting key, in eight cases the subdominant, in three the relative minor, and in one the tonic minor. All movements are in binary form, usually rounded by a more or less exact return of the opening material. The first movement generally presents a strong thematic profile, while the second contains the most expressive writing. In the first two movements frequent melodic decorations recall the galant style. The third movement is usually more straightforward, with regular phrasing and melody clearly derived from passage-work. The texture of the sonatas is predominantly homophonic with a persistent use of the Alberti bass. Frequent echo repetitions of short phrases contribute to the clarity of structure. Contrary to Caffi’s assertion, it is clear from Blondeau’s writing that Grazioli also composed for the theatre. Fétis credited G.B. Grazioli with the composition of 20 organ sonatinas, but these are actually the work of his son Alessandro.

Grazioli was recently in the news because of a dispute regarding plagiarism between the singers Al Bano and Michael Jackson. According to Jackson’s lawyers, the tune for Will you be there is not taken from I cigni di Balaka, but from the final allegro of Grazioli’s sonata in A major op.1 no.10.

WORKS

Stage: Amore non si sgomenta, Florence, 1805, I-Vnm; Cantata allegorica a due orchestre, Rome, 1811, lib Rvat

Sacred: 13 masses, 3, 4, 6, 8vv, org, 1 unacc., 1 with wind insts; 23 Ky, 4vv, orch; Ky, Cr, 3vv, orch; 6 Gl, 4vv, orch; 2 Gl, 3vv, wind insts; 14 Gl sections, 1–4vv, orch, 1 unacc., 1 with chorus; 7 Cr, 4vv, orch; Cr, 3vv, wind insts, org; 2 Crucifixus, 4vv, orch; Crucifixus, 3vv, org; Proper for Holy Saturday, 3vv, wind insts; 7 seq, 3, 4vv, insts; 16 Marian ants, 1, 3vv, orch; 2 lits of the BVM, 3vv, 2 hn, org; 69 pss, 1–4vv, unacc., or with orch or org; 4 Gloria Patri, 1v, orch; Musica per l’agonia di Gesù Cristo, 3vv, vc; 19 musiche per bestigioni e professioni monacali di nobildonne, 1v, org, some dated 1787–1803; 32 motets, 2, 3vv, org; 18 motets and other sacred works, 1, 3, 4vv, some with insts, org: D-Bsb, I-Baf, Mc, Vnm, Vsmc

Inst: 12 hpd sonatas, opp.1–2 (Venice, c1780), ed. in CMI, xii (1943); 6 sonatas, hpd, vn, op.3 (?1781–4); Variations, B, hpd/pf ed. A. Iesuè (Rome, 1983); Sinfonia strumentale; Composizione strumentale a 12, B: all Vnm

Theoretical: Istruzione per il maestro di musica, riguardante la funzione del Sabato Santo, lost, formerly in Vnm

Other works in HR-Dsmb, I-BGi, CHc, OS

Works with conflicting attributions: Cr, Mag and 3 sinfonie in Vnm, formerly attrib. G.B. Grazioli, are by Filippo Grazioli

BIBLIOGRAPHY

CaffiS

EitnerQ

FétisB

NewmanSCE

SchmidlD

S. Cisilino: ‘Il fondo musicale di S. Maria Formosa’, Ateneo veneto, new ser., ii/2 (1964), 1–14

A. Iesuè: ‘Giambattista Grazioli: appunti critici’, NRMI, xi (1977), 339–48

A. Iesuè: ‘Grazioli padre e figlio: le composizioni manoscritte’, NRMI, xix (1985), 654–64

B.M. Antolini: ‘Editori, copisti, commercio della musica in Italia: 1770-1800’, Studi musicali, xviii (1989), 273–375

J.-M. Fauquet, ed.: Auguste-Louis Blondeau: voyage d'un musicien en Italie (1809–1812) (Liège, 1993)

F. Passadore and F. Rossi: San Marco: vitalità di una tradizione: il fondo musicale e la Cappella dal Settecento ad oggi (Venice, 1994), iii, 654–66

M. Bizzarrini: ‘Giovanni Battista Grazioli duecentocinquant'anni dopo: un gardesano a Venezia’, Brescia musica, no.54 (1996), 19

Tra l'Archivio storico di San Pier d'Agrino e il Fondo musicale di Santa Maria Formosa in Venezia i segreti del musicista Giovanni Battista Grazioli (Bogliaco, 1997)

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@темы: из Гроува, музвка