Ferdinando Bertoni Video
compositore italiano
Commemorazioni 2025 (Nascita: Ferdinando Bertoni)
- organo a canne, organo
- opera
- Repubblica di Venezia
- compositore, direttore d'orchestra, organista
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Ultimo aggiornamento
2024-04-25
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Ferdinando Bertoni Robert Rønnes Giovanni Battista Martini Baldassare Galuppi Garda Ranieri Christoph Willibald Gluck Gaetano Guadagni Salvi Albani Dolci Teatro San Benedetto 1580 1630 1643 1683 1685 1725 1740 1745 1752 1755 1762 1776 1777 1778 1783 1784 1785 1808 1813 2013
+••.••(...)) Ferdinando Bertoni: Salve Regina- For Bassoon and Organ. (Original for Soprano and Strings.) Arranged and performed for Bassoon and Mac Playback Organ, by Robert Rønnes 31st of May 2013. About the composer: He was born in Salò, and began his music studies in Brescia, not far from his birthplace. Around 1740 he went to Bologna, where he studied till 1745 with the famous music theorist Giovanni Battista Martini. Then he moved to Venice, where in 1752 he was appointed as first organist at San Marco. From 1755 to 1777 he was choirmaster at the Ospedale dei Mendicanti, also in Venice. In the period 1778--1783 he was in London, where he composed operas for the King's Theatre. Back to Venice in 1784, he succeeded Baldassare Galuppi in 1785 as Kapellmeister of San Marco and preserved this position until his retirement in 1808. He died in Desenzano del Garda. A prolific writer of church music, Bertoni also composed 70 operas which fell into oblivion, except Orfeo (Venice, Teatro San Benedetto, 1776), based on the same libretto of Ranieri de' Calzabigi of the work of Christoph Willibald Gluck, Orfeo ed Euridice (Burgtheater, Vienna, 1762). Bertoni composed this work especially for his friend Gaetano Guadagni, a castrato, who would interpret the role of Orfeo (the same role he had interpreted in Gluck's Orfeo ed Euridice). Bertoni generally ignored Gluck's reforms and composed the work in the old style of opera seria. Bertoni composed at least 200 sacred works (including about 50 oratorios) and cantatas, instrumental work and chamber music. / About the painter: The details of Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the Marche region of central Italy, half-way between Rome and Florence, east of Apennines. Sassoferrato was apprenticed under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese Domenichino, a main apprentice of Annibale Carracci (c. 1580). Two other Carracci trainees Francesco Albani and Guido Reni also influenced Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master.[1] His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael. He appears to also have been influenced by Pierre Mignard, whom he may have met in Rome in the 1630s. Few public commissions by Sassoferrato exist, and, like Carlo Dolci he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the Counter-Reformation of the Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of San Pietro in Perugia (1630) and the imposing altarpiece in Santa Sabina, Rome, portraying La Madonna del Rosario (1643).[2] In 1683 Cardinal Chigi presented Sassoferrato's self-portrait to Cosimo III de' Medici.[3] Sassoferrato died in 1685. His will is dated June 29 of the same year.
Josquin Prez Francesco Spinacino Bertoni 1450 1507 1521
Adieu mes amours - Josquin des Prez (ca 1450 -1521) arr. Francesco Spinacino 1507 - Intabulatura de lauto libro primo and Intabulatura de lauto libro secondo.
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
- Indici (per ordine alfabetico): B...