CAMPAGNOLI, Bartolomeo (1751-1827) - Flute Quartets

Obra de Pierre-Antoine Demachy (1723-1807), pintor francès (1)

- Recordatori de Bartolomeo Campagnoli -

En el dia de la celebració del seu 264è aniversari de naixement

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Parlem de Pintura...

Pierre-Antoine Demachy (París, 17 de setembre de 1723 - París, 10 de setembre de 1807) va ser un pintor francès. Actiu durant la segona meitat del segle XVIII, Demachy es va especialitzar en pintures de ruïnes, decoracions arquitectòniques i vistes de París. Fill d'un mestre fuster, va ser alumne de Servandoni, l'escenògraf més gran de l'època a França, d'origen italià. Més tard va rebre el reconeixement de 'pintor d'arquitectura' de la Reial Acadèmia de Pintura i Escultura de París. A partir del 1757, i fins el 1802, va exhibir les seves obres al Saló de París. Després de la mort del pintor Jacques-François Amand, es va instal·lar al Palau del Louvre on el seu taller de pintura es va fer molt popular i concorregut. Especialista reconegut en el seu gènere, Demachy va ser nomenat més tard professor de perspectiva de la Reial Acadèmia de Pintura i Escultura de París. Va morir en aquesta ciutat el setembre de 1807.

Font: En català: No disponible - En castellano: Pierre-Antoine Demachy (1723-1807) - In english: Pierre-Antoine Demachy (1723-1807) - Altres: Pierre-Antoine Demachy (1723-1807)

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Parlem de Música...

Bartolomeo Campagnoli (Cento, 10 de setembre de 1751 - Neustrelitz, 7 de novembre de 1827) va ser un violinista i compositor. Es va formar amb el violinista Dall’Ocha, un dels alumnes d'Antonio Lolli. El 1763 es va instal·lar a Modena on va estudiar amb Paul Guastarobba, antic alumne de Tartini. El 1766 va tornar a Cento on va accedir a un càrrec a l'orquestra local. Allà va conèixer al violinista Lamotta, amb qui es va unir a una gira per Venècia i Padua. El 1770 va ser rebut amb entusiasme a Roma abans de viatjar a Faenza. Posteriorment es va instal·lar a Florència on va estudiar amb Nardini i on va treballar com a segon violinista al Teatro della Pergola. El 1775 va tornar a Roma on va assolir un càrrec al Teatro Argentina abans d'entrar al servei de l'arquebisbe de Freysingen, amb qui va viatjar a Polònia i Escandinàvia. Precisament a Estocolm va ser nomenat membre de la Reial Acadèmia Sueca de Música. El 1779 es va convertir en director musical a la Cort del Duc de Courland a Dresden. Des d'allà va realitzar nombroses gires concertants entre els anys 1780 i 1795. El 1797, i després de la mort del Duc de Courland, va viatjar a Leipzig on es va fer càrrec de l'orquestra Gewandhaus. Va ser allà on va publicar l'obra amb què es va fer conegut arreu, el seu tractat teòric Nouvelle méthode de la mécanique progressive du jeu de violon publicat el 1824. Els darrers anys es va dedicar a promocionar la carrera de les seves dues filles, viatjant a Hanover el 1820 i a Neustreliz el 1826. Va ser allà on va morir el novembre de 1827.

OBRA:

Instrumental:

published Leipzig, n.d., unless otherwise indicated

Orch.:
3 fl concs, op.3 (Berlin, n.d.);
Vn Conc., op.15
Others orchestral works: sinfonie, concertos;

For 2 vn:
3 thèmes d’airs [by Mozart] connus variées, op.7;
3 thèmes d’airs étrangers variées, op.8;
3 duos concertans, op.9; 6 duos … faciles et progressives, op.14;
3 duos, op.19;
3 Airs with Variations, arr. C. Reeves (London, 1799)

For vn solo:
6 fugues, op.10; 30 préludes … dans tous les différens tons, op.12;
6 polonoises, vn acc., ad lib, op.13;
L’art d’inventar à l’improviste des fantaisies et cadences … formant un recueil de 246 pièces, op.17;
7 divertissements, op.18;
Recueil de 101 pièces faciles et progressives, op.20

For fl, vn:
6 duos, op.6 (Berlin, n.d.);
6 duos, op.2 (Berlin, n.d.);
3 duos, op.4 (Berlin, n.d.)

Other works:
6 sonate, vn, b, op.1 (n.p., n.d.);
6 quartetti per archi;
L’illusion de la viole d’amour, sonate notturne, vn, va, op.16;
41 caprices, va solo, op.22;
3 trios, 2 vn, b and 6 str qts, cited in EitnerQ

Literatura:

Nouvelle méthode de la mécanique progressive du jeu de violon … distribuée en 132 leçons progressives pour deux violons, et 118 études pour un violon seul, op.21 (Leipzig, 1824; It. trans., n.d.; Eng. trans., 1856) 

Font: En català: Bartolomeo Campagnoli (1751-1827) - En castellano: No disponible - In english: Bartolomeo Campagnoli (1751-1827) - Altres: Bartolomeo Campagnoli (1751-1827)

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Parlem en veu pròpia o en veu d'altri...

Bartolomeo Campagnoli is known today above all as the author of the “Nouvelle méthode de la mécanique progressive du jeu de violon”, one of the best treatises of his time and the inspiration to entire generations of violinists. Moreover, Campagnoli wrote a significant part of his own compositions for didactic purposes (see, for example, his Preludi op. 12, Divertissements op. 18 or 101 pezzi facili e progressivi op. 20). The son of a rich merchant, Campagnoli completed his first musical training in Bologna and Modena. In 1771 he transferred to Florence where he studied with Nardini and became friends with Cherubini. The need to expand his own musical culture, as well as the desire to measure himself against the best musicians of his time led him to travel frequently to different cities: Venice, Rome, Faenza, Florence and Padua, where he settled for some months to study with Tartini. From 1776, Campagnoli’s career developed primarily in Germany. His concerts as a soloist and his orchestral playing as first violin surprised and charmed both audiences and players alike. Indeed, as Campagnoli himself writes in a letter, one day his colleagues told him that “no one can play better than me, and they thought: here is an artist on the violin with German knowledge and an Italian soul. ”This synthesis of styles was made possible by the numerous concerts given in the principal cities of Germany as well as by the posts he held as Konzertmeister for Brass Instruments in Freysingen (1776) and (from 1779) as director of music at the court of the Duke of Courland in Dresden.

TACTUS (Font/Source: aquí)

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As a performer, Campagnoli’s style seems to have stemmed, through Guastarobba and Nardini, entirely from the school of Tartini. The influence of Lolli through Dall’Ocha is dubious, and it would not in any case have represented the more modern French school at that time. Spohr, who heard Campagnoli in 1804, reported that his playing was clean and fluent but his method old-fashioned. Other contemporary reports praised his playing of adagios and his facility in double stops. Campagnoli himself quoted with pleasure the judgment that his performance combined ‘German learnedness with Italian soul’ (see Schmid, p.160). As a composer, his finest contributions were pedagogical works. His other creations, mostly issued by Breitkopf & Härtel while he was in Leipzig, were pleasant and skilful but thoroughly conventional, with the exception of L’illusion de la viole d’amour, which used scordatura to imitate the sound of that instrument. His pedagogical works, including the fugues for violin alone, served several generations of violinists admirably, and his last opus, the 41 caprices for viola, is a minor classic of its genre, still in use. The Nouvelle méthode, op.21, occupied Campagnoli’s attention from the 1790s until its publication in 1824 by Breitkopf & Härtel. In part because of the unsupported assumption that an Italian edition appeared in 1797, the significance of the work has sometimes been overestimated. Although the treatment of tuning, as well as a few other matters, is forward-looking, some aspects – for example the holding of the bow – are distinctly old-fashioned. However, its systematic organization and the well graded exercises led to a deserved popularity. Both Lucca and Ricordi brought out Italian editions. An edition in English was issued in London in 1856 and was later published in Boston, Massachusetts.

GROVE (Font/Source: aquí)

Gaudiu i compartiu! 

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Informació addicional... 

INTÈRPRETS: Nicola Guidetti (flute); Marco Rogliano (violin); Tommaso Poggi (viola); Luca Paccagnella (cello)
TACTUS: CAMPAGNOLI, B. - Flute Quartets Nos, 1-6

IMSLP: Bartolomeo Campagnoli (1751-1827)

CPDL: No disponible

SPOTIFY: CAMPAGNOLI, B. - Flute Quartets Nos, 1-6

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