Antonio Lolli (c.1725-1802) - Concerto in G. Violino Principale, Violino Primo, Violino Secundo,
Viola di Alto con Basso (1775)
Performers: Luca Fаnfοni (violin); Reale Concerto ensemble
Further info: Complete Violin Concertos
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Italian violinist and composer. He was probably trained in the city of
Milan, by 1758 was named solo violinist to the court of the Duke of
Wurttemberg in Stuttgart. He also commenced touring as a virtuoso,
appearing with great success in Vienna (c.1760) and at the Concert
Spirituel in Paris (1764, 1766). As a result of incurring debts, the
Stuttgart court allowed him to tour extensively in order to recoup his
losses. His tours took him to Frankfurt am Main and Utrecht (1769),
Italy (1771), and northern Germany (1773). Lolli's Stuttgart contract
was abrogated due to his debts in 1774. He then went to St. Petersburg,
where he was a favorite of Catherine II in the capacity of chamber
virtuoso (1774-83). He also found favor with Grigori Potemkin. Lolli
continued to tour, and absented himself from the court between 1777 and
1780. Having dissipated 10,000 florins he had accumulated from gambling,
he returned to St. Petersburg in 1780 and succeeded in regaining his
social and artistic position. He appeared in concerts at Potemkin's
palace there, and also in Moscow. Despite his frequent derelictions of
duty, he was retained at the court until his contract was terminated in
1783. In 1784 he gave his last public concerts in Russia. He then
appeared in Stockholm, Hamburg, and Copenhagen (1784), London (1785),
and Italy. After visits to Copenhagen, Hamburg, and Stettin (1791),
Palermo (1793), and Vienna (1794). In 1794 he was engaged as maestro di
cappella to the court of Naples. After retirement, he settled in
Palermo, where he spent his last years in poverty. As a performer, he
was greatly admired for his commanding technique as a virtuoso and he
was even known as 'the Shakespeare among violinists', but as a composer
critics such as Charles Burney found his music bizarre. Lolli had little
if any formal training in composition, nor did he ever realize his
intentions of studying counterpoint with Padre Martini. Such study might
not have made him a better composer, but identification as a Martini
pupil might have mitigated contemporary criticism of his works. His
music consists of 12 violin concertos, 28 violin sonatas, six duos, and
36 solo violin capriccios. His main claim to fame is a treatise,
'L’école du violon en quatuor' (1784).
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