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366:(Bologna, 1774–1775). The former, of which the three published volumes relate wholly to ancient music, and thus represent a mere fragment of the author's vast plan, exhibits immense reading and industry, but is written in a dry and unattractive style, and is overloaded with matter which cannot be regarded as historical. At the beginning and end of each chapter occur puzzle-canons, wherein the primary part or parts alone are given, and the reader has to discover the canon that fixes the period and the interval at which the response is to enter. Some of these are exceedingly difficult, but all were solved by
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is a learned and valuable work, containing an important collection of examples from the best masters of the old
Italian and Spanish schools, with excellent explanatory notes. It treats chiefly of the tonalities of the plain chant, and of counterpoints constructed upon them. Besides being the author
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in
Bologna, where his compositions attracted attention. He established a composition school at the invitation of amateur and professional friends, where a number of well-known musicians received their education. As a teacher, he consistently expressed his preference for the practices of the earlier
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263:, however, makes reservations in his praise, condemning his philosophical principles as too much in sympathy with those of Fux, which had already been expressed by P. Vallotti. His
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189:. His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin and he later learned singing and
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Roman school of composition. Martini was a zealous collector of musical literature, and possessed an extensive musical library.
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estimated it at 17,000 volumes; after
Martini's death a portion of it passed to the Imperial library at
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256:. The latter went on to write the friar in very effusive terms after a visit to the city. The
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In 1725, though only nineteen years old, he received the appointment of chapel-master at the
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The greater number of
Martini's mostly sacred compositions remain unprinted. The
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593:. Vol. 17 (11th ed.). Cambridge University Press. pp. 800–801.
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Giovanni
Battista Martini (1706-1784) - Quaerite primum regnum Dei Ă 4 (1770)
340:; and a requiem, with some other pieces of church music, are now in Vienna.
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302:, who succeeded him as conductor of the girls choir, as well as the young
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playing from Padre
Pradieri, and counterpoint from Antonio Riccieri and
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in the
University of North Texas Music Library's Virtual Rare Book Room
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197:. Having received his education in classics from the priests of the
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This article incorporates text from a publication now in the
532:"Breaking the canon: Padre Martini's vision for the canonic genre"
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Most contemporary musicians spoke of
Martini with admiration, and
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was published by Pietro della Valle at
Bologna in the same year.
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possesses the manuscripts of two oratorios as well as three
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Performed by
Phillip W. Serna, Treble, Tenor & Bass
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consulted him with regard to the talents of his son,
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More information, including full text, of Martini's
60:. Unsourced material may be challenged and removed.
378:of several controversial works, Martini drew up a
346:were published at Bologna in 1734, as also twelve
322:Lettera famigliare intorno l'inondazione di Verona
606:The New Grove Dictionary of Music & Musicians
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358:in 1763. Martini's most important works are his
155:(24 April 1706 – 3 August 1784), also known as
343:Litaniae atque antiphonae finales B. V. Mariae
499:L'impresario delle Canarie (rist. anast. 1744
136:Portrait of Padre Martin, by A. Crescimbeni (
270:In 1758 Martini was invited to teach at the
241:, the rest remaining in Bologna, now in the
715:18th-century Italian Roman Catholic priests
690:Italian classical composers of church music
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245:(ex Civico Museo Bibliografico Musicale).
644:International Music Score Library Project
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384:The Theory of Numbers as Applied to Music
138:International museum and library of music
120:Learn how and when to remove this message
650:Free scores by Giovanni Battista Martini
640:Free scores by Giovanni Battista Martini
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497:Manuscript published by Arnoldo Forni,
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58:adding citations to reliable sources
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675:Pupils of Giovanni Battista Martini
380:Dictionary of Ancient Musical Terms
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352:Sonate per l'organo ed il cembalo
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705:Italian male classical composers
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338:L'impresario delle Isole Canarie
272:Accademia Filarmonica di Bologna
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310:and the famous Italian cellist
45:needs additional citations for
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362:(Bologna, 1757–1781) and his
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476:(in Italian). Archived from
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69:"Giovanni Battista Martini"
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615:. Palermo, L'Epos, 2007.
364:Esemplare di contrappunto
230:Basilica of San Francesco
710:Conventual Friars Minor
700:Italian music theorists
604:Sadie, S. (ed.) (1980)
590:Encyclopædia Britannica
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312:Giovanni Battista Cirri
304:Wolfgang Amadeus Mozart
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348:Sonate d'intavolalura
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308:Johann Christian Bach
195:Giacomo Antonio Perti
164:Conventual Franciscan
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634:Storia della musica
613:Gimbattista Martini
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685:1784 deaths
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334:intermezzos
191:harpsichord
664:Categories
541:October 4,
484:2013-09-06
439:References
431:media help
140:, Bologna)
80:newspapers
375:Esemplare
293:Ukrainian
209:at their
203:novitiate
177:Biography
159:, was an
286:Bohemian
110:May 2014
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642:at the
599:Sources
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279:Belgian
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