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for nearly 29 years in the service of the imperial court. Court records make frequent reference to
Domenico's activities as a virtuoso violinist and composer, and as a participant in the intrigues of the court. For relaxation he liked to build musical instruments – violins and lutes. He died in
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follow the shape
Allegro-Adagio-Allegro, instead of the then customary structure Allegro-Grave/Largo-Allegro; noteworthy are the slow movements of his compositions, which have elaborate embellishments typical of the school of Tartini.
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in Venice, where
Vivaldi was active as a violin teacher for several decades. However, recent research has found that "Pietro dall'Oglio" was a pseudonym of Pietro Scarpari, an important figure at the
83:, dall'Oglio was several times called on to produce music for the theatre. He was a master of the Italian virtuoso style of the eighteenth century, with frequent use of
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at the time. Another reason for Mooser's mistake may be the fact that
Domenico dall'Oglio was very influenced by Vivaldi's style of composition.
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Thematic
Catalog of a Manuscript Collection of Eighteenth-Century Italian Instrumental Music in the University of California
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Most of dall'Oglio's works are instrumental compositions, but at the imperial court of St
Petersburg, in the absence of the
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225:: this idea stems from the erroneous assumption that Domenico was the son of a certain Pietro dall'Oglio, who was
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In 1732 dall'Oglio was appointed violinist at the
Basilica di Sant'Antonio, but in 1735 he left Padua to go to
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173:(And who will suffer - Battered by several winds), recitative and aria for soprano and strings, for
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in Padua, or perhaps after 1726 when
Tartini founded his violin school.
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Mooser proposes that
Domenico dall'Oglio might have studied under
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Sinfonia for two clarinets, two violins, timpani and bass (lost)
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with his brother
Giuseppe, a cellist. Both brothers remained in
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12 sonatas for violin and cello or harpsichord (1738 Amsterdam)
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197:, Italian Music Magazine, vol. XLVIII, p. 219-29 (1946)
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Violinistes-compositeurs italiens en Russie au XVIIIe siècle
22:(c. 1700 – 1764) was an Italian violinist and composer.
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17 violin concertos (with two violins, viola and cello
68:(today in Estonia), on his return journey to Italy.
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for two violins, viola and bass, Op.1 (1753, Paris)
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159:(The afflicted Russia), prologue and pieces for
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171:E soffrirò che si – Combattuto da più venti
183:Various ballets and music for the theatre
133:Various sinfonias in Russian style (lost)
124:4 sonatas for two violins, viola and bass
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161:Tito Vespasiano (La clemenza di Tito)
34:, Italy. He was probably a pupil of
289:18th-century Italian male musicians
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204:, pp. 163–78 (Berkeley, 1963)
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274:Italian male classical violinists
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30:Domenico dall'Oglio was born in
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279:18th-century Italian composers
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153:10 sonatas for violin and bass
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269:Italian classical violinists
115:2 sonatas for flute and bass
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294:Pupils of Giuseppe Tartini
118:12 sonatas for violin and
91:. Structurally his violin
299:Republic of Venice people
229:from 1713 to 1718 at the
200:V. Duckles and M. Elmer,
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46:Basilica di Sant'Antonio
130:for four violins (lost)
284:Italian male composers
87:and passages at high
264:Musicians from Padua
231:Ospedale della PietĂ
78:maestro di cappella
64:, then part of the
41:Maestro di Cappella
20:Domenico dall'Oglio
175:Didone abbandonata
165:Johann Adolf Hasse
157:La Russia afflitta
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227:maestro di choro
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179:Francesco Zoppis
36:Giuseppe Tartini
16:Italian composer
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100:Compositions
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259:1764 deaths
139:Pieces for
248:Categories
188:References
148:obbligati
110:sinfonias
89:positions
26:Biography
235:Ospedale
143:and bass
141:violetta
93:sonatas
44:at the
167:(lost)
53:Russia
209:Notes
62:Narva
32:Padua
177:by
163:by
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