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standing from thrice to once out of innate kindness; but since then the man behaved very badly the first time, in the view of many hundreds of persons, as he did the second time on
September 17 when placed before the doors of said church for an hour in a long hairy coat, called a coat of penance, between twelve guards who formed a circle around him while he held a burning black candle in his hand; the same thing is also to occur on the 24th. His food is bread and water as long as he remains under the ecclesiastical authority; after transfer to the secular he is to pay the priest who was beaten by him 1,000 guilders in compensation as well as expenses, then remain in jail for four years and subsequently be banned from Austria forever: since as he stood in front of the church doors the first time he used a very uncivil and vexatious effrontery (i.e., he used his art of gesticulation in a most wicked manner). The said court-Compositeur has been sentenced to such punishment because he laid violent hands on a priest and beat him up severely.
72:, at that time the highest-paid singer in Vienna. She sang the main soprano roles in Conti's operas from 1714 and 1721, but died in 1722. After her death Anna Maria Lorenzani was appointed prima donna and performed in three more of Conti's operas. She became his third wife in April 1725. On 28 August 1723, Conti, as theorbist, took part in the first performance of the festival opera
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Excerpt from a Letter from
Regensburg of October 19, 1730. "On September 10 in Vienna the Imperial Composilore di Musica, Francesco Conti, was expelled from St. Stephan's Cathedral by virtue of an excommunication pronounced on him by the local Consistorio. His Imperial Majesty had reduced the imposed
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Conti was also a supreme player of the mandolin, and wrote the earliest sonatas for the instrument. His works composed between 1714 and 1725 were primarily written for the carnival season or to celebrate birthdays and name days of the members of the
Imperial family.
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1872 "Gleichzeitig mit dem Vater, und mit diesem öfter verwechselt, componierte für den Hof sein Sohn
Ignazio Conti (geb. 1699, gest. in Wien 28. März 1759, 60 J. alt) von 1727 bis 1739 1 Vollkommener Kapellmeister, p.
80:. In 1726 and again during 1729 to 1732 Conti visited Italy because of health problems. He returned to Vienna in 1732, where he staged two new operas but in July of the same year he died. He was succeeded by his son
56:, and in 1713 was appointed as a court composer. In 1708, with the death of Clementi, Conti was promoted senior theorbist, a position he held until 1726. In the same year he was elected a member of the
162:"It is not good Muse, nor Music, which you have composed Conti, for that was a heavy touch: And the bass is too heavy, and the key is not harmonious: Hence as a result you bear black marks forever."
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1999 "Ignazio Conti did not accompany his father to Italy. He continued his court duties as Hof-Scholar and, in his father's absence, found opportunities to have several of his works performed."
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court in Vienna with the same salary as the main theorbist, Orazio
Clementi. At the 1706 carnival he made his debut as an opera composer with
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99:(1686-1739), some now identify Conti as the likely composer of this lovely song.
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Lontananza dell'amato. Ride il prato. Con più lucidi candori. Vaghi augelletti
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Lontananza dell'amato. Ride il prato. Con più lucidi candori. Vaghi augelletti
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Hermine Weigel
Williams Francesco Bartolomeo Conti: his life and music. 1999
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Overtures. Ulrike
Hofbauer, Neue Hofkapelle München, dir. Hammer
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Little is known about the biography of Conti. He was born in
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has long been attributed to
Venetian composer and statesman
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Theodore Baker A Biographical
Dictionary of Musicians p122
337:, Furio Zanasi, Vito Priante, Il Complesso Barocco, dir.
109:reused some of Conti's music for Cleotide in his
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147:, Part I, Chapter six, Nr.48 writes about him:
425:Francesco Bartolomeo Conti: his life and music
157:The following epigram has been made about him:
363:, Ars Antiqua Austria, dir. Letzbor. Arcana.
19:For other people named Francesco Conti, see
346:Sventurata Didone. Fra cetre e fra trombe.
498:International Music Score Library Project
494:Free scores by Francesco Bartolomeo Conti
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282:Il contrasto della Belezza e el Tempo
198:Il trionfo dell'amicizia e dell'amore
122:. His music was also appreciated by
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455:. USA: Alfred Music. p. 110.
543:Italian male classical composers
306:(1723) libretto by A. di Avanzo.
58:Accademia Filarmonica of Bologna
21:Francesco Conti (disambiguation)
451:Paton, John Glenn, ed. (1991).
312:(1724) azione sacra per musica.
183:Don Chisciotte in Sierra Morena
93:Il mio bel foco (Quella fiamma)
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468:Der vollkommene Capellmeister
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304:Il David perseguitato da Saul
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60:and in 1711 he was appointed
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196:His other stage works are:
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453:26 Italian Songs and Arias
370:. Rossana Bertini. Tactus.
254:Archelao, Re di Cappadocia
27:Francesco Bartolomeo Conti
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513:Italian Baroque composers
481:Review by Johann van Veen
423:Hermine Weigel Williams
341:. Virgin Classics, 2006
299:9 oratorios, including:
240:(1719 revised in 1724),
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118:(1730) performed at the
66:vice-maestro di cappella
41:book that has survived.
538:Musicians from Florence
411:History of the Mandolin
333:, Birgit Christensen,
329:. Marijana Mijanovic,
292:(intermezzo 1727) and
290:L'ammalato immaginario
171:16 operas, including:
126:, and Conti's cantata
266:Il trionfo della fama
222:Sesostri,re di Egitto
124:Johann Sebastian Bach
518:Italian mandolinists
246:Alessandro in Sidone
210:I Sattiri in Arcadia
436:von Köchel, Ludwig
320:Selected recordings
228:(intermezzo 1717),
74:Costanza e Fortezza
466:Mattheson (1739).
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242:Cloris und Thyrsis
238:Galatea venedicata
230:Amore in Tessaglia
202:Circe fatta saggia
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286:Issicratea
139:Mattheson
137:In 1739,
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91:Although
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288:(1726),
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270:Penelope
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86:Florence
54:Cleotide
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31:mandolin
496:at the
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234:Astarto
141:in his
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35:theorbo
352:, 2005
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107:Handel
39:method
327:David
310:David
262:Creso
167:Works
214:Ciro
33:and
441:4)"
350:ORF
132:BWV
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