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Tomaso Giovanni Albinoni
 
 
 
 
Tomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was an Italian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, such as the concertos, some of which are regularly recorded.

Biography

Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. His first opera, Zenobia, regina de Palmireni, was produced in Venice in 1694. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.
In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.
Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.
Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes mellitus.

Music and influence

Most of his operatic works have been lost, having not been published during his lifetime. Nine collections of instrumental works were however published, meeting with considerable success and consequent reprints; thus it is as a composer of instrumental music (99 sonatas, 59 concertos and 9 sinfonias) that he is known today. In his lifetime these works were favorably compared with those of Corelli and Vivaldi, and his nine collections published in Italy, Amsterdam and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni wrote at least fifty operas of which twenty-eight were produced in Venice between 1723 and 1740. Albinoni himself claimed 81 operas (naming his second-to-last opera, in the libretto, as his 80th). In spite of his enormous output of operas, today he is most noted for his instrumental music, especially his oboe concertos. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his 12 concerti a cinque, op. 7) and publish such works, although earlier concerti featuring solo oboe were probably written by German composers such as Telemann or Händel. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.
His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes (Fugue in A major on a theme by Tomaso Albinoni, BWV 950, Fugue in B minor on a theme by Tomaso Albinoni, BWV 951) and frequently used his basses for harmony exercises for his pupils. Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s. The famous "Albinoni Adagio in G minor" for violin, strings and organ, the subject of many modern recordings, is now thought to be a musical hoax composed by Remo Giazotto, although the recent discovery by musicologist Muska Mangano, Giazotto's last assistant, of a modern but independent manuscript transcription of the figured bass portion and six fragmentary bars of the first violin, "bearing in the top right-hand corner a stamp stating unequivocally the Dresden provenance of the original from which it was taken," provides some support for Giazotto's account that Albinoni was his source.

From Wikipedia, the free encyclopedia
 
 
 
 
 
The Adagio in G minor for violin, strings and organ continuo, is a neo-Baroque composition popularly attributed to the 18th-century Venetian master Tomaso Albinoni, but composed by the 20th-century musicologist and Albinoni biographer Remo Giazotto and based on the purported discovery of a manuscript fragment from Albinoni.

Provenance

Although the composition is often referred to as "Albinoni's Adagio," or "Adagio in G minor by Albinoni, arranged by Giazotto", the attribution is incorrect. The ascription to Albinoni rests upon Giazotto's purported discovery of a tiny manuscript fragment (consisting of a few opening measures of the melody line and basso continuo portion) from a slow second movement of an otherwise unknown Albinoni trio sonata.
According to Giazotto, he obtained the document shortly after the end of World War II from the Saxon State Library in Dresden, which − though its buildings were destroyed in the bombing raids of February and March 1945 by the British and American Air Forces − had evacuated and preserved most of its collection. Giazotto concluded that the manuscript fragment was a portion of a church sonata (sonata da chiesa, one of two standard forms of the trio sonata) in G minor composed by Albinoni, possibly as part of his Op. 4 set, around 1708.
In his account, Giazotto then constructed the balance of the complete single-movement work based on this fragmentary theme. He copyrighted it and published it in 1958, under a title which, translated into English, reads "Adagio in G Minor for Strings and Organ, on Two Thematic Ideas and on a Figured Bass by Tomaso Albinoni". Giazotto never produced the manuscript fragment, and since his death in 1998 no official record of its presence in the collection of the Saxon State Library has been found.
The discovery by musicologist Muska Mangano, Giazotto's last assistant, of a modern but independent manuscript transcription of the figured bass portion and six fragmentary bars of the first violin, "bearing in the top right-hand corner a stamp stating unequivocally the Dresden provenance of the original from which it was taken," provides some support for Giazotto's account that Albinoni was his source. The scholarly consensus is that the Adagio is Giazotto's composition, whatever source may have inspired him.
The piece is most commonly orchestrated for string ensemble and organ, or string ensemble alone, but with its growing fame has been transcribed for other instruments. The Italian conductor Ino Savini (1904–1995) transcribed the Adagio for a large orchestra and conducted the piece himself in Ostrava in 1967 with the Janáček Philharmonic. The composition has also permeated popular culture, having been used as background music for such films as Gallipoli, in television programmes, and in advertisements.

From Wikipedia, the free encyclopedia
 
 
 

Tomaso Albinoni was born into a family of Venetian paper merchants m 1671. His father Antonio owned a number of shops as well as other properties around Venice. Being the eldest child, Tomaso was given a solid musical education, but appears to have enjoyed his personal freedom too much to consider taking employment within the church.

By the age of 23, however, he had begun to find his way. Me composed an opera, Zenobia Regina de Palmireni, which was staged, and followed this with a set of 12 trio sonatas. These two genres, secular vocal music and instrumental works, were Albinoni's two main concerns throughout his composing life, although his reputation rests largely on the latter, as little survives of his output of over 50 operas.

There are suggestions that Albinoni might have been briefly employed by the Duke of Mantua, but most likely he merely dedicated a work to him following a meeting at the opera in Venice. His operas began to enjoy success in Italy, and in 1705 he married the soprano Margherita Rimondi. Despite rearing six children she managed to continue her performing career, but died in her thirties. Albinoni's difficulties continued when he was the victim of a legal action by one of his father's creditors, which resulted in the family losing their shops.

Albinoni continued to write instrumental compositions and in 1707 published a set of 12 concertos for strings, followed in 1715 by two sets of oboe concertos that show his gift for fluid, melodic lines. His fortunes improved after he dedicated 12 concertos to Maximilian Emanuel II, Elector of Bavaria, in 1722, when he was invited to Munich to supervise the staging of one of his operas at Prince-Elector Karl Albert's marriage celebrations.

Ironically, the piece for which Albinoni is best known in fact owes little to him. The Adagio for strings and organ was elaborated from a fragmented manuscript by the twentieth-century Italian musicologist, Remo Giazotto. The piece owes its romantic character to some particularly lush string writing.

Albinoni associated little with his fellow composers, and although the influence of Corelli and Vivaldi can be traced, his musical ideas were relatively undiluted by others. This individuality, particularly in his instrumental works, along with the popular success of his apocryphal Adagio, makes Albinoni well worth discovering.

 
 
 
 
 
Albinoni - Adagio in G Minor
 
The Adagio in G minor for violin, strings and organ continuo, is a neo-Baroque composition popularly attributed to the 18th century Venetian master Tomaso Albinoni, but in fact composed almost entirely by the 20th century musicologist and Albinoni biographer Remo Giazotto.
 
 
 
 
 
 
 
 
 
David Garrett - Albinoni - Adagio - Berlin 08.06.2010
 
 
 
 
 
 
 
 
 
ALBINONI: ADAGIO - XAVER VARNUS PLAYS THE INAUGURAL ORGAN RECITAL OF THE PALACE OF ARTS OF BUDAPEST
 
Recorded live in the Palace of Arts of Budapest on June 4th, 2006. This was the first organ recital in the hall's history.
 
 
 
 
 
 
 
 
 
Albinoni : Adagio in G minor [Violin & Organ]
 

Adagio in G minor
[Violin & Organ]
Violin: Stepan Grytsay
Camera & Edition: Roman Grytsay Sponsor: Michael Vezina
Salta - ARGENTINA - 27/08/2012
 
 
 
 
 
 
 
 
 
Tomaso Albinoni - Adagio
 
Copernicus Chamber Orchestra, Horst Sohm conducting/Leitung,
Tomaso Albinoni - Adagio en sol menor, in G minor,
Live in concert, Festival de Musica de L´Escala, Concert performance 2011

Violins: Anna Piniuta, Michał Kwaśniak, Marta Rusiniak, Ewa Żołyniak,
Aleksandra Pilarska Sabina Milewska, Katarzyna Składanek,
Violas: Magdalena Swiąder, Weronika Maniakowska,
Violoncellos: Michał Litwa, Joanna Laskowska,
Bass: Krzysztof Sypek,

Especial agradecimento al
Festival de Musica de L´Escala (Catalunya/Spain);
A Francesc Bigaró y María Negre: Cámeras y grabación
Miguel Pagès:Director del Canal 10 Empordà

 
 
 
 
 
 
 
 
 
Herber Von Karajan - Adagio de Albinoni
 
 
 
 
 
 
 
 
 
Albinoni : Adagio
 
 
 
 
 
 
 
 
 
Paco de Lucía Concierto Aranjuez - Adagio
 
 
 
 
 
 
 
 
 
Albinoni: Adagio in G minor
 
 
 
 
 
 
 
 
 
Lara Fabian - Adagio of Albinoni
 
 
 
 
 
 
 
 
 
Adagio - Sarah Brightman
 
 
 
 
 
 
 
 
 
Celine Dion Albinoni Adagio
 
 
Published on Nov 28, 2013

I don't know where to find you
I don't know how to reach you
I hear your voice in the wind
I feel you under my skin
Within my heart and my soul
I wait for you
Adagio

All of these nights without you
All of my dreams surround you
I see and I touch your face
I fall into your embrace
When the time is right I know
You'll be in my arms
Adagio

I close my eyes and I find a way
No need for me to pray
I've walked so far
I've fought so hard
Nothing more to explain
I know all that remains
Is a piano that plays

If you know where to find me
If you know how to reach me
Before this light fades away
Before I run out of faith
Be the only man to say
That you'll hear my heart
That you'll give your life
Forever you'll stay

Don't let this light fade away
Don't let me run out of faith
Be the only man to say
That you believe, make me believe
You won't let go
Adagio

 
 
 
 
 
 
 
 
 
Gela Guralia  - Adagio
 
 
 
 
 
 
 
 
Boston Cello Quartet plays Albinoni, Adagio
 
Performance by the Boston Cello Quartet.
Live at Pickman Hall, Cambridge, MA on November 22, 2010.
Arranged by W. Thomas-Mifune.
 
 
 
 
 
 
 
 
 
Т. Альбинони "Адажио" - Дмитрий Хворостовский
 
 
 
 
 
 
 
 
Elmira Kalimullina - Adagio Albinoni
 
 
 
 
 
 
 
 
 
Adagio Albinoni - Charice Pempengco and Cristian Imparato
 
 
 
 
 
 
 
 
Tomaso Albinoni Sonate da Chiesa Op.4, Trattenimenti Armonici Op.6 1/2
 
omaso Albinoni Sonate da Chiesa Op.4, Trattenimenti Armonici Op.6 1/2

Disc: 1
1-4. Sonata In C Major Op. 6 No. 1: Grave 0:00-8:42
Larghetto. Adagio, Allegro
5-8. Sonata In G Minor Op. 4 No. 4: Adagio 8:42-15:50
Allegro, Adagio, Allegro
9-12. Sonata In B Flat Major Op. 6 No. 3: Grave 15:50-23:24
Allegro, Adagio, Presto
13-16. Sonata In F Major Op. 6 No. 5: Grave 23:24-33:07
Allegro, Adagio, Allegro
17-20. Sonata In B Minor Op. 4 No. 6: Largo 33:07-39:37
Allegro, Adagio, Allegro
21-24. Sonata In G Major Op. 6 No. 9: Grave 39:37-50:03
Allegro, Adagio, Allegro
25-28: Sonata in C minor Op.6 No.10: Grave 50:03-1:00:37
Allegro, Adagio, 10: Allegro
29-32. Sonata In G Minor Op. 4 No. 5: Adagio 1:00:37-1:11:07
Allegro, Adagio, Presto
33-36. Sonata In D Major Op. 6 No. 7: Grave 1:11:07
Allegro, Adagio, Allegro

Locatelli Trio

 
 
 
 
 
 
 
 
Albinoni - Sonata in A minor op6-6
 
LA FENICE

Amandine Beyer ( vn )
Emilio Glizzi ( vc )
Lsaurent Stewart ( cem )

 
 
 
 
 
 
 
 
T. Albinoni Concertos and Sinfonias without No. of Opus
 
1-3 Concerto per violino in Re maggoire, Co1 0 - 4:27

4-5 Sinfonia in Fa maggoire, Si 2 4:27-7:18

6-7 Sinfonia in La maggoire, Si 3 7:18-9:52

8-9 Sinfonia in La maggoire, Si 3a 9:52-13:12

10-11 Sinfonia in Re maggoire, Si 4 13:12-17:32

12-13 Sinfonia in La maggoire, Si 5 17:32-21:21

14-16 Concerto per violino in Do maggoire, Co 2 21:21-27:40

17-19 Sinfonia in Si b maggoire, Si 6 27:40-32:25

20-22 Concerto per violino in Sol maggoire, Co 4 32:25-41:07

23-25 Sinfonia in Sol minore, Si 7 41:07-46:59

26-27 Sinfonia in Sol maggoire, Si 8 46:59-50:50

28-30 Sinfonia in Fa maggoire, Si 9 50:50

 
 
 
 
 
 
 
 
Tomaso Albinoni Chamber Sonatas
 
 
 
 
 
 
 
 
 
Tomaso Albinoni Sonate da Camera for Violin and B.c.
 
Sonata I In F Major So.40 0:00
Sonata II In A Minor So.41 7:02
Sonata III In E Major So.42 14:25
Sonata IV In D Minor So.43 21:14
Sonata V In D Major So.44 25:30
Sonata VI In A Major So.45 31:53
Giovanni Battista Tibaldi — Suario O Capriccio Di Otto Battute L'Imitationo Del Corelli 38:35

Donatella Colombo Violin
Clare Ibbott Violoncello
Marco Rossi Harpsichord

Rec. 1995

 
 
 
 
 
 
 
 
 
Albinoni: Concerti a cinque, Op. 10
 
 
 
 
 
 
     
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