About the life of T. Albinoni - Italian violinist and composer - known only isolated facts. He was born in Venice in a wealthy burgher family and, apparently, could quietly study music, not particularly worried about his financial situation. In 1711, he stopped signing his works "Venetian amateur" (delettanta venete) and called himself musico de violino, thus emphasizing his transition to the status of a professional. Where and from whom Albinoni studied is unknown. It's supposed to be J. Legrenzi.
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About the life of T. Albinoni - Italian violinist and composer - known only isolated facts. He was born in Venice in a wealthy burgher family and, apparently, could quietly study music, not particularly worried about his financial situation. In 1711, he stopped signing his works "Venetian amateur" (delettanta venete) and called himself musico de violino, thus emphasizing his transition to the status of a professional. Where and from whom Albinoni studied is unknown. It's supposed to be J. Legrenzi. After his marriage, the composer moved to Verona. Apparently, for some time he lived in Florence - at least there, in 1703. performed one of his operas ("Griselda", on libr. A. Zeno. Albinoni visited Germany and evidently showed himself as an outstanding master, as it was he who was given the honor to write and perform in Munich (1722) the opera for the wedding of the curtain Prince Carl Albert. Nothing is known about Albinoni except that he died in Venice. There are few extant works of the composer – mainly instrumental concertos and sonatas. However, being a contemporary of A. Vivaldi, I. S. Bach and G. F. Handel, Albinoni did not remain in the ranks of composers, whose names are known only to music historians. In the heyday of Italian Baroque instrumental art, against the background of the work of outstanding masters of the concert of the XVII - the first half of the XVIII century - T. Martini, F. Veracini, J. Tartini, A. Corelli, J. Torelli, A. Vivaldi and others - Albinoni said his significant artistic word, which over time noticed and appreciated descendants. Albinoni's concerts are widely performed, recorded on records. But there is evidence of recognition of his work in life. In 1718, a collection of 12 concertos by the most famous Italian composers was published in Amsterdam. Among them is the Concerto of Sol Major Albinoni, the best in this collection. The great Bach, who carefully studied the music of his contemporaries, singled out the sonatas of Albinoni, the plastic beauty of their melodies, and on two of them he wrote his keyboard fugues. Also preserved are the proofreadings made by Bach’s hand and to the 6 sonatas of Albinoni (Or 6). Consequently, Bach studied on the writings of Albinoni. We know of 9 Albinoni opuses, among them the trio-sonata cycles (Or. I, 3, 4, 6, 8) and the cycles of "symphonies" and concertos (Or. 2, 5, 7, 9). Developing the type of concerto grosso that Corelli and Torelli developed, Albinoni achieves an exceptional artistic perfection in it - in the plastic transitions from tutti to solo (which he usually has 3), in the finest lyricism, noble purity of style. Concerts. 7 and 9, some of which are introduced oboe (Or 7 E 2, 3, 5, 6, 8, 11), are distinguished by the special melodic beauty of the solo part. They are often called oboe concertos. In comparison with Vivaldi’s concerts, their scope, brilliant virtuoso parts solo, contrasts, dynamics and passion, Albinoni’s concerts are distinguished by restrained rigor, exquisite elaboration of orchestral fabric, melody, mastery of contrapuntal technique (hence Bach’s attention to them) and, most importantly, by the almost visible specificity of artistic images, behind which the influence of the opera is guessed. Albinoni wrote about 50 operas (more than the opera composer Handel), which he worked on throughout his life. Judging by the names ("Tsenobia" - 1694, "Tigran" - 1697, "Radamisto" - 1698, "Rodrigo" - 1702, "Griselda" - 1703, "Abandoned Didon" - 1725, etc.), as well as by the names of the librettists (F. Silvani, N. Minato, A. Aureli, A. Zeno, P. Metastasio), the development of opera in the work of Albinoni went in the direction from baroque opera to classical operatics, respectively, to the concept of operaticism, which constituteds, and other operatics, respectively, the essence. In the music of Albinoni’s instrumental concertos, the presence of operatic images is clearly felt. Raised in its elastic rhythmic tone, the major allegri of the first parts correspond to the heroics that open the operatic action. Interestingly, the title orchestral motif of the introductory tutti, characteristic of Albinoni, was then repeated by many Italian composers. The major finals of the concerts in the nature and type of material echo the happy denouement of the operatic action (Or 7 E 3). Minor parts of the concerts, magnificent in melodic beauty, are consonant with the operatic arias of Lamento and stand on a par with the masterpieces of lamentous lyrics of the operas of A. Scarlatti and Handel. As you know, the connection of the instrumental concerto with the opera in the history of music of the second half of the XVII - early XVIII century. was particularly close and significant. The main principle of the concert - the alternation of tutti and solo - was prompted by the construction of opera arias (the vocal part is an instrumental ritual). And in the future, the mutual enrichment of opera and instrumental concert fruitfully affected the development of both genres, intensifying with the formation of the sonata-symphonic cycle. The dramaturgy of Albinoni's concerts is perfect: 3 parts (Allegro - Andante - Allegro) with a lyrical top in the center. In the four-part cycles of his sonata (Grave - Allegro - Andante - Allegro) the lyrical center is part 3. The subtle, plastic, in every voice melodic fabric of Albinoni’s instrumental concerts is attractive to the modern listener with that perfect, strict, devoid of any exaggerations beauty, which is always a sign of high art.