Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria


Furlana. See Forlana. Furlanetto, Bonaventura [‘Musin’]



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Furlana.


See Forlana.

Furlanetto, Bonaventura [‘Musin’]


(b Venice, 27 May 1738; d Venice, 6 April 1817). Italian composer. Of poor parents, he spent his childhood in the parish of S Nicolò dei Mendicoli, a district of Venice known for its fishermen and artisans, with which he always identified and where he chose to be buried. Musically he was almost self-taught, although he had some instruction from his uncle, Nicolò Formenti, who was an amateur organist, and from Giacopo Bolla, a priest. He studied literature and philosophy with Jesuit teachers, but had difficulty qualifying for the priesthood until the patriarch of Venice interceded for him, having been impressed by his music performed at S Nicolò. Later he renounced the ministry, but continued to wear ecclesiastical dress.

Of Furlanetto's earliest surviving music, a Laudate Dominum of 1762 (in F-Pc) shows competence in the conservative style and a componimento sacro of 1763, La sposa de' sacri cantici, in the theatrical. The latter, written for the oratory of S Filippo Neri, Venice, was well received and was revived there in 1767, 1773 and 1784. Even more successful was his oratorio Giubilo celeste al giungervi della sant'anima performed at SS Giovanni e Paolo on 16 May in 1765, 1766 and 1767, which according to Caffi pleased audiences with its opera buffa traits. He also provided music to commemorate the canonization of Girolamo Miani at S Maria della Salute on 20 July 1768 and later that year he wrote an oratorio for the hospital choir at S Maria della Visitazione, commonly called the Pietà, where on 21 September 1768 he was appointed maestro, a position he held for nearly 50 years.

In August 1770 Burney heard Furlanetto direct at the Pietà and reported that ‘the composition and performance which I heard tonight did not exceed mediocrity’. On 14 August Burney was more favourably impressed by his music at the church of S Maria Celeste and returned the following day for the feast of the Assumption, when he was again disappointed:

the resources of this composer are very few; he has little fire and less variety, but he sins more on the side of genius than learning, as his harmony is good, and modulations regular and warrantable; yet I must own, that his music is to me tiresome, and leaves behind it a languor and dissatisfaction.

Moreover Burney reported that Galuppi was ‘rather hurt at the encouragement and protection which ecclesiastical dunces, among whom is F[urlanetto], meet with as composers here’. And yet Caffi later claimed that Galuppi had respected Furlanetto and even encouraged him to complete one of his masses. The far higher quality of Furlanetto's music composed in the later 1770s and 1780s indicates that his musical talent developed considerably. Exceptionally gifted singers, such as Bianca Sacchetti and Benvenuta, whose range reached high a''' and for whom Furlanetto wrote out elaborate cadenzas, joined a growing roster of skilled singers at the Pietà in the mid-1780s. The fact that the scores of his earlier oratorios do not survive except in later revisions suggests his own recognition of his vastly improving abilities. His orchestral resources at that time came to include not only strings and the usual wind instruments but double bassoon, slide trombone, serpent, ‘doppio corno’ and percussion instruments: timpani, drums, bells, jingle bells (sonagli) and rattles (sistri). The psaltery, guitar and theorbo were also used for special effects. Furlanetto’s unusual bass lines may well have been prompted by the fact that Domenico Dragonetti assisted Furlanetto at the Pieta until the early 1790s.

In 1774 Furlanetto competed unsuccessfully for the post of vicemaestro at S Marco. When Ferdinando Bertoni was excused to make his second trip to London (1781–3), Furlanetto was named organista supplementare to replace him. On 18 December 1794 he was appointed vicemaestro provvisorio, and on 23 December 1797 secondo maestro effettivo. The date of his election as maestro di cappella is given as 1814 by the Gazzetta privilegiata di Venezia of 10 April 1817, yet he must have succeeded Bertoni as primo maestro shortly after the latter's retirement on 11 June 1808.



By the early 1800s Furlanetto had become known throughout northern Italy as the most important composer of sacred music in Venice. In 1811 he was unanimously elected maestro di contrappunto by the 40 dilettanti who had established the Istituto Filarmonico in Venice. A counterpoint treatise from this year is mentioned by Caffi, although the only surviving theoretical work, Lezioni de contrappunto (I-Vc), is dated 1789. Among his many composition students were Anselmo Marsand, Giovanni Pacini, the patrician Zambelli, the Abate G.B. Botti and his closest friend, Antonio Rota. Rota, a priest at S Vitale, sponsored concerts in his home and church, which Furlanetto conducted, and put in order Furlanetto's autograph scores, now in the Venice Conservatory and Marciana libraries, after his death. The liturgical works composed for S Marco would be easily distinguishable from those written for the Pietà were it not that a bass part occurs in many of the oratorio choruses. Some visitors mentioned the presence of a bass voice at the Pietà, and yet no male singer is ever named in any of the printed librettos.

WORKS


many autographs, notably in I-Vc

oratorios


All for solo vv, chorus, orch; performed at Venice, Pietà, unless otherwise stated

La sposa de' sacri cantici, Venice, S Maria della Fava, 1763, I-Bc, Oratorio di S Filippo Neri, Chioggia; Giubilo celeste al giungervi della sant'anima del Protomartire Giovanni Nepomuceno (M. Fiecco), Venice, SS Giovannie Paolo, 16 May 1765, perf. 1767 as Il trionfo del invitissimo Protomartire Giovanni Nepomuceno; Joseph pro-rex Aegypti thypus Christi, Sept 1768, Vc (as rev. for 1811); De nativitate virginis genethliacon, 8 Sept 1770, Vc; Moyses in Nilo, 1771, Vc (as rev. for 1797); Felix victori, 1773, Vc, rev. 1805, Vc; Jaelis victoria, 1773, Vc (as rev. for 1805); Athalia, 8 Sept 1773, Vc

Templi reparatio, 8 Sept 1774, Vc (as rev. for 1813); Jerico, 8 Sept 1775, Vc; David in Siceleg, 8 Sept 1776, Vc; Israelis liberatio, 1777; Reditus exercitus Israelistici postcladem Philistaeorum, 1777; Mors Adam, 1777, Vc (as rev. for 1809); Nabot, 1778, Pca, Vc; Somnium Pharaonis, 1779; De filio prodigo, 1779, Vc (as rev. for 1800); Dies extrema mundi, 1780; David Goliath triumphator, 1780, Vc (as rev. for 1803); Jonathas, 1781, Vc (as rev. for 1798); Salomon rex Israel electus, 1782, Vc (as rev. for 1806); Aurea statua a rege Nabucodonosor erecta vel pueri Hebraei in fornace ardentis ignis, 1783, Vc (as rev. for 1803)

Prudens Abigal, 1784, Vc (as rev. for 1807); Moyses ad Rubum, 1785; Absalonis rebellio, 1785, Vc; Sisara, 1786, Vc; Abraham et Isach, 1786, Vc; De solemni Baltassar convivio, 1787; Judith triumphans, 1787, Vc; De solemni nuptiae in domum Lebani, 1788, Vc (as rev. for 1797, 1814); Triumphus Jephte, 1789, Vc (as rev. for 1801); Bethulia liberata (after P. Metastasio), 1790, Vc (as rev. for 1804); Gedeon, 1792, Vc; De filio prodigo, 1800, Vc; Primum fatale homicidium, 1800; Il trionfo di Iefte, 1801, Vc (probable rev. of 1789); Tabia [doubtful]

cantatas


all performed Venice, Pietà

Veritas de terra orta est, 5vv, 1810; Sponsia mantis caro, 5 choirs, 5 orch; Sumo furis regulia venus dies jucundum, 2 choirs, 2 orch: all Vc

S, A, orch: Melior fiducia vos ergo, 1775; Quisnam felicior me?, 1780, Vc; In coelo resplendent, 1785, Vc; Alma letitie dies, 1789, Vc; Cantata duodecima, 1791, Vc; Nuptie Rachelis, 1795, Vc; Fugitiva quis ploras anima, Vc; Vitae calamitates [possibly same as the preceding]

solo motets


unless otherwise stated, for soprano or alto with strings, in I-Vc

Ad arma populi venite, A, orch; Ah quiescite et pene modi, 1798; Alma dies suspirata, 1787; Alma giustiniana, 1791; Aures fugaces tacete, 1800; Dies serena, dies beata, S, 2 hn, str, 1786; Dulcis amor care Jesu, 1798; Dum fremit irata maris; Ecce expectata in coelo, S, 2 fl, 2 hn, str, 1791; Ecce repente quies fugit; Ergo mundi delitiae, 1787; Erit sub arboris umbra, S, 2 fl, 2 hn, str; Haeccine sunt quae nobis, 1775, lost; Heu ma quasi deficio, 1805; In montibus excelsis; Misera quo me verto?, 1792; Nondum antro profundo, S, 2 hn, str

O Deus ubinam sui!, A, 2 fl, 2 hn, str, 1783; O mi Jesu dulce nomen, 1802; O quam fausta solemni, S, 2 fl, 2 hn, str; O splendor! novo et vago; Parce Deus; Populi gentes omnes jubilate, 1812; Precipitant furentes a vertice; Qualis terror crudelis occupat; Quid agis anima mea; Quid exopto? quid potius; Sacri amoris; Stat afflicta in silva, S, 2 hn, str; Surge lucida aurora et novo, S, 2 hn, str; Ubinum? sum quis horror, 1779; Unde pax salus unda, 1777; Vera tu quidem profers, 1775, lost; Voces cordis dolentis, 1794; Vos splendidi coeli plaudendo, S, 2 fl, 2 hn, str; solo motets, 1v, bc, F-Pc*

other sacred


Marian antiphons, perf. Venice, Pietà: 11 Alma Redemptoris, solo S or A, str, 1 with 2 fl, I-Vc; 1 Alma Redemptoris, T, org, Vsmc; 1 Alma Redemptoris, 2vv, Vnm; 10 Ave regina, solo S or A, str, 3 with add. insts, Vc; 1 Ave regina, 2vv, Vnm; 13 Regina coeli, solo S or A, str, 7 with add. insts, Vc; 2 Regina coeli, T, str, Oratorio di S Filippo Neri, Chioggia, Pc; 9 Salve regina, solo v, most with str, Vc, Vnm, F-Pc; Salve regina, 2 S, 2 orch, I-Vc, Vnm; 4 Marian antiphons, T, B, Vnm

Other antiphons: Alma Redemptoris, SSAB, orch, Vc; 2 Alma Redemptoris, 2 choirs, org, Vc; 2 Ave regina, 3vv, str, Vc, Vnm; 3 Regina coeli, TB, Vnm, Vsmc; Salve regina, SAB, str, Vc; 4 Salve regina, 3, 4vv, acc., Vc, Vnm; others, Pc, Vc, Vnm, Vsmc

Masses, mass movts: 8 masses, 2vv, BDG, Vc, Vnm, Vsmc; 3 masses, 3vv, Vnm; Mass, 4vv, VIb; 5 Kyrie, 3vv, insts, F-Pc, I-Vc, Vnm, Vsmc; 4 Kyrie, 4vv, str, F-Pc, I-Mc, Vc; 6 Gloria, 3vv, insts, F-Pc, I-Vc, Vnm; 7 Gloria, 4vv, F-Pc, I-Pca, Vc, Vnm; 1 Gloria, Vsmc; Gratias agimus, T, insts, Vsmc; Qui sedes–Quoniam, 2vv, bc, Vc; 2 Quoniam, 3vv, Vc; Credo breve, Vsm; 12 Credo, 3, 4vv, some acc., F-Pc, I-Pc, Vc, Vnm, Vsmc; Sanctus, 2vv, unacc., Vc; Sanctus, Vsmc (inc.); Agnus Dei, 2vv, unacc., Vc; 3 Requiem, 3vv, D-Bsb (Eitner), I-Vc (with str), Vnm; 2 Dies irae, 3–4vv, orch, F-Pc, I-Vnm

5 introits, 2–4vv, 2 acc., I-Vc, Vnm, Vsmc

Hymns: 3 Ave maris stella, 3vv, org, Vnm; 2 Iste confessor, 2, 3vv, Bsf, Vnm; 16 Pange lingua, 2–6vv, 8 acc., Nc, Pc, Vc, Vnm; 26 Tantum ergo, 2–4vv, 18 acc., F-Pc, I-BDG, Pc, Vc, Vnm, Vsmc; others Vc, Vnm

20 Magnificat, 2–6vv, 16 acc., Vc, Vnm, Vsmc; 4 Confitebor, 2–4vv, 3 acc., Nc, Vc, Vsmc; 3 Credidi, 3vv, 2 acc., Pc, Vc, Vsmc; 3 De profundis, 3, 4vv, 2 acc., Pc, Vc; 3 Deus in adiutorium, 3, 4vv, 2 acc., Vc, Vnm; 3 Dixit, 3, 4vv, orch, Nc, Vc; 2 Domine probasti, SAB, orch, Vc; 3 Laetatus sum, 3, 4vv, 2 acc., Pc, Vc; 7 Lauda Jerusalem, 3, 4vv, 5 acc., Vc, Vnm, Vsmc; 5 Laudate Dominum, 3, 4vv, 3 acc, F-Pc, I-Vc, Vnm, Vsmc; 7 Laudate pueri, 3–4vv, orch, F-Pc, I-Bc, Vc, Vnm, Vsmc; 9 Miserere, 3, 4vv, 2 choirs, 5 acc., I-Vc, Vnm; 10 Nisi Dominus, 1, 3, 4vv, 2 choirs, 9 acc., Pc, Vc, Vnm, Vsmc; others Vc, Vsmc

Other sacred works, incl. music for Holy Week, doxologies, graduals, offertories, responses, versicles, motets, vespers and compline music: F-Pc, I-BDG, Mc, Nc, Pc, Vc, Vnm, Vsmc

secular


Vocal: Baccanale, I-Vnm; Galatea (azione teatrale, Metastasio), Venice, private academy, Venezia nobile terra d'incanto, 1v, pf, Vc; Volgi, deh! volgi, 3vv, Vnm; Coro, 4 Aug 1799, Pietà, A-Wn

Inst: Marcia funebre, org, I-Vsmc; Marcia, inc. Vsmc; Pastoral, 2 hn, 2 v, 2 va, b, org, Vc; Tema con variazioni, pf, dated 1850, Vt (possibly by A. Furlanetto)

theoretical works


Lezioni de contrappunto, 1789, Vc*

Trattato di contrappunto, 1811, mentioned CaffiS and FétisB

BIBLIOGRAPHY


BurneyFI

CaffiS

EitnerQ

FétisB

GerberL

SchmidlD

SchmidlDS

F. Caffi: Della vita e del comporre di Bonaventura Furlanetto (Venice, 1820)

B. Gamba: Galleria dei letterati ed artisti illustri delle provincie Veneziane nel secolo XVIII (Venice, 1824)

G. Dandolo: La caduta della repubblica di Venezia ed i suoi ultimi cinquant'anni (Venice, 1856)

G. Masutto: I maestri di musica italiani del secolo XIX (Venice, rev. 3/1882)

M.A. Zorzi: ‘Saggio di bibliografia sugli oratorii sacri eseguiti a Venezia’, Accademie e biblioteche d'Italia, iv (1930–31), 226–46, 394–403, 529–43; v (1931–2), 79–96, 493–508; vi (1932–3), 256–69; vii (1933–4), 316–41

S. dalla Libera: ‘Cronologia musicale della Basilica di San Marco in Venezia’, Musica sacra [Milan], 2nd ser., vi (1961)

D. and E. Arnold: The Oratorio in Venice (London, 1986)

M. Marx-Weber: ‘Neapolitanische und venezianische Misererer – Vertonungen des 18. und frühen 19. Jahrhunderts’, AMw, xliii (1986), 137–63

G. Bianchini and C. Manfredi: Il fondo Pascolato del Conservatorio Benedetto Marcello: catalogo dei manoscritti (Florence, 1990)

SVEN HANSELL




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