Baldassarre Galuppi (1706-1785) - Concerto per il Fagotto

Buon compleanno Baldassarre Galuppi! 🎭🍷

Composer: Baldassarre Galuppi (1706-1785)
Work: Concerto (Si bemolle maggiore) per il Fagotto
Performers: Sergio Azzοlіnі (bassoon); L’Opera Strаvаgаnte; Ivano Zаnеnghi (conductor)

Concerto per il Fagotto
1. Allegro moderato 0:00
2. Largo 5:42
3. Allegro 10:52

Painting: Attributed to Jan Josef Horemans (1682-1759) - A Musical Party
HD image: https://flic.kr/p/2qomTep

Further info: https://www.muziekweb.nl/en/Link/DBX8...
Listen free: No available

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Baldassarre (Baldassare, Baldasar, Baldassero) Galuppi [Galluppi] detto 'Il Buranello'
(Burano, 18 October 1706 - Venice, 3 January 1785)

Italian composer and violinist. Although largely self-trained as a youth, a catastrophic failure of his first opera, Gli amici rivali, at the age of 16 directed him to receive professional training from Benedetto Marcello and Antonio Lotti in Venice. By 1729 he had attained a reputation in the city as a facile and progressive composer of opera, finding employment in various opera houses as a continuo player. In 1738 he was appointed as the musical director of the Ospedale dei Mendicanti, later traveling to London to perform his operas. By 1745, beginning with La forza d’amore, he started writing comic operas, and only four years later he began collaborating with Carlo Goldoni on a series of comic works for the Venetian carnival. Although he continued to receive a salary from the Mendicante and as assistant maestro di cappella at St. Mark’s, he concentrated almost exclusively on commissions for various cities in Europe. In 1762 he was appointed as maestro di coro at St. Mark’s as well as musical director at the Ospedale degli Incurabili, and two years later he traveled to St. Petersburg to produce operas at the court of Catherine II, including Ifigenia in Tauride. Upon his return to Italy in 1768, he turned toward the composition of sacred music. Charles Burney considered Galuppi an “intelligent and agreeable gentleman,” the most original of all of the Italian composers met during his journey. He is one of the earliest composers to develop the ensemble finale, and his use of colorful orchestration was praised by Burney, among others. His writing showed a special gift for good melody and knowledge of vocal writing. He set much of Pietro Mestastasio’s texts to music, and his collaboration with Goldoni produced popular comic works, such as La Diavolessa (1755), Il mondo alla roversa and Il mondo della luna (1750), and La Cantarina (1756), many of which were produced successfully all over Europe. He also delved into historical opera with Gustavo I (1740, to a serious text by Goldoni), based upon the figure of Swedish king Gustaf Wasa. In all, Galuppi wrote 90 sonatas for keyboard, seven concertos “à 4,” 106 operas, 27 oratorios, 19 cantatas, several Masses, and a host of smaller sacred works, some of which were formerly attributed to Antonio Vivaldi and Johann Adolph Hasse. His son, Antonio Galuppi (c.1740-1780), was a librettist who supplied texts for at least four operas composed by his father.