Anna Bon di Venezia (1738, Bologna - after 1767) was an Italian composer, singer and harpsichordist. The daughter of all-round artist Girolamo Bon (painter, stage architect, decorator and machinist, libretto author, composer, principal and possibly also evening director of his family business, to which his wife, the singer Rosa Ruvinetti-Bon, belongs father-in-law Stefano Ruvinetti and from about 1755 his daughter Anna). Anna Bon remained involved in her parents' artistic environment until 1765; from July 1762 they worked together at the court of Prince Nicholas I Joseph Esterházy de Galantha in Joseph Haydn's ensemble. As a child ("figlia di spese", paying student), A. B. received a thorough musical education at the "Pio Ospedale della Pietà" (orphanage and music school) in Venice. Travels through Europe and stays in Germany followed. The Bon family had a longer engagement at the Bayreuth court, where acted as the unofficial "spiritus rectrice" of the music department Wilhelmine von Bayreuth (a composer, lutenist, harpsichordist, librettist and artistic director). Her husband, Friedrich, a student of Michel Blavet and Johann Joachim Quantz, played flute, viola da gamba and the fashionable French instrument musette de cour. The court had developed into a flute stronghold. Harpsichords borrowed from Margravine Wilhelmine stood in the singers' apartments. After the sonatas for Margrave Friedrich's flute op. I, she composed for her instrument "Sei Sonate Per il Harpsichord opus II", which she dedicated to Ernestine Auguste Sophie, who was the same age as mentioned, printed in 1757 in età d'anni dieci sette ("at the age of 17 years"). To publish a coherent cycle of six more sonatas for this instrument was a mature achievement for such a young woman. - Anna Bon's last years are not documented.
These harpsichord sonatas are so beautiful and playable at a first attempt. The formal structure is clear like those sonatas by Vivaldi. And one can state Anna Bon knew about partimento because there are a bunch of schemata structures all around the movements. Good stuff she came up with of course.
What nonsense. She is NOT 'any nan's equal'. A moment's sincere reflection will reveal to you the utter folly of your statement. Hyperbole only destroys your credibility.
It is nice music! A pity that the interpreter is rushung so much everytime it is called allegro. Some more expressive playing would reveal even more of the beauty of these music lines.
I used the 1757 first edition (essentially a very well refined manuscript). On IMSLP you can find also my edition of this collection of Sonatas: imslp.org/wiki/6_Harpsichord_Sonatas%2C_Op.2_(Bon%2C_Anna)
It looks like a late hand engraving, e.g. before the use of die stamping. That would be why it looks rather like handwriting. Incidentally we still use the term ‘engraving’ of music from this technique. Well, some of us do…
Anna Bon di Venezia (1738, Bologna - after 1767) was an Italian composer, singer and harpsichordist. The daughter of all-round artist Girolamo Bon (painter, stage architect, decorator and machinist, libretto author, composer, principal and possibly also evening director of his family business, to which his wife, the singer Rosa Ruvinetti-Bon, belongs father-in-law Stefano Ruvinetti and from about 1755 his daughter Anna). Anna Bon remained involved in her parents' artistic environment until 1765; from July 1762 they worked together at the court of Prince Nicholas I Joseph Esterházy de Galantha in Joseph Haydn's ensemble.
As a child ("figlia di spese", paying student), A. B. received a thorough musical education at the "Pio Ospedale della Pietà" (orphanage and music school) in Venice.
Travels through Europe and stays in Germany followed. The Bon family had a longer engagement at the Bayreuth court, where
acted as the unofficial "spiritus rectrice" of the music department Wilhelmine von Bayreuth (a composer, lutenist, harpsichordist, librettist and artistic director). Her husband, Friedrich, a student of Michel Blavet and Johann Joachim Quantz, played flute, viola da gamba and the fashionable French instrument musette de cour. The court had developed into a flute stronghold. Harpsichords borrowed from Margravine Wilhelmine stood in the singers' apartments.
After the sonatas for Margrave Friedrich's flute op. I, she composed for her instrument "Sei Sonate Per il Harpsichord opus II", which she dedicated to Ernestine Auguste Sophie, who was the same age as mentioned, printed in 1757 in età d'anni dieci sette ("at the age of 17 years"). To publish a coherent cycle of six more sonatas for this instrument was a mature achievement for such a young woman. - Anna Bon's last years are not documented.
These harpsichord sonatas are so beautiful and playable at a first attempt. The formal structure is clear like those sonatas by Vivaldi. And one can state Anna Bon knew about partimento because there are a bunch of schemata structures all around the movements. Good stuff she came up with of course.
I've never heard of this composer... but these sonatas are great! Some of them are full of drama!
Such wonderful writing! She's any man's equal and rivals many of the best composers for harpsichord!
What nonsense. She is NOT 'any nan's equal'. A moment's sincere reflection will reveal to you the utter folly of your statement. Hyperbole only destroys your credibility.
This is quality content
Thank you! 🌷
OMG!!!!
It is nice music! A pity that the interpreter is rushung so much everytime it is called allegro. Some more expressive playing would reveal even more of the beauty of these music lines.
Is this manuscript or Score font?
I used the 1757 first edition (essentially a very well refined manuscript). On IMSLP you can find also my edition of this collection of Sonatas: imslp.org/wiki/6_Harpsichord_Sonatas%2C_Op.2_(Bon%2C_Anna)
do you know what tool it was written with?
@@artikulationsbezeichnung7616 No idea!
It looks like a late hand engraving, e.g. before the use of die stamping. That would be why it looks rather like handwriting. Incidentally we still use the term ‘engraving’ of music from this technique. Well, some of us do…