00:01 - Te Deum laudamus 03:31 - Te gloriosus apostolorum chorus (Basso solo) 05:21 - Te per orbem terrarum 08:42 - Te ergo quaesumus (Contralto solo) 11:36 - Et rege eos (Soprano solo) 13:07 - Dignere, Domine
Son traitement des choeurs est absolument grandiose. (S'il est à vraiment à l'origine de quoi que ce soit) on sent sa "patte" dans la messe en ut de Mozart et dans son requiem, avec quelque chose de Bach et de Haendel! Grand dommage qu'il n'ait pas pu composer plus abondamment. On le sent "charnière ou chaînon manquant" entre le baroque et le classique.
Giovanni Battista Martini was one of "the most learned musicians of his own or of any other time." (E. J. Dent) A teacher and benefactor to young Wolfgang Amadeus Mozart, he exerted a great influence on the development of 18th century music. "To Martini....[counterpoint] was a living language...and the result of his teaching was that Mozart eventually obtained a mastery of counterpoint...rare even among composers of the first rank." {p. 16, Edward J. Dent, "Mozart's Operas", Oxford University Press, Oxford, 1947}. Charles Burney (18th century music historian and chronicler, quoted by Dent) described him as having "a native cheerfulness, softness and philanthropy. Upon so short an acquaintance I never liked any man more....I felt ...as little reserve ...as with an old friend or beloved brother. " Martini was "saturated" with the knowledge of the great polyphonic period composers, having a library of 17,000 books in his music library. (Burney, Dent)
Ahhh sorry! xD "Impressionante" is the same in italian too :))). I said: ehhh, there isn't only Vienna in 700. And sorry again but i can't speak Portuguese, only Italian, English and a little French ;p
@Divergent Integral It would be very interesting to study deeper that "transition" period and the definition of "transition" too. I've heard some theory about the fact that in some areas of Europe there was a direct "transition" from "Baroque" to "Romanticism". Nonetheless, it's not rare to refer to the Classical Era like the Wiener Classicism, as it was particularly bound or related to that geographic area. Some speaks about the "Gallant" period; in my humble opinion it is kinda reductive to define it like a transition. Anyway I'm not arguing what you wrote, I'm aware of the attitude of Martini about contrapunctal musica and especially from Palestrina. He was still a clerical and this is a sacred music piece...
@Divergent Integral Ok. I see you are a very learned person, citing books and treatises (which I didn't read) and showing you have solid basis on what you affirm. I'm just afraid I'm missing the point of the conversation: what I was trying to do was to point the focus on the fact that between Baroque and Classicism there is something, which is not Baroque and not Classicism either and, for the little I know, I think this period of time has the potential to be defined with a strong and specific identity, differently from what appears to be on the general understanding. The first comment says "Italian Baroque"; you still "move" Martini towards the late Baroque; it seems like we must classify it as meat or fish. Is it meat or fish? It seems not clear, but surely it's more like meat (Baroque). So as you say every period is a transition from what's before and what's next, as could be the polyphonic textures from the "before" (could it be considered from the "next", since the introduction of the polyphony in the symphonism is a Classicism characteristic....? I don't know) so that shouldn't really count I guess. But at the end, what's your position about it? Does Martini rapresent a transition between meat and fish, more like meat, or is it something else, like a vegetable, for example? xD Because it wasn't clear to me. Sorry if I spoke with food examples, it's just to joke a little bit. EDIT: By the way, of course I see the similarities with late Baroque, but I think late Baroque has a lot to show and to work about with studies and researches and got interesting traits putting it keanly apart from the previous times. EDIT 2: Happy Easter :D
@Divergent Integral woah very nice analogy with the dolphin xD fits perfectly. I've got it clear now. And as you said it now I feel I pretty much agree on what you say. I'd just like to have the chance to study deeper '700 music and in particular the italian '700... when you study at school is like there's Baroque and Classicism and what's in between is not much to worry about, when I think instead it could be a pivotal period that probably could rival the other two for the impact they had on Western Music developement. Probably not but I'd invest some cents on that :D Thank you for the nice talk.
Deo Gratias!!!
padre martini è una leggenda un idolo una motivazione per il mondo musicale e talenti musicali.
00:01 - Te Deum laudamus
03:31 - Te gloriosus apostolorum chorus (Basso solo)
05:21 - Te per orbem terrarum
08:42 - Te ergo quaesumus (Contralto solo)
11:36 - Et rege eos (Soprano solo)
13:07 - Dignere, Domine
Teacher of Mozart and Bach. How lovely. 🙂
Son traitement des choeurs est absolument grandiose. (S'il est à vraiment à l'origine de quoi que ce soit) on sent sa "patte" dans la messe en ut de Mozart et dans son requiem, avec quelque chose de Bach et de Haendel! Grand dommage qu'il n'ait pas pu composer plus abondamment. On le sent "charnière ou chaînon manquant" entre le baroque et le classique.
Belle musique, merci de l'ajout.
Einfach Herrlich ! Das ist Musik, vom feinsten ! Ich Bin Christ und finde solche Musik - einfach Toll !!!
a true masterpiece!
Giovanni Battista Martini was one of "the most learned musicians of his own or of any other time." (E. J. Dent) A teacher and benefactor to young Wolfgang Amadeus Mozart, he exerted a great influence on the development of 18th century music. "To Martini....[counterpoint] was a living language...and the result of his teaching was that Mozart eventually obtained a mastery of counterpoint...rare even among composers of the first rank." {p. 16, Edward J. Dent, "Mozart's Operas", Oxford University Press, Oxford, 1947}. Charles Burney (18th century music historian and chronicler, quoted by Dent) described him as having "a native cheerfulness, softness and philanthropy. Upon so short an acquaintance I never liked any man more....I felt ...as little reserve ...as with an old friend or beloved brother. " Martini was "saturated" with the knowledge of the great polyphonic period composers, having a library of 17,000 books in his music library. (Burney, Dent)
Does this 'library' still exist?....jn
Grandissimo Padre Martini!
Figura monumentale del settecento musicale europeo!! :D ;p
Excellent...
Impressionante!
ehhh, non c'è solo Vienna nel 700 ;)
blabla blabla não te entendo. Português, por favor.
Ahhh sorry! xD "Impressionante" is the same in italian too :))). I said: ehhh, there isn't only Vienna in 700.
And sorry again but i can't speak Portuguese, only Italian, English and a little French ;p
blabla blabla ok!
O conhecimento musical da época tinha no pé Martini o depositário . Era também a fonte e ponte para tantos outros.
This 'stuff' just blows me away.....jn
Awesome - that's the Italian Baroque for ya!
Baroque? are you really really sure? We talk about Cherubini's master (or Cherubini's master's master at least xD).
Anyway yeah it's awesome!! :D
@Divergent Integral It would be very interesting to study deeper that "transition" period and the definition of "transition" too. I've heard some theory about the fact that in some areas of Europe there was a direct "transition" from "Baroque" to "Romanticism". Nonetheless, it's not rare to refer to the Classical Era like the Wiener Classicism, as it was particularly bound or related to that geographic area.
Some speaks about the "Gallant" period; in my humble opinion it is kinda reductive to define it like a transition.
Anyway I'm not arguing what you wrote, I'm aware of the attitude of Martini about contrapunctal musica and especially from Palestrina. He was still a clerical and this is a sacred music piece...
@Divergent Integral Ok. I see you are a very learned person, citing books and treatises (which I didn't read) and showing you have solid basis on what you affirm.
I'm just afraid I'm missing the point of the conversation: what I was trying to do was to point the focus on the fact that between Baroque and Classicism there is something, which is not Baroque and not Classicism either and, for the little I know, I think this period of time has the potential to be defined with a strong and specific identity, differently from what appears to be on the general understanding. The first comment says "Italian Baroque"; you still "move" Martini towards the late Baroque; it seems like we must classify it as meat or fish. Is it meat or fish? It seems not clear, but surely it's more like meat (Baroque).
So as you say every period is a transition from what's before and what's next, as could be the polyphonic textures from the "before" (could it be considered from the "next", since the introduction of the polyphony in the symphonism is a Classicism characteristic....? I don't know) so that shouldn't really count I guess.
But at the end, what's your position about it? Does Martini rapresent a transition between meat and fish, more like meat, or is it something else, like a vegetable, for example? xD Because it wasn't clear to me.
Sorry if I spoke with food examples, it's just to joke a little bit.
EDIT: By the way, of course I see the similarities with late Baroque, but I think late Baroque has a lot to show and to work about with studies and researches and got interesting traits putting it keanly apart from the previous times.
EDIT 2: Happy Easter :D
@Divergent Integral woah very nice analogy with the dolphin xD fits perfectly. I've got it clear now. And as you said it now I feel I pretty much agree on what you say. I'd just like to have the chance to study deeper '700 music and in particular the italian '700... when you study at school is like there's Baroque and Classicism and what's in between is not much to worry about, when I think instead it could be a pivotal period that probably could rival the other two for the impact they had on Western Music developement. Probably not but I'd invest some cents on that :D
Thank you for the nice talk.
I generally appriciate his style of composing
❤️❤️🙏
G.b martini was taught counterpoint by g .perti of san petronio bologna
Great ! find scoe about Martini in www.pandolfopaolo.com/giovanni-battista-martini/
there's only the link to recording!
@@just4sax there is a page of scores by Martini
@@pptrent1 thank you very much! 😊