Bernardo Pasquini

Bernardo Pasquini , born the December 7th 1637 in Massa di Valdinievole (close to Pistoia) and dead the November 21st 1710 with Rome, is a Compositeur, Claveciniste and Italian Organiste .

Biography

Definitively installed in Rome as of 1650, he studies with Antonio Cesti and Loreto Vittori, and takes note of works of Palestrina and Girolamo Frescobaldi, died recently (1643), and whose memory is still long-lived in the musical world Roman. This will be worth to him later a reputation of specialist in the true Italian manner.

He becomes, towards 1663, organist with the basilica Santa Maria Maggiore, then in 1664, of Santa Maria in Aracoeli and the Oratory of Very-Saint Crucifix. He accompanies with Paris in 1664 the continuation by the cardinal Flavio Chigi and plays of the harpsichord in front of Louis XIV. It is for him the occasion to hear and of côtoyer the French musicians.

Towards 1670, it enters to the service of prince Borghese, as harpsichordist and choirmaster, posts that it preserves until his death. In 1690, it is one of the first members of the Accademia dell' Arcadia, association placed under the patronage of the Ottoboni cardinal (nephew of the pope Alexandre VIII and patron sumptuous) and the purpose of who is to formalize the rules of the Italian opera to raise prestige of it. Its pseudonym is Protico there. Among his colleagues, musicians eminent, one counts in particular Giovanni Bononcini, Alessandro Scarlatti ( Terpandro ), Arcangelo Corelli ( Arcimelo ), the brothers Alessandro and Benedetto Marcello (respectively Eterio Stinfalico and Driante ).

Its work

Pasquini is the largest Italian clavierist of the intermediate period between Frescobaldi and Domenico Scarlatti. He is also theorist of the music, very required as professor and has as pupils Francesco Gasparini, Georg Muffat, Domenico Zipoli, Azzolino della Ciaja, Francesco Lasting, Giovanni Maria Casini, etc

Its work includes/understands many vocal compositions (17 Oratorio S, 14 opera S, Motet S, more than fifty Cantate S) of which the major part is lost. What reached us consists primarily of manuscripts of parts for the organ and the harpsichord which unite with the Italian style the presence of elements of the French continuation.

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