Giovanni Benedetto PLATTI: Triosonata in G major. скачать в хорошем качестве

Giovanni Benedetto PLATTI: Triosonata in G major.

First world Recording and video: Giovanni Battista PLATTI: Triosonata in G for oboe, bassoon and harpsichord. SANS SOUCI baroque Ensemble: Giuseppe NALIN: oboe, Paolo TOGNON: bassoon, Pietro PAQUINI: harpsichord. Giovanni Benedetto Platti, was born in Padua on 9 July 1697 and studied in Venice with Francesco Gasparini. From some documents found casually, it is known that Platti in 1715, was a member of the "Arte dei sonadori", a Venetian corporation to which he was admitted in 1711. Very little is known about Platti's life and studies until 1722. It cannot be ruled out that apart from Francesco Gasparini, other illustrious contemporaries who were less young than he, such as Vivaldi, Albinoni, Lotti and Marcello, were the masters. His first teacher, however, was his father, Carlo, who was part of the instrumental staff of the Basilica of S. Marco as a violet player. We also know from a document that Platti made a trip to Siena, where he took a look at the "cembalo a martelletti" which was invented in Florence by the other Paduan Bartolomeo Cristofori around 1700. In 1722 Platti left Italy together with a group of musicians led by Fortunato Chelleri and arrived in Wurzburg, where he took service at the court of the Prince-Archbishop of Bamberg and Wurzburg, Jhoann Philipp Franz von Schonborn. In Wurzburg, February 4, 1723, he married Maria Theresia Lambrucker, soprano at the same court. Regarding Platti's activity at the court, we can deduce that he was a sort of factotum; preparer of singers and singer himself, as well as master of various instruments, first of which the oboe, the violin and the cello, the harpsichord. A refined and eclectic composer, he wrote vocal and instrumental music for violin, cello, oboe, flute and harpsichord. Of Platti's professional seriousness we have testimony in the only letter found written by his hand, dated December 4, 1729 and addressed to Rudolf Franz Erwein, lord of Wisentheid, who had requested two oboe sounders, but also practical other instruments: "I found two pleasantries ... which I hope at the end of two years, I will make them capable with my instruction of being able to serve His Eminence. To this end I will give them lessons every day, and I will make sure that they do not apply to any other thing than to the Music alone, which will be their exercise all day as is practiced in Italy those who in music want to make a good profit " . In a few lines we know how Platti intended it to be about the study of music: constant study every day and throughout the day, without devoting to anything else, the usual method, he refers to us in Italy: other times! Platti had eight children. He continued his activity uninterruptedly in Germany, limiting his movements from the court of Wurzburg to the Wiesentheid residence. On 12 December 1750 Giovanni Battista Tiepolo, accompanied by his sons Domenico and Lorenzo, arrived in Wurzburg to paint the residence building. Tiepolo allegorically represented Asia, Africa, America and Europe in the frescoed ceiling of the Residenza's court of honor. In the latter, the arts are highlighted and in this context Tiepolo made numerous portraits of local characters: in addition to the client Prince-Archbishop Philipp von Greiffenklau there are the architect Balthasar Neumann, creator of the construction, the plasterer Antonio Bossi, the painter and gilder Franz Ignaz Roth, himself with his son Domenico. In the central area we see a musical group where two singers and three musicians appear, one with the straight flute, one with the viola and one with the double bass: in this last one can almost certainly identify the portrait of Platti. He died in Wurzburg on 11 January 1763 and was buried in the parish of the Saints Peter and Paul, the parish of the short-sleeved, two days later, on 13 January 1763. The triosonata present here, which we performed some time ago on CD and now in this video, is part of a series of chamber works of the Paduan composer, in which we clearly deduce some elements clearly belonging to the classical period and, aesthetically, even proto-romantic. The most characteristic aspect of his musical production is particularly striking: it is rare to find oneself in front of discounted passages or hasty routines, but a watchful attention is always manifested, constantly in search of the best sound expression. In the case of this sonata, the bassoon is expressed at the same virtuosic level as the oboe, passing from the bass key to the tenor one with great fluidity. Good vision!