Giovanni Bononcini

Template:Short description Template:Infobox person Giovanni Bononcini (or Buononcini)<ref name = "Frajese" /> (18 July 1670 – 9 July 1747) (sometimes cited also as Giovanni Battista Bononcini)<ref name=ac>Template:Cite AmCyc</ref><ref name=eb/> was an Italian Baroque composer, cellist, singer and teacher, one of a family of string players and composers. He was a rival to George Frederic Handel.

Biography

Early years

Bononcini was born in Modena, Duchy of Modena and Reggio, the oldest of three sons. His father, Giovanni Maria Bononcini, was a violinist and a composer, and his younger brother, Antonio Maria Bononcini, was also a composer. An orphan from the age of 8, Giovanni Battista studied in the music school of Giovanni Paolo Colonna at San Petronio Basilica in Bologna (perhaps in 1680 or 1681).<ref name=GroveOnline>Template:Cite GroveTemplate:Subscription required</ref><ref name=Ford-1970>Template:Cite journalTemplate:Subscription required</ref>

In 1685, at the age of 15, he published three collections of instrumental works (in two of which he gave his age as 13).<ref name=Ford-1970/> On 30 May 1686, he was accepted as a member of the prestigious Accademia Filarmonica di Bologna.<ref name=GroveOnline/> His services were already much in demand: he worked at San Petronio as a string player and singer, published further collections of instrumental pieces, and produced two oratorios for performance in Bologna and Modena.<ref name=GroveOnline/> From 1687 to 1691 he served as maestro di cappella at the church of San Giovanni in Monte in Bologna, for which he composed a set of masses for double choir which were published in 1688 as his Op. 7.<ref name=GroveOnline/><ref name=Ford-1970/> In 1690 he composed a further oratorio for Modena. He also spent some time in Milan in 1689 and 1690.<ref name=Ford-1970/> In 1691 he dedicated a set of vocal duets (Op. 8) to Emperor Leopold I and played in the orchestra of the Cardinal Legate of Bologna, Benedetto Pamphili.<ref name=GroveOnline/>

File:Giovanni Bononcini, compositor.png

Caricature of the composer by Pier Leone Ghezzi

Rome

In the same year, he moved to Rome, where he entered the service of Filippo II Colonna, a powerful patron of the arts, for whom Bononcini, along with Colonna's librettist, Silvio Stampiglia, produced six serenatas, an oratorio and three (possibly five) operas between 1692 and 1696, including the highly successful Xerse (1694).<ref name=GroveOnline/><ref name=Ford-1970/> Another successful opera, Il trionfo di Camilla was produced in Naples (in 1696 or 1697) following the appointment of Colonna's brother-in-law, Luis de la Cerda, as Spain's local viceroy.<ref name=GroveOnline/><ref name=Ford-1970/> Between 1695 and 1696, Bononcini was made a member of two of Rome's most exclusive artistic circles, the musical Accademia Nazionale di Santa Cecilia and the literary Accademia degli Arcadi (in which he was one of seven musicians proposed as founding members of a "chorus" or performance arm).<ref name=GroveOnline/> Around this time, the eclectic musician and poet Giuseppe Valentini wrote a sonnet in praise of Bononcini's teaching abilities.<ref name=GroveOnline/>

Vienna and Berlin

Following the death of Colonna's wife Lorenza in August 1697, Bononcini left Rome for Vienna, where he entered the service of Emperor Leopold I with a large salary and also established himself as the favoured composer of Leopold's heir and successor, Joseph.<ref name=GroveOnline/> In 1702, following the outbreak of the War of the Spanish Succession, Bononcini moved to the court of Queen Sophia Charlotte in Berlin, where he became the queen's favourite composer and broadened his public reputation with a production of a new opera, Polifemo (he also composed Cefalo there).<ref name=GroveOnline/><ref name=Ford-1970/>

Although his activities in the next decade are less well documented, he appears to have been in Venice for the production of a new opera during the carnival of 1706.<ref name=GroveOnline/><ref name=Ford-1970/> By this time Bononcini had an enviable international reputation: in the words of his fellow composer Francesco Geminiani, Camilla had "astonished the musical world by its departure from the dry, flat melody to which their ears had until then been accustomed".<ref name=GroveOnline/> By 1710, productions of Camilla (presumably based on Bononcini's version) had reached London as well as many cities across Italy.<ref name=GroveOnline/> At some time during this decade on one of his sojourns to Italy, he married Margherita Balletti. She came from a family of actors and commedia dell'arte players and was the sister-in-law of Luigi Riccoboni.<ref name = "Frajese" />

London

From 1720 to 1732 he was in London, where for a time his popularity rivalled George Frideric Handel's, who had arrived in London in 1712. The Tories favoured Handel, while the Whig party favoured Bononcini.<ref name=ac/> Their competition inspired the epigram by John Byrom that made the phrase "Tweedledum and Tweedledee" famous. Handel steadily gained the ascendancy, and Bononcini became a pensioner of the Duchess of Marlborough, who had led his admirers.<ref name=ac/> Bononcini left London after charges of plagiarism were proven against him: he had palmed off a madrigal by Antonio Lotti as his own work.<ref name=eb>Template:Cite EB1911</ref>

Final years

After leaving London in 1733, Bononcini travelled to France in the company of an adventurer, Count Ughi, who swindled him out of most of his property. In Paris, Bononcini gave concerts of his religious music at the Concert Spirituel and then moved on to Lisbon to become the cello teacher to the Portuguese king. In 1736 he returned to Vienna, where his opera Alessandro in Sidone and his oratorio Ezechia were performed in 1737. In dire financial straits by 1742, he petitioned Maria Theresa of Austria for help. In October of that year, she granted him a pension of 50 florins a month in recognition of his past service to the court. Bononcini died on 9 July 1747 in Vienna, impoverished and largely forgotten. After his death, his last major composition, a Te Deum which he had composed in 1741 for Francis I, was performed in celebration of the Treaty of Aix-la-Chapelle.<ref name="Frajese">Template:Cite encyclopedia.</ref>

Compositions

File:Houghton M1505.B724 A85 1727 - Astianatte, 1.jpg

First page of manuscript from Astianatte, ca. 1727

His earliest works for the cello are two Sinfonie included in a manuscript in the abbey of Montecassino.<ref>Template:Cite book</ref> His other works include a number of operas, masses, and a funeral anthem for the Duke of Marlborough. One of his operas, Xerse, parodied material in an earlier setting of that opera by Francesco Cavalli, including the aria "Ombra mai fu". Bononcini's Xerse was in turn adapted by Handel in his Serse with a third (and best known) version of "Ombra mai fu". Bononcini's song "Vado ben spesso cangiando loco" was used by Franz Liszt in his suite for piano Années de pèlerinage: Deuxième année: Italie under the erroneous title "Canzonetta del Salvator Rosa".

Operas

• Eraclea pasticcio (1692)
• Xerse (1694)
• Tullo Ostillio (1694)
• Muzio Scevola (1695)
• Il trionfo di Camilla (1696)
• L'amore eroica fra pastori (1696)
• La clemenza di Augusto (1697)
• La fede pubblica (1699)
• Gli affetti più grandi, vinti dal più giusto (1701)
• Cefalo (1702)
• Polifemo (1702)
• Proteo sul Reno, poemetto dramattico (1703)
• Etearco (1707)
• Turno Aricino (1707)
• Mario fuggitivo (1708)
• Abdolomino (1709)
• Caio Gracco (1710)
• Astarto (1720)
• L'odio e l'amore (1721)
• Crispo (1721)
• Griselda (1722)
• Erminia (1723)
• Calphurnia (1724)
• Astianatte (1727)
• Alessandro in Sidone (1737)
• Zenobia (1737)

Serenatas

• La nemica d'Amore (1692)
• La nemica d'amore fatta amante (August 10, 1693)<ref>La nemica d'amore fatta amante, Ensemble 415 led by Chiara Banchini, Adriana Fernandez (soprano), Template:Ill (countertenor), Template:Ill (baritone), Alpha Classics 2003, via Chandos Records</ref>
• La costanza non gradita nel doppio amore d'Aminta (1694)
• La notte festiva (1695)
• Amore non vuol diffidenza (1695)
• Amor per amore (1696)
• L'Euleo festeggiante (1699)
• La gara delle quatri stagioni festa in musica (1699)
• Il fiore delle Eroine Trattenimento in musica (1704)
• Il ritorno di Guilio Cesare festa in musica (1704)
• La nuova gara di Giunione e Pallade festa in musica (1705)
• Endimione favola per musica (1706)

Other works

• XII Trattenimenti da camera, Op. 1 (1685)
• XII Concerti da camera, Op. 2 (1685)
• Sinfonias, Opp. 3–6
• 4 Messe brevi (1688)
• XII Duetti da camera, Op. 8 (1691)
• Oratorio San Nicola di Bari (Rome 1693)
• Oratorio La Conversione di Maddalena (Vienna 1701)
• Il natale di Giunone festeggiato in Samo (1708)
• Li sagrifici di Romolo per la salute di Roma (1708)
• L'arrivo della gran madre degli dei in Roma (1713)
• Divertimenti da camera (1722)
• XII (Trio) Sonatas for the Chamber (1732)Template:Clarify
• Oratorio Ezechia (Vienna 1737)
• Te Deum in C minor (1741)
• Over 300 cantatas

External links

• Template:ChoralWiki
• Giovanni Battista Bononcini: a short biography
• Template:IMSLP
• "Giovanni Bononcini: Two Sinfonie per violoncello e basso continuo", score and analysis by Guido Olivieri, Società Editrice di Musicologia
• 1738 portrait by unknown artist, Museo internazionale e biblioteca della musica, Bologna