Tomaso Antonio Vitali
Tomaso Antonio Vitali ( called Vitalino ) ( born March 7, 1663 Bologna, † May 9, 1745 in Modena ) was an Italian violinist and composer.
Life
The eldest son of Giovanni Battista Vitali (1632-1692) was one of the most gifted pupil of his father. As the father was also Tomaso very young member of the orchestra at San Petronio in Bologna.
When the father in 1674 at the court of Duke Francesco II received the post of Vice- Kapellmeister of Este in Modena, accompanied by his family. Tomaso Antonio probably received his first violin lessons from his father and was already at the age of twelve years a member of the court orchestra. He studied further at Antonio Maria Pacchioni ( 1654-1738 ). His virtuosity in playing violin to have been superior to that of the early father. Until 1742, he remained at the court of Este.
He later succeeded his father as bandmaster of the Duke of Este. When his students apply Evaristo Dall'Abaco, Jean -Baptiste Senaillé, the son of the " Vingt- quatre Violons du Roy " in Paris, Girolamo Nicolò Laurenti (~ 1670 - ~ 1765 ) and Luca Antonio Predieri. After the death of his father in 1692 Tomaso published within three years, three collections of trio sonatas and another collection violin sonatas with basso accompaniment. Tomaso's merit was the merger of the church sonata " da chiesa " and the chamber sonata " da camera " taken to a single type, this was gradually in the entire world of music.
After the death Tomasos, his son Fausto Vitali on the family tradition at the Este court continued and remained from 1750 to 1776 its conductor.
Chaconne
The violin virtuoso Ferdinand David Vitali wrote in 1860 the famous Chaconne in G minor for violin and basso continuo to. This authorship was provided by musicologists from time to time in question. A native of Dresden manuscript that David had used contains only the entries " Chaconne " and " Parte del Tomaso Vitalino ". The technical requirements, the prominent position of the piano and especially the bold harmonic modulations in the variations seemed compared to a figured bass to a later date of origin to point ..
A comparison with the 1978 installed by Ricordi and a facsimile also available online, original (more precisely, the only available contemporary copy by an unknown hand ) shows that David has handled the romantic spirit of the time, and probably also his fiddle generic claim partly strongly according to the violin part. Which is listed as liquidated bass accompaniment was upgraded to a fully elaborated piano. Up to the end, but David follows the formal and harmonic structure of the original, which partly offset the extreme harmonic boldness music world since the publication of David in astonishment. Because of the numerous stylistic features of this work of an otherwise unremarkable Baroque composer speculated some musicologists, David was indeed the author of the whole work (like it has actually handled Fritz Kreisler short time later). This theory may come to be regarded as disproved. Due to the meager source location is not entirely clear whether in fact Tomaso Vitali is the composer. However, there is more for than against this theory.