GIOVANNI BATTISTA See also:

• GIOVANNI BATTISTA MARTINI (1706–1784)
• MARTINI, SIMONE (1283-1344)

MARTINI (1706–1784)  , See also:

• ITALIAN

Italian musician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna on the 24th of See also:

• APRIL

April 1706 . His See also:

• FATHER

father, See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Maria See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini, a violinist, taught him the elements of See also:

• MUSIC

music and the See also:

• VIOLIN

violin; later he learned singing and See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord playing from Padre Pradieri, and See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint from Antonio Riccieri . Having received his See also:

• EDUCATION

education in See also:

• CLASSICS

classics from the fathers of the See also:

• ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

oratory of See also:

• SAN

San Filippo See also:

• NERI, PHILIP (FILIppo DE) (1515-1595)

Neri, he afterwards entered upon a noviciate at the Franciscan monastery at Lago, at the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of which he was received as a Minorite on the 11th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1722 . In 1725, though only nineteen years old, he received the See also:

• APPOINTMENT, POWER OF

appointment of See also:

• CHAPEL

chapel-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in the Franciscan See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at Bologna, where his compositions attracted See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention . At the invitation of amateurs and professional See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends he opened a school of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition at which several celebrated musicians were trained; as a teacher he consistently declared his preference for the traditions of ^the old See also:

• ROMAN

Roman school of composition . Padre Martini was a zealous See also:

• COLLECTOR

collector of musical literature, and possessed an extensive musical library . See also:

• BURNEY, CHARLES (1726-1814)

Burney estimated it at 17,000 volumes; after Martini's See also:

• DEATH

death a portion of it passed to the Imperial library at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest remaining in Bologna, now in the Liceo See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini . Most contemporary musicians speak of Martini with admiration, and See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's father consulted him with regard to the talents of his son . See also:

• ABT, FRANZ (1819-1885)

Abt See also:

• VOGLER, GEORG JOSEPH (1749-1814)

Vogler, however, makes reservations in his praise, condemning his philosophical principles as too much in sympathy with those of See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox, which had already been expressed by P . Vallotti . He died at Bologna on the 4th of See also:

• AUGUST (originally Sextilis)

August 1784 . His Elogio was published by Pietro della See also:

• VALLE, PIETRO DELLA (1586–1652)

Valle at Bologna in the same See also:

• YEAR

year .

The greater number of Martini's sacred compositions remain unprinted . The Liceo of Bologna possesses the See also:

• MSS

MSS. of two oratorios; and a See also:

• REQUIEM

requiem, with some other pieces of church music, are now in Vienna . Litaniae atque antiphonae finales B . V . Mariae were published at Bologna in 1734, as also twelve Sonate d'intavolatura; six Sonate per l'organo ed it cembalo in 1747; and Duetti da See also:

• CAMERA (a Latin adaptation of Gr. Kagapa, an arched chamber)

camera in 1763 . Martini's most important See also:

• WORKS

works are his Storia della musica (Bologna, 1757–1781) and his Saggio di contrapunto (Bologna, 1774-1775) . The former, of which the three published volumes relate wholly to See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient music, and thus represent a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere fragment of the author's vast See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, exhibits immense See also:

• READING

reading and See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry, but is written in a dry and unattractive See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, and is overloaded with See also:

• MATTER

matter which cannot be regarded as See also:

• HISTORICAL

historical . At the beginning and end of each See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter occur See also:

• PUZZLE

puzzle-canons, wherein the See also:

• PRIMARY

primary See also:

• PART

part or parts alone are given, and the reader has to discover the See also:

• CANON

canon that fixes the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period and the See also:

• INTERVAL

interval at which the response is to enter . Some of these are exceedingly difficult, but See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini solved the whole of them . The Saggio is a learned and valuable See also:

• WORK

work, containing an important collection of examples from the best masters of the old Italian and See also:

• SPANISH

Spanish See also:

• SCHOOLS

schools, with excellent explanatory notes . It treats chiefly of the tonalities of the See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant, and of counterpoints constructed upon them . Besides being the author of several controversial works, Martini See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew up a See also:

• DICTIONARY

Dictionary of Ancient Musical Terms, which appeared in the second See also:

• VOLUME

volume of G .

B . Doni's Works; he also published a See also:

• TREATISE

treatise on The Theory of See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

Numbers as applied to Music . His celebrated canons, published in See also:

• LONDON

London, about 1800, edited by Pio Cianchettini, show him to have had a strong sense of musical See also:

• HUMOUR (Latin humor)

humour .