GIOVANNI BATTISTA See also:

• GIOVANNI BATTISTA VIOTTI (1753-1824)

VIOTTI (1753-1824)  , See also:

• ITALIAN

Italian violinist and musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Fontanetto in the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province af See also:

• TURIN

Turin on the 23rd of May 1753 . He learned the rudiments of See also:

• MUSIC

music from his See also:

• FATHER

father, a blacksmith who played the See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn; and in 1764 Giovannini taught him the See also:

• VIOLIN

violin for a See also:

• YEAR

year . Two years later he was placed at the cost of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince de la Ciserne under the violinist G . Pugnani at Turin, where he became violinist in the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• CHAPEL

chapel . In 178o See also:

• VIOTTI, GIOVANNI BATTISTA (1753-1824)

Viotti, having already made himself a name, travelled through See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland to See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, where the empress See also:

• CATHERINE
• CATHERINE, SAINT

Catherine honoured him with marks of extraordinary favour . He next appeared in See also:

• LONDON

London, in See also:

• COMPANY

company with Pugnani, and at once achieved a brilliant and lasting reputation . In 1782 he was equally successful in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . Two years later he was appointed See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of the prince de See also:

• SOUBISE, BENJAMIN DE ROHAN

Soubise's private See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra; and in 1788 he undertook the direction of the See also:

• OPERA (Italian for " work ")

opera, raising the performances, with See also:

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

Cherubini's assistance, to a very high level . He had also started an Italian opera in co-operation with the See also:

• BARBER (from Lat. barba, beard)

barber Leonard, which was opened in 1789 in the Tuileries, being subsequently amalgamated with the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre de la Foire St Germain in 1790 and finally merged in the new Theatre See also:

• FEYDEAU

Feydeau in 1791 . In 1791 the Revolution compelled Viotti to See also:

• FLY (formed on the root of the supposed original Tent. fleugan, to fly)

fly to London, where he took See also:

• PART

part in the See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover Square concerts; but being suspected to be an See also:

• AGENT (from Lat. agere, to act)

agent of the Revolutionary See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

Committee in Paris he was compelled to retire for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to the neighbourhood of See also:

• HAMBURG

Hamburg, which he subsequently quitted, although the date of his departure, often given as 1795, does not seem probable . It is possible that he was already in 1794 in London, where he took shares in a See also:

• WINE (Lat. vinum, Gr. oivos)

wine business, and he resided almost uninterruptedly there until 1819, whenhe once more settled in Paris, resumed the direction of the opera, and retired in 1822 with a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension . He died in London on the loth (or 3rd) of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1824 .

Viotti's playing was distinguished by an extreme purity of See also:

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

style, a magnificent See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, and an inexhaustible variety of poetical and imaginative expression . Among his See also:

• WORKS

works are 29 violin concertos, a See also:

• SERIES (a Latin word from serere, to join)

series of symphonies concertantes for two violins, 45 duos, 18 trios and 21 quartets, and a See also:

• GREAT

great number of sonatas, notturnos and other instrumental works . His school was worthily perpetuated by his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Rode .