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Concerto ripienona wybranych przykładach Conceri a Più Istrumenti op. 3 Carla Tessariniego

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Roman J.

Kwartalnik Młodych Muzykologów UJ

2015

issue 4(27)

4-31

Many composers created instrumental concerto in the 18th century, but only a few of them are well known. The group of these authors, whose output is forgotten, includes Carlo Tessarini (before 1690, after 1766). There is a piece of information about his life – most of it is derived from title pages of his works. Tessarini was active both as a composer and as a violinist, first in Italy and then in France, England, the Netherlands, although he returned to the Urbino Cathedral during his later lifetime. His output is completely instrumental, about 90 of his works represent concertos. Since the time when the concerto had been one of the most popular instrumental genres, there were many classifications (for instance J. Mattheson, J.J. Quantz). Plenty of them took unclear criteria, therefore the division is vague, however they can give advice on the contemporary performance practice. The aim of this study is to present analyses of four of Tessarini’s concertos (no. 5–8) from Concerti a Piu Istrumenti op. 3. The author wants to present composer’s style and technique touching issues such as texture, stucture, harmony, melody, rhythm and scoring, and by these means show traits of concerto ripieno model.

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1 Kwartalnik Młodych Muzykologów UJ

1 2015

1 Roman J.

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Concerto ripienona wybranych przykładach Conceri a Più Istrumenti op. 3 Carla Tessariniego