Francesco Geminiani (1687 - 1762)
Italie

Francesco Saverio Geminiani (5 December 1687 ? 17

September 1762) was an Italian violinist,

composer, and music theorist.



Born at Lucca, he received lessons in music from

Alessandro Scarlatti, and studied the violin under

Carlo Ambrogio (Ambrosio) Lonati in Milan and

afterwards under Arcangelo Corelli. From 1707 he

took the place of his father in the Cappella

Palatina of Lucca. From 1711, he led the opera

orchestra at Naples, as Leader of the Opera

Orchestra and concertmaster, which gave him many

opportunities for contact with Alessandro

Scarlatti. After a brief return to Lucca, in 1714,

he set off for London, where he arrived with the

reputation of a virtuoso violinist, and soon

attracted attention and patrons, including William

Capel, 3rd Earl of Essex, who remained a

consistent patron. In 1715 Geminiani played his

violin concerti for the court of George I, with

Handel at the keyboard.

Geminiani made a living by teaching and writing

music, and tried to keep pace with his passion for

collecting by dealing in art, not always

successfully. Many of his students went on to have

successful careers such as Charles Avison, Matthew

Dubourg, Michael Christian Festing, Bernhard

Joachim Hagen, and Cecilia Young.

After visiting Paris and residing there for some

time, he returned to England in 1755. In 1761, on

one of his sojourns in Dublin, a servant robbed

him of a musical manuscript on which he had

bestowed much time and labour. His vexation at

this loss is said to have hastened his death.

He appears to have been a first-rate violinist.

His Italian pupils reportedly called him Il

Furibondo, the Madman, because of his expressive

rhythms. He is best known for three sets of

concerti grossi, his Opus 2 (1732), Opus 3 (1733)

and Opus 7 (1746), (there are 42 concerti in all)

which introduce the viola as a member of the

concertino group of soloists, making them

essentially concerti for string quartet. These

works are deeply contrapuntal to please a London

audience still in love with Corelli, compared to

the galant work that was fashionable on the

Continent at the time of their composition.

Geminiani also reworked a group of violin sonatas

from his teacher Corelli into concerti grossi.

His Art of Playing the Violin published in London

(1751) is the best-known summation of the 18th

century Italian method of violin playing, and is

an invaluable source for study of late Baroque

performance practice, giving detailed information

on vibrato, trills, and other violin techniques.

His Guida harmonica (c.1752, with an addendum in

1756) is one of the most unusual harmony treatises

of the late Baroque, serving as a sort of

encyclopedia of basso continuo patterns and

realizations. There are 2236 patterns in all, and

at the end of each pattern is a page number

reference for a potential next pattern; thus a

student composer studying the book would have an

idea of all the subsequent possibilities available

after any given short bass line.

Geminiani published a number of solos for the

violin, three sets of violin concerti, twelve

violin trios, The Art of Accompaniment on the

Harpsichord, Organ, etc. (1754), Lessons for the

Harpsichord, Art of Playing the Guitar (1760) and

some other works. (Hide extended text) ... (Read all)
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Trio Sonatas Nos.7-12 (Trio sonatas, violins, continuo)Francesco Geminiani

2 Violins, Basso continuo / 3 PDF /
Arranger : Barsanti, Francesco

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Violin Sonatas (Op.1 No1&6 ; H.1&6)Francesco Geminiani

Violin and Piano / 2 PDF /
Arranger : Léonard, Hubert

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12 Violin Sonatas (Op.4 ; H.85-96)Francesco Geminiani

Violin, Basso Continuo (original instrumentation) / 6 PDF /

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12 Violin Sonatas (Op.1 ; H.1-12)Francesco Geminiani

Violin, Basso Continuo / 5 PDF /

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Violin Sonatas (Op.4)Francesco Geminiani

Violin and Piano / 5 PDF /
Arranger : Jensen, Gustav

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Cello Sonata in A minor (H.108 ; Op.5 No.6)Francesco Geminiani

Violin, Basso Continuo / 1 PDF /

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