Giovanni Domenico Partenio Vidéos
compositeur ou compositrice, prêtre chrétien, artiste lyrique
- ténor
- opéra
- république de Venise
Dernière mise à jour
2024-05-02
Actualiser
Gian Domenico Partenio Cunningham 2013
Primecoin (segno: Ψ; codice: XPM) è una criptovaluta che implementa un sistema proof-of-work che ricerca catene di numeri primi. Lanciata il 7 luglio 2013 dall'hacker anonimo e fondatore di Peercoin Sunny King, Primecoin è stata la prima criptovaluta ad avere un sistema di prova del lavoro con un uso pratico.Le prime criptovalute, come Bitcoin, venivano estratte utilizzando algoritmi che risolvevano problemi matematici arbitrari, i cui risultati non avevano alcun valore o utilità al di fuori del mining della criptovaluta stessa.L'algoritmo di Primecoin, tuttavia, calcolava catene di numeri primi (Cunningham e catene bi-twin), i cui risultati venivano pubblicati sul registro pubblico della sua blockchain, disponibile per l'uso da scienziati, matematici e chiunque altro L'uso di un sistema proof-of-work per calcolare catene di numeri primi è stata un'innovazione che ha prodotto risultati utili soddisfacendo anche i criteri per un sistema proof-of-work: ha comportato un calcolo che era difficile da eseguire ma facile da verificare e la difficoltà era regolabile. #primecoin #xpm $XPM (http•••)
Thibaud Francesco Maria Veracini Antonio Veracini Giuseppe Tartini Ancona Charles Burney Pisendel Corri Mazzola Mozart Partenio Shakespeare Newman Trionfo Arcangelo Corelli 1690 1711 1712 1714 1716 1717 1721 1722 1723 1733 1737 1738 1744 1768 1789 1924 1972
Recorded in 1924. Harold Craxton, piano Menuette & Gavotte 4:13 Gigue Francesco Maria Veracini (1 February 1690 / 31 October 1768) was an Italian composer and violinist, perhaps best known for his sets of violin sonatas. Francesco Maria Veracini led a turbulent life. Born in Florence, the son of a pharmacist and undertaker, he was taught the violin by his uncle, Antonio Veracini, with whom he often appeared in concert. Veracini wrote a concerto grosso for eight instruments which was performed in 1711 at the coronation festivities for the Emperor Charles VI. There is a legend that, when Giuseppe Tartini heard Veracini playing the violin in 1712, he was so impressed by his bowing technique, and so dissatisfied with his own skill, that he retreated the next day to Ancona "in order to study the use of the bow in more tranquility, and with more convenience than at Venice, as he had a place assigned him in the opera orchestra of that city". (Burney 1789, 3:564--65) In 1714, Veracini went to London and played instrumental pieces ("symphonies" in contemporary parlance) between the acts of operas at the Queen's Theatre. After a season at the court in Düsseldorf and once again in Venice in 1716, he wrote a set of violin/recorder sonatas dedicated to Prince Friedrich August (who in 1733 would become Augustus III of Poland and Augustus II Elector of Saxony). The Prince was in Venice recruiting musicians on behalf of his father Augustus II the Strong/Augustus I for the Saxon Court in Dresden. At the Prince's urging, Augustus the Strong employed Veracini to play chamber music at his court, later transferring him to the official Dresden payroll as violinist in August 1717. Veracini was sent to recruit Italian singers for the Dresden opera. In 1721 Veracini wrote another set of violin sonatas dedicated to the Prince (published as his Opus 1). Unfortunately, there was animosity among the musicians at the court in Dresden. In 1722, Veracini was involved in a quarrel, staged according to one source by the composer and violinist Pisendel, which resulted in Veracini leaping out of an upper-story window. He walked with a limp for the rest of his life. Back in his native Florence in 1723, Veracini played music in a church and wrote an oratorio. During this time he earned a bad reputation and was said by Charles Burney to have been "usually qualified with the title of Capo pazzo" ["head lunatic"]. (Burney 1789, 3:568) Back in London in 1733, Veracini appeared in many concerts. There he wrote an opera, Adriano in Siria, considered too long by the music critics. In 1737, he wrote La Clemenza di Tito, on a libretto by Corri based on one by Pietro Metastasio. (The Metastasio libretto was also the basis of the one Mazzola wrote for Mozart's La Clemenza di Tito). In 1738 Veracini wrote his third opera, Partenio, and in 1744 his last opera, Roselinda, based on Shakespeare's play As You Like It, a most unusual choice of material at that time. In that opera Veracini included the well-known Scots ballad tune The Lass of Paties Mill. It was staged in London in 1744, the same year his oratorio (described as an opera in Burney 1789, 4:451) L'errore di Salomone was staged, and its lack of success (Burney, 4:451, scorned the music as "wild, awkward, and unpleasant; manifestly produced by a man unaccustomed to write for the voice", but confessed that "This opera, to my great astonishment when I examined the Music, ran twelve nights", whereas L'errore di Salomone was given only twice) prompted Veracini to leave London a little more than a year later. After surviving a shipwreck in the English Channel, he again returned to Florence, where he was appointed maestro di capella of the churches of San Pancrazio and San Gaetano, the latter one at which his uncle had worked, focusing on church music. Though he mostly conducted in his later years, he still sometimes appeared as a violinist. He died in Florence. In addition to violin sonatas, operas and oratorios, Veracini also wrote violin concertos, sonatas for recorder and basso continuo, and orchestral suites, called Overtures. The six Overtures were performed for Prince Friedrich August in Venice in 1716, as part of Veracini's ultimately successful attempt to secure a position at the Dresden court. They are all either in F major or B-flat major, except for one in G minor. The last one of these, in B-flat major, is remarkable for concluding with a unison minuet. Veracini also wrote a "lively, highly original theory treatise" (Newman 1972, 184), Il trionfo della pratica musicale, and edited other composers' works, adding "improvements" of his own, such as he did in his Dissertazioni with the Opus 5 Violin Sonatas of Arcangelo Corelli.
Francesco Maria Veracini Fabio Biondi Antonio Veracini Giuseppe Tartini Ancona Charles Burney Pisendel Corri Mazzola Mozart Partenio Shakespeare Europa Galante 1690 1711 1712 1714 1716 1717 1721 1722 1723 1733 1737 1738 1744 1768 1789
FRANCESCO MARIA VERACINI +••.••(...)) Sonata prima for violin and basso continuo in G minor Op. 1 No. 1 3. Paesana (Allegro) 4. Minuet (Allegro) 5. Giga del Postiglione (Allegro) Performed by Europa Galante Featuring Fabio Biondi, violin *Francesco Maria Veracini was an Italian composer and violinist, perhaps best known for his sets of violin sonatas. Francesco Maria Veracini led a turbulent life. Born in Florence, the son of a pharmacist, he was taught the violin by his uncle Antonio Veracini with whom he often appeared in concert. Veracini wrote a concerto grosso for eight instruments which was performed in 1711 at the coronation festivities for the Emperor Charles VI. There is a legend that, when Giuseppe Tartini heard Veracini playing the violin in 1712, he was so impressed by his bowing technique, and so dissatisfied with his own skill, that he retreated the next day to Ancona "in order to study the use of the bow in more tranquility, and with more convenience than at Venice, as he had a place assigned him in the opera orchestra of that city" (Burney 1789, 3:56465). In 1714 Veracini went to London and played instrumental pieces ("symphonies" in contemporary parlance) between the acts of operas at the Queen's Theatre. After a season at the court in Düsseldorf and once again in Venice in 1716, he wrote a set of violin/recorder sonatas dedicated to Prince Friedrich August (who in 1733 would become Augustus III of Poland and Augustus II Elector of Saxony). The Prince was in Venice recruiting musicians on behalf of his father Augustus II the Strong/Augustus I for the Saxon Court in Dresden. At the Prince's urging, Augustus the Strong employed Veracini to play chamber music at his court, later transferring him to the official Dresden payroll as violinist in August 1717. Veracini was sent to recruit Italian singers for the Dresden opera. In 1721 Veracini wrote another set of violin sonatas dedicated to the Prince (published as his Opus 1). Unfortunately, there was animosity among the musicians at the court in Dresden. Veracini was involved in 1722 in a quarrel, staged according to one source by the composer and violinist Pisendel, which resulted in Veracini leaping out of an upper-story window.[citation needed] He walked with a limp for the rest of his life. Back in his native Florence in 1723, Veracini played music in a church and wrote an oratorio. During this time he earned a bad reputation[citation needed] and was said by Charles Burney to have been "usually qualified with the title of Capo pazzo" ["head lunatic"] (Burney 1789, 3:568, 4:451). Back in London in 1733, Veracini appeared in many concerts. There he wrote an opera, Adriano in Siria, considered too long by the music critics.[citation needed] In 1737, he wrote La Clemenza di Tito, on a libretto by Corri based on one by Pietro Metastasio. (The Metastasio libretto was also the basis of the one Mazzola wrote for Mozart's La Clemenza di Tito). In 1738 Veracini wrote his third opera, Partenio, and in 1744 his last opera, Roselinda, based on Shakespeare's play As You Like It, a most unusual choice of material at that time. In that opera Veracini included the well-known Scots ballad tune The Lass of Paties Mill. It was staged in London in 1744, the same year his oratorio (described as an opera in Burney 1789, 4:451) L'errore di Salomone was staged, and its lack of success (Burney, 4:451, scorned the music as "wild, awkward, and unpleasant; manifestly produced by a man unaccustomed to write for the voice", but confessed that "This opera, to my great astonishment when I examined the Music, ran twelve nights", whereas L'errore di Salomone was given only twice) prompted Veracini to leave London a little more than a year later.[citation needed] After surviving a shipwreck in the English Channel, he again returned to Florence, where he was appointed maestro di capella of the churches of San Pancrazio and San Gaetano, the latter one at which his uncle had worked, focusing on church music. Though he mostly conducted in his later years, he still sometimes appeared as a violinist. He died in Florence.
Petronio Franceschini Partenio Thomas Walker Ivor Bolton 1651 1675 1680 1988 1993
From 'Suonata A Sette Con Due Trombe In D Major'. (1680). Petronio Franceschini was born and active in Bologna. He was a cellist in the Basilica di S. Petronio from 1675 to 1680 and died in Venice before he could finish his fifth opera, Dionisio, which was subsequently completed by Partenio. Besides operas, which according to Thomas Walker "have great rhythmic energy and make much use of the trumpet in dialogue with the voice", Franceschini composed a quantity of church music, including church sonatas, the present one with two trumpets dating from the last year of his life. Its full sound is derived in part from the string texture with two viola parts instead of one. Particularly noteworthy is the third movement, Adagio, in which the trumpets are required to play in the minor mode. This is a rare happening in Baroque trumpet music, for, as the other works of this recording testify, the trumpet was usually employed in C or D major to express jubilant emotions. The use of the minor gives this work its peculiar, profound quality and shows that its composer was an original thinker. ((http•••) From the album "Baroque Players, Ivor Bolton – Baroque Music Of Bologna " (1993 Teldec Classics International GmbH ). Recorded at Petersham Parish Church, Surrey, in October 1988 (http•••)
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