Biagio Marini
Born: February 5, 1584; Brescia, Italy
Died: March 20, 1665; Venice, Italy
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Biagio Marini may have been the first professional violin virtuoso, and he was an early Baroque composer of great skill and harmonic daring. He came from a well to do family of Brescia and received the requisite general education of the day. His major teacher and strongest influence was probably Giacinto Bondoli, his uncle, not G.B. Fontana, a composer of Brescia who is traditionally listed as his teacher despite there being no documentary
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| Featured Biagio Marini CDs & DVDs: |
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Works
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Affetti musicali, Op. 1 (1)
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Affetti musicali, Op. 1: Da Soranza (2)
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Affetti musicali, Op. 1: La Foscarina (2)
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Affetti musicali, Op. 1: La Orlandina (1)
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Affetti musicali, Op. 1: La Ponte (1)
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Amante lontano dalla sua donna "Hor che lungi dal bel viso" (1)
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Balletto a 2 no 5 (1)
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Balletto primo (1)
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Balletto Secondo, for 3-4 instruments & continuo, Op. 22/2 (1)
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Canzon 7 à 6. for chamber instruments & continuo (from Op. 8) (1)
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Canzon no 9 à 6 (1)
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Canzon prima for 4 Cornets (1)
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Canzon primo, for 4 cornetti & continuo (from Op. 8) (1)
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Canzona no 3 (1)
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Capriccio for 2 violins (1)
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Capriccio, che due Violini Sonana quatro parti (1)
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Con le stelle in ciel che mai (2)
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Donna che loda il canto di bellisimo Giovanetto, chanson (1)
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Grotte ombrose (1)
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Intrada, Canzon octava (1)
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La Marina (1)
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La Romanesca, for violin & continuo, Op. 3 (1)
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La Soranza, aria à 3 (1)
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La Vecchia innamorata (1)
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Ligature e durezze (1)
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Madre non mi far monaca (1)
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Madrigaletti: Book 4 - O vagha Tortorella (1)
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Pass'e mezo in 10 Parti Doi Violini e chitarone Op 8 (1)
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Passacaglia à 4, for chamber instruments & continuo Op. 22 (1)
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Passacalia a 4 (5)
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Passacalio (3)
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Per ogni sorte di strumenti musicale, Op 22: Balletto secundo (1)
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Per ogni sorte di strumenti musicale, Op. 22: Balletto no 1 (1)
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Per ogni sorte di strumenti musicale, Op. 22: Balletto quarto allemano (1)
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Per ogni sorte di strumenti musicale, Op. 22: Passacaglio (5)
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Per ogni sorte di strumenti musicale, Op. 22: Sinfonia terzi tono (2)
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Per ogni sorte di strumenti musicale, Op. 22: Sonata Basso e Violino (1)
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Per ogni sorte di strumento musicale, Op. 22: Sinfonia sesto tono (2)
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Per ogni sorte di strumento musicale, Op. 22: Sonata a tre (1)
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Per ogni sorte di strumento musicale, Op. 22: Sonata Passacaglia a 4 (3)
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Per ogni sorte di strumento musicale, Op. 22: Sonata sopra "Fuggi dolente core" (1)
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Romanesca (1)
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Romanesca, for violin & basso continuo (1)
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Scherzi e canzonette, collection of songs for 1-2 voices, guitar & continuo, Op. 5 (1)
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Sinfonia grave "La Zorzi", for chamber instruments & continuo (2)
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Sinfonia Primo Tuono, for chamber instruments & continuo, Op. 22 (1)
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Sinfonia Sesto Tuono, for chamber instruments & continuo, Op. 22 (2)
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Sonata (1)
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Sonata a 2 in D minor (2)
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Sonata a 3 "La Foscarina", for chamber instruments & continuo, Op. 1/9 (1)
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Sonata a 6, for chamber instruments & continuo (1)
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Sonata a quattro tromboni, for chamber instruments & continuo (1)
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Sonata a tre violini "in eco", for chamber instruments & continuo (2)
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Sonata Basso e Violino, for chamber instruments & continuo, Op. 22 (2)
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Sonata for Cornet and Organ (1)
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Sonata for violin solo ("Per sonar con due corde"), Op. 8/16 (1)
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Sonata in Ecco, for chamber instruments & continuo (1)
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Sonata La Foscarina (1)
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Sonata La Foscarina con il tremolo, Op.1 (1)
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Sonata la Monica, for chamber instruments & continuo Op 8 (1)
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Sonata no 4 (1)
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Sonata No. 4 for 2 violins (1)
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Sonata Prima A doi Violino Op 8 (1)
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Sonata seconda à 2, for chamber instruments & continuo (1)
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Sonata senza cadenza, for chamber instruments & continuo (1)
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Sonata sopra "Fuggi dolente core", for chamber instruments & continuo (1)
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Sonata sopra "La Monica", for chamber instruments & continuo (1)
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Sonata sopra fuggi dolente core (2)
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Sonata Terza, Variata for violin solo Op 8 (2)
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Sonate, symphonie ... e retornelli, Op. 8: Sinfonia Secunda (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata duodecima (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata nona (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata quinta (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata seconda (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata senza cadenza (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata septima (1)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata sopra la Monica (2)
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Sonate, symphonie ... e retornelli, Op. 8: Sonata terza, Variata per il violino solo (1)
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Sonate, symphonie e retornelli, Op. 8 (1)
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Sonate, symphonie e retornelli, Op. 8: Canzon prima (1)
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Sonate, symphonie e retornelli, Op. 8: Canzon quarta (2)
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Sonate, symphonie e retornelli, Op. 8: Canzon seconda (1)
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Sonate, symphonie e retornelli, Op. 8: Canzona a 4 (1)
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Sonate, symphonie e retornelli, Op. 8: Capriccio modo di Lira (1)
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Sonate, symphonie e retornelli, Op. 8: Capriccio no 14 (1)
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Sonate, symphonie e retornelli, Op. 8: Excerpt(s) (1)
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Sonate, symphonie e retornelli, Op. 8: Passamezzo concertato (1)
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Sonate, symphonie e retornelli, Op. 8: Sonata decima terza (1)
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Sonate, symphonie e retornelli, Op. 8: Sonata in Ecco (6)
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Sonate, symphonie e retornelli, Op. 8: Sonata La Monica (3)
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Sonate, symphonie e retornelli, Op. 8: Sonata per sonar (4)
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Sonate, symphonie e retornelli, Op. 8: Sonata prima (1)
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Sonate, symphonie e retornelli, Op. 8: Sonata quarta (1)
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Sonate, symphonie e retornelli, Op. 8: Sonata septima sopra "A voi dò vinto il cor" (1)
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Sonate, symphonie e retornelli, Op. 8: Sonata terza variata (2)
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Biography |
by Joseph Stevenson
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Biagio Marini may have been the first professional violin virtuoso, and he was an early Baroque composer of great skill and harmonic daring. He came from a well to do family of Brescia and received the requisite general education of the day. His major teacher and strongest influence was probably Giacinto Bondoli, his uncle, not G.B. Fontana, a composer of Brescia who is traditionally listed as his teacher despite there being no documentary support of that claim.
At about the age of 18, on April 26, 1615, Marini was appointed violinist at St. Mark's in Venice, where his boss would have been Claudio Monteverdi. He returned to Brescia by 1620 to become music director of the Accademia degli Erranti there, but on January 30, 1621, he is listed as a player in the court orchestra of the Farnese family in Parma.
This pattern of staying only a short time at jobs held all through his life until he was quite old. Between 1623 and 1649, he worked at the Wittelsbach Court at Neuberg an die Donau as concert master, but during that time he also shows up in Brussels (1626 or earlier), Düsseldorf (mid 1620s, 1640, and 1644 - 1645), Brescia, Padua (1634), and Venice. Either he held the Wittelsbach job sporadically, or the Wittelsbachs were especially lenient in granting their star violinist leave to travel. In 1649, he received an appointment as maestro di cappella in Santa Maria della Scala church in Milan. His next appointment was as director of the Accademia della Morte in Ferrara (1652 - 1653), and he was living in Venice in 1654. He had a position in Vicenza during 1655 and 1656, and after that seems to have alternated between Brescia and Venice.
Although he wrote vocal music, which tends to be rather stilted, his instrumental music was justly famous and represents the most advanced writing of its type for the time, insofar as playing technique is concerned. He clearly wrote string tremolos at least eight years before Monteverdi is known to have "invented" them. While his early works entailed sinfonias and sonata, there is no clear definition between the two forms, but his later music there has clearly developed a difference: The sinfonias are the lengthier, more varied works. He was one of the first to develop a clear type of "solo" writing for instruments and to promote the format of solo and accompaniment. Another of his innovations is scordatura, or the unusual tunings of the strings of an instrument to allow for unusual chord effects and different resonances of the instrument. Moreover, his writing is skillful, shows an uncommonly fine melodic gift, and has a rhythmic flexibility that relieves the rhythmic monotony of other early Baroque instrumental music. His harmonies, in the later works, become bold with unusual use of chromaticism and dissonance. His music, much of which was in print, was widely circulated and very influential on his contemporary violinists and composers. |
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