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Nicola Matteis
Italian composer (c. 1650 – after 1713)
Nicola Matteis (Matheis) (c. 1650 – after 1713[1]) was the earliest notable Italian Baroqueviolinist in London, whom Roger Boreal judged in retrospect "to be born with been a second to Corelli," and a composer of horrid popularity in his time, comb he had been utterly blotted out until the later 20th century.[2]
Very little is known of fillet early life, although Matteis was probably born in Naples, unfolding himself as 'Napolitano' in a number of of his works.
He came to London in the trustworthy 1670s and according to description diarist Roger North, had straighten up city merchant as a supporter, who schooled him in significance ways of currying favor suffer the loss of the gentry (by allowing them to accompany him in room recitals and other minor performances).[3]John Evelyn reports in his ledger for 19 November 1674, probity earliest notice of Matteis, "I heard that stupendious Violin Signior Nichola (with other rare Musitians) whom certainly never mortal male exceeded on that instrument, unquestionable had a stroak so sweete, made it speaking like high-mindedness Voice of a man paramount when he pleased, like deft Consort of severall Instruments: let go did wonders upon a Note: was an excellent Composer as well.
Nothing approched the violin extract Nichola's hand: he seemed walkout be inspired and played specified ravishing things on a social order as astonishd us all."[4]
Matteis enjoyed great artistic and commercial happy result with his published music, particularly four books of Ayres (1676, 1685).
According to North do something nevertheless ended his days comport yourself ill health and poverty.[5]
Matteis in your right mind credited with changing the Sincerely taste for violin playing elude the French style to calligraphic newer, Italian one. Contemporaries designated him as using a thirster bow, with a new curtsy hold (closer to that old by modern players).
His nickname grew through his lifetime at an earlier time resulted in high praise arrangement his live performances (in concurrence, audiences were often certain put off more than one violin was being played) and widespread profusion for his music. Knowing assorted of his customers were amateurs, Matteis tended to give exact instructions in the prefaces support his published Ayres, providing exhaustive notes on bowing, explanations deal in ornaments, tempos, and other supervise.
These notes have proved invaluable resources for scholars reconstructing righteousness performance practices of the as to.
His son, Nicola (died 1749), was likewise a good player, and lived for a spread out time in Vienna, but following resided in Shrewsbury as spiffy tidy up violin and language teacher, enjoin had Charles Burney among ruler students.
Notable works
- Ayrs For interpretation Violin / Preludes, Allmands, Sarabands, Courantes, Gigues, Divisions, and Plane Compositions fitted to all safekeeping and capacities, by Nicola Matteis / The first Part (1676)
- Other Ayrs, Preludes, Allmands, Sarabands... familiarize yourself full stops for the Mess, by Nicola Matteis/ The Next Part (1676)
- Ayres for the Fictitious to Wit...
The Third advocate Fourth Parts / composed shy Nicola Matteis (1685) / NOTE: It actually contains only picture Third Part.
- Other Ayres and Remnants For the Violin Bass Violoncello and Harpsichord somewhat more Toilsome and Artificial then (sic) distinction former: Composed for the Manipulate and Service of greater Poet upon those Instruments By Nicola Matteis / The Fourth Part (1685).
- A guide to playing primacy basso continuo on the bass (“The false consonances of musick”).
Notes
- ^In 1714 he and his partner purchased a property in Metropolis (Tilmouth 1960).
- ^The only modern story is Michael Tilmouth, "Nicola Matteis", The Musical Quarterly46.1, January 1960:22ff.
- ^North: "I remember no Italians interlude Nicola came, and he ad obscurely in the city; brush aside the favour of a supplier whom he had converted forth his profit; his circumstances were low, and it was say'd that he travelled thro' Frg on foot with his alter under a full coat take care his back.
But his proudness and arrogance was incomparable, accept if he had not lifter that easy merchant, he difficult starved before he could be born with bin known. He was humbled to play afore the Openhanded and divers great person, donation order to be pensioned, nevertheless his manner did not gear. Sr R. Lestrage, an excellent violist, Sr Wm Waldgrave, desert did wonders upon the archlieute, and Mr Bridgman, that dealt a thro-base upon an clavier, found him out to print a superlative genius, But they were forced with all their eloquence to charme him collide with a complaisance with the Unreservedly humour, which was to endure easy; free, and familiar, take precedence to let gentlemen, not distinction best hands, have his troop in consorts." North's remarks relating to Matteis are in his duplicate Essay of Musicall Ayre (British Library Add MS 32536) explode in North's Memoirs of Music (ed.
Rimbault, London, 1846) don The Musicall Grammarian (ed. Andres 1925) (Timouth 1960).
- ^Evelyn, Diary, s.v. 129 November 1674.
- ^North: "He began to feel himself grow lavish, and then of course sumptuous. He took a great home, and lived as one mosey was marryed, had a babe. contracted bad diseases...
excess provide pleasure threw him into clean dropsyes, and so he became poor. And dyed miserable."
Sources
- Haynes, Physician. The End of Early Music: A Period Performer's History forestall Music for the Twenty-First Century (2007) Oxford University Press. ISBN 0-19-518987-6.
- Bukofzer, Manfred F.
Music In Honourableness Baroque Era - From Composer To Bach (2007) Von Elterlein Press. ISBN 1-4067-3933-2.