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Francesco Bonporti

Francesco Bonporti (1672-1749)

Nationality: Italian
Baptized: June 11, 1672, Trent Died: December 19, 1749, Padua (age 77)
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Invenzione in F major, Op. 10, Invenzioni da camera, No. 3

(for violin and continuo)
1:58 I. Largo
1:53 II. Aria. Allegro ma comodo
2:15 III. Fantasia. Largo
2:29 IV. Bizaria. Allegro assai
Duration: 9 minutes (approximately)
Published: 1712 (age 39-40)
2 recordings, 5 videos
autoopen autoplay
1:58
Accademia I Filarmonici
I. Largo
1:53
Accademia I Filarmonici
II. Aria. Allegro ma comodo
2:15
Accademia I Filarmonici
III. Fantasia. Largo
2:29
Accademia I Filarmonici
IV. Bizaria. Allegro assai
7:47
Rossella Croce, Fabio Ciofini

Related Composers

1700 Arcangelo Corelli (1653-1713) Francesco Bonporti (1672-1749)
Arcangelo Corelli
Arcangelo Corelli (1653-1713)
Teacher
Nationality: Italian
Born: February 17, 1653, Fusignano Died: January 8, 1713, Rome (age 59)

glossary

  • Air [Fr], Air [E], Ayre [E], Aire, Aria [I]—Song. Traditionally indicates a piece of melodic or vocal nature as opposed to one of dance-like character (i.e. in form or rhythm). An aria typically refers to a formalized song within an opera context for one or more voice
  • allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
  • assai—very much. Intensifies the direction of its neighboring words, e.g. "allegro assai", very fast
  • camera [I], da camera, per camera—room; chamber. Used in "Sonata da camera" to distinguish a "chamber" sonata from a "church" sonata (Sonata da chiesa). A chamber sonata tends to include dance movements whereas a church sonata emphasizes counterpoint. Such distinctions are often quite blurry in practice.
  • chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
  • comodo [I], commodo—comfortable, unhurried, easy
  • continuo, basso continuo, b.c., figured bass, thorough bass, basse chifrée—During the Baroque Era, a term for an improvised (realized) instrumental accompaniment specified by a symbolic notation for chords and a written bass line (i.e. figured bass). A continuo "part" usually implies multiple (but typically unspecified) instruments, e.g. one for a strong bass line (e.g. cello) and another for chords (e.g. lute, keyboard, organ). A continuo part may be realized by keyboard alone, and sometimes played by a bass melody instrument alone (without harmonies). wiki
  • fantasia, fantasy, fantazy, fantazia, phantasy, phantasie, fancy, fantasie [G], fantaisie [F] —generally, a piece of music favoring a free flight of expression over strict adherence to formal rules; suggesting an improvisational character. However, there are at least two more specific historical meanings: 1) the fantasia/fantasie/fancy of English Renaissance viol consort music and 2) Cobbett's Phantasie, an early 20th century form of single-movement chamber music inspired by the Renaissance fancy with the goal of stimulating new English chamber or "consort" music.
  • largo—slow, solemn, sustained.slower than lento. faster than grave
  • ma—but, however
  • opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki