Lodovico Giustini (12 December 1685 – 7 February 1743) was an Italian composer and keyboard player of the late Baroque and early Classical eras. He was the first known composer ever to write music for the piano.
Giustini was born in Pistoia, of a family of musicians which can be traced back to the early 17th century; coincidentally he was born in the same year as Bach, Scarlatti, andHandel. Giustini's father was organist at the Congregazione dello Spirito Santo, a Jesuit-affiliated group, and an uncle, Domenico Giustini, was also a composer of sacred music.
In 1725, on his father's death, Giustini became organist at the Congregazione dello Spirito Santo, and acquired a reputation there as a composer of sacred music: mostlycantatas and oratorios. In 1728 he collaborated with Giovanni Carlo Maria Clari on a set of Lamentations which were performed that year. In 1734 he was hired as organist at S Maria dell'Umiltà, the Cathedral of Pistoia, a position he held for the rest of his life. In addition to playing the organ at both religious institutions, he performed on the harpsichordat numerous locations, often in his own oratorios.
Works and influenceedit]
Giustini's main fame rests on his collection of 12 Sonate da cimbalo di piano e forte detto volgarmente di martelletti, opus 1, published in Florence in 1732, which is the earliest music in any genre written specifically for the piano. They are dedicated to Dom António de Bragança, the younger brother of King João V of Portugal (the Portuguese court was one of the few places where the early piano was frequently played).
Sonate frontispiece, 1732.
These pieces, which are sonate da chiesa, with alternating fast and slow sections (four or five movements per sonata), predate all other music specifically written for the piano by about 30 years. Giustini used all the expressive capabilities of the instrument, such as wide dynamic contrast: expressive possibilities which were not available on other keyboard instruments of the time. Harmonically the pieces are transitional between late Baroque and early Classical period practice, and include innovations such as augmented sixth chords and modulations to remote keys.
James Parakilas points out that it is quite surprising that these works should have been published at all. At the time of composition, there existed only a very small number of pianos, owned mainly by royalty. He conjectures that publication of the work was meant as an honor to Giustini; it "represents a gesture of magnificent presentation to a royal musician, rather than an act of commercial promotion."
While many performances of his large-scale sacred works are documented, all of that music is lost, with the exception of fragments such as scattered arias. Giustini's fame rests on his publication of the one set of piano pieces, although they seem to have attracted little interest at the time.
References and further readingedit]
? Edward Higginbottom, "Lodovico Giustini", The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
? Jean Grundy Fanelli: "Lodovico Giustini", Grove Music Online ed. L. Macy (Accessed November 14, 2005), (subscription access) (Note: the articles in the two editions of Grove are by different authors, and each contains unique material)
? James Parakilas, Piano Roles: 300 Years of Life with the Piano. New Haven: Yale University Press, 1999. ISBN 0-300-08055-7.
? Lodovico Giustini, The 12 Sonatas for piano, ed. Dominique Ferran, 3 vol. Paris-San Diego, Drake Mabry Publishing, 2003.
? Freeman, Daniel E. "Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy." Anuario musical 58 (2003):111-30.
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Review by James Manheim [-]
The six sonatas included on this release must be among the most obscure of genuine musical milestones: published in Florence in 1732, they are taken from the first volume of printed music specifically intended for the clavicembalo col piano e forte, later known as the fortepiano and eventually, with modifications, as the piano. The new instrument of Bartolomeo Cristofori had been around for several decades, and there may have been prior music written with its sound in mind, but none has survived, and the next pieces indicating a fortepiano didn't come along for another 30 years. Composer Lodovico Giustini, was an obscure church musician in the town of Pistoia, near Florence, and he got the commission for these works through a series of events, described in the booklet, that could be summed up with the statement that he was in the right place at the right time. The best news is that Giustini acquitted himself well in unfamiliar territory. He only occasionally exploits the new instrument's unique capability with loud-soft contrasts (the lines of the Dolce movement of the Suonata 11 in E major, track 13, are among the examples), but despite the contention of annotator Gerd Reuther that Giustini was "certainly not an avantgardist" there is much about the sonatas that is fresh, and it's almost as though the unusual medium stimulated the composer to innovations in other realms as well. Each sonata is in four or five movements. The harmonic moves of the binary forms of each individual movement are underscored with thematic or textural events, and the feel of the whole is lively and "pianistic." Domenico Scarlatti was part of the milieu in which these pieces originated, and despite the difference in large-scale plan they seem like works he might have known. Indeed, the playing by German keyboardist Wolfgang Brunner and the instrument he plays, a very clean-sounding modern reproduction of one of Cristofori's 1720s fortepianos, make a strong case for the contention that people ought to try Scarlatti on a fortepiano more often. Well worth hearing, these are inexplicably neglected works. Booklet notes are given in German, French, and English.