Anna Bon di Venezia

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Title page of the Sonate da Camera op. I, 1756 for flute and violoncello o [or] harpsichord

Anna Bon di Venezia (born August 10, 1738 in Bologna , Italy ; † uncertain: after 1767) was an Italian composer , singer and harpsichordist . In 1756 she made her debut as a composer with the printing of her flute sonatas opus I, dedicated to Margrave Friedrich von Brandenburg-Culmbach-Bayreuth . Her honorary title “ Virtuosa di Musica di Camera” ( chamber virtuoso ) is presented on the front page . In Bayreuth she composed further sonatas and trios for harpsichord and flutes with basso continuo , which were also published by Balthasar Schmidts in Nuremberg between 1756 and 1759. These works have gained international recognition today. In addition to a sacred aria, handwritten vocal compositions are ascribed to her, the authorship of which has not yet been confirmed.

The earliest (dated) evidence of Anna Bon as an opera singer is likely to contain a musical handwriting in Leipzig. It is Domenico Fischietti's opera La ritornata di Londra (text: Carlo Goldoni ). The first express references to contributing to the parental opera troupe (1759/1760) mention opera titles by Johann Adolf Hasse and Christoph Willibald Gluck . Anna Bon remained involved in the artistic environment of her parents until 1765, from July 1762 at the court of Prince Nikolaus I. Joseph Esterházy de Galantha in the Joseph Haydn ensemble . The last memo about them at this court dates from April 15, 1765. After that, their trace is lost.

The traveling opera of the artist family Bon

Anna Bon's life was determined by the profession of her parents, an Italian, internationally active opera artist couple. In 1735 they traveled to Russia to the imperial court of Anna Ivanovna to introduce Italian opera . Anna Bon's father, the cittadino di Venezia (citizen of Venice, as he called himself) Girolamo Bon , was a painter, stage architect and decorator, machinist, text book author, composer and principal of an opera company in which Anna's mother and her grandfather Steffano Ruvinetti participated and later Anna Bon herself. The mother Rosa-Ruvinetti-Bon “di Bologna” was a successful soprano, especially as a performer in the popular Intermezzo per musica .

The trips of the Bon troupe from 1738–1740 led back to their homeland, where Anna Bon was born in her mother's hometown, Bologna . In 1741 they made guest appearances in Pressburg , then again until 1746 in Russia and then after guest appearances in Dresden , Berlin / Potsdam came to Antwerp , Regensburg , Frankfurt , Bayreuth and Eisenstadt in the Hungarian Esterhaza. The parents and their daughter were involved in the last two stations; It is not known exactly when they first appeared with her. The Frankfurt stagione (season) of 1755 is of particular importance: unlike the previous invitations to the princes, it was for the first time under the direction of Monsieur Bon as an independent and solely responsible principal, and there are indications, if no evidence, that his Daughter was involved.

Life of Anna Bon

Anna Bon's date and place of birth has now become known - August 10, 1738, Bologna, her mother's hometown - but the date of her death is still unknown. Her name suffix “ di Venezia ” on the front pages of her works published in Nuremberg does not mean the city of her birth, but the one with the important musical life to which Anna Bon owes her musical training. Since her parents were engaged as opera artists in Russia between 1735 and 1746, it was often assumed that she was born there. However, they were on leave from February 1738 to October 1740, probably mainly because of pregnancy and the birth of their daughter. Her earliest, well-documented sign of life (until her date of birth was found in the baptismal register of Bologna Cathedral) was her entry into the Venetian Ospedale della Pietà , one of the four girls' conservatories, as a four-year-old girl - "di 4 anni" - on March 8, 1743 .

"Pio Ospedale della Pietà"

Ospedale della Pietà

Anna Bon, like some other students of the famous “Pio Ospedale della Pietà” in Venice, was able to step out of the anonymity of the girls raised there and assert herself professionally as a musician.

The music conservatory was in the 17th / 18th Century was annexed to the house originally created in the Middle Ages for female boulders and orphans ( Bambine ). There were four such Ospedali Grandi in Venice. The girls created the music themselves, and over time, due to their professional appearances and under the training of famous maestri, an artistic focus of Venice with Europe-wide appeal emerged.

After the English music scholar Charles Burney , the Pietà (at the time of Anna Bon) was the largest of the Ospedali with around 1000 pupils; of which “seventy musically, partly singing, partly playing”. In the second half of the 18th century he had toured the continent for music. The seventy musical girls formed the “Coro”, which Burney sometimes calls the Conservatorio , sometimes the music school (according to the contemporary German translation). Charles Burney's Venice report from 1770 gives an expert picture of this in around 40 page columns.

Not only orphans received music lessons, but also children with families could take part as figlie di spese (paying pupils). Normally girls and women were not allowed to have music lessons or to make music according to the Vatican regulation, according to the saying of Paulus Mulier taceat in ecclesia. ("The woman be silent in the community"). The appearance of the girls at concerts in the church was hidden from the view of those present by decorative bars. Quote from Goethe:

“I saw a dainty cage; behind the bars, girls of sweet singing stirred busily and quickly. "

They lived in the Ospedali according to strict regulations like in a monastery, as Jane L. Baldauf-Berdes describes. At their church concerts, which regularly took place on Saturday and Sunday, the putti di coro of the "Pietà" wore uniform white monastery clothing, reports Giancarlo Rostirolla. In contrast, in Francesco Guardi's painting of a secular gala concert (1782) , the musicians wear black clothes with white collars.

Choir and The orchestral line-up is illustrated by two preserved lists of musicians from concerts in 1707 and 1743. 1707: 5 sopr. [Ane], 4 contra [lt] (alto), 3 ten. [Öre] 1 bass, plus 16 instrumentalists: 5 violins, 2 viola / violetta, 4 cellos / violet, 1 violone (double bass), 1 theorbo (bass lute), 3 organists (including the harpsichordists). A total of 30 girls were involved in the performance in 1743 (at the time of Anna Bon), 18 choristers, 2 solo singers, 8 string players and 2 organists. The question of how the girls were able to sing the deep voices is asked again and again. In fact, there are documents that there were tenor and bass singers.

In addition to Anna Bon, another Venetian, the violinist and composer Maddalena Laura Lombardini-Sirmen, became known. At the age of 7, she passed an entrance examination to the Ospedale di San Lazzaro dei Mendicanti . It is not known whether four-year-old Anna took an entrance exam; Her parents probably also had her taken care of and schooled during her opera tours at the “Pietà”. As figlia di spese , paying pupil, she was registered as the “daughter of bonuses”. Anna Bon's grandfather, the musician Steffano Ruvinetti, also lived in the city.

At the time of Anna Bon's entry, the director of the "Coro" was the well-known opera composer and singing teacher Nicola Porpora , teacher of the famous castrato Farinelli , and from 1746 the opera composer Andrea Bernasconi . Rostirolla gives one hundred and ten girls mentioned by first name with an instrument or singing voice for the years 1700–1740.

Vivaldi's pupils

Four-year-old Anna was handed over to the Maestra di Viola Candida for training on March 8, 1743 . The addition Candida dalla Viola shows her public fame as a musician in Venice. Candida lived at the Pietà under Antonio Vivaldi during what can be described as "legendary" . As a maestra , she was able to teach schoolgirls to earn money. The sources do not reveal in which subjects she taught Anna Bon.

For his most famous pupil Anna Maria dal Violin who composed maestro di concerto Vivaldi 31 Violin Concertos. Anna Maria's personal music book has been preserved. Two works by Vivaldi are also known for Candida, in which she is named by him as the performer: RV (Ryom directory) 779 for oboe, alto part, viola and organ and the "Dresden Quartet Sonata" for violin, oboe and organ and Chalumeau , where her name is given as a player of the Chalumeau (a forerunner of the clarinet). These works in the Dresden State Library confirm that the girls were only given by first name and that their surname was only passed down in exceptional cases, which makes it difficult to identify and search for their works, especially among women composers from the Ospedali . As for Candida, Anna Bon's teacher, it can be said that she was Antonio Vivaldi's personal student.

Guardi: Concert of the Coro der Pietà (?). (Choir above, orchestra below)

classes

The tight schedule included singing, playing several instruments, theoretical subjects and foreign languages ​​such as Latin, Greek and French. The theoretical and practical subjects included ear training, prima vista play, solveggio (a demanding vocal exercise without text) and maniera , which means the decoration of the lecture, a subject that no longer exists today. Counterpoint and composition as subjects are rarely mentioned explicitly, with the exception of the “Maestra Marieta (Giusti)” identified as a composer, who came as a teacher from the Pietà to the Ospedale di San Lazzaro dei Mendicanti in 1612 . At least at this ospedale the subject was called “composition”. Baldauf-Berdes names 10 identified female composers for the 18th century, seven of them from the Pietà, almost all known only by their first names. These seem to include the composers Agata della Pietà , Michielina della Pietà and Santa della Pietà .

Anna Bon and her teacher Candida are not mentioned in Baldauf-Berdes. Nevertheless, Anna Bon was musically influenced decisively in the “Pietà” and, through Candida, was a kind of grandchildren of Vivaldi. How long she stayed figlia di coro at the ospedale is unknown. According to Baldauf-Berdes, the figlie di spese (“paying pupils”, as opposed to the “foundlings”) stayed up to the age of 17, only to be dismissed afterwards without difficulty, which made it difficult for the free students (like Lombardini-Sirmen). Anna Bon must have joined her parents' troupe after reaching this age , or earlier.

At the court of the Margrave of Brandenburg-Kulmbach-Bayreuth

World Heritage Site Margravial Opera House Bayreuth, inaugurated in 1748

The time when Anna Bon left the Ospedale to join her parents' troops is not known, but the time of her arrival in Bayreuth can at least be narrowed down: Margravine Wilhelmine von Bayreuth wrote to her brother Friedrich the Great in the previous year (November 1755) , La Rosa (the singer Rosa Ruvinetti-Bon), mother Anna Bons - who may already have had her daughter with her - would give an intermezzo for the court. This was followed by other intermezzo performances, it was the beginning of a longer engagement of the Bon family at the Bayreuther Hof.

The couple returned from Italy in mid-August 1755 and were able to inaugurate a "Nuovo theater", which had now been completed, with intermezzo performances. The connection to the Bon family could have been made by Margrave Friedrich's brother-in-law, Prince Alexander Ferdinand von Thurn und Taxis in Regensburg, to whom the Bons were engaged in 1753/1754. He had established the connection to Frankfurt , where the Bontruppe gave guest performances from September 1754.

The (music) academy

After returning from an extensive art trip to southern France and Italy, the margrave couple made their experiences benefit the population by founding an academy of liberal arts and sciences. Anna Bon's father Girolamo Bon received the position of professor of architecture and perspective. Little has been known about the music department at this institute: "He held a chapel with the best Italian singers and established a music academy for music lovers at court and in the city." With this brief note, the music department at the Art Academy of 1756 reports. A curriculum for music, as for the visual subjects, has not yet been found.

Wilhelmine von Bayreuth, the composer, lutenist, harpsichordist, librettist and director of the court opera acted as the unofficial spiritus rectrice of the music department. Her husband, Friedrich , a student of Michel Blavet and Johann Joachim Quantz, played the transverse flute, viol ("knee violin") and the French fashion instrument Musette de Cour , a kind of elegant bagpipe. The court had developed into a flute stronghold. On Wednesdays there were the academy concerts in which the margrave couple took part. No concert program slip has been preserved, only a list of the clavecins (harpsichords) of Margravine Wilhelmine, according to which three instruments were also in the rooms of the academy, which confirms the musical events there. Harpsichords she had borrowed were also in the singers' apartments, for example from Madame Bon , as a practical “sponsoring”.

In this first year of the art academy (1756), the focus was on the opera Amalthea (French libretto by Wilhelmine von Bayreuth). Her music, which has been lost, came from “di vari autori”, so that Anna Bon should be considered as one of these authors . The residence remained for the Bons - it can be assumed - until 1761, despite extensive opera trips, because that is when Girolamo Bon is shown in the court calendar as a professor at the art academy. In addition, he had business ties with Nuremberg.

Anna Bon's dedication of the flute sonatas to Margrave Friedrich:

"Altezza Serenissima,
the honor I enjoy of being accepted into the ranks of chamber musicians [,] and the grace [,] with which your Highness has liked to pay attention to some of my compositions for the flute, are the reasons which is why I have the courage to join these six divertimenti [their name for the flute sonatas], which I ask you to accept benevolently, so that I would be encouraged to diligently perfect myself in this beautiful and pleasing art. Whose hands this band may end up in - I am convinced that they will praise my project. Your Highness are the first prince whom I have the good fortune to serve as a fellow ("di servire pensioniera"), which is why it is my duty to dedicate my first works to you before anyone else in the world. If your Highness deigned to accept this [,] and to have forbearance with this, my first weak composition, the title of which is adorned with the glorious name of Her Highness, then this would be a protection from those criticism who are not aware of the difficulties in this profession, nor the age of the composer. However, if you should notice a few passages that are uncomfortable for the flute, then your Highness may forgive me, because my instrument is the harpsichord and I am not always familiar with the subtleties and easy handling of it. With restraint and deepest respect I allow myself to kiss your hand, in the splendor of being able to call me Your Highness the most humble, submissive, most indebted servant Anna Bon. "

The composer

In her dedication she did not say in what form Anna Bon got to know “the difficulties of this profession”, which served “this beautiful and pleasing art” - of composing. Her cautious suggestion is reminiscent of society's reluctance to accept women composers: even the first official musical publication by a woman, the Renaissance composer Maddalena Casulana , was addressed to an influential Medici lady in 1568 (in Venice) for protection

“[...] to show the world (at least in the form that is granted to me in the profession of musician) the foolish error of men who generously believe of themselves that they alone are masters of high intellectual abilities. And they believe that these skills cannot be equally available in women. "

The Venetian composer Barbara Strozzi also believed that she had to protect her first publication in 1644 "from the flashes of the slander that had been prepared".

As a “cammer musician and virtuoso”, Anna Bon benefited from the professional atmosphere at the Bayreuth Academy of Art and published six sonatas three times in a row (1756–1759). At the liberal court of Margrave Friedrichs, female singers were allowed to sing in the church, which was frowned upon even in the Protestant church during Johann Sebastien Bach's time in Germany.

Under Margravine Wilhelmine

Many impulses came from the opera director Margravine Wilhelmine . Since 1751 a member of the Roman Accademia dell'Arcadia , an international literary academy, she was a Roman pastorella arcade , a “shepherdess in Arcadia ” - the name said it all . As a Pastorella (member) she wrote several opera texts. In 1756 she wrote the opera libretto for the Opera seria Almathea and had it set to music “di vari autori”. This was the so-called " pasticcio (pate) practice", whereby the singers could bring in their personally preferred arias by foreign composers if they suited the musical affect and the state of the plot. A side effect of this pasticcio practice, which should not be underestimated, was to save the composer's fee and to avoid financial bottlenecks. Anna Bon was later involved as a composer in the Pasticcio Artaserse .

In 1756 the Amalthea company can be seen as a teaching example for the music department of the newly founded academy. Probably Anna Bon was one of the "vari autori" of this pasticcios. The connecting recitatives had to be set up. It is not known whether and which teachers she had with her. One should think of the established chamber musicians, Kapellmeister Johann Pfeiffer and court composer Jakob Friedrich Kleinknecht , because she spoke of the circle of chamber musicians. In the year of death of the opera director Wilhelmine, a pastoral and a “Singspiel” were performed on the occasion of the wedding of Ernestine Auguste Sophie von Sachsen-Weimar-Eisenach with the Duke of Hildburghausen (July 1758).

Anna Bon's special instrument was the harpsichord . That meant mastering the figured bass in addition to playing solo . The deepest voice of the music with the simultaneous transmission of the accompanying digits for intervals and harmonies ( basso continuo ) forms the basis of the baroque composition. Wilhelmine had given the Bon family a harpsichord that they owned to practice.

After the sonatas for Margrave Friedrich's flute op. I, she composed for her instrument Sei Sonate Per il Cembalo opus II, which she dedicated to the aforementioned Ernestine Auguste Sophie, printed in 1757 in età d'anni dieci sette (“at the age of 17”) ). To publish a coherent cycle of six sonatas for this instrument was an achievement for a 17-year-old.

Opus III, Sei Divertimenti a Due Flauti e Basso , is addressed to Elector Karl Theodor . At that time his residence was considered to be particularly brilliant musically, his orchestra , led by the bohemian violin virtuoso Johann Stamitz , developed a new style that broke away from the figured bass. In this third issue of Anna Bons her title Virtuosa di Musica di Camera in the service of the Margrave is missing , but not her age presentemente in età d'anni dieci nove ("at the age of 19"), so that a publication of these trios only after a decisive event for the court, the death of Margravine Wilhelmine (October 14, 1758). The printing of the trios seems less careful, maybe there were delays due to war events ( Seven Years War ). The Peace and War Courier , which advertised Anna Bon's works , appeared in Nuremberg .

The pasticcio Artaserse , on the music of which Anna Bon worked alongside four other composers, was probably formed into a whole at the court of the pasticcio specialist Wilhelmine.

The singer

In this opera Anna Bon sang the female lead

Back to the question of when she joined her parents' troupe as a singer. Her name does not appear either in the Bayreuth court calendars or in the printed Bayreuth libretti of these years with performance dates.

At that time the only possible official title for a musician was that of a "Cammer singer". For the first time as such, in addition in the form of Virtuosa di Musica di Camera , Anna Bon is shown on the first page of her Flute Sonatas (op. I, printed in 1756). It is unclear whether this title refers explicitly to her singing. However, since she writes in her dedication to the margrave that he was the first prince, che hò la Fortuna di servire a penseriero (whom I am fortunate to serve as a scholarship holder), she must give the title Virtuosa di Musica di Camera in practical form (serve) justly, not least as a singer.

As a singer she already had engagements outside the Bayreuth court, because in the same year 1756 she appeared on July 20th in Dresden in the opera La Ritorna di Londra by Domenico Fischietti (text: Goldoni). This is her earliest (dated) performance date as an opera singer.

In the Library of Congress in Washington there is a microfilm of another libretto on which Anna Bon is mentioned: The dramma per musica Il Negligente with information not only on the lyricist Carlo Goldoni and the composer of the arias Vincenzo Llimitedio Ciampi , but also on the performers. Anna Bon is given as the singer of the female lead, the "Lisaura", in front of her mother Rosa Bon, as "Mad. Anna Bon ”. This also justifies the term “prima donna” for her. A dated Frankfurt theater ticket from April 23, 1755, a completely new and great opera comique [,] entitled: Il Negligente, agrees with the Washington title . That could have already meant her participation in Frankfurt, both times there are seven actors.

From 1758 onwards, guest tours of the Bon family to Vienna, Pressburg and Eisenstadt with Anna Bon's appearances as a singer on the opera stage are attested. According to Mátyás Horányi, these are the Hasse operas Leucippo and Don Calandrano , given in Pressburg in 1759 and 1760, and according to Zdenko Nováček, Demetrio von Gluck (?). These operas were also part of the Bon troupe's Frankfurt program 1754/1755. In the season 1761/1762 she then sang at the side of her mother at the imperial Burgtheater in Vienna under the direction of Count Durazzos.

Not spectacular sounds its Instructions to Prince Esterhazy on July 1, 1762 "... it is kept Being 2 do So probably the Cammer as choir Musique to appear, and our Capel-Master [Joseph Haydn] all parition to bars, with -to what musicals are presented to them, to sing them ". That she, Anna Bon, is meant by this can only be seen from the heading: "In the day and year below today, Mahler Le Bon, together with his wife and daughter, was accepted and accepted into our service for a year as follows:" . In 1764 Joseph Haydn composed a cantata of homage for his employer, Prince Esterhazy, and wrote the name of Anna Bon and her mother as the cast in his own hand. In the first edition 2002 (see literature) it is the second cantata in C, in which at the beginning of the second movement “Coro” Sembra che in questo giorno as soloists “Sigra [Rosa] Bon”, (Soprano I) and “Sira [Anna] Bon ”(Soprano II).

The fact that Anna Bon practiced the practical profession of singer in addition to her composing has a parallel: Maddalena-Laura Lombardini Sirmen , the aforementioned Venetian violin colleague in Venice, who first jumped from the Ospedale di San Lazzaro dei Mendicanti into a career as a composer and violinist, later switched to opera singing.

Almost nothing was known about the performance of the opera Artaserse (Preßburg 1760), in which Anna Bon, as stated, was involved in both composition and performance. A sacred aria Astra coeli assigned to Anna Bon as the composer is in da capo form, as sung in operas. The coloratura and ornamentation contained therein should have corresponded to your personal singing level and level of ability.

The harpsichordist

“My instrument is the harpsichord” we learn only from Anna Bon's dedication to her opus I to Margrave Friedrich von Bayreuth. Although the name of the "Virtuosa di musica di Camera" was not included in the actual list of musicians in the court calendar, her participation in the orchestra as a continuo player or as a harpsichord soloist in court concerts can be assumed, because the position of a harpsichord player in Bayreuth was postponed for the first time occupied by the death of Wilhelmine.

Anna Bon got to know the most modern keyboard instruments at the Bayreuth court, which have been acquired since Wilhelmine's arrival in 1732. The above-mentioned list of the margravine's posthumous "clavecins" includes harpsichords, fortepiano and clavichords. From this it can be deduced that “a large clavecin with 2 registers was at Madame Bonn's”, as active support from the margravine for exercise for the singing mother Rosa or the harpsichordist Anna. As an instrumentalist, she was familiar with the subtleties of playing, expression and technical and tonal details, this can be seen from Anna Bon's dedication. In it she apologizes if some passages of her composition are uncomfortable for the instrument of the margrave (flute), since her instrument is the harpsichord. This is not a polite phrase, but refers to the flute with the second key, the so-called "dis key", used by the margrave; this contributed to the differentiation of the finest intonation shades.

In the ensemble of Joseph Haydn at the court of the Prince of Esterhazy

Esterházy Palace in Eisenstadt

After their guest performances in Vienna, Pressburg and Eisenstadt, in which two singers from the Esterhazykapelle already participated, the Bon family received an engagement with Prince Nikolaus von Esterhazy in Eisenstadt , known as "the splendor lover". The contract is dated July 1, 1762, in which Anna Bon is named not by her name but as "daughter", and the mother's name, after all that of a soprano who is famous across Europe, does not appear, but only as "Hieronymus Bon's wife" .

"In the day and year below today, Mahler Le Bon, together with his wife and daughter, has been accepted and accepted into our service for a year as follows: 1 mo Will his duty be for all Mahler work which he does from us or from others, However, given from our command, especially as regards the Theater to apply all its possible diligence, and bore his wife a Singerin is when she is kept being 2 do So probably appear to the Cammer as choir Musique, and our Capel- Masters all parition to perform with what musicals are presented to them, to sing them, and since putting all their duties on paper is considered superfluous, one leaves it to their skill, and eagerness to serve the same according to their circumstances will be selves then wisely to give all of himself Satisfaction, ever just want you to be honest, Christian, quiet and friedig perform contrast 3 t io for such service performance is connected above, Resolviret 4 to cash money for every 600  Fl. or monthly 50 bottles Reinl. and are hereby directed to our chief collecting office. In addition to and without 5 tons, 10 buckets of Eisenstadter Hain wine are accorded to them. If Eisenstadt the 1 th Julii 762. Jerome Bon [mpria] [envelope] 762 Conventio pictoris le Bon et ejus ut uxoris Cantatricis. "

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Under their new employer Joseph Haydn , however, the two Bon ladies were "on record" in a special way: he wrote a welcome cantata for Prince Esterhazy Al Tuo arriva felice , in which he personally entered the cast of the two as soloists: "Sigra Bon" , (Rosa) 1st soprano and "Sira Bon" (Anna), 2nd soprano. The cantata was performed in the spring of 1764 when the Prince returned from the coronation celebrations in Frankfurt am Main. The solo efforts of the two singers Rosa and Anna Bon testify to their appreciation on the part of the master in the presence of his princely employer.

Two of Haydn's first Italian music-dramatic works have been incomplete. The Wienerische Diarium reported on the stage plays on the occasion of an Esterhazy wedding celebrated in January 1763, without naming the performing artists. But it stands to reason that the Bons performed the opera buffa , whose “strange success” was specially reported; After all, it was the specialty of the Bon family for which they were hired in view of the wedding feast. No other special features are known. The “Virtuosa di Musica di Camera” from the Bayreuth court is always referred to only as the “daughter” (of Girolamo Bon). "The daughter" is still on duty as a singer until 1765, after which she left the court, as the file says.

The only proof so far that she was still composing could be her aria Astra coeli . This is to be kept in the castle library of Český Krumlov in the former South Bohemia; Initial research in the catalog of the Czech National Library has not yet produced any results.

In terms of age, Anna was not many years younger than Joseph Haydn's. But the “Haydn style”, by which the early classical music is meant here, is only indicated by her most recent Aria Astra coeli for soprano and strings.

The disappearance of a musician

Anna Bon's name has not yet been found in the Bayreuth files, and she is not often mentioned at the Esterhazy court either and is only mentioned as "daughter" without a name. Only her Nuremberg prints, indicated in the Nuremberg Peace and War Courier , as well as a few foreign libretto prints show this. The composer Joseph Haydn noted it in abbreviated form as an instrumentation in a cantata.

Gerber's Lexicon

Anna Bon disappeared after she (allegedly) appeared in 1767 at the court of the Duchess of Hildburghausen in Thuringia , according to Ernst Ludwig Gerber . Gerber gives the source of this news as "Herr von Imhoff": "Bon (Anna) - lived in 1767 in Hildburghausen as the wife of the local chamber and opera singer and very good tenorist Mongeri." The Duchess was her former companion in Bayreuth , Weimar Princess Ernestine Auguste Sophie (see above), who married Duke Ernst Friedrich Carl von Hildburghausen in Bayreuth.

Church register Hildburghausen

Hildburghausen as the place of residence of Anna Bon as the “wife of the good chamber singer Mongeri” cannot be proven and is actually unlikely, because according to the church book the “Hochfürstl. [Iche] Hof- u. Cammer singer "" Francesco Mongeri "was demonstrably married to another woman in Hildburghausen during the period in question, with whom he had three children during these years. A possible divorce of the "good" Mongeri and a new wedding until 1767 are difficult to imagine, a wedding Mongeri / Anna Bon did not take place in Hildburghausen according to the church book. There was no news of another singer with the same family name.

Trace to Bohemia

One trace points to Bohemia: the aria Astra coeli is said to have been handwritten and is said to be in Český Krumlow Castle in former Bohemia. There is also another trace: on an old manuscript from an offertory owned by the Bohemian composer Zdeněk Fibich , the handwritten entry: “La Bona” can be read. If it was just a possession note, it would certainly have no article (“la”), La Bona sounds like an artist's name that was well known at the time - her name as a composer? As a recognized singer at the time, a double name should be read if she had married in the meantime.

Musical Rococo: Anna Bon's style

Anna Bon's sonatas were written and printed within three years from 1756 to 1759, the handwritten aria was estimated to be written in 1765/1770. Their music - courtly musical rococo - belongs to the short epoch between late baroque and early classical. Philipp Emanuel Bach describes this style, generally referred to as the gallant style (~ 1740–1770), in his autobiography:

“I don't need to say a lot about everything that was heard especially in Berlin and Dresden; Who does not know the point in time at which a new period began, as it were, with music in general and especially with the most accurate and finest execution of it, whereby the art of music rose to such a height that I fear, to a certain extent, that it already has I've lost a lot. "

Bach refers to his years in Berlin in the service of the Prussian King, at the beginning of which he “had the grace” to “accompany his first flute solo”, as he puts it, “alone on the piano”. This "new period" of courtly "Musica da Camera" and its "most accurate and finest execution" - its enthusiastic undertone can be heard - belongs to Anna Bon's chamber music, which was composed at the court of Wilhelmine von Bayreuth, the king's sister.

Cantabile

Anna Bon's musical environment was Italian opera, into which she grew up as an active member of her father's opera troupe. The opera singing followed human feelings in the “dramma per musica”. There was an interaction between singing and instruments, for example flute and violin imitating the nuances of the singing voice, which is expressed, for example, with the performance designation “Cantabile”. In return, the instrumental gimmicks - arpeggios (chord breaks), scales (runs), interval jumps and trills - were literally taken to extremes by the "gurgling" of the castrati and prima donnas.

This music bears the stamp of the Enlightenment, at the center of which stood the human being with his individual affects and sensations. This included a “return to nature”, which unfolded in the calm adagio and in cantilever lines with the incentive to improvised ornamentation. The Venetian girls learned the cantable “manners” in the subject “maniera” at the ospedali.

Figured bass and dramaturgy

Anna Bon's compositional starting point is the baroque figured bass (which the young Joseph Haydn also practiced). This means that their melodies depend on the deepest voice in their harmonic execution. Yet they flow freely, are imaginative and “modern”. In doing so, the composer adapted to the gallant, sensitive taste of the Bayreuth royal couple. All sonatas are also referred to as “ divertimento ” in the respective foreword , the musical term for (courtly) entertainment. The dance-like echoes in the moving sentences create the entertaining flair, whereas the slow movements are supposed to stir the mind. Almost all sentences are in two parts and - the repetition symbols show it - invite you to repeat. Literally named as dance is only the " minuet ", which occurs both with a minor trio (minor insert) and as a minuetto con variazioni .

The cycles of the three-movement sonatas are based on two different dramaturgical models: When the slow movement begins - a formal relic of the church sonata - the moving movements follow a kind of increasing principle, usually without changing the key. This form predominated in the Berlin and Bayreuth schools. In the other version, two fast movements surround the calm movement, which is always in a contrasting key, similar to the concerto. This variant can also be found at the Geschwister-Höfe Berlin and Bayreuth.

Bayreuth chamber music

opus I, 1756

Andante and beginning of Allegro assai of the Flute Sonata IV by Anna Bon di Venezia
the Quantz flute with the second key, detail from a painting by Gerhard in the New Bayreuth Palace

Anna Bon took account of Margrave Friedrich's favorite instrument with opus I and III. His fondness for it and his flute-playing royal brother-in-law in Berlin, the joint teacher Johann Joachim Quantz and the Bayreuth court flutist Jakob Friedrich Kleinknecht made his residence a stronghold for the "Traversiere" ( flute ).

Anna Bon's flute sonatas opus I have the rather ancient name “VI Sonate da Camera” in their title for the year of publication 1756; " Sonata da camera " has been used since Arcangelo Corelli to distinguish it from the church sonata ("da chiesa"). According to the composer's request, the flute should be accompanied by “violoncello o harpsichord”, namely cello “or” harpsichord, ie explicitly only by one instrument; Arcangelo Corelli already did this in his opus V, 12 solo sonatas for violin, which many subsequent composers used as models for the execution of an accompanied solo part. He, too, only prescribed one instrument for performing the basso continuo : "Harpsichord o Violono " (bass string instrument). Such a "unanimous" accompanying voice performed by just one musician, whether linear through the cello or violono or chordally through the harpsichord, can be more precisely adapted to the finesse of the individually acting solo instrument.

Anna Bon counted on the Margrave's two-fluted flute for acoustic fine shading, a temporary Rococo fashion. The middle movement Andante in D minor from the D major Sonata opus I No. IV with its dynamic notations shows such subtleties.

opus II, 1757

The solo keyboard music began to change during this time due to the increasingly developing pianoforte . Haydn's early piano (harpsichord) sonatas are not dated and are set to “before 1766” (some exceptions to 1750–1760). The printing year 1757 of Anna Bon's harpsichord sonatas shows a progressive stage , both in terms of the instrumental use of the keyboard space and the development of the sonata form for piano .

The mostly two-part approach (right hand melody, left hand basso continuo) is often used for virtuoso ornaments with lively accompaniment (for example in Sonata IV). The central component is the main theme with its repetitions, its answers and its modulating spinning, as can be observed similarly in Joseph Haydn's early sonatas. Both composers thus participated in the development of the classical sonata form for piano. Compared with Haydn's short, playful movements in his earliest sonatas, which are often titled “Partita” or “ Divertimento ”, Anna Bon's six three-movement sonatas op. II from 1757 represent a balanced and representative collection.

The haunting melodies of their slow movements invite improvised “manners”. Here you can feel the singing breath, with which the singer can fill her with life (decorations, colorations), for which the subject “maniera” was given at the Pietà . The 3rd harpsichord sonata ends like the 3rd flute sonata with a minuet with a minor trio. The last movement of the 4th harpsichord sonata catches the eye because of a humorous quote from the intermezzo La Serva Padrona by Giovanni Battista Pergolesi . The first movement of the 5th Sonata is a musical Sturm und Drangstück : it is in B minor, its dotted opening theme occurs similarly in a lute by Jakob Friedrich Kleinknecht . In the 6th sonata (1st movement), the right and left hands are set like a lively, dialogic commentary. The final movement of this sonata (like that of the 6th flute sonata) is entitled “Menuetto con Variazioni”.

opus III, 1759

Anna Bon uses the term “basso” (= basso continuo ), which is more common for figured bass, for her opus III, the flute trios. The designation “basso” allows for a larger scope, a whole “bass group”: In addition to the harpsichord or the theorbo (bass lute) as chordal instruments, linear instruments such as viol, violoncello or bassoon can be used, so that a trio accompanied in this way easily consists of five and more Players can exist.

Modern score: Fugue op.III No. II (1759) by Anna Bon di Venezia

In Bon's Trios Sei Divertimenti (the literal name “ Trio ” comes from the book of parts) the principle of heightening is used four times, starting with the slow movement. The entertaining dialogues of the two flutes show contrapuntally sophisticated movements and perfect modulations (key changes). A Minuet movement is missing in opus III, but the middle movement of Trio No. II in D major has a slightly floating fugue in three time. The light-footed triad theme is performed several times in double and triple counterpoint (exchange of voices). In the middle (bars 31–40) the climax is a free contrapuntal gimmick with modulations in the more distant keys. Trio here means a more consistent (strict) set for three voices. Compared to a four-part system, it is considered a delicate compositional approach. With multiple instrumentation of the figured bass (lowest voice) harmonies can be emphasized effectively.

Looking at the six successful solution of the trio movement (6 sonatas = 18 movements), the composer's age (19 years) is understandable, even though it was no longer a child prodigy age. It should be remembered that the trios of their older Bayreuth colleague, the court composer Jakob Friedrich Kleinknecht, are praised to this day.

Opera "Artaserse"

From the opera Artaserse , an opera seria with the participation of the young composer and four co-composers (names not given), performed in Pressburg in 1760, no music has survived; we only know that it was a pasticcio based on the text by Pietro Metastasio. It can be assumed that Anna Bon worked on the model of the pasticcio practice cultivated under Wilhelmine von Bayreuth.

Aria "Astra coeli"

There is an example, rediscovered a few years ago, that Anna Bon composed for voice. Her sacred aria Astra coeli is in da capo form, her swinging melodies point to the early classical period. The fact that the composer was able to study aria composition at Wilhelmine's court can be seen in this piece: long triplet coloraturas on one syllable, richly decorated with suggestions and trills, are reminiscent of the arias from Wilhelmine's opera Argenore. There are two coloratura examples: 8 bars long on “intona –– te” and 6 bars long on “leva –– te”. Text (translation by Maria Koldau):

Astra coeli jam intona__te, Stars of heaven resound,
Corda nostra sic leva__te. Lift up our hearts.
Coelorum sacrata Consecrated to heaven
Numina cantate. Being sings.
 
Hoc est grata amoris dies This is the welcome day of love
Hoc est cordis quies This is the rest of the heart
Cum sancto triumphate Rejoice in the holy.
Deum laudate. Praise God.

Tradition through to rediscovery

Anna Bon's life story stands for that of many female composers: Despite her well-trained talent, the “difficulties of this profession” caught up with her, which were greater for a woman than for male colleagues. Be it through a change of name or child death: after a three-year stay in Esterhaza, the protocols about her break without a new place of activity of the young artist being recognized.

Soon after her “disappearance”, Anna Bon's Bayreuth works opus I – III were included in Johann Georg Sulzer's General Theory of Fine Arts , Berlin 1771–1774. Gerber's abovementioned Lexica ATL and NTL with their dates appeared around the turn of the 18th and 19th centuries. Century. The first alphabetically arranged source lexicon , a pioneering work by Robert Eitner (1900–1904), also lists works by women composers, including Anna Bon. In 1971, the series of the extensive international source lexicon, Répertoire International des Sources Musicales ( RISM ), which was based on this, lists the locations of Anna Bon's Nuremberg prints.

In 1981 the International Encyclopedia of Women Composers by Aaron I. Cohen was published in the USA , in which Anna Bon was recorded as the composer with her works op. II + III and the Copenhagen manuscript of the Giedde collection (= copy op. I) is given. In 1986 the name "A. (di) Bon" (with an abbreviated first name) appeared in the register volume of the 17-volume encyclopedia Music in History and Present 1, where it refers to the article by her publisher JB Schmidt in Nuremberg, here under the name of von composers relocated to him; the new edition of Music in Past and Present 2 does not even bring the name Anna Bon. In 1991 the Bayreuth City Library organized an exhibition on the subject of women composers, the temptation to live , one of which was Anna Bon. Sacred vocal works, presumably by Anna Bon, were found in the 21st century, which could point to an activity of the composer after 1765.

The American scientist HC Robbins Landon, who died in 2009, first thoroughly researched biographical information about the three vouchers under and next to Joseph Haydn . The Norton / Grove Dictionary of Women Composers 1994 and The Norton Grove Dictionary of Music and Musicians 2001 report on Anna Bon. Two errors need to be corrected here: Mongeri was not Anna's husband, and Anna Bon was not in the service of "Frederic the Great" , but Margrave Friedrichs von Bayreuth. The first detailed biographical work on Anna Bon appeared in 1995–1996 in the magazine Viva Voce and in 1996 in Furore Verlag.

Original prints of Anna Bon's works and contemporary copies are in libraries in Moscow, Berlin, Munich, Wolfegg / Württemberg, Copenhagen, Brussels, Gotha, Regensburg and Český Krumlov. Internationally there are reprints and CD recordings.

Works

Instrumental music

Op. I.

VI / Sonate da Camera / per il / Flauto Traversiere / e Violoncello o Cembalo / dedicate / All 'Altezza Serenissima / Tue / Federico / Margravio Regnante / Tue / Brandenburg Culmbach etc.:etc:etc:/ Composte / da / Anna Bon di Venezia / Virtuosa di Musica di Camera / all 'attuale Servizio / dell' / Altezza Serenissima sudetta / e presentemente in età d'anni sedeci / Opera prima / Stampate alle spese della Vedova di Baltas: Schmidt / in Norimberga / 1756 / Nro. XXXXVI.

  • I: Adagio 4/4 - Allegro 4/4 - Presto 2/4 (C / C / C)
  • II: Largo 4/4 - Allegro 4/4 - Allegro 3/8 (F / F / F)
  • III: Andantino 2/4 - Allegro C - Minuetto 3/4 / Minor / Da Capo il Maggio (B / B / B – b – B)
  • IV: Allegro moderato 4/4 - Andante C - Allegro assai 3/4 (D / d / D)
  • V: Allegretto ¾ - Andante staccato 3/8 - Allegro 2/4 (g / g / g)
  • VI: Adagio C-Allegro 2/4 - Menuet con Varazione 3/4 (G / G / G)

Op. II

Be Sonata / Per il harpsichord / […] Ernestina Augusta Sophie / Principessa / Di Sachsen Weimar etc.:etc:/ [...] in età d'anni / dieci sette / Opera secunda / […] 1757./ Nro. XXXXIX. [2]

  • I: Allegro 4/4 - Andantino 4/4 - Allegretto 3/8 (g / g / g)
  • II: Allegro non molto ¾ - Andante 2/4 - Allegro 2/4 (B / g / B)
  • III: Allegretto 2/4 - Adagio 4/4 - Minuetto 3/4 / Trio / Minuetto Da Capo (F / F – f – F / F)
  • IV: Allegro 2/4 - Largo ¾ - Allegro assai 2/4 (C / a / C)
  • V: Allegro moderato 4/4 - Adagio non molto - Allegro 2/4 (h / h / h)
  • VI: Allegro 4/4 - Andante 4/4 - Minuetto con Variazioni 3/4 (C / F / C)

Op. III

Sei Divertimenti / a Due Flauti, e Basso / Dedicate / All'Altezza Serenissima Elettorale / Tue / Carlo Teodoro / [...] d'anni dieci nove./ Opera Terza / [no year] […] Nro. LIII.

  • I: Adagio 4/4 - Allegro 4/4 - Allegretto 2/4 (G / G / G)
  • II: Andante 4/4 - Fuga ¾ - Allegretto 3/8 (D / A / D)
  • III: Andantino 6/8 - Allegro 4/4 - Presto 2/4 (d / F / d)
  • IV: Allegretto 2/4 - Adagio ¾ - Allegro 3/8 (G / C / G)
  • V: Andante 2/4 - Allegro 2/4 - Allegretto 3/8 (C / C / C)
  • VI: Allegretto 2/4 - Adagio mà non molto 4/4 - Allegro 3/8 (A / D / A)

Vocal music

  • Aria Astra Coeli Del: Sig: Di Anna Bon, a Canto Solo [Soprano], Violini I / II, Alto Viola, Basso. Ms. in ČeskÝ Krumlov Castle (?), Signature VI. C. 71.

Lost works

  • alcune 'mie Composizioni in jscritto per il Flauto , indicated in the dedication to Op. I. (before 1756). It refers to this in the preface to op. 1. It could be the six flute sonatas, or parts of them, in handwriting.
  • Opera Artaserse , music by Anna Bon and "four well-known" co-authors, so pasticcio. (Libretto: Pietro Metastasio, preserved in Pressburg).

also

  • Authorship unclear: Offertory with the inscription “Dal. Sign: la Bona “. Ms. from the former possession of the composer Zdeněk Fibich.

Discography

  • Sabine Dreier, transverse flute ; Irene Hegen, Pantalon piano . Recorded in September 1992, St. Johannis Church, Bayreuth. Georgsmarienhütte 1992: CPO 999 181-2.
  • Christiane Meininger, flute ; Traud Kloft, harpsichord . Bayer, 1994.
  • Claudio Ferrarini, flute; Andrea Corsi, bassoon ; Francesco Tasini, harpsichord. Mondo Musica, Munich 1996. (The text booklet includes an anonymous portrait of Anna Bons.)
  • Sonata d Op. 1/2. Stefano Bet, transverse flute; Edward Smith, harpsichord. Up. 1996 in Venice, Chiesa dell'Ospedaletto. Skira SK00272, 1996.
  • Sonata D Op. 1/4. Stefano Bet, transverse flute; Francesco Cera, harpsichord. Up. 1998 in Lugano, Teatro RTSI. Tactus 700002, 1998.
  • Six Divertimenti op. 3. On historical instruments. Sabine Dreier and Peter Spohr, transverse flute; Rhoda Patrick, bassoon; Tatjana Geiger, harpsichord; Thorsten Bleich, theorbo . EMEC E-023, 1997.
  • Sonata for Harpsichord op.2, no.6: Allegro. Fine carpenter, harpsichord. "Court Composers in Europe," Vol. 2. International Library of Women Composers Unna, 1998.
  • Divertimento op.3, no.3, arr. For flute, violin, cello, harpsichord. "Court Composers in Europe," Vol. 1. International Library of Women Composers Unna, 1998.
  • Sonata op.III No. 5 in B minor. Irene Hegen, harpsichord. Bayreuther Hof Musique. Wilhelmine's Temple of the Muses 1734–1764. Salto Records, 1999
  • Christiane Meininger, flute; Fine carpenter, harpsichord. “Court composers in Europe.” Vol. 3. Cybele, 1999.
  • 6 Sonata Op. 1. Giovanni Battista Columbro, transverse flute; Marco Vincenzi, harpsichord; Nereo Dani, viola da gamba. Rainbow Classics, 2000.
  • Chamber Sonatas op. 1 nos. 4 & 5; Sonatas for Harpsichord op. 2 nos. 1 & 5; Divertimenti op. 3 nos. 1-3. Elke Martha Umbach, Susanne Wendler, flute; Johannes Platz, violin ; Heike Johanna Lindner, violoncello ; Jan Grüter, theorbo; Ilka Wagner, bassoon; Anke Dennert, harpsichord. "Sonatas from the Court at Bayreuth." Aeolus, Korschenbroich 2003.
  • Sonatas for Harpsichord op.2. Barbara Harbach, harpsichord. MSR Classics, Newton CT 2008.
  • Divertimento op. 3 no. 6. “Wilhelmine von Bayreuth.” Elisabeth Weinzierl and Edmund Wächter, Trasver flute; Eva Schieferstein, harpsichord; Philipp von Morgen, cello. Thorofon 2565, 2010.
  • Chamber Sonatas op. 1 nos. 4, 5 & 6; Sonata for Harpsichord op. 2 no. 6; Divertimento op. 3 no. 4; Aria Astra Coeli ; Offertory Ardete amore ; Motet Eia preces et veloces . Julianne Baird, soprano; Ensemble “La Donna Musicale”. La Donna Musicale 10104, 2010.

literature

chronologically

  • Charles Burney : Diary of a musical journey, complete edition, Hamburg 1772/1773. Edited by Christoph Hust, Bärenreiter Kassel, 2nd edition 2004 in: ( Documenta Musicologica. First series: Druckschriften-Faksimiles XIX ), ISBN 3-7618-1591-3 .
  • Carl Philipp Emanuel Bach : autobiography. In: Carl Burney's diary of his musical journeys, vol. 3, Bode, Hamburg 1773, pp. 199–209. Facsimile in: Willi Kahl: Self-biographies of German musicians of the 18th century. Staufen-Verlag, Cologne / Krefeld 1948 (with introductions and comments).
  • M. Frédéric Faber: Histoire du Théatre Francais en Belgique depuis son origine jusque a nos jours, d'apres des Documents inédits reposant aux archives générales du Royaume. Tome deuxième, Brussels / Paris 1879.
  • R.-Aloys Mooser: Annales de la Musique et des Musiciens en Russie au XVIIIme siècle. Mont-Blanc 1948 (from the very beginning, with name and opera title index as well as a comprehensive bibliography).
  • Karl Benyovszky : The old theater. Bratislava 1926.
  • Mátyás Horányi: The Esterhazy Fairy Kingdom . in: Contribution to the Hungarian theater history of the 18th century. Publishing house of the Hungarian Academy of Sciences, Budapest 1959 (pioneering work).
  • HC Robbins Landon : Haydn. Chronicle and Works. Volume I: The Early Years 1732-1765. and Volume II: At Esterháza 1766-1790. Indiana University Press, Bloomington, London, 1980 (I) ISBN 0-253-37001-9 ; 1978 (II) ISBN 0-253-37002-7 (pioneering work).
  • Zdenko Nováçek: Hudba v Bratislave. Bratislava 1978.
  • Michael Talbot : Antonio Vivaldi, the Venetian and Baroque Europe, life and work. (English original edition 1978), German edition: Stuttgart 1985, ISBN 3-421-06285-4 .
  • Giancarlo Rostirolla: L'Organizzazione Musicale Nell'Ospedale Veneziano Della Pietà Al Tempo Di Vivaldi. In: NRMI. XIII 1979, pp. 168-195.
  • Walter Kolneder : Antonio Vivaldi, documents of his life and work. Wilhelmshaven (1979) / 1983, ISBN 3-7959-0273-8 .
  • Aaron I. Cohen: International Encyclopedia of Women Composaers. RR Bowker, New York / London 1981, ISBN 0-8352-1288-2 , p. 62. (First encyclopedia for women composers.)
  • Freia Hoffmann: instrument and body. The woman making music in bourgeois culture. Insel-Verlag, Frankfurt am Main / Leipzig 1991, ISBN 3-458-32974-9 <2000>, in particular: Geige. The Venetian Women's Orchestra , pp. 174–181 and appointments and titles , pp. 299–304.
  • Walter Kolneder: Lübbes Vivaldi Lexicon. Bergisch Gladbach 1984, ISBN 3-7857-0381-3 .
  • Jane L. Baldauf-Berdes: Women Musicians of Venice. ( Oxford Monographs on Music ). Clarendon Press, Oxford 1993, ISBN 0-19-816236-7 .
  • Irene Hegen: Anna Bon di Venezia. Discover a missing composer. In: Approach VII - to seven women composers. Edited by Clara Mayer, Furore Kassel (1995) / 1996, ISBN 3-927327-36-0 , pp. 23-40. ( Based on the author's essay published in Viva Voce, Frau und Musik No. 36 in Kassel 1995).
  • Marc-Joachim Wasmer: Maddalena Laura Lombardini Sirmen (1745–1818), prima donna of the violin. In: Approach VIII - to seven women composers. ed. by Clara Mayer. Furore-Edition, Kassel 1997, ISBN 3-927327-39-5 .
  • Irene Hegen: New documents and reflections on the music history of the Wilhelmine period. In: Peter Niedermüller, Reinhard Wiesend (ed.): Music and theater at the court of the Bayreuth Margravine Wilhelmine. Symposium on the 250th anniversary of the Margravial Opera House on July 2, 1998 ( Writings on musicology. Published by the Musicological Institute of Johannes Gutenberg University Mainz, Vol. 7) Are Edition, Mainz 2002, ISBN 3-924522-08-1 , Pp. 27–57,
  • Helen Geyer, Wolfgang Osthoff (ed.): Music at the Venetian Ospedali / Conservatories from the 17th to the early 19th century. ( Centro tedesco di Studi Veneziani ). Rome 2004.
  • Christoph Meixner: Music theater in Regensburg in the age of the everlasting Reichstag. ( Music and Theater. Ed. By Detlef Altenburg Vol. 3.) Sinzig 2008, ISBN 978-3-89564-114-5 .
  • Michaela Krucsay: Between Enlightenment and Baroque splendor. Anna Bon di Venezia and her family of "operists". BIS-Verlag of the Carl von Ossietzky University, Oldenburg 2015, ISBN 978-3-8142-2320-9 (= publication series of the Sophie Drinker Institute; 10).

grades

Anna Bon di Venezia

Several reprints in the catalog of the German National Library (international)

  • 6 flute sonatas op. I
  • 6 harpsichord sonatas op. II
  • 6 Divertimenti (Trios) for 2 flutes and Basso op. III
  • Aria Astra coeli for soprano, 2 violins, viola and basso.

Joseph Haydn

Editions of works by the Joseph Haydn Institute Cologne with scientifically explanatory text

  • Acide and other fragments of Italian operas around 1761 to 1763. Ed. By Karl Geiringer, Günther Thomas. Henle-Verlag, Munich 1985.
  • Cantatas with orchestra for the Esterházy dynasty. Edited by Andreas Friesenhagen, Sonja Gerlach, Henle Verlag Munich 2000.

See also

Remarks

  1. ↑ At the expense of "della Vedova", his widow. In this publishing house published Johann Sebastian Bach two particularly known Cembalowerke Italian Concerto and Goldberg Variations , as his son Carl Philipp Emanuel his first booklet harpsichord sonatas , while (as potential addressee from 1732) Wilhelmina of Prussia (1709-1758) in the near Bayreuth lived.
  2. ↑ Phrase 9.
  3. ↑ (see Meixner). A libretto of the Intermezzo per musica Il Gioccatore has been preserved for the Bayreuth performances , printed in Bayreuth “by Johann Conrad Minzeln on the gracious command of Sr. Hochfl. Your Highness Margraves of Brandenburg-Culmbach ”. (University Library Erlangen, manuscript department), cast: Rosa Ruvinetti and Joseph Ferrini, "Ambo Musisi di Camera Di SA: S.il Margravio & c." The intermezzo (composer: Hasse?) Was already part of the Frankfurt program; the "Nuovo Theater" mentioned in the libretto, which was built after the great castle fire in January 1753, was possibly the "Theater im Hetzgarten" at the Bayreuth "New Castle", which no longer exists today.
  4. ↑ He published his violin sonatas in 1762/1763 with the Nuremberg publishing house Balthasar Schmidt and had contacts with the Italian translator and language master Marco Soralli for the opera libretti of his troupe (according to the text book Il Negligente ).
  5. ↑ A well-known pupil of the court is Anton Schweitzer , who later became known as the creator of the monodrama, who was sent to Kleinknecht by the Hildburghausener Hof in 1758 to “study opera”, see Music in Past and Present (1), article Schweitzer .
  6. ↑ The Weimar princess was brought up at the court of her uncle in Bayreuth after the death of both parents (1747/1748). This princess, called "Gustgen", would later become important for Anna's further life.
  7. ↑ See dedication.
  8. ↑ When Carl Philipp Emanuel Bach did this for the first time (1742), he was ten years older.
  9. ↑ On a miniature of the Margrave as a patron of the arts (Jörg Pinhas) in the new Bayreuth Palace, such a traverso (flute) made of ivory with two keys is shown. Compare in the Germanisches Nationalmuseum Nürnberg: Harpsichord with quarter-tone mechanism for differentiating intonations as with the two-key traverso.

Individual evidence

  1. ↑ baptized on August 11, 1738 as Anna Ioanna Lucia filia […] [des] Hieronymi / Boni et […] Rosa Ruinetti [sic]. See Michaela Krucsay: Between Enlightenment and Baroque splendor. Anna Bon di Venezia and her family of "operists". ( Series of publications by the Sophie Drinker Institute ), ed. by Freia Hoffmann, Bis-Verlag Universitätsverlag Oldenburg, 2015, ISBN 978-3-8142-2320-9 , p. 55.
  2. ↑ The name Anna Lucia Boni with age information already in Rostirolla: Pietà. 1978, p. 191, note 77. Referred to by The New Grove Dictionary of Women Composers. edited by Julie Anne Sadie, Rhian Samuel, New York 1994, ISBN 0-333-515986 .
  3. ↑ The title of “chamber musician” is still officially awarded to deserving musicians in Germany and Austria.
  4. ↑ Search under Leipzig, Fischietti [1]
  5. ↑ Leipzig City Library: D-LEm / Becker III.15.7.
  6. ↑ Horanyi: Fairy Kingdom . 1959, p. 28; Nováçek Bratislava. 1978, pp. 172/173.
  7. ↑ Landon: Haydn. II, 1978, pp. 64f.
  8. ^ Mooser: Musiciens en Russie. 1948; Wilhelm Pfannkuch: Organizations of Music. In: Music in Past and Present (1), Volume 10, 1962, column 206.
  9. ↑ For all four see Mooser: Musiciens en Russie. 1948 (see register there).
  10. ↑ Horanyi 1959, p. 28 (after Benyovszky).
  11. ↑ Summary: Landon: Haydn. II. 1978, p. 64.
  12. ↑ Robert Eitner indicates the year of your birth as 1738 in his Biographisch-Bibliographisches Quellen-Lexikon (although without naming the source), Graz 1959, Volume 2; at Landon: Haydn. II, 1978 p. 65 became “c. 1735 ”was considered as the year of birth (without any reference).
  13. ↑ Mooser 1948, p. 147.
  14. ↑ Rostirolla 1978, p. 191, note 77 (belonging to "Candida dalla Viola"): [Candida] L'8.III.1743 figura come maestra. Le viene congresso di tenere in educatione Anna Lucia di 4 anni, figlia del pittore Girolamo Boni, bolognese, attivo presso la orte di Moskovia (ASV, Ospedali, B664)
  15. ^ Charles Burney: Diary 1772/73, p. 119.
  16. ^ Instituto della Pietà
  17. ^ Johann Wolfgang von Goethe : Epigram in P. Winter: Venetianische Epigramme , communicated by Jane L. Baldauf-Berdes: Women Musicians. 1993, p. 233, note 1.
  18. ↑ Baldauf-Berdes 1993, p. 236 f.
  19. ^ Talbot: Antonio Vivaldi. P. 38/39: "Paulina dal Tenore", "Anneta dal Basso", Ambrosina = "un tenor che contralteggia" and others.
  20. ^ Wasmer: Prima donna of the violin. 1997, p. 73.
  21. ↑ After the first trip to Russia he had apparently stayed in Venice, see p. Mooser: pp. 142, 147.
  22. ↑ Rostirolla 1978 pp. 190-194.
  23. ↑ Talbot 1978, p. 168.
  24. ↑ Talbot: Anna Maria's Partbook. In: Helen Geyer, Wolfgang Osthoff (Hrsg.): Music to the Venetian Ospedali. 2004, pp. 23-81.
  25. ^ Dresden, University and State Library. Here is a large collection of Vivaldi's music, including a band Concerti con molti Istromenti Suonati dalla Figlie del Pio Ospedale della Pietà […]. Musica di D. Antonio Vivaldi Maestro de Concerti […] 1740 .
  26. ↑ See Rostirolla, 1978, pp. 190–194.
  27. ^ Elsie Arnold: Maddalena Lombardini Sirmen. In: Helen Geyer, Wolfgang Osthoff (ed.) Music at the Venetian Ospedali. 2004, p. 371.
  28. ↑ Baldauf-Berdes 1993, p. 237.
  29. ↑ Baldauf-Berdes, 1993, p. 118.
  30. ↑ L. Schiedermair: Bayreuth Festival in the Age of Absolutism. Leipzig 1926, pp. 130, 145.
  31. ↑ Friedrich Gottlob Ernst Barth: Attempt of a state and regent history of the two Franconian principalities. Hof 1795, p. 293; see also: The (music) academy in Bayreuth. In: Hegen: New Documents. 2002, pp. 47-57.
  32. ↑ On the music academy and the list, see Hegen: New documents. 2002, pp. 45-52.
  33. ^ Translation of Winfried Will / Irene Hegen / commas added.
  34. ^ Translations: Marc-Joachim Wasmer. In: Wasmer: Prima donna of the violin. 1997, p. 84, footnote 16.
  35. ↑ The members there associated with each other without class differences; Wilhelmine's username was Cleorinda Aracinzia .
  36. ^ Hegen: Wilhelmines Arcadian diploma. In: New Documents. 2002, pp. 54-57.
  37. ^ Zdenko Nováček: Bratislava. 1978, p. 173. It remains to be clarified how Anna Bons was mistaken for the “wife of the theater director” (Nováček).
  38. ^ Leipzig city library: D-LEm / Becker III.15.7.
  39. ↑ see Italian Wikipedia, archived copy ( memento of the original from March 3, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.operone.de
  40. ^ Johann Christian Senckenberg, Library of the Goethe University Frankfurt am Main.
  41. ↑ Horányi 1959, p. 28.
  42. ^ Meixner: music theater. 2008, pp. 100-103, in particular note 91.
  43. ↑ See also Irene Hegen: New materials for Bayreuth court music. Exhibition in the Steingraeber-Haus 1998. Private printing Steingraeber, Bayreuth 1998. Exhibition with reference and photo of these notes.
  44. ↑ See article by Marc-Joachim Wasmer about Maddalena-Laura Lombardini-Sirmmen, in: clingKlong. Musikscene Frau / Musiciennes en vedette, 38.1995 .
  45. ↑ Anna Bon di Venezia: Aria Astra coeli for soprano, 2 Vl, Va and Bc edited by Elke Martha Umbach. Furore Edition 7460, Kassel 2006.
  46. ↑ Wilhelmine and the piano. In: Hegen: New Documents. 2002, pp. 31-38; as well as Wilhelmine's abandoned pianos. In: there, pp. 45–46.
  47. ↑ Landon II, 1978, p. 371.
  48. ^ First published by Furore Verlag, Kassel.
  49. ↑ New Historical-Biographical Lexicon of the Tonkünstler. Leipzig 1813, part 1, column 462.
  50. ^ Church book Hildburghausen, Hofkirche 1751–1776, Maria [born] Gemarckin , also a court singer.
  51. ↑ Facsimile in: Willi Kahl: Self-biographies of German musicians of the 18th century. Staufen-Verlag, Cologne / Krefeld 1948 (with introductions and comments).
  52. ↑ as with baroque dance music.
  53. ↑ Anna Bon uses this term as a subtitle in op. I – III.
  54. ↑ His flute chamber music is now an insider tip. See Johann Adam Hiller: Weekly News and Notes Regarding Music. I (1766), Reprint Hildesheim 1970, pp. 183-187.
  55. ↑ See their expression in the preface to Op. I.
  56. ^ International Encyclopedia of Women Composers. New York / London 1981, p. 62.
  57. ↑ Landon, Volumes I and II, 1980 and 1978.
  58. ↑ Ed. Sadie Stanley, Samuel Rhian, p. 74, and John Tyrrell, Vol. 3, p. 845.
  59. ^ Hegen: Anna Bon di Venezia. In approximation VII to seven female composers. 1996, p. 38, note 74.
  60. ↑ In: Approaching Seven Female Composers VII. 1996.
  61. ↑ Zdeněk Novácek 1978, p. 173.

Web links

personal data
SURNAME Bon di Venezia, Anna
ALTERNATIVE NAMES Boni, Anna Lucia; Bon di Venezia, Anna; Bon DiVenezia, Anna; Bonn, Anna
BRIEF DESCRIPTION Italian composer, singer and harpsichordist
DATE OF BIRTH August 10, 1738
PLACE OF BIRTH Bologna
DATE OF DEATH uncertain: after 1767