154:"S.r Antonio Montanari virtuossisimo sonator di violino, e poi era accompagniata la virtù con un costume da angelo il quale morì alli due di aprile 1737. alle ore 23. e la sua morte è stata compianta da tutta Roma, et io cav. Ghezzi me ne sono lassata la presente memoria il giorno doppo la sua morte, il quale morì in 3 giorni di pontura in età di anni 62 e fu esposto nella chiesa di S. Apostoli dove gli fù cantata messa solenne da tutti i professori di musica tanto cantanti, che sonatori, con 12 faccolotti, ove in detta chiesa riposerà sino al giuditio. Amen. Il med.o nacque alli 29 di novembre del 1676 alle ore 5."
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His
Concerti op.1 are exceptionally well crafted, the alliance of virtuosity with solid contrapuntal writing suggesting the possibility of a lineage of post-Corellian solo concerto such as no other composer attempted. Hitherto almost completely ignored, Montanari's concertos rank amongst the most
115:. On this occasion, and on others documented from 1694 onwards, he is referred to as ‘Antonio del sig.r card.le Colonna’, which suggests that he had already been in the service of Cardinal Giovanni Paolo Colonna for some time. Between 1695 and 1708 he was in the service of Cardinal Benedetto
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According to contemporary sources, Montanari experimented with enharmonic micro-intervals. His high standing as a violinist suggests that he would have had a teacher-pupil relationship with many talented players in Rome, especially after the death of
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The most important single source of biographical information on
Antonio Maria Montanari is a commemorative seven-line paragraph squeezed in at the foot of a lightly caricatural pen sketch of the composer by the famous artist
107:. From 1712 onwards he appears to have held a permanent post in the Ottoboni household but he also served other families of the Roman nobility, and he is thus found among the musicians who performed in
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as a young man, and between 1692 and 1737 documentation exists (albeit with interruptions) indicating his involvement as a violinist, often in important positions, in the orchestra of
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entitled one work La
Montanari. He also dedicated a sonnet to Montanari in his collection of Rime, and another sonata by him entitled La Montanari exists in
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Montanari must have had considerable standing as a violinist, his name always appearing near the top of the lists of players. His reputation was such that
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Nothing is known of
Antonio Maria Montanari's childhood or his musical education but he was already in
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1717. Memories of a
Journey to Italy. Pisendel, Vivaldi, Montanari, Fanfani, Valentini and Albinoni.
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Simon McVeigh and
Jehoash Hirshberg, The Italian Solo Concerto 1700-1760 p. 164
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191:, Amsterdam c. 1726; published under the name of Francesco Montanaro)
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213:: A successor of Corelli: Antonio Montanari and his sonatas. In:
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6 Sonatas for solo violin, cello and basso continuo op. 1 (
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227:: The Italian Solo Concerto 1700-1760 p. 162-164.
167:. Montanari's works have yet to be studied in depth.
26:– 2 April 1737 in Rome) was an Italian violinist and
171:impressive achievements in the Italian repertoire.
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182:Sonate a violino e violoncello di vari autori
119:and of the Accademia del Disegno di S Luca.
111:'s La Resurrezione in 1708 in the Palazzo
313:International Music Score Library Project
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200:other sonatas and chamber music works
194:8 Concerti op. 1 (Amsterdam c. 1730)
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349:Italian male classical composers
309:Free scores by Antonio Montanari
250:European Union Baroque Orchestra
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359:17th-century Italian composers
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237:Montanari - Violin concertos,
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180:1 Sonata in a collection
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165:Pietro Antonio Locatelli
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263:Per Monsieur Pisendel,
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41:Antonio Maria Montanari
20:Antonio Maria Montanari
258:K&K Verlagsanstalt
163:, including, perhaps,
109:George Frederic Handel
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232:Selected discography
197:2 Concerti (Dresden)
239:Johannes Pramsohler
339:Italian violinists
276:Snakewood Editions
248:Corelli's Legacy,
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161:Arcangelo Corelli
148:Pier Leone Ghezzi
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245:ADX13704)
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278:, 2018).
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88:composer
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311:at the
189:Le Cène
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