[Sheet music] Paolo Tommaso Alberghi (1716-1785) - Concertino secondo in Sol maggiore

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Composer: Paolo Tommaso Alberghi (1716-1785)
Work: Concertino secondo in Sol maggiore
Software: Sibelius + Instruments samples
World Premiere: Yes
Sheet music (pdf): https://s9.imslp.org/files/imglnks/usimg/0/03/IMSLP332446-PMLP463637-Alberghi_-_Concertino_Secondo_(Triosonata)_-prob._Dall'Abaco-.pdf
Sheet music (xml): https://www.mediafire.com/file/n5h7njrhl8bi5wo/ALBERGHI-Concerto.xml/file
Info about sheet music recovering project: https://i.ibb.co/hML4xyJ/HAYDN-M-3.jpg

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Paolo Tommaso Alberghi
(Faenza, bap. 31 December 1716 - Faenza, 12 October 1785)

Italian violinist, composer and teacher. He studied with Tartini, probably between 1730 or 1731 and 1733, by which date his name appears in the list of musicians at Faenza Cathedral, as third (and last) violinist under the direction of his brother, Don Francesco Alberghi, maestro di cappella. In 1742 he was referred to in Faenza chronicles as ‘Paolo Alberghi, Professore’, and both his virtuosity and his compositions – sonatas and violin concertos – were extravagantly praised. In 1753 he became first violinist and, on his brother’s death in 1760, maestro di cappella as well; he retained both positions until his death. Alberghi supplemented his small salary from the cathedral by playing for civic festivities and for the two academies of Faenza, and by composing and teaching; among his pupils were Bernardo Campagnoli, Antonio Bisoni, Cristoforo Babbi and possibly Giuseppe Sarti (unconfirmed). A portrait of Alberghi in the Biblioteca Comunale of Faenza (which, together with the Archivio Capitolare del Duomo, contains much biographical material in manuscript) indicates that he was blind in one eye. Alberghi was granted the civic position of Depositario all’ordinario in 1747, holding it intermittently until his death. In this post he was responsible for collecting taxes and paying wages, including his own. In his last years he was evidently in ill health and began to delegate an increasing portion of his responsibilities to his students and sons.

Alberghi was essentially a late Baroque composer. The structural designs, harmonic treatment and idiomatic violin writing in his instrumental works, of which only a small portion are extant, are characteristic of mid-18th-century practices and reveal strong links with Tartini’s music prior to 1760. Most of the solo sonatas and trios are in three movements, but there are a few two-movement works and some early four-movement trio sonate da chiesa. Individual movements are often monothematic. The solo sonatas are more technically demanding than the trio sonatas and were clearly intended for Alberghi’s own performance. The works focus on rhythmic and melodic detail, technical finesse and passionately expressive melodic lines. Alberghi’s concertos also follow Tartini’s three-movement model: the opening movements are in ritornello form, the slow movements are instrumental arias, accompanied by two violins and cello only, and concluding movements are often dance-like and galant in character and suggest a folksong influence. The violin writing, especially in the concertos, bears out Alberghi’s reputation as a virtuoso: he used extensive ornamentation integrated into the melodic structure, with chains of trills, intricate dotted rhythms, long sequences of figuration, often with patterns that require rapid string crossing. Later works call for performance in 7th position and long passages in multiple stops, often with two melodies carried simultaneously. In the concertos the solo passages become increasingly elaborate during the course of each movement, culminating in extremely difficult caprices, and usually ending with improvised cadenzas. #ClassicalMusic