Nicola Matteis (c. 1670 – ca. 1713) was the earliest
notable Italian Baroque violinist in London, whom Roger
North judged in retrospect "to have been a second to
Corelli," and a composer of significant popularity in
his time, though he had been utterly forgotten until
the later 20th century.
Very little is known of his early life, although
Matteis was probably born in Naples, describing himself
as 'Napolitano' in several of his works. He came to
London in the early 1670s and according...(+)
Nicola Matteis (c. 1670 – ca. 1713) was the earliest
notable Italian Baroque violinist in London, whom Roger
North judged in retrospect "to have been a second to
Corelli," and a composer of significant popularity in
his time, though he had been utterly forgotten until
the later 20th century.
Very little is known of his early life, although
Matteis was probably born in Naples, describing himself
as 'Napolitano' in several of his works. He came to
London in the early 1670s and according to the diarist
Roger North, had a city merchant as a sponsor, who
schooled him in the ways of currying favor from the
gentry (by allowing them to accompany him in parlor
recitals and other minor performances). John Evelyn
reports in his diary for 19 November 1674, the earliest
notice of Matteis, "I heard that stupendious Violin
Signor Nichola (with other rare Musitians) whom
certainly never mortal man exceeded on that instrument,
he had a stroak so sweete, made it speaking like the
Voice of a man and when he pleased, like a Consort of
severall Instruments: he did wonders upon a Note: was
an excellent Composer also. Nothing approched the
violin in Nichola's hand: he seemed to be inspired and
played such ravishing things on a ground as astonishd
us all."
Matteis enjoyed great artistic and commercial success
with his published music, notably four books of Ayres
(1676, 1685), but married a rich widow in 1700 and
retired from the London musical scene; according to
North he nevertheless ended his days in ill health and
poverty.
Matteis is credited with changing the English taste for
violin playing from the French style to a newer,
Italian one. Contemporaries described him as using a
longer bow, with a new bow hold (closer to that used by
modern players). His reputation grew through his
lifetime and resulted in high praise for his live
performances (in concert, audiences were often certain
that more than one violin was being played) and
widespread popularity for his music. Knowing many of
his customers were amateurs, Matteis tended to give
precise instructions in the prefaces to his published
Ayres, providing detailed notes on bowing, explanations
of ornaments, tempos, and other directions. These notes
have proved valuable resources for scholars
reconstructing the performance practices of the time.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Nicola_Matteis).
Although originally written for 2 Violins and Continuo,
I created this Interpretation of the Aria Amorosa for
Woodwind Trio (Flute, Oboe & Bassoon)
PARTITION