Anna Bon - Sonata V Op.1 in Sol minore per traversiere e b.c.

Anna Bon, compositrice italiana, (Bologna 1738 - dopo il 1767)
Figlia di Girolamo Bon librettista e scenografo originario di Bologna e di Rosa Ruvinetti cantante, nel 1743 all'all’età di quattro anni fu
ammessa come studente all’Ospedale della Pietà di Venezia ove studiò viola con Candida della Pietà.
Raggiunse quindi i suoi genitori a Bayreuth, mentre erano al servizio del margravio Friedrich von Brandenburg-Kulmbach. Lì lavorò come “virtuosa di musica da camera” e compose le sue Sonate per flauto op. 1.
Dalla copertina della raccolta apprendiamo che all’epoca aveva 16 anni.
La corte di Bayreuth nel 1756 era retta dal marchese Friedrich e da sua moglie Wilhelmine, sorella di Federico II di Prussia, entrambi amanti delle arti e della musica.
Wilhelmine era clavicembalista, liutista e compositrice, Friedrich, come il suo omonimo cognato imperatore, era flautista.
Johan Joachim Quantz, maestro di flauto dell’imperatore, fu anche maestro di Federico di Bayreuth e furono a Bayreuth anche altri
maestri quali Benda, Pfeiffer, Falckenhagen, maestro di liuto della marchesa.
Anna Bon utilizza, nelle composizioni del periodo di Bayreuth, elementi di “Empfinsamkeit” ovvero lo “stile della sensibilità”. Essi sono
una variante allo “stile galante” di matrice squisitamente illuministica che voleva esprimere, nel corso di una composizione musicale,
non più la descrizione di un solo “affetto” ma una molteplicità di stati emotivi capaci di alternarsi nello sviluppo dell’opera creativa.
Le 6 Sonate op.I della Bon sono tutte in tre movimenti, quattro dei quali seguono il modello lento-veloce-veloce e due seguono la forma più comune veloce-lento-veloce.
Le Sonate contengono caratteristiche anche tipicamente italiane, una cantabilità che si può far risalire agli anni trascorsi a Venezia e
l’influenza di autori, primo fra tutti Platti, con le sue sonate per flauto traversiere pubblicate a Norimberga nel 1743.
Nel 1762 la famiglia si stabilì a Eisenstadt presso la corte degli Esterhazy, ove Anna restò almeno fino al 1765.
A Eisenstadt, nel 1757, compose e diede alle stampe la sua raccolta di Sonate per clavicembalo op. 2, che dedicò a Ernestina Augusta Sophia, principessa di Saxe-Weimar, e i sei Divertimenti (sonate a tre) op. 3 dedicate all’elettore di Baviera Carlo Teodoro.
Le ultime notizie su di lei risalgono al 1767, anno in cui viveva a Hidburghausen, in Turingia, sposata al cantante Mongeri.
Allegro 00:22
Andante staccato 03:48
Allegro 07:12
Anna Bon, Italian composer, (Bologna 1738 - after 1767)
Daughter of Girolamo Bon, a librettist and stage designer originally from Bologna, and of Rosa Ruvinetti, a singer, in 1743 at the age of
four she was admitted as a student to the Ospedale della Pietà in Venice where she studied viola with Candida della Pietà.
She then joined her parents in Bayreuth, while they were in the service of Margrave Friedrich von Brandenburg-Kulmbach. There she worked as a “chamber music virtuoso” and composed her Flute Sonatas op. 1.
From the cover of the collection we learn that she was 16 years old at the time.
The court of Bayreuth in 1756 was governed by Marquis Friedrich and his wife Wilhelmine, sister of Frederick II of Prussia, bothlovers of the arts and music.
Wilhelmine was a harpsichordist, lutenist and composer, Friedrich, like his brother-in-law of the same name, the emperor, was a flautist.
Johan Joachim Quantz, the emperor's flute master, was also the teacher of Frederick of Bayreuth and there were also other
masters in Bayreuth such as Benda, Pfeiffer, Falckenhagen, lute teacher of the marquise.
Anna Bon uses, in the compositions of the Bayreuth period, elements of “Empfinsamkeit” or the “style of sensitivity”. They are
a variant of the “galante style” of exquisitely enlightened origin that wanted to express, in the course of a musical composition,
no longer the description of a single “affect” but a multiplicity of emotional states capable of alternating in the development of the creative work.
The 6 Sonatas op. I of Bon are all in three movements, four of which follow the slow-fast-fast model and two follow the
more common fast-slow-fast form.
The Sonatas also contain typically Italian characteristics, a cantability that can be traced back to the years spent in Venice and the influence of authors, first of all Platti, with his sonatas for transverse flute published in Nuremberg in 1743.
In 1762 the family settled in Eisenstadt at the court of the Esterhazys, where Anna remained at least until 1765.
In Eisenstadt, in 1757, she composed and published her collection of Sonatas for harpsichord op. 2, which she dedicated to Ernestina
Augusta Sophia, Princess of Saxe-Weimar, and the six Divertimenti (sonatas for three) op. 3 dedicated to the Elector of Bavaria Charles Theodore.
The last news about her dates back to 1767, the year in which she lived in Hidburghausen, in Thuringia, married to the singer Mongeri.

[@steveegallo3384]

Marvelous......BRAVO from Acapulco!

[@MrFabio58]

Thank you!

[@ptrad]

Congrat, Fabio! Performance by another unknown late baroque author. Plus it's good and interesting This may be the first performance of the 18th. after?

[@MrFabio58]

Thanks Gabor, I am actually trying to study the Italian baroque repertoire for the traversiere, I have another Sammartini sonata ready to publish and I am looking for something else. Of course with this repertoire the difficulties increase, often you touch the high D which with the tenor recorder is a somewhat random note. We will see what I can prepare.

[@ptrad]

@@MrFabio58 There were two Sammartini brothers, the younger one is more inclined towards (early) classicism, and it is difficult to play the recorder, in some passages it is impossible (g''''). otherwise, Anna Bon is already late baroque, with many classicist timbres. What do you mean by upper d''' difficulty? Theoretically, it can be easily intoned on a tenor recorder, but there is clearly no d''' (worn out?) on some of used recorders. Additional fingerings are really out of the question on tenor recorder, as you can't hold the end of the leg with your knee.

[@Javier-hp5ot]

Son flautas traverso o flautas de pico?.

[@MrFabio58]

Para esta grabación utilicé una flauta dulce tenor y un bajo, intentando acercarme lo más posible al sonido de la traversiere.

[@Javier-hp5ot]

@@MrFabio58 Lo ha conseguido. Hermoso sonido. Enhorabuena.