Punto, Giovanni: 8 Duets, for 2 Tubas (ca 1800)

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  • Composer: Angelo Piazzini, Giovanni Punto
  • Edition: Da Vinci Edition
  • Format: A4 - Paperback
  • Genre: Chamber
  • Instrumentation: Percussion, Piano
  • Pages: 12
  • Period: Romantic
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Angelo Piazzini is an Italian performer, teacher and composer. He was born in Palazzuolo sul Senio (FI), a small village in the heart of the Tuscan–Romagnol Apennines. It was there that he attended an introductory music course with the “G.Savoi” Band, and learned the rudiments of music. He undertook a Master’s Degree in Trombone, specialising in Contrabass Tuba, at the “G. Lettimi” Institute of Higher Education in Art and Music, Rimini, with Prof. Marco Bellini. After graduating, he attended numerous Masters and Advanced Courses, including: Milan Music Masterschool with Prof. Daniele Morandini (1st Trombone soloist in the Scala Philharmonic Orchestra); L. Boccherini Advanced Institute of Art and Music, Lucca, with Prof. Riccardo Tarlini (Tuba player in the Tuscan Regional Orchestra); Italian Flute Academy (AIF) with Prof. Matteo Caramaschi (1st Euphonium soloist in the National Band of the State Police). As tuba soloist he has achieved success in major National and International Competitions: Best Brass Instrumentalist in the 1st “L’Estro Armonico” International Music Competition, Ladispoli (Rome), 2009; First Prize in the 18th Daniele Ridolfi Versilian Riviera National Competition, June 2009; Third Prize in the 9th Etruscan Riviera National Competition for Young Musicians, Piombino, April 2008; Third Prize in the 24th Daniele Ridolfi Versilian Riviera National Competition, 21 June 2015; Third Prize in the 12th Etruscan Riviera National Competition for Young Musicians, Piombino, 18 May 2011; As tuba player, he recorded Marco Masini’s new single ‘Italy … and other stories’ in 2009 for Universal Music Italia. As soloist, he regularly plays in tuba-organ/piano duos in churches, basilicas and cathedrals throughout Italy, playing a baroque repertoire by G.P. Telemann, A. Vivaldi, J.S. Bach, P.V. De la Nux and A. Tcherepnin. He has performed multiple times at the Church of St. Maria de’ Ricci (Florence), the Evangelical Lutheran Church (Florence) and the National Church of St. Stefano dei Cavalieri (Pisa), among others. He qualified for selection for Bass Tuba in several orchestras: the “Teatro Goldoni Foundation” in Livorno; the “G.B. Martini” Symphony Orchestra, Bologna; the “Lorenzo Perosi” Symphony Orchestra, Campobasso; the “Luisa d’Annunzio” Symphony Orchestra in Pescara, and the “Licinio Refice” Symphony Orchestra in Frosinone. Under the Public Selection Procedure he was also eligible to become Bass Tuba teacher (CODI/08) at the “N. Paganini” Conservatory, in Genova, the “F. Morlacchi” Conservatory in Perugia and the “G. Verdi” Music Institute, Ragusa. In the field of musical and instrumental teaching he has many years of experience as a tuba teacher and professor in music schools and institutes including the “G. Bonamici” Music School, Pisa (2011-2013); the “S.Strata” Music Academy, Pisa (2013-2014); the “Rodolfo del Corona” Musical Institute, Livorno (2014 -2016); and the “Orfeo” Music School, Pisa (2016-2017). He has also taught numerous Seminars and Masterclasses at Foundations, Associations and Festivals including: the 9th “Sounds of the River” Concert Season Festival, Loro Ciuffenna Auditorium, (Arezzo); “Tuba Signals”, a Seminar/Concert at the 39th International Art Workshop, Montepulciano (Siena); the “S.Strata” Academy of Music, Pisa; the “G. Bonamici” Music School, Pisa; the “Alba Big Fish” Association, Marina di Pisa; the “Rodolfo del Corona” Musical Institute in Livorno and ultimately at the event “StrataMaster” Masterclass July 2017 in Pisa. He is the author of various publications, treatises and didactic methods on his instrument: the Tuba. He has published four treatises, two didactic methods, and numerous revisions of tuba duets for soloists: J.F. Gallay’s Op.38 and Op.41, W.A. Mozart’s 12 Duets for 2 Tubas KV 487, G. Rossini’s 5 Duets for 2 Tubas, and 8 Virtuoso Tuba Duets by G. Punto. These new series of exercises enable the tuba players to rapid experience, step-by-step progression in embouchure and, as a result, obtain increased technical precision and speed, ultimately attaining virtuosity through the two opposing sections of the second book, Advanced Warm Up and Daily Routine for Tuba – Book 2. Together, the four treatises and methods are useful manuals and excellent guides for tuba or brass players, allowing them fast technical improvement in advanced skills. He is regularly invited to perform and deliver informative and educational lectures and talks about his instrument by institutions and cultural organizations. In the 2017/2018 he will hold a Seminar and a Masterclass of Bass Tuba, Chamber Music for Brass and “Brass Ensemble” at the School of Music “Orfeo” in Pisa. From November 2017 he will become a Warburton Artist, he sets up the “A. Piazzini” tuba mouthpiece, a new model, in collaboration with Terry Warburton and the Warburton Music Products.

Giovanni Punto: (b Zehušice, nr Čáslav, 28 Sept 1746; d Prague, 16 Feb 1803). Bohemian horn player, violinist and composer. His master Count Thun sent him to study the horn, first under Josef Matiegka at Prague, then with Jan Schindelarž at Dobříš; he completed his studies (c1763/4) in Dresden under A.J. Hampel, whose hand-stopping technique he later improved and extended. After his return home (1764) he served the count for four years and then ran away with four colleagues, crossing the border into the Holy Roman Empire, where he assumed his Italian pseudonym. He began travelling through Europe in 1768, breaking new ground as a touring horn virtuoso. He visited England in early 1772, performing at least ten times in London, most often as a concerto soloist (LS). Punto’s use of hand-stopping was criticized by some in London (New Instructions; LS), probably because it was still novel, but others were more favourable, such as Burney, who wrote from Koblenz in July or August 1772: ‘The elector has a good band, in which M. Ponta [?Panta], the celebrated French horn from Bohemia, whose taste and astonishing execution were lately so much applauded in London, is a performer’. For a while he was employed by the prince of Hechingen, and in 1769–74 he was at the Mainz court. Between 1776 and 1788 Punto appeared 49 times at the Concert Spirituel in Paris (Pierre). In 1778 he met Mozart there, who was much impressed by his playing and composed for him and J.B. Wendling (flute), Friedrich Ramm (oboe) and G.W. Ritter (bassoon) the Sinfonia concertante kAnh.9/297B (now lost). In 1781 Punto was a member of the Prince-Archbishop of Würzburg’s band, but in 1782 he returned to Paris in the service of the Count of Artois (later Charles X). In 1787 he visited a number of Rhineland towns and in the following year was engaged by Mme Mara to appear in her concerts at the Pantheon, London. From 1789 to 1799 he was again in Paris and under the Reign of Terror held the post of violinist-conductor at the Théâtre des Variétés Amusantes. In 1799 he went to Munich and in 1800 to Vienna, where he met Beethoven, who composed the Horn Sonata op.17 for him; Punto and Beethoven gave its first performance on 18 April. On 18 May 1801 Punto gave a grand concert at the National Theatre in Prague; his performance was highly praised by the Prager neue Zeitung (1801, no.39, p.473). In 1802 he toured with J.L. Dussek, with whom he gave a concert at Čáslav (16 September). He made another short visit to Paris, then returned to Prague where he died after an illness of five months. He was given a grandiose funeral, with Mozart’s Requiem played at the graveside. Punto was a cor basse player, as were many of the leading soloists of the day; he used a silver cor solo made for him in 1778 by Lucien-Joseph Raoux of Paris, and was acclaimed by music critics as a virtuoso of the highest order, perhaps the greatest horn player of all time. Works written by and for him show that Punto was a master of quick arpeggios and stepwise passage work. Mozart’s high opinion (‘Punto bläst magnifique’), expressed in a letter of 1778, was shared by Beethoven, and virtually all contemporary writers referred to the vocal quality of his playing. Fröhlich’s comments are typical: What distinguished Punto, in a way that one has never heard in any other artist heretofore, was his most magnificent performance, the gentlest portrayals, the thunder of tones and their sweetest indescribable blending of nuances with the most varied tone production, an agile tongue, dexterous in all forms of articulation, single and double tones, and even chords, but most important, a silver-bright and charming cantabile tone. Among his students were Jean Lebrun, Heinrich Domnich and Pierre Joseph Pieltain. Punto arranged other composers’ works for himself (sometimes publishing them in his own name), including pieces by Carl Stamitz, Sterkel, Rosetti, Joseph Michel and Dimmler (GerberNL). Though many of his works were published in the 1780s and 90s, Punto was evidently composing and arranging before then, for his pieces are listed in Breitkopf’s catalogue of 1778. He also revised Hampel’s horn tutor and produced a curious book of daily exercises for the horn. A portrait by C.N. Cochin was engraved by Miger (Paris, 1782).