Daloglio Domenico (Domenico dall'Oglio)

Main article: Music in Russia in the XVIII century

Biography

Domenico Daloglio (c. 1700-1764) - composer and violinist, born in Padua, Italy. He was probably a pupil of Giuseppe Tartini either after 1721, when Tartini was appointed maestro of the chapel in the Basilica of St. Antonio in Padua, or perhaps after 1726, when Tartini founded his violin school.

In 1732, Daloglio was appointed violinist to St. Antonio's Basilica, but in 1735 he left Padua to travel to Russia with his brother Giuseppe, a cellist. Both brothers remained in St. Petersburg for almost 29 years in the service of the imperial court.

Soon after the arrival of Daloglio musicians in Russia, the name of his third brother, Jacob, disappears from the lists of court musicians (he probably died) ^[1]

Domenico Daloglio is one of three great Russian Italians (along with Francesco Araya and Luigi Madonis), who had the strongest influence on the domestic musical art of the mid-18th century. Daloglio's work is associated with three Russian monarchs Anna Ioannovna, Elizaveta Petrovna and Peter Fedorovich.

In 1738, the first collection of Daloglio violin sonatas was published in Amsterdam, dedicated to gofmarschall Reingold Levenwold.

Domenico was a violin teacher and friend of Peter Biron. Court records often mention the activities of Domenico Daloglio as a virtuoso violinist and composer, as well as a participant in court intrigues.

The service at the court of Elizaveta Petrovna began for Daloglio with the composition of music (together with Madonis) to the prologue "Happy Russia in Sadness," which preceded the performance of I. A. Hasse's opera "Titus's Mercy" at coronation celebrations in 1742.

But the main thing from the created Daloglio under Elizabeth Petrovna is two Russian symphonies that have come down to us under the names Russa and Cossaca (written c. 1742-45).

Jacob Shtelin wrote about these works in "News of Music in Russia":

It was to this ardent violinist and composer that it occurred to compose a couple of alla Russa symphonies, which had such universal success that one of them was always supposed to be performed in ordinary concerts on courtages. He chose some of the simplest rural melodies, or peasant songs, and arranged them in the best Italian taste with the constantly occurring passages of these melodies in allegro, andante and presto.

It is no coincidence that one of the symphonies is called "Cossack." Thus, the South Russian presence in the court musical culture was indicated. This presence was especially noticeable in the Court Choir, which was traditionally replenished with singers from the chapels of Glukhov and Baturin, the main music centers of Little Russia at that time. One of these singers was the Kyiv Cossack Alexei Razumovsky, whose musical career was interrupted by a morganatic marriage with the empress.

As Andrei Penyugin noted, the difference in the instrumentation of the two symphonies (horns and timpani were added to the strings in Cossack) emphasizes the peculiarity of the Cossack military-service class. The symphony finale is a typical cavalry march, light and resilient. The first part is similar to Little Russian dances Cossack and Dergun. The second part is typical of Daloglio Andante, full of gentle sadness.

In the "Russian" symphony, the second part is most familiar to the modern ear, the theme of which resembles the song "In the garden, in the garden." In the final, the motif of the game, similar to the famous "Kamarinsky," is used. Since collections of Russian songs appeared after Daloglio's death, the themes used by him are difficult to identify.

For the first time, the symphonies "Russian" and "Cossack" were recorded in 2024 by the "St. Petersburg Baroque Ensemble" for the disc "First Russians." The composer's father, also named Domenico Daloglio, was a violin master. One of his violins sounds on this record in the hands of Andrei Penyugin.

Daloglio was a master of the Italian virtuoso style of the 18th century, often using double notes and passages in high registers. Structurally, his violin sonatas are built according to the Allegro-Adagio-Allegro scheme, and not according to the then familiar Allegro-Grave/Largo-Allegro scheme. Notable are the slow parts of his works, which are decorated with intricate ornaments characteristic of the Tartini school.

For rest, Domenico loved to make musical instruments - violins and lutes.

In the documents of 1760, the name of Antonio appeared - the fourth brother of Dalolio, also a musician who remained in Italy and took the place of his brother Domenico in the musical chapel of St. Anthony's Basilica in Padua (he helped to engage musicians and artists in Russia).

1764: Death in Narva on the way to Italy

In 1764, both Daloglio brothers and their families left Russia and went to Italy. Returning to his homeland, Domenico died in Narva (modern Estonia), where he was buried.

Шаблон:XVIII Century Music CD

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