Domenico Dall'Oglio

Domenico dall'Oglio (c.1700 – 1764) was an Italian violinist and composer.

Biography

Domenico dall'Oglio was born in Padua, Italy. He was probably a pupil of Giuseppe Tartini, either after 1721 when Tartini was appointed Maestro di Cappella at the Basilica di Sant'Antonio in Padua, or perhaps after 1726 when Tartini founded his violin school.[1]

In 1732 dall'Oglio was appointed violinist at the Basilica di Sant'Antonio, but in 1735 he left Padua to go to Russia with his brother Giuseppe, a cellist. Both brothers remained in St Petersburg for nearly 29 years in the service of the imperial court. Court records make frequent reference to Domenico's activities as a virtuoso violinist and composer, and as a participant in the intrigues of the court. For relaxation he liked to build musical instruments – violins and lutes. He died in Narva, Estonia, on his return journey to Italy.

Musical style

Most of dall'Oglio's works are instrumental compositions, but at the imperial court of St Petersburg, in the absence of the maestro di cappella Francesco Araja, dall'Oglio was several times called on to produce music for the theatre. He was a master of the Italian virtuoso style of the eighteenth century, with frequent use of double-stopping and passages at high positions. Structurally his violin sonatas follow the shape Allegro-Adagio-Allegro, instead of the then customary structure Allegro-Grave/Largo-Allegro; noteworthy are the slow movements of his compositions, which have elaborate embellishments typical of the school of Tartini.

Compositions

References

Notes

  1. Mooser proposes that Domenico dall'Oglio might have studied under Antonio Vivaldi: this idea stems from the erroneous assumption that Domenico was the son of a certain Pietro dall'Oglio, who was maestro di choro 1713-1718 at the Ospedale della Pietà in Venice, where Vivaldi was active as a violin teacher for several decades. However, recent research has found that "Pietro dall'Oglio" was a pseudonym of Pietro Scarpari, an important figure at the Ospedale at the time. Another reason for Mooser's mistake may be the fact that Domenico dall'Oglio was very influenced by Vivaldi's style of composition.