Giovanni B. Somis
Giovanni Battista Somis was an Italian violinist and composer of the Baroque period, born on 25 December 1686 in Turin in the Duchy of Savoy and dying there on 14 August 1763, when the city belonged to the Kingdom of Sardinia. He came from a family of court musicians serving the dukes of Savoy. His first musical instruction was received together with his brother Giovanni Lorenzo Somis from their father, Francesco Lorenzo Somis.
Between 1703 and 1706, or possibly 1707, he continued his training in Rome under Arcangelo Corelli, and he may also have studied with Antonio Vivaldi in Venice. After returning to Turin, he entered ducal service and was later appointed solo violinist to the king and leader of the royal band. His artistic formation linked the Roman violin tradition with the musical life of northern Italy and Piedmont, and his playing came to be regarded as more brilliant and more emotional, marking a notable advance in violin performance.
Somis became internationally known above all as a violinist and teacher. He was one of the figures at the origins of the French violin school and formed an important link between the classical schools of Italy and France. Among his best-known pupils were the French violinists Jean-Marie Leclair, Louis-Gabriel Guillemain, Jean-Pierre Guignon, Felice Giardini, and Chabran, as well as the Swiss violinist Gaspard Fritz. Among his Italian pupils, an important name was Gaetano Pugnani, later the teacher of Giovanni Battista Viotti. Through his pedagogical activity, the Roman tradition of Corelli was carried north of Italy and strongly influenced later violin playing.
His fame extended beyond Italy despite a relatively limited public activity, and after his appointments in Turin he seems scarcely ever to have left the city. Reports in the Mercure de France praised his appearances at the Paris Concert Spirituel on 2 April and 14 May 1733 as reaching the highest perfection, and these concerts were regarded as among the most important violin events in Europe of their time. His reputation was also strengthened by the success of his French pupils.
As a composer, Somis did not achieve the same renown as he did as a performer and teacher, although he is credited with more than 150 violin concertos, most of them now lost, as well as chamber sonatas and other works. About 80 sonatas were published during his lifetime. His opus 5 works are described as being written in the galant style with rich ornamentation.
His published works include eight opus numbers: Opus 1, 12 sonatas for violin and figured bass (Amsterdam, 1717, published by J. Roger); Opus 2, 12 sonatas for violin and figured bass (Turin, 1723); Opus 3, 12 sonatas for violin and figured bass (Turin, 1725); Opus 4, 12 sonatas for violin and figured bass (Paris, 1726), dedicated to Cardinal Pietro Ottoboni; Opus 5, 6 trio sonatas for two violins and figured bass (Paris, 1733, published by Boisvin); Opus 6, 12 sonatas for violin and figured bass (Paris, 1734); Opus 7, Ideali trattimenti da camera for two violins, two flutes, or viols (Paris, 1750); and Opus 8, 6 trio sonatas. A set of 12 sonatas for cello and figured bass was also published in Paris by Le Clerc around 1740. He also composed violin concertos, concertos for two violins, flute concertos, numerous violin sonatas with basso continuo, and the motet Mundi Splendidae.
Connections
This figure has 3 connections in the Music Lineage catalog.