8/4 – BAROQUEFEST: Music of G.B. Platti & G.F. Handel

“Oboist, Violinist und Tenorist” is the way Giovanni Benedetto Platti was listed on the roster of court musicians in Würzburg, Germany for many years. “Komponist” (“Composer”) should have been on the list, since he wrote, and saw performed, many of his works there. “Lehrer” (“Teacher”) could also have been included: he taught an astonishing variety of music, musicians, and vocalists over the years.

He was born in either Padua or Venice in 1692 or 1697. Musically educated in Venice, his teachers included Vivaldi, Albinoni, and both Alessandro and Benedetto Marcello. In those years, he learned to play the recently invented pianoforte, and composed sonatas dedicated to it. In 1722, he was one of a group of Italian musicians offered positions at Würzburg; the reigning prince-bishop was deeply preoccupied with Italian music and wanted to expand the music at court. Despite changing fortunes for the Würzburg court musicians over many years, Platti remained there (the best paid musician in court) until his death in 1763.

He was a versatile musician, a virtuoso performer on harpsichord, oboe, violin, and ‘cello, and was an excellent teacher of various kinds of musicians and singers. He was involved in chamber and church music. As a composer Platti is noted particularly for his harpsichord sonatas, numerous pieces for ‘cello, and his church music. His compositions are often described as “melodious, imaginative, lively, and elegant,” having “distinct pre-classical features associated with composers such as Haydn.”

Platti is less well-known than his work would seem to indicate he should be, but his relative isolation in Würzburg was undoubtedly a major factor in his never gaining the recognition he deserves.

Despite his prolific output of compositions, Handel wrote few solo concertos beyond the fifteen extant organ concertos. There are five works for three or more instruments and orchestra, and the three oboe concertos, the third and best of which we hear today. Actually, though always listed as No. 3, the G minor Concerto was probably the first of three, having been written sometime between 1703 and 1705. The others apparently date from 1706-10 and 1718.

Michael Kelly, in his 1786 Reminiscences, tells of a day he was with Beethoven, who said , “Follow me up stairs, Sir, and I will introduce you to one whom, all my life, I have made my study, and endeavored to imitate.” Kelly did as told, and reported, “I followed him into his bed-room and opposite to the head of the bed, saw a full-length picture of Handel, in a rich frame.” “There, Sir,” said Beethoven, “is the portrait of the inspired master of our art; when I open my eyes in the morning, I look upon him with reverential awe, and acknowledge him for his gigantic genius.”

After the first performance of his Messiah in London, Handel told a certain Lord Kinnoull, “I should be sorry, my lord, if I have only succeeded in entertaining them; I wished to make them better.”