Paolo Benedetto Bellinzani
Ferrara 1682 – Recanati 1757
Paolo Benedetto Bellinzani, un homme de renom
Giuseppe Radiciotti, le biographe de Gioachino Rossini, décrit Paolo Benedetto Bellinzani comme un "compositeur de valeur très prolifique" qui est devenu membre de l'Académie Philarmonique de Bologne "sans aucun besoin de noviciat". Bellinzani était également "un excellent pédagogue, capable de parfaire la vertu de chant de Pasquale Bruscolini de Pesaro, un virtuose de la musique et contre-alto avec un grand succès dans toute l'Europe".
Le Père Martini de Bologne, reconnu historiquement comme autorité musicale de son temps en Italie et en Europe a placé un portrait de Bellinzani dans sa galerie d'art privée qui, selon au dire d'Andrea Emiliani, comportait "les plus célèbres figures de la science de la musique"…
Bellinzani est presque certainement né à Ferrara en 1682 et a initialement étudié la musique auprès d'un institut à Mantue mené par des moines bénédictins avant de compléter sa formation de retour à Ferrara auprès d'un maître de Padoue: Giovan Battista Bassani.
Au début du XVIIIème siècle, Bellinzani débute une carrière qui élargira ses contacts et de son expertise musicale, le menant à Vérone, Udine, Ferrara, Esaro, Urbino, Orvieto et Recanati comme Maître de chapelle. Il meurt dans cette dernière ville en 1757. En 1700, au jeune âge de 18 ans, Bellinzani compose la "Messa per li Defonti a quatro voci", une Messe des Défunts en quatre parties.
Il est ordonné prêtre vers 1713 et devient Maître de chapelle de la cathédrale d'Udine en 1715. Sa première œuvre publiée, la Missae quatuor concinendae, paraît à Bologne en 1717 et il est désigné Censore dé Signori Academici Risorti à Ferrara en 1718.
Une des raisons de son activité dans la region des Marches en Italie est peut-être la douceur du climat. Il a été à Fabiano en 1722, à Pergola en 1723 où il a terminé le manuscrit de son "Dixit a 5 con violini e ripieni" et à Pesaro où, le 3 janvier 1724, le conseil lui offrit le poste de Directeur de musique pour une année aux "conditions et tarifs habituels".
Malgré des troubles oculaires Bellinzani publie ses "Duos de chambre" dédiés au Révérend Cardinal Bentivoglio d'Aragon à Pesaro en 1726,
et son Offertori a due voci (Offertoire à deux voix) avec une dédicace à son Éminence le Prince Supérieur Annibale Albani.
En 1727, le compositeur complète ses Litanies of the blessed Virgin Mary for Nuns con Violini a beneplacito
Ses quatre ans à Pesaro (1724-1727) aident à répandre la réputation de Bellinzani avec la publication de 5 œuvres, lui permettant d'accéder au cercle de la noblesse locale.
Il a également en contact étroit avec l'Académie littéraire de Pesaro et jouissait de la confiance et de la haute estime du noble gentilhomme Giovanni degli Abati Olivieri.
En mai 1728, dans un registre différents, les 144 Versetti (versets) pour orgue sont publiés, Bellinzani les décrits comme fatiguant et ennuyeux à écrire. Après la publication du facsimile en 1997 (publié à Boilogne par Arnaldo Forni) avec ce deuxième disque qui sera disponible dès la fin de 2011, je poursuis la création d'une série d'enregistrements dédiés à ce grand compositeur de Ferrara.
De 1730 à 1733, Bellinzani était Maître de chapelle à la Metropolitana d'Urbino et en 1734 à la Maison du chapitre à Fano. Il a été désigné comme meilleur candidat, étant un home de renom et très estimé pour sa droiture, il a ainsi reçu le poste immédiatement.
En 1735, Bellinzani était à Orvieto, payé 80 scudi par an par rapport au maigres 30 qu'il gagnait à Fano. En 1737, il devint Premier Cantor à Reanati où la tendance vers la musique vocale l'amena à écrire des œuvre sacrées a-capella ou des pièces où l'emphase repose sur la ligne vocale.
En 1754, Bellinzani est paralysé du côté droit et se surnomme lui-même comme "paralytique droite" sur le frontispice de son "Introito a quattro voci per la festa die San Vito" (Introduction à quatre voix pour la fête de San Vito).
Dû à sa grave maladie, il demande au Cardinal Cavalchini de Rome d'être autorisé à porter sa charge de prêtre dans une paroisse plus proche de son domicile.
L'autorisation lui est accordée par le Chapitre de l'Église de tenir les Messes et les comptes pour la durée de l'hiver.
Après avoir travaillé en la cathédrale de Recani comme Premier Cantor pendant 20 ans, Bellinzani meurt le 26 février 1757 et a été remplacé à ce poste par son neveu Anton Francesco.
Paolo Benedetto Bellinzani
Traduzione a cura di: Marc André Hunziker
Paolo Benedetto Bellinzani
Ferrara 1682 – Recanati 1757
Paolo Benedetto Bellinzani, ein Mann von Ansehen.
Giuseppe Radiciotti, Biograph von Gioachino Rossini, beschrieben Paolo Benedetto Bellinzani als "sehr produktiver wertvoller Komponist", der ein Mitglied der Philharmonischen Akademie von Bologna wurde "ohne Bedarf auf Noviziat." Bellinzani war auch "ein ausgezeichneter Lehrer, der in der Lage war, das Leidvermögen von Pasquale Bruscolini von Pesaro, virtuoser Musik und gegen-Alt mit großem Erfolg in ganz Europa zu vervollständigen."
Vater Martini von Bologna, historisch als musikalische Autorität seiner Zeit in Italien und Europa erkannt, hat ein Porträt von Bellinzani in seiner private Kunstgalerie plaziert, die, nach dem Sagen von Andrea Emiliani "die berühmtesten Figuren der Wissenschaft von der Musik " beinhaltete...
Bellinzani wurde fast sicher in Ferrara im Jahre 1682 geboren und studierte zunächst Musik an einem von Benediktiner geführten Institut in Mantua bevor in Anschluss zurück zu Ferrara sein Ausbildung bei einem Master of Padua Giovan Battista Bassani Mönche vervollständigte.
Im frühen achtzehnten Jahrhundert, begann Bellinzani eine Karriere, die seine Kontakte und seine musikalische Kompetenz erweitern wird. Sie führt Ihn als Kapellmeister nach Verona, Udine, Ferrara, Esaro, Urbino, Orvieto und Recanati. Er starb in letzterer Stadt im Jahr 1757. Im Jahr 1700, im jungen Alter von 18 Jahren komponiert Bellinzani der "Messa per li Defonti ein quatro voci", eine Totenmesse in vier Teilen.
1713 wurde er zum Priester geweiht und wurde Kapellmeister der Kathedrale von Udine im Jahr 1715. Seine erste veröffentlichte Arbeit, das Quartett Missae concinendae in Bologna im Jahre 1717 und er wird im Jahr 1718 zum Censore de Signori Academici Risorti in Ferrara im Jahre 1718 designiert.
Ein Grund für seine Tätigkeit in der Region der Marken in Italien ist vielleicht das milde Klima. Er war im Jahre 1722 in Fabiano, im Jahr 1723 in Pergola, wo er das Manuskript seines "Dixit 5 con violini E ripieni" und in Pesaro, wo ihm am 3. Januar 1724, der Vorstand ihm für ein Jahr die Position des Musikdirektor zu den "Bedingungen und üblichen Preisen" anbot.
Trotz Augenerkrankungen veröffentlicht Bellinzani seine "Zimmerduos", die er 1726 in Pesaro an Reverend Kardinal Bentivoglio Aragon widmet
und sein "Offertori a due voci" (Offertorium für zwei Stimmen) mit einer Widmung an Seine Eminenz Oberprinz Annibale Albani.
Im Jahre 1727, ergänzt der Komponist seine Litanei der seligen Jungfrau Maria für Nonnen con Violini a beneplacito.
Seiner vier Jahre in Pesaro (1724-1727) helfen, das Ansehen der Bellinzani mit der Veröffentlichung von fünf Arbeiten, die ihm den Zugang zum Kreis der lokalen Adels ermöglichen.
Es war auch in engem Kontakt mit der literarischen Akademie von Pesaro und genoss das Vertrauen und die Wertschätzung des edlen Herrn Giovanni degli Abati Olivieri.
Im Mai 1728 wurden in einem anderen Register die 144 Versetti (Verse) für Orgel veröffentlicht, Bellinzani beschreibt sie als ermüdend und langweilig zu schreiben. Nach der Veröffentlichung der Faksimile im Jahr 1997 (in Bologna von Arnaldo Forni veröffentlicht) mit diesem zweiten Album, das ab Ende 2011 verfügbar sein, verfolge ich die Schaffung von Aufzeichnungen die diesem grossen Komponisten von Ferrara gewidmeten sind.
Von 1730 bis 1733 war Bellinzani Kapellmeister an der Metropolitan Urbino und im Jahr 1734 im Haus der Kapitel in Fano. Es wurde als der beste Kandidat bezeichnet, da er als seriöse Mann und für seine Ehrlichkeit geschätzt, er hat den Posten somit sofort erhalten.
Im Jahr 1735 war Bellinzani in Orvieto, wurde 80 Scudi pro Jahr bezahlt, viel im Vergleich zu den mageren 30 die er in Fano verdient. Im Jahre 1737 wurde er Erster Kantor in Reanati, wo der Trend zur Vokalmusik ihn dazu führte geistliche a-cappella Werke oder Stücke, in denen der Schwerpunkt auf der Gesangslinie lag zu schreiben.
1754 Bellinzani wurde auf der rechten Seite gelähmt und bezeichnet sich selbst als "rechts Gelähmten" auf dem Titelblatt seiner "Introit a quattro voci per la festa sterben San Vito" (Einführung zu vier Stimmen für das Fest von San Vito).
Aufgrund seiner schweren Krankheit, fragte er den Kardinal Cavalchini von Rom seine Last als Priester in einer Pfarrei näher an seinem Wohnort ausüben zu können.
Der Kapitel der Kirche gewährte ihm die Messe und Konten für die Dauer der Winter in der Nähe halten.
Nach der Arbeit in der Kathedrale von Recani als Erster Kantor während 20 Jahre stirbt Bellinzani 26. Februar 1757 und wurde ein seiner Aufgabe von seinem Neffen Anton Francesco ersetzt
1727 / Littanie della B[eata] V[ergine] M[aria] per Monache con V[iolini] a beneplacitoC a m e r l e n g a t o 1 7 2 4 - 1 7 2 5Risposta del Signor Bellinzani al Signor Carosi, foglio V.
Paolo Benedetto Bellinzani
Traduzione a cura di: Oxana Dikareva
Джоакино Россини, главный биограф Джузеппе Радиччоти, отзывался о Паоло Бенедетто Белинциани как о «выдающемся и очень плодовитом композиторе», который стал членом филармонической академии в Болонье «безо всякой мотивации». Беллинцани был также « потрясающим учителем, способным виртуозно исполнить Пасхальные песнопения Брусколини в Пезаро, музыкальным виртуозом и непревзойденным контральто котрый имел огромный успех в Европе.
Отец Мартини из Болоньи, признанный авторитетом в миру музыки своей эпохи в Европе и Италии, поместил портет Беллинцани в своей частной галереи, которая, по словам, Андреа Эмильяни, стала собрание наиболее значимых персонажей в мире музыковедения.
Почти достоверно известно, что Беллинцани был рожден в Ферраре в 1682 году и начал обучение музыки в бенедиктинском монастыре в Мантуе, после чего вернулся в Феррару под наставничеством Джованни Батиста Бассани из Падуи.
В начале 18 века Беллинцани начал карьеру, которая расширила его контакты в мире музыковедения, он стал капельмейстером сначала в Вероне, далее в Удине, Пезаро, Урбино, Орвието а затем и в Реканати, где он скончался в 1757 году.
Paolo Benedetto Bellinzani, a man of renown all of a piece
모든 작품의 명성의 주인, Paolo Benedetto Bellinzani
Gioachino Rossini’s main biographer Giuseppe Radiciotti described Paolo Benedetto Bellinzani as a “worthy and most fertile composer” who had become a member of the Philharmonic Academy of Bologna “with
no need of any novitiate”. Bellinzani was also “an excellent teacher, capable of perfecting in the Virtue of Song Pasquale Bruscolini of Pesaro, a Virtuoso of Music and most skilled contralto who had much success
throughout Europe”.
Gioachino Rossini의 젂기 작가 Giuseppe Radiciotti는 Paolo Benedetto Bellinzani를 '어느 수렦기갂도 필요없었던' Bologna의 Philharmonic Academy의 멤버가 된 "가치있고 가장 비옥핚 작곡가"라고 그리고 있습
니다. 또핚 Bellinzani는 Pesaro의 Song Pasquale Bruscolini의 미덕에 있어 완벽함 있는 훌륭핚 선생, 유럽도처에서 가장 능숙핚 콘트라알토 그리고 음악적 대가이기도 했습니다.
Father Martini of Bologna, historically recognized as the authority of his day on musical doings in Italy and Europe, put a portrait of Bellinzani in his private art gallery which, in the words of Andrea Emiliani,
contained “the most celebrated figures of the science of music”...
Bellinzani was almost certainly born in Ferrara in 1682 and initially studied music at an institute run by Benedictine monks in Mantua before completing his advanced studies back in Ferrara under a teacher from
Padua, Giovan Battista Bassani.
역사적으로 이탈리아와 유럽에서 음악적 활동에 권위있던 Bologna의 신부 Martini는 Andrea Emiliani의 말을 빌리자면 "음악의 과학의 가장 유명핚 형태"라 불리던 그의 개인 예술회랑에 Bellinzani의 초상화를
두었습니다.
Bellinzani는 거의 확실히 Ferrara에서 1682년에 태어났고, Ferrara에서 Pauda 출신 선생 Giovan Battista Bassani을 맊나 더 맋은 것들을 공부하는 것을 끝내기 젂, Mantua의 Benedicine 승려들에 의해 운영되는 기
관에서 처음 음악을 공부했습니다.
In the early 18th century, Bellinzani embarked on a career that would broaden the range of his contacts and of his musical ex pertise, taking him as chapelmaster to Verona, Udine, Ferrara, Pesaro, Urbino, Orvieto
and Recanati. He died in the latter town in 1757. At just 18 years of age in 1700, Bellinzani composed a four-part mass for he dead, Messa per li Defonti a quatro voci
18세기 초, Bellinzani는 그의 성가대 지휘자로서 Verona 그리고 Udine, Ferrara, esaro, Urbino, Orvieto, Recanati에 음악적 젂문기술과 접촉을 확대하는 일을 하고 1757에 마을에 생을 마감했습니다. 1718년 18세에
그는 he dead와 Messa per li Defonti a quatro voci를 위핚 4 파트를 작곡했습니다.
Around 1713 he was ordained as a priest and in 1715 became chapelmaster at Udine cathedral. His first published work, Missae quatuor vocibus concinendae, appeared in 1717 in Bologna and in 1718 he was
appointed Censore dé Signori Accademici Risorti in Ferrara.
One of the reasons Bellinzani worked in the Marche region of Italy may have been its better climate. He was in Fabriano in 1722, in Pergola in 1723 when he completed the manuscript score of his Dixit a 5 con
violini e ripieni and in Pesaro where, on 3 January 1724, the chapterhouse offered him the post of Director of Music for a year, at “the customary rates and conditions”.
1713년 쯤 그는 사제로 임명되었고, 1715년 Udine 성당의 사제가 되었습니다. 그가 첫번째로 발표핚 Missae quatuor vocibus concinendae 은 Bologna에서 1717년에 등장했고, 1718년 Ferrara에서 Censore dé
Signori Accademici Risorti로 임명되었습니다.
Bellinzani가 이탈리아의 Marche 지방에서 일핚 이유들 중 하나는 아마 더 좋은 기후일 때문이었을 것입니다. 그는 1722년에 Fabriano에 있었고, 그의 Dixit a 5 con violini e ripieni의 원고 작품을 끝낸 1723년에
는 Pergola에 있었으며, 1724년 1월 3일 사제단 회의장이 그에게 "관례적 평가와 조건들로" 핚해갂 음악감독을 맡겼을 때엔 Pesaro에 있었습니다.Despite eye trouble, in 1726 in Pesaro Bellinzani published his Chamber Duets, dedicated to the Right Reverend Cardinal Bentivoglio d’Aragona,
and his Offertori a due voci, with a dedication to The Most Eminent Prince Annibale Albani.
시력문제에도 불구하고, 1726년 Pesaro에서 Bellinzani는 추기경 Bentivoglio d’Aragona에 헌정하는 그의 Chamber Duets을, 가장 저명핚 공주 Annibale Albani에게 헌정하는 그의 Offertori인 a due voci 발표했습
니다.
In 1727, the composer completed his Litanies of the lessed Virgin Mary for Nuns con Violini a beneplacito
1727년, 작곡자는 Nuns con Violini a beneplacito를 위핚 동정녀 마리아를 위핚 그의 기도들을 끝냈습니다.
His four years in Pesaro (1724 – 1727) helped spread Bellinzani’s reputation with the publication of five works, enabling him to enter the circles of the local nobility.
Pesaro에서 4년갂 (1724-1727) 그는 지방귀족 집단에 들어가는데 힘쓰기 위해 다섯 작품을 발표하여 명성을 얻었습니다.
e was also in close contact with the Literary Academy of Pesaro and was held in high esteem and enjoyed the trust of the nobleman Giovanni degli Abati Olivieri.
e는 또핚 Pesaro의 문학아카데미에 가까운 교류가 있었고, 귀족 Giovanni degli Abati Olivieri의 신용을 졲경하고 향유하였습니다.
May 1728 saw the publication of all the 144 Versetti for organ, in different registers, which Bellinzani described as fatiguing and irksome to write. After editing the facsimile edition in 1997 - published in Bologna
by Arnaldo Forni - with this second disk, which will be ready by the end of 2011, I pursue the creation of a series of recordings dedicated to the great composer from Ferrara.
1728년 Bellinzani가 고되고 짜증스럽게 여기던 다른 음역들의 오르갂을 위핚 모든 144 Versetti가 출갂되었습니다. 1997년에 Arnaldo Forni에 의해 Bolonna에서 출갂된 복제판을 편집핚 이후엔 2011년 말에 죾비
될 이 두번째 디스크와 함께, 저는 이 Ferrara 출신의 멋짂 작곡가에게 헌정되는 레코딩 시리즈물을 추구하고 있습니다.
From 1730 until 1733, Bellinzani was chapel master at the Metropolitana in Urbino and in 1734 at the chapterhouse in Fano. At the latter, he was acknowledged him as the best of the applicants for the post, since
he was a man of renown and esteem all of a piece and he was taken on there immediately.
Bellinzani는 Urbino의 Metropolitana에서 1730-1733년, Fano의 chpaterhouse에서 1734년에 성가대 지휘를 맡았습니다. 후자에서 그는 최고의 적임자로서 정평이 났습니다.
In 1735 Bellinzani was in Orvieto earning 80 scudi a year as opposed to the mere 30 he had been paid in Fano. In 1737 he became Primo Cantore in Recanati, where the tendency towards mainly vocal music led
him to write a cappella sacred works or material in which the emphasis was on the vocal lines.
In 1754 Bellinzani was paralyzed on his right side and dubs himself “paralitico destro” on the frontespiece of his Introito a quattro voci per la festa di San Vito.
1735년 Bellinzani는 Orvieto에서 Fano에서 벌곢 했던 고작 30 scudi에 반해 연갂 80 scudi을 벌었습니다. 1737년 그는 주로 성악이 아 카펠라 종교음악이나 성악라인 중시되던 Recanati에서 Primo Cantore가 되
었습니다.
Because of his serious illness, in 1756 he requested Cardinal Cavalchini in Rome to be allowed to carry out his duties as a priest at a church closer to his home.
그의 심각핚 질병 때문에 1756년 그는 Rome에 있는 추기경 Cavalchini에게 그의 일을 교회에서 가까운 집에서 핛 수 있게 해달라고 요청했습니다.
Il permesso viene accordato dal Capitolo, essendo la Chiesa sufficientem[en]te provvista di Messe e considerando, per il tempo dell’inverno, la poca sanità del Cantore Bellinzani.
After working in Recanati Cathedral as Primo Cantore for twenty years, Bellinzani died on 26 February 1757 and was replaced there by his nephew Anton Francesco.
20년갂 Primo Cantore로서 Recanati Cathedral에서 일핚 뒤, 1757년 두번째 달 26일에 죽었고, 그의 자리는 조카인 Anton Francesco로 대체되었습니다.
Paolo Benedetto Bellinzani
Traduzione a cura di: Chiayu Lin
(Traditional Chinese Version)
Paolo Benedetto Bellinzani – 一位備受推崇的古代音樂家
(約西元 1682 到 1757)
1713年ころ、ベッリンザーニは司祭として叙階され、のちにウディーネ大聖堂のカペルマイスターに就任した。1717年、彼の最初の作品である「４声のミサ曲」が発表され、翌1718年にはフェラーラのシニョーリ・アカデミーの検閲官（Censore de Signori Accademici Risorti）に任命された。
(it may wrong translate with "Censore de Signori Accademici Risorti")
彼がマルケ州で働くことを選んだ一因として、温暖な気候であったことも挙げられる。彼は「 Dixit a 5 con violini e ripieni 」のスコア原稿のまとめに取りかかっていた 1722年にはファブリアーノ、翌23年にはパーゴラにおり、さらにペーザロにいた1724年1月3日には、教会は彼に対し、「慣習的な賃金相場と待遇」で指揮者職を依頼している。
視覚障害に悩まされたものの、1726年にはペーザロで、二重奏曲をベンティヴォーリオ枢機卿に、「Offertori a due voci(The offering of the two voices)」を、芸術の世界で名高いアンニバーレ・アルバーニ王子に献呈している。
1727年には、ヴァイオリンによる修道女のための聖母マリアへのリタニアを完成させている。
また、ペーザロに居た4年間に作り上げた５つの作品の評価は高く、貴族社会へ関わるきっかけにもなった。
また、ペーザロの文学アカデミーと親しく親交があったことにより文学界での評価も高く、ジョバンニ・デッリ・アバティ・オリヴィエーリ（Giovanni degli Abati Olivieri）の信頼も厚かった。
1735年。ベッリンザーニはファーノで年30スクード稼ぐことができていた頃と比べ、オルヴィエートでは80スクードもの大金を稼ぐことができるようになっていた。その後1737年にはレカナーティのプリマ・カントーレになり、そこでは声楽に重きを置いた教会の為の作品や小品を書く傾向にあった。
1754年、彼は右半身麻痺の憂き目に遭うが、作品「Introito a quattro voci per la festa di San Vito.」の題に「paralitico destro "麻痺という名の破壊"」と記している。
Paolo Benedetto Bellinzani, a man of renown all of a piece.
Gioachino Rossini’s main biographer Giuseppe Radiciotti described Paolo Benedetto Bellinzani as a “worthy and most fertile composer” who had become a member of the Philharmonic Academy of Bologna “with no need of any novitiate”. Bellinzani was also “an excellent teacher, capable of perfecting in the virtue of song Pasquale Bruscolini of Pesaro, a virtuoso of music and most skilled contralto who had much success throughout Europe”.
Father Martini of Bologna, historically recognized as the authority of his day on musical doings in Italy and Europe, put a portrait of Bellinzani in his private art gallery which, in the words of Andrea Emiliani, contained “the most celebrated figures of the science of music”.
Bellinzani was almost certainly born in Mantua in 1682 and initially studied music at an institute run by Benedictine monks in Mantua before completing his advanced studies went in Ferrara under a teacher from Padua, Giovan Battista Bassani.
In the early 18th century, Bellinzani embarked on a career that would broaden the range of his contacts and of his musical expertise, taking him as chapelmaster to Verona, Udine, Ferrara, Pesaro, Urbino, Orvieto and Recanati. He died in the latter town in 1757. At just 18 years of age in 1700, Bellinzani composed a four-part mass for he dead, Messa per li Defonti a quatro voci.
Around 1713 he was ordained as a priest and in 1715 became chapelmaster at Udine Cathedral. His first published work, Missae quatuor vocibus concinendae, appeared in 1717 in Bologna and in 1718 he was appointed Censore dé Signori Accademici Risorti in Ferrara.
One of the reasons Bellinzani worked in the Marche region of Italy may have been its better climate. He was in Fabriano in 1722, in Pergola in 1723 when he completed the manuscript score of his Dixit a 5 con violini e ripieni and in Pesaro where, on 3 January 1724, the chapterhouse offered him the post of Director of Music for a year, at “the customary rates and conditions”.
Despite eye trouble, in 1726 in Pesaro Bellinzani published his Duetti da Camera, dedicated to the Right Reverend Cardinal Bentivoglio d’Aragona, and his Offertori a due voci, with a dedication to “The Most Eminent Prince Annibale Albani”.
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In 1727, the composer completed his Littanie della Beata Vergine Maria per Monache con Violini a beneplacito.
His four years in Pesaro (1724 – 1727) helped spread Bellinzani’s reputation with the publication of five works, enabling him to enter the circles of the local nobility.
He was also in close contact with the Literary Academy of Pesaro and was held in high esteem and enjoyed the trust of the nobleman Giovanni degli Abati Olivieri.
May 1728 saw the publication of all the 144 Versetti for organ, in different registers, which Bellinzani described as fatiguing and irksome to write. After editing the facsimile edition in 1997 - published in Bologna by Arnaldo Forni - with this second disk, which will be ready by spring 2017, I pursue the creation of a series of recordings dedicated to the great composer from Mantua.
From 1730 until 1733, Bellinzani was chapel master at the Metropolitana in Urbino and in 1734 at the chapterhouse in Fano. At the latter, he was acknowledged him as the best of the applicants for the post, since he was a man of renown and esteem all of a piece and he was taken on there immediately.
In 1735 Bellinzani was in Orvieto earning 80 scudi a year as opposed to the mere 30 he had been paid in Fano. In 1737 he became Primo Cantore in Recanati, where the tendency towards mainly vocal music led him to write a cappella sacred works or material in which the emphasis was on the vocal lines.
In 1754 Bellinzani was paralyzed on his right side and dubs himself paralitico destro on the frontespiece of his Introito a quattro voci per la festa di San Vito.
Because of his serious illness, in 1756 he requested Cardinal Cavalchini in Rome to be allowed to carry out his duties as a priest at a church closer to his home.
After working in Recanati Cathedral as Primo Cantore for twenty years, Bellinzani died on 26 February 1757 and was replaced there by his nephew Anton Francesco.
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