Annotation:Master Pinto: Difference between revisions
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'''MASTER PINTO.''' Scottish, Slow Air. B Flat Major. Standard tuning (fiddle). AB. Composed by [[Biography:Nathaniel Gow]] (1763-1831). | '''MASTER PINTO.''' Scottish, Slow Air. B Flat Major. Standard tuning (fiddle). AB. Composed by [[Biography:Nathaniel Gow]] (1763-1831). Master Pinto was a concert violinist, who played subscription concerts at St. Cecilia's hall in Edinburgh in 1801 (he also played Glasgow in 1800). The success of the concerts, records the '''Scots Magazine''' (vol. 63, p. 124): | ||
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< | ''...is to be attributed to the spirited plan adopted by Mr. Corri, of bringing down'' | ||
''capital new performers from London; for without novelty, public places soon cease to'' | |||
''be entertaining, and at last grow tiresome. Master Pinto was literally a musical'' | |||
''wonder, the brilliancy of his execution, the fire with which he played, and the fancy he'' | |||
''displayed, were not more remarkable than the powerful, varied, and exquisite tones'' | |||
''of his violin! And the masterly and expressive style in which he performed the Adagio'' | |||
''movements of his concertos, will never be forgotten by his hearers.'' | |||
</blockquote> | |||
Master Pinto was the grandson of a famous musician, known as Pinto, who was mentioned by Dr. Burney in his '''General History of Music'''. Alexander Campbell mentions the younger Pinto in his volume '''A Journey from Edinburgh through parts of North Britain, vol. 2''' (p. 189), and was also impressed: | |||
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''Young Pinto is not only an admirable violin player, but also a first-rate performer'' | |||
''on the grand piano forte: to excel on instruments so widely different from each'' | |||
''other, is a proof of genius and unwearied application very seldom to be met with.'' | |||
''If dissipatio, and consequent idleness, do not impede him in his career, what may not'' | |||
''the musical world expect in his riper manhood, when his talents have received from'' | |||
''practice, mature judgement, and refined taste, the highest polish possible to conceive?'' | |||
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Revision as of 22:15, 3 August 2013
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MASTER PINTO. Scottish, Slow Air. B Flat Major. Standard tuning (fiddle). AB. Composed by Biography:Nathaniel Gow (1763-1831). Master Pinto was a concert violinist, who played subscription concerts at St. Cecilia's hall in Edinburgh in 1801 (he also played Glasgow in 1800). The success of the concerts, records the Scots Magazine (vol. 63, p. 124):
...is to be attributed to the spirited plan adopted by Mr. Corri, of bringing down capital new performers from London; for without novelty, public places soon cease to be entertaining, and at last grow tiresome. Master Pinto was literally a musical wonder, the brilliancy of his execution, the fire with which he played, and the fancy he displayed, were not more remarkable than the powerful, varied, and exquisite tones of his violin! And the masterly and expressive style in which he performed the Adagio movements of his concertos, will never be forgotten by his hearers.
Master Pinto was the grandson of a famous musician, known as Pinto, who was mentioned by Dr. Burney in his General History of Music. Alexander Campbell mentions the younger Pinto in his volume A Journey from Edinburgh through parts of North Britain, vol. 2 (p. 189), and was also impressed:
Young Pinto is not only an admirable violin player, but also a first-rate performer on the grand piano forte: to excel on instruments so widely different from each other, is a proof of genius and unwearied application very seldom to be met with. If dissipatio, and consequent idleness, do not impede him in his career, what may not the musical world expect in his riper manhood, when his talents have received from practice, mature judgement, and refined taste, the highest polish possible to conceive?
Source for notated version:
Printed sources: Gow (2nd part of The beauties of Niel Gow, being a selection of the most favorite tunes from his first, second, and third collections of strathspeys, reels & jigs, chiefly comprising the compositions of Niel Gow and sons, (the dances arranged as medleys), all of which are adapted for the harp, piano-forte, violin & violoncello), c. 1819. MacDonald (The Skye Collection), 1887; p. 161.
Recorded sources:
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