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Year 1742 (MDCCXLII) was a common year starting on Monday (link will display the full calendar) of the Gregorian calendar and a common year starting on Friday of the 11-day slower Julian calendar.

Events[link]

January–June[link]

April 13: Handel's Messiah.

• January 24 – Charles VII Albert becomes Holy Roman Emperor
• February 16 – Spencer Compton, Earl of Wilmington, becomes Prime Minister of Great Britain.
• April 13 – George Frideric Handel's oratorio The Messiah is first performed in Dublin, Ireland.
• May 17 – Frederick the Great's army defeats Austrians in Chotusitz; later Austria cedes Silesia to Prussia.
• May 25 – A battle is fought at Sahay.
• July 7 Invasion of Georgia - English Colony of Georgia was attacked by Montiano of the Spanish Army. Locals of the colony repel the attempt.

July–December[link]

• December 2 – The Pennsylvania Journal first appears in print in the United States.

Date unknown[link]

• Daniel le Pelley succeeds Nicolas le Pelley as Seigneur of Sark.
• The Kingdom of Prussia captures Jihlava.
• Christian Goldbach formulates Goldbach's conjecture.
• Colin Maclaurin publishes his Treatise on Fluxions.
• Anders Celsius proposes the Celsius temperature scale (see 1741).
• James Bradley succeeds Edmond Halley as Astronomer Royal.
• Henry Fielding publishes Joseph Andrews.
• John Carteret, 2nd Lord Carteret becomes Secretary of State for the Northern Department in Great Britain.
• The rigging of the Chippenham by-election causes a political scandal in Great Britain.
• William Pulteney is created as 1st Earl of Bath in Great Britain.
• Robert Walpole is elevated to the peerage and thus moves from the House of Commons of Great Britain to the House of Lords, effectively ending his reign as Prime Minister of Great Britain (see February 16, above).
• The University of Erlangen is founded.
• The Lopukhina Conspiracy arises at the Russian court.
• Molde, Norway becomes a city.
• Construction starts on the Foundling Hospital in London.
• Eisenach, Germany builds its Stadtschloss (city castle).
• In Peru, Juan Santos takes the name Atahualpa II and begins an ill-fated rebellion against the Spanish rule.
• The Afghan tribes unite as a monarchy.
• Charles Jervas's English translation of Don Quixote is published posthumously. Through a printer's error, the translator's name is printed as Charles Jarvis, leading the book to forever be known as the Jarvis translation. It is acclaimed as the most faithful English rendering of the novel made up to that time.
• Spain completes the construction of Fort Matanzas in the Matanzas Inlet, approximately 15 miles (24 km) south of St. Augustine, Florida.
• Rome decrees that Roman ceremonial practice in Latin (not in Chinese) is to be the law for Chinese missions.

Births[link]

• January 8 – Philip Astley, English circus organizer (d. 1814)
• February 28 – Steven Banik, Renaissance man (d. 1744)
• March 10 – Sampson Salter Blowers, American lawyer and jurist (d. 1842)
• April 28 – Henry Dundas, British statesman (d. 1811)
• May 6 – Jean Senebier, Swiss pastor and botanist (d. 1809)
• June 25 – Johann Schweighauser, German classical scholar (d. 1830)
• June 26 – Arthur Middleton, American politician (d. 1787)
• June 28 – William Hooper, American statesman (d. 1790)
• July 21 – John Cleves Symmes, American statesman (d. 1814)
• July 27 – Nathanael Greene, American general (d. 1786)
• September 14 – James Wilson, American politician (d. 1798)
• October 6 – Johan Herman Wessel, Norwegian poet (d. 1785)
• December 9 – Carl Wilhelm Scheele, Swedish chemist (d. 1785)
• December 16 – Gebhard Leberecht von Blücher, Prussian general (d. 1819)
• date unknown
  • George Chalmers, Scottish antiquarian (d. 1825)
  • Francis Nash, American military officer (d. 1777)
• probable – Joseph Brant, Mohawk leader (d. 1807)

Deaths[link]

• January 1 – Peregrine Bertie, 2nd Duke of Ancaster and Kesteven, English statesman (b. 1686)
• January 14 – Edmond Halley, English astronomer (b. 1656)
• February 22 – Charles Rivington, English publisher (b. 1688)
• March 23 – Jean-Baptiste Dubos, French author (b. 1670)
• April 2 – James Douglas, Scottish physician and anatomist (b. 1675)
• April 17 – Arvid Horn, Swedish statesman (b. 1664)
• May 13 – Ludwig IX, Landgrave of Hesse-Darmstadt (b. 1719)
• May 21 – Lars Roberg, Swedish physician (b. 1664)
• May 26 – Pylyp Orlyk, Ukrainian Zaporozhian Cossack starshina, diplomat (b. 1672)
• June 18 – John Aislabie, British politician (b. 1670)
• June 27 – Nathan Bailey, English philologist and lexicographer
• July 4 – Guido Grandi, Italian mathematician (b. 1671)
• July 9 – John Oldmixon, English historian (b. 1673)
• July 12 – Evaristo Abaco, Italian composer (b. 1675)
• July 14 – Richard Bentley, English scholar and critic (b. 1662)
• July 19 – William Somervile, English poet (b. 1675)
• August 25 – Carlos Seixas, Portuguese composer (b. 1704)
• September 22 – Frederic Louis Norden, Danish explorer (b. 1708)
• September 27 – Hugh Boulter, Irish Archbishop of Armagh (b. 1672)
• September 28 – Jean Baptiste Massillon, French bishop (b. 1663)
• November 12 – Friedrich Hoffmann, German physician and chemist (b. 1660)
• November 20 – Melchior de Polignac, French diplomat (b. 1661)
• November 24 – Andrew Bradford, American publisher (b. 1686)
• December 31 – Karl III Philip, Elector Palatine (b. 1661)

References[link]

Bohuslav Matěj Černohorský (Christened 16 February 1684, Nymburk, Bohemia – 1 July 1742, Graz, Austria) was a Czech composer, organist and teacher of the baroque era. He wrote among other works motets, other choral works (a fugue Laudeatur Jesus Christus is cited by the Baroque Music Library as an excellent example of its kind) and organ solo works.

Life[link]

He was a son of a Nymburk cantor named Samuel Černohorský. From 1700 to 1702 he studied philosophy at the Prague university. In 1704 Černohorský became a member of the Minorite Order; later, in 1708 he was ordained as a priest.^[1] Nevertheless, in 1710 Černohorský was expelled from Czech lands for ten years, and he left for Assisi, Italy. From 1710 to 1715 he worked as an organist in the Basilica of San Francesco d'Assisi, and probably studied counterpoint with Giuseppe Tartini. He was called "Padre Boemo" in Italy.^[1] After the expiration of his punishment, he came back to Prague, where he devoted himself to teaching. Among the important pupils of the "Černohorský school" are Josef Seger, František Tůma and others. In 1731 he came to Italy again, and worked as an organist in Padua. Černohorský died in Graz in 1742. He is an ancestor of the contemporary Classical/Flamenco guitarist , Peter Černohorský.

According to the biography at Arta.cz below, he officiated at the wedding of his colleague Šimon Brixi, father of František Xaver Brixi.

Style[link]

Černohorský was an important representative of the late baroque style. He composed fugues and toccatas for organ, as well as vocal works. He deeply influenced the musical evolution in Czech lands as a composer, as well as a teacher.^[2]

Selected works[link]

• Vesperae Minus Solemnes (1702–1710) for choir, two violins and organ
• Regina Coeli (1712), antifone for double choir
• Laudetur Jesus Christus (1729) for soprano, alt, tenor, bass, strings and organ
• Precatus est Moyses
• Quare Domine Irasceris both for soprano, alt, tenor, bass, two violins, viola, three trumpets and organ

External links[link]

• (French) Brief biography
• Biography by Mark Niubo at Arta.cz
• Brief biography at Allmusic.com

References[link]

This article about a Czech composer is a stub. You can help Wikipedia by expanding it. v t e

This article is part of the Fiddle & Violin series.

Basic physics of the violin

Fiddlers

History of the violin

Luthiers

Musical styles

Making and maintenance

Playing the violin

Violin construction

Violin family of instruments

Violinists

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (November 2011)

Bartolomeo Giuseppe Antonio Guarneri, del Gesù (21 August 1698 – 17 October 1744) was an Italian luthier from the Guarneri house of Cremona. He rivals Antonio Stradivari (1644–1737) with regard to the respect and reverence accorded his instruments, and he has been called the finest violin maker of the Amati line. Instruments made by Guarneri are often referred to as Josephs or del Gesùs.

Giuseppe is known as del Gesù because his labels incorporated the nomina sacra, I.H.S. (iota-eta-sigma) and a Roman Cross. His instruments diverged significantly from family tradition, becoming uniquely his own style. They are considered second in quality only to those of Stradivari but are also claimed by some to be superior. Guarneri's violins often have a darker, more robust, more sonorous tone than Stradivari's. Fewer than 200 of Guarneri's instruments survive. They are all violins, although one cello bearing his father's label, dated 1730, seems to have been completed by Del Gesù.

The most illustrious member of the House of Guarneri, Bartolomeo was the son of Giuseppe Giovanni Battista, thus the grandson of Andrea Guarneri, both noted violin makers themselves. Andrea learned his trade as an apprentice of Nicolò Amati, to whom Stradivari was also apprenticed. Undoubtedly Del Gesù learned the craft of violinmaking in his father's shop.

Del Gesù's unique style has been widely copied by luthiers since the 19th century. Guarneri's career is a great contrast to that of Stradivari, who was stylistically consistent, very careful about craftsmanship and finish, and evolved the design of his instruments in a deliberate way over seven decades. Guarneri's career was short, from the late 1720s until his death in 1744. Initially he was thought to be a man of restless creativity, judging by his constant experimentation with f-holes, arching, thicknesses of the top and back and other design details. However, what has become clear is that, like other members of his family, he was so commercially overshadowed by his illustrious and business-savvy neighbor, Antonio Stradivari, that he was unable to command prices commensurate with his rival, needed to make more instruments and work hastily. Indeed, two of the five violin makers of the Guarneri family, the two Pietros--of different generations, left Cremona, the first for Mantua, the second for Venice, apparently because business prospects in Cremona were so stunted by the presence of Stradivari. From the 1720s until about 1737, Joseph's work is quick and accurate, although he was not obsessed with quality of finish per se. However, from the late 1730s until his death, his work shows increasing haste and lack of patience with the time needed to achieve a high quality finish. Some of his late violins circa 1742-1744 are actually quite amazing to look at. The scrolls can be crudely carved, the purfling hastily inserted, the f-holes unsymmetrical and jagged.

Nonetheless, many of these late violins, in spite of the seeming haste and carelessness of their construction, possess a glorious tone and have been much coveted by soloists. His output falls off rather dramatically in the late 1730s, and the eccentricity of the works following that period gave rise to the romantic notion that he had been imprisoned for killing a rival violin maker (actually it was one of the Lavazza brothers in Milan to whom this occurred), and even the unlikely fiction that he made violins in prison. Such stories were invented during the nineteenth century and were repeated by the Hills in their 1931 work; while the Hills did no take them at face-value, it did feed into their idea that Joseph Guarneri del Gesu` must have been temperamental and mercurial, rather than simply overworked and commercially unsuccessful. More recent data shows that business was so bad during the later period of his life that he had to relegate violin-making to the sideline and earn his living as an innkeeper (refuting the "prison" myth).

It has also become known that some of the violins emanating from his shop and bearing his label were actually the work of his German wife, Caterina Roda, who apparently returned to Germany after her husband's death in 1744. The couple had no children in over 20 years of marriage, exceedingly rare for violin makers of the period, and one must wonder about the reason. Moreover, while every other member of the family, the Stradivari family, Nicolo Amati, and a peculiarly large number of makers, lived long lives--Stradivari living and working to age 93, Joseph died at only 46. There is thus the possibility that the odd qualities of finish in his later instruments--ironically, those most highly prized and preposterously expensive--were due not only to stress and haste but also to encroaching illness. It is also worth noting that a common wisdom is that the tone of both Stradivari and Joseph Guarneri did not come into their own until late in the 18th century, that the high-built instruments of Amati and Stainer were the only ones prized during the 18th century. While it is true that players, then as now, preferred old instruments, Stradivari made one of the handsomest livings of all violin makers during his lifetime. It is also customary to conflate Stradivari and Guarneri in this regard, but even the Hills hinted that such was not the case in their styles, the Guarneri always bearing traces of Amati, and even Stainer, the latter Stradivari "would have none of." (p. 33). Moreover, Joseph's instruments were recognized by a world-class soloist three decades before Stradivari's were likewise championed. By the 1750s, Gaetano Pugnani is known to have acquired and preferred a Joseph Guarneri del Gesu` violin, but it is not until the 1780s that his pupil, G.B. Viotti became an advocate of Stradivari instruments. Of course, Pugnani's advocacy is usually forgotten when Paganini became the most noted del Gesu` player three generations later.

Accomplished violinists such as Joseph Joachim, Henri Vieuxtemps, Eugène Ysaÿe, Fritz Kreisler, Jascha Heifetz, Isaac Stern, Leonid Kogan, Henryk Szeryng, Itzhak Perlman, Gidon Kremer, Gordan Nikolitch, Pinchas Zukerman, Eugene Fodor, Michael Rabin, Bartek Niziol, Domenico Nordio, Marie Soldat, Maud Powell, Rachel Barton Pine, Richard Tognetti, Midori, Nigel Kennedy, Elmar Oliveira, Kyung-wha Chung, Bill Barbini, Ruth Palmer, Sarah Chang, Leila Josefowicz and Charlie Siem have used Guarneri del Gesù violins at one point in their career or even exclusively. Virtuoso Niccolò Paganini's favorite violin, Il Cannone Guarnerius of 1743, and the Lord Wilton of 1742, once owned by Yehudi Menuhin, are del Gesù instruments. In addition, the Vieuxtemps Guarneri--once owned by Henri Vieuxtemps--has been offered for sale at a price of $18 million, which would make it the most expensive instrument in the world. Jascha Heifetz owned a c1742 Del Gesù from the 1920s until his death in 1987. It was his favorite instrument, even though he owned several Stradivaris.

A treasury of instruments[link]

• Chang 1717 Guarnerius, used by Sarah Chang. (This instrument is often questioned. But it has been verified that this is indeed a Guaneri Del Gesu. Albeit made with a lot of help from Andrea Guarnerius 1727, used by Glenn Dicterow
• Folinari c. 1725 Guarnerius, in private use
• Marteau 1731 Guarnerius, owned by Henri Marteau, then Gerard Poulet and used by Maxim Vengerov
• Ferni 1732 Guarnerius, for sale at Peter Prier Violins in Salt Lake City, Utah^[1]
• Kreisler 1733 Guarnerius, given to Library of Congress in 1952
• 1733 Guarnerius for sale at Peter Prier Violins in Salt Lake City, Utah
• Prins Doria 1734 Guarnerius, acquired from Doria Family by famous luthier Jacquot of Paris 1860
• ex-Huberman 1734 Guarnerius, used by Midori, on lifetime loan from the Hayashibara Foundation
• The King 1735 Guarnerius, now in the Croatian Academy of Sciences and Arts
• ex-Kubelik 1735 Guarnerius, used by Kyung-Wha Chung
• King Joseph 1737 Guarnerius, reportedly the first Guarnerius del Gesu to come to America in 1868, now in collection of David L. Fulton
• Ysaÿe 1740 Guarnerius, used by Issac Stern, now belonging to Nippon Music Foundation
• ex-Vieuxtemps 1741 Guarnerius, called the "Mona Lisa" of violins
• ex-Kochanski 1741 Guarnerius, used by Aaron Rosand, sold for about $10 million in 2009
• Lord Wilton 1742 Guarnerius, used by Yehudi Menuhin, now in collection of David L. Fulton
• ex-David 1742 Guarnerius, used by Jascha Heifetz, now in the San Francisco Legion of Honor Museum
• Dushkin 1742 Guarnerius, used by Pinchas Zukerman
• ex-Alard 1742 Guarnerius, now in Cité de la Musique, Paris
• Il Cannone 1743 Guarnerius, used by Niccolò Paganini, now in the City Hall of Genoa

See also[link]

• Guarneri Family

References[link]

• Hill, William Henry; Hill, Arthur F.; Hill, Alfred Ebsworth (1965). "Chapters IV and V: Giuseppe Guarneri del Gesu". The Violin Makers of the Guarneri family, Their Life and Work. London: W.E. Hill & Sons. OCLC 857499. http://www.guarneri.net/filesite/pages/guarneri/delgesu.html. Retrieved 2009-01-17. 
• Giuseppe Guarneri del Gesu
• Vannes, Rene (1985) [1951]. Dictionnaire Universel del Luthiers (vol.3). Bruxelles: Les Amis de la musique. OCLC 53749830. 
• Wibberley, Leonard (1976). Guarneri: Violin Maker of Genius. London; England: Macdonald & Jane's. ISBN 0-356-08377-2. 
• William, Henley (1969). Universal Dictionary of Violin & Bow Makers. Brighton; England: Amati. ISBN 0-901424-00-5. 
• Walter Hamma, Meister Italienischer Geigenbaukunst, Wilhelmshaven 1993, ISBN 3-7959-0537-0
• Giuseppe Guarneri del Gesu
• Cozio.com, Cozio.com
• The Henry Hottinger Collection - Rembert Wurlitzer, 1967
• "The Henry Hottinger Collection", The Strad, October, 1965.
• Capolavori di Antonio Stradivari, Charles Beare, Arnoldo Mondadori S.p.A., Milan, 1987.
• A Thousand Mornings of Music, Arnold Gingrich, Crown Publishers, New York, 1970.
• Antonius Stradivarius, Dirk J. Balfoort, The Continental Book Company, Stockholm, 1945.
• Berühmte Geigen und ihre Schicksale, P. J. Tonger, Köln, 1919.
• Die Geigen und Lautenmacher vom Mitteralter bis zur Gegenwart, Willibald Leo von Lütgendorff, Frankfurter Verlags-Anstalt, Frankfurt am Main, 1922.
• Italian Violin Makers, Karel Jalovec, Paul Hamlyn, London, 1964.
• Italian Violin-Makers, Karel Jalovec, Orbis, Prague, 1952.
• Italienische Geigenbauer (1957), Karel Jalovec, Artia, Prague, 1957.
• Loan Exhibition of Stringed Instruments and Bows Commemorating the 70th Birthday of Simone Fernando Sacconi, Schuler Verlagsgesellschaft, Stuttgart, 1966.
• Meisterwerke Italienischer Geigenbaukunst, Fridolin Hamma, Hamma & Co., 1932.
• The Violin: Its physical and acoustic principles, Paolo Peterlongo, Paul Elek, London, 1979.
• "Eighteenth-Century Connections Through Musical Instruments", Gary Sturm, Journal of The Violin Society of America, Vol. IX, No. 2, 1988.
• "Exhibition of Violins and Bows in the Smithsonian Collection", Gary Sturm, Journal of The Violin Society of America, Vol. V, No. 2, Spring, 1979.
• "Guided Tour of the Library of Congress Collection of Stringed Instruments", Robert Bein, Journal of The Violin Society of America, Volume XVII, No. 2, November 4–7, 1999.
• "Ne Plus Ultra", John Dilworth, The Strad, December, 1987.
• 36 Famous Italian Violins, Alex Wasinski, Herman Gordon, New York, 1975.
• Evelyn & Herbert Axelrod Stringed Instrument Collection, Herbert Axelrod, 2002.
• "Poster supplement", The Strad, September, 1987.
• Italian Violin-Makers, Karel Jalovec, Orbis, Prague, 1952.
• Beautiful Italian Violins, Karel Jalovec, Paul Hamlyn, London, 1963.
• The Miracle Makers, Bein & Fushi, Chicago, 1998.

Evaristo Felice Dall'Abaco

Evaristo Felice dall'Abaco (*12 July 1675, Verona, Italy — †12 July 1742, Munich, Bavaria) was an Italian composer and violinist.

Life[link]

Dall'Abaco was born in Verona, the son of renowned guitarist Damiano dall'Abaco. His father, after seeing his son's musical talent in school let him take on violin and cello lessons. He is thought to be Torelli's pupil from whom he would have learned violin and cello.^[1] He launched his musical career as a violinist with Tommaso Antonio Vitali in Modena, in 1704 he joined the court of Maximilian II Emanuel, elector of Bavaria as Kammermusiker. Abaco was only a few months in Munich, when he was forced to flee with the court to Brussels, following Maximilian's defeat at the Battle of Blenheim. On Maximilian's restoration and return to Munich, in 1715, dall'Abaco was appointed Concert-meister. He continued to compose chamber music at the French and Dutch courts until 1740 when he retired.^[2]

While in Brussels, dall'Abaco fathered a son named Joseph Abaco (1710–1805).^[3]

Dall'Abaco's music is especially indebted to Vivaldi and Corelli. However, when he went into exile with the Munich court, he spent time in France and absorbed some of the influences there.

Published works[link]

• Opus 1: 12 Sonate da Camera, for violin and violoncello with accompaniment
• Opus 2: 12 Concerti a quattro da Chiesa
• Opus 3: 12 Sonate da Chiesa a tre
• Opus 4: 12 Sonate da Camera a violino e violoncello
• Opus 5 & 6: Concerti a piu Instrumenti (sic)

References[link]

This article on a violinist or fiddler is a stub. You can help Wikipedia by expanding it. v t e

This article about an Italian composer is a stub. You can help Wikipedia by expanding it. v t e

Benedikt Anton Aufschnaiter

Benedikt Anton Aufschnaiter (baptised 21 February 1665, Kitzbühel – buried 24 January 1742, Passau) was an Austrian Baroque composer.

Aufschnaiter got much of his musical education in Vienna, where he lived for several years. Later he got a post at the band near to the emperor's court. On 16 January 1705, he was appointed Kapellmeister at the Passau court by Bishop-Cardinal Johann Philipp von Lamberg as a successor of deceased Georg Muffat. He died there in January 1742.

He was married twice and from the second marriage, he had a son.

The most from Aufschnaiter's about 300 surviving works are sacred works. In his Regulæ Fundamentales Musurgiæ, he named Giacomo Carissimi, Orlande de Lassus, Johann Kaspar Kerll and Adam Gumpelzhaimer as his idols.

List of selected works[link]

Theoretical works[link]

• Regulæ Fundamentales Musurgiæ (Fundamental rules on composing good music)

Compositions[link]

• Concors discordia op. 2 (Nürnberg 1695) - six serenades for orchestra
• Dulcis Fidium Harmoniæ op. 4 (Augsburg 1703) - eight string sonatas
• Memnon sacer ab oriente op. 5 (Augsburg 1709) - Vesper psalms
• Alaudæ V op. 6 (1711) - five masses
• Aquila clangens op. 7 (Passau 1719) - twelve offertories
• Cymbalum Davidis op. 8 (Passau 1728) - four Vesper psalms
• Miserere pro tempore quadragesimae op. 9 (unpublished, 1724)
• Concerto o parthia della cortesia
• Kommt, beschaut die Weisoheit - Pastorella-Trio sonata
• Litaniae Lauretanae
• Requiem in C major (1738)
• Serenada della pace in C major
• Sonata gloriosa

References[link]

For references see the references in the article on German Wikipedia.

External links[link]

• Sound carrier of Benedikt Anton Aufschnaiter in the German National Library catalogue
• Free scores by Benedikt Anton Aufschnaiter in the Werner Icking Music Archive (WIMA)
• Sound-bites from Concors discordia op. 2
• Discography