1.

Antonio Bertali (1605-1669)

Chiacona in C major
Composed in: 1662 or before
On-line score: https://imslp.org/wiki/Ciaccona_in_C_major_(Bertali%2C_Antonio)
On-line performance: https://smsu-naxosmusiclibrary-
com.proxy2.missouristate.edu/catalogue/item.asp?cid=E8840
Antonio Bertali was born in Verona in 1605 where he started his early musical education at the
Cathedral under Stefano Bernardi. As his education suggests, his music has influences of
Monteverdi and Cavalli, often composing in an extravagant and virtuosic style, containing
diverse instrumental and vocal textures.
He was employed at the Imperial Court of Vienna beginning in 1624, and built a solid reputation
as a composer and violinist. He was admired across generations and throughout Europe as in
countries such as Italy, France, and England. He influenced other composers in neighboring
countries to utilize his Italian style of composition and performance.
He was known mostly for oratorios and operas, and his instrumental music included a large
range of seventeenth century styles. Bertali's compositions could be found in cathedrals, courts,
and municipal archives in Northern Europe, indicating that he was one of the most significant
Italian composers during his time who was devoted to promoting genres like Italian opera.
In 1631, he was given the important commission of composing a cantata, Donna Real, for the
marriage of the future Emperor Ferdinand III to the Spanish Infanta Anna Maria. He composed
numerous other works for special occasions and received several prizes, including earning the
title “valaroso nel violin” by Giovanni Bertoli in 1645. After Giovanni Valentini passed away in
1649, Bertali took over his job as a Kapellmeister of the imperial court.
The Ciaccona in C for violin, cello and continuo is one of his best compositions which include
operas, oratorios, liturgical works and chamber music. The Ciaccona is a charming virtuoso work
for violin full of delightful melodies and beautiful ornaments, mostly with a high and light speed.
In the beginning of this piece we can hear a bass line played with a harmonic instrument, playing
syncopated and upbeat melody in the first eight measures, creating an atmosphere that
reminiscent of spending time in the countryside of northern Europe where he has spent most of
his life. The texture changes in measure 155 where we can see a more intimate moment with the
violin and cello playing in a duet. In measure 221 we hear a virtuosic adagio full of sequences of
sixteenth notes. At the end of measure 313 we can see an implied pause suggesting that the piece
is ending, surprising the listener when the three instruments start again with an ornamented IAC
to finally end in C major.