Pietro Antonio Locatelli was a violinist and composer from Italy. Pietro Antonio Locatelli was born in the Italian city of Bergamo in the year 1695. When he was only a little child, his incredible passion for playing the violin became apparent. He joined the Bergamo Cathedral instrumental ensemble as a child but left when he was sixteen to go to Rome in 1711. For a young violinist on the verge of a career, Rome was the place to be because Arcangelo Corelli stayed there. Despite the fact that Locatelli did not study with Corelli, he was undeniably inspired by him. Pietro Locatelli lived in Rome until early in 1723, but nothing is understood for the rest of his life and we don't know where he was. In 1725, he was named virtuoso da camera by Count Philipp von Hesse-Darmstadt in Mantua (Mantua was ruled by the House of Habsburg). However, there is no evidence that Locatelli was ever in Mantua; he may have just been going by and left his brief stay undocumented. After 1725, his name appears in Venice, Munich, and Berlin, in that order. He toured Frankfurt and Kassel in 1728. He gave concerts all over the world, earning rapturous praise for his virtuosic playing. Pietro Locatelli, on the other side, couldn't seem to find a house and didn't want to live the remainder of his time as a court singer. In 1729, he relocated to Amsterdam, a city without a court but with plenty of chances for him to write his works. This part of Amsterdam's musical scene was well-known in Europe, and many Italian composers, like Vivaldi, published their works there despite never having visited the region. Locatelli lived and employed in Amsterdam as a 'Italian music master' from 1729 until his death in 1764, having had every piece written by Roger en Le Cène after his Opus 1 (composed in 1721). Pietro Locatelli had several benefits in Amsterdam: he could serve as a free musician without being bound by a church or a judge. He was able to write whatever he liked, wherever he wanted. This was really unique for an 18th-century composer. He didn't achieve anything in the city's music scene. He had no students and never performed in front of an audience. He did, however, offer concerts in private houses on Wednesday evenings, which were quite common among the city's upper crust. Since he was a skilled violinist, Locatelli chose not to allow any skilled musicians around, perhaps because he was scared of them imitating him. Such apprehension is extraordinary for a composer who, in terms of virtuosity, put his peers well behind him - see L'Arte del Violino concertos Op. 3 - As a result, it is often said that Locatelli was not a virtuoso at all, but rather a perfectionist who was terrified of making errors. It was claimed at the time that he had never played a wrong note - except for once, when his little finger slipped and became trapped in his instrument's bridge. Pietro Locatelli was given permission by the states of Holland and West Friesland to print and distribute his own music from his house. He distributed books he had collected from all over Europe in addition to his compositions. They explored a broad variety of issues, including but not limited to culture, theater, writing, and visual art. As a result, he was willing to afford as a musician and retailer. Given his fortune (an extensive library was found in his house when he died in 1764) and the scope of his music's dissemination across Europe, he must have had a genuine Dutch commercial streak.
Pietro Locatelli's compositions are mostly for the violin, which he was a master of. The Arte del violino, opus 3, is possibly his most important work, a series of twelve concertos for the instrument that includes twenty-four technically demanding capriccios (or caprices) that could be used as expanded cadenzas, but are now commonly removed and performed separately from the concertos. Violin sonatas, a cello sonata, trio sonatas, concerti grossi, and a number of flute sonatas were among his works (his Op. 2). His early works are influenced by Arcangelo Corelli, although his later works are more in the vein of Antonio Vivaldi. Pietro Locatelli is probably better regarded in the western world for a job that does not occur. 'The music-room in the governor's house at Port Mahon, a tall, handsome, pillared octagon, was packed with the victorious first movement of Locatelli's C major quartet,' begins Master and Commander, the first novel in Patrick O'Brian's Aubrey-Maturin trilogy. In reality, no quartets are reported to have been written by Locatelli. L'Arte del Violino was one of the most popular instrumental publications of the early eighteenth century, published in Amsterdam in 1733. It is a series of twelve concertos for solo violin, strings, and basso continuo, with a 'capriccio' for unaccompanied violin added as a kind of cadenza in the first and last movements of each concerto. The weekly series of "regular" concerts by the Collegium Musicum may have included vocal and instrumental pieces by a vast number of composers, but it is difficult to reproduce all of the more than 500 two-hour programs for which J.S. Bach was responsible, except in large strokes. Four orchestral overtures by Johann Bernhard Bach, the Cantata Armida Abbandonata (HWV 105) by Georg Frideric Handel, the Concerto Grosso in F minor, Op. 1, No. 8, by Pietro Locatelli, and three Italian cantatas (Dal primo foco in cui penai, Sopra un colle fiorito, and Ecco l'infausto lido) by Niccolo Paganini are among the traceable composition (See Glaöckner 1990, pp. 89f.) Furthermore, "Mr. Bach de Leipzig" is mentioned among the subscribers to Georg Philipp Telemann's Nouveaux Quatuors (flute quartets), published in Paris in 1738, suggesting that the pieces were intended for the Collegium collection. While these few works and composers cannot be called representative, they do demonstrate that the repertoire included both instrumental and vocal works, those Italian solo cantatas were used, and that new types of music (such as the N. Porpora cantatas and G.P. Telemann quartets) were added.