(b ?Venice, ?Nov 1680; d London,Jan 14, 1783). Italian cellist and composer. He was of Sephardi Jewish origin. Nothing is known about his life in Italy, though Burney referred to him as a Venetian. He arrived in England probably in early 1738, when he became a member of the Royal Society of Musicians: he was an important member of a group of London-based Italians who brought the solo cello into favour in England. Although his playing was technically brilliant, his tone, according to Burney, was ‘raw, crude and uninteresting’. The first reliable record of his playing is of a concerto at Drury Lane (22 November 1742); he continued to play there regularly until about 1774/5. According to his son James's obituary, Cervetto ‘led the band’ there. He played in numerous subscription concerts at Hickford's Room, the Great Room, the King's Theatre and the New Theatre in the Haymarket. He also played in the orchestra at Vauxhall and took part in private concerts, for example in the Burney household. At some point in the early 1760s Cervetto seems to have relinquished his solo career in order to make way for his son, also a cellist. Marsh recorded Cervetto's presence at a concert at the Salisbury Festival in ...
Marija Đurić Speare
Michael Dubiaga Jr
(b Verona, Dec 30, 1741; d Verona, Jan 4, 1809). Italian composer and singer. He entered the choir school at Verona Cathedral in March 1755 where, in addition to the academic curriculum, he studied plainsong and counterpoint under the maestro di cappella Daniel dal Barba. After his ordination he joined the chapter choir as cappellano and from 1775 was a bass in the cathedral choir. In addition to clerical duties at a local church, he probably served as apprentice to Dal Barba. In December 1779 Giacometti assumed full teaching responsibilities at the choir school and was accorded rights of succession to the cathedral position on Dal Barba’s death. From 1789 he was the leading composer at the cathedral, where he continued in service until the end of his life.
Of special interest among Giacometti’s compositions are an expressive Benedictus Dominus Deus Israel and the virtuoso lectiones for Holy Week in which simple recitative sections alternate with florid solo passages. A small instrumental complement of two violas and violone is often used in his choral music; full orchestral ensembles were used only in pontifical celebrations. A facile declamatory style with little melodic inventiveness prevails in many works, especially his responsories, but occasionally contrasts of key and metre create striking effects. Giacometti’s compositions retained popularity into the 19th century; in Spagnolo’s opinion he ‘was justly considered the most skilful composer of his time’....
revised by Susan Wollenberg
(b ? c1740; d Oxford, Nov 21, 1777). English composer and violinist. He was a son of David Francisco Lates, a Hebrew scholar who taught modern languages at Oxford University. According to Sainsbury, he studied in Italy and is described by Lewis as ‘the first Oxford Jewish composer’. The local newspaper reported his marriage on 29 October 1768 to Miss Joanna Day, ‘a Lady of exceeding good Accomplishments, with a very handsome Fortune’. He played in the Holywell Music Room orchestra, probably as principal second violin, and in other concerts in the vicinity of Oxford (including Henley and Banbury) from the late 1750s until his death, and was connected with the Duke of Marlborough’s musical establishment at Blenheim. An early appearance in 1757 at a benefit concert and ball for Miss Lates (probably a sister) in Abingdon featured ‘Master Lates’ playing first violin and a solo; by 1761...