Nicola Matteis (fl. 1674–1697)
For the Flutefor alto or tenor recorder (violin), an additional
melodic instrument (ad lib.) and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Yo HiranoGirolamo G 12.053, score and 3 parts, € 19,00
ISMN 979-0-50084-087-9
PrefaceIt would certainly be going a little too far to refer to Nicola Matteis as the “Paganini of the English Baroque” but, in the years between 1674 and about 1697, he did enjoy great popularity as a violinist and composer in England. Nicola Matteis was the first to bring virtuoso Italian violin playing to England and was one of the first foreign musicians to find recognition and a livelihood in England. He was followed by many colleagues from Italy, France, Germany and Bohemia.
His birth, his exact birthplace, education and death are obscure. Based on the indications “Nicola Matteis Napolitano” and “Nicola Matteis of Naples” found on several title pages of his prints, we can conclude that Matteis came from Naples or its surroundings. He can be traced back to London from 1674, but all trace is lost towards the end of the 17th century. Roger North1 reports: “In short, waiving the mention of other excellencies in particular, he fell into such credit and imployment, that he took a great hous, and after the mode of his country, lived luxuriously, which brought diseases upon him, of which he dyed.” This happened probably around 1697. His son, also called Nicola, was a violinist and composer like his father, following in his footsteps, but later living in Vienna.
Nicola Matteis was primarily engaged as a violinist. According to various sources, his playing must have been remarkably masterful and extremely impressive. He captivated his audience and expected complete silence while he played. Matteis was a composer only in second place. In addition to a guitar tutor and two volumes of songs, which appeared in 1696 and 1699, he published the first two books of “Ayres for the Violin” in 1676 and two further books in 1685. These contain preludes, a variety of dances, fantasies and divisions, all (bar a few exceptions) containing a basso continuo part. It was not until years after the first publication that Matteis added a part for a second melody instrument to all four volumes, for which, due to the range, only a violin can be considered. From the fact that the second part was printed so much later, we must conclude that the pieces with one melody instrument and basso continuo are complete in themselves, even without the second part.
In London, Matteis certainly met such famous recorder players as the Frenchman James Paisible, and he will definitely have been aware of the fact that many gentlemen of the higher society, such as merchants, civil servants and aristocrats, played the recorder – more or less competently, but definitely with great enthusiasm. In the first two volumes of his Ayres, there is still no mention of the recorder. However, the table of contents in a print of the books 3 and 4 then lists 43 pieces, indicating: “A Table of the most Easy Ayres in ye Book that may be played with the Flute as well as the Violin”. Five of these pieces are also marked “For the Flute” in the title. They are brought together in this edition and are published for the first time together with the second part.
In England at that time, the term flute always referred to the new French style alto recorder of the type introduced to England by Pierre Bressan (although not until 1690). However, due to the relatively small range of the pieces, one can definitely experiment with other recorder models. A soprano or tenor recorder, a voice flute or a sopranino recorder are also suitable.
Translation: Catherine Taylor
Celle, October 2024, Franz Müller-Busch
1 North, Roger: The Musicall Grammarian (1728), p. 141v
