Dusting Off Martini’s Gavotte

This past Monday marked the birthday of Giovanni Battista Martini (1706-1784). The Italian composer and Conventual Franciscan Friar is now a mere footnote in the dusty pages of music history. But within the musical circles of eighteenth century Bologna, Martini was a respected figure. At the age of 19, he was appointed chapel-master of Bologna’s Basilica San Francesco (pictured above). He was a renowned teacher whose students included the young Mozart, J.C Bach, and Christoph Gluck.

Martini’s compositional output includes sacred music (Missa solemnisRequiem) and a host of instrumental works. A transcription of this charmingly tuneful Gavotte from Martini’s Harpsichord Sonata No. 12 opens Book 3 of the Suzuki Violin repertoire. Here is Susanna Piolanti’s recording of the original:


  • Martini: Sonate d’intavolatura per l’organo & il cembalo, Susanna Piolanti iTunes
  • Martini recordings on iTunes

About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

2 thoughts on “Dusting Off Martini’s Gavotte”

  1. That is very familiar to me right now and I really enjoyed it! I am re-learning the violin (without a teacher) after 40+ years away, and am currently working on this Suzuki gavotte. The harpsichord version sounds better, but I’m really enjoying the challenge of getting back into playing.


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