Born: October 14, 1857, Reggio nell’Emilia, Italy
Died: May 7, 1924
He was born in Reggio Emilia October 14 In 1857, the fifth of seven children, to Antonio Mattioli, cook, and Josepha Bonaretti.
During childhood Mattioli revealed early interest in the city soundscape, especially church sounds: the voices of the singers, the organs and especially the bells, of which as a child he became an expert performer. While attending public elementary school, he injured a finger with a steel pen, so badly that it had to be amputated.
Despite the mutilation, he began studying the piano at the municipal orphanage, where he was welcomed in 1868, following the death of his mother, then at the civic school of music, performing well, and had his first performance as organist in several churches in the district. Musical composition attracted him, but at first he had no way to learn the basics. In 1878 his father died; but thanks to the aid charity 'Ferrari Bonini,' which allowed him to stay in Bologna, he was finally able to gain a solid grounding in the counterpoint class of A. Busi, in the lyceo musicale. and hone his skills organ building assiduously visiting the workshop of Adriano Verati . Meanwhile, during regular fall in Reggio, followed the jobs that the famous organ builder from Vicenza GB De Lorenzi was doing in the suburban parish of Rivalta and the basilica of S. Prospero, which would become the M. organist. In the summer of 1881, after finishing her studies in Bologna with the achievement (with honors and with honors) of the diploma of composition and aggregation to the local Philharmonic Academy, returned to Reggio, and spend a following fifteen years of feverish activity, divided between teaching, composition and testing organ. Starting in 1882, she was a professor of singing, composition and piano at the civic school of music (which later will be the director); in the years 1886-88 he managed to open a school of organ in the institute for the blind, where he had installed a tool built by Verati. In 1887 he married Lavinia M. Villani, of noble and wealthy family, with whom he had three children: Maria (Reggio Emilia, 1889 - Bergamo, 1964), Evangelina (Reggio Emilia, 1891-93) and Giovanni (Reggio Emilia, 1894 - Ronchi di Pordenone, 1916). Meanwhile M. drew specific attention to the worship and music for organ, supporting the satisfaction guidelines motion ceciliano and obtaining approval not only by the clergy reggiano (consolidated approval in 1885, in 1892 and in 1894, when he was appointed a member of the Diocesan Commission sacred music, then organist of the cathedral finally lay counselor of the synod Manicardi), but also by important figures from the world of music and cultural Italian. Little by little, in fact, his reputation as a teacher, composer and organist had gone beyond the municipal boundaries to achieve eco national and attract a circle of brilliant students, such as Vincenzo Gianferrari, Constant Adolfo Bossi, soprano Celestina Boninsegna and the young I. Pizzetti. Among his works in that period earned him public recognition should be mentioned: Introduction and Fugue for organ, on the theme "Faith in Bach ', proposed by A. Boito for the competition organized by the magazine Sacred Music (1888: second prize); Offertory Requiem for soloists, chorus and orchestra in four voices (1889: first prize awarded by the Royal Academy of Florence); Twelve compositions for organ (1889: first prize conferred by the magazine Sacred Music); Mass for 4 voices with organ (1891: first prize in the international competition organized by the Philharmonic Academy of Bologna); Psalm XCI, for soloists, choir to 4 voices and orchestra (1896: first prize awarded by the Royal Academy of Florence); Solemn Mass for 4 voices with organ (1898: first prize in the competition organized by the Ministry of Education for the Exhibition of Sacred Art in Turin). In 1890 M. was involved in a bitter dispute arose out of some its complaints addressed organbuilder Antonio De Simoni Carrera, exasperated dall'annoso controversy and unresolved national debate on the so-called "reform of the Italian organ." At that juncture the M. proposed a model of the instrument reminiscent of the ancient and glorious Italian tradition, but open to new construction requirements, also transalpine (The reform of the Italian organ. Responding to an old amateur musician, Reggio Emilia 1890). In 1894, at the age of thirty-seven, he returned to the music school of Bologna conseguendovi with honors diploma in organ recognition more than anything formal preparation of a long climb to levels of excellence. Against these merits, and thanks to the verdict of a jury chaired by G. Tebaldini, in December 1895, M. was appointed by the Minister of Education professor of organ at the music conservatory of Parma. In fact he began his lessons in January 1896; but, after a year of service (and after having tested the new organ built by the institute Gaetano Horses), he resigned and moved on call of P. Mascagni in high school musical in Pesaro, where he taught counterpoint, fugue and composition and held the office of Deputy Director. The inertia of music, he said, mortified environment Pesaro led him to seek a seat professionally more tempting. In 1901, in fact, moved to Bergamo, to take two important positions related to each other: the direction of the musical chapel of S. Maria Maggiore and music institute G. Donizetti (which also included the teaching of composition). Dedicated himself enthusiastically to the new task, he managed in the short to reinvigorate the artistic quality of both institutions and, except for a few isolated and barren dispute, earned unanimous praise. Just during the stay Bergamo his creativity knew fruitful inspiration, especially with Patria, "episode in one act opera with symphonic interlude" (presented in the competition Sonzogno 1903 and remodeled in 1910 for the preparation of the Municipal Theatre of Reggio Emilia) , and the oratorio The Immaculate, for soloists, double chorus and large orchestra (in the company of singers stood out tenor Titta Ruffo), performed in Bergamo in December 1904, enthusiastically welcomed by the public, the critics and the congratulations of many colleagues including A. Boito, ME Bossi, A. Franchetti, T. Dubois. In those years the M. did not neglect the old interest in the organ, playing concerts and presenting to the Congress Lombard sacred music, which he organized in Bergamo in 1907, a report on the vexed question of the reform organ. In 1908, at the proposal of Bossi, was appointed professor of composition and organ at the music school of Bologna, which will also become interim director. Here, among other things, drew two fundamental studies on the bell reggiana (Terminology of bell ringers from Reggio, in studies of history, literature and art in honor of Naborre Campanini, Reggio Emilia 1921, pp. 332-337; The temple bells and how to sonarle on various occasions, in the temple of the Blessed Virgin of Ghiara in Reggio Emilia, ibid. 1922, pp. 80-91), as well as two collections for organ intended for liturgical use: the thirty pieces of medium difficulty op . 163 and the Sixteen pieces very easy op. 165, "run on any organ, so that in the old system to the new." He became president of the Philharmonic Academy of Bologna in 1916, was questioned several times by the Superintendency of Monuments Emilia as an expert witness for the restoration of historical instruments (including the organ "Verdi" of the parish church of Roncole of Busseto). M. died in Bologna May 7, 1924. In 1985 the heirs of his daughter Maria donated his musical works to the Musical institute G. Donizetti in Bergamo. (After Sauro Rodolfi)
List of sacred works
- Ave maris stella, SATB, ed. Andrea Caselli
- Ave maris stella, Op. 144. TTB org/harm, Milano : A. Bertarelli,
- Lauda Sion, Milano : A. Bertarelli,
- Messa breve per voci sole : 1907, TB, MS
- Messa facilissima, TB org, Milan: Casa Editrice Leonardo da Vinci,1898
- Milano : Bertarelli, 1920s
- 2da Messa facilissima a 2.° voci senza accompagnamento : Op. 161 MS, 1910.
- Messa in onore di S. Antonio, TTBB org Milano : Musica sacra, 1926
- Tantum ergo, TB org, Milano : A. Bertarelli,
- Tantum ergo, Op. 126. L voice or unis, org, Milano : A. Bertarelli,