In Bologna, then a part of the Papal States, he studied violin with Giuseppe Torelli, a leading figure in the development of the concerto grosso.
Manfredini also took instruction in composition from Giacomo Antonio Perti, maestro di cappella of the Basilica of San Petronio from 1696 when the orchestra was temporarily disbanded.
To quote his Naxos biography, "His groups of Concerti Grossi and Sinfonias show a highly accomplished composer, well versed in the mainstream Italian school of composition".
He became a member of the Accademia Filarmonica in the same year that he published his first compositions, a set of twelve chamber sonatas that he named Concertini per camera, Op.
One indication of the nature of the relationship is that Prince Antoine stood as godfather to Manfredini's son Antonio Francesco; four other children were born to him during his stay in the principality.
[4] Given even this slim evidence, it can be inferred that both parties were satisfied by the arrangement since the composer does not reappear in the historical records until the year 1727, when he had returned to Pistoia as maestro di cappella at St. Phillip's Cathedral, a post he would hold until his death in 1762.