divendres, 20 de desembre del 2024

POKORNY, František Xaver (1729-1794) - Sinfonia in Es-Dur (c.1760)

John Wootton (1682-1764) - Marlborough at the Allied siege of Tournai that preceded Malplaquet (1720)


František Xaver Pokorný (1729-1794) - Sinfonia in Es-Dur à più Stromenti (c.1760) 
deliberately attributed to Georg Matthias Monn (1717-1750) by Baron Theodor von Schacht (1748-1823)
Performers: Vienna Baroque Ensemble; Theodor Guschlbauer (conductor)

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Bohemian composer and violinist. Son of a bureaucrat, he was sent to Regensburg as a youth to study under Joseph Riepel. In 1750 he obtained a post as violinist at the court of Oettingen-Wallerstein, and in 1753 he was given leave to further his studies in Mannheim, where his teachers included Johann Stamitz, Franz Xaver Richter, and Ignaz Holzbauer. Returning to Wallerstein he was also employed at the Thurn und Taxis court in Regensburg, commuting back and forth for several years before being offered a permanent position in the latter city in 1769. He was appointed as court chamber composer, though his relationship with the Kapellmeister, Baron Theodor von Schacht was not smooth, resulting in much of his music being deliberately misattributed to others after (and possibly before) his death in 1794. As a composer, he was one of the most prolific symphonists of the period, noted for his particular use of the orchestra. His works in this genre are mostly four movement, and in his numerous concertos he was able to exploit the technical capabilities of the instrumental solos. His works include at least 145 symphonies (with as many as another 100 still of possible attribution), 65 concertos (including 45 for keyboard), numerous serenades/divertimentos, three quartets, a piano quintet, three string trios, and five trio sonatas. Much of his music remains to be explored, primarily due to von Schacht’s intervention.

dimecres, 18 de desembre del 2024

VALLEDOR Y LA CALLE, Jacinto (1744-1809) - La cantada vida y muerte del general Malbrú (1785)

Louis Laguerre (1663-1721) - The Battle of Tanieres (Malplaquet) (1709)


Jacinto Valledor y la Calle (1744-1809) - La cantada vida y muerte del general Malbrú (1785)
Performers: Raquel Andueza (soprano); Marta Infante (mezzosoprano); Juan Sancho (tenor); Jordi Ricart (baritone);
El Concierto Español; Emilio Moreno (conductor)

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Spanish composer. Born into a family of actors, his mother was the comic actress Águeda de la Calle and his father the actor Juan Ángel Valledor. He probably received music lessons in his childhood. Together with his wife, Gabriela Santos, a talented actress and singer, he performed in various provincial theaters, including Murcia, Cádiz, and Valencia, before settling more permanently in Barcelona. In 1783, he sought a position as a company musician in Madrid, aiming to fill the vacancy left by Manuel Martínez. However, his return to Madrid was delayed until 1785, when he joined Eusebio Ribera's company. During this period, he frequently substituted for the renowned composer of 'Tonadillas' Pau Esteve i Grimau, alongside with the composer Antonio Rosales. He was also considered for positions at the prestigious 'Reales Sitios' theaters. Around the turn of the 19th century, he resumed his role as a company musician in Madrid. Despite his initial success, his fortunes took a dramatic turn. As he aged, he faced severe financial hardship, relying on a meager pension of 10 reales per day. Ultimately, he was reduced to begging on the streets. Valledor's significant contribution to Spanish music lies in his mastery of the tonadilla genre. Alongside with Blas de Laserna and the mentioned Pau Esteve i Grimau, he is considered one of the most influential composers of 'Tonadillas'.

dilluns, 16 de desembre del 2024

RIESE-LIEBMANN, Helene (1795-1869) - Grand Trio (1816)

Eduard Gaertner (1801-1877) - Die Bauakademie (1868)


Helene Riese-Liebmann (1795-1869) - Grand Trio (A-Dur) pour le Pianoforte
avec accompagnement de Violon et Basse (1816)
 Performers: Fine Zimmermann (harpsichord); Jaroslav Sveceny (violin); Wladimir Kissin (cello)

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German pianist and composer. Daughter of the banker Meyer Wulff Riess, she was a child prodigy who began performing in public before the age of 13. She soon received music lessons from Wilhelm Schneider, Franz Lauska and Joseph Augustin Gürrlich. In 1813, she converted to Christianity and married the merchant John Joseph Liebmann. The young couple moved to London in April 1814, where she took lessons from Ferdinand Ries. No further information extant about whether she continued to compose after 1819. The next trace of her life is in Clara Wieck's diary, stating that Liebmann was present at a Hamburg concert of Clara's in 1835. As a composer, her output was mainly secular and instrumental. Among her published works, two sets of songs, several sonatas, variations and miscellaneous piano works, two violin sonatas, two piano trios and one piano quartet. They are mostly dedicated to teachers and family members. Her music showcases a talent for melody and a deep understanding of classical forms. Despite she was a great performer with early success, her public performances were much less frequent after her marriage.

diumenge, 15 de desembre del 2024

DA SILVA GOMES, André (1752-1844) - Missa a 5 vozes

Charles Landseer (1799-1879) - Cidade de São Paulo (1825)


André da Silva Gomes (1752-1844) - Missa a 5 vozes
Performers: Solistas, coro e orquestra sinfônica do Teatro Nacional de Brasília; Cláudio Santοrο (1919-1989, conductor)

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Portuguese composer. Little is known about his early years. It is believed that he may have received lessons from or at least been influenced by David Pérez, a Neapolitan composer of Spanish descent, Master of the Royal Palatine Chapel of Palermo, who lived in Portugal for several years as Master of the Imperial Chapel of Lisbon. Pérez developed significant pedagogical activities in Portugal. An influential composer of opera seria, David Pérez directed all the musical life of José I court until the end of his life, influencing all Portuguese composers of his time. It is unknown whether André da Silva Gomes had already moved to Brazil or if he came specifically to take up the position of Master of Chapel at the cathedral of the city of São Paulo in 1774 under the bishop Frei Manuel da Ressurreição. Among his duties, he was in charge of reorganizing the choir and repertoire of the cathedral to avoid the hybridization of sacred music and operatic music, a practice that the governor of the captaincy of São Paulo, Luís Antônio Botelho de Sousa Mourão, had banned. In addition to the tendency to purify the profane sounds of sacred music (mainly coming from opera or theatrical music), encouraged by the governor of the Captaincy of São Paulo, but probably resulting from the Encyclical Annus qui hunc (1749) of Pope Benedict XIV, André da Silva Gomes found himself, in São Paulo, in an urban environment and a cathedral lacking resources, initially counting, in this church, almost exclusively on the organist Inácio Xavier de Carvalho. Was then he founded a free music school and gathered an orchestra. In 1775 he married to Maria Garcia de Jesus with whom he had no children, but the couple adopted 16 children and provide them, besides the surname, formal and musical education. In 1789, he joined the military career where he conducted the musical corporation. In 1797 he was appointed as a teacher in Latin Grammar. With the coronation of Pedro I of Brazil in São Paulo in 1822, he directed his Te Deum in the cathedral in honor of the future emperor. The same year, when the independence of Brazil was proclaimed he was in charge of the musical solemnities in São Paulo. As a composer, his extant output is over than 130 works, mainly sacred.

divendres, 13 de desembre del 2024

SCHNITZER, Franz Xaver (1740-1785) - Sonata 'Pastorella' per il Organo

Unknown artist (19th Century) - Ottobeuren von Osten anzusehen (1824)


Franz Xaver Schnitzer (1740-1785) - Sonata 'Pastorella' (VI, G-Dur) per il Organo aus 'SEI SONATE | per il Cembalo ed Organo ... L'Autore P. Francesco Schnizer Capitolare dell'istesso Monastero | OPERA I.' (1773)
Performers: Pierre Pfіstеr (organ)

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German organist and composer. He entered the monastery of Ottobeuren in 1760 and studied music under Placidus Christadler and Benedikt Kraus. In 1766, he had the honor of performing on Karl Joseph Riepp's newly constructed organ during the consecration of the monastery's Dreifaltigkeitskirche, marking a significant moment in both his career and the abbey's musical history. From 1769 onward, he assumed the roles of regens chori, organist, and music teacher, further solidifying his position as a central figure in the abbey's musical life. As a composer, his output primarily consisted of sacred music composed in the prevailing Italian style of his time. His compositions are preserved in various libraries and archives, including those in Vienna, Freiburg, Munich and Ottobeuren. Additionally, he wrote at least 17 school dramas, now lost, which were performed at Ottobeuren and in Freising in 1776. He also published a set of 'Sei sonate per il Cembalo ed Organo' (1773) and his 'Cantus ottoburani monasterii' (1784), offers a glimpse into the rich choral tradition of the Ottobeuren monastery.