divendres, 4 d’abril del 2025

ZINGARELLI, Niccolò Antonio (1752-1837) - Sinfonia in Mi maggiore (c.1785)

Pietro Antoniani (c.1740-1805) - Naples a view of the Riviera di Chiaia from the Convento di Sant' Antonio with Vesuvius smoking in the distance


Niccolò Antonio Zingarelli (1752-1837) - Sinfonia in Mi maggiore (c.1785)
Performers: Atalanta Fugiens; Vanni Moretto (conductor)

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Italian teacher and composer. Following studies at the Conservatorio di Santa Maria di Loreto under Pasquale Anfossi and Antonio Sacchini, he was appointed as a violin teacher at Torre Annuziata in 1772. In 1781 his opera 'Montezuma' achieved success, allowing him to receive commissions throughout Italy, where he became one of the leading composers of opera. He attempted to achieve the same success in Paris in 1790, writing some works in collaboration with his pupil Isabelle de Charrière, though these all failed and the Revolution forced his return to Italy. In 1793 he was appointed maestro di cappella at the Cathedral of Milan and in 1795 he assumed the same post at Santa Casa in Loreto, Rome. By 1804 he was maestro di cappella at St. Peter’s in Rome, but a conflict with the French occupiers landed him in prison. He was released only at the special intervention of Napoleon. After Giovanni Paisiello’s death in 1816 he was also appointed musical director of Naples Cathedral. Zingarelli was an incredibly prolific composer throughout his entire life, writing in virtually all genres. His works include dozens of masses, eight oratorios, 57 operas, many Mass movements and insertion arias, 15 Requiems, 55 Magnificats, 23 Te Deums, 541 Psalm settings, 21 Stabat maters, and 50 motets, as well as numerous litanies, responsories, and sacred cantatas. He also wrote 20 secular cantatas, three large odes or hymns, 79 symphonies (mostly singlemovement sinfonia da chiesa), eight string quartets, three duos, eight sonatas, 11 pastorals, and 60 other works for organ. He was considered the last great composer of opera seria, and he spent much of his later years composing sacred music when his operas were overshadowed by other Italians such as Giaocchino Rossini and Vincenzo Bellini. His music conforms to the late Italian style of the Classical period and, thus, may have seemed anachronistic. He was renowned as a teacher, numbering Bellini, Mercadante, Carlo Conti, Lauro Rossi, Morlacchi, and Michael Costa among his students.

dimecres, 2 d’abril del 2025

FERRARI, Giacomo Gotifredo (1763-1842) - Duetto pour forte piano et clavecin (c.1795)

Thomas Rowlandson (1757-1827) - The Rivals (1812)


Giacomo Gotifredo Ferrari (1763-1842) - Duetto pour forte piano et clavecin ... œuvre XIII (c.1795)
Performers: Cary McMurran (1918-1992, pianoforte); J.S. Darling (harpsichord)

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Italian composer and theorist. After being orphaned as a child, he spent his early years as an apprentice silk merchant before going to Naples, where he studied under Giovanni Paisiello and Gaetano Latilla. In 1787 he became a court musician at the Tuileries in Paris, and was active as accompanist to the queen, voice teacher to the nobility, and maestro al cembalo at the Theatre de Monsieur. After the French Revolution, he settled in London in 1792 and pursued his career as a composer and voice teacher; among his students was the Prince of Wales. His 'Complainte de la reine de France' the following year is one of the most important pieces of antirevolutionary music written. In England he was a successful composer, theorist, and singing teacher with close ties to George IV. His music, little studied, includes seven operas, two piano concertos, 20 violin sonatas, six Italian ariettas, as well as a number of works for harp, violin, and keyboard. He also published several books, among them, 'Breve tratto di canto italiano' (London, 1818), 'Studio di musica teorica pratica' (London, 1830), and 'Anedotti piacevoli e interessanti occorsi nella vita Giacomo Gotifredo Ferrari da Rovereto' (London, 1830). His son Adolfo Angelico Gotifredo Ferrari (1807-1870), a pupil of Domenico Crivelli, taught singing at the Royal Academy. Adolfo’s wife, Johanna Thomson, and his daughter Sophia Ferrari were also singers.

dilluns, 31 de març del 2025

KÜFFNER, Joseph (1776-1856) - Serenade in C-Dur (1817)

Reinhold Braun (1821-1884) - Bivouac des 2ten württembergischen Reit-Regiments in Frankfurt (1849)


Joseph Küffner (1776-1856) - Serenade (C-Dur) des 'Sérénade pour Flûte ou Violon & Guitarre', Op.44 (1817)
Performers: Dimitri Ashkenazy (clarinet); Jean-Paul Greub (guitar)
Further info: Ottocento

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German teacher and composer. Born as the fifth child of the Franconian musician family Küffner, his father Wilhelm Küffner (1727-1797) was a court musician and composer and his mother Katharina Wassmuth was the daughter of the court conductor Johann Franz Georg Wassmuth in Würzburg. After the early death of his parents, he had to look after himself and his two younger siblings. He earned his living as an auxiliary musician, violinist and guitarist in the prince-bishop's court orchestra and also appeared as a soloist. Self-taught, he learned to play the flute, clarinet, trombone and French horn. In 1798, Prince-Bishop Georg Karl von Fechenbach engaged him with the reform of the Würzburg military music. With the secularization of the Duchy of Würzburg in 1803 and its incorporation into the Kingdom of Bavaria, he temporarily lost his post as court musician. Küffner successfully applied for a position as a music teacher at the Electoral Bavarian Light Infantry Battalion "La Motte" and trained the military musicians. A year later he got the same job with the Electoral Bavarian 12th Line Infantry Regiment "Löwenstein". For both associations he composed two-part military marches in slow and fast pace. By 1825 he had written 36 compositions for military music, including three overtures and 20 potpourris on themes from operas by Daniel-François Esprit Auber, Gioachino Rossini and Carl Maria von Weber, which were popular at the time. This made Küffner the first German arranger for wind orchestras. As early as 1805, the Würzburg chronicler Carl Gottfried Scharold reported: "When the guard is relieved at noon around 12 o'clock, a well-cast band of musicians usually plays some pleasant pieces and delights the audience." The most demanding military music composition is likely to be his "Symphony for Military Music" Opus 165. A gout ailment caused Küffner to terminate his contract as "military music director" with the Bavarian Army in 1825. Küffner was never a soldier and never wore a uniform. In all documents in the Bavarian State Archives he is referred to as a “court and chamber musician”. He was an employee of the army and had no authority. The military superiors of the military musicians were the Regimentstambours until 1811, and from 1811 to 1818 the music masters with the rank of sergeants, whose musical training Küffner also took over. As a member of the royal court orchestra from 1806 to 1814 of Grand Duke Ferdinand III von Toscana composed Küffner mainly for string instruments, but also for wind instruments. He often used the guitar as an accompanying instrument. As a composer, he wrote over than 360 works, 36 of them for military music.

diumenge, 30 de març del 2025

FREISLICH, Johann Balthasar Christian (1687-1764) - Er ist darum für alle gestorben

Jean-Baptiste Jouvenet (1644-1717) - Le Triomphe de la Justice


Johann Balthasar Christian Freislich (1687-1764) - Er ist darum für alle gestorben, Feria 2da Paschat.
Performers: Heike Heilmann (soprano); Ewa Zeuner (alto); Virgil Hartinger (tenor); Marek Rzepka (bass);
Goldberg Baroque Ensemble; Andrzej Mikolaj Szadejko (conductor)

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German organist and composer. Son of a clergy man, he probably received his earliest musical education at the Court of Saxe-Meiningen. In 1714, he was appointed court organist to the Prince of Schwarzburg-Sondershausen in Sondershausen and in 1716, he was promoted to the position of court Kapellmeister. Around 1719 or 1720 he became director of the Hofkapelle in Sondershausen, where he wrote a St Matthew Passion (performed in 1720 at Johanneskirche, Danzig), a cycle of cantatas and a short opera. He was sent to Dresden for a year by his employer, Prince Günther Schwarzburg. He went to Danzig about 1730 and in 1731, on the death of his half-brother Maximilian Dietrich Freisslich (1673-1731), he became Kapellmeister at Marienkirche, Danzig, remaining in that position to the end of his life. As a composer, he played an important role in the city's music life. He wrote several cantatas for festive and solemn family occasions in Danzig as well as other occasional works for anniversaries of historical importance and works in honor of two Polish monarchs, King August II and King August III. After his death, he was succeeded as Kapellmeister at the Marienkirche by his son-in-law Christian Friedrich Morheim (1719-1780), a former pupil of Johann Sebastian Bach.

divendres, 28 de març del 2025

HÄSSLER, Johann Wilhelm (1747-1822) - Grand concert pour le piano-forte

Unknown artist (18th Century) - Moscow


Johann Wilhelm Hässler (1747-1822) - Grand concert (G-Dur) pour le piano-forte avec accompagnement de violons, alt, clarinettes, hautbois, bassons, cors, timbales, violoncelle et contre-basse ... œuvre 50
Performers: Olga Martynova (fortepiano); Pratum Integrum; Pavel Serbin (conductor)
Further info: Concertos G major

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German organist, pianist and composer. Son of a capmaker, he learned and long followed his father's trade. Nephew, and pupil on the pianoforte and organ, of Johann Christian Kittel, who had been a pupil of Johann Sebastian Bach, at the age of fourteen became organist in Erfurt and while leading a wandering apprentice's life gave concerts. After his father's death, in 1769, he maintained for some years a manufactory of fur muffs. A meeting in Hamburg with Carl Philipp Emanuel Bach gave him a fresh impetus toward continuing his musical activities. He gave concerts as a pianist, and published several piano sonatas. On 8 February 1779, he married his pupil Sophie Kiel (1761-1844). In 1780 he opened public winter concerts in Erfurt; his wife appeared there as a singer and choral director. In 1789 he played in Berlin and Potsdam; in Dresden he took part in a contest with Wolfgang Amadeus Mozart, as organist and pianist, without producing much impression either on Mozart himself or on the listeners. In 1790 he went to London, where he performed piano concertos under the direction of Joseph Haydn. In 1792 he went to Russia, where he remained until his death. In Moscow he became greatly renowned as a pianist, as a composer, and particularly as a teacher. Most of his works were published there; these included concertos, sonatas, preludes, variations, fantasies, and also pieces for piano four-hands. His style represents a transition between Bach and Beethoven, without attaining a degree of the imagination or craftsmanship of either. However, his piano pieces in the lighter vein have undeniable charm. His Grande gigue was well known. His daughter Henriette Hässler (c.1790-1849) was a singer, later married to the composer and conductor Carl Eberwein (1786-1868).