Un portal on escoltar i gaudir de l'art musical dels segles XVI, XVII, XVIII i XIX. Compartir la bellesa de la música és l'objectiu d'aquest espai i fer-ho donant a conèixer obres de compositors molt o poc coneguts és el mètode.
Franciszek Perneckher (1712-1769)
- Vesperae Dominicales (C-Dur) â 9 Stromenti | Canto Alto Tenore
Basso | 2 Violini | 2 Clarini | Con | Organo | Pro Choro Clari Montis C.
Nro. 34
Performers: Anna Krawczyk (soprano); Piotr Olech (alto); Maciej Gocman
(tenor); Mirosław Borczyński (bass);
Polish violinist and composer. While much of his personal life remains
unknown, he was documented as a violinist and Kapellmeister at the
Pauline Monastery at Jasna Góra in between 1759 and 1768. He must have
been a unique musician when compared with other band members, as at 250
złoties his remuneration ranked among the highest in the ensemble’s
history. Although early thematic catalogues, such as the one by Paweł
Podejko, originally attributed six Masses to him, modern musicological
research, including handwriting analysis and RISM database comparisons,
has confirmed that only two can be definitively attributed to
Perneckher: the Missa Nativitatis Domini in A and the Missa Nativitatis
in F. He also left, among others, two collection of Vesperae, two
sonatas, two symphonies, and Offertories. Other works formerly
associated with his name have since been reattributed to contemporary
composers like František Xaver Brixi or remain unidentified due to the
fragmentary state of the surviving sources.
Italian organist and composer. He entered the Conservatorio di S Maria
della Pietà dei Turchini in 1688 as a student of organ, where he studied
with Provenzale and Ursino; after six years he was employed as an
organist. At the beginning of the 18th century he entered the service of
the viceroy and in 1704 became the principal organist of the royal
chapel. He was appointed maestro di cappella there in 1708 but by
December of that year the post was returned to Alessandro Scarlatti and
Mancini became his deputy (in 1718 he obtained a guarantee that he would
succeed Scarlatti). In 1720 he became Director of the Conservatorio di S
Maria di Loreto, and so played an important part in the training of a
new generation of composers. Mancini succeeded Scarlatti in 1725,
remaining in the post until his death. In 1735, however, he suffered a
stroke and remained semi-paralysed until his death two years later.
German composer. The son of Christoph Graupner (1650-1721) and Maria
Hochmuth (1653-1721), he was born into a family of tailors and
clothmakers. He received his earliest musical training from the local
Kantor Michael Mylius (who early detected Graupner’s exceptional
abilities to sing at sight) and the organist Nikolaus Kuster. In 1694 he
followed Kuster to Reichenbach, remaining there under his guidance
until admitted as an alumnus of the Thomasschule in Leipzig, where he
remained from 1696 to 1704. His teachers there included Johann Schelle
and Johann Kuhnau, for whom he also worked as copyist and amanuensis.
His subsequent studies in jurisprudence at the University of Leipzig
were broken off in 1706 through a Swedish military invasion, and he
emigrated to Hamburg. In Leipzig he had already made firm and
artistically stimulating friendships with G.P. Telemann (then director
of the collegium musicum) and Gottfried Grünewald. At Hamburg in 1707 he
succeeded J.C. Schiefferdecker as harpsichordist of the Gänsemarktoper.
Between 1707 and 1709 Graupner composed five operas for this theatre
and possibly collaborated with Reinhard Keiser in the joint composition
of another three. His librettists included Hinrich Hinsch and Barthold
Feind, a jurist-satirist-aesthetician. In 1709, in response to an
invitation from Ernst Ludwig, Landgrave of Hesse-Darmstadt, he accepted
the position of vice-Kapellmeister to W.C. Briegel, whom he succeeded on
the latter’s death in 1712. In 1711 he was married to Sophie Elisabeth
Eckard, who bore him six sons and a daughter; her younger sister was
married to a Lutheran pastor, Johann Conrad Lichtenberg of Neunkirchen
in Odenwald, the author of the texts of most of Graupner’s subsequent
cantatas.
Under Graupner’s direction the Darmstadt Hofkapelle experienced a period
of vigorous expansion. At its peak (1714-18) the Kapelle employed 40
musicians, many of whom, in keeping with practices of the day, were
adept in several different instruments. In these early years of his long
incumbency, Italian operas were performed frequently and he centred his
activities on operatic compositions. Between 1712 and 1721 he also
renewed his early friendship with Telemann, then active in Frankfurt.
After 1719, however, financial pressures enforced a reduction in the
size of the Kapelle and Graupner composed no more operas, concentrating
instead on the cantata, orchestral and instrumental forms. During this
period most of the orchestral personnel were obliged to find subsidiary
employment, often in other court duties, and the relationship between
the Landgrave and his musicians deteriorated. In 1722-23 he successfully
applied (in competition with J.S. Bach) for the Thomaskirche cantorate
in Leipzig, on Telemann’s withdrawal, but when the Landgrave refused
acceptance of his resignation, granting him a significant increase in
salary and other emoluments, he decided to remain in Darmstadt. There
his reputation attracted a number of important composers, including J.F.
Fasch, as his students. Until his activities were restricted by failing
eyesight and eventually blindness in 1754, he remained extraordinarily
prolific, producing 1418 church cantatas, 24 secular cantatas, 113
symphonies, about 50 concertos, 86 overture-suites, 36 sonatas for
instrumental combinations and a substantial body of keyboard music.
German Kapellmeister, violinist and composer. His grandfather Philipp
Haindl (?-c.1681) was a choral director at Ebersberg (near Munich), and
his father Johann Sebastian Haindl (1645-1732) was a choirboy at Munich
Cathedral, a singer in the Damenstift at Hall, and the choral director
at Altötting (1683-1706, and from 1715). Haindl first studied music with
his stepfather, the tenor Wolfgang Stängelmayr, and as a choirboy at
the Altötting collegiate church. He studied the violin at Munich and
went to Innsbruck in 1748. In 1752 Duke Clemens of Bavaria appointed him
first violinist at the Munich court, a post he held until about 1778,
though he stayed much of the time at Innsbruck, where he met Leopold
Mozart. After Duke Clemens's death in 1770 he frequently performed
festival music at monasteries in the Tyrol, where most of his extant
works are held. From 1785 to 1803 he served the Bishop of Passau as a
violinist, personal servant and (according to Gerber) from 1793 as
musical director of the theatre.
Johann Daniel Pucklitz (1705-1774) - Concerto. ex D.# | auf Ostern. (Erstanden ist der heil'ge Christ) | a 2
Chör | C. A. T. B. | Due Oboen | Due Violini | Viola | C. A. T. B. | Due
Clarini e Tympani |
2 Oboes Si: pl: | Taille e Basson | a 4 | Tromboni
Rip: | e | Fondamento
German composer. Almost nothing is known about him. A lifelong resident
of the city of Danzig (now Gdańsk), he was a member of the City Council
Ensemble, which served both the municipal government and St. Mary’s
Church, and he organized public concerts on Młyńska Street. His 62
surviving works, written in the Late Baroque style, include cantatas,
oratorios, and masses. His cantata 'Freue dich, Danzig' was dedicated to
the young harpsichordist Johann Gottlieb Goldberg, a future student of
Johann Sebastian Bach and the work's likely first performer. Pucklitz's
compositions, such as the Christmas cantata 'Denen zu Zion wird ein
Erlöser', are notable for their use of the bombard, an instrument that
remained active in Danzig after it had fallen out of use in the rest of
Europe. His manuscripts are held at the Gdańsk Library of the Polish
Academy of Sciences.
