dimecres, 30 de març del 2022

FISCHER, Johann Caspar Ferdinand (1656-1746) - Vesperae, seu Psalmi vespertini (1701)

Atelier de Pompeo Batoni - Apollon, la Musique et la Métrique


Johann Caspar Ferdinand Fischer (1656-1746) - Vesperae, seu Psalmi vespertini (1701)
Performers: Rastattеr Hofkapеlle; Jürgеn Ochs (conductor)

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German composer. Fischer came from a family of craftsmen and attended the Piarist grammar school, or at least its final class, at Schlackenwerth in the Egerland, the residence of Duke Julius Franz of Saxe-Lauenburg. He must also have received a good basic musical education there, for the Piarist order performed contemporary music in its schools and churches and expected active participation from its members. He may have been first taught composition by the Kapellmeisters and court musicians Johann Hönel and Augustin Pfleger, and by Georg Bleyer. Since Duke Julius Franz sent gifted musicians to receive further training elsewhere, and had connections with the Dresden court, Fischer may have acquired his high degree of contrapuntal skill from Christoph Bernhard in Dresden. There is no evidence that he ever studied with Lully in Paris. Lully's works were known and performed in Bohemia through printed scores and from Georg Muffat's visit to Prague in 1677. Fischer could have made an intensive study of them during his journeys to Prague and Schloss Raudnitz on the Elbe in the course of his professional duties. In 1689 or earlier Duke Julius Franz appointed Fischer to succeed Pfleger as Kapellmeister in Schlackenwerth; his name appears with that title in financial statements relating to the weddings of the two princesses in 1690. After the partition of the state at the end of 1690 Fischer may have been appointed Hofkapellmeister to Margrave Ludwig Wilhelm of Baden. The margrave had married the heiress of Schlackenwerth, Princess Sibylla Augusta, and made his residence there at the time of the war with France. There is clear evidence of Fischer's position in the titles of his printed works from 1695 onwards. The court moved to Rastatt in 1705, but because of reductions in the personnel during the war years Fischer did not accompany it. It was not until October 1715, after a Piarist foundation had been set up in the city, that he was finally given a post there, which he held until his death. Fischer's link with the Augsburg publishing firm of Lorenz Kroninger and Gottlieb Göbel, which issued his opp.1, 2, 3 and 5, was probably provided by the cathedral organist Johannes Speth, the son of a schoolmaster from Speinshart where there was a Premonstratensian monastery. Speth may have met Fischer through the Premonstratensian monastery of Tepl near Marienbad, bordering on the Schlackenworth estates. He presented Fischer's op.1 to the cathedral chapter of Augsburg in 1694, and his op.3 in 1701, and in a letter he mentioned making corrections to op.3. In 1691 Fischer married Maria Franziska Macasin, daughter of the mayor of Joachimsthal. His young wife's background, and the identity of his children's godparents, show that he was highly regarded in the circles where he moved. After his first wife's early death in 1698 Fischer re-married, probably at the beginning of 1700, and this marriage lasted until 1732. 

dilluns, 28 de març del 2022

CAPUZZI, Giuseppe Antonio (1755-1818) - Concerto per il Violone obligato

Thomas Rowlandson (1756-1827) - An Italian family.


Giuseppe Antonio Capuzzi (1755-1818) - Concerto (in Re maggiore) per il Violone obligato
Performers: Lucio Buccarella (violone); I Musici

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Italian violinist and composer. He studied the violin with Nazari, a pupil of Tartini, and composition with Bertoni. For some years after 1780 he was active in Venice as a performer in theatres and in S Marco. In 1796 he visited London and produced a popular ballet, La villageoise enlevée, which was published the following year. In 1805 he settled in Bergamo, where he was first violinist at S Maria Maggiore, professor of violin at the Istituto Musicale, and leader of the orchestra at Teatro Riccardi. He was highly regarded there both as a teacher and as a performer. All of Capuzzi’s known compositions were written during his Venetian years. With the exception of his London success, the ballets were designed for performance between the acts of operas and were widely known throughout Italy. His concertos and string quartets are conventionally pleasing in melody but suffer from extreme simplicity of texture. The rarity of Classical pieces for double bass has given Capuzzi’s Concerto for violone a small place in the modern repertory. 

diumenge, 27 de març del 2022

PORPORA, Nicola Antonio (1686-1768) - Messa à 4 voci

English school - Portrait of Nicola Antonio Porpora


Nicola Antonio Porpora (1686-1768) - Messa (in Re maggiore) à 4 voci
Performers: Annа Lаura Lοngo (soprano); Giаnluca Belfiοri Doro (contralto); Leonаrdo de Lisi (tenor); Frаncesco Fаcini (bass); Cаpella S.Cecilia della Cattedrale di Luccа; Giаnfrаnco Cοsmi

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Italian composer. Son of a bookseller, Carlo Porpora, and his wife Caterina, he attended the Conservatorio dei Poveri di Gesù Cristo from 29 September 1696. At age 22, he composed his first opera, L’Agrippina (1708), but after that, the presence in Naples of the great Alessandro Scarlatti prevented advancement in the theater. But in 1711, he was employed as maestro di cappella for Prince Philipp Hesse-Darmstadt, then residing as military commander in Naples, and then for the Portuguese ambassador in Rome from June 1713. From 1715 to 1722, he was a teacher at the Conservatorio di San Onofrio. Then Scarlatti left Naples for Rome in 1719, and Porpora responded with a new opera, Faramondo. For the birthdays of Empress Elizabeth in 1720 and 1721, he composed two serenatas, collaborating with the brilliant young librettist Pietro Metastasio for the first time and introducing his brilliant vocal student, Carlo Broschi 'Farinelli' (1705-1782), auspicious occasions for Baroque opera. Porpora and Farinelli then scored two successes with operas in Rome in 1721 and 1722. Porpora tried to expand his reach, producing operas in Munich (1724) and visiting Vienna before settling in Venice, where his operas were featured at the famous Teatro San Giovanni Grisostomo. By this point, Porpora was engaged in competition with the leading opera composers of the continent, first Leonardo Vinci in Venice through 1730 and, thereafter, with Johann Adolf Hasse. In 1733, Porpora received an invitation to compose for the Opera of the Nobility, a company set up in London to rival George Frideric Handel’s Royal Academy. He began with the successful Arianna in Naxo in December 1733 and followed up with three more opere serie and one oratorio, but despite having the finest singers at its disposal, including Farinelli for a time, the new company could not defeat Handel. 

Porpora returned to Venice in summer 1736. He then received a commission from the new theater in Naples, Teatro San Carlo, so he returned to his home city, and by the summer of January 1739, he was maestro di cappella at the Conservatorio di Santa Maria di Loreto. For a while, the commissions continued to arrive, and Porpora continued to tour: to Venice in October 1741 to produce Statira, to London in 1742 for Temistocle. In 1747, he was brought to Dresden to be the singing teacher to the electoral princess of Saxony, who then managed to have him appointed Kapellmeister in 1748, despite the presence of Hasse. But Hasse won in the end; he was promoted to Oberkapellmeister. After receiving a pension, Porpora left for Vienna in 1752. There, he gave singing lessons but became ill. He returned to Naples and to his old job at the Conservatorio di Santa Maria but had to resign in September 1761. His retirement was spent in considerable poverty. Internationally famous as an opera composer and singing teacher, Porpora’s career touched many of the most important opera cities of Europe and crossed the paths of numerous luminaries of the opera world. His oeuvre of instrumental music, 12 sonatas for solo violin, 6 sinfonie, 6 sonatas for two violins and two cellos with continuo, another solo sonata for cello, 2 concertos, 2 harpsichord fugues, and an overture for orchestra is not trivial, but Porpora’s strength and interest was in vocal music: 43 operas, 4 pasticcios, 12 serenatas, 132 secular cantatas, 5 masses, 10 oratorios, 35 psalm settings, 3 Magnificats, 2 Te Deums, 9 solo motets, and 13 Marian antiphons. His influence persisted after his death not so much through his compositions as through his methods of teaching voice. He taught two famous castrati, Farinelli and Caffarelli (1710-1783), and the vocal exercises published by Porpora continued to be used through the 19th century.

divendres, 25 de març del 2022

WANSKI, Jan (1756-1830) - Symfonia D-Dur (c.1790)

Zygmunt Vogel (1764-1826) - Rynek z ratuszem i kosciolem w Kocku


Jan Wański (1756-1830) - Symfonia D-Dur (c.1790)
Performers: Poznań Philharmonic Orchestra; Robert Satanowski (1918-1997, conductor)

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Violinist and composer. Almost nothing is known about his early years. He was professionally active for 30 years, first in Poznań and later in other places in Wielkopolska, such as Sarnowa (near Rawicz), Święciechowa, Wschowa and Gostyń. As a composer, he wrote operas, among them, 'Pasterz nad Wisłą' and 'Kmiotek', sacred music, symphonies and other instrumental and secular works. His works, based on elementary forms and in a Classical style, were enriched by elements of Polish folk music, which are present even in his Latin masses. His brother Roch Wański (?-1808) was a cellist, his son Jan Nepomucen Wański (c.1800-1888) was a violinist and composer and his granddaughter Anna Wański was a pianist and teacher. His nephew was the famous polish composer Karol Kurpiński (1785-1857). 

dimecres, 23 de març del 2022

SPERGER, Johannes Matthias (1750-1812) - Sinfonie concertante à 3 voci

August Neigelsohn (fl. 1799-1807) - Officers of the Prussian Army in the Schloszplatz (1799)


Johannes Matthias Sperger (1750-1812) - Sinfonie concertante à 3 voci (c.1785)
Performers: Klаus Trumpf (double-bass); Andrе Jonеt (flute); Hirofumi Fukаi (viola);
Kusаtsu Festival Orchestra

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German double bass player and composer. He apparently received his earliest musical training from the Feldsberg organist Franz Anton Becker. Several copies in Sperger's hand of theoretical works survive, and contrapuntal exercises in the Schwerin Wissenschaftliche Allgemeinbibliothek testify to his studies under Albrechtsberger in Vienna. He is said to have made his début as a composer there at the age of 18, and a symphony and a double bass concerto of his were performed by the Tonkünstler-Societät in 1778. As one of the leading double bass players of the day, Sperger saw service in several important court musical establishments, first in that of Cardinal von Batthyani at Pressburg (1777-83), then (1783-86) with the Counts von Erdődy at Fidisch, Burgenland. A supposed period in the service of Prince Esterhazy under Haydn is not documented. Following the death of Count Ladislav Erdődy, Sperger returned to Vienna, but apparently without employment, and he had to make a living as a copyist. In the search for a position Sperger undertook several extended journeys (between December 1787 and June 1788 he went to Prague, Berlin, Ludwigslust, Ansbach and Passau, and from March to June 1789 to Parma, Trieste and Bologna). In July 1789 he took up an appointment to the Duke of Mecklenburg at Ludwigslust, where he remained for the rest of his life, though he made several journeys and guest appearances as a player and composer in Lübeck, Berlin, Leipzig and Vienna. An important biographical source is Sperger's Catalog über verschückte Musicalien (D-SWl Mus.3065), containing details of many of his major compositions – many of them sent to members of the nobility from whom he sought employment. Sperger's reputation as a leading double bass player is generously acknowledged by critical writing of the time; his achievements as an executant were generally accorded more significance than his prolific output as a composer. The obituary notice in the Allgemeine musikalische Zeitung (xiv, 1812, col.432) is typical:

"The orchestra loses in him one of its most distinguished members in that he displayed a rare mastery and purpose on his instrument, knowing how to impart character to the performance as a whole. Apart from these distinctions as an outstanding ripienist, Sperger also performed concertos on the double bass, composed by himself, as well as a number of symphonies, all of which, being in an attractive style and imposing no burdens for their performance, should be suitable for amateur concerts."

The Schwerin manuscripts of Sperger's symphonies and parthias often reveal exceptional skill and delight in instrumentation, especially in the extensive use of obbligato and concertante soloists and of groups of wind instruments. In this respect several of the symphonies may be said to belong to the popular sinfonia concertante literature of the period. His concertos for double bass were both innovatory and technically demanding for the soloist. Sperger's authority was felt for several generations after his death, influencing particularly Capuzzi and Dragonetti.

dilluns, 21 de març del 2022

NERUDA, Jan Křtitel Jiří (c.1711-1776) - Concerto (C-Dur) per il fagoto

Marco Ricci (1676-1729) - A capriccio of Roman Ruins (c.1728)


Jan Křtitel Jiří Neruda (c.1711-1776) - Concerto (C-Dur) per il fagoto
Performers: Dusаn Drаpelа (bassoon); Tessаrini Chamber Orchestra; Mіrko Krеbs (conductor)
Further info: The Renewed Premieres

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Bohemian composer, active in Germany. He trained as a violinist and cellist, and was for several years a member of a theatre orchestra in Prague. In 1741 or 1742 he entered the service of Count Rutowski in Dresden, and by 1750 he was a violinist in the court orchestra. He remained in Dresden until his death. Neruda is known to have composed at least 97 works, although many are now lost. In the 18th century copies of his works were disseminated throughout Bohemia, Germany and Sweden; the Breitkopf catalogue advertised 68 works between 1762 and 1771. His music shows clear signs of Italian influence, although in his use of dynamics he was evidently also influenced by the Mannheim School. The melodic style harks back to the Baroque principle of Fortspinnung, though this is modified by the use of regular phrase lengths. The textures are mostly homophonic, often with figured bass. The violin works make great demands on the performer. Neruda was also active as a teacher; two of his sons, Ludwig (Ludvík) and Anton Friedrich (Antonín Bedřich), became accomplished violinists and were members of the Dresden court orchestra. According to Dlabač, Neruda was a brother of Jan Chryzostomus Neruda (1705-1763), who after a short period as a violinist at a Prague theatre entered the Premonstratensian monastery of Strahov in 1726, becoming succentor in 1733 and cantor and choirmaster ten years later.

diumenge, 20 de març del 2022

ZRUNEK, Georgius (1736-1789) - Missa II. pro festis Natalitiis (1766)

Netherlandish School - Rest on the Flight into Egypt


Georgius Zrunek (1736-1789) - Missa II. pro festis Natalitiis (1766)
Performers: Ritornello ensembIe; Vokálny súbor Gregoriana; Mіchael Pospíšіl (conductor)

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Moravian composer. Originally christened Jozef, he joined the Franciscan Order in Uherské Hradište at the age of 18 and adopted the name of Georgius. For the next few years, he completed his noviciate and studied philosophy and theology. Then in 1760, after ordination to priesthood, he was sent to assist the monastery in Kremnica, where they needed an organist and a teacher of novice singers. Here he first met Fr. Edmund Pascha, the preacher, and in 1761 they were both transferred to a monastery in Žilina. During his career, Zrunek worked as a preacher, organist, and teacher of singing and organ playing in many cloisters throughout the province. Meanwhile he also composed numerous works, though mostly anonymously, as was tradition in the Franciscan order. In 1788 he was appointed a guardian of the cloister in Nižná Šebastová but did not last in the position for very long. He got an infectious disease, on 2 March 1789 was removed from the position and on 3 June 1789 died.

divendres, 18 de març del 2022

MICA, Frantisek Adam (1746-1811) - Symfonia (in D) à piu strumenti

Matthaeus Seutter (1678-1756) - Moravia (1740)


František Adam Míča (1746-1811) - Symfonia (in D) à piu strumenti
Performers: Pаrdubice Orchestra; Milοs Fοrmácеk (conductor)

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Moravian composer. He was the nephew of František Antonín Míča (1694-1744). He studied music probably with his father Karel Antonín Míča (1699-1784), a Kammerdiener (valet) and musician of Count Questenberg at Jaroměřice, later a door-keeper and musician to the imperial court at Vienna. After law studies at Vienna (completed 1767), he became a government official there, and later in Styria (c.1786-96) as well as in the Austrian provinces of Poland (from May 1796). He devoted himself to music as an amateur, mostly while in Vienna (to December 1785). He played several instruments, and his compositions enjoyed considerable esteem, notably with W.A. Mozart and Emperor Joseph II. His symphonies (of which the earliest manuscript is dated 1771) and string quartets (manuscripts dated 1786) use the general expressive techniques of the period. They consist of three or four movements, the first two sometimes being reversed (slow–fast); the movements in sonata form usually have two contrasting themes. A manuscript biography of Míča, including a detailed though incomplete list of his works, is in the library of the Gesellschaft der Musikfreunde in Vienna, and was partly published in Veselý (1968).

dimecres, 16 de març del 2022

KRAUS, Joseph Martin (1756-1792) - Aria 'Kom din herdestaff att bara'

Jacob Samuel Beck (1715-1778) - Joseph Martin Kraus (c.1775)

Joseph Martin Kraus (1756-1792) - Aria (B-Dur) 'Kom din herdestaff att bara' (1789)
Performers: Adа Gunnаrs (soprano); Hеrnаn Iturrаldе (bass); Kammerorchester Sttutgаrt; Hеlmut Wοlf (conductor)

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German-Swedish composer. He received his earliest musical education in the central German town of Buchen im Odenwald and during the years 1768-73 was educated in Mannheim, where his teachers included members of the Mannheim Kapelle. He studied at the universities of Mainz (philosophy), Erfurt (law) and, after an interruption due to family troubles, Göttingen (jurisprudence). During this period he published a collection of poems under the title Versuch von Schäfersgedichte (1773) and a drama Tolon (1776), as well as writing a number of sacred works, including the oratorios Die Geburt Jesu and Der Tod Jesu. While in Göttingen he became acquainted with members of the Göttinger Hainbund, a Sturm und Drang literary circle under whose influence he wrote the treatise Etwas von und über Musik fürs Jahr 1777 (1778), which devotes a large section to a thorough critique of Anton Schweitzer’s opera Alceste. In 1778 a Swedish student, Carl Stridsberg, persuaded Kraus to accompany him to Stockholm and try his fortune at the court of Gustavus III. For three years Kraus struggled in poverty to obtain an official position; his Sturm und Drang opera Azire was rejected by the court, although he became known as a conductor at the public concert series. During this period he wrote articles for Stockholms Posten and Dagligt Allehanda. In 1781 he was finally elected to the Swedish Royal Academy of Music; his opera Proserpin then won him the post of assistant kapellmästare at court and at the Royal Opera. A commission to provide the inaugural work for the new theatre in 1782 (Aeneas i Cartago) was undermined at the last minute, and he was sent by Gustavus III on a study journey throughout Europe to observe the latest trends in the theatre. This four-year grand tour took him to Germany, Austria, Italy, France and England. In Vienna he met Haydn, who considered him an original genius on the level of Mozart, Salieri and Gluck, who stated: ‘That man has a great style, the like of which I have found in no one else’. Here he also became a member of the same masonic lodge as Mozart.

In Italy he wrote elaborate descriptions of the theatres in Naples and Rome as he accompanied his patron on a state visit, and his lengthy review of Piccinni’s Didon, which he saw in Paris in 1785, was published (1786). In London he attended the second Handel Commemoration before returning late in 1786 to Stockholm. In 1787 he was appointed chief educational administrator at the Royal Academy of Music, and the following year succeeded Uttini as hovkapellmästare. A popular composer at the public concerts and for the Stockholm theatres, his music included the ballet Fiskarena (1789), the drama with music Soliman II (1789) and a large portion of the pasticcio Äfventyraren (1791) in addition to numerous shorter stage works. He achieved a reputation for the discipline of the Hovkapell and became one of the earliest leaders to conduct almost exclusively with a baton. He also became a close friend of the poet and singer Carl Michael Bellman, with whom, along with other intellectuals, he formed the Diktarkretsen (Poetry Society), a literary and musical circle. He died of tuberculosis shortly after the assassination of his patron Gustavus III at a masked ball. Kraus can be considered the most original and notable composer in Sweden during the Gustavian period. His German education, coupled with his experiences during his grand tour, gave him a cosmopolitan outlook that was absorbed into his music. As early as 1778 he declared himself an ardent admirer of Gluck and Grétry, who served as his models and whose works he knew from memory. His participation in the debate on opera in the Stockholm newspapers Stockholms Posten and Dagligt Allehanda, 1778-82, shows much concern with the fusion of drama and music. He had difficulty, however, in getting his own major operas performed. During the period 1787-92, on the other hand, he was a popular composer whose other music for the stage was highly prized.

dilluns, 14 de març del 2022

KAYSER, Isfrid (1712-1771) - Parthia I

Pierre-Antoine Demachy (1723-1807) - Escalier d’un palais imaginaire (1780)


Isfrid Kayser (1712-1771) - Parthia I
Performers: Jürgеn Essl (orgel)

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German composer. He was the son of the village organist and schoolmaster at Türkheim, who gave him the earliest musical education. He went to school in Munich and in 1732 entered the Premonstratensian monastery of Marchtal. Marchtal was one of a group of Swabian monasteries, mainly Premonstratensian and Benedictine, where music was extensively cultivated in the 18th century. By 1741 he was promoted director of music, a post he held for about ten years. From about 1750 onwards he worked as parish priest in nearby villages. In 1761 he returned to Marchtal, becoming sub-prior in 1763. In his lifetime, he was one of the best-known of the Bavarian church composers. Thanks to him, Marchtal had so high a reputation for music that Marie Antoinette visited it on a journey to France. On a more local level, he had connections in such musical centres as Ulm and Munich. He seems to have taught composers elsewhere by correspondence.

diumenge, 13 de març del 2022

CALDERARA, Giacinto (1729-1803) - Confitebor à 2 voci

Aelbert van der Schoor (c.1603-c.1672) - Musical party before a laid table with a landscape through a doorway beyond


Giacinto Calderara (1729-1803) - Confitebor à 2 voci
Performers: Silviа Alеsinа (soprano); Min Jеong Kim (contralto);
Orchestra Filarmonica di Sаn Sеcondo; Giusеppe Gаi (conductor)

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Italian composer. Almost nothing is known about his early years but he was encouraged to musical career by his family. From 1749 he was choirmaster of the Cathedral of Asti, a post he held until his death. Despite he was mainly focused on sacred music, he also wrote some operas among them 'Ricimer', the most praised with libretto by Francesco Silvani, and premiered 27th December 1755 in Turin under Giovanni Battista Somis direction. Regarding his sacred music, he wrote 145 psalms, 21 masses, several mass settings, motets and other pieces. 

divendres, 11 de març del 2022

BAPTISTA, Francisco Xavier (c.1730-1797) - Sonata para Cravo (c.1770)

Giovanni Maria Cassini (1745-c.1824) - La parte meridionale del Regno di Portogal


Francisco Xavier Baptista (c.1730-1797) - Sonata (em Sol maior) para Cravo (c.1770)
Performers: Mаrcеlo Fаgеrlаndе (cembalo)
Further info: No Museu Imperial

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Portuguese organist and composer. Almost nothing is known about his life and career. He was mainly active as harpsichordist and organist in Lisboa, the city where he published a collection of keyboard works entitled "Dodeci Sonate, Variazione, Minuetti per cembalo" (Lisboa, c.1770). Another collection of 26 anonymous toccatas included in the "Colectânea de peças para tecla do século XVIII" were recently attributed to Francisco Xavier Baptista.

dimecres, 9 de març del 2022

KALLUSCH, Wenzel (1801-1831) - Symfónia č. 1 D dur (1828)

Joseph Schaffer (18th Century) - Ansicht von Pressburg (heute Bratislava), Kupferstich (1787)


Wenzel Kallusch (1801-1831) - Symfónia č. 1 D dur (1828)
Performers: SoIаmеnte Nаturаli; Mаrеk Štryncl
Further info: No available

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Hungarian composer. Almost nothing is known about him. He probably work as a composer in Pressburg (now Bratislava), city where he mostly published his works. Among them, a Variácie pre kontrabas a orchester (1830) and intended to be performed by Josef Sebastiany, a famous double-bass player in Pressburg. He also wrote a Variácie na vlastnú tému pre klarinet a orchester (1830), five overtures (1826-1829) and the most valuable, his four symphonies; Symfónia č. 1 D dur (1828), Symfónia č. 2 F dur (1829), Symfónia č. 3 (n.d.), Symfónia č. 4 C dur (1829). Regarding the first one, it includes an andantino entitled 'Spagniola' with a bolero, maybe the first bolero ever [Pepe Sánchez (1856-1918) is considered the father of boleros with "Tristezas", written in 1883]. The specific motivation for Kaluš's bolero is completely unknown. Even he is a very unknown composer, at least on biographic terms, he was very prolific and somehow well represented in the times he lived.

dilluns, 7 de març del 2022

CASTRUCCI, Pietro (1679-1752) - Concerto Grosso (V), Opera Terza (1738)

William Hogarth (1697-1764) - The Enraged Musician (1741)


Pietro Castrucci (1679-1752) - Concerto Grosso (V), Opera Terza (1738)
Performers: Händеlfеstspiеlorchеster Halle; Antοn Stеck

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Italian violinist and composer. He is believed to have been a pupil of Corelli in Rome, where in 1715 he and his younger brother Prospero (d 1760), also a violinist, came to the notice of Lord Burlington, Handel’s patron. In May they accompanied Burlington to England, remaining in his household until at least 1721. The two brothers spent most of their working lives in London. Pietro’s first public appearance was at a benefit concert on 23 July 1715, the first of many at which he played his own virtuoso compositions, and often also works by Corelli. He led Handel’s opera orchestra for over 20 years, and both he and Prospero are referred to in certain of Handel’s autograph scores. Besides playing the violin, they also performed on a short-lived instrument developed by Pietro akin to the viola d’amore, which, if rightly assumed to have been the ‘English violet’ Leopold Mozart mentioned in his Versuch, had seven principal and 14 sympathetic strings. A pair of obbligato parts inscribed ‘violette marine per gli Signori Castrucci’ occur in the hero’s sleep aria in Handel’s Orlando, a part for one instrument is included in Sosarme, and the same instrument may have been the violetta used in Deborah and Ezio. Hawkins thought Pietro Castrucci ‘an excellent performer on the violin’. His compositions, said Burney, ‘discover him to have been a man of genius, well acquainted with the bow and finger-board of his instrument’. Castrucci’s presence on the English musical scene was fruitful, notwithstanding contemporary allusions to his propensity for displaying the more spectacular aspects of violin technique. Along with Geminiani and Carbonelli, also pupils of Corelli, he continued the influential line of immigrant violin virtuosos. 

As the more renowned of the Castrucci brothers, Pietro must have been the contributor to Walsh & Hare’s publication of Six Sonatas or Solos … for a Flute … Compos’d by Mr Geminiani & Castrucci (c.1720). Of his other compositions, two sets of 12 solo sonatas for violin and continuo and a set of 12 string concertos were published. Hawkins saw great merit in them, while Burney, observing how ‘among many passages of Corelli and Handel, there are several of his own’, stated that Castrucci’s music was considered too mad for his own age. However, theatre records indicate the popularity of his solo performances, and his op.1 sonatas were issued at least three times. He is at his most attractive in the solo sonatas, which, although not melodically memorable, are written with assurance in a late Baroque style employing the advanced violin techniques of the period, in bowing requirements, multiple stops, scordatura, etc. In the closing years of Castrucci’s career, after he had retired from the opera, he fell on hard times. He was living in Dublin from 1750, and in his 72nd year played at his own benefit concert, held at Fishamble Street, 21 February 1751. He died just over a year later, his impoverished state contrasting bitterly with the splendid funeral by which he was honoured (including Handel’s Dead March from Saul). Known for his violent temper, Castrucci was identified by Burney with the unfortunate immortalized in Hogarth’s The Enraged Musician (1741), though John Festing may have a stronger claim. Prospero Castrucci achieved little of his brother’s acclaim. After settling in London he became an ordinary theatre musician: he played at the opera, and led the amateur orchestra that met at the Castle Tavern, Paternoster Row. His only publication, though he seems to have had further aspirations since in the dedication he calls the set questa Primizie della mia Composizione, was a set of six sonatas for violin and continuo (London, 1739).

diumenge, 6 de març del 2022

STARCK, Konrad (c.1715-1787) - Litaniae Lauretanae à 4 voci

Matthaeus Seutter (1678-1757) - Plattegrond van en gezicht op Trier Treveris ad Mosellam, metropolis et sedes archi (..)


Konrad Starck (c.1715-1787) - Litaniae Lauretanae (F-Dur) à 4 voci
Performers: Nina Berten (soprano); Judith Gennrich (alto); Andreas Karasiak (tenor); Michael Haag (bass);
Trierer Konzertchor; Kurpfälziches Kammerorchester; Manfred May (conductor)

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German composer. Son of Valentin Starck, almost nothing is known about his early years. From 1737 to 1761 he was documented as a musician, among others, in the Regiment von Welsch and "compositoris musicus" in Mainz. From May 1764 he served as second Kapellmeister at the Court Orchestra of Trier under Georg Friedrich Cron (1699-1768) but he was promoted to his post in 1765. After the Cron's death, he officially assumed the post of Hofkapellmeister. In 1768 Pietro Pompeo Sales (1729-1797) was assigned to him as "fellow conductor". In 1737 he married the singer Maria Eva Beschel (?-1759), daughter of the schoolmaster Johann Adam Beschel in Alsterweiler. As a composer, he mainly wrote sacred music, among them, a Miserere and several Masses. He is not related with Johann Friedrich Stark (1680-1756).

divendres, 4 de març del 2022

FEYZEAU, Jean-Baptiste (1745-1806) - Sonata (II) oeuvre première (1764)

French school - Portrait d'une famille à un piano, avec une partition de musique, un dessin et un ouvrage (c.1770)


Jean-Baptiste Feyzeau (1745-1806) - Sonata (II) en Fa majeur, oeuvre première (1764)
World Premiere Recording
Performers: Pau NG on Sibelius with samples of 18th Century harpsichord

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French teacher, organist and composer. Son of luthier Jean Feyzeau and Anne Timbaudy, his young life is unknwon. When he published his opus 1 -Pièces de clavecin en sonates (1764)- he presents himself as a disciple of Franz Ignaz Beck (1734-1809). October 20, 1771 he married Marie-Françoise Bordes and a half year later, he was appointed organist of the Saint-André cathedral with a salary of 600 pounds per year. In 1775 he composed his first comic opera, entitled "Lucette". In 1779 with Jacques Matoulet and a certain Magnouac, he founded the "Société des amateurs de musique de Bordeaux". From 1779 to 1785, he worked as a teacher, mainly organ, fortepiano, harpsichord and sometimes timpani. In 1782 he published his second comic opera, entitled "Suzette ou le préjugé vaincu". In 1786 he joined the masonic lodge of "L'amitié". After 1790, his life is unkown but he probably worked as a teacher until his death in 1806. 

dimecres, 2 de març del 2022

VIOTTI, Giovanni Battista (1755-1824) - Piano Concerto in g (1794)

Unknown artist - G.B. Viotti (c.1783)


Giovanni Battista Viotti (1755-1824) - Piano Concerto in g (1794)
Performers: Eugen List (1918-1985, piano); Austrian Tonkuenstler Orchestra; Zlatko Topolski (conductor)

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Italian violinist and composer. Viotti was probably of humble origins (according to Fétis his father was a blacksmith), and his talent was manifest early. In 1766 he was taken to Turin under the protection of Prince Alfonso dal Pozzo della Cisterna, in whose home he lived and was educated. He first studied with Antonio Celoniat, but when Pugnani returned from London in 1770, Viotti became his pupil. Widely travelled and highly regarded as a performer and composer, Pugnani had been a pupil of G.B. Somis and was, through him, the heir of Corelli. He was the only teacher Viotti acknowledged in later life. Viotti entered the orchestra of the royal chapel at Turin on 27 December 1775. For five years he occupied the last desk of the first violins. Early in 1780 he and Pugnani set out on a concert tour, first to Switzerland, then to Dresden and to Berlin, where Viotti’s first publication, the concerto in A now known as no.3, was issued in 1781. Concerts in Warsaw preceded an extended visit to St Petersburg, and late in 1781 they returned to Berlin. Until this time Viotti had been presented as the ‘pupil of the celebrated Pugnani’, but he parted with Pugnani in Berlin and proceeded alone to Paris. After at least one private appearance Viotti made his début at the Concert Spirituel on 17 March 1782. His success was instantaneous, and it established him at once in the front rank of all violinists. After 8 September 1783 he retired abruptly from public concerts, and in January 1784 he entered the service of Marie Antoinette at Versailles. In 1788, having secured the patronage of the Count of Provence, he established a new opera house called the Théâtre de Monsieur. He proved a vigorous and ambitious administrator. His excellent company introduced a number of important works, both Italian and French, including the operas of his friend and associate Cherubini. By mid-1792 the Revolution had made Viotti’s situation untenable, and in July he fled to London. 

He had completed the most successful and influential period of his life; probably half of his published works, including 19 violin concertos, had appeared during the decade in Paris. In London Viotti turned again to performance and made a thoroughly successful début at Salomon’s Hanover Square Concert on 7 February 1793. In 1795 he became musical director of the new Opera Concerts. In the 1794-5 season he served as acting manager of Italian opera at the King’s Theatre and succeeded William Cramer as leader and director of the orchestra at the King’s Theatre in 1797. In February 1798 the British government, suspecting Viotti of Jacobin activity, ordered him to leave the country. There is no evidence that the order was justified, and Viotti protested his innocence in a statement to The Times and in an autobiographical sketch written a few months later. For a year and a half he lived with English friends in Schenfeldt, near Hamburg, where he published a set of duos op.5, conceived ‘some in pain, some in hope’, according to the dedication. He left Germany in July 1799, and by 1801 (probably earlier) he had returned to London. He then retired almost entirely from music and devoted his energies to a wine business which he had entered before his exile. He continued to play and compose for his friends, and his works continued to be published in London and Paris, but he made no effort to re-establish his musical career. The failure of his business in 1818 left Viotti deeply in debt to his English friends. His former patron, the Count of Provence, was now Louis XVIII, and on 1 November 1819, having applied for the position, Viotti was appointed director of the Paris Opéra. But the assassination of the Duke of Berry at the Opéra less than four months later aroused the antipathy of the public and the royal patrons. Viotti struggled with the difficulties for more than a year and in November 1821 he resigned. In 1823 he returned to London to be with his closest friends, Mr and Mrs William Chinnery. He died in their home in Portman Square.