DURANTE, Francesco (1684-1755) - Concerto Per Cembalo con VV.ni e Basso

Francesco Durante (1684-1755) - Concerto (in Si bemolle maggiore) Per Cembalo con VV.ni e Basso

Performers: Antonеlla Cristiаno (pianoforte); I Solisti Pаrtеnopеi; Ivаno Cаiаzzа (conductor)

Painting: Pompeo Batoni (1708-1787) - Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi (c.1758)

Further info: Francesco Durante (1684-1755) - Missa Pastorale

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Francesco Durante

(Frattamaggiore, Aversa, 31 March 1684 - Naples, 30 September 1755)

Italian composer. He was the seventh of 11 children of Gaetano Durante and Orsola Capasso. His father, a woolcomber, served as sexton and singer at S Maria degli Angeli e S Sossio, Frattamaggiore, where he and his wife had married on 31 October 1674 and where all their children were baptized. His uncle, Don Angelo Durante (c.1650-after 1704), was a priest and musician who in 1690 succeeded Cristoforo Caresana as primo maestro of the Neapolitan Conservatorio di S Onofrio a Capuana, of which he was rector until 1699. Nothing is known of Francesco’s education until after his father’s death on 18 March 1699, when his uncle took over his musical training. Don Angelo left Naples to assist his widowed sister-in-law and her children, and Nicola Sabini assumed his duties at the conservatory; but in 1702 he returned to his post at S Onofrio and Francesco enrolled as a convittore to study with his uncle and the violinist Gaetano Francone. Three years later Francesco left the conservatory, and on 13 June 1705 his first known creative effort, a scherzo drammatico entitled Prodigii della divina misericordia verso I devoti del glorioso S Antonio di Padova, was performed in Naples. Little is known about Durante’s life between then and 1728, when he was appointed primo maestro of the Neapolitan Conservatorio dei Poveri di Gesù Cristo. Choron and Fayolle (1810) stated that he studied with Pasquini and Pitoni in Rome for five years, and although that was later disavowed (by Villarosa and Florimo), circumstantial evidence seems to support them. Girolamo Chiti, in a letter to Padre Martini of 10 September 1746, identified Durante as a ‘scolaro di Pitoni’. Durante could have been in Rome either between 1705 and 1710, which would have allowed studies with Pasquini (who died in 1710), or between 1711 and 1719. The only dated composition by Durante from the first period, his Missa S Ildefonsi of 1709, could have been written for the Spanish church in Rome or Naples. By July 1710 he was in Naples, where he began teaching at the Conservatorio di S Onofrio. 

He remained there for only six months, leaving the institution on 12 January 1711, perhaps to return to Rome or to study there with Pitoni for the first time. He was, however, in Naples on 4 January 1714, when he married Orsola de Laurentis, 12 years his senior, and is certain to have been present in the city at the first performance of his sacred drama La cerva assetata ovvero L’anima nelle fiamme on 18 February 1719. Thereafter, nothing is known of Durante’s whereabouts until 1728. In October 1728 the governors of the Conservatorio dei Poveri di Gesù Cristo appointed Durante, now aged 44, primo maestro replacing the elderly Gaetano Greco: his election attests to his high reputation. After ten years of service, Durante resigned from the conservatory, and in September 1739 he was succeeded by Francesco Feo. The reasons for his resignation are unknown, and there is no information about his activities until 1742, when he was called to the Neapolitan Conservatorio di S Maria di Loreto. This oldest and largest of the four Neapolitan conservatories had been without a primo maestro since October 1741, when Porpora went on leave to Venice and did not return; with the death of Giovanni Veneziano on 13 April 1742 it had lost its secondo maestro. On 25 April 1742 the governors elected Durante primo maestro, at the same time appointing P.A. Gallo to assist him as secondo maestro. Under Durante’s directorship the Loreto conservatory regained stability and quality of education. During his 13 years’ service such later masters as Pasquale Anfossi, Tommaso Traetta, Pietro Guglielmi, Alessandro Speranza, Antonio Sacchini and Fedele Fenaroli received their musical education there. Durante continued to hold his positions at both S Maria di Loreto and S Onofrio, and during the last ten years of his life was venerated as the most distinguished of all Neapolitan teachers. According to tradition Nicolo Piccinni became Durante’s favourite pupil, of whom he is supposed to have said: ‘The others are my pupils, but Nicolo alone is my son’. He was buried in S Lorenzo Maggiore in Naples. 

TRAETTA, Tommaso (1727-1779) - Overtura 'Antigona' (1772)

Tommaso Traetta (1727-1779) - Overtura 'Antigona' (1772)

Performers: Volаntеs Orchestra; Jаkubа Kydlíčkа (conductor)

Drawing: French School (18th Century) - The Abduction of Helen of Troy

Further info: Tommaso Traetta (1727-1779) - Stabat Mater Dolorosa

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Tommaso (Michele Francesco Saverio) Traetta [Trajetta]

(Bitonto, nr Bari, 30 March 1727 - Venice, 6 April 1779)

Italian composer. He was trained between 1740 and 1750 at the Conservatorio di S Maria di Loreto, Naples, where his teachers were Porpora (until 1741) and Durante. His Stabat Mater, probably written around 1750, shows contrapuntal mastery and a penchant for sombre, chromatic choral writing. In accordance with local custom, he presumably proved his talents for the stage by writing comic operas for the smaller Neapolitan theatres before receiving a commission to write Il Farnace for S Carlo in 1751. He continued to write both serious and comic opera throughout his life. In Rome and Naples during the early 1750s he came into contact with the commanding figure of Jommelli. In 1757-58 he had no fewer than five Metastasian operas performed in Rome and northern Italian cities including Venice, which became his base. The crucial phase of Traetta's career began with his appointment in 1758 to the court at Parma, where the intendant Du Tillot proposed to unite some features of French tragédie lyrique with the reigning ideals of Italian aria opera, and to this end had the text of Rameau's Hippolyte et Araicie translated and adapted by the court poet C.I. Frugoni. This solidified his reputation as a reformer, leading to two other significant works, Sofonisba for Mannheim in 1762 and Ifigenie for Vienna the following year. In 1765 he was appointed as director of the Conservatorio dell’Ospedale in Venice, which allowed him to be resident in one of the most active opera-producing centers in Europe. His fame brought him to the attention of Catherine II of Russia, who brought him to St. Petersburg in 1768. There he composed one of his most advanced and successful works, Antigona, in 1772. Traetta left Russia in ill-health during the summer of 1775 and settled again in Venice. He tried his fortunes for a time in London, among other places, with a serious opera, Germondo. Burney related that the great English success of Sacchini at the time prevented Traetta from becoming popular. In 1777 he was briefly in Paris, where he presumably sought new opportunities, just as Mozart would the following year; Il cavaliere errante was given posthumously at the Opéra in 1779. In autumn 1777 he returned to Venice, where his son Filippo (also a composer) was born; his last two completed works were comic operas for the Venetian carnivals of 1778 and 1779. By the latter date he was already suffering from his final illness. He was a celebrated man at his death, and was buried with honours near the Ospedaletto. Traetta’s music is characterized by a depth of emotion and life given to his characters. He has a fluidity with respect to melody, as well as using both ensembles and choruses with good effect. Indeed, his music was regarded as “always beautiful and sometimes sublime.” During his life he wrote 44 operas, as well as an oratorio (Rex Salomon), two Masses, a Stabat mater, a St. John Passion, a Miserere, and a number of smaller motets. He can be regarded as one of the principal composers of Italian opera in the middle of the 18th century.

ANDRE, Johann (1741-1799) - Flötenquartett D-Dur (c.1793)

Johann André (1741-1799) - Flötenquartett D-Dur (c.1793) after Mozart's Violin Sonata K378

 [attributed but probably by his son Johann Anton André (1775-1842)]

Performers: Ensemble Sans Souci Berlin

Painting: Louis Gabriel Moreau (1740-1806) - A village pantomime

Further info: Andre: Flute Quartets After Mozart

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Johann (Jean) André

(Offenbach, 28 March 1741 - Offenbach, 18 June 1799)

German composer and publisher. His peasant grandfather, a Huguenot, fled persecution in Languedoc and settled in 1688 in Frankfurt, where he became a manufacturer of silks. When only ten years old Johann succeeded to the family firm, which was directed during his minority by his mother and an uncle. His early education in music came through a friend who took lessons in Frankfurt; from 1756, while he learnt business management in the family firm, he had lessons in thoroughbass for several months from a transient musician, apparently the only regular instruction he ever received. Around 1758 he went to Mannheim to further his business training. The decisive stimulus to André’s artistic career occurred when he was a volunteer clerk in Frankfurt (1760-61), where, during the French occupation, a French troupe presented the opéras comiques of Philidor for the first time to a German public. The removal of Theobald Marchand’s renowned theatrical troupe to Frankfurt in 1770 made André’s efforts particularly timely. Marchand, apparently drawn by the literary finesse of these translations, seems to have proposed André’s close collaboration with the troupe; in any case André translated more than a dozen French plays and operettas in 1771-72, all of which appeared in Marchand’s repertory. In addition Marchand cultivated German Singspiel, as represented by Georg Benda, Hiller, Neefe and others. André made adept use of the many-sided theatrical experiences and stimuli of these years in the libretto and score of his first work, Der Töpfer (1773), dedicated to Marchand. Goethe wrote at length in appreciation of this work (letter of 23 November 1773 to Johanna Fahlmer): 

"The piece exists for the sake of its music, bears witness to the good, gregarious soul of its creator, and fully meets our theatre’s particular need that actors and audience be able to follow it. Now and then there are good conceits; yet its uniformity would not exist but for the music. This music is composed with understanding of the present capabilities of our theatres. The author has sought to combine correct declamation with light, flowing melody, and no further art is required to sing his ariettas than is demanded by the beloved compositions of Messrs Hiller and Wolf. So as not to leave the ear entirely empty, he has directed all his industry to the accompaniment, which he sought to render as full-voiced and harmonious as is possible without disadvantage to the sung parts. To this end he often used wind instruments, sometimes putting these in unison with the voice parts to make them strong and agreeable, as accomplished for instance by a single flute in the first duet. One cannot reproach him for copying or pilfering. And there is still more to be hoped from him." 

Der Töpfer, first performed on 22 January 1773 in Hanau, was a success; and, as was characteristic of André’s enterprise and practicality, he tried to turn this into a material success too. The artistic and apparent financial success of Der Töpfer determined André’s subsequent career and encouraged him to further undertakings both as a dilettante composer and as a music publisher. André withdrew from the family silk concern in 1774 to found his own ‘Notenfabrique’ and music publishing house. In 1776 he was appointed conductor at Theophil Döbbelin’s theatre in Berlin. There André disclosed his full talent as a composer in a period of extraordinary productivity. André’s mother died in 1784, and his publishing firm was faring poorly under the administration of his uncle J.B. Pfaltz. As the removal of the firm from Offenbach to Berlin was made impossible by J.J. Hummel’s exclusive privilege in that city, André, by then bearing the honorary title of Kapellmeister to Margrave Schwedt, accordingly chose to return to Offenbach, where he immediately took over the direction of his firm. By virtue of its circumspect treatment of authors and many technical improvements the firm flourished considerably, reaching its 1000th item in 1797. André apparently composed little after 1784, his Singspiel Der Bräutigam in der Klemme for the Frankfurt stage (1796) being a solitary late addition to his output. In 1798 he fell ill while on a business journey to Bamberg and he died the next year.

RÖSLER, Gregor (1714-1775) - Missa Solemnis (1749)

Gregor Rösler (1714-1775) - Missa Solemnis A-Dur, Nr.3 (1749)

Performers: Arnt Autenrieth (soprano); Manfred Hohenleitner (alto); Reinhard Salamansberger (tenor); Heinz Haggenmuller (bass) Tölzer Knabenchor; Convivium Musicum München; Gerhard Schmidt-Gaden (conductor)

Painting: Unknown artist (18th Century) - Fresco del Palazzo Medici

Further info: Rott Am Inn

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Gregor (Gregorius) Rösler [Roesler]

(München, c.1714 - München, 1775)

German Augustinian monk, organist and composer. Almost nothing is known about his life despite several of his works are extant and preserved in archives of Germany, Switzerland and Austria. He was active as musician in Bettbrunn, Regensburg, München, Ramsau bei Berchtesgaden and Seemannshausen. He was also subprior in the Seemannshausen monastery. As a composer he wrote, among others, 15 Offertoires Op.1 (1748), Oves octo harmonicae in ovile fraternum receptae seu VIII. Synphoniae a II Op.2 (A, C, D, G, F, Eb, Bb, A), VI Litaniis Lauretanis Op.3 (1749), VI Missae Solemniores, quarum ultima de Requiem a 4 Voc. et 6 Instr. Op.4 (1749). His style is mostly classical and close to the 18th Century Bavarian masters. Even he is currently forgotten, his music was praised and disseminated through the Bavarian monasteries. 

HANSEL, Carl August (1799-c.1867) - Hornkonzert in F-dur, Op.80

Carl August Hänsel (1799-c.1867) - Hornkonzert in F-dur, Op.80

Performers: Isrаеl Philarmonic Orchestra; Meir Rimon (1946-1991, horn/conductor)

Painting: Ernst Immanuel Müller (1844-1915) - Coachman and woman wearing a dirndl

Further info: Horn music

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Carl August Hänsel

(Sayda, 1799 - c.1867)

German composer and cellist. Almost nothing is known about his life and career. From 1836 to 1867 he was cellist at the Saxon court chapel in Dresden where, among others, he was fellow of the hornist Carl Heinrich Hübler. As a composer, he published several works among them a Horn Concerto in F, Op.80 and Quatuors Originaux Für Vier Hörner in F, Op.75.

BERTHEAUME, Isidore (c.1752-1802) - Symphonie concertante pour deux violons (1787)

Isidore Bertheaume (c.1752-1802) - Symphonie concertante pour deux violons, Oeuvre VI (1787) 

Performers: Pierre Doukan (1927-1995, violin); Robert Gendre (violin);

Orchestre de Chambre Louis de Froment; Louis de Froment (1921-1994, conductor)

Drawing: David Wilkie (1785-1841) - A blind man plays the fiddle to a family audience

Further info: Isidore Bertheaume (c.1752-1802) - Symphonie concertante No.2 (1787)

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Isidore (Julien) Bertheaume [Berthéaume, Berthaume]

(Paris, c.1752 - St Petersburg, 19 or 20 March 1802)

French violinist and composer. The nephew and pupil of the violinist Lemière l’aîné, he was a child prodigy whose performances of his own works and those of Gaviniès, Lolli and Felice Giardini caused a sensation at 19 appearances at the Concert Spirituel during the years 1761 and 1765-69; he continued to be a favourite soloist there, appearing on 31 occasions between 1775 and 1790, when the concerts ended. He also studied with Lemière’s teacher Gaviniès. In 1767 he became a member of the Opéra orchestra, and in 1769 published his op.1, dedicated to the Duchess of Villeroy. Bertheaume withdrew from Parisian musical life between 1769 and 1775 – it is not known why or to where – but in the latter year he returned, rejoining the Opéra orchestra (until 1781) and appearing again at the Concert Spirituel as soloist and in the orchestra. He was also leader of the Concert d’Emulation (1786) and Opéra comique (1788), and played at the Société des Enfants d’Apollon (1787-90). From 1789 to 1791 he was conductor and co-director of the Concert Spirituel with Legros. These activities were interrupted by the Revolution, and he fled to Germany in 1791 with his nephew and pupil, Carl Philippe Lafont. There he played at several courts until in 1793 the Duke of Oldenburg and Prince-Bishop of Lübeck appointed him Konzertmeister to the court at Eutin. This post he retained until 1801 when he went by way of Copenhagen and Stockholm to St Petersburg, where he briefly held a position as leader of the imperial orchestra. Bertheaume was a worthy rival of Viotti in Paris. He was an outstanding virtuoso, if not quite of Viotti’s calibre. His compositions are effective, well written for the violin and were regarded favourably by his contemporaries. Following a 1786 performance of one of his simphonies concertantes, a Mercure de France critic reported the audience’s approval of both the composition and its interpretation by its composer and his pupil Jean-Jacques Grasset. The concertos are simple in structure but allow for ample display of the soloist’s virtuosity. The op.2 sonata, written ‘dans le style de Lolly’, and the second sonata of op.4 are notable for their use of scordatura. His students, in addition to Lafont and Grasset included Bartholomeo Bruni and Antoine Lacroix. 

PESCETTI, Giovanni Battista (c.1704-1766) - Sonata per il Cembalo (1739)

Giovanni Battista Pescetti (c.1704-1766) - Sonata (I, E-Dur) per il Cembalo (1739)

Performers: Rolf Basten (cembalo)

Painting: Giovanni Antonio Canal 'Canaletto' (1697-1768) - Het Canal Grande met de Ponte Rialto

Further info: Giovanni Battista Pescetti (c.1704-1766) - Harpsichord & Organ works

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Giovanni Battista Pescetti

(Venice, c.1704 - Venice, 20 March 1766)

Italian composer and harpsichordist. He studied with Antonio Lotti, organist at S Marco, Venice, and opera composer. He became friendly with his fellow student Baldassare Galuppi with whom he collaborated in writing and revising operas. An early mass by Pescetti impressed J.A. Hasse. From 1725 to 1732 he supplied operas to various Venetian theatres. In April 1736 he appeared as a harpsichordist in London where, the following autumn, he replaced Porpora as director of the Opera of the Nobility, the rival company to Handel’s. After its collapse Pescetti remained in London, contributing operas or arias in pasticcios; he also published (1739) a set of keyboard sonatas, which include arrangements of the overture and arias in his opera La conquista del velo d’oro. It is likely that Pescetti left London around 1745, when the rebellion of Prince Charles and the Highland clans made the city inhospitable to Catholic Italians. In 1747 he returned to providing operas in Venice. On 27 August 1752 he applied for the position of second organist at S Marco, and finally obtained the appointment on 16 May 1762. Pescetti’s opera arias are notable for their easily singable lines, simple accompaniments, short, clearly articulated phrases and restricted harmonic vocabulary. He was nevertheless capable of fugal writing, as in his overture to La conquista del velo d’oro, in several of his sonatas and in his church music. Burney faulted him for a lack of fire and of fertility of invention.

DOLAR, Janez Krstnik (1620-1673) - Missa Viennensis (1667)

Janez Krstnik Dolar (1620-1673) - Missa Viennensis a 32 (1667)

Performers: Chorus N'omen; Grazer Choral Schola; Orchestra Barocca di Bologna;

Franz Karl Prassl (conductor)

Painting: Giuseppe Nuvolone (1619-1703) - Santa Cecilia con angeli musicanti

Further info: Janez Krstnik Dolar (1620-1673)

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Janez (Joannes Baptista) Krstnik Dolar [Tollar, Tolar]

(Kamnik, 1620 - Dunaj, 13 February 1673)

Slovenian composer. He studied at the Jesuit college in Ljubljana until 1639, when he was accepted as a novice in Vienna, where he studied philosophy. After 1645 he taught at the Jesuit high school in Ljubljana before continuing his theological studies in Vienna. He was ordained in 1652. From 1656 to 1658 he was musical director at the Jesuit college, Ljubljana, after which he was called to Passau. In 1659 he was listed as a regens chori in Györ, Hungary. In 1661 or 1662 he became director of the Jesuit seminary of St Ignites and Pancraties, Vienna, as well as musical director of the Kirche Am Hof. He held this post until his death. Dolar’s music apparently appeared in two printed editions, Musicalia varia (1665) and Drammata seu Miserere mei Deus (1666), but these have not survived. Transcriptions of his works are mentioned in the musical registers of monasteries in Bohemia and Moravia (Osek, Slaný, Česky Krumlov, Kroměříž), Hungary and Austria (St Paul im Lavanttal, Eisenstadt, Kremsmünster), and in the register of a court chapel in Rudolstadt, Thuringia. The archives of the Prince-Bishop of Olomouc, Karl Lichtenstein-Castelcorn, preserve 13 compositions by Dolar, probably transcribed by Josef Vejvanovski: two masses, five psalms, an antiphon, two sonatas and three ballettos. The archive of the Benedictine abbey in Kremsmünster preserves the monumental Missa Viennensis, transcribed by Theophil Schrenk. The masses, psalms and antiphon are for four to 16 voices with instruments. The sonatas were undoubtedly written for church services, but the ballettos would have been used in seminary and monastery refectories. Dolar’s works all exhibit elements of Italian musical style, popular among Viennese court musicians in the second half of the 17th century.

TURNER, Elizabeth (c.1720-1756) - Lesson I in g (1756)

Elizabeth Turner (c.1720-1756) - Lesson I in g (1756)

Performers: Barbara Harbach (harpsichord)

Painting: Martin Orthner (18th Century) - Trompe l'oeil mit Porträt Collagen und Zeichnungen (c.1780)

Further info: Elizabeth Turner (c.1720-1756)

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Elizabeth Turner

(c.1720 - Islington, 1756)

English singer, composer and harpsichordist. Little is known about her life. Her songs were quite popular in the first half of the eighteenth century, and critics revered her as a first-rate soprano. She was also one of the first known Englishwomen to publish a substantial collection of musical works. More than 400 names appear on the subscription list for her 1750 volume, and 350 for her 1756 collection. Subscribers included musicians such as G.F. Handel, William Boyce, and John Stanley as well as numerous elite patrons. Several of her songs were popular enough to warrant publication in London Magazine and The Lady’s Magazine, the latter of which dubbed her “the ingenious Miss Eliza Turner.” Turner seems to have been more well-known during her career as a performer than as a composer. In addition to collaborating frequently with Boyce in numerous settings, she was also known for her performances of arias from oratorios by Handel, Thomas Arne, and Boyce. Charles Burney reported that Turner was a favorite performer at the Swan, and she also performed at the Castle Tavern, Hickford’s Room, and the Great Room in Dean Street. The London Evening Post reported her death in 1756, noting “Yesterday died at Islington Miss Elizabeth Turner, whose extraordinary Genius and Abilities in Musick, make her justly lamented by all Lovers of Harmony.” As a composer, he has only one publication extant: “A Collection of Songs with Symphonies and a Thorough Bass with Six Lessons for the Harpsichord” (1756). There are 19 Songs, all of which are clearly in the English tradition, and not the more popular Italian style of the time, which are aimed at women playing music in their homes. The Six Lessons for harpsichord do indeed seem to be lessons which explore different techniques as well as being lively and full of character.

TELEMANN, Georg Philipp (1681-1767) - Concerto a 2 Trombe selvatiche

Georg Philipp Telemann (1681-1767) - Concerto a 2 Trombe selvatiche (c.1740)

Performers: Georges Barboteu (1924-2006, horn); Gilbert Coursier (horn);

Chamber Orchestra of Toulouse; Louis Auriacombe (1917-1982, conductor)

Painting: Carel van Falens (1683-1733) (Attr.) - A riding party taking refreshments in a river landscape (c.1710)

Further info: Georg Philipp Telemann (1681-1767) - Overture (Suite) in D

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Georg Philliph Telemann

(Magdeburg, 14 March 1681 - Hamburg, 25 June 1767)

German composer. A few singing lessons and two weeks of organ instruction taken at the age of 10 apparently comprise all of Telemann’s formal education in music. He taught himself composition by transcribing scores, as well as recorder, zither, and violin, which became his principal instrument. By age 12, he had already completed several motets, arias, instrumental works, and one opera, Sigimundus. His mother, alarmed that Georg might forgo a more secure livelihood for music, confiscated his instruments and forbad further study, to no avail: Telemann’s teacher at school, Casper Calvoer of Zellerfeld, encouraged his obvious musical aptitude by introducing him to the relationships of music and mathematics. In 1697, he entered the prestigious Gymnasium Andreanum in Hildesheim and graduated in 1701. In the meantime, he had taught himself thoroughbass composition and the instruments flute, oboe, chalumeau, viola da gamba, violone, and bass trombone. Then, he entered the University of Leipzig to study law. But, according to Telemann’s own account, his roommate chanced upon one of his psalm settings, and after it was performed, the mayor of Leipzig hired Telemann to compose music for the city’s two principal churches, the Thomaskirche and Nikolaikirche. Then he founded the Leipzig Collegium Musicum, with 40 student musicians, and gave public concerts of instrumental music. In 1702, he was appointed music director of the city’s Opernhaus auf dem Brühl. In June 1705, he left Leipzig to become Kapellmeister to Count Erdmann II of Promnitz at Sorau, and began to study intensively the works of Jean Baptiste Lully and André Campra. In December 1708, he became secretary and concertmaster to Duke Johann Wilhelm of Saxe-Eisenach. In 1712, he moved again, to become the director of music in Frankfurt and Kapellmeister for the city’s Barfüßkirche. On 13 October 1709, he married Amalie Louise Juliane Eberlin. They had one daughter together, but his wife died in January 1711. In his autobiography, Telemann confesses a religious awakening at this time. On 28 August 1714, he married Maria Catharina Textor. They had eight sons and a daughter together, and yet the marriage seems to have broken up by 1736, when Maria Catharina left Telemann for a convent in Frankfurt.

On 10 July 1721, the Hanseatic city-state of Hamburg invited Telemann to become the city’s cantor. He accepted and was installed on 17 September. This position demanded all of Telemann’s prodigious productivity. He was responsible for all the music in the city’s five churches. He was required to compose two new cantatas for each Sunday, one to be sung before the Gospel reading and another after, as well as a new passion for Lent, in addition to various occasional works for civic celebrations. He directed the city’s collegium musicum, and these public concerts became so popular that their number had to be doubled from weekly to twice weekly. If all this were not enough activity, in 1722, he became director of the Hamburg Gänsemarkt Opera, where he performed operas by Keiser, Handel, and himself, among others. Some in Hamburg objected to his connection with the opera, and friction increased to the point where, in 1722, Telemann applied for the position of cantor in Leipzig to replace the deceased Johann Kuhnau. He was the Leipzig city council’s first choice, but he declined their offer after Hamburg offered him a higher salary to stay, leaving Leipzig with J. S. Bach as their third choice. He undertook the publishing of 43 collections of his own music and often engraved the plates himself. Some of these, like J. S. Bach’s publications, are conceived as encyclopedic surveys of genres and techniques of his own time. For the Societät der musikalischen Wissenschaften, he wrote a theory of enharmonic and chromatic relationships, the Neues musikalisches System (1752). In the mid-1740s, Telemann seems to have withdrawn into semiretirement. By then, he was, along with Handel, the most famous German musician alive. From October 1737 to May 1738, he had visited Paris. Yet he still provided the required passion for Hamburg every year until his death and, in fact, increased his output of sacred music late in life when new sacred poetry arrived on the scene. Telemann died in his home of “a chest illness” on 25 June 1767. 

GOLDBERG, Johann Gottlieb (1727-1756) - Concerto per il Cembalo

Johann Gottlieb Goldberg (1727-1756) - Concerto (d-moll) per il Cembalo concertato, DürG 16 

 Performers: Eliza Hansen (1909-2001, cembalo); Streicher des Pfalzorchesters Ludwigshafen;

Christoph Stepp (1927-2014, conductor)

Painting: Bernardo Bellotto (1721-1780) - The Marketplace at Pirna

Further info: Johann Gottlieb Goldberg (1727-1756) - Sonata per il cembalo

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Johann Gottlieb (Théophile) Goldberg [Gollberg, Goltberg]

(Danzig [now Gdańsk], bap. 14 March 1727 - Dresden, 13 April 1756)

German keyboard virtuoso and composer. Very little documentary evidence about Goldberg's life has survived, and virtually all the early reports contain some demonstrable errors. He is widely reported to have become a pupil of J.S. Bach after the Russian ambassador to the court of Saxony, Hermann Karl von Keyserlingk (Count from 1741), recognized the boy's talent in Danzig. Goldberg was also claimed as a pupil by W.F. Bach, who was in Dresden throughout Keyserlingk's first period of office in that city (1734-1745). No other report confirms this tutelage, and the extent of Goldberg's study with either Bach and the order in which he studied with them remain subjects for speculation. Forkel's famous story of the commissioning of J.S. Bach's Goldberg Variations (published c.1741 as Clavier-Übung, iv) by Keyserlingk to be played by Goldberg contains several errors of fact and must be doubted. (It has frequently been questioned because of Goldberg's extreme youth: the lack of a dedication in the print is evidence against the commission, though even without a commission Bach could have given Keyserlingk a copy of the print and received a gift in return when he is known to have visited the Keyserlingk home in Dresden.) It is clear that the technical difficulty of the variations would have been well matched by Goldberg's amazing performing skills. The fact that Keyserlingk's only son was studying in Leipzig from 1741 until at least 1743 may have provided the vehicle for Goldberg's visits to Leipzig – visits that are suggested by the nature, style and diplomatic condition of Goldberg's church cantatas, as well as by Forkel's doubtful story. Goldberg seems not to have accompanied Count Keyserlingk from Dresden to Potsdam in 1745 and is next traceable about 1749-1751 at a concert at which Keyserlingk (back in Dresden from 1749), Electress Maria Antonia Walpurgis of Saxony and W.F. Bach (presumably visiting from Halle) were also present, according to W.F. Bach's letter to the electress in 1767. In 1751 Goldberg joined the private musical establishment of Count Heinrich von Brühl, which had been weakened by the departure of both Georg Gebel II and Gottlob Harrer in 1750. 

He remained in Brühl's service until his early death, of consumption. The earliest reports are unanimous in praising Goldberg's keyboard playing, especially his facility in sight-reading at the keyboard. But his compositional skills provoked a small controversy: Forkel suggested in his Bach biography (1802) that Goldberg was ‘a very skilful keyboard player, but with no particular talent for composition’, and J.F. Reichardt reprinted this opinion in his 1805 autobiography, adding: ‘apparently H[err] F[orkel] knows nothing, or only the least significant, of Goldberg's very rare keyboard works’. The statement attributed to Reichardt that Goldberg possessed primarily technical talent, was not really a musical genius and had no special talent for composition, is not in Reichardt's autobiography but only in the very imaginative ‘excerpt’ from it by H.M. Schletterer (J.F. Reichardt, 1865/R, p.69). Reichardt was himself in an excellent position to assess Goldberg’s compositions, as he owned ‘several’ of Goldberg's keyboard concertos and had heard Goldberg's sister play some of her brother's works. The likelihood that J.S. Bach encouraged Goldberg to write church cantatas for Leipzig speaks well for his compositional talent, as does the confusion – going back at least to the Breitkopf catalogues of 1761 and 1762 – over the attribution of the Trio Sonata BWV1037. Goldberg's extant compositions show a musical style varying with genre and hypothetical chronology, from a style very close to J.S. Bach's to one far more galant and accessible to the Dresden audience and, perhaps finally, to an ambitious modern style calculated for Count Brühl's orchestra and possibly influenced by the style of C.P.E. Bach (the concertos). It is not surprising that in approaching the works of this young and facile man it is difficult to find his ‘real’ musical style, although a love for syncopation, for wide-ranging melodies and especially for chromaticism runs through his works.

NEUMANN, Wawrzyniec (fl. 1747-1819) - Vesperae de Apostolis

Wawrzyniec Neumann (fl. 1747-1819) - Vesperae de Apostolis in C

Performers: Katаrzyna Wiwеr (soprano); Agniеszka Monаstеrska (alto); Mаciеj Gοcmаn (tenor); Mаriusz Gοdlеwski (bass); A Capella Lеopolis & Consortium Sеdinum; Pаwеł Osuchοwski (conductor)

Painting: Pietro Antonio Farina (18th Century) - Putten mit Fanfare, Pauke und Kriegsgerät

Further info: Missa In D / Vesperae De Confessore, Vesperae De Apostolis

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Wawrzyniec Neumann [Neümann]

(fl. 1747 - 1819)

Polish organist and composer. Nothing is known about his early life. The first reference was from Jasna Góra where he was documented as organist in 1747. In 1756, he was appointed conductor, a post he held until 1758. Also there he wrote several works, mainly sacred. Among them and the only extant now, a Missa ex C, and two set of Vespers (Vesperae de Apostolis and Vesperae de Confessore). In Jasna Góra he met Marcin Józef Żebrowski, one of the most prominent polish composers of the period. He probably remained active in Jasna Góra until 1819.

KAYSER, Philipp Christoph (1755-1823) - Sonata (Es-Dur) en symphonie

Philipp Christoph Kayser (1755-1823) - Sonata (Es-Dur) en symphonie (c.1784)

Performers: Roy Howat (piano); Oliver Lewis (violin); Dave Lee & Chris Davies (horns)

Drawing: Wilhelm von Kobell (1766-1853) - Fair with dancing peasants

Further info: Philipp Christoph Kayser: Goethe Lieder Chamber Music

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Philipp Christoph Kayser [Kaiser]

(Frankfurt, 10 March 1755 - Oberstrass, nr Zürich, 24 December 1823)

German composer, active in Switzerland. The son of a Frankfurt organist, he moved in 1775 to Zürich, where he established himself as a music teacher. Goethe visited him there in 1775 and again in 1779, when he asked Kayser to compose music for his Singspiel Jery und Bätely. Kayser never set the work, but he visited Goethe in Weimar in 1781 and again from October 1787 until June 1788 in Rome, and Goethe continued in his hopes for Kayser’s collaboration, particularly in the revised versions of Erwin und Elmire and Scherz, List und Rache. Kayser also brought with him to Rome an overture to Egmont, for which (as for Erwin und Elmire) Goethe sought instrumental music to express the emotions of the characters. After hearing Mozart’s Die Entführung aus dem Serail Goethe abandoned his own attempts at Singspiel, and as Kayser’s weaknesses as a composer became apparent, the friendship and collaboration ceased. After returning to Zürich in 1789 Kayser wrote no more music. Kayser’s most significant works are his songs, of which he composed over 100. Of the 19 songs published as Gesänge mit Begleitung des Claviers (1777) five are settings of lyric poems by Goethe, including the sensitive Ein Veilchen auf der Wiese stand and a setting of Ihr verblühet, süsse Rosen in which he successfully adapted a Grétry melody into a da capo aria. Kayser’s setting of a poem by H.L. Wagner inspired Goethe to fit to it the first version of his well-known parody Füllest wieder Busch und Tal. ‘Herr! Ein Mädchen’, from Scherz, List und Rache, was scored for four strings and oboe, perhaps in consequence of Goethe’s advice to him ‘to keep the accompaniment modest … the expert achieves more with two violins, viola and bass than with an entire band of instruments. Use the winds as seasoning and singly: here a flute … there an oboe’. A manuscript of 71 songs (a number of them unpublished) was made at Goethe’s behest at Weimar in 1777-78. 

BACH, Carl Philipp Emanuel (1714-1788) - Sinfonia in C-Dur (1755)

Carl Philipp Emanuel Bach (1714-1788) - Sinfonia in C-Dur (1755), HelB 649 / Wq 174

Performers: Gοttingеr Barockorchеster; Antοnius Adаmskе (conductor)

Painting: Johann Philipp Bach (1752-1846) - Carl Philipp Emanuel Bach

Further info: Carl Philipp Emanuel Bach (1714-1788) - Hebt an, ihr Chöre der Freuden

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Carl Philipp Emanuel Bach

(Weimar, 8 March 1714 - Hamburg, 14 December 1788)

German composer and church musician, the second surviving son of Johann Sebastian Bach and his first wife, Maria Barbara. He was baptized on 10 March 1714, with Telemann as one of his godfathers. In 1717 he moved with the family to Cöthen, where his father had been appointed Kapellmeister. His mother died in 1720, and in spring 1723 the family moved to Leipzig, where Emanuel began attending the Thomasschule as a day-boy on 14 June 1723. J.S. Bach said later that one of his reasons for accepting the post of Kantor at the Thomasschule was that his sons’ intellectual development suggested that they would benefit from a university education. Emanuel Bach received his musical training from his father, who gave him keyboard and organ lessons. From the age of about 15 he took part in his father’s musical performances in church and in the collegium musicum. He appears relatively seldom as a copyist, no doubt because, as an able musician himself, he was usually excused such duties. The one large-scale work of sacred music in Leipzig mainly copied by him is the anonymous St Luke Passion (bwv246), obviously arranged by J.S. Bach to an urgent deadline for Good Friday 1730. On 1 October 1731 Emanuel matriculated at Leipzig University. Following his godfather’s example, he studied law, although he was obviously destined for a musical career. His first compositions were probably written about 1730. They consisted mainly of keyboard pieces and chamber music. Deciding to become a musician, he was recommended to Crown Prince Frederick in Rheinsburg, and upon the crown prince’s crowning as Frederick II of Prussia, he moved to Berlin as a chamber musician, a formal title granted in 1746. As an active member of the Berlin School, he participated in the intimate inner circle of musicians and writers of the period, producing a seminal treatise on keyboard playing, Versuch über die wahre Art das Clavier zu spielen, in 1752. The death of his godfather Georg Philipp Telemann in 1767 offered him the opportunity to seek the appointment as city Kapellmeister in Hamburg (a post that was temporarily occupied by Georg Michael Telemann). 

From 1768 to his death, he was the leading musician in the city, whose friendship with major literary figures such as Friedrich Gottlob Klopstock and Johann Heinrich Voss, his pedagogical efforts at the Johanneum, and the maintaining of his close ties to colleagues in Berlin made him one of the most prominent figures in music of the period. Over the course of his long career, he composed almost 900 works in all genres save opera (and there is an indication that he may have made an abortive attempt at one). One of the main figures in the emerging empfindsamer Stil (Empfindsamkeit) with its emphasis upon emotion and drama in music, he created compositions that were far ahead of his time in terms of harmony and form. For example, the introduction to the oratorio Die Auferstehung und Himmelfahrt Jesu is both monophonic and atonal, while his free fantasies move rapidly from tonal center to tonal center using sometimes harsh dissonance, extreme changes in tempo and dynamics, and effective musical moods, all without metrical regularity. Ludwig van Beethoven lauded him as his spiritual father, and almost all other composers of the period imitated his style. He published works, such as the Klopstock’s Morgengesang, by subscription, having control over much of his own creative output. His compositions include 370 miscellaneous works for keyboard (sonatas, fantasias, etc.), 69 keyboard concertos (plus 20 “sonatinas” for keyboard and orchestra), 11 flute concertos, 19 symphonies, two keyboard quartets, six pieces for Harmoniemusik, 37 sonatas for various instruments (violin, viola da gamba, harp, flute, etc.), 48 trio sonatas, 30 pieces for musical clockwork, 277 songs and secular cantatas, a Magnificat, two Psalms, 22 Passions/Passion cantatas, an oratorio, 13 large-scale choruses, an ode, 14 chorales, four Easter cantatas, 26 pieces for Hamburg celebrations, and nine cantatas. He was the most important composer in Protestant Germany during the second half of the 18th century, and enjoyed unqualified admiration and recognition particularly as a teacher and keyboard composer.

KUCHAR, Jan Křtitel (1751-1829) - Partita per il Organo

Jan Křtitel Kuchař (1751-1829) - Partita (C-Dur) per il Organo

Performers: Eva Bublová (organ)

Painting: Ambros Ivo Vermeersch (1809-1852) - Blick auf die Teynkirche und den Altstädter Ring in Prag

Further info: Jan Křtitel Kuchař (1751-1829)

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Jan Křtitel (Johann Baptist) Kuchař [Kucharsch, Kucharz, Kucharž et al.]

(Choteč, nr Jičín, 5 March 1751 - Prague, 18 February 1829)

Bohemian organist, composer and music teacher. He acquired his basic musical education in Vrchlabí with the cantor and organist A. Tham, and continued learning the organ at the Jesuit colleges at Königgrätz (now Hradec Králové) and Jičín. He completed his musical training with J.N. Seger in Prague, and became the organist of St Jindřich (1772-1790). On 1 September 1790 he was appointed organist of the abbey church at the Premonstratensian Strahov monastery in Prague and held this post under the choirmasters Dlabač (1788-1807) and Strniště (from 1807) until his death. From about 1791 to 1797 he was also maestro di cappella of the Italian Opera in Prague. He was active as a teacher of singing, the piano and composition, and as a performer on the harpsichord, piano, musical glasses and mandolin. As an organist he performed in many public concerts, including the Prague performance of Haydn’s The Creation (1800). His abilities as an organist were highly praised, particularly by J.G. Naumann. Kuchař’s son Joseph, a Premonstratensian at Strahov (under the name Candidus), also played the organ and piano. Kuchař was an important champion of Mozart in Prague (in Don Giovanni the words ‘Si eccelente è il vostro cuoco’ are referring directly to Kuchař (‘cook’ in Czech), who was a member of the Prague opera orchestra at the time of the première). He was the first to arrange vocal scores of Mozart’s operas, starting with Le nozze di Figaro (advertised in June 1787). He also composed recitatives for an Italian version of Die Zauberflöte which was performed at the Nostitzsches Nationaltheater in 1794 and probably also in Dresden and Leipzig performances that year. Despite Kuchař’s contemporary esteem, his extant compositions are not above average quality for the Classical period. Only a few of the organ fantasias and preludes are notable for their hints of early Romanticism.

MATHO, Jean-Baptiste (1663-1743) - Arion (1714)

Jean-Baptiste Matho (1663-1743) - Arion (1714)

Performers: Eric Vіgnаu (tenor); Monique Schοlte (mezzosoprano); Stéphanie d’Oustrаc (mezzosoprano); Pierre Thіrіon-Vаllеt (bass-baritone); Ronаld Aіjtіnk (bass); Il Teatro Musicale; Frédériquе Chаuvеt (conductor)

Painting: Antoine Watteau (1684-1721) - The French Comedy (c.1714)

Further info: Matho - Arion

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Jean-Baptiste Matho [Matau, Mataut, Mathaut, et al.]

(Brittany, 6 March 1663 - Versailles, 16 March 1746)

French composer. His name is first mentioned in the Mercure galant of August 1687. In October 1699 the Mercure mentioned a performance in the royal apartments at Fontainebleau of the opera Coronis, though ‘neither the king nor their British Majesties heard the music which was judged to be most beautiful’. Coronis was performed again three days later on 21 October 1699. According to the Journal du marquis de Dangeau (24 April 1700) the Duke of Burgundy provided Matho, who was teaching him to sing, with a pension. Coronis was revived before the duke on 22 October 1702, and was the only operatic work performed during the court’s entire stay at Fontainebleau. Matho can next be traced to Clagny in 1703. In August that year Philémon et Baucis was put on by Nicolas de Malezieu for the festivities at Châtenay in honour of the Duke and Duchess of Maine. The Mercure printed the entire text along with a laudatory commentary. Matho is also known to have composed a motet for the offertory of the mass for the same occasion. He continued to write musical divertissements for comedies at Chatenay with Le Prince de Catay (1704), La Tarentole (1705) and L’hôte de Lemnos (1707). An article in the Journal du marquis de Dangeau (September 1714) implies that Matho acted as Lalande’s deputy in the royal chapel: ‘When he [Lalande] is unwell and cannot carry out his duties, Matho beats time in his place, and for this reason, and because he is always in attendance at the musiques du roy in the evenings, the king is increasing Matho’s pension’. Le ballet de la jeunesse was performed on 16 February 1718 to celebrate Louis XV’s eighth birthday the previous day. In August 1720 Matho was appointed maître de musique du roi as well as maître de musique des enfants de France. In 1734 he went into semi-retirement and J.-N.-P. Royer was appointed as joint maître de musique des enfants de France. The following year Matho resigned and Royer obtained the reversion of the post.

Matho does, however, seem to have retained his position in the royal chapel until his death. His daughter Andrée Denise was granted a pension of 400 livres in consideration of his work in the king’s service. Contemporaneous accounts of Matho’s works are unanimously positive, sometimes overflowing with praise. The Mercure galant wrote of Tircis et Célimène: ‘Its music is extremely graceful and in good taste, with excellent workmanship and articulation: the singing is moving, the symphony harmonious, and the choruses pleasing and appropriately filled’. The same journal wrote of Philémon et Baucis: ‘all agreed that M Mataut had surpassed himself both in the expression of the words and the excellence of the vocal music, and in the admirable violin airs which alternated with the singing’. The one unhappy event was the failure of Arion, Matho’s only tragédie en musique, but as it came during a period of general crisis at the Opéra it is not of any great significance. It is unfortunate that a large proportion of Matho’s output is lost. Neither his religious works nor his comédies-ballets (an extremely rare genre at this period) have survived. Philémon et Baucis and its airs for violin are lost as is the Ballet de la jeunesse. His few surviving works show that he wrote in the purely French tradition, resisting any Italian influence but paying great attention to dramatic expression and to the quality of his orchestral writing. The tempest in Arion, which unlike other ‘tempests’ of the period is entirely orchestral and without choral passages, is remarkable for the quadrupling of the bass part: bass viol, 1st and 2nd bass violin and bassoon. The orchestral writing thus occupies eight staves, something unique at that time, with subtle doubling and exchanging of melodic patterns between the parts. From Coronis onwards the sophisticated contrapuntal writing of some of Matho’s choruses breaks with the tradition of Lully, and, with its concern for dramatic expression, his chromaticism is very much in advance of its time. 

PIELTAIN, Dieudonné-Pascal (1754-1833) - Quatrième concerto [G] à violons principal

Dieudonné-Pascal Pieltain (1754-1833) - Quatrième concerto [G] à violons principal

Performers: Emmanuel Koch (1930-2005, violin); Les Solistes De Liège; Géry Lemaire (1926-2013, conductor)

Drawing: George Cruikshank (1792-1878) - Portrait of a violinist whose face is formed

by the violin which he plays (1818)

Further info: Belgian Orchestral Music Of The 18th Century

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Dieudonné-Pascal Pieltain

(Liège, bap. 4 March 1754 - Liège, 10 December 1833)

Flemish violinist and composer. He seems to have studied in Liège, and from 1761 to 1763 was a choirboy at the church of St Pierre. He probably remained there until 1765, when he left Liège and went to Italy, no doubt with his friend Henri Hamal. He took lessons from Giornovichi, and probably followed him to Paris: Giornovichi first performed at the Concert Spirituel in 1773, and the Spectacles de Paris for that year mentions, among the four tenor violins of the orchestra, a certain Pieltain resident at the Hôtel de Soubise. From 1778 Pieltain regularly played as a soloist with the Concert Spirituel. He also attracted comment for his brawling lifestyle. On 21 March 1779, Pieltain performed one of his own compositions with the Concert Spirituel. Giornovichi left Paris that year, and Pieltain took his place in the Prince de Guéméné's orchestra. His brother, Jacques-Joseph-Toussaint Pieltain (1757-?), a well-known horn player and a pupil of Punto, joined him there. The two musicians returned to Liège with the prince's orchestra, and gave concerts at Spa with Carl Stamitz in September 1780. In 1782 the brothers went to London; Dieudonné-Pascal gave concerts at Drury Lane Theatre, the Lent Oratorios and the New Rooms, and the following year became leader of the orchestra of the Hanover Square Concerts. He also played violin solos at Vauxhall Gardens from 1783, and in 1785 became leader of the Professional Concert. In 1786 he married Marie Chanu, a soprano who performed at the Pantheon and the Salomon concerts. Pieltain continued his career as a soloist on the Continent while pursuing his activities in London. He was apparently on friendly terms with either Leopold or Wolfgang Amadeus Mozart. The death of Marie Chanu in 1793 caused Pieltain to leave London for good. He played in Germany, Poland and Russia, and seems to have returned to Paris and Liège at regular intervals. It was to Liège that he finally retired, when he turned to teaching and had a number of future violin virtuosos among his pupils, who included Hubert Léonard. Pieltain died in 1833, a wealthy patron of music. Pieltain's own compositions were mostly for his own instrument: 13 of his violin concertos, six sonatas, 12 quartets, six duets and 12 petits airs for violin were engraved. According to Fétis and Vannes, he left some 30 concertos, 167 quartets, six sonatas for violin and cello, and 50 violin studies, all in manuscript, but these are now lost. His works reflect the various contacts he made during his career; his first concertos, for example, are in the direct line of descent from Italian concertos, but his later works reflect the Mannheim style. In his quartets, which show the characteristics of Viennese classicism, Pieltain cultivates a certain melodic elegance without neglecting virtuosity.

GURECKY, Josef Antonín (1709-1769) - Concerto per il Violino (c.1740)

Josef Antonín Gurecký (1709-1769) - Concerto (I, D-Dur) per il Violino (c.1740)

Performers: Adela Stajnochrová (violin); Musica Florеa; Marеk Stryncl (conductor)

Painting: Gaspare Traversi (c.1722-1770) - The Drawing Lesson (c.1750)

Further info: Josef Antonín Gurecký (1709-1769) - Cello concertos (1735)

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Josef Antonín Gurecký [Guretzky, Kuretzky]

(Přerov, bap. 1 March 1709 - Olomouc, bur. 27 March 1769)

Moravian composer. Like his younger brother, Václav Matyáš Gurecký, he apparently studied with the Piarists and played in the orchestra of Cardinal Schrattenbach in Kroměříž. He also played in the orchestra of Schrattenbach's successor Jakob Ernst von Liechtenstein (1738-45). During this time he possibly travelled around Europe, staying perhaps at the court of Count Rudolph Franz Erwein Schönborn in Wiesentheid where some of his music survives. On the death of his brother in 1743 Gurecký took his place as musical director of Olomouc Cathedral, a post he held until his death. Leopold Mozart attended a service in the cathedral in 1767 and found it dull, but this may have been partly due to the absence of trumpets, which had been prohibited in church services since 1754. Gurecký composed mostly church music, of which only eight sacred arias survive. In 1751 he wrote a festival opera for the 600th anniversary of the founding of the Premonstratensian monastery of Hradisko, near Olomouc, an allegorical work entitled Filia Sion; only the printed Latin libretto is extant.