MARCELLO, Benedetto (1686-1739) - Concerto á 5 (c.1716)

Benedetto Marcello (1686-1739) - Concerto (Re maggiore). | co V.|n|o conc: VV.|n|i Viola e Basso. | 5 St.[immen] (c.1716)

Performers: Carrol Glenn (1918-1983, violin); Austrian Tonkuenstler Orchestra; Lee Schaenen (1925-1993, conductor)

Painting: Maximilian Blommaert (18th Century) - A Musical Company

Further info: Benedetto Marcello (1686-1739) - Requiem "cantato secondo l'usanza Venetiana"

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Benedetto (Giacomo) Marcello [Marcelli, Mercello, Driante Sacro]

(Venice, 31 July 1686 - Brescia, 24 July 1739)

Italian composer and writer. Scion of one of the lesser aristocratic families of Venice, he was admitted to the Maggior Consiglio (Great Council) of the Most Serene Republic on 4 December 1706 and, thereafter, fulfilled the political duties expected of a Venetian noble, serving in various magistracies, as governor of Pola in Istria (1730-1733), and ending his life as financial chamberlain (from 1738) in Brescia (then part of the Republic of Venice). At the same time, he carried out a remarkable career as a composer, music teacher, and critic. In 1728 he married the commoner Rosanna Scalfi, his singing pupil. As a composer, his most influential efforts were, unusual for the time, in sacred music. His 50 Psalms of David, in eight volumes beginning in 1724, were an attempt to cleanse sacred music of operatic impurities. They have been translated into many languages and continued to be sung in liturgies well into the 19th century. He also composed four oratorios and nine masses, one of which secured his admission to the Accademia Filarmonica of Bologna in 1711. His main achievements in secular music were: 380 solo cantatas, 81 duets, and 7 trios, many composed on his own texts. His instrumental output include: 12 concerti grossi, 5 other concertos, 7 sinfonie, 12 harpsichord sonatas, some 3 dozen other movements for keyboard, and 28 solo sonatas, a number of them for cello still often performed. His most popular creation during his own lifetime was his satire of the business of Italian opera 'Il Teatro alla Moda', published anonymously in 1720.

ROMANO, Antonio Piacentino (18th Century) - Concerto à Flauto Traverso

Antonio Piacentino Romano (18th Century) - Concerto (Sol maggiore) | à | Flauto Traverso | Violino 1|m|o | Violino 2|d|o | Viola | è | Basso.

Performers: James Galway (flute); I Solisti Veneti; Claudio Scimone (1934-2018, conductor)

Painting: Bernhard Keil (1624-1687) - Concerto Campestre

Further info: Italian Flute Concertos

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Antonio Piacentino Romano

(Italy, 18th Century)

Italian composer. Nothing is known about his life and career. The name of Romano Antonio Piacentino (even the order of his three names is unknown) is only preserved on the unpublished scores of his works: 'Trio per il Traverso', 'Concerto à Flauto Traverso, Violino 1mo, Violino 2do, Viola è Basso', '4 Solfeggios' and 'Ciacona, ò [9] Variationi. Andantino e amabile'. Through his music style we can guess he surely was active during the 18th Century.

DANKOWSKI, Wojciech (c.1760-c.1836) - Missa E Minor a Voce 9

Wojciech Dankowski (c.1760-c.1836) - Missa E Minor a Voce 9. | Canto Alto Tenore Basso | Violino Primo et Secundo | Cornu Primo et Secundo | et Organo

Performers: Anna Zаwisza (soprano); Zygmunt Mаgiеra (tenor); Jan Mędrаla (countertenor); Volodymyr Andrushchаk (bass); Polish Orchestra of the 18th Century; Tomasz Ślusаrczyk (conductor)

Painting: Napoleon Orda (1807-1883) - Katedra i zabudowania pojezuickie przy Wysokim Rynku

Further info: Wojciech Dankowski (c.1760-c.1836) - Vesperae in D

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Wojciech Adalbert (Adalbertus) Dankowski (Danek)

(Wielkopolska?, c.1760 - c.1836)

Polish composer and violinist. He was associated with the Cistercian monastery in Obra Wielkopolska, where he probably received his musical training and where he was active, from 1779, as a musician. From 1787 to 1790 he took over the posts of conductor and kapellmeister at Gnieźno Cathedral. Josef Elsner stated, unconfirmed by other sources, that by 1792 he was a viola player at the German theatre in Lemberg (Lviv). He also worked in Poznań, probably in the early nineteenth century, where a considerable amount of his works have been preserved in the church of Mary Magdalene. Some early Dankowski manuscripts from Obra Wielkopolska, copied by M. Bocheński from Grodzisk Wielkopolski are signed by his abbreviated name 'Danek'. He was a very prolific composer and his extant output include two symphonies, 39 masses, three requiems, 27 vespers and many motets and other sacred pieces. His works are in the early Classical style; his vocal works show a marked influence of the Neapolitan school. His music, mostly homophonic, is characterized by Polish dance elements, and he sometimes made use of traditional instruments. Dankowski’s compositions were known not only in the Wielkopolska region, but also in Vilnius, Kremenets, Krakow et al.

ONSLOW, George (1784-1853) - Ouverture 'Le Colporteur' (1827)

George Onslow (1784-1853) - Ouverture 'Le Colporteur, ou L’enfant du bûcheron' (1827)

Performers: Le Cercle de l'Harmonie; Jérémie Rhorer (conductor)

Painting: Unknown (19th Century) - The Magnificent Coronation of Emperor Alexander II

and Empress Maria Aleksandrovna (1856)

Further info: George Onslow (1784-1853) - Symphony No.3 (1834)

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(André) George (Louis) Onslow

(Clermont-Ferrand, 27 July 1784 - Clermont-Ferrand, 3 October 1853)

French composer of English descent. He was the grandson of the first Lord Onslow. He studied in London with Nicolas-Joseph Hüllmandel, Jan Ladislav Dussek, and Johann Baptist Cramer and in Paris with Anton Reicha. A gifted amateur, he wrote his first works before 1807. He married Delphine de Fontanges in July 1808. He based himself near Clermont-Ferrand, initially at his father's Château de Chalendrat at Mirefleurs, later at Château de Bellerives at Perignat, La Roche-Noire. He typically visited Paris during the concert season, when his works were often performed by musicians including the violinists Pierre Baillot and Théophile Tilmant, and the brothers Dancla, who gave quartet concerts. From 1824 to 1837 he wrote his three comic operas, L'Alcalde de la Vega (1824), Le colporteur, ou L'enfant du bucheron (1827), and Guise, ou Les etats de Blois (1837) but they never achieved the success he was expecting for. However, he was highly praised by his chamber music in which he demonstrated an uncommon mastery of counterpoint. During the summer of 1829 he had a near-fatal accident when out hunting. While convalescing, he composed the last three movements of a quintet he had begun before the accident. This quintet, op.38, known as ‘De la balle’, remained the composer's mascot. In 1830 he became the second honorary member of the London Philharmonic Society. In 1834 he was elected president of the Athénée Musical. He succeeded Cherubini at the Académie des Beaux-Arts in 1842, and his career became established in these years. In 1852 he was affected by rheumatic pains and failing sight in the left eye, and gave up composing for ever. Despite he was mainly active in France, his work was particularly successful in Germany and Austria throughout the first half of the 19th century, as the many editions of his works show. Kistner and Breitkopf & Härtel, in particular, competed for the privilege of publishing Onslow in the German-speaking countries.

ADAM, Adolphe-Charles (1803-1856) - Le farfadet (1852)

Adolphe-Charles Adam (1803-1856) - Le farfadet (1852)

Performers: Janine Capderou (1932-1993, mezzosoprano); Lina Dachary (1922-1999, soprano);

Joseph Peyron (1912-1976, tenor); Bernard Plantey (1925-1998, baritone); Bernard Demigny (baritone);

Orcheste Lyrique de L'ORTF; Robert Benedetti (conductor)

Drawing: Christiaan Andriessen (1775-1846) - Exuditio Musica, Air chanté par madame Colin

Further info: Adam: Le Chalet / Le Farfadet

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Adolphe (Adolf, Adolph) Charles Adam [Adan]

(Paris, 24 July 1803 - Paris, 3 May 1856)

French composer. His father Jean Louis Adam (1758-1848) was a pianist, composer and teacher. Adolphe Adam was not encouraged by his father to become a musician but, influenced by his friendship with Ferdinand Hérold, he decided at an early age that he wished to compose, and specifically, theatre music. He first studied the piano with Henry Lemoine, and at 17 entered the Conservatoire, where he studied the organ with François Benoist, counterpoint with Anton Reicha and composition with François-Adrien Boieldieu, the chief architect of his musical development. In 1825 he won a 2nd prize in the Prix de Rome with his cantata 'Ariane a Naxos'. His first successful stage score was the opera-comique 'Pierre et Catherine' (1829). He achieved his first great success with his opera-comique 'Le chalet' (1834). It was followed by the even more successful opera-comique 'Le postillon de Lonjumeau' (1836). His most celebrated score, the ballet 'Giselle, ou Les Wilis' (1841), has remained a repertory staple for over 150 years. In 1844 he was made a member of the Institut de France. He founded the Opera-National in Paris in 1847, which was forced to close as a result of the revolutionary events of 1848. He was left bankrupt and was forced to take up music journalism to eke out a living. In 1849 he obtained the post of professor of composition at the Paris Conservatoire which he held until his death. The opera comique 'Si j'etais roi' (1852) proved one of his finest late works. His operetta 'Les pantins de Violette' was premiered at the Paris Bouffes-Parisiens on 29 April 1856, just 4 days before his death. As a composer, he was mainly praised by his over than 80 stage works but he also left several cantates and masses, more than 65 songs, and over 200 light works such as potpourris and fantasias on operatic airs or melodies.

RAGUE, Louis-Charles (1744-c.1793) - Sonate pour la harpe avec accompagnement (1792)

Louis-Charles Ragué (1744-c.1793) - Sonate pour la harpe avec accompagnement de Violon, Oeuvre XVIII (1792)

Performers: Trio Dаuphine

Drawing: David Teniers (1610-1690) - Four monkeys dressed as musicians giving a concert

Further info: Hommage a la Dauphine

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Louis-Charles Ragué

(1744 - Moulins, c.1793)

French composer and harp teacher. He received lessons of music when he was singing in the choirs of Saint-Aubin in Namur. He later deepened his study of the harp with his father, an organist in Dinant. From 1762 to 1771, he settled in Rome where he studied with Antonio Sacchini. In his return to Namur, he entered the service of the Bishop François-Marie de Lobkowitz with whom he accompanied, from 1776 to 1777, to the court of Frederick II of Prussia. In 1783, he published his first works in Brussels and then he settled in Paris. Was then when he achieved great success at the Concert Spirituel, mainly by his symphonies in three movements, strongly influenced by the Mannheim school. According to Fétis, Ragué retired to the environs of Moulins in 1792. After 1793, his trace was definitely lost. As a composer, despite his career was short on composing terms (1783-1792), his output was extensive and largely dedicated to the harp, an instrument very fashionable at his time. In that sense, he wrote 20 works or groups of works bearing opus numbers. He also left three operas, the oratorio 'Fin de la captivité de Babylone' (1784), three symphonies and two concertos.

KLEESATEL, Remigius (1717-1783) - Illuminare Jerusalem (1747)

Remigius Kleesatel (1717-1783) - Illuminare Jerusalem aus XXIV. | OFFERTORIA | SOLENNIA | IN | FESTIS DOMINI, | B. VIRGINIS | ET QUO- | RUMVIS SANCTORUM, | DECANTANDA ... Opus I (1747)

Performers: Dorothea Rieger (soprano); Freiburger Domsingknaben; Philarmonic Orchestra Freiburg;

Raimung Hug (conductor)

Painting: Franz Rosenstingl (1702-1785) - Stift Melk (1750)

Further info: Festliche Musik Aus Sudwestdeutschen Benediktinerklostern

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Remigius (Franciscus) Kleesatel [Klesatel, Klesatl]

(Böhmenkirch, 1717 - Oberried, 22 July 1783)

German priest, writer and composer. Almost nothing is known about his life. He was initially documented as priest at St. Blasien abbey, where he also took over the post of teacher and, from 1757, archivist. In 1768 he moved to Sion and later to Oberried. As a writer, he was mainly known by his poems. As a composer, he only left the collection XXIV Offertoria Solennia (1747) written in collaboration with the composer Martin Gerbert. The collection includes 24 offertories, the first dozen of them were written by Remigius Kleesatel.

AUENBRUGGER, Marianne (1759-1782) - Sonata per il clavicembalo (c.1781)

Marianne Auenbrugger (1759-1782) - Sonata per il clavicembalo (c.1781)

Performers: Barbara Bаіrd (harpsichord)

Painting: Adele Romany (1769-1846) - A young person hesitating to play the piano in front of her family

Further info: Marianne Auenbrugger (1759-1782)

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Marianne (Marianna) Auenbrugger [Auenbrucker, Auenbrugg, Auenbrügger]

(Vienna, 19 July 1759 - Vienna, 25 August 1782)

Austrian singer, harpsichordist and composer. She was born to physician Leopold Auenbrugger (1722-1809) and his wife Anna. Her childhood was far from easy. Frail and in poor health, the young girl was nevertheless enthusiastic in her studies. Together with her sister Katharina Franziska Auenbrugger (1755-1825), she was a student of Joseph Haydn and Antonio Salieri. In 1780 Haydn dedicated the cycle of six piano sonatas, Opus 30, to the two sisters (Hob. XVI: 35-39 and 20). Leopold Mozart and Haydn praised her and her sister for extraordinary musicianship. She was highly regarded as a pianist and composer in Vienna. Her father, Leopold, counted Haydn and Leopold Mozart among his friends and held regular musical soirees at his home with Antonio Salieri, a regular attendee and family friend. In fact, Leopold Auenbrugger would later serve as best man to Salieri. Marianne and her sister regularly performed as pianists at these events and Salieri took her into his tutelage, deeply impressed by her talent as a composer and musician. Sadly, her early promise was cut short and she died at age 23, a victim of consumption (tuberculosis). Following her death in 1782, Salieri paid to have her Keyboard Sonata in E-flat published alongside his own funeral ode, dedicated to her memory.

GRAF, Christian Ernst (1723-1804) - Sinfonia in D-Dur (1776)

Christian Ernst Graf (1723-1804) - Sinfonia (I, D-Dur) à deux violons, taille, basse, deux hautbois ou flûtes

et 2. cors de chasse, œuvre XIV (1776)

Performers: L'Arpa festante; Christoph Hesse (conductor)

Painting: Paulus Constantijn la Fargue (1729-1782) - The Grote Markt at The Hague

Further info: Christian Ernst Graf (1723-1804) - Sinfonia in C-Dur (1776)

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Christian Ernst Friedrich Graf [Graaf]

(Rudolstadt, 30 June 1723 - The Hague, 17 July 1804)

Dutch-German composer and organist, brother of Friedrich Hartmann Graf (1727-1795). Son of the Kapellmeister to the court of the Count of Schwarzburg- Rudolstadt, Johann Graf (1684-1750), he was trained by his father as a violinist and keyboardist, later joining the court orchestra as the former. In 1748 he left for the Netherlands to seek his fortune, finding employment as the director of the collegium musicum in the city of Middelburg in 1750. He elevated the quality of the performances to such an extent that he came to the attention of the Dutch court. During this period he also published his first work, the Sei Sinfonie Op. 1. In 1754 he moved to The Hague, where he was employed by Princess Anna of Hannover, later becoming Kapellmeister to William V. In 1782 he published his treatise Proeve over de Natuur der Harmonie, and in 1790 he retired. Charles Burney noted that he was an educated man who was cheerful and had a gift for teaching. As a composer, he wrote 62 symphonies, 30 string quartets, 19 trio sonatas, 18 flute quintets, 12 flute quartets, six piano sonatas, six violin sonatas, a host of smaller chamber pieces, two oratorios, and around 35 Lieder. His style incorporates Italianate mannerism common to the Mannheim composers, although his late works, particularly his oratorio from 1802 Der Tod Jesu is more akin to Joseph Haydn’s late oratorios in his large-scale setting and unusually dramatic musical language. His Grande Symphonie Hollandaise is a large-scale work that incorporates a chorus, more an oratorio than a symphony.

MUTHEL, Johann Gottfried (1728-1788) - Concerto per il cembalo

Johann Gottfried Müthel (1728-1788) - Concerto (B-Dur) per il cembalo, IJM 6

Performers: Björn Gäfvert (harpsichord); Drottningholm Baroque Ensemble; Nils Erik Sparf (conductor)

Painting: Johann Heinrich Tischbein (1722-1789) - Family Timmermann (1758)

Further info: Johann Gottfried Müthel (1728-1788) - Concerto (Es-Dur) di Joh: Gottfr: Müthel

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Johann (Jean) Gottfried (Godfried, Godefroy) Müthel [Muethel]

(Mölln, 17 January 1728 - Bienenhof, nr Riga, 14 July 1788)

German composer. Son of Christian Caspar Müthel (1696-1764), organist at the Nikolaikirche in Mölln, he received his earliest musical instruction from his father. Later, when he was in Lübeck, he studied under Johann Paul Kunzen. In 1747 he was appointed court organist of Mecklenburg-Schwerin under Duke Christian Ludwig II. In 1750 he was given a year’s leave of absence to further his studies and he traveled to Leipzig to meet Johann Sebastian Bach, and remained with him for a few days before Bach's death. He then studied with Bach’s son-in-law Johann Christoph Altnikol in Naumburg and Johann Adolph Hasse in nearby Dresden. Toward the end of the year he found himself in Berlin, where he formed a fast friendship with Carl Philipp Emanuel Bach, who also gave him some lessons. After returning to Schwerin, he moved to Riga, then under Russian rule, with Duke Christian’s brother, Otto Hermann von Vietinghof, where he remained the rest of his life. His only other position came in 1767 when he was appointed as organist at the St. Peter’s Church there. As a performer, he had some peculiar quirks, with it being said that he refused to perform other than in winter so that the sounds of the horses on the cobbles outside would not distract him. Among his extant works are 10 harpsichord concertos, a Concerto for 2 Bassoons and Strings, sonatas for Harpsichord, and organ music. Charles Burney wrote of him: ‘The style of this composer more resembles that of Emanuel Bach, than any other. But the passages are entirely his own, and reflect as much honour upon his head as his hand’.

GANSBACHER, Johann Baptist (1778-1844) - Requiem in Es (1811)

Johann Baptist Gänsbacher (1778-1844) - Requiem in Es Nro. I (1811)

Performers: Maria ErIachеr (soprano); Monika Duringеr (alt); Johannеs PuchIеitnеr (tenor); RaIf Ernst (bass);

Chor und Orchester des Akadеmischеn Musikvеrеins für Tіrol; Jοsеf Wеtzingеr (conductor)

Painting: Karl von Blaas (1815-1894) - Die heilige Katharina von Alexandria, von Engeln zum Berg Sinai getragen

Further info: Johann Baptist Gänsbacher (1778-1844) - Symphonie D-Dur (1807)

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Johann (Baptist Peter Joseph) Gänsbacher [Gaensbacher, Gensbacher]

(Sterzing, [now Vipiteno], 8 May 1778 - Vienna, 13 July 1844)

Austrian composer and conductor. Son of Johann Gänsbacher (1751-1806), he studied music as a choirboy in Sterzing, Innsbruck, Hall and Bolzano. He also had lessons in piano, organ, violin, cello and thoroughbass. In 1795 he went to the university at Innsbruck and studied first philosophy, then law, supporting himself by giving music lessons, playing the organ, singing in church choirs and playing in the theatre orchestra. His first compositions date from this period. While at university he took part in four campaigns against Napoleon. In 1801 he went to Vienna to continue his musical studies, and was relieved of financial worries when Count Firmian, who further promoted his career as a musician, took him into his family as a son in about 1803. In Vienna he had lessons from the Abbé Vogler (1803-04) and from Johann Georg Albrechtsberger (1806). A Mass in C, composed through the offices of Vogler for Nikolaus Esterhazy in 1806, established his reputation as a composer. Nevertheless, he returned to Vogler in Darmstadt for a short period in 1810, where his fellow-pupils and friends included Weber and Meyerbeer, who admitted him as a founder-member of the ‘Harmonische Verein’, for which he was active until 1813. In January 1813 he met Weber in Prague and recommended him for the post of Kapellmeister of the theatre. In the summer of the same year Gänsbacher returned to the Tyrol to join the fighting to liberate the province from the Bavarian occupation. After the end of the war he did not return to the Firmian family but joined the army as a first lieutenant (1814). He was stationed first in Italian garrisons, in Trient, Mantua and Padua then at Innsbruck in 1815, where he again tried to gain a foothold as a musician. He worked as a conductor and director of a church choir, and helped to found the Musikverein, though he did not gain the position of chief conductor. He did not accept the post of director of music in Dresden, offered him at the instigation of Weber in 1823, since (after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824. One of the choristers was his nephew Anton Mitterwurzer (1818-1876), later famous as an opera singer. As a composer, he mainly focused on church music but he also left a symphony, a clarinet concerto as well as several chamber works and secular songs and cantatas. He was one of the foremost composers in Vienna. 

DANNER, Christian Franz (1757-1813) - Premier concerto à violon principal

Christian Franz Danner (1757-1813) - Premier concerto (F-Dur) à violon principal (1786)

Performers: Gottfried von der Goltz (violin); Freiburger Barockorchester

Painting: Anton Radl (1772-1852) - Das Ende der Kirchweihe

Further info: Mozart's Mannheim

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Christian Franz Danner

(Schwetzingen, bap. 12 July 1757 - Rastatt, 29 April 1813)

German violinist and composer. A pupil of his godfather Christian Cannabich, he is listed as a supernumerary violinist in the Mannheim court orchestra in 1770-72 and as a violinist in 1773-78. By 1776 he was receiving a salary of 300 gulden, which rose to 450 in 1778. His great ability on the violin is confirmed by Mozart, who taught him composition in Mannheim (as recorded in a letter from Mozart’s mother, 14 December 1777). He accompanied the court when it moved to Munich in 1778, and there gave violin instruction to his most famous pupil, Friedrich Johann Eck. In 1785 he became Konzertmeister in Zweibrücken, and three years later took over the same position at Karlsruhe. From 1803 he held the title of musical director to the Grand Duchy of Baden. His only known work is a violin concerto composed in Munich in 1786 and published about two years later by Sieber in Paris and Amon in Heilbronn.

MICHL, Joseph Willibald (1745-1816) - O sapientia (c.1780)

Joseph Willibald Michl (1745-1816) - O sapientia quae ex ore altissimi (c.1780)

Performers: Erika Rüggeberg (soprano); Convivium Musicum München; Erich Keller (conductor)

Painting: Bénigne Gagneraux (1756-1795) - L'éducation d'Achille (1785)

Further info: Augustiner Chorherrenstift Weyarn

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(Johann) Joseph (Christian) Willibald Michl [Michel, Michelini]

(Neumarkt, 9 July 1745 - Neumarkt, 1 August 1816)

German double bass player and composer. He was son of Johann Anton Leonhard Michl (1716-1781), choirmaster and organist in Neumarkt, and brother of Martin Leonhard Michl (1749-?) and Johann Michael Michl (1754-?). He settled in Munich and studied at the electoral Gymnasium and Lyceum, and was an accomplished double bass player in the Jesuit church of St Michael until about 1767. In the 1760s Elector Maximilian III Joseph sent him to Freising to study for two years under Placidus von Camerloher. By the beginning of 1771 at the latest Michl was named a composer to the electoral chamber. His opera buffa 'Il barone di Torre' (1772) was remarkably successful, and in 1774 he travelled to Italy at the elector’s expense. In 1776 he wrote within four weeks (in place of the ill Josef Mysliveček) the Carnival opera 'Il trionfo di Clelia' for the Munich court. With the succession of the new elector, Carl Theodor, in January 1778 he was dismissed with a pension of 125 florins, raised to 240 florins in 1790. In July 1779 he was granted a privilege to publish music in manuscript; he seems however to have restricted this activity to his own works. From about 1784 to 1 September 1803 he lived with his brother-in-law, Johann Baptist Moser, a judge at the Augustinian prebendary institute at Weyarn, and wrote sacred works as well as symphonies and school dramas for the monastery. In 1786 he also taught composition at the Benedictine abbey at Tegernsee. As a composer, he was mainly known for his sacred works.

VANDINI, Antonio (c.1690-1778) - Concerto in Re maggiore

Antonio Vandini (c.1690-1778) - Concerto (violoncello) in Re maggiore

Performers: Francesco Fеrrаrini (violoncello); Nuova Orchestra Fеrruccio Busοni; Massimo Bеlli (conductor)

Painting: Giovanni Antonio Canal 'Canaletto' (1697-1768) - Padua, A View of the Porta di Pontecorvo

Further info: Antonio Vandini (c.1690-1778) - Sonate per violoncello

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Antonio Vandini

(Bologna, c.1690 - Bologna, 1778)

Italian cellist and composer. Nothing is known about his early life or musical training. His first documented playing position is at the church of Santa Maria Maggiore in Bergamo which he obtained in April of 1720. He was also at the Ospedale della Pietà in Venice as maestro di violoncello from September 1720 to April 1721. On 9 June 1721 he was appointed cellist at the Paduan Basilica di Sant'Antonio in a post he held the rest of his life, only interrupted on 18 June 1722, when he resigned in order to go to Prague. There he participated in the musical celebrations for the coronation of Karl VI in June 1723; he was joined there by Giuseppe Tartini and together remained in the service of Count Ferdinand Francesco Kinsky until spring 1726. This year he returned, together with Tartini, to Padua, resuming his service at the Basilica di Sant'Antonio on 1 June 1726. He retired from service at Padua in June 1770, probably been succeded by his pupil Giuseppe Callegari. By 1776 he was in Bologna, where he died two years later. As a composer, he left a cello concerto and six cello sonatas (1717).

MAICHELBECK, Franz Anton (1702-1750) - Missa Sanctissimae Matris Scholasticae (1734)

Franz Anton Maichelbeck (1702-1750) - Missa | Sanctissimae Matris Scholasticae | à | Canto et Alto Concert. | Tenor et Basso concertant. | 2 Violinis Concert. | 2 Cornibus Ex D|# Concert. | Cũ | Duplici Organo (1734)

Performers: Münsterschola Insel Reichenau; Münsterchor und Münsterorchester Insel Reichenau;

Klaus Paul (conductor)

Painting: Johann Heinrich Bleuler (1787-1857) - View of the island of Mainau in Lake Constance

Further info: Franz Anton Maichelbeck (1702-1750) - Sonata a quattro

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Franz Anton (Franciscum Antonium) Maichelbeck [Maichelböck, Maichlböck, Meichelpeck]

(Konstanz, 6 July 1702 - Freiburg, 14 June 1750)

German composer. He was the son of Sebastian Maichelbeck and Anna Maria Koch. In 1721 he was a student of theology at the university of Freiburg, but in 1725 he went to Rome to study sacred music. Two years later he returned to Freiburg, where he became an organist at a local church and in 1730 professor of Italian at the university. He was reputed to have been a learned humanist. His obituary describes him as a very learned man of music, highly esteemed by his contemporaries. As a composer, only few works are extant, the most praised of them, his 'Die auf dem Clavier spielende und das Gehör vergnügende Caecilia ... op.I' (1736) which includes a collection of keyboard sonatas as study pieces and focused to amateur keyboard players. He also left several sacred works, among them, a Requiem in D-Dur and the Missa Sanctissimae Matris Scholasticae (1734).

RADEKER, Henricus (1708-1774) - Sonate [c] voor Orgel en Clavicimbel

Henricus Radeker (1708-1774) - Sonate [c] voor Orgel en Clavicimbel

Performers: Gert Oost (1942-2009, organ); Jaap Spigt (1923-1999, harpsichord)

Drawing: Pieter Hermanus Luitjes van der Meulen (1780-1858) - Gezicht op Haarlem vanuit Overveen

Further info: Het Nieuwe Hollands Speelhuys

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Henricus (Henrik, Henrico) Radeker

(Groningen, 27 March 1708 - Haarlem, 5 July 1774)

Dutch organist and composer. Son of Jannes Radeker and Fennigien Radekers, he went to live at Leeuwarden in 1724 and was appointed organist at the Lutheran church there. In 1729 he was made organist of the Grotekerk (St Michael) in Zwolle, and in 1734 of the Grotekerk (St Bavo) in Haarlem, where he was the first to play the large organ completed by Christian Müller in 1738. He was in demand as an inspector of organs in the Netherlands, and he also directed the collegium musicum in Haarlem. He remained there for the rest of his life, where he got married twice, in 1741 with Anna Catharina Schats with whom had a son, the organist and composer Jan Radeker (1738-1799), and in 1753 with Hendrina Reynders. As a composer, Henricus Radeker published in Amsterdam a capriccio, a concerto for keyboard and two sonatas for harpsichord with obbligato violin as well as a 'Psalm Boek voor Orgel en Clavicimbel en andre instrumenten'.

DAQUIN, Louis Claude (1694-1772) - Deuxième Suite (1735)

Louis Claude Daquin (1694-1772) - Deuxième Suite des Livre de pièces de clavecin (1735)

Performers: Anne Robеrt (clavecin)

Painting: Louis de Boullogne (1654-1733) - Rinaldo and Armida

Further info: Louis Claude Daquin (1694-1772) - Nouveau Livre de Noëls

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Louis-Claude Daquin [Dacquin, D'Acquin, D'Aquin]

(Paris, 4 July 1694 - Paris, 15 June 1772)

French organist and composer. He was the son of Claude Daquin and Anne Treisant. After taking some harpsichord lessons from his godmother Elisabeth Jacquet de la Guerre, and composition lessons from Nicolas Bernier, he was capable of playing before Louis XIV at the age of six and of conducting his own 'Beatus vir' in the Sainte-Chapelle at the age of eight. In 1706 he was appointed organist at the convent of Petit St Antoine. On 12 July 1722 he married Denise-Thérèse Quirot; they had only one child, Pierre-Louis D'Aquin de Châteaulion (c.1722-1797), whose 'Lettres sur les hommes celebres, dans les sciences, la littérature et les beaux arts: Sous Le Regne de Louis XV' trace the brilliant career of a father greatly admired by Parisian society. In that time Louis-Claude Daquin was ordinaire de la musique to Louis-Armand II de Bourbon, the Prince de Conti, and he probably remained in that position until 1727. He gained the post of organist at St Paul on 28 April 1727, in competition with Jean-Philippe Rameau, and in 1732 succeeded his former teacher Louis Marchand as organist of the Cordeliers. In 1739 he was appointed to succeed Jean-François Dandrieu as organist of the Chapelle Royale. On the death of Antoine Calvière in 1755 he also obtained one of the four positions of organist at Notre Dame. Besides holding these glittering appointments as organist, Daquin several times played the organ in the Palais des Tuileries (the home of the Concert Spirituel), performing there in 1749 and between 1751 and 1754. In 1770 he resigned from his post at the Chapelle Royale in favour of Armand-Louis Couperin. As a composer, his most praised work was the 'Livre de pièces de clavecin' (1735), but he also left, among others, a collection of 'Noels pour Torgue ou le clavecin' and the cantata 'La Rose' (1762).

MOREIRA, António Leal (1758-1819) - Sinfonia em Re Maior (1805)

António Leal Moreira (1758-1819) - Sinfonia em Re Maior (1805)

Performers: Orquestra Clássica do Porto; Meir Minsky (conductor)

Drawing: Matthew Dubourg (fl. 1786-1838) - A view of Lisbon and the Harbour (1809)

Further info: Orchestral music

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António Leal (Lial) Moreira

(Abrantes, 30 June 1758 - Lisbon, 26 November 1819)

Portuguese composer. On 30 June 1766 he entered the Seminary of the Patriarchal of Lisbon, where he was student of João de Sousa Carvalho. In 1775 he became assistant to his teacher and organist and in 1787 he was appointed chapel master. On 19 May 1777, he performed his first sacred work, the Missa do Espírito Santo, which was sung during the acclamation of Queen Maria I of Portugal. Most of his sacred works were composed for the royal chapel and from 1782 onwards serenatas by Moreira were performed at the royal palaces of Queluz and Ajuda. In 1790 he was appointed musical director at the Teatro de Rua dos Condes, which was presenting Italian operas. In 1793 he became the first musical director of the newly opened Teatro de São Carlos, where some of his own operas and farces on Portuguese texts, including A vingança da cigana (1794), were performed. In 1799 he left the São Carlos, where he was replaced by Marcos António Portugal and Francesco Federici. In the following year he wrote the music for the pasticcio opera 'Il disertore francese', which was performed at the Teatro Carignano in Turin and at La Scala. From then on he devoted himself almost exclusively to church music. Later he had a brief but distinguished military career during the Peninsular Wars. As a composer, he left 14 operas, 4 masses, sacred pieces and songs as well as symphonic and chamber works.