NOZEMAN, Jacob (1693-1745) - Sonata a violino solo e basso continuo

Jacob Nozeman (1693-1745) - Sonata (III, A-Dur) a violino solo e basso continuo ... opera seconda (c.1735)

Performers: Antoinette Lohmann (violin); Furor Musicus

Painting: Nicolaas Verkolje (1673-1746) - The anglers

Further info: Jacobus Nozeman (1693-1745) - Sonates Op. 1 (c.1725)

---

Jacob (Jakobus, Jacobus, Giacomo) Nozeman [Noseman, Nozemann]

(Hamburg, 30 August 1693 - Amsterdam, 10 October 1745)

Dutch composer, violinist and organist. Son of Johannes Nozeman, a travelling actor, and Anna Rijndorp, he was born in Hamburg during one of his father's tours. He grew up in The Hague and Leiden, where his father most often performed. In 1710, after his father death, he settled in Amsterdam. There he was a regular performer at the theatre (1714-1716) and in 1719 he was appointed organist of the Remonstrantse Kerk, in a post he held the rest of his life. As a composer, his extant works include a set of songs and two collection of violin sonatas which show a typical style of the period in a mixture of the sonata da chiesa and da camera types. In 1717, he married to María Geertruida Costerus with whom had two children, Cornelius Nozeman (1721-1785) and Jan Willem Nozeman (1733-1768).

DOISY, François (1748-1806) - Grand concerto composé pour la guitare

François Doisy (1748-1806) - Grand concerto composé pour la guitare, avec accompagnement

de deux violons obligés, alto et violoncelle (c.1802)

Performers: Stanley Yatеs (guitar); Flеurus Strings Orchestra

Painting: Louis-Léopold Boilly (1761-1845) - Lady in a white dress seated at her desk

Further info: Grand concerto composé pour la guitare

---

François Doisy [Doisi, Doisy-Bedard]

(1748 - Paris, 28 August 1806)

French guitarist and composer. He has sometimes been erroneously named as Charles Doisy or even as Doisy Lintant. His youth years are unknown. From 1797, he devoted himself to the guitar as a performer, teacher, composer and publisher. For many years he enjoyed an enviable reputation as a professor of the guitar in Paris, and during his later years he established a music and musical instrument business in this city, being thus occupied at the time of his death. He had the advantage of a thorough musical training and education in harmony and composition, as his published works prove, and he wrote for the guitar in its capacity as a solo instrument, for accompaniment, and in combination with almost every other instrument. His published compositions number more than two hundred, and during the early part of his career, the guitar was strung with but five strings tuned as at present, but without the sixth or lowest E, and Doisy's early compositions are therefore more limited in scope and compass. His output include several concertos for the guitar with accompaniment of string quartet, serenades for guitar, violin and alto, grand duos for guitar and violoncello, guitar and piano, guitar and oboe, and the guitar in duos with the horn, bassoon, viola, flute and another guitar. There are also published under his name many collections of pieces for guitar solo, including Les folies d'Espagne being fifty variations and many collections for violin and guitar, and flute and guitar. He was the author of several methods for the guitar, among them, 'Principaux généraux et raisonnés de la guitare' (1801) and 'Éléments de musique en forme de dialogue' (1804).

KOHAUT, Karel (1726-1784) - Simphonie périodique a piu stromenti (1763)

Karel Kohaut (1726-1784) (attr.) - Simphonie périodique a piu stromenti ... no. 46 (1763)

probably composed by his brother Josef Kohaut (1738-1777)

Performers: Frankfurter Solistеn; Vladislav Brunnеr (conductor)

Painting: Circle of Balthasar van den Bossche (1681-1715) - Elegant figures in an interior

Further info: Karl Kohaut (1726-1784) - Lute Concertos

---

Karel (Carl, Karl, Carolus) (Ignatius Augustinus) Kohaut [Kohault, Kohout]

(Vienna, bap. 26 August 1726 - Vienna, 6 August 1784)

Austrian lutenist and composer. Son of Jakob Karl Kohaut (c.1678-1762), a court musician to Prince Adam von Schwarzenberg, he received music lessons from his father. In 1756 he entered the civil service, rising to the rank of court secretary in 1778. As a titular member of the court, he had access to and participated in much of the Viennese musical life of the period. He participated as a violinist in performances of quartets by Haydn and Mozart organized by Gottfried van Swieten. As a lutenist, he appeared as soloist in a performance of one of his own lute concertos at an academy of the Tonkünstler-Societät on 17 March 1777, during which one of his symphonies was also performed. Like his colleague Karl von Ordonez, he composed frequently in a style that reflects Georg Christoph Wagenseil. As a composer, his output include a cantata, 12 symphonies, eight Masses (frequently performed at the monasteries of Melk and Göttweig, especially the Missa Sancti Willibaldi), seven lute concertos, seven partitas, a quartet, seven divertimentos (many with lute), and seven trios. His brother Josef Kohaut (1738-1777) was also a lutenist and composer, mainly active in France.

BORGHI, Giovanni Battista (1738-1796) - Letanie a 8 concertato

Giovanni Battista Borghi (1738-1796) - Letanie a 8 concertato

Performers: Judit Janzen (soprano); Regine Röttger (alto); Rainer van Husen (1944-2012, tenor); Michael Flöth (bass); Der Domchor Münster; Santini Kammerorchester; Heinz-Gert Freimuth (1939-2009, conductor)

Drawing: Israël Silvestre (1621-1691) - Gezicht op Loreto met rechts op de voorgrond twee zittende figuren (1642)

Further info: Lauretanische Litanei / Magnificat Anima Mea Dominum / Dixit Dominus

---

Giovanni Battista Borghi [Barghi, Borgo, Porghi]

(Camerino, 25 August 1738 - Loreto, 25 February 1796)

Italian composer and organist. He received his earliest training under Girolamo Abos at the Conservatorio della Pietà dei Turchini in Naples beginning in 1757. By 1759 he was appointed as maestro di cappella at Orvieto Cathedral, during which time he also traveled throughout Italy and may have gone as far afield as Vienna. In 1778 he took over the maestro di cappella post at the Santa Causa Church in Loreto, in a post he held the rest of his life. As a composer, he was best known for his operas written in a mid-century Neapolitan style. His output include 24 operas (split evenly between buffa and seria), 20 oratorios, 11 Masses, 35 introits, 27 graduals, 67 offertories, 14 Psalms, 25 Marian antiphons, six litanies, a violin concerto, and six violin duets. Despite some sources often confuse him with the violinist Luigi Borghi and the harpsichordist Giovanni Borghi, he was not related with them.

KEHL, Johann Balthasar (1725-1778) - Concerto ex C dur (c.1775)

Johann Balthasar Kehl (1725-1778) - Concerto ex C dur | Cembalo Obligato | Violino primo | Violino Secondo

| con | Basso. (c.1775)

Performers: Walter Opp (pianoforte); Bayreuther Hof Musique ensemble

Painting: Marco Ricci (1676-1730) - Rehearsal of an opera (c.1709)

Further info: Johann Balthasar Kehl (1725-1778)

---

Johann Balthasar Kehl

(Coburg, 24 August 1725 - Bayreuth, 7 April 1778)

German organist, cellist and composer. He began his education at the Ratsschule in Coburg in 1733 and in 1742 moved to Bayreuth, where he studied under Johann Pfeiffer. Appointed as cellist in the court musical ensemble, he eventually decided on a career in church music, becoming organist at the Neustädter Kirche in Erlangen in 1762, where his students included Johann Paul Schulthesius and Johann Wilhelm Stadler. In 1774 he returned to Bayreuth as stadtkantor, becoming blind a year or so before his death. His music has been little studied, although Johann Adam Hiller stated that 'he was one of the best and most accomplished harpsichordists of his time' and considered his oratorios 'the epitome of good, large-scale choral composition'. His surviving music includes two oratorios, some ballets, a harpsichord concerto, seven keyboard sonatas, a few miscellaneous keyboard works, and a collection of chorales published in 1764. 

PRADAS GALLEN, Joseph (1689-1757) - Trono Sagrado de Luces (c.1725)

Joseph Pradas Gallén (1689-1757) - Trono Sagrado de Luces (c.1725)

Performers: Harmonia del Pаrnàs; Marian Rosa Mοntаgut (conductor)

Painting: Corrado Giaquinto (1703-1766) - Winter (c.1745)

Further info: Villancicos a la Verge de la Cinta

---

Joseph (José, Josep) Pradas [Prades] Gallén

(Villahermosa del Río, 22 August 1689 - Villahermosa del Río, 11 August 1757)

Spanish composer. By 1700, he received music lessons from Joan Baptista Cabanilles and Antonio Teodoro Ortells when he was a choirboy at Valencia Cathedral. In 1712 he was appointed maestro de capilla at the parish church at Algemesi, and in June 1717 he secured a similar post at the parish church of Santa María in Castellón de la Plana. Finally, on 2 March 1728 he was promoted to maestro de capilla at Valencia Cathedral, a post he held the rest of his life. He retired on 22 February 1757 and he returned to his native village, where he died a few months later. As a composer, he was one of the most well-renowned Spanish composers of the eighteenth century with over than 400 works, most of them currently extant and preserved in the archives of the Valencia Cathedral and Segorbe Cathedral. His output was mainly religious and includes seven masses, 34 Miserere settings and over 300 villancicos and other vernacular compositions.

HAUFF, Wilhelm Gottlieb (c.1750-1816) - Quintetto pour Cors de Chasse

Wilhelm Gottlieb Hauff (c.1750-1816) - Quintetto (Es-Dur) pour Cors de Chasse Obligèes

Performers: Daniel Bourgue (horn); Sofia String Quartet

Painting: Bartholomeus Johannes van Hove (1790-1880) - Stadsgezicht

Further info: JOYAUX MUSIQUE DE CHAMBRE AVEC COR

---

Wilhelm Gottlieb Hauff

(Gotha, c.1750 - Nijmegen, 25 May 1816)

Dutch organist and composer of German descent. Almost nothing is known about his early life. He settled to the Netherlands after joining the regiment of Saxony-Gotha. Despite his musical training remains unknown, he was skilled playing the organ and was appointed organist and carillonneur at Zaltbommel church and later at the 'Grote Kerk' in Nijmegen. In 1791 he was promoted as official organist there, in a post he held the rest of his life. As a composer, he wrote symphonies, concertos, sacred music, among them his masterwork 'Op Jezus Kruis dood' (1789), and many chamber music. He married to Johanna Barbara Lintz and their sons Ferdinand Hauff (1779-1813) and Wilhelm Gottlieb Hauff (1793-1858) were also organists and composers.

HORN, Johann Caspar (1636-1722) - Es begab sich aberzu der Zeit (c.1681)

Johann Caspar Horn (1636-1722) - Es begab sich aber p | à | C. A. T. B: | 2. Clarin | 2. Violin | 2. Bracc. | Violon | 4. in Riepieno. | Con | Organo | ad Festum nativitatis Christi. (c.1681)

Performers: Simone Schwаrk (soprano); Johanna Krеll (alto); Florian Crаmer (tenor); Markus Flаig (bass); Kammerchor der Erlöserkirche Bad Homburg; Johann Rosenmüller Ensemble; Susanne Rοhn (conductor)

Painting: Gerard Hoet (1648-1733) - Groot offerfeest voor de god Bacchus

Further info: Machet Die Tore Weit - Weihnachtsmusik An Der Thomaskirche

---

Johann Caspar Horn

(Chemnitz, 17 August 1636 - Dresden, 18 September 1722)

Austrian physician and composer. Son of Johann Caspar Horn (1606-1671), he practised as a physician, having completed his studies in Freiburg about 1651. He later studied law in Leipzig, where he spent most of his adult life. For at least nine years from 1663 he belonged to a fraternity of musical amateurs led by Sebastian Knüpfer, Kantor of the Thomaskirche. In 1680 he stayed briefly in Dresden. As a composer, he wrote, among other, six monumental volumes of instrumental music entitled 'Parergon musicum, oder musicalisches Neben-Werck (1663-1676)', the collection 'Scherzende Musenlust, in allerhand Arien, Madrigale, Canzonetten' (1673) and the cantata cycle 'Geistliche Harmonien über die gewöhnlichen Evangelia' (c.1681). The Geistliche Harmonien, in the style of the sacred concerto, was one of the last to be based entirely on biblical texts and one of the first to require instruments in addition to the continuo. 

ASIOLI, Dario detto 'Antonio Martinelli' (c.1704-1782) - Concerto per Viola d'Amor

Dario Asioli detto 'Antonio Martinelli' (c.1704-1782) - Concerto (Re maggiore) per Viola d'Amor

Della: Sig:ra Chiaretta

Performers: Fabio Biondi (viola d'amore); Europa Galante

Painting: Unknown artist (18th Century) - Veduta veneziana di fantasia

Further info: Il Diario Di Chiara

---

Dario Asioli detto 'Antonio Martinelli'

(Modena, c.1704 - Venice, 17 August 1782)

Italian cellist, violinist, teacher and composer. Son of Giulio Asioli, he was baptized as Dario. His youth life remains unknown but by 1720 he was documented in Venice, active as teacher and composer and under the nickname 'Antonio Martinelli'. He assumed this name in order to obtain a theatrical engagement in Venice, depicting himself as an actor, who in fact was already working there, called Martinelli, with whom he had evidently made a deal. Since then until his death, he was known as 'Antonio Martinelli'. At least two instrumentists with the surname Martinelli were active in Venice in the same period. In 1743, pursuing a marriage with Caterina Fabri, he had to beg for a sworn testimony of his true identity to his future father-in-law and the luthier Domenico Montagnana. Regardless his false identity, he was an accomplish cellist at the Cappella Marciana from 1753 to 1782 and 'highly praised' teacher in three 'ospedali veneziani'; Derelitti (1733-1766), Mendicanti (1730-1777) and Pietà (1750-1782). Assuming these posts reported him an extraordinary income (over than 340 ducati per year). After his death in 1782, he was succeded by his son, the cellist and composer Girolamo Martinelli. Antonio Martinelli was a very prolific composer but the most of his output remains scattered in manuscripts, mainly in the Venetian archives. Only the collection 'Six symphonies en quatre parties' (c.1749) and the 'Sonates en trio violons: 1 er livre' were printed during his life.

AHLSTROM, Olof (1756-1835) - Sonata pour le pianoforte avec l'accompagnement d'un violon (1784)

Olof Åhlström (1756-1835) - Sonata (I, B-Dur) pour le pianoforte avec l'accompagnement d'un violon,

œuvre II (1784)

Performers: Bernt Mаlmrοs (pianoforte); Sören Jаnssοn (violin)

Painting: Elias Martin (1739-1818) - View of Stockholm

Further info: Olof Åhlström (1756-1835)

---

Olof Åhlström [Aalström]

(Åletorp, 14 August 1756 - Stockholm, 11 August 1835)

Swedish composer, pianist and publisher. Following early training by a local church organist, he moved to Stockholm in 1772, where he studied under Ferdinand Zellbell Jr. Although he was employed through governmental sinecures, he also functioned as an organist at the St. Clara Church in 1777 and in 1786 at the St. Jacob Church, in a post he held until his death. In 1787, the year of the successful performance of his opera 'Frigga', he was granted a royal privilege to publish music. As a composer, his works include four operas, two cantatas, over 200 Lieder (most in Swedish), a concerto for the fortepiano, seven violin sonatas, six piano sonatas/sonatinas, and a book of hymns published in 1832. His music is characterized by a good sense of melody and simplicity, with orchestrations that range from perfunctory to colorful with generous use of woodwinds. Apart from individual compositions by various composers, he also published two journals, the 'Musikaliskt tidsfördrif' and 'Skaldestycken satte i musik'. During the early part of the 19th century, he also collected folk dances, which he published in 1814.

Unknown composer (18th Century) - Sinfonia in D-Dur

Unknown composer (18th Century) - Sinfonia in D-Dur

Performers: Concilium Musicum Wien

Painting: Circle of Evaristo Baschenis - Still life with string instruments

Further info: Klingende Schätze aus Schloss Rohrau

VON SACHSEN, Amalie (1794-1870) - Stabat Mater (c.1824)

Amalie von Sachsen (1794-1870) - Stabat Mater in f-moll (c.1824)

Performers: Felicitas Wrеdе (soprano); Henriette Göddе (alto); Martin Lаttkе (tenor), Tomáš Krаl (bass);

Sächsischеs Vocalensemble; Musica Flοrea; Mаtthiаs Jung (conductor)

Painting: Vicente López Portaña (1772-1850) - Porträt der Amalie von Sachsen

Further info: Amalie Marie Friederike Auguste, Herzogin von Sachsen (1794-1870)

---

Amalie von Sachsen [Maria Amalia Friederike Augusta Karolina Ludovica Josepha Aloysia Anna Nepomucena Philippina Vincentia Franziska de Paula Franziska de Chantal]

(Dresden, 10 August 1794 - Dresden, 18 September 1870)

German writer and composer. Daughter of Prince Maximilian of Saxony (1759-1838) and Princess Carolina of Parma (1770-1804), she was taught the piano by Joseph Schuster, singing by Vincenzo Rastrelli and Johann Miksch, and music theory by Franz Anton Schubert and Carl Maria von Weber. She began writing music in 1811 and composed numerous operas, popular among the Dresden elite. She published her musical works under the pseudonym A. Serena. Her most popular compositions were her comedic operas, among them, Le nozze funeste (1816), L’Americana (1820), Vecchiezza e gioventù (1826) and La casa disabitata (1835). She portrayed her characters with innovation and color. She also wrote several sacred works, which included a Stabat Mater (c.1824), a Litaniae, a Magnificat (1831) and two Salve Regina. She spent her whole life in Schloss Pillnitz, Dresden and in 1817 she married to Franciscus de Merendonque. After 1835 she stopped composing and wrote comedies, using the pseudonym Amalie Heiter.

TURK, Daniel Gottlob (1750-1813) - Sonata in G-Dur (1789)

Daniel Gottlob Türk (1750-1813) - Sonata (G-Dur) aus Sechs Klaviersonaten, größtentheils für Kenner (1789)

Performers: Tobias Kοch (pianoforte, 1790)

Painting: Adele Romany (1769-1846) - Portrait de Mlle Thevenet de Montgarrel près d’un piano tenant un cahier de musique

Further info: Daniel Gottlob Turk (1750-1813) - Keyboard Sonatas

---

Daniel Gottlob Türk [Tuerck, Tuerk, Türck]

(Claussnitz, 10 August 1750 - Halle, 26 August 1813)

German theorist and composer. Son of Daniel Türcke, instrumentalist in the service of Count Schönburg, he was trained at an early age for the hosiery firm, received his first music lessons from his father and learnt several wind instruments with his father’s colleagues. At the Dresden Kreuzschule he received thorough musical education under the Kantor Gottfried August Homilius, a former pupil of Johann Sebastian Bach. In 1772 he enrolled in law at the University of Leipzig while continuing to study under Johann Adam Hiller. In 1774 he was appointed as Kantor at the Ulrichskirche in Halle, and five years later he was awarded a doctorate at the University of Halle, where he taught seminars in music. In 1787 he became Kapellmeister at the Marienkirche in the city, and in the early part of the 19th century he was a leading figure in the Halle revival of George Frederick Handel. Daniel Gottlob Türk was best known as a music theorist, whose seven treatises include the seminal Clavierschule of 1789 and the Anweisung zum Generalbass-Schule of 1791 than a composer. Nevertheless, his music, written in the North German style, includes 20 cantatas, 21 Lieder, an opera, 46 chorales, a Choralbuch, 38 keyboard sonatas, and 164 smaller works for keyboard.

EICHNER, Ernst (1740-1777) - Sinfonia in D-Dur (1775)

Ernst Eichner (1740-1777) - Sinfonia (D-Dur) à 11. Strom. ... Op.X (1775)

Performers: Kurpfälzisches Kammerorchester; Hans Oskar Koch (conductor)

Drawing: Gottlieb Friedrich Riedel (1724-1784) - Saxon troops on the march (1779)

Further info: Ernst Eichner (1740-1777) - Sinfonia in d, Op.7 (1772)

---

Ernst (Ernest, Ernesto) (Dieterich Adolph) Eichner [Eicher, Eichler, Eigner, Eihner, Euchner, Fichner, Richner]

(Arolsen, bap. 15 February 1740 - Potsdam, early 1777)

German bassoonist, violinist and composer. The son of a musician, Johann Andreas Eichner (1694-1768), he studied under his father before becoming, on 1 September 1762, Kapellmeister at the court of Duke Christian IV in Zweibrücken. After his symphonies were published in Paris, he obtained a position as violinist with the Mannheim orchestra in 1768, winning a prestigious award in Paris in 1772 for his compositions after tours there and in London. In 1773 he accepted a position in Potsdam with the musical ensemble of Crown Prince Friedrich (later Friedrich Wilhelm). He interrupted his service there only once, to visit Arolsen and Leipzig (1775). His early death passed unnoticed by the musical public. Despite so, he was one of the most significant and progressive composers of the mid-century German symphony, though he often chose to retain the three-movement format. Eichner, no doubt consciously, sought a synthesis of the forms and idioms of his time; he fits into none of the important 18th-century ‘schools’, but was a solitary figure who, like so many of his contemporaries, aimed to give structure and substance to the new genre of the ‘concert symphony’. His music is known for its colorful and sensitive orchestration. His output includes 30 symphonies, 18 concertos (mostly for winds), 14 quartets, a quintet, two wind divertimentos, 12 trios for strings, seven sonatas, six duos, and six keyboard sonatas. He married Maria Magdelena Ritter and his daughter, Adelheid Eichner (c.1761-?), was a singer and composer with a precocious talent. 

NADERMAN, François-Joseph (1781-1835) - Sonate pour la Harpe

François-Joseph Naderman (1781-1835) - Sonate (V, Fa majeur) des '14 Pieces:

Sonates progres[s]ives | Pour la Harpe'

Performers: Annie Chаllаn (harp)

Painting: Guillaume Guillon-Lethière (1760-1832) - Marie Antoinette Adèle Papin-Duchâtel (1799)

Further info: Naderman - Sept Sonates Pour Harpe

---

(Jean) François-Joseph Naderman

(Paris, 5 August 1781 - Paris, 3 April 1835)

French harpist and composer. Son of Jean-Henri Naderman (1734-1799) and Barbe-Rose Courtois (1755-1839), he was born into a family of musicians. His father was an instrument maker and publisher and his brother Henri Naderman (1783-1842) was an harp maker, composer and publisher. He probably received early music lessons from his father despite it was wrongly suggested that he studied with Jean-Baptiste Krumpholtz. He later received composition lessons from Pierre Louis Augustin Desvignes. After touring widely as an harp virtuoso, in 1813 he was appointed harpist of the Royal Chapel in Paris. After the Restoration (1815) he, his brother and mother were named harp makers and music sellers to the King, and François-Joseph himself was appointed the King’s chamber composer and first solo harpist. He was made a Chevalier of the Légion d’Honneur in 1821, and finally, in 1825, he was appointed to the Paris Conservatoire as its first professor of harp. As a composer, his output included many works for harp, among them 2 concertos, sonatas, and solo pieces. He also published the didactic method 'Ecole ou Methode raisonnee pour la harpe' (Paris, c.1832).

DE SOUZA LOBO, Jerónimo (fl. 1780-1810) - Ladainha de N. S. do Rosário

Jerónimo de Souza Lobo (fl. 1780-1810) - Ladainha (em Sol maior) de N. S. do Rosário

Performers: Patricia Naclе (contralto); Gustavo Quarеsma (tenor); Nibaldo Aranеda (bass); Coral de Camara Sao Paulo; Orquestra de Camara Engеnho Barroco; Naomi Munаkаta (conductor)

Painting: Charles Landseer (1799-1879) - Corcovado visto da capela da Conceição (1825)

Further info: Jeronimo de Souza Lobo (1721-1810)

---

Jerônimo de Souza Lôbo

(Vila Rica do Ouro Preto, fl. 1780-1810)

Brazilian composer, violinist and organist. Almost nothing is known about his life and career. He probably was the son of Antônio de Souza Lôbo, the "Patriarca Musical de Vila Rica". He was active as a member of the brotherhood Irmandade de São José dos Homens Pardos and from 1780 he was appointed organist of several churches in Vila Rica in a post he held until his death. As a composer, he mainly wrote sacred music, among them, Domingo de Ramos, Matinas de Santo Antonio e Responsórios de São Francisco de Assis. He probably was the father of the composer Jerônimo de Souza Lobo Queiroz (?-1826) 

LADURNER, Ignaz Anton (1766-1839) - Sonata in B-Dur (1803)

Ignaz Anton Ladurner (1766-1839) - Sonata (B-Dur) Pour le Piano-Forte

avec Accompagnement de Violon obligé ... oeuvre 7 (1803)

Performers: Péter Szüts (violin); Miklós Spányi (pianoforte)

Drawing: Louis Carrogis Carmontelle (1717-1806) - Mr Philippe, annuity payer, Miss Delon from Geneva and Mr Texier

Further info: Ignaz Ladurner (1766-1839) - Sonate II, Op.1 (1793)

---

Ignaz Anton (Ignace Antoine) (François Xavier) Ladurner [La Durner]

(Aldein, 1 August 1766 - Villaine, 4 March 1839)

Austrian composer, teacher and organist. Son of Franz Xaver Ladurner (1735-1782) and brother of Josef Alois Ladurner (1769-1851) and Benedikt Gabriel Ladurner (1779-1840), he received his earliest education from his uncle, Innocenz Ladurner (1745-1807), at the Benediktbeuern abbey. He functioned briefly in 1782 as his father’s successor at Algund, but in 1784 he moved to Munich to attend the Jesuit Lyceum in music and philosophy. Following a brief position in Bar-le-Duc, he moved to Paris in 1788 where he became a well-respected teacher. In 1797 he was appointed as a professor at the Conservatoire and at the École Royale, where his students included Daniel François Esprit Auber. He married Mlle Magnier de Gondreville (c.1779-1825), a talented violinist; their son, Adolphe Ladurner (1799-1855), became known as a painter. In 1836, disabled by paralysis, he moved to his country home in Villain. As a composer, despite he wrote two operas, 'Wenzel, ou Le magistrat du peuple' (1794) and 'Les vieux fous, ou Plus de peur que de mal' (1796), and some chamber music, he was mainly known and praised by his piano sonatas.