divendres, 20 de setembre del 2024

GUIDO, Giovanni Antonio (c.1675-1729) - Concerto 'Le Printemps' a 6

Jean-Antoine Watteau (1684-1721) - Fête champêtre


Giovanni Antonio Guido (c.1675-1729) - Concerto 'Le Printemps' a 6 des 'Scherzi armonici sopra le quattro staggioni dell'anno, concerti a 3 violoni, flauti, hautbois, cimbalo, bassi di viola e violoncello'
... opera terza (Versailles, n.d.)
Performers: La Strаvаgаnzа Köln

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Italian violinist and composer mainly active in France. He was probably born in Genoa and from 1683 he studied violin at the conservatory in Naples. From 1702 he was in Paris at the service of the Duke of Orleans, where he remained until at least 1729. There is an account of a concert performed at Fontainebleau in front of the English Queen Anne in November 1703, where Guido is referred to as an excellent violinist in the service of the Duke of Orleans, a supporter of Italian music. Through his connection with the Duchess du Maine Sceaux, a favourite of Louis XIV, he gained the attention of the King. In 1707 he was granted a 'privilège général' enabling him to publish his works. That year a collection of six motets was printed in Paris and, a few years later, two sonatas for two violins and basso continuo were published. From 1714 to 1724 he took part in concerts organized in the home of the financier P. Crozat. These evenings were attended by writers, artists, musicians, as well as members of the aristocracy, including the Duke of Orleans. Among these was Jean-Antoine Watteau who painted some of those present at the concerts including Guido whose portrait dated 30 September 1720. There is no known information about Guido after 1729 and the place and date of his death is unknown. Giovanni Antonio Guido had greater fame as a violinist than as a composer, but in his compositions he was able to combine the Italian style with the French. It is not known when he wrote his famous 'Scherzi armonici sopra le 4 staggioni dell’anno' but they were certainly very popular in France.

dimecres, 18 de setembre del 2024

WALTHER, Johann Gottfried (1684-1748) - Sonate à 3

Follower of Jacques-François Courtin - The music lesson


Johann Gottfried Walther (1684-1748) - Sonate (G-Dur) à 3
Performers: Susanne Ehrhardt (flute); Irene Klein (viola da gamba); Armin Thalheim (harpsichord)

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German organist, composer, theorist and lexicographer. Son of Johann Stephan Walther, an Erfurt fabric maker, and Martha Dorothea Lämmerhirt, he studied organ in Erfurt with Johann Bernhard Bach and Johann Andreas Kretschmar. He became organist of the Thomaskirche there in 1702 and concurrently studied philosophy and law briefly at the University of Erfurt. He studied composition with Johann Heinrich Buttstett; after travel in Germany, he continued his studies with Wilhelm Hieronymus Pachelbel in Nuremberg (1706), then became organist of the church of St. Peter and St. Paul in Weimar (1707), a post he held for the rest of his life. He also served as music master at the ducal court and was made Hofmusicus of the ducal Court in 1721. Walther assembled a valuable library of music and books on music, which prompted him to pursue diligent musical research. This culminated in his great 'Musicalisches Lexicon' (1732), the first music dictionary to encompass biographies of musicians of the past and present, musical terms, and bibliographies. He also left the important treatise 'Praecepta der musicalischen Composition' (1708), which was not published until the 20th century. He composed much sacred vocal music, but only one work, 'Kyrie, Christe, Kyrie eleison über Wo Gott zum Haus nicht giebt sein Gunst', has survived. However, over 100 chorale preludes for organ are extant. These place him next to J.S. Bach, his distant relation and lifelong friend, as a master of the genre. He also prepared valuable manuscript copies of works by other composers, many of which remain the only known sources.

dilluns, 16 de setembre del 2024

HOLZBAUER, Ignaz (1711-1783) - Concerto per il Flauto Traverso Principale

Franz Christoph Janneck (1703-1761) - Tanz im Park


Ignaz Holzbauer (1711-1783) - Concerto ex D. | per il | Flauto Traverso Principale | Violino Primo.
| Violino Secondo. | Alto Viola. | Con | Basso (c.1770)
Performers: Jean-Pierre Rampal (1922-2000, flute); Vienna Baroque Ensemble; Theodor Guschlbauer (conductor)
Further info:

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Austrian composer. He was attracted to music at an early age, but this inclination received no support from his father, a Viennese leather merchant, who wanted him to study law. His earliest musical education was under Johann Joseph Fux, following which he served as choirmaster at the St. Stephen’s Cathedral, Vienna, as well as studied theology at the University of Vienna. In 1730 he was persuaded to pursue further musical education in Venice by Fux. Positions in Laibach (now Ljubljana) and Holešov followed, during which he successfully produced in 1737 an opera, 'Luciano Papiro'. By 1746 he was musical director at the Burgtheater, and in 1750 he traveled to Stuttgart as hofKapellmeister. By 1753 he was hired by Elector Carl Theodor as Kapellmeister in Mannheim, where he composed works such as 'Günther von Schwarzburg' in 1777, one of the first Classical German operas based upon a historical subject. When the court moved to Munich in 1778, he accepted a post in Monaco but returned to Mannheim to retire in 1781. As a composer, he was one of the most prolific composers of the 18th century, particularly in the realm of the symphony. His music is noted for its powerful dramatic style, particularly in the use of the orchestra as well as progressive harmony. He composed around 200 symphonies, 13 concertos (mainly for strings), 18 string quartets, 24 orchestral minuets, two piano quintets, around 15 trios, 18 operas, several ballets, four oratorios, 32 Masses, two Requiems, and 44 other sacred works including cantatas, Te Deums, hymns, and such. His music had a significant influence on Viennese composers. 

diumenge, 15 de setembre del 2024

HAYDN, Johann Michael (1737-1806) - Missa Sti Hieronymi à 4 Voci (1777)

Franz Xaver Mandl (1812-1872) - Blick auf Salzburg


Johann Michael Haydn (1737-1806) - Missa Sti Hieronymi, à 4 Voci Conc:ti, 2 Ob: 2 Fag: 3 Tromboni,
tutti oblig: con Organo (1777), MH 254
Performers: Miah Persson (soprano); Katija Dragojevic (alto); Frederik Strid (tenor); Lars Johansson (bass);
St. Jacob's Chamber Choir; Ensemble Philidor; Günter Theis (conductor)

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Austrian composer. Brother of Joseph Haydn (1732-1809), he went to Vienna at the age of eight and entered the choir school at the Stephansdom. About 1753 his voice broke and he was dismissed from the choir school. By 1757 he left Vienna for Grosswardein. His solemn Missa SS Cyrilli et Methodii (1758) was one his earliest and finest works composed there. He was apparently back in the vicinity of Vienna in 1762. It was during this time that he came to the attention of Count Vinzenz Joseph Schrattenbach, the nephew of Sigismund Christoph, Archbishop of Salzburg, who recommended that Haydn be offered a position in Salzburg. From the quantity of Haydn's music that was copied for performances in eastern Austria during the 1750s and 60s, it would seem that he was quite well known throughout the region. The death of J.E. Eberlin in 1762 led to a reshuffling of the prominent musicians in Salzburg and eventually to Haydn's appointment as court Konzertmeister. Among his colleagues were Leopold Mozart, A.C. Adlgasser, G.F. Lolli and later W.A. Mozart. On 24 July 1763 some ‘Tafelmusique’ by him was performed, and on 14 August he officially assumed his new position, which involved playing the organ as well as the violin. From then until the death of Archbishop Schrattenbach late in 1771, he mainly wrote dramatic works for the theatre of the Benedictine University; Die Schuldigkeit des ersten Gebots (1767) was the result of a collaboration between Haydn, Adlgasser and the 11-year-old Mozart. On 17 August 1768 he married Maria Magdalena Lipp (1745-1827), a singer in the Hofkapelle and daughter of the court organist, Franz Ignaz Lipp. The couple lived in an apartment owned by the Abbey of St Peter, for which Haydn composed a number of occasional works. The Haydns’ only child, Aloysia Josepha, was born in 1770, but died within a year. Hieronymus, Count Colloredo, was enthroned as Prince-Archbishop in March 1772, and he immediately instituted tighter fiscal controls which greatly restricted the activities of the university theatre. 

A planned trip to Italy probably never materialized because he was promptly given the position of organist at the Dreifaltigkeitskirche when Adlgasser died suddenly on 22 December 1777. Bitter that the position was not given to his son, Leopold Mozart, who had previously praised his colleague, described Haydn as prone to heavy drinking and laziness. Haydn composed his best-known works between 1771 and 1777: the Requiem (1771) and the Missa S. Hieronymi (1777). In 1782 he assumed the position of court organist. On the 1200th anniversary of the archiepiscopate, in the same year, Colloredo published a pastoral letter, the first of a series of proclamations intended to simplify church services. In response, Haydn composed about 100 settings of Mass Propers in a simple homophonic style. During the 1780s, Haydn completed 20 symphonies. Writing from Vienna in 1784, Mozart expressed his astonishment at how quickly he was able to obtain copies of Michael Haydn’s most recent symphonies. During the 1790s Haydn enjoyed an expanding sphere of influence as a teacher of composition; Anton Diabelli was involved in the publication of many of Haydn's sacred works by the Viennese publishing firm that later bore his name. Sigismund Neukomm was a pupil of Haydn in the 1790s. The young C.M. von Weber came to Haydn in 1797; and Franz Schubert, though never one of his pupils, visited Haydn's grave in Salzburg and included words of admiration for him in a letter to his brother Ferdinand. In January 1801 his apartment was plundered by French soldiers, and this was possibly a catalyst for a trip to Vienna. By September 1801 he was again in Vienna rehearsing a mass commissioned by Empress Maria Theresia, who sang a solo part in a performance. He began work on a Requiem (1806), commissioned by the empress, but owing to his declining health he never finished it. Although he expected the coming spring to bring an improvement in his health, it did not; and he died, with friends and students at his bedside, on 10 August 1806. 

divendres, 13 de setembre del 2024

NARRO CAMPOS, Manuel (1729-1776) - Concierto De Clave (1767)

Louis-Michel van Loo (1707-1771) - La familia de Felipe V


Manuel Narro Campos (1729-1776) - Concierto De Clave Con Violines, Viola y Violón Obligados (1767)
Performers: Silvia Márquez (harpsichord); La Tempestad

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Spanish composer, organist and theorist. According to a document from 1738 he was baptised in the parish church of San Esteban in Valencia and it also stated he was a choirboy at the College of Corpus Christi (El Patriarca) in Valencia. When he was 18 years old he was appointed assistant of Francisco Vicente, the main organist there. In 1749, and after the death of Francisco Vicente, he was subsquently promoted as interim organist there. From 1752 to 1771 he was titular organist at the Collegiate Church of Játiva where he was ordained a priest. In 1757 he unsuccessfully applied to the position of chapel master at the Cathedral of Valencia and in 1761 he was appointed the organist there but he only remained few months before going back to Játiva. In 1768 he fruitlessly applied for the vacant position of chapel master at the Cathedral of Málaga and applied, also unsuccessfully, for a position as organist at the Royal Chapel of Madrid, which was awarded to José Lidón. In 1771 he resigned from his position as organist in Játiva, presumably to take over the organist post at the Descalzas Reales in Madrid. Around 1775 he returned to Valencia where he died few months later. As a composer, he mainly wrote sacred music, among them, 7 masses and 26 psalms. He also left an harpsichord concerto (1767) as well as 7 keyboard sonatas. His extant output, around 70 works, is only preserved in manuscript.

dimecres, 11 de setembre del 2024

CAMPAGNOLI, Bartolomeo (1751-1827) - Sinfonia concertante

Christian Gottlieb Hammer (1779-1864) - View of Dresden from the West (1833)


Bartolomeo Campagnoli (1751-1827) - Sinfonia concertante (Sol maggiore) per flauto, violino e orchestra
Performers: Mario Folena (flute); Francesco Manara (violin); Orchestra di Padova e del Veneto;
Giancarlo Andretta (conductor)

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Italian violinist and composer. From an early age he studied violin, initially in his native town and later in Modena, under the tuition of Paolo Guastaroba. In 1768, he moved to Padua, where for some time he studied at the school of Giuseppe Tartini. In the following years he appeared as soloist in Rome and Florence; in the latter city he resided from 1771 to 1775, working in the school of one of Tartini's most famous pupils, Leghorn-born Pietro Nardini (1722-1793), and employed as a violinist at Teatro della Pergola. In Florence he also gave successful concerts, reviewed by Gazzetta Toscana, and became a friend of the young Luigi Cherubini. Wishing to widen his horizons and to start a soloist career, in 1776 he left Italy and moved to Freising, Bavaria, where he entered the service of bishop Ludwig von Welten as Konzertmeister at court. He remained until 1779, during which time he also gave well received concerts in Poland, Latvia and Sweden. Later he spent several years in Dresden, and continued to appear in public in northern Europe, returning twice to Italy, in 1784 and 1788. In 1797 he became Konzertmeister of the Gewandhaus Orchestra in Leipzig. In that city, the musician published his Violin Method, which soon became extremely popular in all of Europe. Meanwhile, as the famous orchestra's first violin, he had the opportunity to become acquainted with and perform the symphonic and instrumental output of the great Austro-German composers. On the side he never stopped composing, and towards the end of the 18th century a few of his works started to appear on the market: his Op.1, Six Duos pour la Flute et Violon, was published around 1790 in Berlin; others followed, for a total of 22 opus numbers. He also continued his activity as itinerant performer. In Paris, in 1801, he met again with his friend Cherubini, and made the acquaintance of Rodolphe Kreutzer, whose violin concerto he performed in Leipzig in 1804, earning himself a cautiously positive pronouncement by Louis Spohr. In 1816 he ended his nearly twenty-year-long appointment with the Gewandhaus, and returned for some time to Italy with his two daughters, Albertina Campagnoli (1795-1848) and Giannina Campagnoli (1797-1848), both of whom were singers. But in 1821 the violinist was already back in Germany, to take up the position of Konzertmeister in Neustrelitz, probably to be close to his daughters who, from 1819, had been enrolled at the Hannover Theatre. After a last visit to Italy in 1826, he died in Neustrelitz.

dilluns, 9 de setembre del 2024

FISCHER, Johann Caspar Ferdinand (1656-1746) - Ouverture in d-moll (1695)

Franz de Paula Ferg (1689-1740) - Jahrmarkt mit zinnenbekröntem Bergfried


Johann Caspar Ferdinand Fischer (1656-1746) - Ouverture (IV, Suite in d-moll), œuvre première (1695)
Performers: Collegium Dаmiаnum

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German composer. He came from a family of craftsmen and attended the grammar school run by Piarist friars (the order was founded in Rome in 1617 to promote the education of the poor). It was presumably here that he received his first lessons in composition, the monastery archive contains an early work by him, and learnt to play the keyboard and the violin. He may have been first taught composition by the Kapellmeisters and court musicians Johann Hönel and Augustin Pfleger, and by Georg Bleyer. Since Duke Julius Franz sent gifted musicians to receive further training elsewhere, and had connections with the Dresden court, he may have acquired his high degree of contrapuntal skill from Christoph Bernhard in Dresden. There is no evidence that he ever studied with Lully in Paris. Lully's works were known and performed in Bohemia through printed scores and from Georg Muffat's visit to Prague in 1677. Fischer could have made an intensive study of them during his journeys to Prague and Schloss Raudnitz on the Elbe in the course of his professional duties. In 1689 or earlier Duke Julius Franz appointed Fischer to succeed Pfleger as Kapellmeister in Schlackenwerth; his name appears with that title in financial statements relating to the weddings of the two princesses in 1690. After the partition of the state at the end of 1690 Fischer may have been appointed Hofkapellmeister to Margrave Ludwig Wilhelm of Baden. The margrave had married the heiress of Schlackenwerth, Princess Sibylla Augusta, and made his residence there at the time of the war with France. There is clear evidence of Fischer's position in the titles of his printed works from 1695 onwards. The court moved to Rastatt in 1705, but because of reductions in the personnel during the war years Fischer did not accompany it. It was not until October 1715, after a Piarist foundation had been set up in the city, that he was finally given a post there, which he held until his death. After his first wife's early death in 1698 he re-married, probably at the beginning of 1700, and this marriage lasted until 1732. Johann Caspar Ferdinand Fischer served the Baden court for almost 60 years, albeit with the assistance of the man who was to succeed him, Franz Ignaz Zwifelhofer, towards the end of his career. Sadly underrepresented in today's concert repertoire, his music reveals itself on closer study to possess a marked individuality, stylistic diversity and elaborate harmonies.

diumenge, 8 de setembre del 2024

CEREROLS, Joan (1618-1680) - Missa angelorum à 5

Lumen Portengen (1608-1649) - The Concert


Joan Cererols (1618-1680) - Missa angelorum à 5
Performers: Maria Casado (soprano); Cor de cambra Francesc Valls; Pere Lluís Biosca (conductor)

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Spanish composer. He joined the school choir at the Montserrat monastery, conducted at that time by Maestro Joan March (also known as Marquès or Márquez), with whom he received his first musical education. In 1636, he acquired the status of novice and in 1648, when the upheaval of the Catalonian War of Secession had already subsided, he was in the convent of Montserrat founded in Madrid by the monks that had left the Catalan monastery when the war broke out. The temporary stay of chapel musicians from the monastery at the “Monserratico” in Madrid was a frequent case in later periods, a practice that certainly followed the purpose of broadening the training of future masters, making them become acquainted with the practice and styles of the Crown’s royal chapel choir. In Cererols’ case, more specifically in Madrid, he was able to keep in touch with the most advanced music of the chapel of the Spanish Habsburg kings conducted by Mateo Romero, known as the “maestro capitán”, and Carlos Patiño. After the death of Joan March in 1658, he was appointed choirmaster in his home monastery at Montserrat, a position he held until his death.

divendres, 6 de setembre del 2024

DIABELLI, Anton (1781-1858) - Sonatine für das Pianoforte und Guitare

Eduardo Dalbono (1841-1915) - La Tarantella Napoletana


Anton Diabelli (1781-1858) - Sonatine für das Pianoforte und Guitare, Op.70 (1834)
Performers: Rita Maria Flеrеs (fortepiano); Mario Sicca (1930-2023, guitar)

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Austrian publisher and composer. He was a choirboy in the monastery at Michaelbeurn, and at Salzburg Cathedral. He studied for the priesthood at the Munich Latin School, but continued his musical work, submitting his compositions to Michael Haydn, who encouraged him. On the secularization of the Bavarian monasteries, Diabelli, who had already entered that at Raichenhaslach, embraced the career of a musician, went to Vienna (where Joseph Haydn received him kindly), taught piano and guitar for a living, and in 1818 became a partner of Cappi, the music publisher, assuming control of the firm (Diabelli & Co.) in 1824. He published much of Schubert's music, but underpaid the composer, and complained that he wrote too much. In 1852 he sold his firm to CiA. Spina. A facile composer, he produced an opera, 'Adam in der Klemme' (Vienna, 1809), masses, cantatas, chamber music, etc., which were consigned to oblivion; however, his sonatinas are still used for beginners and guitar players, and his pastoralmesse (1830) is regularly performed in Austria. His name was immortalized through Beethoven's set of 33 variations (op.120) on a waltz theme by Diabelli.

dimecres, 4 de setembre del 2024

BACH, Johann Christian (1735-1782) - Sinfonia Concertata a più Stromenti

Jean Démosthène Dugourc (1749-1825) - A party in a Louis XVI interior lit by a candelabra and a torchere, with a couple dancing the minuet


Johann Christian Bach (1735-1782) - Sinfonia Concertata (B-Dur) a più Stromenti Obligati,
WarB C 48, TerB 289/5
Performers: Federico Fοrlа (oboe); Clara Sаwаda (violin); Martin Jantzеn (cello);
Das Neue Mannhеimer Orchester; Anders Muskеns (fortepiano & conductor)

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German composer. The youngest son of Johann Sebastian Bach (1685-1750), he received his earliest musical training from his father and a cousin, Johann Elias Bach. After serving as a secretary to his father the final year of his father’s life, he moved to Berlin in 1750, receiving further instruction from his brother Carl Philipp Emanuel Bach. In 1755 he left for Milan, where he eventually obtained the patronage of Count Agostino Litta. Following study with Padre Giovanni Battista Martini and conversion to Roman Catholicism, he was appointed second organist at the Milan cathedral in 1760. A commission for an opera from the Teatro Regio in Turin the same year, however, altered his fortunes; the work, Cantone in Utica, was a success that led both to commissions throughout Italy and an international reputation as a composer of Italian opera. In 1762 he was invited to London, where he set the opera Orione. Its success and the appointment as Music Master to the Queen allowed him to reside permanently there. A further trip to Paris solidified his ability to publish his music, and, finally, his lodging with compatriot Carl Friedrich Abel resulted in a collaborative concert series beginning in 1764. For the next decade he traveled regularly to Paris where his works were highly esteemed, and in 1772 he was invited to Mannheim to set the opera Temistocle. In 1779 he wrote his first tragédie lyrique for Paris, Amadis de Gaule. Despite the successes, competition with rival concert a difficult economic situation, and ill health led to his early death. Bach can be considered one of the pivotal composers of the age. Unlike his brothers Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach, he fully immersed himself in the Italian style, creating works that feature clear period lyrical themes, solid harmonic foundations, and distinct formal structures. His orchestration, often using obbligato instruments, is colorful, and Bach used various Mannheim orchestral devices to great effect. He was one of the most popular composers of the period, whose music had circulation throughout Europe, influencing a later generation of composers, such as Wolfgang Amadeus Mozart. He was a prolific composer in virtually all genres. His works include 39 operas, three serenatas, an oratorio, seven Mass/Requiem movements, 28 other sacred works, 15 concert arias and cantatas, 45 songs/canzonetts, 34 symphonies, 19 sinfonia concertantes, 28 keyboard concertos, 11 other concertos (violin, flute, oboe, and bassoon), six wind symphonies, 11 marches, a sextet, 13 quintets (string and piano), 20 quartets (string, flute, and piano), 14 trio sonatas, 12 trios (almost all piano trios), 26 violin sonatas, two viola da gamba sonatas, 23 keyboard sonatas (four for keyboard four hands), and numerous miscellaneous pieces for the keyboard and harp. His music has been cataloged according to Terry (T) or Warburton (W or CW) numbers.

dilluns, 2 de setembre del 2024

GRAGNANI, Filippo (1768-1820) - Trio pour trois Guitares (c.1815)

Carl Joseph Begas (1794-1854) - The Begas Family (1821)


Filippo Gragnani (1768-1820) - Trio pour trois Guitares (c.1815)
Performers: Trio Chіtarrіstіco di Bеrgamo

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Italian guitarist and composer. Son of the violin maker Antonio Gragnani (fl. c.1765-1795), he came from a family of notable luthiers and musicians. He received music lessons, mainly focused on sacred music, from the violinist and composer Giulio Maria Lucchesi, but he later devoted enterely to the guitar as a virtuoso. By 1810 he settled in Paris where he befriended and became a pupil of the famous guitarist Ferdinando Carulli. From 1807 he published his own works in Paris, city where guitarists were among the most beloved musicians during the first half of the 19th Century. After 1812 his trace was lost but he probably was active in Paris before moving back to Livorno, where he spent his last years. 

diumenge, 1 de setembre del 2024

PACHELBEL, Johann (1653-1706) - Christ lag in Todes Banden (c.1705)

Anthony van Dyck (1599-1641) - Virgin and Child with Music-Making Angels


Johann Pachelbel (1653-1706) - In Festo Paschatos. | Christ lag in Todes Banden. | â 10. | Soprano, Alto, Tenore, Basso | 2 Violini, 3 Viole, 1 Basson (c.1705)
Performers: Claire Leffiliatre (soprano); Hans Jörg Mammel (tenor); Choeur de Chambre de Namur & Les Agrémens; Jean Tubéry (conductor)

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German organist and composer. He received his early education at the St. Lorenz school in Nuremberg and then entered the university at Altdorf in June 1669 but because of finances had to transfer to the Gymnasium Poeticum at Regensburg, where he qualified for a scholarship and was allowed to study music under Kaspar Prentz outside the normal curriculum. In 1673, he became deputy organist at Stefansdom in Vienna, where he possibly studied with Johann Caspar Kerll and doubtless learned much about Catholic liturgical music. He then moved to Eisenach in Thuringia, becoming organist on 4 May 1677. The next year, he left for Erfurt, possibly because the mourning for his patron’s brother, Prince Bernhard of Saxe-Jena, reduced musical activities. He began a 12-year residence at the Predigerkirche at Erfurt on 19 June 1678. On 25 October 1681 he married Barbara Gabler, but she and their son were carried off in a plague of September 1683. He then married Judith Trommert on 24 August 1684, and together they had five sons and two daughters. Wilhelm Hieronymus Pachelbel (1686-1764) became a well-known musician in Germany, and another son, Carl Theodorus Pachelbel (1690-1750), brought his father’s music to the American colonies. During this period, in Thuringia, he taught music to Johann Christoph Bach, who would later teach Johann Sebastian Bach. He took up a new post as organist at the Württemberg court in Stuttgart on 1 September 1690, but a French invasion forced him back to Thuringia, and he became the town organist for Gotha. He remained there, refusing one invitation to return to Stuttgart and another to move to Oxford, until the invitation from his home city of Nuremberg came shortly after the death of Sebalduskirche organist Georg Kaspar Wecker on 20 April 1695. Johann Pachelbel was a prolific composer of such renown in the late 17th-century musical life of central Germany that his home city, Nuremberg, waived the normal practice of inviting prominent candidates to be examined for its most important musical position organist of Sebalduskirche, and simply asked Pachelbel, then town organist at Gotha, to take the job.