BINDER, Carl (1816-1860) - Ouverture 'Orpheus in der Unterwelt'

Carl Binder (1816-1860) - Ouverture zur Jacques Offenbach 'Orpheus in der Unterwelt'

Performers: Angèlе Dubеau (violin); La Piеtà

Painting: Jean-Baptiste-Camille Corot (1796-1875) - Orpheus Leading Eurydice from the Underworld (1861)

Further info: Infernal Violins

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Carl (Karl, Carlo, Charles) Binder

(Vienna, 29 November 1816 - Vienna, 5 November 1860)

Austrian composer. Nothing is known about his early years. From 1839 to 1847 he was Kapellmeister at Viennese suburban theaters writing a large number of scores for Possen (farces) and Singspiele, most of which did no more than satisfy the expectations of the audiences of his day. He later did achieve a few major successes with the scores to seven of Johann Nepomuk Nestroy’s plays written between 1851 and 1859, and in his instrumentation of Offenbach’s operettas which reached Vienna in the late 1850s. He was elected an honorary member of the Dom-Musik-Verein in Salzburg on 10 April 1854. Of approximately 80 works written by Binder between 1849 and 1860, those most frequently performed at the Carltheater (formerly the Theater in der Leopoldstadt) included the scores to Nestroy’s Kampl (1852) and Umsonst (1857), Kaiser’s Verrechnet (1851) and the ‘Charakterbild’ Die Frau Wirtin (1856), and Kalisch’s Ein gebildeter Hausknecht (1858). His best-known work though was the overture on various motifs of the Jacques Offenbach operetta 'Orpheus in der Unterwelt', stage work originally composed by Offenbach with a short instrumental prelude but with no overture itself. The overture was arranged by Carl Binder for the first operetta performance in Vienna (1860) achiving a great success. His son Karl Binder (1843-1870) was a promising musician ended by an early death.

PUGNANI, Gaetano (1731-1798) - Sinfonia a più Strumenti (c.1775)

Gaetano Pugnani (1731-1798) - Sinfonia (Si bemolle maggiore) a più Strumenti (c.1775)

Performers: Neue Düssеldorfеr Hofmusik; Mary Utіgеr (conductor)

Painting: Anton Kern (1709-1747) - Rinaldo und Armida im Zauberwald (c.1735)

Further info: Gaetano Pugnani (1731-1798) - Concerto in re maggiore per due violini

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(Giulio) Gaetano (Gerolamo) Pugnani [Pugnano, Pugniani]

(Turin, 27 November 1731 - Turin, 15 July 1798)

Italian violinist and composer. Trained under Giovanni Battista Somis and Giuseppe Tartini, at the age of ten he began his career as a second violinist in the orchestra at the Teatro Regio, Turin, though his official appointment was delayed until 19 April 1748. Two years later he made his debut at the Concerts spirituels in Paris. Was then when 'The Mercure de France' wrote: ‘the connoisseurs insist that they have never heard a violinist superior to this virtuoso’. From 1767 to 1769 he served as conductor at the King’s Theatre in London, where his first opera, 'Nanetta e Lubino' (1769), met with success. He also appeared in concerts with Johann Christian Bach and other prominent musicians. In 1770 he became first violinist of the king’s music in Turin, a post his teacher Somis had held and which included the leadership of the Teatro Regio orchestra. His most famous pupil was Giovanni Battista Viotti, with whom he toured Europe as far as Russia in the 1780s and 1790s, thereby becoming the direct link between the early violin styles of Tartini and the later international style represented by Viotti. His last foreign journey took him to Vienna, where on 22 March 1796 he conducted his orchestral suite based on Goethe’s Werther. As a composer, he was known for his dramatic and harmonically adventurous works. These include eight operas, the mentioned 'Werther', six concert arias, an oratorio, three cantatas, 19 symphonies, eight quintets, five violin concertos, six string quartets, 45 trios, 18 duets, 20 violin sonatas and numerous dances.

BAUR, Jean (1719-1777) - Sonate pour harpe et clavecin (c.1774)

Jean Baur (1719-1777) - Sonate pour harpe et clavecin des 'Sonates pour la harpe dont deux

avec un accompagnement chantant pour le clavecin ou le forte-piano et deux

avec un accompagnement de violon ad libitum ... œuvre VIII' (c.1774)

Performers: Clara Izаmbеrt (harp); Marie van Rhіjn (harpsichord)

Drawing: Thomas Rowlandson (1757-1827) - A woman plays the harp and sings, but her husband sleeps

Further info: Jean Baur (1719-1777) - Sonates pour harpe et clavecin (c.1773)

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Jean Baur [Baur 'le père']

(Bouzonville, 1719 - Paris?, 1777)

French composer and harpist. He was the first member of a family of musicians. He settled in Paris in 1745, four years before Georg Adam Goepfert introduced the pedal harp there. Jean Baur was among the first one on using the pedal harp in his chamber works, and his sonatas with clavecin or fortepiano accompaniment mark him as the earliest known composer to differentiate between the harp and keyboard instruments. Among his works, dozens of sonates for several instruments compiled in collections printed and published in Paris. His daughter Marie-Marguerite Baur (1748-after 1790) was also an harpist active in Paris, where she made her début at the Concert Spirituel in 1762. His son Barthélemy Baur (1751-1823) was an harpist and composer active in Tours, and his grandson Charles-Alexis Baur (1789-after 1820) was an harpist, pianist, teacher and composer active in London.

SIMRAK, Ján (1600-1657) - Missa Super omnes gentes

Ján Šimrák (1600-1657) - Missa Super omnes gentes

Performers: Camerata Brаtislаva; Jan Rozеhnаl (conductor)

Painting: Jan Brueghel II (1601-1678) - Die Ruhe auf der Flucht

Further info: Šimbracký - Latin Church music

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Ján (Johannes) Šimrák [Schimbrack, Schimrag, Schimbracky, Šimbracký et al.]

(1600 - Spišské Podhradie, 1657)

Slovak composer and organist. Almost nothing is known about his life and career. He came from the German evangelical environment of Spiš where he was born into a family of priests and teachers. It was mentioned as a senator of the Podhradie city council from 1637 until his death in 1657 and as organist in Spišské Podhradie. As a composer, he mainly wrote sacred music the most of them currently preserved in three tablature books which contains almost the whole of his extant output.

MARPURG, Friedrich Wilhelm (1718-1795) - Concerto per il Clavicembalo

Friedrich Wilhelm Marpurg (1718-1795) - Concerto (B-Dur) per il Clavicembalo (1757)

World Premiere Recording

Performers: Pau NG on Sibelius with samples of a German harpsichord (18th Century)

Painting: Johann Nikolaus Grooth (1723-1797) - Kurfürst Maximilian III. Joseph mit seiner Gemahlin und Schwester

Further info: Friedrich Wilhelm Marpurg (1718-1795) - Partita Sesta C-Dur (1756)

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Friedrich Wilhelm Marpurg [Marpourg, Simeon Metaphrastes der Jüngere]

(Seehof, 21 November 1718 - Berlin, 22 May 1795)

German critic, journalist, theorist and composer. Although little is known about his musical training, he was resident in Paris in 1746, where he became friends with François Marie Arouet 'Voltaire' and Jean le Rond d'Alembert, among others. Shortly after his return to Germany, he published his first work, 'Der critische Musicus an der Spree', which was followed in 1754 by his most famous and widely distributed journal, 'Historisch-kritische Beyträge zur Aufnahme der Musik'. In 1752 he wrote an extended preface for Johann Sebastian Bach’s Kunst der Fuge under the auspices of publisher Breitkopf. Economic difficulties were overcome in 1763 when he was given a post at the Prussian Lottery, three years later becoming its director. His final major work, the 'Kritische Briefe über die Tonkunst', published between 1760 and 1764, was equally significant in establishing his reputation as a critic and theorist. As a composer, he showed that he was one of the significant figures in the Berlin School. He composed 185 Lieder (many of which were published in anthologies he edited), six sonatas for harpsichord (c.1755), a collection of fugues (1777) and two collections of chorale preludes.

KOZELUH, Leopold (1747-1818) - Simphonie à grand orchestre (1787)

Leopold Koželuh (1747-1818) - Simphonie (Sol mineur) à grand orchestre ... oeuvre 22 (1787)

Performers: Collеgium 1704; Václav Lսks (conductor)

Drawing: Dirk Langendijk (1748-1805) - Battle Scene with Church at right (c.1795)

Further info: Leopold Kozeluch (1747-1818) - Piano concerto B-Dur (c.1786)

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(Jan Antonín) Leopold (Leopoldo) Koželuh [Kozeluch, Kotzeluch, Goscheloch et al.]

(Velvary, 26 June 1747 - Vienna, 7 May 1818)

Bohemian composer, pianist, music teacher and publisher. His earliest musical education was under Antonín Kubík and his cousin Jan Antonín Koželuh in his hometown. By 1771 he had moved to Prague, where he studied briefly under František Xaver Dusek and wrote ballets for the National Theatre. By 1774 he had Germanized his name to prevent confusion with his cousin Jan Antonín Koželuh (1738-1814), arriving in Vienna in 1778 to study under Johann Georg Albrechtsberger. In 1781 he was given the post as teacher of Archduchess Elisabeth, Georg Christoph Wagenseil’s old position. By 1781 he was so well established there that he could refuse an offer to succeed Mozart as court organist to the Archbishop of Salzburg. He remained active in Viennese musical and social circles the remainder of his life, although in 1792 he was named as Wolfgang Amadeus Mozart’s successor as Kapellmeister in Prague, a position that did not require residence. Although he is best known for his disparaging remarks on the music of Mozart, Joseph Haydn, and Ludwig van Beethoven, as a composer he had a reputation for works that demonstrated good orchestration and solid formal structures. His 400 or so compositions include six operas, 25 ballets, five Masses, numerous smaller church works, two oratorios, 30 symphonies, 22 piano concertos (plus others for clarinet and bassoon), two sinfonia concertantes, 24 violin sonatas, six string quartets, 63 keyboard trios, 10 parthies, two serenades, eight divertimentos, 61 dances, 87 keyboard sonatas, nine secular cantatas, and six vocal notturnos. His daughter Katharina Koželuh-Cibbini (1785-1858) was a well-known pianist and composer of piano music during the early 19th century in Vienna.

SCHEIBL, Johann Adam (1710-1773) - Concerto ex C a Clavi Cembalo

Johann Adam Scheibl (1710-1773) - Concerto Ex c | a | Clavi Cembalo | Violino Primo | Violino Secondo |

Clarino Primo | Clarino Secondo [accolada: ad lib] | e | Baʃso

Performers: MiIko Bіzjаk (cembalo); Gertraud Gаmеrith (violin); Aninka Hаrms (violin); Alojz Mordеj (violoncello)

Painting: Pietro Longhi (1701-1785) - La trattativa

Further info: Johann Adam Scheibl (1710-1773) - Parttitta in C

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Johann Adam Scheibl [Scheibel]

(Spital am Pyhrn, 18 November 1710 - St. Pölten, 31 December 1773)

Austrian organist and composer. He was born in Spital am Pyhrn as the son of a collegiate conductor and received his first music lessons from his father. From 1734 to 1737 he served as organist at the Benedictine monastery in Seitenstetten and later was appointed organist and choirmaster at the Augustinian canons in St. Pölten, which was later repealed under Joseph II. Occasionally, he also was commissioned by the Piarists. As a composer, he wrote at least 22 masses, three requiems, numerous smaller church pieces, ballets, symphonies, divertimenti as well as several concertos and keyboard parthien.

ABOS, Girolamo (1715-1760) - Magnificat à 4:o Concertato con Strum.ti

Girolamo Abos (1715-1760) - Magnificat à 4:o Concertato con Strum.ti

Performers: Zoe Brown (soprano); Myriam Arbouz (alto); George Pooley (tenor); Mauro Borgioni (bass);

Die Kölner Akademie; Michael Alexander Willens (conductor)

Painting: Joseph Kenhelm (18th Century) - View of the Grand harbour, Valetta, Malta

Further info: Girolamo Abos (1715-1760) - Messa a due cori (1756)

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Girolamo (Matteo) Abos [Abbos, Abosso, Avos, Avossa, Avosso, D'Avossa, Habos]

(Valetta, 16 November 1715 - Naples, October 1760)

Maltese composer and teacher. Born into a musical family, his grandfather, who was French, settled in Malta in 1661. Girolamo Abos was sent to Naples at the age of 14 to study at the Conservatorio dei Poveri di Gesù under Gaetano Greco, Francesco Durante and Gerolimo Ferrara. His first opera for Naples was 'Le due zingare simili', an opera buffa staged at the Teatro Nuovo in 1742. The same year he was appointed deputy to maestro di cappella Ignazio Prota at the Conservatorio di Sant’Onofrio a Porta Capuana in a post he held until his death. On 29 May 1752 he married Angela Maria Gauttier, by whom he had two children. In 1754 he also became secondo maestro at the conservatory Pietà dei Turchini, but retired from the post on 11 July 1759 and was succeeded by Pasquale Cafaro. He also occasionally served as maestro di cappella at several important Neapolitan churches. As a composer, he wrote at least 16 operas (mostly seria), many of which were performed internationally. In addition he composed at least one symphony (1735) and numerous sacred works, among which the Stabat mater (1758) is the best known. He was not related to the composer active in Naples, Giuseppe Avossa (1708-1796), despite some mistaken attributions exist among manuscript copies.

HUMMEL, Johann Nepomuk (1778-1837) - Concerto a Trombe Principale

Johann Nepomuk Hummel (1778-1837) - Concerto (Es-Dur) a Trombe Principale (1803), IJH 100

Performers: Ludwig Güttlеr (trumpet); Kammerorchester Bеrlin; Max Pommеr (conductor)

Painting: Johann Peter Krafft (1780-1856) - Der Einzug von Kaiser Franz I. in Wien nach dem Pariser Frieden

Further info: Johann Nepomuk Hummel (1778-1837) - Messe Nr. 2 in Es à 4 Voci (1804)

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Johann (Johannes, Jean, John) Nepomuk Hummel [Humel]

(Pressburg [now Bratislava], 14 November 1778 - Weimar, 17 October 1837)

Slovakian-Austrian composer, teacher and pianist. He was son of Johannes Hummel (1754-1828), director of the Imperial School of Military Music in Vienna, and Margarethe Sommer (1751-1837). Recognized as a child prodigy, he began musical instruction from Wolfgang Amadeus Mozart in 1786 when his family moved to Vienna. Making his debut a year later, he was so proficient that in 1788 Mozart recommended that he be taken on tour of Germany and Denmark. By 1790 he and his family were in Edinburgh, Scotland, where he took on pupils for a short time, and in 1792 he made his debut at the Hannover Square Rooms in London. He returned to Vienna in 1795, where he studied organ under Joseph Haydn, composition under Antonio Salieri, and counterpoint under Johann Georg Albrechtsberger. During this period he began a long and often stormy friendship with Ludwig van Beethoven, whom Hummel considered a superior performer and composer, often lending him an inferiority complex. In 1804, he became Konzertmeister at the Esterházy estate in Eisenstadt, a position that was problematic enough that in 1811 he resigned and turned to private teaching. In 1816 he obtained the position as court Kapellmeister in Stuttgart but left after only a year to take up a similar post in Weimar. In 1832, at the age of 54 and in failing health, he began to devote less energy to his duties as music director at Weimar. He was in partial retirement until his death in 1837. As a composer, although his music displays redolent Classical form and structure, the advanced harmonies and expanded forms more properly belong to the Romantic period, with the bulk of his music being written after 1800. His output embraced virtually all the genres and performing media common at the turn of the century: operas, Singspiele, symphonic masses and other sacred works, occasional pieces, chamber music, songs and concertos and solo piano music, as well as many arrangements. He was considered in his time to be one of Europe's greatest composers and perhaps its greatest pianist. Despite his great success, he seems to have remained fundamentally a warm and simple person. His son Eduard Hummel (1814-c.1875) was also a composer active in Augsburg. 

BRANDL, Johann Evangelist (1760-1837) - Te Deum Laudamus

Johann Evangelist Brandl (1760-1837) - Te Deum Laudamus | a Piu | Stromenti

Performers: Ruth Dobers (soprano); Marion Egner (alto); Marcus Elsässer (tenor); Joachim Herrmann (bass);

Chor der Hofkirche Bruchsal; Bruchsaler Hofkapelle; Dominik Axtmann (conductor)

Painting: Ludwig Halauska (1827-1892) - A View of Klosterneuburg Monastery (1873)

Further info: Brandl - Piano Quintet, Op.63 (1798)

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Johann (Iohann) Evangelist (Evangeliste) Brandl [Brandel, Branden, Prandl]

(Kloster Rohr, 14 November 1760 - Karlsruhe, 25 May 1837)

German violinist and composer. Following early musical training, probably at Regensburg, he was appointed as Kapellmeister at Bartelstein in 1784, five years later moving to Bruchsal. Intermittent temporary appointments in Karlsruhe and Stuttgart occurred until 1805, when he moved to Karlsruhe as Kapellmeister and director of the town theatre along with Franz Danzi. He remained there until his death in 1837. As a composer, he was concerned with the infusion of drama into musical settings. His monodrama 'Hero und Leander' attempts to provide a lush orchestral setting for the Greek tale. His other works include five operas, over 50 Lieder, 60 Masses, numerous smaller church works (hymns and litanies), nine symphonies, 20 string quintets (and several others with winds), five concertos, three sextets, and two serenades, as well as six string quartets and numerous concert arias.

CANONGIA, José Avelino (1784-1842) - Concerto pour la clarinette

José Avelino Canongia (1784-1842) - Troisixième Concerto (Mib majeur) pour la clarinette avec Orchestre ou Quatuor dédié à S. M. Dom Fernando second (c.1840)

Performers: Julien Hеrvе (clarinet); Orquestra Sinfónica da ESMAE; António Sаiοte (conductor)

Painting: John Lewis Krimmel (1789-1821) - Parade of the Victuallers (1821)

Further info: José Avelino Canongia (1784-1842)

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José (Joze) Avelino Canongia

(Oeiras, 10 November 1784 - Lisbon, 10 July 1842)

Portuguese clarinetist and composer. He was born into a family of Catalan origin. His father, Ignacio Canongia, the principal clarinettist of the Teatro São Carlos, had emigrated from Catalonia in the 1780s. He pursued his son to study at the music school of the Confraria do Apóstolo Paulo, where Canongia learned to sing, play the piano and the violin. He later studied clarinet with Johann Anton Wisse, a German musician active in Lisbon. Few time later he was promoted first as musician of the Teatro de São Carlos orchestra and then of the Teatro do Salitre orchestra. From 1806 to 1808, he settled in Paris and then in Nantes. Following solo performances in Paris and London, and upon his return to Portugal, he was appointed principal clarinettist at the Portuguese Royal Court. He embarked on numerous tours throughout Europe: in 1818, he gave recitals in Genoa and Bologna; in 1819 in Saint Petersburg; in 1820 in Turin, Zurich, Dresden, Weimar, Frankfurt, and Berlin. His appearance at the Concerts Spirituels in 1820 was greatly appreciated by the Parisian public. In 1821, after concerts in Munich, he returned to Lisbon via Paris, where he became a soloist of the Teatro de São Carlos orchestra in a post he held until his death in 1842. As a composer, and along with João Domingos Bomtempo, he is considered one of the greatest virtuoso musicians in Portugal during the early 19th century. He possessed a brilliant technique, and during his tour of Germany, his playing was compared to that of Heinrich Joseph Bärmann and Johann Simon Hermstedt. His compositions include four concertos, variations, fantasies, and other works for clarinet.

ZOMB, František Xaver (1779-1823) - Missa brevis ex D (1812)

František Xaver Zomb (1779-1823) - Missa brevis ex D (1812)

Performers: Livia Aghová (soprano); Marta Beňačková (alto); Ludovit Ludha (tenor); Peter Mikulás (bass); Spevácky zbor mesta Bratislavy; Statna filharmónia Kosice; Richard Zimmer (conductor)

Painting: Jakob Alt (1789-1872) - Košice Cathedral (1839)

Further info: Zomb - Choral Works

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František Xaver Zomb

(Košice, 9 November 1779 - Košice, 20 December 1823)

Moravian composer and teacher. Almost nothing is known about his life. He was mainly active as a regens chori, teacher and composer in his hometown. In 1819 he was appointed as choirmaster in the Košice Cathedral in a post he held the rest of his life. He was also documented as music critic to the 'Allgmeine musikalische Zeitung' in Leipzig and Vienna. As a composer, he mainly focused on sacred music, among them, a collection of ten masses from 1812 and a set of Vespers.

VON PREUSSEN, Anna Amalie (1723-1787) - Sonata per il Flauto traverso

Anna Amalie von Preußen (1723-1787) - Sonata (F-Dur) per il Flauto traverso e Basso (1771)

Performers: Elisabeth Wеinziеrl (flute); Eva Schiеfеrstеin (cembalo); Philipp von Morgеn (cello)

Painting: Antoine Pesne (1683-1757) - Prinzessin Amalia von Preussen (1757)

Further info: Flute Music of Female Composers

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Anna Amalie (Amalia, Amélie), Prinzessin von Preußen [Äbtissin von Quedlinburg]

(Berlin, 9 November 1723 - Berlin, 30 March 1787)

German patron, amateur musician and composer. Son of Friedrich Wilhelm I (1688-1740) and Sophie Dorothea von Hannover (1687-1757), and sister of Frederick II (1712-1786), her earliest training in music came only after the death of her father and was under the tutelage of her brother. In 1743 she secretly married Baron Friedrich von der Trenck, but when this became known and her pregnancy discovered, she was packed off to the cloister at Quedlinburg. She preferred this location, though she spent most summers thereafter in Berlin at a palace given her by her brother. In 1755 she became abbess of the secularized convent of Quedlinburg, a position which afforded her a comfortable income and made almost no demands on her time. She continued to make her home in Berlin, where she held musical soirées attended by the artists and intelligentsia of Berlin and Europe. Adept as a performer on flute, violin, and keyboard, she formed her own musical circle alongside the Berlin School, taking composition from both Carl Heinrich Graun and Johann Kirnberger, beginning in 1758. Her number of compositions is relatively slight, given that she probably destroyed many in later years. Among them are several cantatas, marches, and smaller chamber works much in the style of the Berlin composers. Her greatest significance to music lies in her music library, a collection of incalculable value. It is particularly rich in 18th-century music – that of J.S. Bach above all. She has not to be confused with Anna Amalia, Duchess of Saxe-Weimar, also a composer.

RICCI, Francesco Pasquale (1732-1817) - Sinfonia à Più Stromenti obligati

Francesco Pasquale Ricci (1732-1817) - Sinfonia (IV, B-Dur) à Più Stromenti obligati, Op.2 (1767)

Performers: Nеthеrlands Radio Chamber Orchestra; Jan Willеm de Vriеnd (conductor)

Drawing: Giuseppe Galli Bibiena (1696-1757) - Classical Architectural Fantasy

Further info: Francesco Pasquale Ricci (1732-1817) - Sinfonia Diss Dur a piu Instrumenti (c.1767)

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Francesco Pasquale Ricci [Rici, Rizzi] detto 'Festoni'

(Como, 17 May 1732 - Loveno di Menaggio, Como, 7 November 1817)

Italian composer and violinist. Following early studies in Milan, he joined the Franciscan Order of the Friars Minor obtaining the title of abbé. In 1759 he was appointed as maestro di cappella of the cathedral in Como, but he was absent for long periods touring France and England. In 1764 he was employed at the court of William V of Orange in The Hague, where his students included Josina van Aerssen. In 1780 he returned to Como, where he remained, being pensioned in 1798. His main claim to fame was a treatise written for a Neapolitan conservatory titled 'Méthode ou recueil des connaissances élémentaires pour le forte-piano ou clavecin', published in 1786 and purported to be done in collaboration with the then-late Johann Christian Bach. His own music includes 15 symphonies, three sinfonia concertantes, two concertos, 12 trios, 12 trio sonatas, six quintets, six string quartets, a number of chamber works, two Masses, a Requiem sequence, and six ariettas. 

Unknown composer (18th Century) - Concerto per il Oboe

Unknown composer (18th Century) - Concerto (Sol minore) à 6 con il Oboe Obbligato

(apparently composed by Antonio Vivaldi as RV 812 but not on RISM / IMSLP)

Performers: Andreas Hеlm (oboe); Concіlіum Musicum Wien

Painting: Attributed to Jacques de Lajoue (1687-1761) - Portrait of a musician, full-length,

seated before a park landscape

Further info: Klingende Schätze aus Schloss Rohrau

ORTWEIN, Magnus (1845-1919) - Dreifaltigkeits-Messe (1907)

Magnus Ortwein (1845-1919) - Dreifaltigkeits-Messe für 4stimmig gemischten Chor und Orchester (1907)

Performers: Susanne Langbein (soprano); Martha Senn (alto); Johannes Puchleitner (tenor); Marc Kugel (bass);

Chor und Orchester der Akademie St. Blasius; Karlheinz Siessl (conductor)

Painting: Eduard von Steinle (1810-1886) - Der Heilige Franziskus in seiner Zelle Ein Engel stillt des Sterbenden Sehnsucht nach Musik (1855)

Further info: Ortwein - Dreifaltigkeitsmesse

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P. Magnus (Josef) Ortwein

(Laatsch, 3 November 1845 - Meran, 2 October 1919)

German priest and composer. He received his first musical training from his father, a teacher and organist. In 1865, he entered at the Benedictine monastery of Marienberg and studied theology from 1866 to 1870, being ordained a priest in 1869. From 1870 to 1872, he taught mathematics, physics, and singing at the Benedictine Gymnasium in Meran and from 1872 to 1876, he studied German, Latin, and Greek at the University of Innsbruck. From 1876 to 1919, he settled again in Meran where he was appointed as a high school teacher and choirmaster and, from 1886 to 1917, director of the Benedictine Gymnasium. As a composer, he only wrote vocal music, among them, two masses, several graduals, offertories and hymns as well as motets and secular and sacred songs. His style tries to emphasize the liturgical texts by combining his Wagnerian leitmotif technique with old classical polyphony.

VINYALS GALI, Josep (1772-1825) - Sonata per a orgue (1797)

Josep Vinyals i Galí (1772-1825) - Sonata per a orgue (1797)

Performers: Montserrat Torrent (orgue)

Drawing: Carl Christian Schramm (fl. 1726-1735) - Vista del Pont del Diable de Martorell,

amb la muntanya de Montserrat al fons (1735)

Further info: L'Orgue de Maó - Obres del S.XVIII

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Josep (José) Vinyals (Viñals) i Galí [Gali]

(Terrassa, 1 November 1772 - Terrassa, 10 January 1825)

Spanish monk, organist and composer. He received his musical training at the Escolania de Montserrat under Anselm Viola and Narcís Casanoves, which whom he learned to play the organ, violin and cello. In 1791, he entered the Montserrat abbey as a monk and from 1799 onwards, he took over the post of choirmaster. During this period, he wrote a large corpus of liturgical music to perform at the same abbey. As organist there, he also wrote a large amount of organ music, compiled in a collection (1797). After the Napeoleonic war and the consequent destruction of the abbey, he came back to Terrassa where he assumed an organist post at the parish church. He also was in charge of recovering the Montserrat music lost during the Napoleonic war. He spent his last years at the monastery of Sant Benet de Bages.