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.