CALDARA, Antonio (c.1670-1736) - Te Deum

Antonio Caldara (c.1670-1736) - Te Deum laudamus (C-Dur) à 2. chori

Performers: lаrynx ensemble; Les Passions de l'Âmе; Mеrеt Lüthi (conductor)

Painting: Johann Adam Delsenbach (1687-1765) - Wien, Ansicht der Innenstadt vor dem Rotenturmtor (c.1750)

Further info: Antonio Caldara (c.1670-1736) - Missa Sanctificationis Sancti Joannis Nepomuceni

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Antonio Caldara

(Venice, c.1670 - Vienna, 28 December 1736)

Italian composer. He became a chorister at St Mark's in Venice, where he learned several instruments, probably under the instruction of Giovanni Legrenzi. In 1699 he relocated to Mantua, where he became maestro di cappella to the inept Charles IV, Duke of Mantua, a pensionary of France with a French wife, who took the French side in the War of the Spanish Succession. Caldara removed from Mantua in 1707, after the French were expelled from Italy, then moved on to Barcelona as chamber composer to Charles III, the pretender to the Spanish throne (following the death of Charles II of Spain in 1700 without any direct heir) and who kept a royal court at Barcelona. There, he wrote some operas that are the first Italian operas performed in Spain. He moved on to Rome, becoming maestro di cappella to Francesco Maria Marescotti Ruspoli, 1st Prince of Cerveteri. While there he wrote in 1710 La costanza in amor vince l'inganno (Faithfulness in Love Defeats Treachery) for the public theatre at Macerata. With the unexpected death of Emperor Joseph I from smallpox at the age of 32 in April 1711, Caldara deemed it prudent to renew his connections with Charles III – soon to become Holy Roman Emperor Charles VI – as he travelled from Spain to Vienna via northern Italy. Caldara visited Vienna in 1712, but found Marc'Antonio Ziani and Johann Joseph Fux firmly ensconced in the two highest musical posts. He stopped at the Salzburg court on his return journey to Rome, where he was well received (and to which he subsequently sent one new opera annually from 1716 to 1727). In 1716, following the death the previous year of Ziani and the promotion of Fux to Hofkapellmeister, Caldara was appointed Vize-Kapellmeister to the Imperial Court in Vienna, and there he remained until his death. Caldara composed more than 70 operas, more than 30 oratorios, and other works including motets and sonatas. Several of his compositions have libretti by Pietro Metastasio, the court poet at Vienna from 1729. 

WEISS, Johann Sigismund (c.1690-1737) - Concerto in d-moll

Johann Sigismund Weiss (c.1690-1737) - Concerto in d-moll

Performers: Slava Grigοryаn (guitar); Tаsmаniаn Symphony Orchestra; Benjamin Nοrthеy (conductor)

Painting: Gaspare Traversi (c.1722-1770) - A concert

Further info: Baroque Guitar Concertos

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Johann Sigismund Weiss [Weis, Weiß]

(Breslau [now Wrocław], after 1690 - Mannheim, 12 April 1737)

German lutenist and composer. Son of Johann Jacob Weiss (c.1662-1754) and brother of Silvius Leopold Weiss (1686-1750), he probably was trained by his father with whom, in 1708, was appointed lutenist at the court of the Elector Palatine in Düsseldorf; he remained at the Palatine court until his death. After Elector Johann Wilhelm died in 1716 the court music positions became unstable. In 1718 a lutenist, ‘Mr Weys’, gave weekly chamber concerts in London for several months and played for the king, possibly seeking a position at Court. This was probably Johann Sigismund Weiss rather than his elder brother. By 1732 he had been promoted to director of instrumental music, and in a personnel list of 1734 is cited as both Konzertmeister and theorbo player. He married in 1726, and remarried two years after his first wife’s death in 1732. Ernst Gottlieb Baron described him as not only a lutenist ‘but also an excellent gambist and violinist and composer’.

LEAUMONT, Robert (1762-1814) - Duo Concertant (1786)

Robert Léaumont (1762-1814) - Duo concertant (Re majeur)

pour le clavecin ou le forte-piano et violoncelle (1786)

Performers: Arthur Loesser (1894-1969, pianoforte); Luigi Silva (1903-1961, cello)

Painting: Unknown artist (18th Century) - Allegory of music

Further info: Music in America

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Robert Léaumont [Marie-Robert de Castile, Chevalier de Léaumont]

(Saint-Domingue, Haiti, 15 May 1762 - Charleston, 5 August 1814)

French pianist, composer and teacher. Son of Gabriel Henri de Castille de Leaumont (1723-1795) and Perrine Victoire Therese Bezin (?-1794), he was born into an aristocratic family in the French West Indies. He served in the American Revolutionary War as an officer in the French Régiment d’Agenois, and was wounded at the battle of Yorktown in October 1781. After the war he was made a Chevalier of the Royal Order of St. Louis and returned to his life as a wealthy planter and amateur musician. In 1784 he published his 'Six Trios Concertants Pour deux Violons et Basse' and in 1786 his 'Duo concertant pour le clavecin ou le forte-piano et violoncelle', both in Paris. Around 1795, and after the Haitian Revolution stripped his fortune out, he fled to the United States. From 1796 he was active at the Federal Street Theatre in Boston as a violinist and orchestra leader. He relocated to Charleston, South Carolina by December 1799, when he advertised there to teach singing, piano, violin, cello, and fencing. For the remainder of his life, he was an active concert performer, theater musician and music teacher in Charleston.

HOFFMEISTER, Franz Anton (1754-1812) - Concerto pour le pianoforté

Franz Anton Hoffmeister (1754-1812) - Concerto (D-Dur) pour le clavecin, ou pianoforté, avec deux violons, deux hautbois, deux cors, alto et basse ... œuvre 24 (1789)

Performers: Wilhelm Neuhaus (piano); Cologne Chamber Orchestra; Helmut Muller-Bruhl (1933-2012, conductor)

Painting: Christian Ludwig Seehas (1753-1802) - Franz Anton Hoffmeister (1784)

Further info: Franz Anton Hoffmeister (1754-1812) - Klarinettenkonzert B-Dur, Nr.2 (c.1780)

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Franz Anton Hoffmeister

(Rothenburg am Neckar, 12 May 1754 - Vienna, 9 February 1812)

German composer and music publisher. He attended the University of Vienna in law beginning in 1768, but shortly thereafter he decided to pursue a career in music. In 1783 he began to publish his own music, and by 1785 he had established a firm in Vienna to compete with Artaria. Well educated, erudite, and congenial, he was a welcomed guest in intellectual circles in the Austrian capital for the next several decades, while his publishing business thrived with a branch in Linz and collaborations with others such as Bösseler in Speyer. After 1790 he began to devote himself more to his music, and in 1799 he undertook a concert tour as a keyboardist to Germany and France. In Leipzig he formed a partnership with Ambrosius Kühnel, which became one of the early progenitors of the firm of C. F. Peters. The international success of particularly his Singspiel Der Königssohn aus Ithaka made it possible for him to divest himself from his businesses by 1805. As a composer, he concentrated mostly upon instrumental works, since these were the most publishable and salable music. He was extraordinarily prolific and many of his Viennese works were also popular in foreign cities: by 1803 his most successful opera, 'Der Königssohn aus Ithaka' (Vienna, 1795), had been performed in Budapest, Hamburg, Prague, Temesvár (now Timişoara), Warsaw and Weimar; his numerous chamber works were published in Amsterdam, London, Paris and Venice, as well as throughout German-speaking regions. Although his symphonies were admired for their flowing melodies and his pedagogical works for being both pleasant and instructive, his style is generally lacking in originality and depth. His works include nine Singspiels, two cantatas/oratorios, an offertory, 66 symphonies, 11 serenades, 54 sets of dances, 59 concertos (25 for fortepiano, 14 for flute, and 20 for other instruments, including five sinfonia concertantes), 30 quintets (string, flute, and other), 57 string quartets, 46 flute quartets, nine piano quartets, 18 string trios, 12 flute trios, 76 string duets, 130 flute duets, 50 violin sonatas, five flute and viola sonatas, 26 piano sonatas, and numerous other pieces for winds and keyboard. 

VORISEK, Jan Václav (1791-1825) - Missa solemnis (c.1820)

Jan Václav Voříšek (1791-1825) - Missa solemnis (c.1820)

Performers: Patrice Michaels (soprano); Tami Jantzi (mezzo-soprano); William Watson (tenor); Peter Van De Graaff (bass); Prague Chamber Chorus; Czech National Symphony Orchestra; Paul Freeman (1936-2015, conductor)

Painting: Johann Peter Krafft (1780-1856) - Engelssturz (c.1831)

Further info: Voříšek - Symphony in D & Mass in B-Flat

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Jan Václav (Johann Hugo) Voříšek [Worzischek]

(Vamberk, 11 May 1791 - Vienna, 19 November 1825)

Bohemian composer, pianist and organist. He was the youngest son of Václav František Voříšek (1749-1815) who taught him the piano and singing. He later studied the organ and the violin and began to compose. As a child prodigy, he started to perform publicly in Bohemian towns at the age of nine. After settled in Prague, he studied at a grammar school and later he went on at the Prague University. At the same time, he took piano and composition lessons from Václav Tomášek. In 1813 he moved to Vienna to study law at the university as well as music under Johann Nepomuk Hummel. In Vienna he personally met Ludwig van Beethoven (1814) and many other important personalities of European musical life; among others Franz Schubert, with whom they became good friends. He finished his law studies only in 1821 and for a short time made his living as a clerk; at the same time he composed, conducted and taught piano. In 1824 he was appointed the first court organist in Vienna. At that time, however, he suffered from tuberculosis; his treatment in Graz did not help and he died in his age of 34. As a composer, he mainly wrote piano works; he started in the classical style but soon romantic elements predominated. He also composed, among others, a Symphony (1821), several chamber works and a Solemn Mass. Although he was born in Bohemia, Voříšek's music bears hardly a trace of what was later considered to be Czech national style. Well versed in Viennese classicism, he was among the last of the many Bohemian émigrés of his time to compose in the internationalized late-Classical style associated with Vienna. Voříšek's music provides a remarkably accurate picture of the musical trends prevalent in Biedermeier Vienna, especially during the decade 1815-1825. His brother František Voříšek (1785-1843), a priest, was also a musician, and the two daughters, Eleonora Voříšek and Anna Voříšek, were pianists. 

LECLAIR, Jean-Marie (1697-1764) - Concerto a tre violini, alto e basso (1737)

Jean-Marie Leclair (1697-1764) - Concerto (I, Re mineur) a tre violini, alto e basso per organo e violoncello ... oeuvre VIIe (1737)

Performers: Orchestre de chambre de Rouen; Albert Bеaucamp (1921-1967, conductor)

Painting: Jean-Baptiste Pater (1695-1736) - Pastoral Festivity (c.1730)

Further info: Jean-Marie Leclair (1697-1764) - Concertos Op.7 & Op.10

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Jean-Marie Leclair (l’aîné) [Claire, Le Clair, Le Clerc]

(Lyons, 10 May 1697 - Paris, 22 October 1764)

French composer, violinist and dancer. His father was the master lacemaker and cellist Antoine Leclair. He studied violin, dancing, and lacemaking in his youth, excelling in all three. He then began his career as a dancer at the Lyons Opera, where he met Marie-Rose Casthagnie; they were married in 1716. About 1722 he went to Turin, where he was active as a ballet master. During a visit to Paris in 1723 to arrange for the publication of his op.1, a distinguished set of sonatas, he acquired a wealthy patron in Joseph Bonnier. Returning to Turin, he wrote ballets for the Teatro Regio Ducale and also received instruction from Giovanni Battista Somis. He then made a series of appearances at the Concert Spirituel in Paris in 1728. He also visited London, and then made a great impression when he played at the Kassel court with Pietro Locatelli. He subsequently received additional instruction from Andre Cheron in Paris. After the death of his first wife, he married Louise Roussel (1700-c.1774) in 1730; she engraved all of his works from op.2 forward. From 1733 to 1737 he served as 'ordinaire de la musique du roi' to Louis XV. He then entered the service of Princess Anne at the Orange court in the Netherlands in 1738, and was honored with the Croix Neerlandaise du Lion. He was active three months of the year at the court, and, from 1740, spent the remaining months as maestro di cappella to the commoner François du Liz at The Hague. He returned to Paris in 1743. With the exception of a brief period of service with the Spanish Prince Don Philippe in Chamhery in 1744, he remained in Paris for the rest of his life. From 1748 until his death, he was music director and composer to his former student, the Duke of Gramont, who maintained a private theater in the Parisian suburb of Puteaux. He separated from his wife about 1758. He was murdered as he was entering his home. The Paris police report listed three suspects: His gardener (who discovered his body), his estranged wife, and his nephew, the violinist Guillaume-François Vial, with whom he was on poor terms. The evidence clearly pointed to the nephew, but he was never charged with the deed. As a violinist, he was the founder of the French violin school. He was also a distinguished composer who successfully combined the finest elements of the Italian and French styles of his day. His brothers Jean-Marie Leclair [le cadet] (1703-1777), Pierre Leclair (1709-1784) and Jean-Benoît Leclair (1714-c.1759) were also violinists and composers.

LINLEY, Thomas (1756-1778) - The Tempest (1777)

Thomas Linley (1756-1778) - The Tempest (1777)

Performers: Julia Gοοding (soprano); The Pаrley of Instruments Baroque Choir & Orchestra; Paul Nichοlsοn (conductor)

Painting: Thomas Gainsborough (1727-1788) - Thomas Linley the younger

Further info: Thomas Linley (1756-1778) - Cantatas & Theatre Music

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Thomas Linley [the younger]

(Bath, 7 May 1756 - Grimsthorpe, 5 August 1778)

English composer and violinist. Son of the composer Thomas Linley (1733-1795), he was known as a child prodigy, performing a concerto on the violin at the Bath concerts in 1763 at age 7. Thereafter he was sent to London to study under William Boyce, and in 1768 he went to Italy to study under Pietro Nardini. He met Wolfgang Amadeus Mozart there in April 1770 and Charles Burney in September of the same year. He returned to England in 1771 and became a regular performer in concerts in Bath and London. He was leader at Drury Lane from 1773 to 1778 and often played concertos between the acts of oratorios. His tragic early death in a boating accident while on holiday with his family at Grimsthorpe Castle was one of the greatest losses that English music has suffered. As a composer, his music includes three operas, three anthems/odes (including one on Shakespeare), 20 songs, 20 violin concertos (most lost), and several smaller works. He was one of the most precocious composers and performers that have been known in England. The famous painter Thomas Gainsborough painted Linley’s portrait three times. His sisters Elizabeth Ann Linley (1754-1792) and Mary Linley (1758-1787) were both sopranos, and his brothers William Linley (1771-1835) and Ozias Thurston Linley (1765-1831) were musicians and composers.

GRAUN, Carl Heinrich (1704-1759) - Ouverture 'Cesare e Cleopatra' (1742)

Carl Heinrich Graun (1704-1759) - Ouverture 'Cesare e Cleopatra' (1742)

Performers: Orfеus Barock; Francesco Cοrtі (conductor)

Painting: Antoine Pesne (1683-1757) - Carl Heinrich Graun with his wife Anna Luise

Further info: Carl Heinrich Graun (1704-1759) - Sinfonia in C

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Carl (Karl, Carolus, Carlo) Heinrich Graun [Braun, Craun, Grann, Grau, Graue, Grauen]

(Wahrenbrück, 7 May 1704 - Berlin, 8 August 1759)

German composer and singer. Born into a family of musicians, his brothers August Friedrich Graun (c.1698-1765) and Johann Gottlieb Graun (1702-1771) were also musicians and composers. Carl Heinrich Graun was educated at the Kreuzschule in Dresden in 1714, where he composed his earliest works, sacred compositions, under the tutelage of Johann Zacharias Grundig. In 1718 he matriculated at Leipzig University, where he continued his musical studies with Emanuel Benisch, Johann Christoph Schmidt and Christian Pezold. In 1725 he was employed in Braunschweig as a tenor, and it was there that he composed his earliest opera 'Polydorus'. Further successes led to his coming to the attention of Crown Prince Frederick of Prussia, into whose musical establishment at the court in Rheinsburg he was admitted in 1735. He remained at the Prussian court after it moved to Berlin when the crown prince became Frederick II, and in 1742 he was appointed Kapellmeister at the opera. Along with colleagues Johann Joachim Quantz, Carl Philipp Emanuel Bach and Franz Benda, as well as his brother Johann Gottlieb Graun, he was part of the inner intellectual artistic circle that formed around the king, and during the last decade of his life he was known, along with Johann Adolph Hasse, as one of the chief opera seria composers of the period. His inaugural opera for Berlin, 'Cesare e Cleopatre' (1742), can be considered a seminal work in the composition of the Italian opera in German, and his 'Montezuma' (1755), to a text by Frederick II, explores an exotic subject unusual for the period. The same year he collaborated with poet Carl Ramler in writing a new type of Passion titled 'Der Tod Jesu', which only a few years later Johann Adam Hiller stated was an indispensible piece for any music library. It remained the quintessential German Easter oratorio on into the 19th century. The scope of Graun’s compositions has yet to be determined, given that many compositions, particularly chamber works, bear only his last name. This leads to inevitable confusion with his brothers’ works, and there remain issues of proper attribution. He did, however, write 32 operas (mostly opera seria), six Easter oratorios/cantatas, a Te Deum, six cantatas, seven Masses, 15 German sacred cantatas, 32 songs, three symphonies, seven concertos for keyboard, 25 trios (mainly two violins or flutes and basso), and numerous smaller works. The music has been cataloged by Christoph Hewel and is known by GraunWV numbers, further specified as CHG in the catalog itself. 

MARTINES, Marianne (1744-1812) - Missa solemnis (1765)

Marianne Martines (1744-1812) - Missa solemnis in D-Dur (1765)

Performers: Katharina Spiеlmann (soprano); Nina Amοn (mezzosoprano); Felix Riеnth (tenor); Michael Krеis (bass); Chorgemeinschaft Kirchdοrf; Peter Lοοsli (conductor)

Painting: Anoniem - Angel playing music

Further info: Marianne Martines (1744-1812) - Concerto da Cimbalo (c.1771)

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Marianne (Maria Anna Katharina) von Martines [Martinez]

(Vienna, 4 May 1744 - Vienna, 13 December 1812)

Austrian composer, singer and keyboardist. She was the daughter of a Neapolitan who had come to Vienna as ‘gentiluomo’ to the papal nuncio. She spent her childhood under the educational guidance of Pietro Metastasio, a friend of the family who lived in the same house; she was taught singing, the piano and composition by Nicola Porpora and Jospeh Haydn, who were also living there, by Giuseppe Bonno and possibly by J.A. Hasse. As a child she had attracted attention at court with her beautiful voice and her keyboard playing, and in 1761 a mass by her was performed in the court church. She acknowledged in 1773, when she became an honorary member of the Bologna Accademia Filarmonica, that as a composer she took as her principal models Hasse, Jommelli and Galuppi. Not only did she possess a thorough understanding of imitation and fugue, but she also knew how to set words in the Baroque manner. Her predilection for coloratura passages, leaps over wide intervals and trills indicate that she herself must have been an excellent singer. In 1772 Burney praised her singing for all the typical virtues of the Italian school as well as for ‘touching expression’. Burney’s remark that her vocal works were ‘neither common, nor unnaturally new’ applies to her instrumental works as well. A typical composer of the early Classical period in Vienna, she wrote in the Italian style. Her works include four Masses, six motets, three litanies, numerous Psalms and other sacred works, two oratorios, three keyboard sonatas, a keyboard concerto, and a symphony, as well as songs. 

DELLER, Florian Johann (1729-1773) - Suite 'Orfeo Ed Euridice' (1763)

Florian Johann Deller (1729-1773) - Suite-Ballet 'Orfeo Ed Euridice' (1763)

Performers: Consortium Musicum; Walter Thoеnе (conductor)

Drawing: Johann Hieronymus Löschenkohl (1753-1807) - Sprievod bratislavských mäsiarov (1790)

Further info: Am Hofe Des Herzogs Karl Eugen Von Württemberg

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Florian Johann (Giovanni) Deller [Teller, Döller, Töller]

(Drosendorf, bap. 2 May 1729 - Munich, 19 April 1773)

Austrian composer and violinist. Little is known of his early education, save that it was at regional monastic schools. He first appears in 1751 as a violinist in Stuttgart, where he studied under Niccolò Jommelli. His first success as a composer was with a ballet 'Orfée et Euridice' (1763), choreographed by Jean-Georges Noverre. By 1769 he had achieved a success as an opera composer in Vienna with a production at the Burgtheater of 'Il maestro di cappella' (1773) and had been appointed concertmaster and Hofcompositeur in Stuttgart. He soon left and settled in Munich, where he is reputed to have received a commission from Maria Antonia Walpurgis to write a mass for Dresden. He died in Munich on his way back from further work in Vienna. As a composer, he was known as a facile composer particularly of ballet music, with a good solid sense of danceable rhythm. His music was generally in the Viennese Classical style with the addition of Italian orchestral recitative for the large pantomime scenes and folklike melodies. His works include 11 ballets, nine comic operas, four symphonies, six trio sonatas, two flute concertos, and numerous sacred compositions.

RODRIGUEZ, Felipe (1760-1815) - Sonata III (1801)

Felipe Rodríguez (1760-1815) - Sonata (III, en Si bemol mayor) from 'Quaderno de Sonatas para Organo Del Rdo. P. Fr. Felipe Rodríguez. Para uso de Fr. Francisco Moll Orgta. Año 1801'

Performers: Josep Maria Roger (fortepiano)

Painting: José del Castillo (1737-1793) - Un paseo a la orilla del Estanque del Retiro (1780)

Further info: Rodriguez - Obras Para Fortepiano

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Felipe Rodríguez

(Madrid, 1 May 1760 - Madrid, 5 May 1815)

Spanish organist and composer. His parents, Matías and Josefa, were born in the city of Corella, Navarre. As a boy he studied music in the Escolanía of Montserrat with Anselm Viola Valentí, and where Narcís Casanoves Bertrán held also the post of organist. He finished his stay there at the age of 17 years and on 13 February 1778 he took the monastic novice habit from the hands of Dídac Camino, president of the monastery, in the absence, surely, of Abbot Pere Viver (abbot during years 1777-1782). The following year he took his full monastic vows at Montserrat. Is not documented when he was transferred to the monastery of Montserrat of Madrid, where he cultivated his musical talents as organist (he was a very fine player) and composing a book of organ sonatas. It is interesting to note that his works were fairly well known in Catalonia, since there are different copies made outside Montserrat, and that they were well received. It is not certain whether he composed any vocal works for the escolanía. 

HIRSCHBERGER, Albericus (1709-1745) - Concerto I (1743)

Albericus Hirschberger (1709-1745) - Concerto I (C-Dur) aus Philomela Cisterciensis ex valle Bernardina Raittenhaslacensi In Orbem evolans, tàm in Urbe, quàm Rure Dei Laudem ter tremulâ Voce decantatura, id est Opus tripartitum constans Sex Missis, totidémque Offertoriis, ac Concertis, adjuncto Te Deum, &c (1743)

Performers: Kammerorchester Musica Bavarica; Alois Kirchbеrgеr (conductor)

Painting: Bernardo Bellotto (1722-1780) - Widok lak Wilanowskich

Further info: Musik aus Bayerischen Klöstern

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(Josef Joachim) Albericus (Alberico, Alberich) Hirschberger [Hirshperg, Hirsperger, Hyrschperger]

(Ried im Innkreis, 11 March 1709 - Schupfing bei Halsbach, 27 September 1745)

German priest and composer. In 1727 he entered the Cistercian abbey of Raitenhaslach in Upper Bavaria, where he was ordained a priest in 1734. In 1731 he settled at the Benedictine monasteries of Rott am Inn (1732-33) where he received music lessons. Few years later, he was appointed music director in Raitenhaslach in a post he held until 1743. As a composer, despite he wrote many works, he was mainly known by his collection 'Philomela Cisterciensis ex valle Bernardina Raitenhaslacensi in orbem evolans' (1743) which includes 6 masses, 1 Te Deum, 11 church sonatas (concertos), 1 pastorello as well as other minor sacred pieces. The masses included in that collection were highly praised and were reprinted several times. He was family-related to the organists Johann Amand Hirschberger (1678-1727), Anton Hirschberger (1700-1736) and Anton Claudius Hirschberger (1734-1810).

DOUBRAVSKY, František (1790-1867) - Missa solemnis

František Doubravský (1790-1867) - Missa solemnis

Performers: Collegium musicum Český ráj; Jiří Zahradník (conductor)

Painting: Auguste Matthieu (1810-1864) - Vue de la Grande Place de Prague et de l'ancien Hôtel de Ville

Further info: František Doubravský (1790-1867) - Sacred music

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František Doubravský [Dobravský, Dobrawsky, Dobrowsky]

(Lomnice nad Popelkou, 7 February 1790 – Lomnice nad Popelkou, 28 April 1867)

Bohemian composer, choirmaster and organist. Son of the composer Ferdinand Doubravský (1747-1829), he received music lessons from his father. In 1820 he was appointed organist of the St. Mikuláš church in Lomnice nad Popelkou in a post he probably held the rest of his life. He was also active there as teacher, composer and music director. As a composer, he mainly wrote sacred music, among them, 73 masses, 13 requiems, 5 Stabat Mater, 11 Te Deum, Litanies. Apparently, he also composed 4 symphonies and a violin concerto but all of them are currently lost.

SARRIER, Antonio (fl. 1725-1762) - Sinfonía en Re mayor

Antonio Sarrier (fl. 1725-1762) - Sinfonía en Re mayor

Performers: RIAS Sinfonietta Berlin; Jorge Velasco (conductor)

Drawing: Pieter van den Berge (1659-1737) - Vooraanzicht van het Koninklijk Paleis te Madrid

Further info: Antonio Sarrier (fl. 1725-1762)

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Antonio Sarrier

(Madrid, fl. 1725 - 1762)

Spanish composer and instrumentist. Nothing is known about his year of birth and youth. By 1725 he was documented as timpanist in the Real Caballería (Royal Cavalry) located in Madrid. In 1736 he was documented as trumpetist there. In 1749 he was appointed, by Fernando VI, trumpetist in the Royal Chapel of Madrid in a post he held at least until 1762. After that year his trace was lost and some sources indicated he had moved to New Spain but no evidences extant. This was due to the fact his 'Sinfonía en Re mayor' was found in the school archive of the Santa Rosa, Michoacán (México).

HAAS, Ildephons (1735-1791) - Exultate jubilate Deo (1766)

Ildephons Haas (1735-1791) - Exultate jubilate Deo aus 'XV offertoria', opus II (1766)

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

Raimung Hug (conductor)

Painting: Giacinto Diano (1731-1803) - The Dedication of the Temple at Jerusalem

Further info: Festliche Musik Aus Sudwestdeutschen Benediktinerklostern

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Ildephons (Johann Georg) Haas

(Offenburg, 23 April 1735 - Ettenheimmünster, 30 May 1791)

German violinist and composer. He received his first lessons as a choirboy and when he was 12 studied violin in the Baden court. In 1750 he entered the Benedictine monastery in Ettenheimmünster, where he met and studied with Johann Stamitz. He later joined him in Mannheim and received further lessons from Leopold Mozart. After completing theological studies, he was ordained priest in 1759 and later held many positions in the monastery, including those of choir director (1761-73) and prior (1781). As a composer, he mainly wrote sacred music, among them, the collections 'XXXII hymni vespertini' (1764), 'XV offertoria' (1766), 'Geistliche Arien' (1769) and a Missa de nativitate. In his later years he was praised as one of the best violinists and church composers in the Upper Rhine valley.

KAMMEL, Antonín (1730-1784) - Sonata I in D Major (1766)

Antonín Kammel (1730-1784) - Sonata I in D Major, Op.1 (1766)

Performers: Paul Luchkow (violin); Sam Stadlen (Viola da Gamba); Michael Jarvis (Fortepiano)

Painting: Thomas Gainsborough (1727-1788) - Portrait of a musician, probably Antonín Kammel

Further info: Giordani & Kammel - Sonatas

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Antonín Kammel [Kamel, Kammell, Kamml, Khaml, Cammell]

(Běleč, bap. 21 April 1730 - London, 5 October 1784)

Bohemian composer and violinist. Born on the Wallenstein estate, he attended the Patris Piares College in Slaný before moving to Prague to attend university in law beginning in 1751. When he decided to dedicate his life to music, he was sent by Count Vincent of Waldstein to Padua to study with Giuseppe Tartini. By 1765 he had made London his residence, performing frequently as a musician in the royal chambers with colleagues Carl Friedrich Abel and Johann Christian Bach. He frequently toured England as a soloist, and he had a reputation for performing adagios in a fine, sensitive manner. He composed exclusively instrumental works, mostly for strings: violin sonatas, duos, string trios, quartets and violin concertos, as well as sinfonias and divertimentos, where he also used wind instruments. In his time he was a very successful composer, as is indicated by the number of works he published and their numerous re-editions. Most of his works were published between 1770 and 1777 in London, Paris, Amsterdam, The Hague and Berlin.

MALZAT, Johann Michael (1749-1787) - Missa in C-Dur (c.1780)

Johann Michael Malzat (1749-1787) - Missa in C-Dur (c.1780)

Performers: Heіke Hеіlmаnn (sopran); Martha Sеnn (alt); Johannes Puchlеіtnеr (tenor); Ralf Ernst (bass);

Chor und Orchester der Akademіe St. Blаsіus; Karlheіnz Sіеssl (conductor)

Drawing: Georg Daniel Heumann (1691-1759) - Die Servitenkirche in Wien am Alsergrund, Kupferstich

Further info: Johann Michael Malzat (1749-1787) - Sinfonia concertante in C

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Johann Michael Malzat [Maltzath, Maltzbach, Malzahn, et al.]

(Vienna, 21 April 1749 - Innsbruck, 13 May 1787)

Austrian composer and choirmaster, son of the composer and violinist Josef Malzat (1723-1760). He attended the grammar school in Kremsmünster, where he was a chorister and possibly also a cellist. He was subsequently a teacher in the abbeys of Stams in the Tyrol (1778–80) and Lambach in Upper Austria (1781), a member of the church choir in Bozen (now Bolzano) (1780–81), household musician in Schwaz (1784) and finally choirmaster in the university church in Innsbruck (1786–7). His instrumental works in particular enjoyed wide distribution and were advertised by Traeg in Vienna as late as 1799. His music has been little studied but consists of five Masses, a Requiem, an oratorio, a Singspiel, a cantata, two smaller sacred works, five symphonies, five concertos (several lost), a sinfonia concertante, 10 quartets, three string trios, and five sonatas. His brother Ignaz Malzat (1757-1804) was an oboist and composer active as principal oboe at the court of the Prince-Archbishop of Passau.

REBEL, Jean-Féry (1666-1747) - Les Elémens, simphonie nouvelle (c.1737)

Jean-Féry Rebel (1666-1747) - Les Elémens, simphonie nouvelle (c.1737)

Performers: Frеiburgеr Barockorchester; Amandine Bеyеr (conductor)

Painting: Claude-Joseph Vernet (1714-1789) - The Shipwreck (1772)

Further info: Jean-Féry Rebel (1666-1747) - Sonatas pour le violon

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Jean-Fery Rebel [le père]

(Paris, bap. 18 April 1666 - Paris, 2 January 1747)

French violinist, harpsichordist, conductor and composer. Son of Jean Rebel (c.1636-1692), he showed talent for music and began playing the violin at an early age, winning the approbation of the King and Jean-Baptiste Lully when he was only 8. He then became his pupil in violin and composition. From 18 August 1705 he was one of the 24 Violons du Roi and then became batteur de mesure in that ensemble and in the Opéra orchestra. On 30 March 1718 he obtained from Michel-Richard de Lalande rights of reversion to the post of chamber composer to the king, and he duly succeeded his brother-in-law in this post on Lalande's death. He also was active at the Academic Royale de Musique in various capacities, being made its 'maitre de musique' (1716) and also conducted at the Concert Spirituel (1734-35). As he grew older he gradually gave up his various posts in favour of his son, the composer and violinist François Rebel [le fils] (1701-1775). He was held in high regard by his contemporaries. His last work, 'Les Elémens, simphonie nouvelle' (c.1737), preceded by a movement called Cahos (‘Chaos’), served as an introduction to the suite of dances making up Les elemens. Its harmonic daring, its orchestral colouring and the originality of its conception make 'Cahos' a masterpiece of 18th Century French instrumental music. His sister Anne-Renée Rebel (1663-1722) was a singer and she married Michel-Richard de Lalande.

HAYES, Philip (1738-1797) - Concerto for the Organ (1769)

Philip Hayes (1738-1797) - Concerto (II, B-flat major) for the Organ (1769)

Performers: Stеphеn Fаrr (organ); London Bаch Consort

Drawing: John Donowell (fl. 1753-1786) - A View of part of St. Mary’s Church, All Saints Church,

the Conduit, Carfax Church, & c. in the University of Oxford

Further info: Organ Concertos

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Philip Hayes

(Oxford, bap. 17 April 1738 - London, 19 March 1797)

English composer, organist and singer, second son of William Hayes (1708-1777) and brother of William Hayes Jr. (1741-1790). He received his earliest musical education from his father. In 1763 his masque 'Telemachus' earned him a BMus degree, and in 1767 he spent a short period as a singer at the Royal Chapel in London. In 1776 he was appointed as organist of the New College in Oxford and a year later succeeded his father as professor of music, at the same time earning his doctorate. Over the next decade he added positions as organist at Magdalen College, the University Church, and St. John’s College, where he became known for his lectures consisting of his own odes and oratorios. In 1780 he founded the Festival of the Sons of the Clergy at St. Paul’s in London, and thereafter he commuted frequently between the two cities. He hosted Joseph Haydn at Oxford when that composer arrived to receive an honorary doctorate there. He was a prolific composer of catches, glees, and such. His works include 48 anthems, over 30 songs, 16 Psalms, 16 odes, two oratorios, the aforementioned masque, two services, six keyboard concertos (1769), and six violin sonatas. As a composer, his natural language was a mixture of galant and early classical idioms allied with a characteristically English preference for simple, symmetrically phrased melodies and an assured technique founded upon a thorough acquaintance with the works of Handel. His six keyboard concertos (1769) were the first published in England to offer the option of performance on the fortepiano, and beginning with the masque 'Telemachus' (1763) his large-scale works often included parts for clarinets.

AVONDANO, Pedro António (1714-1782) - Sonata em Do Maior

Pedro António Avondano (1714-1782) - Sonata em Do Maior

Performers: Rosana Lanzеlοttе (harpsichord)

Painting: Unknown artist (18th Century) - Portrait of Anna Mária Horvath-Stansithová-Szirmay

Further info: Pedro Antonio Avondano (1714-1782) - Cravo Sonatas

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Pedro (Pietro) António Avondano [Avondanij, Avandano]

(Lisbon, bap. 16 April 1714 - Lisbon, 1782)

Portuguese composer and violinist. The son of a Genoese-born violinist, he probably received his earliest musical education from his father and later probably also studied under Domenico Scarlatti. Much of the information concerning his education and training is unknown due to the destruction of documents in the 1755 Lisbon earthquake, but it is known that he was commissioned by the theatre in Macerata, Italy, to compose an opera, Berenice, in 1742. By 1764 he was appointed as principal violinist of the Royal Chamber, a post he held until his death. During this time, he wrote a substantial number of dances for the court, as well as a popular opera, 'Il mondo della luna', and a pair of oratorios in 1770, 'Il voto di Jefte' and 'Adamo ed Eva'. He also composed a large number of sacred works, including Masses, a Te Deum, Psalms, and other smaller works, in addition to keyboard sonatas and two symphonies. Other members of the Avondano family, all active in the Real Câmara, include his brother António José Avondano (c.1715-1783) and his son Joaquim Pedro Avondano (c.1760-1804), João Francisco Avondano (1713-1794), Joaquim António Avondano (?-1828) and João Baptista Andre Avondano (fl. 1769-1801), who published a set of Quattro sonate e due duetti for two cellos (c.1784) and was a pupil of Jean Pierre Duport.

FASCH, Johann Friedrich (1688-1758) - Magnificat (c.1724)

Johann Friedrich Fasch (1688-1758) - Magnificat anima mea Dominum (c.1724), FWV H:G1

Performers: Vokalensemble sirventes berlin; Akademie für Alte Musik Berlin; Stefan Schuck (conductor)

Painting: Johann Georg Platzer (1704-1761) - Der Raub der Sabinerinnen

Further info: Johann Friedrich Fasch (1688-1758) - Missa Brevis à 4 voci

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Johann (Johannes) Friedrich Fasch

(Buttelstädt, 15 April 1688 - Zerbst, 5 December 1758)

German composer. He was one of the most significant German contemporaries of Bach, and his orchestral works are characteristic of the transition from the late Baroque style to the Classicism of Haydn and Mozart. Fasch was descended from a line of Lutheran Kantors and theologians. His earliest musical studies were as a boy soprano in Suhl and Weissenfels, and at 13 he was enlisted by J.P. Kuhnau for the Leipzig Thomasschule; his first compositions followed the style of his friend Telemann. While a student at the University of Leipzig he founded a collegium musicum which rivalled the eminence of the Thomasschule in the city's musical life. In this cosmopolitan city he encountered the concertos of Vivaldi, which greatly influenced his whole generation. Although he had no regular instruction in composition, he soon became so well known as a composer that his sovereign Duke Moritz Wilhelm of Saxe-Zeitz commissioned him to write operas for the Naumburg Peter-Paul festivals in 1711 and 1712. For purposes of study Fasch undertook a long journey through several courts and cities, eventually arriving at Darmstadt, where he studied composition with Graupner and Grünewald. He then held several positions, including those of violinist in Bayreuth (1714), court secretary and organist in Greiz (until 1721) and Kapellmeister to the Bohemian Count Wenzel Morzin in Prague, whose accomplished chapel orchestra earned Vivaldi’s praise. In 1722 Fasch reluctantly accepted the position of court Kapellmeister in Zerbst. In the same year he was twice invited to apply for the position of Thomaskantor in Leipzig, but withdrew from the competition shortly after Telemann did so, deciding that it was too soon to leave Zerbst. 

In 1727 he spent some time at the Saxon court in Dresden, where his friends Pisendel and Heinichen were in charge of orchestral music and the Catholic chapel respectively. Heinichen's death in 1729 is a 'terminus ante quem' for several of Fasch's surviving liturgical pieces, which were performed by the chapel choir under Heinichen, who noted the duration of pieces on the manuscripts (as well as rewriting sections, which Pfeiffer has taken as an indication that the Dresden experience was another learning venture). Surviving correspondence, particularly with Nikolaus Ludwig, Reichsgraf von Zinzendorf, head of the Pietist Brotherhood in Herrnhut, reveals Fasch's unhappiness in strictly Lutheran Zerbst. Only one further application for a formal position is recorded (Freiberg, 1755), but it was unsuccessful, and Fasch remained at Zerbst for the rest of his life. During his 36 years there Fasch was primarily occupied with the composition of church cantatas and festival music for the count. His fame as a composer spread far beyond Saxony: his works were familiar to numerous courts and city churches, from Hamburg (where in 1733 Telemann performed a cycle of his church cantatas) to as far afield as Prague and Vienna. He enjoyed especially close relations with the famed Hofkapelle in Dresden, at which the Kapellmeister Pisendel performed many of his concertos (to some extent in arrangements), and likewise with the court at Cöthen, which attracted him by its Pietist leanings. Through his son C.F.C. Fasch, harpsichordist at the court of Frederick the Great in Berlin from 1756, he was connected with C.P.E. Bach.

FODOR, Carolus Antonius (1768-1846) - Simphonie à grand orchestre (c.1805)

Carolus Antonius Fodor (1768-1846) - Simphonie [c] à grand orchestre ... œuvre XIX (c.1805)

Performers: NetherIands Radio Chamber Orchestra; Anthony Hаlsstеаd (conductor)

Drawing: Dirk Langendijk (1748-1805) - Anti-Engelse demonstratie te Rotterdam, 2 maart 1781

Further info: Carolus Antonius Fodor (1768-1846) - Tweede symfonie in G, Op.13 (1802)

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Carolus Antonius Fodor

(Venlo, 12 April 1768 - Amsterdam, 22 February 1846)

Dutch composer and pianist, brother of Josephus Andreas Fodor (1751-1828) and Carel Emanuel Fodor (1759-?). Born into a musical family, he studied in Mannheim and Paris before returning to Amsterdam in 1795. In 1798 he married Geertruida Tersteeg. At the death of Bartholomeus Ruloffs in 1801 he was named conductor of the orchestra of Felix Meritis, which he was to lead for twenty-five years. In the following year he was nominated to the position of the orchestra Eruditio Musica. In 1808 Louis Bonaparte appointed him to head the Instituut voor Wetenschappen, Literatuur en Schone Kunsten, precursor of the Koninklijke Nederlandse Academie van Wetenschappen, the Royal Netherlands Academy of Arts and Sciences. In 1811 he established, with Johann Wilhelm Wilms and some others the series of Tuesday concerts. He became one of the leaders of Dutch musical society, writing works that reflect early 19th century Romantic forms. His music includes several symphonies, eight concertos for fortepiano, an opera, numerous songs in Dutch and a large number of chamber works.

ZECHNER, Johann Georg (1716-1778) - Motetta de St. Blasio

Johann Georg Zechner (1716-1778) - Motetta de St. Blasio 'Kommet nur ihr Christen her' in G-Dur

Performers: Ursula Fiеdlеr (soprano); Lydia Viеrlingеr (Alt); Johannes Chum (Tenor); Gerd Kеnda (Bass);

Concіlіum Musicum Wien; Paul Angеrеr (1927-2017, conductor)

Painting: Johann Ludwig Ernst Morgenstern (1738-1819) - Umrisse eines gotischen Kircheninterieurs (c.1793)

Further info: Musik aus dem Stiftsarchiv Göttweig

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Johann Georg Zechner [Cehner, Zehetner]

(Gleisdorf, 9 April 1716 - Stein an der Donau, 7 June 1778)

Austrian composer and organist. Almost nothing is known about his youth until he was documented as organist at the Benedictine abbey of Göttweig in 1736, a post he held until 1746. That year he was appointed choral director of St Veit, Krems an der Donau (1746-1753) while he was studying philosophy and theology. In 1752 he was ordained priest and a year later he was appointed to the charge of the Chapel of All Saints at Stein an der Donau, in a post he held the rest of his life. As a composer, he show the influence of his fellows Johann Joseph Fux and Antonio Caldara, both active in Vienna, but evolving to early Classical style in his later works. Despite he focused on sacred music, among them, masses (the foremost was his Große Orgelmesse in C, 1761), requiems, and many liturgical pieces, he also wrote instrumental music very close to Georg Christoph Wagenseil and Georg Matthias Monn on style terms.

CART, Jiří (1708-c.1778) - Sonata a Violino Solo con Basso e Cembalo (1753)

Jiří Čart (1708-c.1778) - Sonata (II, C-Dur) a Violino Solo con Basso e Cembalo, Op.2 (1753)

Performers: Berliner Barock Compagney

Painting: Jan Josef Horemans (1682-1759) - Musikstunde und Tanz

Further info: Evening concerts at the Rheinsberg Castle

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Jiří (Georg) Čart [Czard, Czarth, Szarth, Tzarth, Zardt]

(Hochtann, 8 April 1708 - Mannheim, c.1778)

Bohemian composer and violinist. He received his earliest musical instruction from Lukas Lorenz, the Deutschbrod teacher with whom Johann Stamitz is alleged to have studied. After attending school in Vysoká, he furthered his musical education in Prague and then, at the age of 17, in Vienna. There he received violin instruction from the Royal Court musicians Franz Josef Timmer and Johann Otto Rosetter, and flute lessons with Johann Franz Piarelli. In 1729 he met the violinist and composer Franz Benda and as both were equally dissatisfied with their positions they left Vienna abruptly and fled to Poland. In Warsaw he took up a concertmaster post of the Jakub Suchorzewski's orchestra. In 1733 he followed Franz Benda to the Royal Polish Chapel at the Saxon Court in Warsaw. On the accession of August II in 1733 both musicians transferred to the Dresden Hofkapelle. Their appointment was, however, of short duration, for in 1734 he followed Benda in accepting a summons to the chapel of Crown Prince Frederick at Ruppin. Zarth remained in Frederick’s service for over 20 years, moving with the rest of the chapel to Rheinsberg in 1736 and then to Berlin after Frederick’s accession in 1740. It was not until 1757 or 1758 that the careers of Benda and Zarth diverged: while Benda remained in Berlin, Zarth took up a post at Mannheim, the city where he remained the rest of his life.

GLEISSNER, Franz Johannes (1761-1818) - Missa Breve IV (1793)

Franz Johannes Gleissner (1761-1818) - Missa Breve IV aus "VI. Missae Breves op. I" (1793)

Performers: Marianne Rüеggе (soprano); Cornelia KrätIi-Riеckmаnn (alto); Reto Hofstеttеr (tenor); Frédéric Bοlli (bass); Thurgаuer Kammerchor; Thurgаuer Barockensemble; Raimund Rüеggе (conductor)

Drawing: Francesco Salvatore Fontebasso (1709-1769) - Konzert (c.1747)

Further info: Franz Gleissner - Messe in G

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Franz (Francesco) Johannes Gleissner [Gleisner, Glausner, Pleisner]

(Neustadt, 6 April 1759 - Munich, 18 September 1818)

German composer, singer, contrabass player and publisher. Trained at the Jesuit Gymnasium in Amberg, he composed his first work, a Requiem, in 1778. In 1780 he went for further education in Munich, where he was attached to a military regiment in 1785. He was able to compose for the stage during the next several years, and in 1791 he became employed by the court orchestra as a contrabassist. In 1796 he founded a lithographic process for notation, which he and publisher Johann André used under royal privilege in Offenbach. In 1806 he returned to Munich to become inspector of royal printing. Gleissner worked with André on the first catalog of the works of Wolfgang Amadeus Mozart. He himself was a prolific composer, writing 30 Masses, two Requiems, eight litanies, three vespers, five offertories, 12 other sacred works, an oratorio, 12 stage works (ballets and Singspiels), 13 symphonies, four quartets, 12 Lieder, 12 flute duets, over 60 works for keyboard, and several other smaller chamber works.

MASEK, Václav Vincenc (1755-1831) - Parthia in D

Václav Vincenc Mašek (1755-1831) - Parthia in D

Performers: Collegium Musicum Pragеnsе

Drawing: Alexander Sauerweid (1783-1844) - Musicians of the Life-Guards Pavlovsky Regiment

Further info: Vincenc Václav Masek (1755-1831) - Keyboard Concertino for 4 hands (1803)

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(Wenceslaus Vincentius) Václav Vincenc (Vincenzo) Mašek [Maschek, Machek]

(Zwikowetz, 5 April 1755 - Praha, 15 November 1831)

Bohemian composer and keyboardist. Like his brother Lambert Mašek (1761-1826), he received his first musical education from his father, Tomás Mašek, a village cantor, before moving to Prague, where his teachers included Frantisek Xaver Dušek and Josef Seger. He obtained a position with Count Vtrba, who allowed him to tour central Europe as a performer. In 1791 he settled in Prague, where he taught privately and was chorusmaster at the German opera. In 1794 he was appointed as music director of the St. Mikuláš Church, but in 1802 he decided to devote his attentions to his music shop, one of the first in the city. His music reflects not only the predominant Viennese style, it also shows its Czech origins in the lyrical melodies. His works include two operas, several ballets, 30 Masses, 40 graduals, 70 offertories, 26 sacred arias, 16 hymns, 13 motets, five antiphons, 10 symphonies, seven concertos, 15 quartets (mostly for strings), eight sonatas, seven serenades, five partitas, four pastorellas, and a large number of smaller dances and individual works for keyboard.

DU PUY, Edouard (c.1770-1822) - Sinfonia 'Ungdom og galskab' (1806)

Edouard Du Puy (c.1770-1822) - Sinfonia 'Ungdom og galskab, eller List over list' (1806)

Performers: The Royal Danish Orchestra; Johan Hye-Knudsen (1896-1975, conductor)

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

Further info: Edouard Du Puy (1770-1822) - Flute Concerto in d, No.1

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(Jean Baptiste) Edouard (Louis Camille) Du Puy [Dupuy]

(Baigory, c.1770 - Stockholm, 3 April 1822)

French composer and singer. He studied violin with Charles Chabran and piano with Jan Ladislav Dussek in Paris. In 1789, he was appointed concertmaster at the court of Heinrich of Prussia in Rheinsberg, replacing Johann Abraham Peter Schulz. He worked in Rheinsberg for four years while studying harmonies under Carl Friedrich Christian Fasch. In 1792 he was banished from Rheinsberg because he interrupted a Sunday service by riding into church on horseback. After working as a touring violinist in Germany and Poland he went to Stockholm in 1793, where he joined the opera orchestra as a violinist. In 1795 he became a member of the Swedish Academy of Music. In 1799, he fell out of favor with king Gustav IV Adolf of Sweden by praising Napoleon and he was banished from Sweden and settled in Copenhagen. There he joined the opera orchestra as a violinist. A highpoint in his stage career was the première of his 'Ungdom og galskab' (1806), for which he composed the music and sang the role of Ritmester Rose. In 1809 he sang the first act of this opera with his pupil Crown Princess Charlotte Frederika at Amalienborg Palace; but scandal broke out later in the year when he was discovered in bed with the princess and had to leave Denmark at two hours’ notice. He went to Paris, but with the election of Napoleon’s commander Jean Baptiste Bernadotte to the Swedish throne he was able to return to Stockholm. He became court violinist and singer and from 1812 conductor. In 1814 he became titular professor of the Swedish Academy of Music. As a composer, he wrote several stage works, symphonic works, concertos, chamber music as well as songs, ballets and a Requiem. 

D'ANGLEBERT, Jean-Henry (1629-1691) - Suite en Sol majeur (1689)

Jean-Henry D'Anglebert (1629-1691) - Suite en Sol majeur (1689)

Performers: Brigitte Tramier (clavecin)

Engraving: Cornelis Vermeulen (c.1654-c.1708) - Jean-Henri d'Anglebert

Further info: Jean-Henry d'Anglebert - Suites Pour Clavecin

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Jean Henry D’Anglebert

(Bar-le-Duc, bap. 1 April 1629 - Paris, 23 April 1691)

French composer, harpsichordist and organist. Nothing is known of his early musical training or how he came to Paris. He is thought to have been a pupil of Jacques Champion de Chambonnières. After serving in the position of first organist to the Duke of Orleans and to the Jacobins in the rue St. Honore in Paris, he was made 'ordinaire de la chambre du Roy pour le clavecin' by Louis XIV in 1662, a post he held until at least 1668. After 1679 D'Anglebert was also in the service of the Dauphine Marie-Anne de Bavière, Duchess of Burgundy. As a composer, he was mainly known by his 'Pieces de clavecin avec la maniere de les jouer' (Paris, 1689), which contains 4 dance suites, 5 organ fugues, transcriptions of popular tunes, arrangements of works by Lully, a treatise on keyboard harmony, and a table of ornaments, with many new signs that were widely accepted. The volum stands as a major source for the French Baroque style. His son, Jean-Baptiste Henri D'Anglebert (1661-1735), succeeded him at the French court.