dimecres, 18 de juny del 2025

FRANCK, Johann Wolfgang (1644-c.1710) - Te Deum

Jan van den Hoecke (1611-1651) and Paul de Vos (1592-1678) - Amor as Winner


Johann Wolfgang Franck (1644-c.1710) - Te Deum in C-Dur
Performers: Ansbаcher Jugеndkantorei; Ansbаcher Kammerorchester; Rainer Goеdе (conductor)
Further info: Te Deum–C major

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German composer. Since his father, who died in 1645, had held an important administrative post at the court of the Margrave of Brandenburg-Ansbach, and his mother’s family were natives of Ansbach, it is likely that he had a superior education at a Latin school there. He served there as court musician from 1665 until 1679. He composed three operas for the Ansbach court: 'Die unvergleichliche Andromeda' (1675), 'Der verliebte Föbus' (1678), and 'Die drei Tochier Cecrops' (1679). On January 17, 1679, in a fit of jealousy, he allegedly killed the court musician 'Ulbrecht', and was forced to flee. He found refuge in Hamburg with his wife, Anna Susanna Wilbel (whom he had married in 1666), and gained a prominent position at the Hamburg Opera. Between 1679 and 1686 he wrote and produced 17 operas, the most important of which was 'Diokletian' (1682). His private life continued to be stormy; he deserted his wife and their 10 children, and went to London, where he remained from 1690 to about 1702. In London he organized, with Robert King, a series of Concerts of Vocal and Instrumental Music. The exact date and place of his death are unknown, but a report in Johannes Moller’s 'Cimbria litterata' (Copenhagen, 1744) makes the intriguing suggestion that he may have been murdered in Spain. As a composer, he published 'Geistliche Lieder' (Hamburg, 1681, 1685, 1687, 1700), 'Remedium melancholiae' (London, 1690), arias, and sacred music.

dilluns, 16 de juny del 2025

MARCHITELLI, Pietro (c.1643-1729) - Concerto in La minore

Giovanni Benedetto Castiglione (1609-1664) - Allegory of Vanity


Pietro Marchitelli (c.1643-1729) - Concerto in La minore
Performers: Ensemble Aurora

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Italian violinist, teacher and composer. He received a formal music education at the Conservatorio di Santa Maria di Loreto in 1657. When his teacher, the violinist Carlo de Vincentiis, died in 1677, he took over as principal violinist of the royal chapel in Naples, remaining in the post for more than 50 years. He also took the role of first violin in the orchestra of the Teatro San Bartolomeo. He was a close friend of Alessandro Scarlatti during his career, and held in high esteem by his contemporaries. Marchitelli died of old age and was buried at the Chiesa di San Nicola alla Carità in Naples, in 1729. As a teacher, his pupils included his nephews Michele Mascitti and Giovanni Sebastiano Sabatino. As a composer, almost his whole output is lost, but he wrote several sonatas and concertos which closely follow the model established by Arcangelo Corelli in both form and pattern of movements.

diumenge, 15 de juny del 2025

MAYR, Johann Simon (1763-1845) - Messa a 4 (1823)

Giuseppe Diotti (1779-1846) - Johann Simon Mayr


Johann Simon Mayr (1763-1845) - Messa (do minore) a 4 (1823)
Performers: Marina Ulewicz (soprano); Christa Mayer (mezzo-soprano); Thomas Cooley (tenor); Thomas Gropper (bass); Vokalensemble Ingolstadt; Georgisches Kammerorchester Ingolstadt; Franz Hauk (conductor)
Further info: Mayr - Missa in c-moll

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German composer, teacher and writer on music. The second child of Josef Mayr, a schoolteacher and organist, and Maria Anna Prantmayer, a brewer’s daughter from Augsburg, he received his early musical education from his father. In 1774 he entered the Jesuit college in Ingolstadt, and in 1781 he began to study law and theology at the University of Ingolstadt, where he taught himself various orchestral instruments and supported himself by playing the organ. In 1787 a Swiss Freiherr, Thomas von Bassus, took him to Italy to further his musical education; in 1789 he commenced studies with Carlo Lenzi in Bergamo; he then was sent to Ferdinando Bertoni in Venice. He began his career as a composer of sacred music; his oratorios were performed in Venice. After the death of his patron in 1793, he was encouraged by Niccolò Piccinni and Peter von Winter to compose operas. His first opera, 'Saffo o sia I riti d'Apollo Leucadio', was performed in Venice in 1794. He gained renown with his opera 'Ginevra di Scozia' (Trieste, 1801), and it remained a favorite with audiences; also successful were his operas 'La rosa bianca e la rosa rossa' (Genoa, 1813) and 'Medea in Corinto' (Naples, 1813). In 1802 he became maestro di cappella at Santa Maria Maggiore in Bergamo, and in 1805 he reorganized the choir school of the Cathedral as the Lezioni Caritatevoli di Musica and assumed its directorship. Intractable cataracts, which led to total blindness in 1826, forced him to limit his activities to organ playing. In 1822 he founded the Societa Filarmonica of Bergamo. As a composer, his operas, while reflecting the late Neapolitan school, are noteworthy for their harmonization and orchestration, which are derived from the German tradition. After 1815 he devoted most of his time to composing sacred music, which totals some 600 works in all. He was also an eminent pedagogue and Gaetano Donizetti was among his pupils. Johann Simon Mayr was a leading figure in the development of opera seria in the last decade of the 18th Century and the first two decades of the 19th Century.

divendres, 13 de juny del 2025

VRANICKY, Antonín (1761-1820) - Concerto pour deux Violes (1805)

Carl Schütz (1745-1800) - Ansicht des Kohlmarkts (1797)


Antonín Vranický (1761-1820) - Concerto pour deux Violes (1805)
Performers: Jan Pěruška (viola); Jaroslav Pondělíček (viola); Komorní orchestr členů České filharmonie;
Andreas Sebastian Weiser (conductor)

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Moravian composer, violinist and music teacher. He attended the grammar school at the Premonstratensian monastery in Nová Ríše and later studied philosophy and law at a Jesuit seminary in Brno. His earliest musical training included violin lessons from his brother Pavel Vranický (1756-1808); he was also known for his beautiful voice. Before December 1783 he became choirmaster to the chapel of the Theresianisch-Savoyische Akademie in Vienna (until the abolition of church music there with the reforms of Joseph II). In Vienna he studied composition with Wolfgang Amadeus Mozart, Joseph Haydn and Johann Georg Albrechtsberger, and became renowned as a violin teacher and virtuoso. By 1790 he had entered the services of Prince J.F. Maximilian Lobkowitz as a composer, music teacher, Konzertmeister and (from 1797) Kapellmeister of the prince’s private orchestra; in these duties he was active at Vienna, Prague and the prince’s country seats in Bohemia (at Roudnice, Jezerí and Bílina). After the prince took charge of the Vienna court theatres (1807) and later sole direction of the opera, he appointed him orchestra director of the court theatre, according to the obituary register, a post he held until his death. From 1 August 1814 he was also the orchestra director of the Theater an der Wien. He assisted the prince in leading the Hoftheater-Musik-Verlag from 1812 to 1816 (see Weinmann). After the prince’s death he remained in the service of his successor. As a composer, his output almost entirely consists of instrumental compositions. Chamber music prevails, which is connected with his position of the chief conductor of the chateau music, but his legacy also comprises at least 14 symphonies and the same number of violin concertos, concertos for other string instruments, a number of minuets, hunting marches and many other compositions.

dimecres, 11 de juny del 2025

GIAY, Giovanni Antonio (1690-1764) - Sinfonia a 5

Jean-François Daumont (fl.1740-1775) - Gezicht op het Palazzo Reale en de Via Po te Turijn


Giovanni Antonio Giay (1690-1764) - Sinfonia (Re maggiore) a 5
Performers: Orchestre des Pays de Savoie; Reinhard Goebel (conductor)

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Italian composer. Son of Stefano Giuseppe Giay, in 1700 he entered the Collegio degli Innocenti at the Turin Cathedral where he studied music with Francesco Fasoli. He probably then went to Rome to complete his studies. On his return to Turin he wrote 'Il trionfo d’Amore ossia La fillide', in collaboration with Andrea Stefano Fiorè, which was premiered at the Teatro Carignano in 1715. His own operas were performed over the next 35 years in Turin, Venice, Milan and Rome. After Fiorè died in 1732, he assumed the duties of maestro di cappella and was confirmed in the position by Carlo Emanuele III in a patent of 24 October 1738. In this capacity he directed the instrumental and vocal forces of the court and composed a large amount of church music. He held this position until his death and was succeeded by his son, Francesco Saverio Giay (1729-1801).

dilluns, 9 de juny del 2025

MANALT, Francisco (c.1710-1759) - Sonata de Camara (1757)

Domingo de Aguirre (1741-1805) - El Jardin del Cavallo en el Buen Retiro visto desde el balcon que cae al de los Reynos (1778)


Francisco Manalt (c.1710-1759) - Sonata (VI, Re menor) de la Obra harmonica en seis sonatas de camara de violin y bajo solo, parte primera / dedicadas al Excmo. Señor D. Pedro Téllez Girón, Duque de Osuna,
por D. Francisco Manalt, musico de la Rl. Capilla de S.M.C. (1757) 
Performers: Emilio Moreno (violin); José Manuel Hernández (cello); Eduard Martínez (harpsichord)

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Spanish composer. He began his career at the Palau barcelonés before moving to Madrid in 1755. Two years later, he was welcomed as a violinist into the Royal Chapel. His probable cousin, Gabriel Terrí Manalt, also a violinist, had been serving in the Palace since 1724. In 1757, he published his 'Obra harmónica en seis sonatas de cámara de violín y bajo solo', dedicated to the Duke of Osuna. This dedication sheds light on the connection between the musicians from the Palau barcelonés and Madrid. These sonatas were not simple pieces; they displayed imagination, fluidity, and a refined galant style with harmonious proportions. Furthermore, their slow movements hinted at an expressiveness aligned with Empfindsamkeit, a new sentimentalist movement popular in Europe at the time, which some of his Madrid colleagues also embraced. During the 1750s, he also collaborated with José Herrando in musical festivities at the court. Francisco Manalt life ended tragically. On January 14, 1759, the very day he was to be married, he suffered a sudden 'attack of epilepsy' hours before the ceremony, leading to his death two days later. Following the accident, the bride's uncle immediately summoned a notary and a priest. Manalt was married and made his will in 'articulo mortis' (at the point of death) in the presence of his cousin Terrí and other witnesses who confirmed he could still understand and speak, though not sign. This ensured that his sister in Barcelona and his fiancée in Madrid could inherit from him, and his fiancée was also able to claim a modest widow's pension from the Royal Chapel. 

diumenge, 8 de juny del 2025

VON WILDERER, Johann Hugo (c.1670-1724) - Te Deum laudamus

After Francesco Solimena (1657-1747) - De verheerlijking van de heilige Dominicus (kopie naar, 1710-1785)


Johann Hugo von Wilderer (c.1670-1724) - Te Deum laudamus (C-Dur) p. à 13. 4 Clarini, Tympani,
2 [probably "Violini" cutted] | 1 Violetta, Fagotto, Canto, Alto, Tenore, Basso.
Performers: Jugendkantorei der Diözese Spеyеr; Bach-Collegium Mannheim; Diеtmar Mеttlach (conductor)

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German composer. He studied with Giovanni Legrenzi in Venice and by 1692 was court organist at the St. Andreas church in Dusseldorf. By 1696 he was vice-Kapellmeister at the court there, being elevated to Kapellmeister in 1703. He married Maria Lambertina Dahmen on 11 March 1698, and she bore him nine children. In 1716 the Elector Johann Wilhelm died and was succeeded by his brother Karl Philipp, who had maintained a court at Innsbruck. Subsequently he joined together the Innsbruck and Düsseldorf musical establishments, first in Heidelberg and in 1720 in Mannheim, where he undertook the building of a new palace. These combined groups, under the joint directorship of Wilderer and Jakob Greber from Innsbruck, later became the basis for the famous orchestra of the ‘Mannheim School’, supported generously by the Elector Carl Theodor. Wilderer remained active in the dual capacity of Kapellmeister and composer until his death. His final major work was the sacred opera 'Esther', performed as an oratorio at Heidelberg in 1723 and as an opera at Mannheim, 17 March 1724. As a composer, he wrote 11 operas, mainly composed for the Düsseldorf court between 1695 and 1713, 2 oratorios, 4 cantatas, and some sacred works, among them, a Missa brevis extant in a remarkable copy in the hand of Johann Sebastian Bach. Wilderer importance rests upon his role in fostering the development of German opera and of what became known as the Mannheim school of composition.

divendres, 6 de juny del 2025

PERTI, Giacomo Antonio (1661-1756) - Gaude felix, parens Hispania (1712)


Giacomo Antonio Perti (1661-1756) - Gaude felix, parens Hispania (1712)
Performers: Arіon Choir; Collegio Ghіslіeri; Gіulio Prаndі (conductor)

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Italian teacher and composer. At the age of nine he began to study music in Bologna with his uncle Lorenzo Perti and with Rocco Laurenti, from whom he learnt the rudiments of organ playing. As early as 1678 he had a Mass performed at the church of San Tomaso al Mercato. In 1679 he collaborated on the opera 'Atide', to which he contributed the score for the third act. In 1681 he was elected a member of the Accademia Filarmonica, of which he was five times the principe (in 1719 was named censor). He then went to Parma, where he continued his studies with Giuseppe Corso. In 1689 he had his opera 'Dionisio Siracusano' performed in Parma, and another opera, 'La Rosaura', in Venice. In 1690 he succeeded his uncle as maestro di cappella at the Cathedral of San Pietro in Bologna. In 1696 he became maestro di cappella of San Petronio, a position he held until his death. He also held similar positions at San Domenico (1704-55; deputized for Giuseppe Matteo Alberti from 1734) and at Sancta Maria in Galliera (1706-50). Emperor Charles VI made him a royal councillor in 1740. His correspondence reveals a long-standing rapport with the Duchess Aurora Sanseverino of Piedimonte d’Alife, who was a member of a Bolognese family; he regularly sent compositions to her for use at her court. His correspondence also indicates that he was held in high regard by Johann Joseph Fux, Antonio Caldara, Bernardo Pasquini, Arcangelo Corelli and other influential musicians. Padre Martini held him in the highest esteem and included six examples of his contrapuntal music in his 'Esemplare ossia Saggio fondamentale pratico di contrappunto' (1774-75). As a composer, he wrote several operas and oratorios as well as 120 Psalms, 54 motets, 28 masses, and about 150 secular cantatas.

dimecres, 4 de juny del 2025

MOLINO, Francesco (1768-1847) - Grand Concerto pour la Guitare (c.1830)

Marie Louise Élisabeth Vigée Lebrun (1755-1842) - Portrait of the artist's daughter, Jeanne-Julie-Louise Le Brun, playing a guitar


Francesco Molino (1768-1847) - Grand Concerto (mi mineur) pour la Guitare avec accompagnement de deux Violons, deux Clarinettes, deux Cors & Alto et Basse, Op.56 (c.1830)
Performers: Pepe Romero (guitar); Academy of St. Martin in the Fields; Iona Brown (1941-2004, conductor)
Further info: Guitar concertos

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Italian guitarist and composer. His musical career, who was a descendant of a well-known family of musicians from Piedmont, began in the decade from 1783 to 1793, when he was a regular officer in the Piedmont Regiment of the Sardinian Army, as an oboist and occasionally also as a viola player in the orchestra of the Teatro Regio of Turin. After he was discharged, during the period of the Napoleonic unrest in most of Europe, he lived for several years in Genoa, where he met some important French cultural and artistic personalities such as the famous violinist Rodolphe Kreutzer. He returned to Turin after the fall of Napoleon and the restoration of the Savoy family, and was appointed as a violinist in the re-established Chapel of the King of Sardinia, from 1814 to 1818. Here his two cousins Luigi Molino (1762-1846) and Valentino Molino (1766-1824), who were slightly older than him and already fairly well-known, were already employed. Only after he moved to Paris, in 1818 or at the beginning of 1819, did he start being successful as a guitar composer, performer and teacher, although he never neglected the violin, and went on playing it for the rest of his life. The signers and dedicatees of many of his compositions suggest that he had relationships or contacts in Spain, the Netherlands, Belgium, Switzerland, England and Germany. In Paris, where he had already published a Concerto per violino e orchestra for the publisher Pleyel in 1803, he benefitted from the support and patronage of the Duchess of Berry and of other members of the aristocracy, and was placed at the centre of the great popularity enjoyed at that time by the guitar. His success in Paris was due to the importance of his teaching, the originality of his solo pieces, the great number of simple pieces he composed for amateurs, and the quality of his chamber music. The fact that he was famous is testified also by some well-known contemporary reports about an extremely heated dispute between his supporters and Carulli’s; the exact substance of this dispute, however, is unknown. Although most of Molino’s works are for solo guitar his best-known are his Grand Concerto Op.56, the two Grand trio concertant Op.30 and Op.45, and the Notturni Opp.37, 38, 39.

dilluns, 2 de juny del 2025

SCHENCK, Johannes (1660-c.1712) - Sonata für Viola da gamba und Basso continuo (c.1704)

Gerard ter Borch II (1617-1681) - A Musical Company


Johannes Schenck (1660-c.1712) - Sonata (II, a-moll) für Viola da gamba und Basso continuo aus
'L'Echo de Danube' (c.1704)
Performers: Sarah Cunningham (viola da gamba); Mitzi Meyerson (harpsichord)

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Dutch composer and viol player of German descent. Although the details of his musical education are unknown, in 1680 he married his compatriot Geertuyd Hamen van Vianen and in 1687 published in Amsterdam his first work for the theatre, 'Bacchus, Ceres en Venus', which is considered the first example of singspiel in the history of his country. In those last years, he alternated between works on religious themes and profane works. His first publications, most of them printed at Estienne Roger’s workshop, were financially supported by influential businessmen and nobles who made possible the distribution of his work, thus becoming known to the public, and which consolidated his reputation as, perhaps, the greatest composer of his country in the second half of the 17th century. In about 1696 his fame secured him a post at the Düsseldorf court of the Elector Palatine Johann Wilhelm II, himself an amateur viol player. Schenck's career developed there as a court official too, culminating in 1710 in an appointment as 'chamber councillor'. He was thus present at the coronation in 1711 of Emperor Charles VI at Frankfurt. After 1712, his trace was lost. As a composer, his viol music constitutes one of the most important repertories composed for the instrument. It faithfully reflects the important stylistic changes taking place in northern Europe at the time, which may not always have worked to Schenck's advantage as a composer. Schenck's viol music culminated in 'Le nymphe di Rheno' and 'L'echo du Danube'. The former consists of duets for two equal viols, in which the relatively modest technical demands may reflect the level of the dedicatee, Schenck's employer Johann Wilhelm. In the six ambitious sonatas of 'L'echo du Danube' the influence of modern Italian string sonatas is prominent.

diumenge, 1 de juny del 2025

ELSNER, Józef (1769-1854) - Missa solemnis (1799)

Bernardo Bellotto (1721-1780) - Visitationist Church in Warsaw


Józef Elsner (1769-1854) - Missa (solemnis) in B-Dur, Op.3 (1799)
Performers: Agnieszka Grаlа (soprano); Justynа Ołów (alto); Jacek Szponаrski (tenor); Paweł Michаlczuk (bass); Choir of the Cardinal Stefan Wyszyński University in Warsaw; Capella Clаromontana; Michał Słаwecki (conductor)

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Polish composer and pedagogue of German origin. Born to a maker of musical instruments, he was initially intended for a career in medicine; however, he later became a choirboy, followed by a violinist and singer at the Breslau theatre. His instruction in harmony was received from Emanuel Aloys Förster in Breslau. Through the perusal of scores and association with musicians in Vienna, he subsequently held the position of first violin at the Brünn theatre in 1791 and musical director of the theatre in Lemberg in 1792. In 1799, he established himself in Warsaw, where he served as director of both German and Polish theatrical institutions. Subsequently, in 1813, in collaboration with Princess Zamoyska, he founded a musical society, which was later reconstituted as the "Warsaw Conservatory" in 1821. At this juncture, he relinquished his theatrical engagements to assume the roles of first director and professor of composition at the newly established institution. His retirement occurred in 1830, coinciding with the closure of the Conservatory due to prevailing political exigencies, though he continued his compositional pursuits. During a sojourn in Paris, select examples of his oeuvre were performed at the Tuileries and Saint-Cloud. As a composer, his output includes the opera 'Osoblievi Bracia' and approximately thirty other minor dramatic works in Polish. Additionally, he composed masses, motets, requiems, offertories, cantatas, and numerous sacred songs, alongside symphonies, quartets, concertos, and a substantial body of piano and instrumental music. He is regarded as a precursor of the Polish national musical style, his compositions synthesizing elements of the Viennese Classical tradition with aspects of Polish folk music. He frequently incorporated Polish songs and dances into his operas, secular vocal works, and instrumental compositions, as well as Polish religious melodies into his sacred works, transforming this source material in accordance with Romantic principles. Furthermore, he demonstrated an interest in the metrical and intonational characteristics of the Polish language. The influence of the Viennese school is most discernible in his early instrumental works, although his compositional focus shifted relatively early towards vocal and stage works, many of which drew upon Polish historical sources and illustrate the evolution of his musical idiom. His solo vocal works initially employed Rococo and galant styles but subsequently adopted Romantic characteristics, exhibiting heightened expressivity and replacing strophic forms with through-composed settings.

divendres, 30 de maig del 2025

NUDERA, Vojtěch (1748-1811) - Parthia in Dis (1806)

Anoniem (18th Century) - Signior Clarioneto (1818)


Vojtěch Nudera (1748-1811) - Parthia (Es-Dur) in Dis | a | Clarinetto Primo | Clarinetto Secundo | Cornu Primo | Cornu Secundo | con | Fagotto | pro me | Augustin Erasmus Hübner | beym Schulfach Anno 1806.
Performers: Prague Mozart Trio

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Bohemian composer. Very little is known about his life. He received violin and clarinet training before being appointed Kantor at a school in Vyšehrad. Shortly thereafter, it is believed he settled in Prague, where he worked as a chamber musician. Around 1796, he was documented as a violinist at Prague Cathedral. As a composer, only a few works are extant, among them divertimentos, orchestral variations, and partitas, mostly for wind instruments. His style was inherited from the classical Viennese tradition, though with incorporations more typical of Bohemia. 

dimecres, 28 de maig del 2025

FUX, Johann Joseph (1660-1741) - Ouverture à 6

Faustino Bocchi (1659-1742) - Grotesque scene with dwarves, cat and guineapigs.


Johann Joseph Fux (1660-1741) - Intrada aus 'Pulcheria' & Ouverture (C-Dur) à 6 oblig: C ♮, K 334
Performers: Neue Hofkapelle Grаz; Lucia Frοihοfer (conductor)

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Austrian composer and music theorist. His exact date of birth is unknown. According to his death certificate he was 81 when he died. His father, Andreas Fux (c.1618-1708), married twice, and Johann Fux may have been his eldest child. Although a peasant, Andreas Fux was a parish official attached to the church at St Marein and came into contact with a number of musicians, among them the Graz organist Johann Hartmann Peintinger and the Kantor Joseph Keller, who probably influenced his son's early musical development. In 1680 he enrolled as a ‘grammatista’ at Graz University, and in 1681 he entered the Jesuit Ferdinandeum as a student of grammar and music. By August 1685 he had taken a position as organist at St Moritz in Ingolstadt. Fux's movements between the beginning of 1689, when a new organist was appointed at St Moritz, and his marriage in 1696 remain uncertain. Although Fux's employment as court composer in Vienna dates officially from April 1698, he himself was ambiguous about his length of service in this capacity. In various documents, he implied that he began to work for the imperial household in 1695, or even 1693. Together with the recently appointed composers Carlo Badia, Giovanni Bononcini and Marc’Antonio Ziani, Fux effectively began to introduce elements of late Baroque style into the sacred and secular genres cultivated at court. After the death of Leopold I in 1705 and the accession of his son Joseph I, he retained the office of court composer. In the same year he was appointed deputy Kapellmeister at the Stephansdom, where in 1712 he succeeded Johann Michael Zacher as first Kapellmeister. He retained this office until the end of 1714, and during the same period he also directed services at the Salvatorkirche. His duties as deputy Kapellmeister at the Stephansdom centred on the music performed before the statue of Our Lady of Pötsch, which the emperor had had placed on the high altar of the cathedral in 1697. After the unexpected death of Joseph I on 17 April 1711, the empress-regent Eleonora dissolved the Hofmusikkapelle, and many of its personnel. 

By October 1711 he had been appointed deputy Kapellmeister to the court. In January 1715 Charles VI appointed him as Hofkapellmeister, a position he held for the rest of his life. As a composer who served three emperors, he undertook an especially taxing combination of duties. His coronation opera, 'Costanza e Fortezza', nominally in celebration of the Empress Elisabeth Christine's birthday but effectively written to mark the coronation of Charles VI as King of Bohemia, represents the peak of his public office. The publication of the 'Gradus ad Parnassum' in 1725 has been compared in importance with the publication of Fischer von Erlach's 'Entwurf einer Historischen Architektur' (1721). Both works embody the concept of Habsburg style selfconsciously, and persuasively relate their author's achievements to a coherent past. On 8 June 1731 Fux's wife died, and some seven months later the composer drew up his will (5 January 1732). His activities at court notably decreased, with many of his responsibilities being assigned to Antonio Caldara and others. He had complained of serious illness at the close of the Gradus, and by the late 1720s his rate of composition had sharply declined. His last testimonial is dated 10 March 1740. On 13 February 1741 he developed a ‘raging fever’ and died. He was much mourned at court. The most outstanding of his many students were Gottlieb Muffat, Georg Christoph Wagenseil and Jan Dismas Zelenka. According to Carl Philipp Emanuel Bach, Johann Sebastian Bach placed him first among those contemporary composers whom he most admired. Fux represents the culmination of the Austro-Italian Baroque in music. His compositions reflect the imperial and Catholic preoccupations of the Habsburg monarchy no less than does the architecture of Fischer von Erlach or the scenic designs of the Galli-Bibiena family. His 'Gradus ad Parnassum' (1725) has been the most influential composition treatise in European music from the 18th century onwards.

dilluns, 26 de maig del 2025

CAMIDGE, Matthew (1764-1844) - Concerto for Organ (c.1815)

Anonymous (19th Century) - Charity school children's service at St Paul's Cathedral (c.1815)


Matthew Camidge (1764-1844) - Concerto (G minor) for Organ from
'Six Concertos for Organ or Grand Piano Forte', Op.13 (c.1815)
Performers: Simon Lindley (1948-2025, organ)

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English organist and composer. Son of John Camidge (1734-1803), at an early age he became a chorister of the Chapel Royal under his father’s old master, James Nares. On his return to York he became assistant to his father. He is said to have been the first to teach the cathedral choristers to sing from notes; previously all the services had been learnt by ear. The two Camidges also originated the York musical festivals, beginning with a performance, on a small scale, of Handel's ‘Messiah’ at the Belfry church, which led to oratorios being given with orchestral accompaniments in the minster. On the resignation of John Camidge, he was appointed his successor as organist (11 November 1799), a post he held until his retirement (8 October 1842). As a composer, he published a considerable quantity of music for the harpsichord, organ, and piano, besides a collection of psalm tunes, a ‘Method of Instruction in Musick by Questions and Answers,’ and some church music. In the preface to his Organ Concertos, op.13 (c.1815), he wrote that he had "endeavoured to imitate the particular style of music which has been so long admired, namely that of Handel and Corelli. This acknowledgement will, he hopes, secure him from the critics’ censure". Matthew Camidge was married to a niece of Sheriff Atkinson of York, by whom he had three sons; two took orders, and became respectively vicar of Wakefield and canon of York, and chaplain at Moscow and Cronstadt, and the third, John Camidge (1790-1859), succeeded his father as organist of York.

diumenge, 25 de maig del 2025

ZACH, Jan (1713-1773) - Missa Sancti Thomae Aquinatis (1771)

Bernardo Bellotto (1722-1780) - Kosciol Sakramentek


Jan Zach (1713-1773) - Missa S[ancti] Thomae Aquin[atis] a Canto, Alto, Tenore, Basso, 2 Violini,
2 Traversi, obl., 2 Oboe, 3. Trombe [and] 2 Corni in D. Viola & Organo (1771)
Performers: Ingrid Kеrtеsi (soprano); Bernhard Landaսer (alto); Johannes Chսm (tenor); Wolf Matthias Friеdrich (bass) Kammerchor Collegium Vocale Innsbruck; Kammerorchester Bratislava; Bеrnhard Siеbеrеr (conductor)

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Bohemian composer and organist. The son of a wheelwright, he went to Prague in 1724 and began his career as a violinist at St Gallus and at St Martín. According to Dlabacž, he studied organ under Bohuslav Matěj Černohorský, who lived in Prague from 1720 to 1727. Zach's career as organist started at St Martín, and by 1737 he was also playing the organ at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. In 1737 he competed for the position of organist at St. Vitus Cathedral, but was not successful. Details of what happened next are unknown: he was reported to have left Bohemia, but apparently remained in Prague at least until 1740. By early 1745 he was living in Augsburg and then on 24 April 1745 he was appointed Kapellmeister of the Electoral orchestra at the court of Johann Friedrich Karl von Ostein, Prince-Elector of Mainz. He visited Italy in 1746 and, briefly, Bohemia in 1747. Zach evidently had a complex and eccentric personality, which led to numerous conflicts that plagued his life at Mainz. He was suspended from his position in 1750 and finally dismissed in 1756. From that point on it appears that Zach never again had steady employment. He traveled through Europe and supported himself financially by performing and selling copies of his works, teaching, dedicating his compositions, and so on. He visited numerous courts and monasteries in Germany and Austria, stayed in Italy in 1767 and between 1771 and 1772, and may have worked as choirmaster at the Pairis Abbey in Alsace. He stayed several times at the Stams Abbey at Stams, Tyrol, where he may have had connections, and served as music teacher at the Jesuit school in Munich, for several brief periods of time. The last mentions of Zach in contemporary sources indicate that in January 1773 he was at the Wallerstein court, and according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June 1773 he died on a journey, at Ellwangen. Zach was buried in the local church of St Wolfgang.

divendres, 23 de maig del 2025

VOGL, Georg (1725-1761) - Symphonia in C

Anoniem (18th Century) - Tamboer van het Genootschap tot Nut der Schutterij te Amsterdam (1787)


Georg Vogl (1725-1761) - Symphonia in C, a Violino Primo, Violino Secondo, Alto Viola,
Clarino Primo, Clarino Secondo obligato, Principale, Tympano, con Basso
Performers: Convivium Musicum München; Erich Kеllеr (conductor)

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German violinist and composer. He received his early musical training in Freising as a chorister at the Jesuit schools. Subsequently, Count Clemens von Bayern engaged him as a musician in his service. He then studied with Placidus von Camerloher, after which, in 1758, he was sent to Italy to complete his education. There, he garnered recognition for his violin performance and his operatic works, which were composed for both Italian theaters and Jesuit seminaries within Germany. He also achieved acclaim in Italy as a distinguished 'violin virtuoso'. While his Italian and German operas are no longer extant, his surviving musical output includes three symphonies, a violin concerto, a Requiem, and two litanies. His brothers, Benedikt Vogl (1718-1790) and Christoph Vogl (1722-1767), were also musicians who dedicated themselves to monastic composition within Benedictine abbeys.

dimecres, 21 de maig del 2025

DE CHAMBONNIERES, Jacques Champion (c.1601-c.1672) - Suite de Pieces

Gerrit Dou (1613-1675) - A Woman Playing a Clavichord


Jacques Champion de Chambonnières (c.1601-c.1672) - Suite de Pieces en La mineur
Performers: Olivier Bаumοnt (harpsichord)

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French composer and harpsichordist. His father was the keyboard player and composer Jacques Champion, known as La Chapelle (c.1555-1642), who served in the king's chamber as a 'gentilhomme ordinaire'. By 1632 Chambonnieres was associated with the court, where he became esteemed as both a harpsichordist and dancer. During the 1630s, his reputation as a harpsichordist grew rapidly, with Marin Mersenne praising his exceptional playing. In 1641 he founded a series of private concerts known as the 'Assemblee des Honnestes Curieux', with which he was active as director and performer. In 1643 he succeeded his father as a 'gentilhomme ordinaire' in the king's chamber. In 1662 he retired from his court duties and was succeeded by D'Anglebert. As a composer, he only wrote works for solo harpsichord and published 'Les Pieces de clavessin' (two vols., Paris, 1670). Chambonnieres was an influential teacher, numbering among his pupils the Couperin brothers (Louis and Charles), Jean-Henri D'Anglebert, Jacques Hardel, Nicolas Lebègue, and Guillaume-Gabriel Nivers. Chambonnieres was the founder of the French Classical school of harpsichord playing, and was one of the first to adapt the lute idiom to the composing of harpsichord music.

dilluns, 19 de maig del 2025

BEER, Jan Josef (1744-1812) - Concert pour la Clarinette principale (1793)

Johann Georg Rosenberg (1739-1808) - Berlin, Hackescher Markt mit Spandauer Brücke und Marienkirche


Jan Josef Beer (1744-1812) - Concert (B-Dur) pour la Clarinette principale :
Deux Violons, Deux Violes et Basse, Deux Hautbois, Deux Cors de Chasse (1793)
Performers: Emil Drápela (clarinet); Státní filharmonie Brno; Tomáš Hanus (conductor)
Further info: Sólo pro klarinet

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Bohemian clarinettist, teacher and composer. His earliest career was as a trumpeter in the military, following which he made his way to Paris, where he was employed as a clarinettist by the Duke of Orléans (1767-77) and by the Prince of Lambesc (1778-79, 1781-82) and where he debuted as a clarinetist at the Concerts spirituels (1771-79), mostly as a soloist of Carl Stamitz concertos. In 1782 he began to tour Europe extensively, and by 1783 he had obtained a post at the Imperial orchestra in Moscow. By 1792 he had been called to Potsdam and engaged to direct concerts for King Friedrich Wilhelm II of Prussia. In 1809, at the age of 65, he performed in a concert at the Gewandhaus in Leipzig and was overwhelmingly praised. As a composer, his music has been little studied, but he wrote mostly for his own instrument, including three clarinet concertos, a sonata for clarinet and bassoon, and six duos for two clarinets. He was important not only because he was the earliest well-known virtuoso clarinettist but because he popularized the German style of playing, which incorporates a soft expressive tone quality with a brilliant technique. He taught several influential clarinettists including Michel Yost, Etienne Solère and Heinrich Baermann. 

diumenge, 18 de maig del 2025

MESERON, Juan Francisco (1779-1842) - Misa en Mi bemol

Diana de Rosa detto Annella di Massimo (1602-1643) - Saint Cecilia


Juan Francisco Meserón (1779-1842) - Misa en Mi bemol
Performers: Marina Auristela Guanche (soprano); Yolanda Correa (mezzo-soprano); Delia Leal (contralto);
Manuel Aguilar (tenor); Coro y Orquesta Agrupación Polifonía; Nazyl Báez-Finol (conductor)
Further info: No available

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Venezuelan flautist, teacher and composer. He came from a family of Venezuelan musicians, initiated by his father, Alejandro Mezerón, a Frenchman who settled in Caracas in his youth, Hispanicized his surname, and Ana María Victoria de Acosta, a Venezuelan. He began his music studies with his father. In 1803, he appeared as a musician in the Veterans Battalion of Caracas. He was the best flautist of his time, and he is found as a soloist with the orchestra that accompanied Espenu's opera company in 1808. He continued in the orchestra of the Teatro El Conde until an earthquake (1814) destroyed it. Then, with the independence political upheavals, he emigrated to eastern Venezuela. Around 1821, he settled in Petare, seeking peace in the turbulent capital, where, apart from being a school teacher, he also served as a choirmaster. It was there that he composed most of his sacred music works, without neglecting, more innovatively, the cultivation of symphonic music, with overtures and symphonies (of a single movement, that is, concert overtures); his 8th Symphony is dated "Petare, 1822." He also composed some patriotic songs, of which two are preserved, as well as waltzes and polkas. In 1824, he published the book 'Explicación y conocimiento de los principios generales de la música' in Caracas, which is the first printed musical teaching work in Venezuela; he himself says in the prologue: "It is the first attempt made in the country." In 1837, the Petare city council appointed him municipal secretary, and in 1831, revenue administrator for the entire canton. At the end of 1834, the Caracas Philharmonic Society appointed him director of the Philharmonic Orchestra, also performing as a solo flautist. He was also a music teacher in renowned schools in Caracas. On May 25, 1800, he married Candelaria de Alva, with whom he had two sons: José Nicanor Meserón de Alva (1806-?) and José Idelfonso Meserón de Alva (c.1808-?), both musicians; compositions by the latter, belonging to the period of the Republic of Venezuela, are preserved.

divendres, 16 de maig del 2025

KOCVARA, František (1730-1791) - Sonata pour Alto Viola

English School (18th Century) - Portrait of Frantisek Kocvara


František Kočvara (1730-1791) - Sonata (II, Do majeur) pour Alto Viola des
'Quatre sonates [G, C, G, C] pour alto viola avec accompagnement de basse ... œuvre 2'
Performers: Regina Shteynman (viola); Elena Keylina-Reuther (organ)

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Bohemian contrabassist and composer. Little is known about his early life or education. He first appeared in 1775 in London, where he had arrived as an itinerant musician and where he published collections of trio sonatas and string quartets. There he became involved in the cultural life of the city, performing and publishing his music, mainly sonatas. In the late 1780s he was in Ireland. Back in London he took part in the Concert of Ancient Music and in the Handel Commemoration of May 1791. At the time of his death he played the double bass at the King’s Theatre. François-Joseph Fétis claimed to have met and performed for Kočvara while a child in his father’s house in Mons, though his dating of the event (1792) is mistaken. According to Fétis, Kočvara played not only the viola and double bass, but also the piano, violin, cello, oboe, flute, bassoon and cittern. Kočvara gained special notoriety by the manner of his death, with which most early accounts of him are primarily concerned. He was reputed to have had unusual vices, and was accidentally hanged while conducting an experiment in a house of ill repute. Susan Hill, his accomplice in the experiment, was tried for murder at the Old Bailey on 16 September 1791 and was acquitted. As a composer, his most famous composition, 'The Battle for Prague', appears to have been written in commemoration of an event from 1758. His surviving works include three serenades, a symphony, some 26 sonatas, 12 trio sonatas, six quartets, and several songs. His music is imitative of major European composers of the period, principally Joseph Haydn.

dimecres, 14 de maig del 2025

TEIXEIRA, António (1707-1774) - Sinfonia

Unknown - The Terreiro do Paço (Palace Square) and the Ribeira Royal Palace, prior to their destruction in the 1755 Lisbon earthquake


António Teixeira (1707-1774) - Sinfonia
Performers: Divino Sοspiro
Further info: No available

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Portuguese composer and singer. Following study on a royal stipend in Rome from 1714 to 1728, he returned to Lisbon as a chaplain and singer for the Lisbon cathedral. He wrote a few festive cantatas for members of the aristocracy, including 'Gli sposi fortunati', performed at the house of Antónia Joaquina de Menezes de Lavra during Carnival 1732, and a 'Componimento drammatico' to celebrate the wedding of the Marquis of Cascais during Carnival 1738. By 1760 he produced operas at the Teatro do Bairro Alto Lima, becoming known for his lyrical style of Italian opera, as well as being the first to write operas in Portuguese. The first of these, 'Guerras do alecim e manjerona', was a major factor in establishing opera in the native language. In 1765 he was elected to the Irmandade de St. Cecilia. His compositions include seven operas, two Masses, two motets, a large cantata, and numerous other sacred works. While many of his sacred works reflect later 18th-century church style, his most famous work, a 20-voice Te Deum composed in 1734, is largely Baroque with polychoral writing.

dilluns, 12 de maig del 2025

VANHAL, Jan Křtitel (1739-1813) - Concerto per il organo (1786)

Giuseppe Galli Bibiena (1696-1756) - Stage Design Vaulted Hall of a Palace


Jan Křtitel Vanhal (1739-1813) - Concerto (F-Dur) per il organo aus 'Concerto in F. | per il | clavi cembalo | Violino Primo | Violino Secundo | Cornu Primo | Cornu Secundo | con | Basso' (1786)
Performers: Jaroslav Tumа (organ); Hipοcοndria Ensemble

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Bohemian composer and cellist. Born into a poor peasant family, he obtained some early education in music from a local organist, Anton Erban. His first post was as an organist at the town of Opocžna, and subsequently he became a choral director at Niemcžoves, during which time he was trained as a string player by Matthias Nowák. In 1769 he moved to Vienna to study under Carl Ditters von Dittersdorf. In turn he established a reputation as a teacher, whose students included Ignaz Pleyel. In 1769 he traveled to Italy, where his first opera, Demofoonte, was performed a year later. He returned to Vienna in 1771 but visited the estates of his patron, Ladislaus Erdödy, in Croatia. Thereafter he continued to publish his music actively as a member of the most important musical circles of the Imperial capital. Vanhal can be considered one of the more prolific and popular composers of the period, with over 1,300 works written. Although Charles Burney claimed that his creativity had diminished due to mental issues (now known to be false), he continued to produce compositions that were disseminated throughout the world, becoming almost as popular as his friend and colleague Joseph Haydn. These include 76 symphonies, around 60 concertos (for violin, flute, viola, oboe, contrabass, keyboard, and other instruments), 100 string quartets, 13 piano quartets, 51 piano trios, 49 other trios, six quintets, 98 duets for various instruments, 102 sonatas/sonatinas for various instruments and keyboard, 196 keyboard sonatas, 68 sets of keyboard variations, 76 miscellaneous keyboard works, 25 divertimentos, 38 organ works, 47 sets or pieces of dance music, three operas, 48 Masses, two Requiems, 46 offertories, 32 motets, 15 antiphons, 34 sacred arias, 32 Stabat maters, 10 litanies, 10 graduals, 17 other sacred works, 17 pieces of programmatic music, and 41 songs. Vanhal’s musical style is often dramatic but carefully constructed according to form and structure. His use of melody is often lyrical, with good sequencing and internal variation. He can be considered one of the main figures in late 18th-century music. His works are known by their Bryan numbers.

diumenge, 11 de maig del 2025

STRAUSS, Christoph (c.1575-1631) - Missa Maria Concertata (1631)

Anton Hierat (c.1550-1627) - Vienne (Autriche)


Christoph Strauss (c.1575-1631) - Missa Maria Concertata à 9 aus 'Missae ... octo, novem, decem, undecim, duodecim, tredecim et viginti, tam vocibus, quam variis instrumentis,
et basso generali ad organum accomodato' (1631)
Performers: Concerto Pаlаtino; Bruce Dickеy (conductor)

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Austrian composer and organist. He was born into a musical family long associated with the Habsburg court. In 1594 he entered its service, becoming organist of the court church of St. Michael in 1601. After serving as administrator of the imperial estate of Kattenburg (1614-17), he was director of the court music from 1617 until he was removed in 1619 by the new Emperor, Ferdinand II. In 1626 he finally obtained the post of director of music at St. Stephen's Cathedral, where he remained until his death. As a composer, he published two collections of music; 'Nova ac diversimoda sacrarum cantionum compositio sen [36] motettae' (1613), greatly influenced by the transitional polychoral style of Giovanni Gabrieli, and 'Missae ... octo, novem, decem, undecim, duodecim, tredecim et viginti, tam vocibus, quam variis instrumentis, et basso generali ad organum accomodato' (1631), mostly of them in form of parody masses, in which the basic melodic units appear in many different guises throughout and lend unity to the whole. The influence of the Venetian mixed concertato style may be found in the contrast between vocal, instrumental and mixed groups, in the rhythms and style of the vocal writing, in the treatment of the polychoral medium, and also in the juxtaposition of powerful tuttis and sections for one, two or three voices, sometimes accompanied by instruments. Christoph Strauss was one of the foremost Austrian composers of his time.

divendres, 9 de maig del 2025

BALBASTRE, Claude (1724-1799) - Sonata en quatuor (1779)

John Tinney (1706-1761) - A View of the Chapel of the Palace of Versailles


Claude Balbastre (1724-1799) - Sonata (I, Si bemol majeur) en quatuor des 'Sonates en quatuor pour le clavecin ou le forte-piano avec accompagnement de deux violons, une basse et deux cors ad libitum... Oeuvre III' (1779)
Performers: France Clidat (1932-2012, piano); Orchestre de Chambre; Jean-Louis Petit (conductor)
Further info: Sonates En Quatuor

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French organist and composer. He received his earliest musical education from his father Bénigne Balbastre (?-1737) and under Claude Rameau, the brother of Jean-Philippe Rameau, in Dijon. Moving to Paris in 1750 he continued his studies with Pierre Février, and with the help of Rameau was introduced to the most important musical circles. He obtained a position as organist at Saint Reh, later adding additional posts at Nôtre Dame and the Chapelle Royale, where he became the tutor of Marie Antoinette in 1776. In 1759 he published his 'Premier livre pièces de clavecin' and began performing frequently as a soloist at the Concerts spirituels. Charles Burney entered a long account of the performance there in his 'Present State of Music in France and Italy': "He performed in all styles in accompanying the choir. When the Magnificat was sung, he played likewise between each verse several minuets, fugues, imitations, and every species of music, even to hunting pieces and jigs, without surprising or offending the congregation, as far as I was able to discover." Burney also visited Balbastre at home and described the instruments he saw there, "...including a large organ and a fine Rucker harpsichord which he has had painted inside and out with as much delicacy as the finest coach or snuff-box I ever saw at Paris. … On the outside is the birth of Venus; and on the inside of the cover the story of Rameau’s most famous opera, 'Castor and Pollux'; earth, hell and elysium are there represented; in elysium, sitting on a bank, with a lyre in his hand, is that celebrated composer himself [i.e. Rameau]; … The tone of this instrument is more delicate than powerful; one of the unisons is of buff, but very sweet and agreeable; the touch is very light, owing to the quilling, which in France is always weak." His playing also earned the praise of an anonymous reviewer in the Mercure de France (May 1755): "M. Balbatre played an organ concerto of his own composition, that surprised and charmed the entire assemblage; his brilliant playing made this instrument sound in an authoritative manner and made the impression that he alone has the right to lead all others. One cannot praise too highly … the singular talent of M. Balbatre." Thereafter he appeared frequently at the Concert Spirituel until 1782. As organist of the Panthémont, he taught the daughters of prominent French and foreign dignitaries, including Thomas Jefferson. With the fall of the royalty, he lived in poverty for the rest of his life. One of his last performances was his own arrangement of the Marseillaise, played on the organ of the deconsecrated Notre Dame. As a composer, his output include 14 organ concertos (of which only one survives), four noëls variés, six sonates en quatuors, and numerous variations and smaller pieces for keyboard. He also wrote church music, of which nothing survives. His style is more homophonic than some of his contemporaries.

dimecres, 7 de maig del 2025

STAMITZ, Carl (1745-1801) - Sinfonie a grand orchestre (1777)

Johann Andreas Ziegler (1749-1802) - Ansicht von Mannheim (1798)


Carl Stamitz (1745-1801) - Sinfonie (G-Dur) a grand orchestre des 'Six sinfonies, grand orchestre, deux violons, alto et basso, deux hautbois et deux cors de chasse ad libitum', Oeuvre XIII (1777)
Performers: Capella Savaria; Zsolt Kalló (conductor)

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German composer and violinist. The son of concertmaster Johann Stamitz (1717-1757), he received his training from his father’s colleagues Christian Cannabich, Ignaz Holzbauer, and Franz Xaver Richter before being appointed a violinist in the Mannheim orchestra at the age of 17. In 1770, however, he decided to resign his position and began a 25-year career as a touring virtuoso, performing mainly on the viola and viola d’amore. His first city was Paris, where he began publishing his music, followed by Frankfurt in 1773, St. Petersburg in 1775, Strasbourg in 1777, London in 1778, Amsterdam and The Hague in 1782, Berlin in 1786, Nuremburg in 1788, Kassel in 1790, and Weimar in 1792. His successes were variable, but he maintained close contact to various composers and musicians he met in each city. In 1795 he settled in the university town of Jena, where he spent the last years of his life devoted to the study of alchemy in a place without any appreciable musical establishment, although he did find employment teaching at the university. Toward the end of his life he planned further tours to Russia. Stamitz came to epitomize the clarity and regularity of Classical form and structure in his numerous compositions. These include good lyrical contrasting melodies, careful use of the so-called Mannheim devices, regularized harmony, and sometimes colorful harmony. His focus was on instrumental music, particularly the symphony and concerto, of which he is recognized as a universalist composer. His music includes over 50 symphonies, 38 sinfonia concertantes (mainly for two violins or violin and viola), over 80 concertos (20 for violin, three for viola, six for cello, 11 for flute, four for oboe, 15 for clarinet, 12 for bassoon, five for horn, and others for keyboard, harp, basset horn, and viola d’amore), seven wind parthies, 22 wind serenades, six string quintets, 21 string quartets, 12 woodwind quartets, 35 string trios and six piano trios, 90 duets, 15 violin sonatas, two operas, two festive cantatas, a Mass, three canticles, a massive quodlibet in two acts titled Great Allegorical Musical Festivity (written in 1788 in Nuremburg to celebrate the balloon flight of Jean-Pierre Blanchard the previous year), and other smaller chamber works. He can be reckoned as one of the most prolific composers of the period. His brother Anton Stamitz (1750-c.1809) was also a violinist and composer.

dilluns, 5 de maig del 2025

AZOPARDI, Francesco (1748-1809) - Sinfonia in Re maggiore

Gaspar Adriaansz van Wittel (1653-1736) - The Darsena delle Galere and Castello Nuovo at Naples


Francesco Azopardi (1748-1809) - Sinfonia in Re maggiore
Performers: Orchestral ensemble; Joseph Vеlla (conductor)

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Maltese composer and theorist. His earliest training was under the composer Michel’Angelo Vella, prior to his being sent to Naples in 1763, where he enrolled in the Conservatorio di Sant’Onofrio a Porta Capuana. His teachers there were Joseph Doll and Niccolò Piccinni. In 1774 he returned to Malta to become maestro di cappella at the Mdina Cathedral of Saint Paul. In 1783 he was appointed as successor of Benigno Zerafa at the St. John’s Co-Cathedral in Valletta, a position he finally attained in 1789. As a composer, his works include an opera; the festive cantata 'Malta felice'; an oratorio; 31 Masses; 76 Psalms; six Magnificats; two Passions; six Lamentations; 70 motets; 16 antiphons; and three symphonies of the singlemovement da chiesa form. His style reflects the late Neapolitan opera, but his use of instrumental color and harmony are particularly effective. His most famous theoretical work is the treatise 'Il musico prattico' (c.1781). During his lifetime, he was a well-known and much-soughtafter composer, particularly of church music.