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.