Corigniani (fl. 1761)
- Concerto à Due Liuti Obligati
Performers: Jürg Mеili (lute); Thamas Schаll (lute)
Further info: Concertos
divendres, 22 d’agost del 2025
dimecres, 20 d’agost del 2025
VAN WASSENAER, Unico Wilhelm (1692-1766) - Concertino a quattro violini obligati (1740)
Unico Wilhelm van Wassenaer (1692-1766)
- Concertino (V, f-moll) des 'VI Concerti armonici a quattro violini
obligati, alto viola, violoncello obligato e basso continuo' (1740)
Performers: Barocco Boreale ensemble
---
Dutch composer and statesman. He was born into one of the oldest and
most influential families of the Dutch nobility and spent his childhood
in his parents' house in The Hague and at Twickel Castle in Delden. He
probably studied music with the organist, harpsichordist, composer and
theorist Quirinus van Blankenburg in The Hague. In 1707-09 he stayed
with his father and three sisters in Düsseldorf at the court of Johann
Wilhelm, Elector Palatine. The strong Italian influences at the court
had a major influence on his musical development. On 18 September 1710
Unico Wilhelm was admitted to the University of Leiden to study law. In
December 1711 he interrupted his studies to go to Frankfurt for the
coronation of the Emperor Charles VI. In June 1713, after completing his
studies, he returned to Düsseldorf where his father and sisters had
settled. He may have accompanied Arent van Wassenaer Duyvenvoorde on a
visit to Britain in 1715-16. He made a grand tour of France and Italy in
1717-18. In 1723 Unico Wilhelm married Dodonea Lucia van Goslinga (the
daughter of Sicco van Goslinga), with whom he had three children. While
based at the Hague between 1725 and 1740, Unico Wilhelm wrote the six
Concerti Armonici. The Concerti armonici, published anonymously in 1740,
were printed in London in 1755 as compositions by the violinist and
impresario Carlo Ricciotti (c.1681-1756). It has since been established
that these were the work of Unico Wilhelm. There is no evidence that
Ricciotti wrote any music. The concerti were dedicated to Wilhelm's
friend, Count Willem Bentinck. In 1744 he was sent on a diplomatic
mission to the French court, and in the autumn of 1744 and again in 1745
he was sent to the court of Clemens August, Elector of Cologne. In 1746
he went again to France, and finally in 1746-47 to Breda for further
discussions with the French. Although clearly intelligent, Unico Wilhelm
was not a natural diplomat. Unico Wilhelm was a commander of the
Bailiwick of Utrecht of the Teutonic Order. He was made coadjutor in
1753, and introduced administrative and managerial innovations. In 1761
he was made Commander of the order. He died in The Hague on November 9,
1766.
dilluns, 18 d’agost del 2025
RUGE, Filippo (c.1725-c.1767) - Sonata for flauto traverso
Filippo Ruge (c.1725-c.1767) (attributed)
- Sonata (D Major) for flauto traverso
Performers: Luis Martínez Pueyo (flute); La Guirlande ensemble
Further info: Filippo Ruge (c.1725-c.1767)
---
Italian composer and flautist. Nothing is known about his early life or
training; he first appears around 1751 in London, where he performed at
the public concerts. In 1753 he arrived in Paris, where he made a
successful debut performing his own flute concertos as a soloist at the
Concerts spirituels. At this time he and his wife, a singer, performed
in the famous musical salon of La Pouplinière. After 1755 he organized a
series of concerts at his home in the rue Plâtrière, where he also
taught music. In July 1755 he published 'Au dessert', a set of six vocal
duos, and in August of the same year he took out a 'privilege général'
of ten years for instrumental compositions. It is possible that between
1757 and 1761 he entered the service of the Marquis of Seignelay, but
his trace disappears from records in 1767, presumably the date of his
death. His music, little studied, includes 12 symphonies, six flute
concertos, two vocal duets, six canzonetts, 35 flute sonatas, 18 trio
sonatas, and 12 duo sonatas. He was an important agent in the diffusion
and popularization of Italian music and musical style in 18th-century
France.
diumenge, 17 d’agost del 2025
PORPORA, Nicola Antonio (1686-1768) - Letatus a più voci con Istrumenti
Nicola Antonio Porpora (1686-1768)
- Letatus a più voci con Istrumenti (1744)
Performers: Isabelle Poulеnаrd (soprano); Choeur Éclаts; Les Pаssions; Jean-Marc Andriеu (conductor)
Further info: Nicola Antonio Porpora (1686-1768) - Messa à 4 voci
---
Italian teacher and composer. Son of a bookseller, Carlo Porpora, and
his wife Caterina, he attended the Conservatorio dei Poveri di Gesù
Cristo from 29 September 1696. At age 22, he composed his first opera,
'L’Agrippina' (1708), but after that, the presence in Naples of the
great Alessandro Scarlatti prevented advancement in the theater. But in
1711, he was employed as maestro di cappella for Prince Philipp
Hesse-Darmstadt, then residing as military commander in Naples, and then
for the Portuguese ambassador in Rome from June 1713. From 1715 to
1722, he was a teacher at the Conservatorio di San Onofrio. Among his
pupils were the poet and librettist Pietro Metastasio, the composer
Johann Adolph Hasse, and the celebrated castrati Antonio Uberti (known
as “Porporino”), Farinelli, and Caffarelli. His most important teaching
post was in Venice at the Ospedale degli Incurabili, the famous music
school for girls, from 1726 to 1733. In 1733 he went to London as chief
composer to the Opera of the Nobility, a company formed in competition
to Handel’s opera company. In London he wrote five operas, among them
'Polifemo', 'Davide e Betsabea', and 'Ifigenia in Aulide', with parts
for his remarkable pupil Farinelli. When the Opera of the Nobility and
Handel’s company closed, Porpora left England, in 1736. He subsequently
taught in Venice and Naples, where he produced several comic operas. In
1747 he was in Dresden and from 1748 to 1751 was chapelmaster there. He
went to Vienna in 1752, where he gave composition lessons to the young
Haydn, and in 1758 returned to Naples. A revision of his opera 'Il
Trionfo di Camilla' (first produced 1740) was given there in 1760 but
failed, and Porpora’s last years were spent in poverty. In addition to
about 50 operas, he composed a number of oratorios, masses, motets, and
instrumental works.
divendres, 15 d’agost del 2025
DE CROES, Henri-Joseph (1758-1842) - Sinfonia in Es-Dur (1782)
Henri-Joseph de Croes (1758-1842)
- Sinfonia in Es-Dur (1782)
Performers: Terra Nova Ensemble; Vlad Weverbergh (conductor)
---
Flemish composer. Son of Henri-Jacques de Croes (1705-1786),
kapellmeister and director of music at the Royal Court Orchestra in
Brussels, he received music lessons from his father. When he was
eighteen he joined the service of the Princes of Thurn and Taxis in
Regensburg in Bavaria, at first as a violinist (1776-1798) and from 1798
onward, as kapellmeister. Karl Anselm, the fourth prince of Thurn and
Taxis (from 1773 to 1797), encouraged court music in the summer
residence at Trugenhofen and at the main residence in Regensburg. He
continued to develop the ensemble, which had been founded for diplomatic
reasons by his father, Alexander Ferdinand, one of the Emperor’s
leading representatives. He engaged numerous virtuoso musicians,
including the French violinist Joseph Touchemoulin, the Bohemian
composer Franz Xaver Pokorný, the oboe player Giovanni Palestrini and
flautist Fiorante Augustinelli. Together with the famous Mannheim
orchestra and the Esterhazy family’s orchestra in Eisenstadt, the Thurn
and Taxis orchestra at Regensburg was among the best of its era. Henri
Joseph de Croes married the opera singer Maria Augusta Houdière
(?-1806). They had two children, both of whom died in their youth. As a
composer, he wrote an opera, seven partias for clarinets and strings,
several concertos, two symphonies, and chamber music.
dimecres, 13 d’agost del 2025
NICHELMANN, Christoph (1717-1762) - Ouverture a 4 (1737)
Christoph Nichelmann (1717-1762)
- Ouverture B dur | per | due Violini | due Oboi | Viola | Basso continuo (1737)
Performers: Orkiestra Kore
---
German composer. His earliest musical education came when he enrolled in
the Thomasschule in Leipzig in 1730, studying under Johann Sebastian
Bach and Bach’s son Wilhelm Friedemann Bach. In 1733 he moved to Hamburg
to seek work as an opera composer, but in 1739 he went to Berlin, where
he became part of the Berlin School, studying under Johann Joachim
Quantz and Carl Heinrich Graun. He obtained the position as
harpsichordist at the Prussian court, and in 1755 he published his
treatise 'Die Melodie, nach ihrem Wesen'. A controversy with this work
and its successor caused him to request release from the court, and he
served the rest of his life as an independent teacher and composer.
Among his works were 3 sinfonias, an Ouverture, a Concerto for Violin
and Strings, 16 concertos for harpsichord and strings (1740-59), various
keyboard pieces, 'Il sogno di Scipione' (serenata, 1745), a Requiem,
and 22 Lieder. Although known for his theoretical treatise, Nichelmann
was an innovative composer of keyboard works whose style is firmly
implanted in 'Empfindsamkeit'.
dilluns, 11 d’agost del 2025
BON DI VENEZIA, Anna (1738-c.1767) - Sonata per il Cembalo (1757)
Anna Bon di Venezia (1738-c.1767)
- Sonata (V, si minore) 'Sei Sonate | Per il Cembalo | […] Ernestina
Augusta Sophie | Principessa | Di Sachsen Weimar etc:etc: | [...] in
età d'anni | dieci sette | Opera secunda' (1757)
Performers: Irene Hegen (cembalo)
---
Italian composer and singer. Born as 'Anna Ioanna Lucia, filia
Hieronymus Boni et Rosa Ruinetti', she was the daughter of the
(Venetian?) scenographer and librettist Girolamo Bon and the Bolognese
singer Rosa Ruvinetti Bon. On March 8, 1743, at the age of four, she was
admitted to the Ospedale della Pietà in Venice as a student; that she
had a surname indicates that she was not a foundling as were most of the
Pietà wards, but a tuition-paying pupil (figlia de spesi). She studied
with the maestra di viola, Candida della Pietà (who herself had been
admitted into the coro in 1707). By 1756, Anna had rejoined her parents
in Bayreuth where they were in the service of Margrave Friedrich of
Brandenburg Kulmbach; she held the new post of 'chamber music virtuosa'
at the court, and dedicated her six op. 1 flute sonatas, published in
Nürnberg in 1756, to Friedrich. From the frontispiece we learn that she
composed them at the age of sixteen. In 1762, the family moved to the
Esterházy court at Eisenstadt, where Anna remained until at least 1765.
She dedicated the published set of six harpsichord sonatas, op. 2
(1757), to Ernestina Augusta Sophia, Princess of Saxe-Weimar, and the
set of six divertimenti (trio sonatas), op. 3 (1759), to Charles
Theodore, Elector of Bavaria. By 1767, Anna was living in
Hildburghausen, Thuringia, with her husband, a singer named Mongeri.
diumenge, 10 d’agost del 2025
BELICZAY, Gyula (1835-1893) - Messe in F-Dur (1867)
Gyula Beliczay (1835-1893)
- Messe in F-Dur, Op.50 (1867) (live recording)
Performers: STELLA kamarakórus; Caritas Collectio Kamarazenekar; Juhász Irén (conductor)
Further info: Masses–F major
---
Hungarian composer, pianist, and music writer. His grandfather was a
Lutheran pastor, and his father was a wealthy timber merchant. Beliczay
began his studies in Komárom, where his musical talent was recognized by
church choirmaster Gyula Csáder. From the age of 12, he attended the
Lutheran lyceum in Pozsony. Excelling in mathematics, his father
initially intended him for an engineering career. While in Pozsony, he
also studied piano with Josef Kumlik. Fulfilling his father's wishes, he
earned an engineering degree from the Vienna Polytechnic between 1851
and 1857. In 1856, he also obtained a choirmaster's diploma in Vienna.
From 1858, he worked as an engineer for the Tiszavidéki Vaspályatársaság
(Tisza Railway Company), then based in Vienna. He simultaneously taught
at one of the city's conservatories. During his time in Vienna, his
composition teachers included Jozef Hofmann, Franz Krenn, and Gustav
Nottebohm, and he furthered his piano studies with Carl Czerny and Anton
Halm. In the spring of 1871, when the railway company relocated its
headquarters to Pest, he moved with it. From 1872, he served as the
chief architectural engineer for the Hungarian Royal State Railways. In
1879, he married Anna Tarczalovits (1853–1933), one of his students. In
1888, invited by Ödön Mihalovich, he became a music theory professor at
the National Academy of Music in a post he held the rest of his life.
Beliczay's musical output included orchestral works, chamber music,
piano pieces, sacred music, choral compositions, and songs. Among his
writings is 'A zene elemei' (Budapest, 1891). He embraced the Romantic
style of Robert Schumann and Felix Mendelssohn, though his uniquely
Hungarian compositions were primarily his variations, four-hand piano
pieces, and songs. He was recognized as the most renowned Hungarian
composer abroad during the last third of the 19th century.
divendres, 8 d’agost del 2025
BRUNETTI, Gaetano (1744-1798) - Sinfonía en Re Mayor
Gaetano Brunetti (1744-1798)
- Sinfonía (9) en Re Mayor, LabB 298
Performers: Camerata Antonio Soler; Gustavo Sánchez (conductor)
Further info: Gaetano Brunetti - Sinfonías
---
Italian composer and violinist. Born on the Adriatic coast, he received
his first instruction in violin from Carlo Tessarini in Urbino before
becoming a disciple of Pietro Nardini in Livorno. At the age of 16 or 17
he immigrated to Madrid as a violinist in the Real Capilla and was
later appointed in 1767 as instructor of the Prince of Asturia by Carlos
III. By 1779 he had become musical director in Aranjuez, but he was
recalled to Madrid in 1788 by Carlos IV to lead a family ensemble, the
musicos de la real camera, that played exclusively for the court. His
music includes incidental music to the comedy Garcia del Castañal, two
zarzuelas, an Italian opera buffa, two Masses, a Miserere, three
Lamentations, nine concert arias, 32 songs (canciones), 37 symphonies,
four concertos, five sinfonia concertantes, 109 pieces of dance music,
18 sextets, 68 string quintets, 62 string quartets, 59 string trios, 23
divertimentos, 78 violin sonatas (and one for viola), and 328 duos.
During his lifetime, Brunetti had a reputation for writing dramatic
instrumental works that often deviated from conventional formal
structures. He also incorporated Spanish melodies and rhythms
frequently. He can be considered one of the most popular and important
composers resident in Spain during the 18th century. He was survived by a
daughter and a son Francesco Brunetti (c.1765-1834), a cellist in the
royal chamber orchestra.
dimecres, 6 d’agost del 2025
SCHOBERT, Johann (c.1720-1767) - Concerto I Pour le clavecin
Johann Schobert (c.1720-1767)
- Concerto (I, F-Dur) pour le clavecin avec accompagnement de deux
violons, alto et basse et deux cors de chasse ad libitum... op. XI
Performers: Marcelle Charbonnier (clavecin); Orchestre de chambre de
Versailles;
Bernard Wahl (1922-1994, conductor)
---
German composer and keyboardist. Nothing is known about his origins or
youth; there is differing information on his birth date, which ranges
from 1720 to 1740. Gerber’s Historisch-biographisches Lexicon der
Tonkünstler, however, gives Strasbourg as his place of birth (though the
name occurs in no contemporary Alsatian records), and Schubart in his
autobiography claimed Schobert as a kinsman, supposedly from Nuremberg.
Schobert first appeared in Paris in 1760, where he began a career as a
keyboard virtuoso, eventually publishing 20 sets of works. In 1761 a few
of his pieces appeared in the pasticcio Le tonnelier, and in 1765 he
unsuccessfully attempted to become a composer of opéra comique with the
comedy Le garde-chasse et le braconnier. He found employment with Louis
François I de Bourbon, Prince of Conti, however. Throughout his career
he achieved some fame for his expressive performances and works, in
addition to being a rival of Johann Gottfried Eckard. He died along with
his family, a servant, and four friends as a consequence of eating
poisonous mushrooms. His musical style was influenced by that of
Mannheim, although he was noted for his expressive melodies. His works
include 21 violin sonatas, six symphonies, seven trio sonatas, five
harpsichord concertos, three keyboard quartets, and several sonatas and
miscellaneous works for harpsichord. Schobert greatly influenced
Wolfgang Amadeus Mozart, who admired his music warmly. The work which
most impressed the seven-year-old composer seems to have been the D
major Sonata of op.3; imitation of this sonata and others can be traced
in Mozart’s subsequent Parisian and English sonatas. Movements from
Schobert’s sonatas also appear recast in Mozart’s earliest piano
concertos. His fascination for Schobert’s music was not merely fleeting:
when Mozart was in Paris in 1778 he taught his pupils Schobert’s
sonatas, and the A minor Sonata k310, composed in Paris, contains in its
Andante an almost literal quotation from a movement of Schobert’s op.17
no.1 that Mozart had already arranged years before in a concerto.
dilluns, 4 d’agost del 2025
MARTINI, Giovanni Battista (1706-1784) - Concerto a quattro (1754)
Giovanni Battista Martini (1706-1784)
- Concerto (Re maggiore) a quattro pieno (1754)
Performers: Accademia degli Astrսsі; Federico Fеrri (conductor)
---
Italian writer on music, teacher and composer. His father, Antonio Maria
Martini, a violinist, taught him the elements of music and the violin
and he later learned singing and harpsichord playing from Padre
Pradieri, and counterpoint from Antonio Riccieri and Giacomo Antonio
Perti. Having received his education in classics from the priests of the
Oratory of Saint Philip Neri, he afterwards entered the novitiate of
the Conventual Franciscans at their friary in Lago, at the close of
which he professed religious vows and received the religious habit of
the Order on 11 September 1722. In 1725, though only nineteen years old,
he received the appointment of chapel-master at the Basilica of San
Francesco in Bologna, where his compositions attracted attention. He
established a composition school at the invitation of amateur and
professional friends, where a number of well-known musicians received
their education. As a teacher, he consistently expressed his preference
for the practices of the earlier Roman school of composition. Martini
was a zealous collector of musical literature, and possessed an
extensive musical library. Burney estimated it at 17,000 volumes; after
Martini's death a portion of it passed to the Imperial library at
Vienna, the rest remaining in Bologna, now in the Museo Internazionale
della Musica (ex Civico Museo Bibliografico Musicale). Most contemporary
musicians spoke of Martini with admiration, and Leopold Mozart
consulted him with regard to the talents of his son, Wolfgang Amadeus
Mozart. The latter went on to write the friar in very effusive terms
after a visit to the city. The Abbé Vogler, however, makes reservations
in his praise, condemning his philosophical principles as too much in
sympathy with those of Fux, which had already been expressed by P.
Vallotti. His Elogio was published by Pietro della Valle at Bologna in
the same year. In 1758 Martini was invited to teach at the Accademia
Filarmonica di Bologna. He died in Bologna. Referred to at his death as
‘Dio della musica de’ nostri tempi’, he was one of the most famous
figures in 18th-century music.
Among Martini's pupils: Grétry, Mysliveček, Berezovsky, his fellow
Conventual Franciscan friar, Stanislao Mattei, who succeeded him as
conductor of the girls choir, as well as the young Mozart, Johann
Christian Bach and the famous Italian cellist Giovanni Battista Cirri.
The greater number of Martini's mostly sacred compositions remain
unprinted. The Liceo of Bologna possesses the manuscripts of two
oratorios as well as three intermezzos, including L'impresario delle
Isole Canarie; and a requiem, with some other pieces of church music,
are now in Vienna. Litaniae atque antiphonae finales B. V. Mariae were
published at Bologna in 1734, as also twelve Sonate d'intavolalura; six
Sonate per l'organo ed il cembalo in 1747; and Duetti da camera in 1763.
Martini's most important works are his Storia della musica (Bologna,
1757-81) and his Esemplare di contrappunto (Bologna, 1774-75). The
former, of which the three published volumes relate wholly to ancient
music, and thus represent a mere fragment of the author's vast plan,
exhibits immense reading and industry, but is written in a dry and
unattractive style, and is overloaded with matter which cannot be
regarded as historical. At the beginning and end of each chapter occur
puzzle-canons, wherein the primary part or parts alone are given, and
the reader has to discover the canon that fixes the period and the
interval at which the response is to enter. Some of these are
exceedingly difficult, but all were solved by Luigi Cherubini. The
Esemplare is a learned and valuable work, containing an important
collection of examples from the best masters of the old Italian and
Spanish schools, with excellent explanatory notes. It treats chiefly of
the tonalities of the plain chant, and of counterpoints constructed upon
them. Besides being the author of several controversial works, Martini
drew up a Dictionary of Ancient Musical Terms, which appeared in the
second volume of GB Doni's Works; he also published a treatise on The
Theory of Numbers as Applied to Music. His celebrated canons, published
in London, about 1800, edited by Pio Cianchettini, and his unpublished
set of 303 canons, show him to have had a strong sense of musical
humour.
diumenge, 3 d’agost del 2025
GIANETTINI, Antonio (1648-1721) - Salmi a quattro voci (1717)
Antonio Gianettini (1648-1721)
- Salmi a quattro voci (1717)
Performers: Cantar Lοntano; Marco Mеncοbοni (conductor)
Further info: Notti Di Modena
---
Italian composer, organist and singer. He went to Venice and sang bass
in the choir of San Marco from 1674. He served as organist at SS.
Giovanni e Paolo (1676-79), where he was described as a pupil of Carlo
Grossi, as well as at San Marco during periods between 1677 and 1686. He
left San Marco on 1 May 1686 to take the post of maestro di cappella to
the Duke of Modena, which he retained, with interruptions, almost until
the end of his life. The duke had to order a large boat to transport
Giannettini and his family’s personal effects from Venice. At Modena he
was responsible for the selection and payment of musicians, as his
correspondence shows, and for organizing the performance of his own and
others’ works. He maintained his connections with Venice and during his
visits, often at Carnival, he recruited musicians for the duke. In
Modena he was called on to produce oratorios and small occasional works
more often than operas and he may have composed new music for the 1690
performance in Modena of Giovanni Legrenzi's 'Eteocle e Polinice'. When,
during the War of the Spanish Succession, the French occupied Modena in
1702, Duke Rinaldo fled to Bologna, and Giannettini accompanied him. He
soon moved on to Venice with his family. During this period he is
supposed to have returned to Modena twice as opera director. After the
war, in February 1707, he resumed his earlier activities at Modena. From
June 1721 was employed as a singer at the Bavarian court at Munich. As a
composer, he wrote about 10 operas, of which 'Medea in Atene' (1675)
became the best known. His other works included 9 oratorios, many
cantatas, 12 motets, a Kyrie a 5, and Psalmi a 4 (1717). He was among
the most talented Italian composers of his generation; his works were
fairly popular, and two of his operas circulated in Germany.
divendres, 1 d’agost del 2025
FIALA, Josef (1748-1816) - Concerto per due Corni (c.1780)
Josef Fiala (1748-1816)
- Concerto in Eb | per il | Corno Primo | Corno Secondo Principale |
Due Violini | Due Flauti | Due Corni | Due Viole | e | Basso (c.1780)
Performers: Zdenek Tylsar (1945-2006, horn); Bedrich Tylsar (horn);
Prague Symphony Orchestra;
Martin Turnovsky (1928-2021, conductor)
Further info: Doppelkonzerte Für 2 Hörner Und Orchester
---
Bohemian composer, oboist, viola da gamba virtuoso, cellist, and
pedagogue. He began his professional career as an oboist in the service
of Countess Netolicka. In 1777, he moved to Munich to serve in the court
orchestra of Elector Maximilian Joseph. That same year in Munich,
Wolfgang Amadeus Mozart was highly impressed by the wind band Fiala
trained, helping him secure a position in 1778 after the Elector's
death. In 1785, he moved to Vienna, and in 1786, to Saint Petersburg,
where he worked in the court of Catherine the Great. By 1790, he had
relocated to Prussia, serving as a viola da gamba player in the court of
Friedrich Wilhelm II. Finally, in 1792, he became Kapellmeister in
Donaueschingen, where he spent the rest of his life.
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