divendres, 20 de març del 2026

DUSSEK, Jan Ladislav (1760-1812) - Concerto pour deux Pianofortes

François Dequevauviller (1745-1807) - The Concert (1784)


Jan Ladislav Dussek (1760-1812) - Concerto pour deux Pianofortes, Op.63 (c.1805)
Performers: Igor Ardаšev (piano); Renаtа Ardаševová (piano); Pаrdubice Orchestra; Leos Svárovský (conductor)

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Bohemian keyboardist and composer. He studied piano at age five and organ at age nine, and then became a chorister at the Iglau Minorite church and a pupil at the Jesuit Gymnasium. After further studies at the Kuttenberg Jesuit Gymnasium, he continued his studies at Prague's New City Gymnasium (1776-77) and at the University of Prague (1778). He found a patron in Count Manner, with whose assistance he was able to go to Malines in 1779, where he became active as a piano teacher. He made his public debut there as a pianist on 16 December 1779, and then set out on a highly successful tour, visiting Bergen op Zoom, Amsterdam, and The Hague. He then went to Hamburg, where he gave a concert on 12 July 1782, and also met C.P.E. Bach, with whom he may have studied. In 1783 he played at the St. Petersburg court. After spending about a year in the service of Prince Karl Radziwill as Kapellmeister in Lithuania, he made a major tour of Germany in 1784, winning notable acclaim in Berlin, Mainz, Kassel, and Frankfurt am Main as a piano and glass harmonica virtuoso. In 1786 he went to Paris, where he performed at the court for Marie Antoinette; except for a brief trip to Milan and Bohemia, he remained in Paris until the outbreak of the French Revolution in 1789 compelled him to flee to London. On 1 June 1789, he made his London debut at the Hanover Square Rooms. He soon became successful as a pianist and teacher in the British capital, appearing regularly at Salomon's concerts and being an active participant in these concerts during Joseph Haydn's two visits. In 1792 he married the singer, pianist, and harpist Sophia Corri (1775-1847). 

With his father-in-law, Domenico Corri, he became active as a music publisher. Both men were ill suited for such a venture, however, and Dussek's love for the good life further contributed to the failure of the business. Dussek fled to Hamburg in 1799, leaving his father-in-law to serve a jail sentence for debt. He apparently never saw his wife or daughter again. He seems to have spent about two years in Hamburg, where he was active as a performer and teacher. In 1802 he played in his birthplace, and then in Prague. From 1804 to 1806 he served as Kapellmeister to Prince Louis Ferdinand of Prussia. After the latter's death at the battle of Saalfeld (10 October 1806), he composed a piano sonata in his memory, the 'Elegie harmonique sur la mort du Prince Louis Ferdinand de Prusse', Op.61. He then was briefly in the service of Prince Isenburg. In 1807 he settled in Paris, where he served Prince Talleyrand, gave concerts, and taught. His health began to fail due to excessive drinking, and he was compelled to abandon his career. Jan Ladislav Dussek was a remarkable composer for the piano, proving himself a master craftsman capable of producing the most brilliant works for the instrument. In his later works he presaged the development of the Romantic school, anticipating such composers as Chopin, Mendelssohn, Schumann, and even Brahms. As a celebrated virtuoso of the keyboard, he shares with Muzio Clementi the honor of having introduced the 'singing touch'. As a composer, his works include, among others, 15 concertos, 34 sonatas for the fortepiano, 68 violin sonatas, six harp sonatas (possibly a legacy of an alleged affair with Anne-Marie Krumpholtz), six canzonetts, three string quartets, a Mass (1807), and three harp concertos.

dimecres, 18 de març del 2026

CLARKE, Jeremiah (c.1674-1707) - Suite in D Major

Unknown artist (17th Century) - Windsor Castle from the South (c.1681)


Jeremiah Clarke (c.1674-1707) - Suite in D Major
Performers: David Tasa (trumpet); Frankfurter Solisten; Vladislav Brunner (conductor)

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English composer and organist. Nothing is known of his origins. The earliest evidence was as a chorister at the Chapel Royal when James II was crowned in 1685. By 1692, he had been appointed organist at Winchester College, and on 6 June 1699, he was appointed vicar-choral at St. Paul’s Cathedral. He moved up to organist in January 1704. On 15 May 1704, Francis Pigott, organist at the Chapel Royal, died, and together with William Croft were sworn in as joint organists to replace him. It appears that he ended his own life, perhaps owing to an unhappy love affair, by shooting himself on 1 December 1707. As a composer, he wrote 22 anthems, 10 odes, 2 settings of the Te Deum, 2 suites for wind band, 2 suites for harpsichord, over 40 other short works for harpsichord, and the incidental music for 8 plays. He was a leading composer of the generation immediately junior to Purcell. He wrote the so-called Trumpet Voluntary, his best-known piece.

dilluns, 16 de març del 2026

GEBAUER, François-René (1773-1845) - Quintette concertante

Michael Angelo Hayes (1811-1880) - The Band of the 23rd Fusiliers (1838)


François-René Gebauer (1773-1845) - Quintette concertante des
'Trois Quintettes concertans pour flûte, clarinette, hautbois, cor et basson'
Performers: The Danzi Quintet

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French bassoonist and composer. He was a pupil of his brother Michel Joseph Gebauer (1763-1812) and of François Devienne. In 1788 he became a member of the band of the Swiss Guard in his native city. In 1790 he settled in Paris as a musician in the National Guard. After playing in theater orchestras, he joined the orchestra of the Opera about 1799, remaining in it until 1826. He also played in the Imperial chapel orchestra until 1830, and was a professor at the Conservatoire (1795-1802; 1824-1838). According to some sources, he was made an honorary professor in 1816. As a composer, his output include 13 bassoon concertos, eight symphonies concertantes and several chamber music. He also published a bassoon method (c.1820). His younger brothers, Pierre Paul Gebauer (1775-?) and Etienne Jean François Gebauer (1776-1823) were also musicians.

diumenge, 15 de març del 2026

BENAYAS, Matías García (fl. 1690-1737) - Missa Defensor Alme Hispaniae

Miguel Jacinto Meléndez (1679-1734) - San Agustín conjurando una plaga de langosta


Matías García Benayas (fl. 1690-1737) - Missa Defensor Alme Hispaniae
Performers: Joaquín Barrеira (organ); Vox Stеllae; Luís Martínez (conductor)

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Spanish composer. Although his early biography remains obscure, archival evidence from 1690 suggests he held a musical post in Lugo before being appointed maestro de capilla at Mondoñedo Cathedral later that year. In February 1694, following a competitive examination process (oposiciones), he relocated to Tuy Cathedral to succeed Tomás Portillo, a position he held until his death. His tenure in Tuy was marked by his dual role as a priest and educator of the 'infantes del coro', though his health began to decline significantly after 1730. Academically, he is noted for his conservative liturgical style; his surviving output, primarily preserved in Tuy and Mondoñedo, consists of approximately 50 works characterized by traditional 'facistol' (choirbook) polyphony and the occasional use of cantus firmus. While his stylistic identity is occasionally obscured by issues of attribution within the cathedral archives, he remains a representative figure of the ecclesiastical musical tradition in Spain during the early 18th century. 

divendres, 13 de març del 2026

STEPAN, Josef Antonín (1726-1797) - Concerto per il Cembalo Concertato

Bernardo Bellotto (1721-1780) - University Square in Vienna


Josef Antonín Štěpán (1726-1797) - CONCERTO (in Dis). | per il | Cembalo Concertato.
| due Violini. | due Corni in D. | e Basso.
Performers: Rudolf Zelenka (cembalo); Benduv Komorni orchester; Jiří Havlík (conductor)

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Bohemian composer and keyboardist. Following early instruction from his father, a local cantor, he fled to Vienna to escape Prussian troops during the War of the Austrian Succession, eventually acquiring Count Schlick as his patron. He became a favorite pupil of Georg Christoph Wagenseil, under whose tutelage he achieved a reputation as one of the best keyboardists in Vienna. He was appointed as instructor to princesses Maria Carolina and Maria Antonia (later Marie Antoinette). In 1775 he was forced to retire due to failing eyesight, though he retained his salary. The remainder of his life was spent as a guest in the various salons of the city, where his Lieder (most of which were published) were popular. As a composer, his music conforms to the conventions of the style prevalent in Vienna of the period. These include two Masses (and a Requiem), seven hymns, numerous other smaller sacred works, one oratorio, 79 Lieder, 47 keyboard sonatas/divertimentos, 224 other individual works for the keyboard (including cadenzas), 12 symphonies, 45 concertos for the keyboard, seven piano trios, a violin sonata, and two piano quartets. His music remains largely unexplored.

dimecres, 11 de març del 2026

WOHLMUTH, Johann (1643-1724) - Vesperae breves

Melchior Michael Steidl (1657-1727) - Musica


Johann Wohlmuth (1643-1724) - Vesperae breves
Performers: Elocuеncia Barroca

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Austrian composer, organist, and pedagogue. After attending the Lutheran Gymnasium in Oedenburg (Sopron), he continued his studies in Breslau (Wrocław) in 1663 and subsequently spent three years at the University of Wittenberg. He served as rector and cantor in Rust by 1667 but fled to Regensburg in 1674 due to religious persecution, where he remained as a music teacher until 1685. Upon returning to Oedenburg, he was appointed music director at the Gymnasium and served as organist and Kapellmeister until 1720. His pedagogical career included teaching at primary schools from 1704 and providing private instruction to over 50 pupils, including the sons of Prince Paul Esterházy, until 1721. In 1689, he compiled a virginal book containing 56 pieces for his student Johann Jacob Starck. While Wohlmuth was a central figure in the musical life of Oedenburg, only a small portion of his compositions, primarily sacred works, is extant.

dilluns, 9 de març del 2026

BACH, Carl Philipp Emanuel (1714-1788) - Concerto per il Cembalo

Jan Joseph Horemans (1714-1790) - Concerto


Carl Philipp Emanuel Bach (1714-1788) - Concerto (E-Dur) | per | Jl Cembalo Concertato
| accompagnato | da | II Violini | Violetta | e Basso (1744), HelB 417
Performers: Orfeus Barock; Francesco Corti (harpsichord & conductor)

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German composer. The second surviving son of Johann Sebastian Bach (1685-1750) and his first wife, Maria Barbara Bach (1684-1720), he was baptized on 10 March 1714, with Georg Philipp Telemann as one of his godfathers. In 1717 he moved with the family to Cöthen, where his father had been appointed Kapellmeister. His mother died in 1720, and in spring 1723 the family moved to Leipzig, where he began attending the Thomasschule as a day-boy on 14 June 1723. J.S. Bach said later that one of his reasons for accepting the post of Kantor at the Thomasschule was that his sons’ intellectual development suggested that they would benefit from a university education. He received his musical training from his father, who gave him keyboard and organ lessons. From the age of about 15 he took part in his father’s musical performances in church and in the collegium musicum. He appears relatively seldom as a copyist, no doubt because, as an able musician himself, he was usually excused such duties. The one large-scale work of sacred music in Leipzig mainly copied by him is the anonymous St Luke Passion (BWV 246), obviously arranged by J.S. Bach to an urgent deadline for Good Friday 1730. On 1 October 1731 he matriculated at Leipzig University. Following his godfather’s example, he studied law, although he was obviously destined for a musical career. His first compositions were probably written about 1730. They consisted mainly of keyboard pieces and chamber music. Deciding to become a musician, he was recommended to Crown Prince Frederick in Rheinsburg, and upon the crown prince’s crowning as Frederick II of Prussia, he moved to Berlin as a chamber musician, a formal title granted in 1746. As an active member of the Berlin School, he participated in the intimate inner circle of musicians and writers of the period, producing a seminal treatise on keyboard playing, 'Versuch über die wahre Art das Clavier zu spielen' (1752). The death of his godfather Telemann in 1767 offered him the opportunity to seek the appointment as city Kapellmeister in Hamburg (a post that was temporarily occupied by Georg Michael Telemann).  

From 1768 to his death, he was the leading musician in the city, whose friendship with major literary figures such as Friedrich Gottlob Klopstock and Johann Heinrich Voss, his pedagogical efforts at the Johanneum, and the maintaining of his close ties to colleagues in Berlin made him one of the most prominent figures in music of the period. Over the course of his long career, he composed almost 900 works in all genres save opera (and there is an indication that he may have made an abortive attempt at one). One of the main figures in the emerging empfindsamer Stil (Empfindsamkeit) with its emphasis upon emotion and drama in music, he created compositions that were far ahead of his time in terms of harmony and form. For example, the introduction to the oratorio 'Die Auferstehung und Himmelfahrt Jesu' is both monophonic and atonal, while his free fantasies move rapidly from tonal center to tonal center using sometimes harsh dissonance, extreme changes in tempo and dynamics, and effective musical moods, all without metrical regularity. Ludwig van Beethoven lauded him as his spiritual father, and almost all other composers of the period imitated his style. He published works, such as the Klopstock’s Morgengesang, by subscription, having control over much of his own creative output. His compositions include 370 miscellaneous works for keyboard, 69 keyboard concertos), 11 flute concertos, 19 symphonies, two keyboard quartets, six pieces for Harmoniemusik, 37 sonatas for various instruments, 48 trio sonatas, 30 pieces for musical clockwork, 277 songs and secular cantatas, a Magnificat, two Psalms, 22 Passions/Passion cantatas, an oratorio, 13 large-scale choruses, an ode, 14 chorales, four Easter cantatas, 26 pieces for Hamburg celebrations, and nine cantatas. He was the most important composer in Protestant Germany during the second half of the 18th century, and enjoyed unqualified admiration and recognition particularly as a teacher and keyboard composer.

diumenge, 8 de març del 2026

MANFREDI, Filippo (1731-1777) - Vexilla regis

Johann Wolfgang Baumgartner (1702-1761) - Die Zurückweisung der Kaiserin Eudoxia durch den heiligen Johannes Chrysostomus


Filippo Manfredi (1731-1777) - Vexilla regis
Performers: Chiara Tаigi (soprano); Coro e Orchestra del Duomo di Castelnuovo Gаrfаgnаna; Luca Bаcci (conductor)
Further info: Domine Ad Adjuvandum

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Italian violinist and composer. Son of the horn player Giovanni Carlo Manfredi, he received his early education at the seminary school of San Michele in Foro in Lucca before studying with Domenico Ferrari in Genoa and Pietro Nardini in Livorno. He was a supernumerary violinist in the Cappella Palatina and was appointed first violinist in 1758. He also played in theatres, served as chief instrumentalist for religious functions and taught. After playing in a quartet with Nardini and Giuseppe Cambini in 1765, he formed a duo with Luigi Boccherini and began a concert tour which took him first to Paris in 1768 then Madrid, to the court of the Prince of the Asturias, where he was appointed first violin of the chamber music. He returned to Italy in 1772 and was re-admitted to the Cappella Palatina only in 1773. However, he fell ill in 1775, and his concert appearances became much less frequent. He died two years later. As a composer, he only left a few works, including a set of six sonatas for violin and bass (1769), a chamber trio, and some religious works. He was regarded as a violinist of technical and expressive brilliance, and he retained his reputation until the middle of the 19th century. His brothers, Pietro Luigi Manfredi (1744-?) and Vincenzo Ferrerio Manfredi (1732-?), were a horn player and a flautist, respectively.

divendres, 6 de març del 2026

KÜFFNER, Wilhelm (1727-1797) - Trio concertante

Johann Baptist Homann (1664-1724) - Accurate Vorstellung der hoch fürstl. bischöffl. Residenz und Haupt-Stadt Würtzburg des Herzogthums Francken


Wilhelm Küffner (1727-1797) - Trio concertante aus 'Trio ex C | Cembalo Solo | con | Violino e Basso'
Performers: Pro Musica da Cambra ensemble
Further info: Würzburger Hofmusik

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German violinist and composer. Almost nothing is known about him. Born into a musical family, he studied in Venice before joining the Würzburg court chapel under Prince-Bishop Adam Friedrich von Seinsheim, a position he held for the rest of his life. As a composer, his extant output includes two symphonies, two concertos, various quartets and trios, as well as songs and keyboard sonatas. The family’s musical legacy was furthered by his sons, Joseph Küffner (1776-1856) and Johann Joseph Baptist Küffner (1770-1833), and his cousin Georg Joseph Küffner (1747-1779), who was also a violinist.

dimecres, 4 de març del 2026

MALZAT, Ignaz (1757-1804) - Concert für Hautbois (c.1795)

Alexandre Lacauchie (1814-1886) - Bal d'enfants


Ignaz Malzat (1757-1804) previously attributed to Joseph Haydn (1732-1809) - Concert (C-Dur) | für | Hautbois | Mit Begleitung | von | 2 Violinen | 2 Oboen | 2 Hörnern | 2 Trompeten und | Paucken | Viola und Bass (c.1795)
Performers: Kurt Kalmus (1920-2012, oboe); Munchener Kammerorchester; Hans Stadlmair (1929-2019, conductor)

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Austrian composer and oboist. Son of Josef Malzat (1723-1760), he studied with his father. In 1774 he obtained a position as oboist in the court orchestra in Salzburg, becoming a student of Johann Michael Haydn. In 1778 he toured central Europe before settling in Bolzano, but in 1788 he obtained the post of principal oboe at the court of the Prince-Archbishop of Passau. As a composer, his extant works include concertos for cello, oboe, two oboes, and oboe and bassoon. He also left a sextet, a quintet, a cassation and three wind partitas. His music reflects the style of his teacher, but it has been little studied. His brother Johann Michael Malzat (1749-1787) was a cellist and composer.

dilluns, 2 de març del 2026

HAEFFNER, Johann Christian Friedrich (1759-1833) - Ouverture in Es-Dur

Johan Way (1792-1873) - Karl XIV Johan vid Uppsala högar


Johann Christian Friedrich Haeffner (1759-1833) - Ouverture in Es-Dur (1822)
Performers: Orchestra of the Royal Swedish Opera; Philip Brunelle (conductor)

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German organist and composer, active in Sweden. The son of a schoolmaster and church organist in Klein-Schmalkalden, he received his first musical education with the Schmalkalden organist Johann Gottfried Vierling. He studied in Leipzig from 1776, and then worked as a music conductor in theatres in Frankfurt am Main and Hamburg (1778-80). In 1781, he moved to Stockholm at the invitation of the German congregation there (Tyska kyrkan) to assume the position of organist, which he held until 1793. The same year, he was employed at the Royal Theatre in Stockholm as well as conductor of the orchestra for the Stenborg theatres. In 1786 he was appointed assistant conductor of the Royal Orchestra (hovkapellet) and from 1795 to 1807 he held the post of hovkapellmästare. He was also an instructor at Dramatens elevskola. He was married twice, first to the Swedish actress and singer Elisabeth Forsselius. Since king Gustaf IV Adolf closed the Royal Opera and its orchestra in 1807, he moved to Uppsala, where he 1808 was appointed Director musices of the university and simultaneously was employed as organist of the cathedral. In Uppsala he organized the studentsång (four-voice male choir singing). This practice rapidly spread to the other Nordic universities and is still today a coveted tradition, not only among university students, but for the last century also in many male choirs all over Sweden. Hæffner's passion and work for this has rendered him the name Studentsångens fader. As a composer, he wrote three operas, among them the well-known 'Electra', theatre music, a mass, one symphony (1795), three Overtures (c.1798-1823), keyboard and chamber works, songs with piano accompaniment, and was responsible for the new Swedish chorale book in 1819. Noteworthy is his oratorio 'Försonaren på Golgatha'. His music is heavily influenced by the German Sturm und Drang.

diumenge, 1 de març del 2026

CAZZATI, Maurizio (1616-1678) - Messa per li defonti (1663)

Unknown artist after Hieronymus Francken (1578-1623) - Le roi David jouant de la harpe


Maurizio Cazzati (1616-1678) - Messa per li defonti A Cinque Voci ... Op.31 (1663)
Performers: Maria Cristina Kiеhr (soprano); Dominique Vissе (countertenor); Bruno Botеrf (tenor);
François Fauchе (bass); Marc Busnеl (bass); Ensemble La Fenice; Jean Tսbéry (conductor)

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Italian composer and organist. Nothing is known about his early years. He may have been appointed to his first musical position at the age of 17, at San Pietro, Guastalla, serving Ferrante III, Duke of Guastalla. After his ordination to the priesthood he became maestro di cappella and organist of San Andrea, Mantua, in 1641. In 1648 he was appointed the same post at the Accademia della Morte in Ferrara and at the church of Santa Maria Maggiore in Bergamo in 1653. He returned to his old job in Ferrara in April 1657 and then was elected to the post where he would make his reputation, maestro di cappella at San Petronio, Bologna, in late 1657. He instituted a regular choir of 35 singers and a group of well-paid instrumentalists for the liturgy at San Petronio, but despite the audible improvements he made and the reputation he built, his tenure there was marked by politically motivated controversies over the syntax in his sacred compositions. The vestry supported him, but he was finally forced out in June 1671. He went to Mantua to serve the Gonzaga family as maestro di cappella di camera and the cathedral as maestro di cappella in a post he held the rest of his life. As a composer, he reformed the 'cappella musicale' at the church of San Petronio in Bologna and established its reputation as a center of excellent music in general and as the origin of the sonata for trumpet and strings in particular with his Opus 35 (1665). He published 10 volumes of instrumental music, including the first violin sonatas published by a San Petronio composer, his Opus 55 (1670). There are also 10 volumes of secular vocal music, 4 lost operas, 11 lost oratorios, and 46 volumes of sacred music.