Un portal on escoltar i gaudir de l'art musical dels segles XVI, XVII, XVIII i XIX. Compartir la bellesa de la música és l'objectiu d'aquest espai i fer-ho donant a conèixer obres de compositors molt o poc coneguts és el mètode.
Augustinian friar, keyboardist, and composer. Few details of his life
are known. Associated with the Augustinian Monastery in Prague’s Lesser
Town (Malá Strana), he gained recognition as harpsichordist whose works,
characterized by a progressive style featuring virtuosic flourishes,
were preserved in contemporary manuscript copies alongside those of
notable figures like Antonín Reichenauer. Between approximately 1734 and
1737, he served the noble Morzin family, likely as a domestic tutor for
either Václav Morzin or his son Karl Josef. His tenure at the Morzin
court concluded around the time of Václav’s death in 1737.
Austrian organist and composer. Primarily active in Graz, where he
served as the city parish organist (Stadtpfarrorganist) starting in
1740. Although his exact dates of birth and death remain unconfirmed,
records of his family life suggest he was born before 1710, and his
professional trail fades after 1741, though he may have later joined the
court of Count Joseph Bernhard Attems at Schloss Dornau. As a composer,
he is historically significant for his five harpsichord concertos,
early Austrian examples of the genre that adhere to the Vivaldian formal
model, and a collection of six partitas. The modest range of the solo
parts in his concertos suggests they may have been originally conceived
for the organ, marking an important stylistic link in the development of
keyboard literature within the regional Baroque tradition.
Bohemian composer. Nephew and pupil of Joseph Rejcha (1752-1795), in
1785 the family moved to Bonn, where he became a member of the
Hofkapelle of Max Franz, Elector of Cologne, playing violin and second
flute in the court orchestra under his uncle's direction. The young
Beethoven entered the Hofkapelle as violist and organist in 1789 and he
befriended him. From about 1785 he studied composition secretly, against
his uncle's wishes, composing and conducting his first symphony in 1787
and entering the University of Bonn in 1789, where he studied and
performed until 1794, when Bonn was attacked and captured by the French.
He managed to escape to Hamburg. In 1799 he moved to Paris, hoping to
achieve success as an opera composer but in 1801 he moved on to Vienna.
Once there, he studied with Antonio Salieri and Johann Georg
Albrechtsberger. Reicha's life and career in Vienna were interrupted by
Napoleon's November 1805 occupation of the city by French troops. Then
Reicha decided to move back to Paris. He was soon teaching composition
privately, future prolific composer George Onslow being one of his
pupils by 1808. This time three of his many operas were produced, but
they all failed; yet his fame as theorist and teacher increased
steadily, and by 1817 most of his pupils became professors at the
Conservatoire de Paris. The following year, Reicha himself was appointed
professor of counterpoint and fugue at the Conservatoire with the
support of Louis XVIII. In 1818 he married Virginie Enaust, who bore him
two daughters. Reicha stayed in Paris for the rest of his life. He
became a naturalized citizen of his adopted country in 1829 and
Chevalier of the Légion d'honneur in 1835. That same year, he succeeded
François-Adrien Boieldieu at the Académie française. Though a prolific
composer, he was of particular importance as a theorist and teacher in
early 19th-century Paris.
Alsatian priest and composer. After preliminary studies in Sélestat he
entered the Benedictine convent of Ebersmünster, where he became master
of the novices, teacher, and in 1745 prior, at the same time acquiring
sufficient reputation as a harpsichordist to play before Louis XV during
the king's visit to Strasbourg in 1744. His knowledge of the organ led
to invitations to examine new instruments. As a superior he insisted
upon strict adherence to the rule of his order, but he could also be
amusing and entertaining. At his death he was provost of the convent of
St Marx near Gerberschweier. Harst's only known work is his 'Recueil de
différentes pièces de clavecin' (1745). He was one of the very few
composers to use François Couperin's term ordre for a group of pieces in
the same key, and his style is an amalgam of Couperin, Jean-Philippe
Rameau and Jean-François Dandrieu.
Brazilian composer, instrumentalist, and conductor in the Captaincy of
Minas Gerais. A bassoonist and timpanist for the Regiment of Dragoons,
he also served as a contralto singer and eventually succeeded José
Joaquim Emerico Lobo de Mesquita as music director at the Matriz do
Pilar in 1800. In addition to his musical professional career, he held
administrative roles, including treasurer and clerk, within several
religious brotherhoods. While historical estimates suggest a prolific
output of approximately 200 compositions, only a small number of
manuscripts have been preserved. His extant catalog is defined by sacred
works for voices and chamber orchestra, most notably the Novena de
Nossa Senhora do Pilar (1789) and the Matins Spiritus Domini (1795).
