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.
Czech composer, harpsichordist, oboist, organist, musicologist and
pedagogue. After graduating from the Prague Conservatory majoring in
organ studies, he went on to study oboe at the Janáček Academy of Music
and Performing Arts. He had worked as an oboist for the Prague Radio
Symphony Orchestra and Prague Chamber Orchestra. He was known for his
tenure as a professor of the Prague Conservatory where he had taught a
number of notable Czech oboe players (among them, his son Jan Thuri and
the soloist Vilém Veverka), who constitute the main corpus of current
soloists in Czech orchestras and solo oboe performers. In the Czech
Republic he was often called 'the last baroque composer', having written
an extensive number of works in baroque and early classicism style.
German lutenist. He was the son of Johann Christian Falckenhagen, a
schoolmaster. When he was ten he went to live for eight years with his
uncle Johann Gottlob Erlmann, a pastor in Knauthain near Leipzig. There
he underwent training ‘in literis et musicis’, particularly the
harpsichord and, later, the lute. He then perfected his lute playing
with Johann Jacob Graf in Merseburg, where in 1715 he is mentioned as a
footman and musician in the service of the young Count Carl Heinrich von
Dieskau. In the winter term of 1719 he entered Leipzig University; a
year later he went to Weissenfels, where he remained for seven years as a
lute teacher. From about 1724 he was also employed as a chamber
musician and lutenist at the court of Duke Christian, where his presence
is documented for 1726, together with that of his wife, the singer
Johanna Aemilia. During this time he undertook various tours and enjoyed
several months’ instruction from the famous lutenist Silvius Leopold
Weiss in Dresden. After two years in Jena, he was in the service of Duke
Ernst August of Saxony-Weimar from May 1729 to 15 August 1732. By 1734
he was employed at the Bayreuth court. In 1736 Margrave Friedrich
appointed him ‘Virtuosissimo on the Lute and Chamber Musician Second to
the Kapellmeister Johann Pfeiffer’. About 1746 he referred to himself as
‘Cammer-Secretarius Registrator’ of Brandenburg-Culmbach. Falckenhagen
was one of the last important lute composers. Although some of his works
are rooted in the Baroque tradition like those of his teacher, Weiss,
they show a progressive tendency towards the galant style.
German composer. Son of Johann Elias Mohrheim, Kantor in Neumark, he
enrolled at the Thomasschule in Leipzig on 18 April 1733. There he
studied with J.S. Bach from 1733 to 1736, and, like other J.S. Bach's
pupils, acted as copyist for him during this period, identified in the
manuscripts. He continued his studies at Universität Jena from 1738
(enrollment on February 4, 1738); and at Universität Halle from 1739
(enrollment on June 9, 1739). After his studied, he was appointed
substitute of Johann Balthasar Christian Freißlich from 1750 and
Kapellmeister from 1764 at St. Marien in Danzig, where he died. As a
composer, his output consists primarily of sacred music, though he also
wrote several concertos and organ works.
Bohemian composer and double bass player. The precise date and location
of his birth remain uncertain. When he died in 1792, the death register
in Ludwigslust recorded his age as 42, placing his birth in the year
1750. He is believed to have received early musical training from the
Jesuits in Prague. In 1773 he left his native country and found
employment in the Hofkapelle of Prince Kraft Ernst of
Oettingen-Wallerstein whom he served for sixteen years, becoming
Kapellmeister in 1785. While there, he orchestrated two piano concerti
by Anna von Schaden. In July 1789 Rosetti left Wallerstein to accept the
post of Kapellmeister to the Duke Friedrich Franz I of
Mecklenburg-Schwerin in Ludwigslust where he died in service of the duke
on 30 June 1792 at the age of 42 years. In 1777, he married Rosina
Neher, with whom he had three daughters. In late 1781 he was granted
leave to spend 5 months in Paris. Many of the finest ensembles in the
city performed his works. Rosetti arranged for his music to be
published, including a set of six symphonies published in 1782. He
returned to his post, assured of recognition as an accomplished
composer. As a composer, he wrote over 400 compositions, primarily
instrumental music including many symphonies and concertos which were
widely published. Rosetti also composed a significant number of vocal
and choral works, particularly in the last few years of his life. Among
these are German oratorios including Der sterbende Jesu and Jesus in
Gethsemane (1790) and a German Hallelujah. The English music historian
Charles Burney included Rosetti among the most popular composers of the
period in his work A General History of Music. Rosetti is perhaps best
known today for his horn concertos, which Mozart scholar H. C. Robbins
Landon suggests (in The Mozart Companion) may have been a model for
Mozart's four horn concertos. Rosetti is also known for writing a
Requiem (1776) which was performed at a memorial for Mozart in December
1791. Attributing some music to Rosetti is difficult because several
other composers with similar names worked at the same time, including
Franciscus Xaverius Antonius Rössler.
Lambert Chaumont (c.1630-1712)
- Suite du 4e ton des 'Pièces d'orgue sur les 8 tons avec leurs
variété, leurs agrémens, leurs mouvemens et le mélange de jeux propres à
chaque espèce de verset' (1695)
Flemish composer. The earliest mention of his name dates from January
1649, when he is listed as a lay brother at the Carmelite monastery at
Liège. An entry for 8 May 1659 in the monastery accounts records that he
was one of nine brothers from there who had completed their novitiates
at the monastery at Reims. In any religious context he henceforth called
himself ‘Frère Lambert de St Théodore’. This important document leads
one to suppose that he was born about 1630 and proves that he was a
native of the diocese of Liège. He is not heard of again until 10
February 1674, when he was nominated rector of the small parish of St
Martin at Huy. On 7 September 1688 he became priest of the neighbouring
parish of St Germain and at the same time pater of the Carmelites at
Huy. He held both positions until his death. As a composer, his only
extant work is the collection 'Pièces d'orgue sur les 8 tons avec leurs
variété, leurs agrémens, leurs mouvemens et le mélange de jeux propres à
chaque espèce de verset' (1695). These pieces are in the finest
traditions of the French organists of the 17th century, grouping his
pieces in eight suites of 12 to 15 numbers following the order of the
eight church tones.
