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.
Spanish teacher and composer. Almost nothing is known of his life. He
began his association with the basilica of Santa Maria del Mar in
Barcelona in 1669, when the incumbent mestre Josep Reig ceded the duties
of the post to him. Rosquelles formally succeeded Reig on 22 February
1674, in a post he held until his death. As a composer, his surviving
output comprises five villancicos for 11 to 13 voices, an eight-voice
mass, a Nunc dimittis and a Compline (both scored for 15 voices), a
Magnificat and the hymn Te lucis ante terminum. As a teacher, his most
notable pupil was the prominent theorist and composer Francesc Valls.
Austrian composer and pianist, the sixth child and younger surviving son of
Wolfgang Amadeus and Constanze Mozart. He received his first piano
instruction in 1796 from František Xaver Dušek in Prague, where he lived
with the Dušek family. In Vienna he continued his studies under
Sigismund Neukomm, Andreas Streicher, J.N. Hummel, Antonio Salieri, G.J.
Vogler and J.G. Albrechtsberger. His first compositions, which include
the Piano Quartet op.1, appeared in 1805. On 30 March 1807 Salieri
declared his pupil to possess ‘a rare talent for music’, and prophesied a
career for him ‘not inferior to that of his celebrated father’. On 22
October 1807 Franz Xaver went to Lemberg (now L'viv). In Podkamien he
accepted a post as tutor in the home of Count Viktor Baworowski, a
position he held until December 1810. In 1811 he became a music teacher
in the home of the imperial chamberlain, Janiszewski, in Sarki (near
Lemberg). He gave up that post in 1813 and lived as a freelance musician
in Lemberg, where he supervised the training of Julie Baroni-Cavalcabò.
From 1819 to 1821 he undertook an extended concert tour during which he
played in Kiev, Warsaw, Copenhagen (where he saw his mother and his
stepfather, Georg Nikolaus Nissen), Hamburg, Berlin, Leipzig, Dresden
(where he visited his cousin, Carl Maria von Weber), Prague, Vienna,
Venice, Milan (where he visited his brother Carl), Zürich, Berne,
Frankfurt, Mannheim, Augsburg, Munich and Salzburg (where he visited his
aunt, Maria Anna).
In 1822 he returned to teach in Lemberg; in 1826 he went to Salzburg to
see his mother. In the same year he renewed his studies in counterpoint
with Wagenseil’s pupil, Johann Mederitsch, who bequeathed him all his
compositions. Also in that year he founded the Cäcilien-Verein in
Lemberg, but in 1838 he left Lemberg and settled in Vienna. In 1841 he
was made honorary Kapellmeister of the Dommusikverein and the Mozarteum
in Salzburg, and in 1842 he stayed with his brother there during
celebrations on the unveiling of the Mozart memorial; at the festival
concert he played his father’s D minor Piano Concerto k466. In December
of the same year the Congregazione ed Accademia di S Cecilia in Rome
named him maestro compositore onorario. In his will Franz Xaver
stipulated, among other things, that any of his father’s autographs
found in his papers, his father’s portrait and piano, as well as his own
library, should be given to the Dommusikverein and the Mozarteum as a
lasting memorial to his father. This Mozart-Nachlass passed partly to
the Internationale Stiftung Mozarteum and partly to the consistorial
archive in Salzburg. The brilliant pianistic figuration prominent in
Franz Xaver’s music reveals the particular influence of his teacher
Hummel. The more relaxed quality and richer sonority of his piano
writing, as reflected especially in his Second Piano Concerto (1818),
however, hint at the characteristic piano style of Chopin and Liszt.
Italian diplomat and composer. His musical career began as a soprano at
the church of Il Santo in Padua, and he sang in a Carnival opera of
Venice, probably Carlo Pallavicino’s 'Demetrio' in 1666. The Elector
Ferdinand Maria of Bavaria took him to Munich, where he studied with
Johann Caspar Kerll. He visited Rome in 1672 for more education and had
his first sacred music published. In July 1674, he was appointed court
organist in Munich. In 1678 and 1679, he visited Paris and heard a
tragédie lyrique of Jean-Baptiste Lully, and in January 1681, his first
opera, 'Marco Aurelio', was mounted in Munich. He made his first contact
with Hanover on a diplomatic mission and was appointed Kapellmeister by
Duke Ernst August in summer 1688. In the 1690s, he was occupied
increasingly by diplomatic work concerning the status of Hanover and the
War of the Spanish Succession. In 1703, he entered the service of
Elector Palatine Johann Wilhelm, in Düsseldorf, and thereafter composed
very little music. He continued to take an interest, however, and was
even elected president of London’s Academy of Ancient Music on 1 June
1727. A composer who, as diplomat, helped to secure the elevation of the
city of Hanover to electorate status and, as churchman after his
ordination in 1680, rose to the rank of apostolic vicar for northern
Germany and also left a legacy of about 14 operas, 3 lighter stage
works, 10 psalm settings, a Stabat Mater (his greatest work in his own
estimation), a few instrumental works, and about 75 chamber cantatas for
two voices, almost all composed before 1702, the music for which he was
most famous in his time.
Dutch organist, carillonneur and composer. His family were
French-speaking. He may have studied with Remigius Schrijver (?-1681), a
Middelburg organist; he completed the music for 'Uitbreidinge over het
Bouk der Psalmen' (1682, lost), begun by Schrijver, who had died before
completion of the work. In 1681 he was appointed organist of the Nieuwe
Kerk, and carillonneur of the abbey bell tower in Middelburg. He served
as organ adviser in Middelburg and Goes and may have been director of
the Middelburg collegium musicum during the period 1681-1729. In 1712
the carillon of the Middleburg abbey tower was destroyed; its
replacement, constructed by the famous bellfounders Jan Albert de Grave
and Claas Noorden of Amsterdam in 1714, was inspected by Bustijn and
Abraham de Coup, organist of the Walloon church and carillonneur of the
market bell-tower, and, according to various reports, was of outstanding
quality. Relatively little Dutch keyboard music of the time has
survived. Bustijn’s IX suittes pour le clavessin (Amsterdam, c.1712) are
of great importance to the history of the genre in the Netherlands.
Their balanced arrangement by key is reminiscent of the use of
symmetrical cycles culminating in the art of Bach. Their style points to
that of the keyboard works of Bach and Handel, as well as showing some
French influence.
Spanish violinist, double bassist, and composer. After receiving his
studies in composition in Barcelona, he was appointed as a violinist at
Girona Cathedral, where his tenure spanned more than forty years.
Notably, he was the first lay musician to secure a permanent position
within the cathedral's musical chapel (capella de música), frequently
performing on both the violin and the double bass. His career was
severely disrupted in 1809 by the Siege of Girona during the Peninsular
War. As liturgical music was marginalized, lay musicians faced acute
financial hardship due to the chapter's inability to provide regular
stipends. Following the French occupation, he petitioned for readmission
in 1811; initially granted only charitable alms, he was formally
reinstated in December of that year under a severely diminished annual
salary of twenty pounds. Upon his retirement in 1826, the cathedral
chapter permitted his grandson, Carles Sipiera Quilmetes, to act as his
substitute, though the youth was denied a permanent chair owing to his
age. As a composer, he belonged to a prominent multi-generational
lineage of cathedral string players that also included his son, the
priest and long-standing chapel violinist Josep Quilmetes. While the
vast majority of his works are lost, his surviving output is
distinguished by a three-movement work, the Symphony No.1 (1804).
