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.
Performers: Angelika Czabán (soprano); Anita Huszár (mezzosoprano);
Károly Komódi (tenor); Gábor Kari (baritone); Sol Oriens Kórus És
Kamarazenekar; Deményi Sarolta (conductor)
Austrian (?) composer. The name Deppisch is of Bavarian origin, derived
from the Middle High German terms 'täppisch' or 'tölpatschig', meaning
unskilled or clumsy. While his arrival in Pécs may have been part of the
broader 18th-century German emigration, it is more likely he originated
from Austria, as the name remains extant in Vienna and the Styrian town
of Fürstenfeld near the Hungarian border. Valentin Deppisch arrived in
Pécs in 1769 at the age of 23 and began working as a second organist at
the cathedral. In 1772, he purchased a house in Obere Franciscaner Gasse
for 230 Rhine forints, though he moved to Caposvarer Gasse in 1774 due
to the construction of a girls' institute. On 1 January 1778, he was
promoted to first organist following the death of Joseph Fuckinger,
which increased his salary by 25 forints. His professional duties
included maintaining the parish church organ and providing accommodation
and tuition for choirboys. He was married to Magdalena Dorn, a choir
singer, with whom he had five children. Valentin Deppisch died on 14
March 1782, at the age of 36, after which his widow petitioned the
Chapter for financial aid in exchange for her continued service in the
church choir. As a composer, he received an annual payment of 75 forints
from 1779 until his death, though archival dates on his Lauda Sion and
Mass in C major indicate he was active as early as 1775. His extant
output includes 4 Masses, a Requiem, two set of Vesperae, one
Magnificat, and other sacred works as well as a symphony and one organ
work.
English composer, organist and singer. He showed an early talent for
music. He trained at Gloucester Cathedral where the cathedral account
books record his name amongst the choristers from 1717. He spent the
early part of his working life as organist of St Mary's, Shrewsbury
(1729) and Worcester Cathedral (1731). The majority of his career was
spent at the University of Oxford where he was appointed organist of
Magdalen College in 1734, and established his credentials with the
degrees of B.Mus in 1735 and D.Mus in 1749. (He was painted by John
Cornish in his doctoral robes around 1749.) In 1741 he was unanimously
elected Heather Professor of Music and organist of the University Church
of St Mary the Virgin. He presided over Oxford's concert life for the
next 30 years, and was instrumental in the building of the Holywell
Music Room in 1748, the oldest purpose-built music room in Europe. He
was one of the earliest members of the Royal Society of Musicians, and
in 1765 was elected a "privileged member" of the Noblemen and
Gentlemen's Catch Club. He died in Oxford, aged 69. His sons Philip
Hayes (1738-1797) and William Hayes (1741-1790) were also singers and
composers.
German writer, composer, and jurist. After studying law and serving as a
legal assessor in Poznan, he pursued formal musical training under the
organist Christian Podbielski. His professional career in music included
tenures as music director at the Bamberg theater and opera conductor in
Leipzig and Dresden (1813-14) before he permanently relocated to Berlin
in 1814. Utilizing the pseudonym Kapellmeister Johannes Kreisler, he
contributed a series of influential essays to the Allgemeine
Musikalische Zeitung, which were subsequently compiled in the collection
Phantasiestücke in Callot’s Manier (1814). Hoffmann's literary output,
characterized by the use of the fantastic, exerted a profound influence
on the Romantic school of literature and indirectly shaped the evolution
of German musical composition. As a composer, his catalog includes
several operas, the ballet Harlekin, a symphony, and various chamber
works, including a piano trio and four piano sonatas; while historically
neglected, these works are noted for their technical originality.
Furthermore, he was an accomplished artist known for his sketches and
caricatures, as well as a music critic whose analytical reviews provided
a rigorous theoretical framework for Romantic aesthetics. His
multidisciplinary contributions significantly impacted subsequent
generations of European artists, writers, and musicians.
German monarch, patron of the arts, flautist and composer. His father,
Friedrich Wilhelm I, was alarmed at his son’s early preference for
intellectual and artistic pursuits over the military and religious. In
spite of being supervised day and night and in the face of his father’s
rages and corporal punishments, Frederick managed, partly through the
complicity of his mother and his older sister Wilhelmina, to read
forbidden books, to affect French dress and manners and to play flute
duets with his servant. As a seven-year-old he was permitted to study
thoroughbass and four-part composition with the cathedral organist
Gottlieb Hayne. Wilhelmina, also musically talented, joined him in
impromptu concerts. On a visit to Dresden in 1728 the prince was
overwhelmed at hearing his first opera, Hasse’s Cleofide; there he also
first heard the playing of the flautist J.J. Quantz, who soon thereafter
began making occasional visits to Berlin to give Frederick flute
lessons. The king tolerated such amusements for a while, but by 1730 his
disapproval had hardened to prohibition. On 4 August 1730, in his 18th
year, Frederick attempted to escape to England. The result was his
imprisonment and the beheading of one of his ‘accomplices’ in his
presence. Instead of breaking, the prince became more sober and
orthodox. In 1733 he reluctantly married the bride chosen for him,
Elisabeth Christina of Brunswick. He took command of a regiment and
immersed himself so thoroughly in statecraft that he eventually won the
confidence of even his father. But he had no intention of giving up his
interests: at his residence in Ruppin he maintained a small group of
instrumentalists; the occasional lessons with Quantz continued; he
appointed C.H. Graun as general court musician in 1735; and in 1736,
when he moved to Rheinsberg, 17 musicians moved with him, including C.H.
and J.G. Graun, Franz and Johann Benda, Christoph Schaffrath and J.G.
Janitsch.
When Frederick finally acceded to the throne on 31 May 1740 he plunged
into social and political reforms, military conquest and the
rehabilitation of Prussian arts and letters, all at once. Other agents,
such as Voltaire and Algarotti, were commissioned to engage actors and
dancers in Paris and more singers from Italy, along with machinists,
costumiers and librettists. Amid this ferment, when the Emperor Charles
of Austria died on 20 October, Frederick immediately began plans which
culminated in his invasion of Silesia, the first of the many military
campaigns through which he transformed Prussia into a great modern
state. When Graun returned to Berlin with his Italian troupe of singers
in March 1741, Frederick was on the battlefield. Indeed, in the first
years of his reign Frederick enlarged both Prussia’s geographical and
cultural boundaries, with equal verve. C.P.E. Bach, having already
performed regularly at Rheinsberg, joined the court orchestra officially
in 1740 as first cembalist; Quantz, released from his position in
Dresden, was appointed in 1741. Christoph Nichelmann was retained in
1744 as second cembalist. In 1754 some 50 musicians, excluding singers
for court intermezzos and members of the opera chorus, were in
Frederick’s employ. In addition to C.H. Graun as Kapellmeister and chief
composer for the opera, and J.F. Agricola as court composer. The new
opera house on the avenue Unter den Linden, whose replica still stands
in Berlin, was opened on 7 December 1742. From that date to the outbreak
of the Seven Years War in 1756, the standard season featured two new
operas by Graun and an occasional work by Hasse, composers who were the
foremost representatives of Italian opera in Germany. In the successful
but bitter Seven Years War (1756-63) Frederick gradually became ‘der
alte Fritz’, inflexible and reactionary. Instrumental music at the court
stagnated: Nichelmann left in 1756, C.P.E. Bach in 1767. From March
1756 to December 1764 no operas were produced at the Berlin Opera House;
and from the end of the war to Frederick’s death in 1786 almost all the
opera productions there were revivals of pre-war works.
