KOZELUH, Jan Antonín (1738-1814) - Messa Pastorale (1784)

Jan Antonín Koželuh (1738-1814) - Messa Pastorale | a | 4 Voci

2 Violini | 2 Oboe | 2 Flauti | 2 Clarini | Viola | Organo | e Timpani (1784)

Performers: Magdalena Hajossyova (soprano); Marta Benackova (alto); Vladimir Dolezal (tenor); Milan Bürger (bass); Kühn Mixed Choir; Prague Philharmonic Orchestra; Bohumil Kulínský (1959-2018, conductor)

Painting: Rudolf von Alt (1812-1905) - Blick auf die Teynkirche und die Mariensäule am Altstädter Ring zu Prag

Further info: Jan Antonín Kozeluh (1738-1814) - Bassoon Concerto in C-Dur

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Johann Antonin (Jan Evangelista Antonín Tomáš) Koželuh [Koscheluch, Kozeluch, Goscheloch, Koziluh et al.]

(Velvary, 14 December 1738 - Prague, 3 February 1814)

Bohemian teacher, composer and organist, cousin to Leopold Koželuh (1747-1818). He studied under the Jesuits at Brenitz, as well as Josef Seger in Prague. He then worked for a short time as Kapellmeister in Rakovník and cantor in Velvary. Moving to Vienna, he became a pupil of Christoph Willibald von Gluck and Florian Gassmann. By 1784 he had returned to Prague to accept a position at the St. Vitus Cathedral as well as the Strahov Monastery, positions he retained for 30 years. Among his pupils were Václav Praupner and Leopold Kozeluch; he also taught composition to his two sons, Wenzel Franz Koželuh (1784-?) and Vinzenz Emanuel Koželuh (1780-1839), and to his daughter Barbara Koželuh, a singer and pianist. As a composer, his output includes 45 Masses, a Requiem, an oratorio, two operas, 98 offertories, 60 sacred arias, 10 Te Deums, two litanies, four symphonies, and at least three woodwind concertos. He was one of the most important Bohemian composers in the second half of the 18th century, and his music was performed well into the 19th century.

WESLEY, Charles (1757-1834) - Concerto for the organ

Charles Wesley (1757-1834) - Concerto for the organ from 'Six concertos [d, F, D, C, g, Es] for the organ or harpsichord with accompaniment for two violins, a tenor & bass, two hautboys & two french horns ... opera II'

Performers: Roger Bеvаn Williams (organ); Scοttish Baroque Players

Painting: Unknown artist (19th Century) - Hemming's Portable House Manufactory. Clift House. Bristol

Further info: Six Eighteenth-Century Organ Concertos

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Charles Wesley [Wesley Jr.]

(Bristol, 11 December 1757 - London, 23 May 1834)

English organist and composer. He was the elder son of Charles Wesley (1707-1788) and brother of Samuel Wesley (1766-1837). He inherited musical ability from both parents. In infancy he displayed a talent almost without parallel: before he was three years old he could ‘play a tune on the harpsichord readily and in just time’ and ‘always put a true bass to it’. His later development hardly fulfilled this promise. During his childhood and adolescence his father discouraged him from becoming a professional musician, and would not let him take up an appointment as chorister or (later) organist at the Chapel Royal. But under Joseph Kelway he became an excellent organist, and held appointments at several dissenting chapels, the Lock Hospital Chapel (1797-1801) and finally St Marylebone parish church. He learnt composition chiefly from William Boyce, to whom he dedicated his set of string quartets. His brother Samuel called him an ‘obstinate Handelian’ and indeed his compositions, especially those for organ and piano, are extremely conservative in style. In 1822 he published a revised edition of John Wesley's Sacred Harmony.

BOYCE, William (1711-1779) - Symphony in d (1760)

William Boyce (1711-1779) - Symphony in d from 'Eight symphonys in eight parts, six for violins, hoboys, or german flutes, and two for violins, french horns and trumpets, with a bass for the violoncello and harpsicord ... opera seconda' (1760)

Performers: Festival Strings Lucerne; Rudolf Baumgartner (1917-2002, conductor)

Painting: Mason Chamberlin the elder (1722-1787) - William Boyce

Further info: Concertos Nos. 4 And 5 / 3 Symphonies In 8 Parts

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William Boyce

(London, bap. 11 September 1711 - London, 7 February 1779)

English composer and organist. His earliest musical education was as a chorister at St. Paul’s Cathedral in London, after which he was a student of Johann Pepusch and Maurice Greene. In 1734 he obtained his first position as an organist at the Oxford Chapel, and in 1736 he became a composer for the Chapel Royal. By 1755 he was well known for his stage works, including the 1740 masque Peleus and Thetis and The Chaplet, a favorite pastoral opera from 1749. In 1755 he was appointed as master of the King’s Musick, and three years later organist of the Chapel Royal. Shortly thereafter he was forced to retreat from official duties owing to increasing deafness, and instead concentrated upon finishing the compendium Cathedral Music begun by his teacher Greene. This volume of Anglican Church services from all ages is still partially in use. His other music includes eight symphonies derived from stage works, 50 or more cantatas and odes, 60 anthems, 12 trio sonatas, 12 overtures or small symphonies, five complete Anglican services, two oratorios (including David’s Lamentation over Saul and Jonathan from 1736), and a host of incidental music and keyboard voluntaries.

FERREÑAC, Ramón (1763-1832) - Sonata de Quatro Manos (1795)

Ramón Ferreñac (1763-1832) - Sonata de Quatro Manos (1795)

Performers: José Luis González (organ); Jesús Gonzalo (organ)

Drawing: Alexandre de Laborde (1773-1842) - Vista general de Zaragoza

Further info: Música a quatro manos para Organo

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Ramón Ferreñac

(Zaragoza, 1763 - Zaragoza, 8 December 1832)

Spanish organist and composer. The son of Manuel Ferreñac (1740-1803), a bassoonist, organ tuner, and teacher at the College of Choirboys at the Basílica del Pilar, he received his musical training at the college, starting his career as Chapel Master and organist of Huesca Cathedral. His fame led to his appointment as Substitute Organist of the Basílica del Pilar in 1785. By leveraging an offer to become Chapel Master of Jaén Cathedral in 1786, the Pilar chapter offered him the more prestigious post and stipend of First Organist, recognizing him as an "organist of relevant merit." Ferreñac, who also assessed the organ of San Pablo in Zaragoza and inaugurated the one at Calahorra Cathedral, is considered by Hilarión Eslava to be the founder of a "prestigious organ school in Zaragoza" and authored the treatise, 'Método teórico-práctico para aprender a acompañar con el bajo numerado y sin numerar'. His work, reflecting extensive academic training and largely preserved in the Zaragoza Cathedrals’ Music Archive (including a 278-page autograph manuscript), is divided into two main groups: one in a traditional, severe Baroque style (partidos, versos, passos, and llenos), and a second fully incorporated into the Classical movement, featuring modern formal and melodic structures. This latter group includes his 'Sonatas de Quatro Manos' (unique in their genre, inspired by popular regional airs, and structured like Classical symphonies) and pieces for two organs. He also composed religious works for voices and orchestra, such as the Misa Pastorela, Alleluia Beatus Vir, and Miserere mei Deus.

A SANCTO JOSEPHO, Benedictus (1643-1716) - Salve Regina (1666)

Benedictus à Sancto Josepho (1643-1716) - Salve Regina aus

'Missae, litaniae, et motetta IV. V. VI. vocibus cum instrument. et ripienis ... opus primum' (1666)

Performers: Ensemble Bοuzignac Utrecht; Erik van Nеvеl (conductor)

Painting: Peter Lisaert (1574-c.1630) - The wise and the foolish virgins

Further info: Four Dutch Composers of the Golden Age

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Benedictus à Sancto Josepho [Buns, Grand Carmel, Josephus a monte Carmelo]

(Geldern, 19 March 1643 - Boxmeer, 6 December 1716)

Dutch organist and composer. Born Benedictus Buns, he entered the Carmelite Monastery in Geldern in 1659. He took his vows in 1660 and was ordained a priest in 1666. Sometime before 1671, he was transferred to the Carmelite Monastery in Boxmeer, where he spent most of his life and career. He served as sub-prior during the periods 1671-1674, 1677-1683, and 1692-1701. From 1679 until his death, he held the position of organist in Boxmeer, succeeding Hubertus à Sancto Joanne Vlaminck. Beginning in 1699, he was also employed there as a private composer, conductor, and organist for Count Oswaldo van den Bergh. He was also a recognized organ expert and consultant, serving as a key advisor in the construction of an organ in Boxmeer, where he was highly regarded. He is considered one of the most important Dutch composers of the latter half of the 17th century, known primarily for his extensive output of religious vocal and instrumental compositions.