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.
Gessel (18th Century)
- Dominica Laetare "Schmecket und sehet wie freundlich der Herr ist"
Performers: Ingrida Gapova (soprano); Jan Medrala (alto); Krzysztof
Kozarek (tenor); Jacek Ozimkowski (bass); Goldberg Baroque Ensemble;
Andrzej Mikołaj Szadejko (conductor)
Jan Engel (?-1788) - SINFONIA (Es-Dur) | A | Violini, Oboe, Corni, | Alto, e Basso. |
[by hand with black ink: "Due Clarinetti"] | DEDICATA | A SUA ECCELLENZA
| II Sig|r: Conte | PRZEZDZIECKI. ... ANNO 1772
Performers: Capella Claromontana; Jan Tomasz Adamus (conductor)
Polish composer, printer and music publisher. He served as Kapellmeister
at the Cathedral of St. John in Warsaw between 1771 and 1772, during
which time he established a printing press on Ulica Krzywe Koło that
remained operational until 1776. In 1772, he independently published six
of his own symphonies, issued separately with uniform title pages and
distributed through the Warsaw booksellers M. Gröll and J.A. Poser;
while extant copies of the first three symphonies are preserved in the
Pauline Monastery in Częstochowa, the remaining works are known
exclusively through contemporary Warsaw press announcements and entries
in the Breitkopf (Leipzig) catalogs spanning 1772, 1777, and 1785-1787.
The following year, he compiled and published a collection titled
'Mélanges de Musique pour le clavecin par Monsieur Engel', which notably
featured works by M. Kamieński alongside what were highly probable to
be his own compositions and those of other contemporaries, though this
publication was regrettably destroyed during World War II. In tandem
with advertising this collection, he offered for sale various
manuscripts and prints, including Masses, motets, arias, duets, and
oratorios, alongside a novel, proprietary "music printing machine of his
own invention" before resigning from his cathedral post on September 1,
1773. A subsequent notice in the Gazeta Warszawska, dated February 14,
1776, documented the relocation of his printworks to the Wędrychowska
tenement on ul. Kamienne Schodki and publicized the release of "new
Polish dances arranged for the harpsichord" as well as twelve
forthcoming pieces. Ultimately, given the scarcity of surviving
historical data, evidence suggests that Engel’s publishing endeavors
were sporadic, representing the pioneering, independent efforts of a
single individual.
Leopold Strach (1699-1755)
- Missa Solemnis (c.1730)
Performers: Mieke van der Sluis (sopran); Bernhard Landauer (alt);
Wilfried Jochens (tenor); Wolf Matthias Friedrich (bass); Kammerchor des
Ferdinandeums; Concerto Armonico Budapest; Josef Wetzinger (conductor)
Bohemian composer and church musician. His early life and training
remain unknown. Born in Kolín, his documented career began in 1727 when
he was employed as a bassist and court composer under the Prince-Bishop
of Brixen. By 1728, he provisionally assumed the duties of
Vice-Kapellmeister for Prince-Bishop Kaspar Ignaz von Künigl, a
leadership position over the court and cathedral choir (Hof- und
Domkapellmeister) that he officially secured in 1730 and held for the
rest of his life. Strach was a prolific creator of sacred music, much of
which was performed at the Stams Abbey (Abbatia B. M. V. et Sancti
Ioannis Baptistae), but he also composed secular theatrical music for
the Brixen Gymnasium, including Conradinus (1737) and Genovefa (1739).
Following his death in Brixen in June 1755, he left behind an extensive
library of roughly 3,000 sheets of usable musical material, which the
cathedral chapter purchased from his widow for 100 florins on the advice
of his successor, Simon Judas Thaddäus Mayr.
Italian composer and violinist. Referred himself as Roman, he came from a
family of musicians active in Rome. His father, Bartolomeo Mossi, and
brother Giuseppe Mossi, and Gaetano Mossi, a tenor at the papal chapel.
Introduced into the musical circles of Rome by his father, he was active
as a violinist from 1694. His career there can be divided into three
periods. An initial phase as an instrumentalist for local courts and
churches, a highly productive middle period (1716-1733) during which he
published his entire instrumental catalogue in Amsterdam (comprising
three sets of sonatas and three of concertos), and a final phase of
gradual retirement. Though he briefly served Baldassarre Odescalchi,
Duke of Bracciano, his compositions, consisting of solo sonatas and
orchestral concertos, remain firmly rooted in the Roman tradition of
employing four violin parts, while increasingly favoring the first
violin as a soloist. Furthermore, while the long-standing claim that he
was a pupil of Arcangello Corelli lacks documentary proof, Corelli's
influence on his work is undeniable, even though Mossi maintained a
distinct originality and stylistic independence that aligned closely
with his contemporary, Giuseppe Valentini.
German organist and composer. The youngest son of a smith, after study
at the Jesuit Gymnasium in Ellwangen, he obtained his only position, the
organist and schoolmaster (later choirmaster and Kantor) at the parish
church of St Maria, which he retained for over 40 years. After the
secularization of the foundation in 1802-03, he remained in his post as
organist and Kapellmeister. As a composer, his works include 24 sonatas
for organ, chamber sonatas, six Requiems, 24 vesper Psalms, six Tantum
ergos, 26 Masses (six published as “simple country Masses” as his Op.
2), six symphonies, three Marian antiphons, and six Misereres. His
music, little studied, is characterized by a studied simplicity and
nearby to Michael Haydn on style terms. He was one of the most
successful composers of sacred music of his time. His music was
distributed throughout Europe, Russia and North America. His sons,
Heinrich Dreyer and Johann Baptiste Dreyer, were also musicians.
