ORSCHLER, Johann Georg (c.1698-1777) - Trio con Violini e Basso

Johann Georg Orschler (c.1698-1777) - Trio (f-moll). | co Violini e Basso. | 3. St.[immen]

Performers: Collegium 1700

Engraving: Ichnographica Urbis Wratislaviensis Delineatio, Praeter Alia Exactissime

Etiam Repraesentans Singula Templa et Monasteria (1752)

Further info: Sonata in f-moll

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Johann Georg (Giovanni) Orschler [Orsler, Urschler, Orschel]

(Breslau [now Wroclaw], c.1698 - Vienna, 4 October 1777)

German composer and violinist. He received his initial musical training from Michael Kirsten, the organist at the St. Mary Magdalene Church in Breslau. His early patron, the music-loving Count Zierotin of Falkenberg, appointed him as a page and funded his advanced education, enabling him to study the violin under Johann Otto Rosetter and composition in Vienna under the renowned composer and theorist Johann Joseph Fux. Orschler spent the late 1720s in Prague before serving as a violinist to the Archdeacon of Olomouc, Count von Thurn und Valsassina, around 1730. Between 1731 and 1736, he served as Hofmeister at Holešov Castle for Count Franz Anton von Rottal, a position later held by Ignaz Holzbauer, after which he worked as Kapellmeister to Prince Liechtenstein until roughly 1750. In his later years, he was a respected member of the Imperial Court Chapel (Wiener Hofmusikkapelle) in Vienna, where he spent his last years. As a composer, he left few works, among them, symphonies, divertimentos, chamber pieces as well as a Salve Regina in D and the motet 'Psallite pueri jubilate'.

HUBLER, Ignaz Aloys (fl. 1822-1832) - Missa brevis ex E (c.1825)

Ignaz Aloys Hubler (fl. 1822-1832) - Missa brevis ex E | a | Canto. Alto. | Tentore. Basso. |

Violino 1Imo | Violino IIIdo | et | Organo (c.1825)

Performers: Vocal ensemble SoLa; Solamente naturali; Miloš Valent (conductor)

Painting: Italien 18th century - Orthodox scene

Further info: Musica Nitriensis

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Ignaz Aloys (Ignatz Alloys) Hubler

(fl. 1822-1832)

Moravian singer and composer, active primarily during the 1820s and 1830s. In January 1822, he married Anna Fingermann, also from Moravia, in Nitra, with whom he had a daughter named Maria Anna Hubler (1822-1831) and a son named Carl Johann Hubler (1825-?). Hubler's musical career in Nitra is documented by historic records: he sang bass in a cathedral ensemble on 3 October 1826, during the tuning of the organ at the Cathedral of St. Emmeram, and in July 1829 'Regens Chori' Joseph Vavrovits documented three of Hubler's new works. Tragic loss struck him in 1831 when a devastating cholera epidemic in Nitra claimed the lives of his wife and daughter, after which his documented activities in the city ceased. Nevertheless, his compositions, mainly sacred, with manuscripts bearing dates such as 1824, 1825, 1826, 1829, and 1832, spread widely across the region, surviving in the Diocesan Archive in Nitra, the Roman Catholic Parish Church in Nové Mesto nad Váhom, and the Music Museum of the Slovak National Museum from localities including Bratislava, Dubnica nad Váhom, Spišské Podhradie, Švedlár, and Trenčín.

TUMA, František Ignác Antonín (1704-1774) - Sinfonia Ex C

František Ignác Antonín Tuma (1704-1774) - Sinfonia Ex C | à | Violino Primo | Secondo |

Clarino Primo | Secondo | Tympanis | con | Basso

Performers: Czech Ensemble Baroque Orchestra; Roman Válek (conductor)

Drawing: Franz Josef Stanka (1765-1831) - Aufmarsch des Wiener bürgerlichen Artilleriecorps am Platz Am Hof am 12. März 1810 aus Anlass der Vermählung Napoleons und Marie-Louises (1810)

Further info: Tuma - Te Deum, Sinfonia, Missa

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František (Franz, Franciscus) Ignác Antonín (Anton) Tůma [Thuma, Tuma, Tumma]

(Kostelec nad Orlicí, 2 October 1704 - Vienna, 30 January 1774)

Bohemian composer. He received his first musical training from his father, organist at Kostelec, and probably studied in Prague, at the Jesuit seminary. He likely sang as a tenor chorister under Bohuslav Matěj Černohorský at the Minorite Church of St. James the Great, and he is believed to have received musical instruction from him. He then went to Vienna, where he was active as a church musician; according to Marpurg he became a vice-Kapellmeister at Vienna in 1722. Tůma's name first appears in Viennese records in April 1727, when he got married. In 1731 he became 'Compositor und Capellen-Meister' to Count Franz Ferdinand Kinsky, who was the High Chancellor of Bohemia. Kinsky's patronage made it possible for him to study counterpoint with Johann Fux in Vienna. He participated in the premiere of Fux's opera Constanza e Fortezza along with Georg Benda and Sylvius Leopold Weiss. In 1734, Kinsky recommended him for the post of the Kapellmeister to Prague Cathedral, but his recommendation arrived too late and he may have remained in Kinsky's service until the latter's death in 1741. In that year he was appointed Kapellmeister to the dowager empress, the widow of Emperor Charles VI. On her death in 1750, Tůma received a pension. For the next 18 years he remained in Vienna and was active as a composer and as a player on the bass viol and the theorbo; he was esteemed by the court and the nobility, and at least one work may have been commissioned from him by the Empress Maria Theresa. After the death of his wife in about 1768, Tůma lived at the Premonstratensian monastery of Geras, but in his last illness he returned to Vienna and died in the hospital of the Merciful Brethren in the Leopoldstadt. 

AUBERT, Jacques (1689-1753) - Concerto a 6 (1740)

Jacques Aubert (1689-1753) - Concerto (en re majeur) a quatre violons, violoncello et basse-continue...

IIe livre, gravé par De Gland..., oeuvre XXVI (1740)

Performers: Les Cyclοpеs ensemble

Painting: French school (c.1675) - Paris, a view of the Seine looking East, the Pont Rouge in the foreground

Further info: Concerto a quatre violons, violoncello et basse-continue

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Jacques Aubert [le vieux, le père]

(Paris, 30 September 1689 - Belleville, nr Paris, 17/18 May 1753)

French violinist and composer. He was probably a son of Jean Aubert, a member of the 24 Violons du Roi until his death in 1710. He was a student of Jean Baptiste Senaillé. In 1717 he is known to have been working in the Théâtres de la Foire, as a violinist and dancing-master, and had composed at least five ballets and comedies. In 1719, the year in which he married Marie Louise Lecat and published his first book of violin sonatas, he was appointed to the service of Louis-Henri, Duke of Bourbon and Prince of Condé. In 1727 he succeeded Noël Converset in the 24 Violons du Roi, remaining a member until 1746, and in the next year he accepted a position with the Académie Royale de Musique and was named first violinist of the Opéra orchestra, with which he performed for the next 24 years. As a composer, his output includes ballet and dance music, opéras comiques, concertos, sonatas for violin and continuo and what he called ‘concerts de simphonie’. His son, the painter Louis Aubert Aubert (1720-c.1800), was also a violinist and composer. Another son, Jean-Louis Aubert (1731-1814) was a dramatist, poet and journalist, also known as the Abbé Aubert.

PUNTO, Giovanni (1746-1803) - Concerto pour un cor principal (1799)

Giovanni Punto (1746-1803) - No. 11. Concerto [E] pour un cor principal (1799)

Performers: Stephan Katte (horn); Capella Weilburgensis; Doris Hagel (conductor)

Drawing: John Hassell (1767-1825) - The High Mettled Racer. 2. The Hunter (1789)

Further info: Nassauische Hofmusik

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(Jan Václav) Giovanni Punto [Stich, Ponta]

(Zehušice, 28 September 1746 - Praha, 16 February 1803)

Bohemian horn player and composer. Born into a poor family on the estate of Count Joseph Johann von Thun, Stich was sent to Prague by his patron to study horn with Joseph Matiegka and composition with Johann Schindlarz. In 1764 he became a student of Anton Joseph Hampel in Dresden, where he perfected his technique of hand-stopping. His return to and service in the court ensemble of Count Thun, however, was marked by charges of insubordination, and he escaped to Italy pursued by the count’s thugs who were charged with either bringing him back to Bohemia or knocking out his front teeth. He made his way to Italy, where he “Italianized” his name to Giovanni Punto, winning approbation for his performance and obtaining a post as a violinist at the court of Joseph Friedrich Wilhelm von Hohenzollern- Heuchingen. In 1769 he moved to Mainz to perform for Elector-Archbishop Emmerich Joseph von Breidbach zu Bürresheim. In 1772 he began a career as a touring soloist, centering his activities in Paris and London, although he maintained a post with Archbishop Adam von Seinsheim in Würzburg and with the private orchestra of George III of England. Settling in Paris in 1788 he was appointed conductor of the Théâtre des Variétés Amusantes a year later, riding out the Revolution as a popular conductor. Refusal to appoint him to the faculty of the new Conservatoire in 1798, however, led him to return to touring in Bohemia and Austria, where his performance ability was noted by composers such as Ludwig van Beethoven. As a performer, he concentrated on second or low horn, perfecting the art of hand-stopping to produce notes outside the natural harmonic series. Charles Burney noted the “astounding execution” of his performances. As a composer, he concentrated on his own instrument, writing 16 horn concertos (plus another for two horns), 103 horn duets, 47 horn trios, 21 horn quartets, and a horn sextet; in addition he composed a clarinet concerto, three flute quartets, three flute quintets (with horn), and a large number of trios for flute and strings.