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.
František Xaver Zomb (1779-1823)
- Missa brevis ex D (1812)
Performers: Livia Aghová (soprano); Marta Beňačková (alto); Ludovit Ludha (tenor); Peter Mikulás (bass);
Spevácky zbor mesta Bratislavy; Statna filharmónia Kosice; Richard Zimmer (conductor)
Moravian composer and teacher. Almost nothing is known about his life.
He was mainly active as a regens chori, teacher and composer in his
hometown. In 1819 he was appointed as choirmaster in the Košice
Cathedral in a post he held the rest of his life. He was also documented
as music critic to the 'Allgmeine musikalische Zeitung' in Leipzig and
Vienna. As a composer, he mainly focused on sacred music, among them, a
collection of ten masses from 1812 and a set of Vespers.
German patron, amateur musician and composer. Son of Friedrich Wilhelm I
(1688-1740) and Sophie Dorothea von Hannover (1687-1757), and sister of
Frederick II (1712-1786), her earliest training in music came only
after the death of her father and was under the tutelage of her brother.
In 1743 she secretly married Baron Friedrich von der Trenck, but when
this became known and her pregnancy discovered, she was packed off to
the cloister at Quedlinburg. She preferred this location, though she
spent most summers thereafter in Berlin at a palace given her by her
brother. In 1755 she became abbess of the secularized convent of
Quedlinburg, a position which afforded her a comfortable income and made
almost no demands on her time. She continued to make her home in
Berlin, where she held musical soirées attended by the artists and
intelligentsia of Berlin and Europe. Adept as a performer on flute,
violin, and keyboard, she formed her own musical circle alongside the
Berlin School, taking composition from both Carl Heinrich Graun and
Johann Kirnberger, beginning in 1758. Her number of compositions is
relatively slight, given that she probably destroyed many in later
years. Among them are several cantatas, marches, and smaller chamber
works much in the style of the Berlin composers. Her greatest
significance to music lies in her music library, a collection of
incalculable value. It is particularly rich in 18th-century music – that
of J.S. Bach above all. She has not to be confused with Anna Amalia,
Duchess of Saxe-Weimar, also a composer.
Italian composer and violinist. Following early studies in Milan, he
joined the Franciscan Order of the Friars Minor obtaining the title of
abbé. In 1759 he was appointed as maestro di cappella of the cathedral
in Como, but he was absent for long periods touring France and England.
In 1764 he was employed at the court of William V of Orange in The
Hague, where his students included Josina van Aerssen. In 1780 he
returned to Como, where he remained, being pensioned in 1798. His main
claim to fame was a treatise written for a Neapolitan conservatory
titled 'Méthode ou recueil des connaissances élémentaires pour le
forte-piano ou clavecin', published in 1786 and purported to be done in
collaboration with the then-late Johann Christian Bach. His own music
includes 15 symphonies, three sinfonia concertantes, two concertos, 12
trios, 12 trio sonatas, six quintets, six string quartets, a number of
chamber works, two Masses, a Requiem sequence, and six ariettas.
German priest and composer. He received his first musical training from
his father, a teacher and organist. In 1865, he entered at the
Benedictine monastery of Marienberg and studied theology from 1866 to
1870, being ordained a priest in 1869. From 1870 to 1872, he taught
mathematics, physics, and singing at the Benedictine Gymnasium in Meran
and from 1872 to 1876, he studied German, Latin, and Greek at the
University of Innsbruck. From 1876 to 1919, he settled again in Meran
where he was appointed as a high school teacher and choirmaster and,
from 1886 to 1917, director of the Benedictine Gymnasium. As a composer,
he only wrote vocal music, among them, two masses, several graduals,
offertories and hymns as well as motets and secular and sacred songs.
His style tries to emphasize the liturgical texts by combining his
Wagnerian leitmotif technique with old classical polyphony.
