divendres, 31 de gener del 2025

DEVIENNE, François (1759-1803) - Simphonie concertante (c.1800)

France school (18th Century) - Homage to Athena.


François Devienne (1759-1803) - Simphonie concertante [G] pour deux flûtes avec accompagnement de deux violons, alto, basse, deux haubois et deux cors ... œuvre 76 (c.1800)
Performers: Andras Adorjan (flute); Marianne Henkel (flute); Münchener Kammerorchester;
Hans Stadlmair (1929-2019, conductor)

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French flautist, bassoonist, composer and teacher. He was the seventh of eight children born to Pierre Devienne and his second wife Marie Petit. Following early musical education as a choirboy, he was sent to Paris to study flute with Félix Rault. In 1780 he joined the orchestra of the Prince de Rohan, making his debut at the Concerts spirituels in 1782. From then until 1785 he performed there as a soloist at least 18 times, but after 3 April 1785 he did not appear there for four years. From 1785 to 1789 his place of employment is uncertain; he may have been a member of the Swiss Guards Band in Versailles. Devienne probably returned to Paris in autumn or winter 1788. Thereafter he played flute and bassoon at the Opéra until the Revolution, when he joined the military band of the French Guards. In 1795 he was appointed as an inspector and professor of flute at the new Conservatoire following the publication two years earlier of his treatise 'Méthode de flûte théoretique et pratique'. In May 1803 he entered Charenton, a Parisian home for the mentally ill, where he died the following September after a long illness which ended by impairing his reason. He was an extraordinarily prolific composer of peculiar importance from the impulse that he gave to perfecting the technique of wind instruments. He wrote 12 operas, seven sinfonia concertantes, 14 flute and five bassoon concertos, 25 quintets and quartets, 46 trios, 147 duos, and 67 sonatas, as well as a symphony and two Revolutionary hymns. As a teacher, Joseph Guillou was one of his most famous pupils. François Devienne was regarded in his lifetime as a flute virtuoso, and his works were frequently reprinted abroad. 

dimecres, 29 de gener del 2025

WAGENSEIL, Georg Christoph (1715-1777) - Sinfonia in D-Dur (1746)

Christian Reder detto Monsù Leandro (1656-1729) - L'avanzata delle truppe


Georg Christoph Wagenseil (1715-1777) - Sinfonia in D-Dur (1746)
Performers: Vienna Baroque Ensemble; Theodor Guschlbauer (conductor)

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Austrian composer, keyboard player and teacher. Born into a prominent Viennese family, he studied under Johann Joseph Fux and Mattheo Palotta beginning around 1735. Fux was so impressed by his student that he recommended him in 1739 for the post of court composer, which was followed the next year by an appointment as organist for Dowager Empress Elisabeth. By 1749 he had become hofklaviermeister with the responsibility of instructing the royal family on the keyboard. Four years earlier, in 1745, his opera 'Ariodante' launched a career in the royal theatres, and by 1751 he had published a treatise 'Rudimenta panduristae oder Geig- Fundamenta', which was a forerunner of Leopold Mozart’s work. By 1765, however, he began to be afflicted with gout, resulting in a diminishing of his capacity and confinement to his home the final years of his life. Wagenseil was a much-appreciated teacher, whose students included Frantisek Xaver Dusek, Leopold Hofmann, and Johann Baptist Schenk. As a composer, he wrote 16 operas; three oratorios; 17 Masses and a Requiem; over 90 other sacred works (including canticles, Psalms, hymns, etc.); nine secular cantatas; 30 concert arias; 77 symphonies; 81 concertos for keyboard (most with string accompaniment); other concertos for flute, violin, cello, bassoon, and trombone; seven violin sonatas; seven divertimentos; four flute quartets; 60 trio sonatas; and a large number of smaller works for keyboard. Although his early Masses display a Baroque style, his symphonies and concertos, of which he was one of the most prolific composers of the period, were much more advanced, while his penchant for solid, colorful orchestration, interesting harmony, and attention to dramatic detail presage the opera reforms of Christoph Willibald von Gluck in his opera serias. Georg Christoph Wagenseil can be considered one of the pivotal figures in the development of the Classical style in Vienna with a compositional career that spanned a period from Fux, his teacher, to Haydn brothers and W.A. Mozart, for whom he served as a precursor.

dilluns, 27 de gener del 2025

MENGAL, Martin-Joseph (1784-1851) - Sixième duo pour cor et piano

Anton Muller (1853-1897) - The Horn player


Martin-Joseph Mengal (1784-1851) - Sixième duo pour cor et piano
Performers: Jeroen Billiet (horn); Jan Huylebroeck (piano)

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Flemish composer and horn player. He came from a musical family and received horn and violin lessons from his father. By the age of 13 he played first horn at the Ghent opera and in 1804 he entered the Paris Conservatoire where he studied with Frédéric Duvernoy and Charles Simon Catel. After playing the horn in the orchestra at the Odéon he became principal horn at the Opéra-Comique. In 1825 he was appointed director of the theatre in Ghent but soon resigned and after the 1830 Revolution became a conductor in Antwerp and The Hague. He was the founding director of the Royal Conservatory of Ghent in 1835 and served as director there until his death. As a composer, he wrote at least six operas (1818-1830), a Requiem, several concertos and symphonies concertantes, and chamber music and songs. His brother Jean-Baptiste Mengal (1792-1878) was also a horn player and one of the founders of the Paris Société des Concerts du Conservatoire. 

diumenge, 26 de gener del 2025

BERNASCONI, Andrea (1706-1784) - Miserere a 4 (1779)

Pierre Révoil (1776-1842) - Le Christ au Jardin des Oliviers


Andrea Bernasconi (1706-1784) - Miserere (re minore) | a | 4 Vocibus Ordinar:
| Due Violini. | Viola. | Violoncello. | è | Basso (1779)
Performers: Solisti e Coro della Radiotelevisione svizzera; I Barocchisti; Diego Fasolis (conductor)

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Italian composer. Son of a military officer, he grew up in Parma. In around 1725 he apparently received further musical education in Milan, where he made his debut as a composer in 1737. In 1744 he was appointed as music director of the Ospedale della Pietà in Venice in a post he held until 1746. A decree of 24 November 1753 refers to his engagement as assistant Kapellmeister of vocal music in Munich from 1 August 1753; his appointment coincided with the opening of the Residenztheater. On 5 June 1754 he was named music teacher to the princesses Maria Anna Josepha and Josepha Maria. Following the death of Giovanni Porta, he was appointed Kapellmeister on 7 September 1755. In 1778 Elector Carl Theodor confirmed his official post, but he probably rendered no further service. After his death, he was succeded by Franz Paul Grua. As a composer, his works include 20 operas, 34 Masses, 11 offertories, eight oratorios, six litanies, around 125 smaller sacred works, 20 symphonies, and a flute concerto. His stepdaughter Antonia Bernasconi (c.1741-c.1803) was a soprano mainly active in Vienna.

divendres, 24 de gener del 2025

SIMON, Simon (c.1735-c.1788) - Concerto Pour le Clavecin (c.1760)

Martin Engelbrecht (1684-1756) - A social club (c.1750)


Simon Simon (c.1735-c.1788) - Concerto (Sol majeur) Pour le Clavecin des 
'Pièces de clavecin dans tous les genres avec et sans accompagnement de violon ... oeuvre 1ère' (c.1760)
(World Premiere Recording)
Performers: Pau NG on Sibelius with samples of a German harpsichord (18th Century)

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French harpsichordist and composer. His life remains somewhat shrouded in mystery. While François-Joseph Fétis suggested a birth year around 1720, an announcement in 'L’avant coureur' from 1761 describes him as 'still very young', casting doubt on this early date. As a child, he was sent to study with his uncle named 'Butet', an organist, but his uncle's 'mediocre talents' hindered the young musician's progress. A fortunate encounter at age 13 with the Marquise de la Mézangère, a pupil of François Couperin, dramatically changed his trajectory. The Marquise welcomed him into her Parisian home, providing harpsichord lessons herself and entrusting his musical education to the violinist Saint-Saire. By 1754, Simon had already established himself as a teacher, attracting a large number of pupils. Despite the demands of his burgeoning career, he dedicated time to composition, studying with Antoine Dauvergne. As a composer, his early works, including petits motets and harpsichord pieces, were performed in private concerts and garnered critical acclaim. His harpsichord compositions, published as Op.1 in 1761, impressed Joseph Brunon Le Tourneur, 'maître de clavecin des enfants de France', leading to a remarkable marriage and the promise of succeeding to Le Tourneur's prestigious royal position. His career flourished then and he became harpsichord teacher to the dauphine, the queen, and the Countess of Artois. Although he assumed Le Tourneur's duties upon his retirement, the official title did not transfer to him until 1770. He should not be confused with a violist named 'Simon' who composed six symphonies in 1748 or the composer 'Simon' active between 1757 and 1771.