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.
Antonio Pereyra da Costa (c.1697-1770)
- Concerto grosso (b-moll) 'Concertos grossos com doys violins, e
violão de concertinho obrigados: e outros doys violins, viola e orgão,
de concerto grosso a arbitrio
Portuguese composer and priest. His early years are unknown. He served
as the mestre de capela at the Cathedral of Funchal in Madeira from
around 1740 until his death. While contemporary accounts, such as the
1750 Gazeta de Lisboa, attest to his composition of vocal works for
regional religious observances, his enduring musicological significance
rests upon his surviving Opus 1, a collection of twelve concerti grossi
(1741). This corpus constitutes a critical milestone in Iberian music
history, representing both the sole extant set of 18th-century concerti
grossi of Portuguese provenance and the first printed musical
publication by a Madeira-based musician. Stylistically, Pereira da
Costa’s instrumental work demonstrates a rigorous mastery of the
Corellian Italianate structural model, which he innovatively synthesized
with distinct Iberian melodic and rhythmic idioms to produce a highly
localized and vibrant expression of the late Baroque aesthetic. He also
published 12 Serenatas for the Guitar (London, c.1755).
German composer. Nothing is known of his life and career. He was
probably active as a composer in Freiburg im Breisgau. He presumably
served as a parochial organist or Kapellmeister, contributing functional
sacred repertoire to the Catholic liturgical traditions of southwestern
Germany. While much of his output remains lost, his legacy rests upon a
recently recovered collection of Vesperae ex C. This extant manuscript
offers insight into regional sacred composition, demonstrating a
conservative yet refined adherence to late 18th Century choral
counterpoint and homophonic textures characteristic of the southern
German church style.
Croatian composer and violinist. The son of a Venetian nobleman, he
received his education in Padua, where he studied under Giuseppe Tartini
and Antonio Sberti. Sometime between 1758 and 1763 he moved to
Sanguinetto, a town near Verona, where he accepted the position of
vicario. Also there, he wrote his treatise, Trattato di musica, as well
as taught pupils. Due to his family connections, he had little need to
find employment, and thus he could concentrate on his own theories and
musical composition. His works still need a thorough study and include
35 symphonies, 61 violin concertos, 15 violin duos, 170 violin sonatas,
six string quartets, and 50 trios, as well as a number of smaller
chamber works. His finest compositions are his concertos for the violin,
which are strongly influenced by Tartini, and his six string quartets.
His brother Symeon Filippos Stratigos (1733-1824) was a prominent
physician, educator and scientist known to Goldoni and Voltaire.
Spanish teacher and composer. Almost nothing is known of his life. He
began his association with the basilica of Santa Maria del Mar in
Barcelona in 1669, when the incumbent mestre Josep Reig ceded the duties
of the post to him. Rosquelles formally succeeded Reig on 22 February
1674, in a post he held until his death. As a composer, his surviving
output comprises five villancicos for 11 to 13 voices, an eight-voice
mass, a Nunc dimittis and a Compline (both scored for 15 voices), a
Magnificat and the hymn Te lucis ante terminum. As a teacher, his most
notable pupil was the prominent theorist and composer Francesc Valls.
Austrian composer and pianist, the sixth child and younger surviving son of
Wolfgang Amadeus and Constanze Mozart. He received his first piano
instruction in 1796 from František Xaver Dušek in Prague, where he lived
with the Dušek family. In Vienna he continued his studies under
Sigismund Neukomm, Andreas Streicher, J.N. Hummel, Antonio Salieri, G.J.
Vogler and J.G. Albrechtsberger. His first compositions, which include
the Piano Quartet op.1, appeared in 1805. On 30 March 1807 Salieri
declared his pupil to possess ‘a rare talent for music’, and prophesied a
career for him ‘not inferior to that of his celebrated father’. On 22
October 1807 Franz Xaver went to Lemberg (now L'viv). In Podkamien he
accepted a post as tutor in the home of Count Viktor Baworowski, a
position he held until December 1810. In 1811 he became a music teacher
in the home of the imperial chamberlain, Janiszewski, in Sarki (near
Lemberg). He gave up that post in 1813 and lived as a freelance musician
in Lemberg, where he supervised the training of Julie Baroni-Cavalcabò.
From 1819 to 1821 he undertook an extended concert tour during which he
played in Kiev, Warsaw, Copenhagen (where he saw his mother and his
stepfather, Georg Nikolaus Nissen), Hamburg, Berlin, Leipzig, Dresden
(where he visited his cousin, Carl Maria von Weber), Prague, Vienna,
Venice, Milan (where he visited his brother Carl), Zürich, Berne,
Frankfurt, Mannheim, Augsburg, Munich and Salzburg (where he visited his
aunt, Maria Anna).
In 1822 he returned to teach in Lemberg; in 1826 he went to Salzburg to
see his mother. In the same year he renewed his studies in counterpoint
with Wagenseil’s pupil, Johann Mederitsch, who bequeathed him all his
compositions. Also in that year he founded the Cäcilien-Verein in
Lemberg, but in 1838 he left Lemberg and settled in Vienna. In 1841 he
was made honorary Kapellmeister of the Dommusikverein and the Mozarteum
in Salzburg, and in 1842 he stayed with his brother there during
celebrations on the unveiling of the Mozart memorial; at the festival
concert he played his father’s D minor Piano Concerto k466. In December
of the same year the Congregazione ed Accademia di S Cecilia in Rome
named him maestro compositore onorario. In his will Franz Xaver
stipulated, among other things, that any of his father’s autographs
found in his papers, his father’s portrait and piano, as well as his own
library, should be given to the Dommusikverein and the Mozarteum as a
lasting memorial to his father. This Mozart-Nachlass passed partly to
the Internationale Stiftung Mozarteum and partly to the consistorial
archive in Salzburg. The brilliant pianistic figuration prominent in
Franz Xaver’s music reveals the particular influence of his teacher
Hummel. The more relaxed quality and richer sonority of his piano
writing, as reflected especially in his Second Piano Concerto (1818),
however, hint at the characteristic piano style of Chopin and Liszt.
