diumenge, 26 de juliol del 2026

STEFFANI, Agostino (1654-1728) - Dixit Dominus a 10

Simon Vouet (1590-1649) - Model for Altarpiece in St. Peters


Agostino Steffani (1654-1728) - Dixit Dominus a 10
Performers: Neue Hofkapelle Munchen; Christoph Hammer (conductor)

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Italian diplomat and composer. His musical career began as a soprano at the church of Il Santo in Padua, and he sang in a Carnival opera of Venice, probably Carlo Pallavicino’s 'Demetrio' in 1666. The Elector Ferdinand Maria of Bavaria took him to Munich, where he studied with Johann Caspar Kerll. He visited Rome in 1672 for more education and had his first sacred music published. In July 1674, he was appointed court organist in Munich. In 1678 and 1679, he visited Paris and heard a tragédie lyrique of Jean-Baptiste Lully, and in January 1681, his first opera, 'Marco Aurelio', was mounted in Munich. He made his first contact with Hanover on a diplomatic mission and was appointed Kapellmeister by Duke Ernst August in summer 1688. In the 1690s, he was occupied increasingly by diplomatic work concerning the status of Hanover and the War of the Spanish Succession. In 1703, he entered the service of Elector Palatine Johann Wilhelm, in Düsseldorf, and thereafter composed very little music. He continued to take an interest, however, and was even elected president of London’s Academy of Ancient Music on 1 June 1727. A composer who, as diplomat, helped to secure the elevation of the city of Hanover to electorate status and, as churchman after his ordination in 1680, rose to the rank of apostolic vicar for northern Germany and also left a legacy of about 14 operas, 3 lighter stage works, 10 psalm settings, a Stabat Mater (his greatest work in his own estimation), a few instrumental works, and about 75 chamber cantatas for two voices, almost all composed before 1702, the music for which he was most famous in his time.

divendres, 24 de juliol del 2026

BUSTIJN, Pieter (1649-1722) - Suite in g-moll (c.1712)

Isaac de Moucheron (1667-1744) - An italianate landscape with figures resting by a fountain


Pieter Bustijn (1649-1722) - Suitte (V, g-moll) pour le Clavessin (c.1712)
Performers: Bob van Asperen (harpsichord)

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Dutch organist, carillonneur and composer. His family were French-speaking. He may have studied with Remigius Schrijver (?-1681), a Middelburg organist; he completed the music for 'Uitbreidinge over het Bouk der Psalmen' (1682, lost), begun by Schrijver, who had died before completion of the work. In 1681 he was appointed organist of the Nieuwe Kerk, and carillonneur of the abbey bell tower in Middelburg. He served as organ adviser in Middelburg and Goes and may have been director of the Middelburg collegium musicum during the period 1681-1729. In 1712 the carillon of the Middleburg abbey tower was destroyed; its replacement, constructed by the famous bellfounders Jan Albert de Grave and Claas Noorden of Amsterdam in 1714, was inspected by Bustijn and Abraham de Coup, organist of the Walloon church and carillonneur of the market bell-tower, and, according to various reports, was of outstanding quality. Relatively little Dutch keyboard music of the time has survived. Bustijn’s IX suittes pour le clavessin (Amsterdam, c.1712) are of great importance to the history of the genre in the Netherlands. Their balanced arrangement by key is reminiscent of the use of symmetrical cycles culminating in the art of Bach. Their style points to that of the keyboard works of Bach and Handel, as well as showing some French influence.

dimecres, 22 de juliol del 2026

QUILMETES, Carles (1775-1834) - Sinfonia 1a (1804)

Balthasar Beschey (1708-1776) - Fishmarket


Carles Quilmetes (1775-1834) - Sinfonia 1a (1804)
Performers: Música Antiga de Girona; Albert Bosch (conductor)

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Spanish violinist, double bassist, and composer. After receiving his studies in composition in Barcelona, he was appointed as a violinist at Girona Cathedral, where his tenure spanned more than forty years. Notably, he was the first lay musician to secure a permanent position within the cathedral's musical chapel (capella de música), frequently performing on both the violin and the double bass. His career was severely disrupted in 1809 by the Siege of Girona during the Peninsular War. As liturgical music was marginalized, lay musicians faced acute financial hardship due to the chapter's inability to provide regular stipends. Following the French occupation, he petitioned for readmission in 1811; initially granted only charitable alms, he was formally reinstated in December of that year under a severely diminished annual salary of twenty pounds. Upon his retirement in 1826, the cathedral chapter permitted his grandson, Carles Sipiera Quilmetes, to act as his substitute, though the youth was denied a permanent chair owing to his age. As a composer, he belonged to a prominent multi-generational lineage of cathedral string players that also included his son, the priest and long-standing chapel violinist Josep Quilmetes. While the vast majority of his works are lost, his surviving output is distinguished by a three-movement work, the Symphony No.1 (1804). 

dilluns, 20 de juliol del 2026

BORGHI, Luigi (c.1745-c.1806) - Sonata pour Violon et Basse (1772)

Paul Sandby (1731-1809) - The North Terrace of Windsor Castle


Luigi Borghi (c.1745-c.1806) - Sonata pour Violon et Basse from
'Six | SOLOS | for a | Violin and Bass | Humbly Dedicated to | SIR ROWLAND WYNNE Bar' (1772)
Performers: Daniel Pintеño (violin); Concеrto 1700

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Italian composer and violinist. A student of Gaetano Pugnani, he moved to London in 1769 at the behest of William Hamilton. A prominent orchestral violinist, he was leader of the second violins at the Handel Commemoration of 1784 and at the Professional Concert from 1785 until 1792. He composed ballet music for the Italian opera, was assistant manager of O’Reilly’s opera company at the Pantheon in 1791 and, shortly afterwards, married the prima donna Anna Casentini (fl. 1787-1796). The bulk of his music was published during his lifetime and includes six violin concertos, six symphonies-overtures, two ballets, 12 violin sonatas (titled “solos”), nine duos for two violins, 12 duets, 64 cadenzas, and a sonata for viola d’amore. His music is representative of the 'Empfindsamkeit style', with good contrast and lyrical motivic lines. He was not related to Giovanni Battista Borghi (1738-1796).

diumenge, 19 de juliol del 2026

SINGER, Josef Anton (1810-1882) - Missa pastoralis (1860)

Wilhelm Ludwig Friedrich Riefstahl (1827-1888) - Kinderbegräbnis in Passeier (Tirol) (1886)


Josef Anton Singer (1810-1882) - Missa pastoralis (1860)
Performers: Heike Heilmann (soprano); Julia Diefenbach (soprano); Johannes Puchleitner (tenor);
Andreas Dürlinger (tenor); Markus Flaig (bass);
Chor und Orchester der Akademie St. Blasius; Karlheinz Siessl (conductor)

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Austrian composer, organist, music theorist, and instrument maker. The son of a miller, bell founder, and instrument maker, he attended the gymnasium in Hall in Tirol from 1824 to 1830 before entering the Franciscan Order in Salzburg in 1829, where he took his simple vows in 1830, solemn profession in 1833, and was ordained a priest in 1834. He pursued theological studies in Salzburg, Schwaz, and Bolzano until 1837, subsequently serving as organist and choir director in Bolzano and Innsbruck between 1837 and 1840. From 1840 onward, he resided at the Franciscan monastery in Salzburg, where he also held the position of master of novices. In addition to developing a harmonium and several physharmonica variants, he constructed the Pansymphonikon in 1845, a reed-based keyboard instrument designed to emulate a full orchestra that drew widespread admiration from notable contemporary figures, including Franz Lachner, Franz Liszt, and Richard Wagner. In his theoretical treatise 'Metaphysische Blicke' he drew upon the traditions of Jean-Philippe Rameau and Anton Reicha to argue that all music derives from the tonic triad, a concept he termed the "primal harmony" (Urharmonie) and associated with the Holy Trinity, alongside its auxiliary harmonies, namely the dominant seventh and the subdominant with an added sixth. As a composer, he adhered to the standard Franciscan scoring for organ and choir, occasionally utilizing vocal soloists; however, his orchestral style of organ accompaniment, rich harmonic language, and unconventional text setting (characterized by omissions and rearrangements) stood in stark contrast to the aesthetic tenets of the Caecilian movement. Conversely, his virtuosic organ performances, particularly his pedal technique, were highly acclaimed by both Franz Liszt and Anton Bruckner.