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.
German composer. Son of Johann Elias Mohrheim, Kantor in Neumark, he
enrolled at the Thomasschule in Leipzig on 18 April 1733. There he
studied with J.S. Bach from 1733 to 1736, and, like other J.S. Bach's
pupils, acted as copyist for him during this period, identified in the
manuscripts. He continued his studies at Universität Jena from 1738
(enrollment on February 4, 1738); and at Universität Halle from 1739
(enrollment on June 9, 1739). After his studied, he was appointed
substitute of Johann Balthasar Christian Freißlich from 1750 and
Kapellmeister from 1764 at St. Marien in Danzig, where he died. As a
composer, his output consists primarily of sacred music, though he also
wrote several concertos and organ works.
Bohemian composer and double bass player. The precise date and location
of his birth remain uncertain. When he died in 1792, the death register
in Ludwigslust recorded his age as 42, placing his birth in the year
1750. He is believed to have received early musical training from the
Jesuits in Prague. In 1773 he left his native country and found
employment in the Hofkapelle of Prince Kraft Ernst of
Oettingen-Wallerstein whom he served for sixteen years, becoming
Kapellmeister in 1785. While there, he orchestrated two piano concerti
by Anna von Schaden. In July 1789 Rosetti left Wallerstein to accept the
post of Kapellmeister to the Duke Friedrich Franz I of
Mecklenburg-Schwerin in Ludwigslust where he died in service of the duke
on 30 June 1792 at the age of 42 years. In 1777, he married Rosina
Neher, with whom he had three daughters. In late 1781 he was granted
leave to spend 5 months in Paris. Many of the finest ensembles in the
city performed his works. Rosetti arranged for his music to be
published, including a set of six symphonies published in 1782. He
returned to his post, assured of recognition as an accomplished
composer. As a composer, he wrote over 400 compositions, primarily
instrumental music including many symphonies and concertos which were
widely published. Rosetti also composed a significant number of vocal
and choral works, particularly in the last few years of his life. Among
these are German oratorios including Der sterbende Jesu and Jesus in
Gethsemane (1790) and a German Hallelujah. The English music historian
Charles Burney included Rosetti among the most popular composers of the
period in his work A General History of Music. Rosetti is perhaps best
known today for his horn concertos, which Mozart scholar H. C. Robbins
Landon suggests (in The Mozart Companion) may have been a model for
Mozart's four horn concertos. Rosetti is also known for writing a
Requiem (1776) which was performed at a memorial for Mozart in December
1791. Attributing some music to Rosetti is difficult because several
other composers with similar names worked at the same time, including
Franciscus Xaverius Antonius Rössler.
Lambert Chaumont (c.1630-1712)
- Suite du 4e ton des 'Pièces d'orgue sur les 8 tons avec leurs
variété, leurs agrémens, leurs mouvemens et le mélange de jeux propres à
chaque espèce de verset' (1695)
Flemish composer. The earliest mention of his name dates from January
1649, when he is listed as a lay brother at the Carmelite monastery at
Liège. An entry for 8 May 1659 in the monastery accounts records that he
was one of nine brothers from there who had completed their novitiates
at the monastery at Reims. In any religious context he henceforth called
himself ‘Frère Lambert de St Théodore’. This important document leads
one to suppose that he was born about 1630 and proves that he was a
native of the diocese of Liège. He is not heard of again until 10
February 1674, when he was nominated rector of the small parish of St
Martin at Huy. On 7 September 1688 he became priest of the neighbouring
parish of St Germain and at the same time pater of the Carmelites at
Huy. He held both positions until his death. As a composer, his only
extant work is the collection 'Pièces d'orgue sur les 8 tons avec leurs
variété, leurs agrémens, leurs mouvemens et le mélange de jeux propres à
chaque espèce de verset' (1695). These pieces are in the finest
traditions of the French organists of the 17th century, grouping his
pieces in eight suites of 12 to 15 numbers following the order of the
eight church tones.
Georg Abraham Schneider (1770-1839)
- Concerto (D-Dur) | pour le | Violon et Alto | avec |
accompagnement | de | deux Violons, Alto et Basso, deux Fluts, deux
Obois | deux Cors et Fagotts, Op.19 (c.1820)
Performers: Hans Maile (violin); Stefano Passaggio (viola); RSO Berlin;
Lucas Vis (conductor)
German horn player, oboist and composer. He studied with Johann Wilhelm
Magnold in Darmstadt, where he became a member of the court chapel in
1787. He later took courses in theory and composition with Johann
Gottlieb Portmann. In 1795 he joined the Rheinsberg Court Orchestra,
then settled in Berlin and became a member of the royal chapel in 1803.
He founded a series of subscription concerts in 1807 and the
'Musikalische Ubungsakademie zur Bildung der Liebhaber' in 1818. He also
was conductor of the Reval theater (1813-16). He was made music
director of Berlin's royal theater in 1820 and then its Kapellmeister in
1825. He taught at the music school of the royal theater and at the
Prussian Academy of Arts, retiring in 1838. As a composer, his style was
entrusted to all the conventions of the late 18th Century. His daughter
Maschinka Schneider (1815-1882) was a soprano married with the composer
Franz Schubert (1808-1878). His son Louis Schneider (1805-1878) was a
writer and actor, and privy councillor and tutor to Friedrich Wilhelm
IV.
Spanish organist and composer. He was the son of the church sacristan of
Brihuega, Sebastián Durón (1626-1668), and his second wife Margarita
Picazo (1634-c.1685). After studying under Andrés de Sola in Zaragoza,
he served as second organist at Seville Cathedral from 1680 to 1685,
where he began composing liturgical music and took minor orders. Seeking
better financial compensation, he subsequently held positions as first
organist at the cathedrals of Burgo de Osma (1685) and Palencia
(1686-1691). On 23 September 1691 he was appointed organist at the royal
chapel in Madrid, under the principal organist José de Torres. In 1702
he became royal maestro de capilla and director of the royal choir
school. His professional tenure in Madrid concluded in 1706 following
his exile to France for political alignment with the Archduke of Austria
during the War of the Spanish Succession. As a composer, his extensive
output encompasses conservative Latin liturgical works, modern motets
with orchestral accompaniment, and vernacular villancicos that
integrated traditional Spanish Baroque elements with contemporary
theatrical techniques. His legacy is defined by this stylistic synthesis
and his role in advancing the expressive capabilities of Spanish vocal
and instrumental music during the late seventeenth and early eighteenth
centuries. The composer Diego Durón de Ortega (1653-1731) was his
half-brother.
