divendres, 19 de juny del 2026

STAMIC, Jan Václav Antonín (1717-1757) - Sinfonia in D-Dur

Jan Punt (1711-1779) - Lijkstatie van Willem IV (1752)


Jan Václav Antonín Stamic (1717-1757) - Sinfonia in D-Dur
Performers: Die Prager Virtuosen; Oldrich Vlcek (conductor)
Further info: Die Prager Virtuosen

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Bohemian composer, violinist and teacher. He received his early schooling in Německý Brod, though his first musical instruction doubtless came from his father. From 1728 to 1734 he attended the Jesuit Gymnasium in Jihlava; the Jesuits of Bohemia, whose pupils included the foremost musicians in Europe, maintained high standards of musical education during this period. Stamitz is known to have spent the following academic year, 1734-35, at Prague University. His activities during the next six years, however, remain a mystery. It seems logical to assume that his decision to leave the university was prompted by a desire to establish himself as a violin virtuoso, a goal that could be pursued in Prague, Vienna or countless other centres. The precise circumstances surrounding Stamitz’s engagement by the Mannheim court are unclear. The date of his appointment was probably 1741, for he remarked in a letter of 29 February 1748 to Baron von Wallbrunn in Stuttgart that he was in his eighth year of service to the elector. The most likely hypothesis is perhaps that Stamitz’s engagement resulted from contacts made late in 1741 during the Bohemian campaign and coronation in Prague of the Bavarian Elector Carl Albert (later Carl VII), one of whose closest allies was the Elector Palatine. In January 1742 Stamitz no doubt performed at Mannheim as part of the festivities surrounding the marriage of Carl Theodor. At Mannheim Stamitz advanced rapidly: in 1743, when he was first violinist at the court, he was granted an increase in salary of 200 gulden; in payment lists from 1744 and 1745 his salary is given as 900 gulden, the highest of any instrumentalist at Mannheim; in 1745 or early 1746 he was awarded the title of Konzertmeister; and in 1750 he was appointed to the newly created post of director of instrumental music. 

The latter promotion came almost two years after the offer of a position at the court of Duke Carl Eugen in Stuttgart with an annual salary of 1500 gulden, an offer that the Elector Palatine probably saw fit to match, as Stamitz remained in Mannheim. In court almanacs for 1751 and 1752 Stamitz is also listed as one of the two Kapellmeisters, but after the arrival of Ignaz Holzbauer in 1753 he appears as director of instrumental music alone. Stamitz’s principal responsibilities at court were the composition and performance of orchestral and chamber music, although he seems also to have composed some sacred music for the court chapel. As leader of the band and conductor Stamitz developed the Mannheim orchestra into the most renowned ensemble of the time, famous for its precision and its ability to render novel dynamic effects. Stamitz was also influential as a teacher; in addition to his sons Carl and Anton, he taught such outstanding violinists and composers as Christian Cannabich, the Toeschi brothers, Ignaz Fränzl and Wilhelm Cramer. In 1744 Stamitz married Maria Antonia Lüneborn. They had five children: the composers Carl and Anton, a daughter Maria Francisca (1746-1799) and two children who died in infancy. In 1749 Stamitz and his wife journeyed to Německý Brod to attend the installation of Stamitz’s younger brother Antonín Tadeáš as dean of the Dean’s church. In February 1750, while the family was still in Bohemia, Stamitz’s brother Václav Jan or Wenzel Johann (1724-after 1771), also a musician, was in Mannheim. Johann Stamitz returned to Mannheim in March 1750, but his wife remained temporarily in Německý Brod, where Anton Stamitz was born on 27 November 1750. Probably in late summer 1754 Stamitz undertook a year-long journey to Paris, appearing there for the first time at the Concert Spirituel on 8 September 1754. He presumably returned to Mannheim in autumn 1755, dying there less than two years later at the age of 39.

dimecres, 17 de juny del 2026

AGTHE, Carl Christian (1762-1797) - Concerto a Flauto Traverso (c.1780)

Jean Grandjean (1752-1781) - Celebration of Spring


Carl Christian Agthe (1762-1797) - Concerto E. G dur: | Flauto Traverso Principalo: | Violino Primo: | Violino Secondo: | Viola Primo et Secondo: | Oboe Primo: | Oboe Secondo | Cornu Primo: | Cornu Secondo: |
e | Basso è Violoncello (c.1780)
Performers: Gabriele Zucker (flute); Mitteldeutsche Kammerphilharmonie; Gerard Oskamp (conductor)

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German organist and composer. He first learnt music with his grandfather Johann Michael Agthe, Kantor at the Rathsschule, and his great-uncle Andreas Agthe, a local organist; he later continued his musical studies as a choirboy and as a member of the local Stadtpfeiferei. From 1776 to 1782 he was director of music with the Hündelberg theatrical company in Reval (now Tallinn), where he composed his first Singspiele 'Martin Velten' (1778). He then moved to Ballenstedt to join the court orchestra of Prince Friedrich Albrecht of Anhalt-Bernburg as an organist and harpsichordist. There he became known as one of the best organists of his time and, after further studies with Friedrich Wilhelm Rust, as an active composer of Singspiele, songs and instrumental pieces. His best-known work is a setting of August Friedrich Ferdinand von Kotzebue’s 'Der Spiegelritter' (1795), which was first performed by an amateur society in Ballenstedt and several times revived. He also left 11 symphonies, two concertos, and 14 Dances. His son Albrecht Wilhelm Johann Agthe (1790-1873) was a pianist, teacher and composer. 

dilluns, 15 de juny del 2026

SACCHINI, Antonio (1730-1786) - Sinfonia in Re maggiore

Thomas Patch (1720-1782) - Florence, A View of Ponte Santa Trinità Crossing the Arno River


Antonio Sacchini (1730-1786) - Sinfonia in Re maggiore
Performers: Orchestra da Camera di Napoli
Further info: Sinfonie Napolitane

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Italian composer. He was taken by his father at an early age to Naples, where he studied violin under Nicola Fiorenza and composition under Francesco Durante at the Conservatorio Santa Maria di Loreto. In 1756 he composed his first opera, Fra Donato, which launched his career as a composer of opera in Italy. Although he served for several years as an assistant maestro di cappella at the conservatory, he abandoned his teaching profession by 1763 to concentrate on commissions from throughout the country, eventually establishing a reputation as a dramatic and talented composer. In 1768 while in Venice he became director of the Conservatorio dell’Ospedaletto, teaching singing to students such as Nancy Storace. In 1772 he moved to London, where he obtained a great success with his operas but was known for a dissolute lifestyle. This forced Sacchini to travel to Paris in 1781, where he was caught in the middle of the feud between Niccolò Piccinni and Christoph Willibald von Gluck, both of whose partisans condemned him as a member of the other’s faction. In 1786 he produced his most enduring work, Oedip à Colonne, at the request of Marie Antoinette, but his early death from his lifestyle and acute gout prevented him from realizing its success. As a composer, Sacchini was known for his dramatic musical style, particularly in serious opera. He was able to move fluidly between both the Italian and French styles, often using varied forms and progressive harmonic structures. His works include 47 operas, seven oratorios, two symphonies, six string quartets, six trio sonatas, and 12 violin sonatas or lessons, in addition to numerous insertion arias, Masses, motets, Psalms, and other sacred works.

diumenge, 14 de juny del 2026

VIOLA I VALENTI, Anselm (1738-1798) - Missa Alma Redemptoris Mater

Alexandre de Laborde (1773-1842) - Vista interior de la iglesia de Mont-Serrat (1806)


Anselm Viola i Valentí (1738-1798) - Missa Alma Redemptoris Mater
Performers: Escolania de Montserrat; Orquestra d'antics escolans; Ireneu Segarra (1917-2005, conductor)

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Spanish teacher and composer. The eldest son of Francesc Viola's third marriage, his mother's name was Maria Rosa Valentí. He trained at the Escolania de Montserrat under Benet Julià and Josep Antoni Martí. On 20 March 1756, he began his novitiate at the Monastery of Montserrat, where he took his vows in 1757. He then moved to Madrid, where he completed his ecclesiastical and musical studies at the Church of Nuestra Señora de Montserrat, coming under the influence of José de Nebra. He also premiered many of his works there, achieving great success at the royal chapel. Upon returning to Montserrat in 1768, he was appointed master of the Escolania, teaching renowned students such as Fernando Sor, who wrote memoirs detailing the life of his master Anselm Viola, and master of the music chapel, positions he held until his death. As a composer, he wrote instrumental works, sonatas, and other pieces for keyboard instruments, as well as a classical-style concerto for bassoon and orchestra. He composed two masses for voices and orchestra, two Magnificats for six and seven voices (the second with basso continuo), 'Tèrcia i Completes' (both for seven voices with accompaniment), and a Lamentation for alto and orchestra. 

divendres, 12 de juny del 2026

BONPORTI, Francesco Antonio (1672-1749) - Concerto a quattro (c.1715)

Jean-Antoine Watteau (1684-1721) - Les Plaisirs du bal


Francesco Antonio Bonporti (1672-1749) - Concerto a quattro, Op.11 No.8 (c.1715)
Performers: Amsterdams Kamerorkest; André Rieu (1917-1992, conductor)

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Italian priest and composer. He was initially educated in Trento and Innsbruck in philosophical and humanistic subjects appropriate to the clerical vocation he was to follow. In 1691 he was admitted to the Collegium Germanicum in Rome, where he studied theology. While in Rome, he also studied composition under the guidance of Giuseppe Ottavio Pitoni and possibly violin (not documented) with Arcangelo Corelli. Bonporti returned to Trent ordained as a priest and obtained a minor office in the cathedral in 1697. There he published his first opus, a set of ten trio sonatas and where on the title-page he called himself ‘gentiluomo di Trento’. He moved to Padua in 1740, lodging in the house of a fellow priest. A final appeal to Empress Maria Theresa in 1746, in which op.12 was enlisted, proved fruitless. He died three years later and was buried in Padua. Bonporti regarded himself as primarily a priest rather than a composer. His output consists in twelve opus, and the foremost of them is his 'Concerti a quattro', Op.11 (c.1715). Such as many italian composers of his time, he based his musical language on Corelli.