Unknown composer (18th Century)
- Concerto a 5 | Violino Principahlo | Violino Primo |
Violino Secundo | Viola | Basso Continuo
Performers: Trondheim Symphony Orchestra
Further info: The Trondheim Concertos
dilluns, 6 de juliol del 2026
diumenge, 5 de juliol del 2026
DE MONTE, Philippe (1521-1603) - Missa sine nomine
Philippe de Monte (1521-1603)
- Missa a 6 'Missa sine nomine'
Performers: La Capella Ducale; Roland Wilson (conductor)
Further info: Musica Sacra In Colonia
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Flemish composer. It is likely that he received his first musical
training as a choirboy at St Rombouts Cathedral in Mechelen. He was
employed early on as an instructor to the children of the Genovese
banker Domenico Pinelli, in Naples. He then went to Rome, where he
published his first book of madrigals (1554), and from Rome to Antwerp
in 1554, and then to England, where he served as 'chorus praefectus' in
the private chapel of Philip II of Spain, the husband of the Queen, Mary
Tudor. In September 1555 he left England and went to Italy again; in
1567 he was in Rome. On 1 May 1568, he became Imperial Court
Kapellmeister to the Emperor Maximilian II in Vienna; he held this
position until his death, which occurred while the court was at Prague
during the summer of 1603. In 1572 he was appointed treasurer of Cambrai
Cathedral, and in 1577, also a canon (residence was not required for
either position there). He was greatly esteemed as a composer, numbering
among his works some 1,000 madrigals, about 40 masses (mostly in cantus
firmus, paraphrase and parody masses), and many other works of sacred
music. He was an important representative of the last generation of
great Flemish composers of the Renaissance, and was one of the major
composers of Italian madrigals.
divendres, 3 de juliol del 2026
POKORNY, František Xaver (1729-1794) - Concerto per due Corni (c.1750)
František Xaver Pokorný (1729-1794) - Concerto (F-Dur). Corno Primo | Corno Secundo Principale | Violino
Primo | Violino 2do: | Flauto Primo | Flauto 2do | Viola | Basso d: 30
Juli Di Pokorni (c.1750)
Performers: Hermann Bаumаnn (horn); Christoph Kοhlеr (horn); Concerto
Amsterdam;
Jaap Schrödеr (1925-2020, conductor)
Further info: L. Mozart, Pokorny, Witt, Rosetti - Horn Concertos
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Bohemian composer and violinist. Son of a bureaucrat, he was sent to
Regensburg as a youth to study under Joseph Riepel. In 1750 he obtained a
post as violinist at the court of Oettingen-Wallerstein, and in 1753 he
was given leave to further his studies in Mannheim, where his teachers
included Johann Stamitz, Franz Xaver Richter, and Ignaz Holzbauer.
Returning to Wallerstein he was also employed at the Thurn und Taxis
court in Regensburg, commuting back and forth for several years before
being offered a permanent position in the latter city in 1769. He was
appointed as court chamber composer, though his relationship with the
Kapellmeister, Baron Theodor von Schacht was not smooth, resulting in
much of his music being deliberately misattributed to others after (and
possibly before) his death in 1794. As a composer, he was one of the
most prolific symphonists of the period, noted for his particular use of
the orchestra. His works in this genre are mostly four movement, and in
his numerous concertos he was able to exploit the technical
capabilities of the instrumental solos. His works include at least 145
symphonies (with as many as another 100 still of possible attribution),
65 concertos (including 45 for keyboard), numerous
serenades/divertimentos, three quartets, a piano quintet, three string
trios, and five trio sonatas. Much of his music remains to be explored,
primarily due to von Schacht’s intervention.
dimecres, 1 de juliol del 2026
Gessel (18th Century) - Schmecket und sehet wie freundlich der Herr ist
Gessel (18th Century)
- Dominica Laetare "Schmecket und sehet wie freundlich der Herr ist"
Performers: Ingrida Gapova (soprano); Jan Medrala (alto); Krzysztof
Kozarek (tenor); Jacek Ozimkowski (bass); Goldberg Baroque Ensemble;
Andrzej Mikołaj Szadejko (conductor)
Further info: Lent Cantatas Of 18th Century Gdansk
dilluns, 29 de juny del 2026
ENGEL, Jan (?-1788) - Sinfonia in Es-Dur (1772)
Jan Engel (?-1788) - SINFONIA (Es-Dur) | A | Violini, Oboe, Corni, | Alto, e Basso. |
[by hand with black ink: "Due Clarinetti"] | DEDICATA | A SUA ECCELLENZA
| II Sig|r: Conte | PRZEZDZIECKI. ... ANNO 1772
Performers: Capella Claromontana; Jan Tomasz Adamus (conductor)
Further info: Musica Claromontana 15
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Polish composer, printer and music publisher. He served as Kapellmeister
at the Cathedral of St. John in Warsaw between 1771 and 1772, during
which time he established a printing press on Ulica Krzywe Koło that
remained operational until 1776. In 1772, he independently published six
of his own symphonies, issued separately with uniform title pages and
distributed through the Warsaw booksellers M. Gröll and J.A. Poser;
while extant copies of the first three symphonies are preserved in the
Pauline Monastery in Częstochowa, the remaining works are known
exclusively through contemporary Warsaw press announcements and entries
in the Breitkopf (Leipzig) catalogs spanning 1772, 1777, and 1785-1787.
The following year, he compiled and published a collection titled
'Mélanges de Musique pour le clavecin par Monsieur Engel', which notably
featured works by M. Kamieński alongside what were highly probable to
be his own compositions and those of other contemporaries, though this
publication was regrettably destroyed during World War II. In tandem
with advertising this collection, he offered for sale various
manuscripts and prints, including Masses, motets, arias, duets, and
oratorios, alongside a novel, proprietary "music printing machine of his
own invention" before resigning from his cathedral post on September 1,
1773. A subsequent notice in the Gazeta Warszawska, dated February 14,
1776, documented the relocation of his printworks to the Wędrychowska
tenement on ul. Kamienne Schodki and publicized the release of "new
Polish dances arranged for the harpsichord" as well as twelve
forthcoming pieces. Ultimately, given the scarcity of surviving
historical data, evidence suggests that Engel’s publishing endeavors
were sporadic, representing the pioneering, independent efforts of a
single individual.
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