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.
Italian composer and mandolin player. Almost nothing is known about him,
although he appears to have been a native of Naples, city where he was
active as a violinist and mandolin player between 1764 and 1776. As a
composer, his works include several symphonies, two concertos for
mandolins and two mandolin sonatas. His style is reminiscent of
Empfindsamkeit, with a penchant for Neapolitan lyricism.
German composer and organist, eldest of the three sons of Johann Tobias
Krebs (1690-1762). He received his first musical instruction from his
father, including organ lessons as early as his 12th year. He later
studied with Johann Sebastian Bach on the organ. Bach (who had also
instructed Krebs's father) held Krebs in high standing. From a technical
standpoint, Krebs was unrivaled next to Bach in his organ proficiency.
However, he found it difficult to obtain a patron or a cathedral post.
His Baroque style was being supplanted by the newer galant music style
and the classical music era. Krebs took a small post in Zwickau, and in
1755 (five years after the death of Bach, which is normally referred to
as the end of the Baroque period) he was appointed court organist of
Saxe-Gotha-Altenburg under Prince Friedrich. Krebs had seven children
and struggled to feed his family. Despite never holding a court composer
post, and never being commissioned for a work, Krebs was able to
compose a significant collection of works, though few were published
until the 1900s. Krebs’s three surviving sons were all musicians: Johann
Gottfried Krebs (1741-1814) was the Stadtkantor in Altenburg; Carl
Heinrich Gottlieb Krebs (1747-1793) was court organist in Eisenberg from
1774 but no compositions by him survive; Ehrenfried Christian Traugott
Krebs (1753-1804) succeeded his father as court organist at Altenburg
from 1780 and published a collection of six organ chorale preludes
(Leipzig, 1787); he also wrote a jubilee cantata (music lost) to a text
published in Altenburg in 1793. His son, Ferdinand Traugott Krebs, was
awarded the post of ‘Mittelorganist’ at Altenburg in 1808 but nothing
further is known of him.
Bohemian composer, active in Germany. He trained as a violinist and
cellist, and was for several years a member of a theatre orchestra in
Prague. In 1741 or 1742 he entered the service of Count Rutowski in
Dresden, and by 1750 he was a violinist in the court orchestra. He
remained in Dresden until his death. Neruda is known to have composed at
least 97 works, although many are now lost. In the 18th century copies
of his works were disseminated throughout Bohemia, Germany and Sweden;
the Breitkopf catalogue advertised 68 works between 1762 and 1771. His
music shows clear signs of Italian influence, although in his use of
dynamics he was evidently also influenced by the Mannheim School. The
melodic style harks back to the Baroque principle of Fortspinnung,
though this is modified by the use of regular phrase lengths. The
textures are mostly homophonic, often with figured bass. The violin
works make great demands on the performer. Neruda was also active as a
teacher; two of his sons, Ludvík Neruda and Antonín Bedřich Neruda
(?-1797), became accomplished violinists and were members of the Dresden
court orchestra. According to Gottfried Johann Dlabacz, Neruda was a
brother of Jan Chryzostomus Neruda (1705-1763), who after a short period
as a violinist at a Prague theatre entered the Premonstratensian
monastery of Strahov in 1726, becoming succentor in 1733 and cantor and
choirmaster ten years later.
Georg Heinrich Bümler (1669-1745)
- Schaffe in mir Gott! ein reines | Herz φφ | à | 2 Violini | Viola |
4 Voci | Soprano, | Alto, | Tenore e | Basso, | Basso continuo | è |
Organo.
German singer, composer and theorist. As a founder-member with Lorenz
Mizler of the Leipzig Correspondierende Societät der Musicalischen
Wissenschaften, he was accorded a detailed necrology in Mizler’s Neu
eröffnete musicalische Bibliothek, iv (1745). This states that he was
born near Bayreuth in Berneck, where his father served as Kantor before
moving to Naila as a manager of mines. At ten, on the death of his
father, Bümler was sent to Münchberg to become a student in the
Lateinschule. When he was about 13 he joined the Bayreuth court as a
chamber discantist, where he studied singing and keyboard instruments
with Ruggiero Fedeli. During the next two decades his exceptional talent
as a singer made possible an extensive career at Wolfenbüttel, Hamburg,
Berlin, and back again at Bayreuth. In 1698 he was appointed chamber
musician and solo alto at the court of Ansbach, where in 1717 he
succeeded Johann Christian Rau as Kapellmeister. In May 1722 he
accompanied his first wife, the singer Dorothea Constantia Bauer, to
Italy, but they were required to return to court in February 1723 for
the funeral of Margrave Georg Friedrich. Following his release from
court duties, he was briefly Kapellmeister to Queen Eberhardine of
Poland and Saxony at Pretsch, but for unknown reasons left for Hof
(Saale). In 1726 he regained his post as Kapellmeister at Ansbach. His
wife died in 1728 and he married the singer Sabina Sophia Schneider in
1729.
Italian composer, uncle and teacher of the famous composer Giacomo
Puccini. In 1849 he enrolled at the music school in Lucca where he
studied singing, organ, piano and violin lessons as well as composition
and counterpoint. In 1852 he became a pupil of Michele Puccini and in
1857 he graduated in composition. That year he was appointed as teacher
of harmony and organ as well as organist in different music schools in
Lucca. In 1863 he became an honorary member of the Società del quartetto
di Lucca. When Michele Puccini died in 1864, he replaced him as
professor of composition and counterpoint as well as chapel master and
organist at the Cathedral of Lucca. His musical role in the city became
then very prominent and was often awarded. He was also appointed as
teacher of the prestigious Accademia di S. Cecilia in Rome. In 1875 he
was addmited as a member of the Bologna Philharmonic Academy and in 1877
he took over a professor position at the Liceo Musicale Benedetto
Marcello in Venice in a post he held the rest of his life. As a
composer, he mainly wrote sacred music among them several masses,
vespers, hymns and motets most of them with double choir and large
orchestra. He also left several symphonies and chamber works.
