Sig. Matouš (18th Century)
- Parthia ex Dis
Performers: Prague Mozart Trio
Further info: Musique en Trio pour Instruments a Vent
divendres, 14 d’agost del 2026
dimecres, 12 d’agost del 2026
JANIEWICZ, Feliks (1762-1848) - Concerto à Violon Principal (1804)
Feliks Janiewicz (1762-1848)
- Cinquième concerto (e-moll) à violon principal, deux violons, deux
alto,
basse, flûte, deux bassons, deux hautbois et deux cors (1804)
Performers: Zbigniew Pilch (violin); Musicae Antiquae Collegium
Varsoviense; Kai Bumann (1961-2022, conductor)
Further info: Concertos for violin and orchestra
---
Polish violinist and composer. He probably received his initial training
in Warsaw, becoming a musician in the court orchestra of King Stanisław
August in 1777. In 1784 he decided to move to Vienna, where he
performed at various concerts for several years, and in 1787 he made his
debut at the Concerts spirituels in Paris. There he was also employed
in the orchestra of the duc d’Orléans. In 1792 he went to London, where
he appeared as violinist and composer, first at private concerts and
soon afterwards in public, mostly at Salomon’s concerts. His next London
appearances were apparently not until 1794. He also gave concerts in
other English cities, in Scotland and Ireland. In 1800 he married Miss
Eliza Breeze of Liverpool, where in 1801 he opened a 'Music, Musical
Instrument Warehouse', which traded until 1829; he also had a music shop
in London, 1810-12. In 1815 he moved to Edinburgh. He led the orchestra
in the first Edinburgh Festival in the same year and in subsequent
festivals (1819, 1824), and was an active teacher and organizer of
musical life. In February 1829 he gave his last public concert. As a
composer, his music is largely for his own instrument and consists of
five violin concertos and six trios for two violins and cello. The style
is reminiscent of Giovanni Battista Viotti. He left two talented
daughters, Felicia Janiewicz, a pianist, and Paulina Janiewicz, a
harpist.
dilluns, 10 d’agost del 2026
DIEUPART, Charles (1676-1751) - Suitte de Clavessin (1701)
Charles Dieupart (1676-1751)
- Suitte (II) de Clavessin des 'Six suittes de clavessin divisées en
ouvertures, allemandes, courantes, sarabandes, gavottes, menuets,
rondeaux & gigues composées & mises
... dédiées à Madame la
Comtesse de Sandwich' (1701)
Performers: Luc Beauséjour (harpsichord); Hervé Niquet (harpsichord)
Further info: Musique Française À Deux Clavecins
---
French harpsichordist, violinist and composer. Nothing is known of his
early years. Son of Nicolas Dieupart (?-1700), an ordinary musician to
Louis XIV's Grande Ecurie, at some point, he befriended Elizabeth Wilmot
of Rochester, countess of Sandwich, and Jacques Paisible who were
visiting James II of England in his exile at Saint-germain-en-Laye near
Paris. He is first heard of in England in an advertisement for a concert
at Drury Lane, London, on 11 February 1703, when he accompanied Gasparo
Visconti in some of Arcangello Corelli’s sonatas. According to John
Hawkins, he played the harpsichord and Nicola Francesco Haym the cello
in this and Giovanni Bononcini’s 'Il trionfo di Camilla' (1706), and he
wrote an overture and chaconne for Peter Anthony Motteux’s pasticcio
'Thomyris' (1707). He was evidently a prominent member of the Drury Lane
musical establishment. In the winter of 1707-1708 he was among those
involved in setting up a rival operatic project at the Queen’s Theatre
in the Haymarket, London, and wrote and arranged music for its first
production, Motteux’s pasticcio 'Love’s Triumph' (1708); Motteux wrote
in the preface that any success ‘will owe not a little to Mr Dieupart,
for his share in the Contrivance of the Entertainments and his supplying
what Recitative and other Music was necessary’. According to Hawkins,
Dieupart played continuo with Haym in Alessandro Scarlatti’s 'Pyrrhus
and Demetrius' (1708), and he played in the Haymarket orchestra until
about 17 November 1710, when he was apparently dropped. He did not
entirely retire from concert life: concertos by him were performed at
Drury Lane for ‘Two Hautboys and Two Flutes’ (14 March 1722), ‘Little
Flute’ (11 May 1722), ‘Hautboys, Flutes and Violins’ (15 May 1723), as
well as a trumpet sonata (14 May 1726). Hawkins wrote that Dieupart
‘grew negligent’ towards the end of his life, ‘and frequented concerts
performed in ale-houses, in obscure parts of the town, and distinguished
himself not more there, than he would have done in an assembly of the
best judges, by his neat and elegant manner of playing the solos of
Corelli’. His last known appearance was in Hampstead on 11 September
1724, when he played ‘Violin Concertino’ and was billed as ‘Capt Dupar,
Scholar to the late celebrated Signor Corelli, and late Musick Master to
his present Highness the Prince of Orange’.
diumenge, 9 d’agost del 2026
BELISSEN, Laurent (1693-1762) - Laudate Pueri
Laurent Belissen (1693-1762)
- Laudate Pueri | Motet a grand choeur et Simp. e | Par M.r.
Belissen. | Maitre de Musique du Concert de Marseille | & de
L'abbaye de Saint Victor de la Meme Ville
Performers: Les Festes D'Orphée; Guy Laurent (conductor)
Further info: Grands Motets en Provence
---
French composer. His home was near the Cathedral of St Sauveur in Aix;
although there is no evidence that he was admitted to the choir school,
he was probably one of the last composers to study with Guillaume
Poitevin, maître de musique there. By 1722 Belissen was in Marseilles,
where he made his career. He followed Blanchard as maître de musique at
the Abbey of St Victor, and held this position for the rest of his life,
also directing the Académie de Concerts in Marseilles. Many of
Belissen's works are lost or in uncatalogued collections. The extant
works, principally grands motets, reveal a style markedly different from
the Versailles motets of Lalande, Campra and Mondonville. Belissen
preferred a four-voice texture to the five-voice one popular with the
Versailles composers. His choral style combines French and Italian
characteristics: his choral fugues are highly developed and repeat the
text continuously in the Italian manner. His orchestral treatment in the
motets also reflects Italian practices, with the use of ritornello
passages as an important articulatory device.
divendres, 7 d’agost del 2026
TITZ, Anton Ferdinand (1742-1810) - Sinfonia in C-Dur
Anton Ferdinand Titz (1742-1810)
- Sinfonia in C-Dur
Performers: Pratum Integrum Orchestra
Further info: Instrumental Music
---
German violinist and composer. He was orphaned at an early age and was
taught painting in Nuremberg by his uncle and aunt. By the age of 16 he
was a violinist at St Sebaldus’s church there. After an unhappy love
affair a few years later he went to Vienna, where he played in the opera
orchestra and may have studied with Joseph Haydn. In 1771 he became a
member of the Hofkapelle in St Petersburg; Catherine the Great paid him
the highest salary of any of her court musicians. He also taught at the
theatre school, gave the future Tsar Aleksandr I violin lessons,
directed a court chamber orchestra (which included the clarinettist
Joseph Beer and other outstanding musicians), and performed publicly,
for instance in 1782, but most of his performances were at court, as a
violinist and viola d'amore player. Later in life he suffered a mental
disorder that sometimes prevented him from working, but he was
encouraged and protected by Senator Aleksey Grigoryevich Teplov, a St
Petersburg amateur musician. He dedicated three string quartets to
Teplov and three more to Aleksandr I. Ludwig Spohr remarked in 1803 that
his former technique, noted particularly for sensitivity in adagios,
had largely vanished. His salon cantata, 'Le pigeon bleu et noir gémit',
was a favorite with private audiences in St. Petersburg on into the
19th century. Anton Ferdinand Titz established a reputation in Europe
for his development of the string quartet, of which he composed 18.
Other works include 11 violin sonatas, 10 string quintets, three duos
for two violins, a symphony, and a violin concerto. Other works composed
for the Russian court have been lost. He has often been confused with
the Dresden violinist Ludwig Tietz (1774-1827).
Subscriure's a:
Missatges (Atom)