divendres, 20 de març del 2026

DUSSEK, Jan Ladislav (1760-1812) - Concerto pour deux Pianofortes

François Dequevauviller (1745-1807) - The Concert (1784)


Jan Ladislav Dussek (1760-1812) - Concerto pour deux Pianofortes, Op.63 (c.1805)
Performers: Igor Ardаšev (piano); Renаtа Ardаševová (piano); Pаrdubice Orchestra; Leos Svárovský (conductor)

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Bohemian keyboardist and composer. He studied piano at age five and organ at age nine, and then became a chorister at the Iglau Minorite church and a pupil at the Jesuit Gymnasium. After further studies at the Kuttenberg Jesuit Gymnasium, he continued his studies at Prague's New City Gymnasium (1776-77) and at the University of Prague (1778). He found a patron in Count Manner, with whose assistance he was able to go to Malines in 1779, where he became active as a piano teacher. He made his public debut there as a pianist on 16 December 1779, and then set out on a highly successful tour, visiting Bergen op Zoom, Amsterdam, and The Hague. He then went to Hamburg, where he gave a concert on 12 July 1782, and also met C.P.E. Bach, with whom he may have studied. In 1783 he played at the St. Petersburg court. After spending about a year in the service of Prince Karl Radziwill as Kapellmeister in Lithuania, he made a major tour of Germany in 1784, winning notable acclaim in Berlin, Mainz, Kassel, and Frankfurt am Main as a piano and glass harmonica virtuoso. In 1786 he went to Paris, where he performed at the court for Marie Antoinette; except for a brief trip to Milan and Bohemia, he remained in Paris until the outbreak of the French Revolution in 1789 compelled him to flee to London. On 1 June 1789, he made his London debut at the Hanover Square Rooms. He soon became successful as a pianist and teacher in the British capital, appearing regularly at Salomon's concerts and being an active participant in these concerts during Joseph Haydn's two visits. In 1792 he married the singer, pianist, and harpist Sophia Corri (1775-1847). 

With his father-in-law, Domenico Corri, he became active as a music publisher. Both men were ill suited for such a venture, however, and Dussek's love for the good life further contributed to the failure of the business. Dussek fled to Hamburg in 1799, leaving his father-in-law to serve a jail sentence for debt. He apparently never saw his wife or daughter again. He seems to have spent about two years in Hamburg, where he was active as a performer and teacher. In 1802 he played in his birthplace, and then in Prague. From 1804 to 1806 he served as Kapellmeister to Prince Louis Ferdinand of Prussia. After the latter's death at the battle of Saalfeld (10 October 1806), he composed a piano sonata in his memory, the 'Elegie harmonique sur la mort du Prince Louis Ferdinand de Prusse', Op.61. He then was briefly in the service of Prince Isenburg. In 1807 he settled in Paris, where he served Prince Talleyrand, gave concerts, and taught. His health began to fail due to excessive drinking, and he was compelled to abandon his career. Jan Ladislav Dussek was a remarkable composer for the piano, proving himself a master craftsman capable of producing the most brilliant works for the instrument. In his later works he presaged the development of the Romantic school, anticipating such composers as Chopin, Mendelssohn, Schumann, and even Brahms. As a celebrated virtuoso of the keyboard, he shares with Muzio Clementi the honor of having introduced the 'singing touch'. As a composer, his works include, among others, 15 concertos, 34 sonatas for the fortepiano, 68 violin sonatas, six harp sonatas (possibly a legacy of an alleged affair with Anne-Marie Krumpholtz), six canzonetts, three string quartets, a Mass (1807), and three harp concertos.

dimecres, 18 de març del 2026

CLARKE, Jeremiah (c.1674-1707) - Suite in D Major

Unknown artist (17th Century) - Windsor Castle from the South (c.1681)


Jeremiah Clarke (c.1674-1707) - Suite in D Major
Performers: David Tasa (trumpet); Frankfurter Solisten; Vladislav Brunner (conductor)

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English composer and organist. Nothing is known of his origins. The earliest evidence was as a chorister at the Chapel Royal when James II was crowned in 1685. By 1692, he had been appointed organist at Winchester College, and on 6 June 1699, he was appointed vicar-choral at St. Paul’s Cathedral. He moved up to organist in January 1704. On 15 May 1704, Francis Pigott, organist at the Chapel Royal, died, and together with William Croft were sworn in as joint organists to replace him. It appears that he ended his own life, perhaps owing to an unhappy love affair, by shooting himself on 1 December 1707. As a composer, he wrote 22 anthems, 10 odes, 2 settings of the Te Deum, 2 suites for wind band, 2 suites for harpsichord, over 40 other short works for harpsichord, and the incidental music for 8 plays. He was a leading composer of the generation immediately junior to Purcell. He wrote the so-called Trumpet Voluntary, his best-known piece.

dilluns, 16 de març del 2026

GEBAUER, François-René (1773-1845) - Quintette concertante

Michael Angelo Hayes (1811-1880) - The Band of the 23rd Fusiliers (1838)


François-René Gebauer (1773-1845) - Quintette concertante des
'Trois Quintettes concertans pour flûte, clarinette, hautbois, cor et basson'
Performers: The Danzi Quintet

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French bassoonist and composer. He was a pupil of his brother Michel Joseph Gebauer (1763-1812) and of François Devienne. In 1788 he became a member of the band of the Swiss Guard in his native city. In 1790 he settled in Paris as a musician in the National Guard. After playing in theater orchestras, he joined the orchestra of the Opera about 1799, remaining in it until 1826. He also played in the Imperial chapel orchestra until 1830, and was a professor at the Conservatoire (1795-1802; 1824-1838). According to some sources, he was made an honorary professor in 1816. As a composer, his output include 13 bassoon concertos, eight symphonies concertantes and several chamber music. He also published a bassoon method (c.1820). His younger brothers, Pierre Paul Gebauer (1775-?) and Etienne Jean François Gebauer (1776-1823) were also musicians.

diumenge, 15 de març del 2026

BENAYAS, Matías García (fl. 1690-1737) - Missa Defensor Alme Hispaniae

Miguel Jacinto Meléndez (1679-1734) - San Agustín conjurando una plaga de langosta


Matías García Benayas (fl. 1690-1737) - Missa Defensor Alme Hispaniae
Performers: Joaquín Barrеira (organ); Vox Stеllae; Luís Martínez (conductor)

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Spanish composer. Although his early biography remains obscure, archival evidence from 1690 suggests he held a musical post in Lugo before being appointed maestro de capilla at Mondoñedo Cathedral later that year. In February 1694, following a competitive examination process (oposiciones), he relocated to Tuy Cathedral to succeed Tomás Portillo, a position he held until his death. His tenure in Tuy was marked by his dual role as a priest and educator of the 'infantes del coro', though his health began to decline significantly after 1730. Academically, he is noted for his conservative liturgical style; his surviving output, primarily preserved in Tuy and Mondoñedo, consists of approximately 50 works characterized by traditional 'facistol' (choirbook) polyphony and the occasional use of cantus firmus. While his stylistic identity is occasionally obscured by issues of attribution within the cathedral archives, he remains a representative figure of the ecclesiastical musical tradition in Spain during the early 18th century. 

divendres, 13 de març del 2026

STEPAN, Josef Antonín (1726-1797) - Concerto per il Cembalo Concertato

Bernardo Bellotto (1721-1780) - University Square in Vienna


Josef Antonín Štěpán (1726-1797) - CONCERTO (in Dis). | per il | Cembalo Concertato.
| due Violini. | due Corni in D. | e Basso.
Performers: Rudolf Zelenka (cembalo); Benduv Komorni orchester; Jiří Havlík (conductor)

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Bohemian composer and keyboardist. Following early instruction from his father, a local cantor, he fled to Vienna to escape Prussian troops during the War of the Austrian Succession, eventually acquiring Count Schlick as his patron. He became a favorite pupil of Georg Christoph Wagenseil, under whose tutelage he achieved a reputation as one of the best keyboardists in Vienna. He was appointed as instructor to princesses Maria Carolina and Maria Antonia (later Marie Antoinette). In 1775 he was forced to retire due to failing eyesight, though he retained his salary. The remainder of his life was spent as a guest in the various salons of the city, where his Lieder (most of which were published) were popular. As a composer, his music conforms to the conventions of the style prevalent in Vienna of the period. These include two Masses (and a Requiem), seven hymns, numerous other smaller sacred works, one oratorio, 79 Lieder, 47 keyboard sonatas/divertimentos, 224 other individual works for the keyboard (including cadenzas), 12 symphonies, 45 concertos for the keyboard, seven piano trios, a violin sonata, and two piano quartets. His music remains largely unexplored.