dimecres, 12 d’agost del 2026

JANIEWICZ, Feliks (1762-1848) - Concerto à Violon Principal (1804)

Józef Marszewski (1827-1883) - Vilnius viewed from Tauras Hill (1872)


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)

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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)

German School (18th century) - Portrait of Nun or collegiate lady


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)

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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

Gérard de Lairesse (1641-1711) - The Marriage Feast of Peleus and Thetis


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)

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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

Thomas Rowlandson (1756-1827) - A Musical Family (1802)


Anton Ferdinand Titz (1742-1810) - Sinfonia in C-Dur
Performers: Pratum Integrum Orchestra
Further info: Instrumental Music

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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).

dimecres, 5 d’agost del 2026

HERNANDEZ Y LLANA, Francisco (c.1700-1780) - Cantada de Navidad (1765)

Franz Carl Remp (1675-1718) - Der Tanz um das goldene Kalb


Francisco Hernandez y Llana (c.1700-1780) - Aria 'Barbaro' de la Cantada de Navidad 'Allende el orbe' (1765)
Performers: Mariví Blasco (soprano); Harmonia del Parnàs; Marian Rosa Montagut (conductor)
Further info: Bárbaro

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Spanish composer. Originated from Lubiano (Álava), he was born in Alzira (Valencia). He began his career in 1723 upon being appointed maestro de capilla at Astorga Cathedral, during which time he also made unsuccessful attempts to secure the post at Santiago de Compostela Cathedral in 1723 and 1724. He subsequently moved to Valencia in 1728 to serve at the Royal College Seminary of Corpus Christi (El Patriarca), before being appointed maestro de capilla at Burgos Cathedral in 1729, a prestigious position he held for over five decades until his death. As a composer, he cultivated a vast repertoire primarily dedicated to sacred music, characterized by liturgical works and vernacular compositions; notably, his surviving output includes sacred pieces housed across his former places of employment (Astorga, El Patriarca, and Burgos) as well as archives in El Escorial, Segorbe, and Arantzazu (which preserves three Spanish-texted religious works), alongside nine instrumental recercadas preserved at El Patriarca.