Obra de Peeter van Bredael (1629-1719), pintor flamenc (1)
- Recordatori de Jeremiah Clarke -
En el dia de la commemoració del seu 310è aniversari de decés
Parlem de Pintura...
Peeter [Peter, Pieter, Petrus, Pierre] van Bredael (Antwerpen, bap. 19 de juliol de 1629 - Antwerpen, bur. 9 de març de 1719) va ser un pintor flamenc. El gener de 1640 es va unir al taller de David Ryckaert III on hi va estudiar fins el 1644. A partir d'aleshores va realitzar diversos viatges, entre ells a Espanya i probablement a Itàlia. El 1648 va tornar a Anvers on es va casar amb Anna Maria Veldener, filla de Jenijn Veldener, amb qui va tenir vuit fills. A partir del 1651 va començar a treballar de forma més lliure en un any en què també es va unir al Gremi de Sant Lluc d'Anvers. També en aquell temps es va unir a la schutterij. Com a pintor es va fer conegut per les seves escenes de gènere i paisatges d'estil italià. També va treballar com a copista d'escenes de batalla del pintor Philips Wouwerman. Els seus fills Jan Peeter van Bredael, Alexander van Bredael i Joris van Bredael i els seus nets Joseph van Bredael, Jan Pieter van Bredael 'el jove' i Jan Frans van Bredael van ser també pintors. Com a professor, va tenir nombrosos alumnes entre ells, i a banda dels seus fills, Hendrik Frans van Lint i Ferdinandus Hofmans. Peeter van Bredael va morir a Anvers el març de 1719.
Parlem de Música...
Jeremiah Clarke [Clark, Clerk] (c.1674 - London, 1 de desembre de 1707) va ser un organista i compositor anglès. La seva vida inicial es desconeix sent la primera referència del seu nom de 1685 any en què constava inscrit en el cor de la Capella Reial i en què hi va romandre fins el 1692. Anys més tard va aparèixer com a organista del Winchester College on hi va treballar fins el 1699 any que va ser nomenat vicar-choral de la Catedral de Sant Pau de Londres sota la direcció de John Blow, compositor a qui va substituir en el càrrec el 1703. El juliol de 1700 va accedir al càrrec d'organista de la Capella Reial si bé pocs anys més tard, i fruit d'un desamor, es va suïcidar. El seu alumne William Croft el va substituir en el seu càrrec a la Capella Reial de Londres.
OBRA:
Vocal secular:
Songs, catches and dialogues:
all published in London; stage works given in parentheses
Ah, Charmion, (c1703), A gentle warmth (c1715);
Ah, fly (c1705);
Alas, here lies the poor Alonzo slain (T. Shadwell: Timon of Athens) (1704);
Cease that enchanting song (c1703);
Celia is soft (c1700);
Come sweet lass (1698);
Cou’d a man be secure (R. Howard: The Committee) (c1700);
Divine Astrea hither flew (E. Settle: The World in the Moon) (1697);
Drink, my boys (T. D’Urfey) (c1705);
Each tender virgins’ fears (The Siege of Barcelona) (c1703);
Farewell, ungrateful nymph (1699);
Hark, the cock crow’d (D’Urfey) (1697);
Here’s a health to Queen Anne;
How often have I curst (c1705);
If Cloris please (G. Powell: The Cornish Comedy) (1696), lost;
If you’d win Melissa’s heart (1699);
I’m vexed to think (c1703);
I’m wounded by Amanda’s eyes (1701);
In drinking full bumpers; In faith, ’tis true;
I seek no more to shady coverts (E. Settle: The World in the Moon) (1697);
Jockey was a dowdy lad (D’Urfey: The Campaigners) (1698);
Jocky was as brisk and blith a lad (c1700);
Kneel, O kneel (D’Urfey: Cinthia and Endimion) (1696);
Long has Pastora rul’d the plain (J. Vanburgh: The Relapse) (1696);
Lord, what’s come to my mother (D’Urfey: The Bath, or The Western Lass) (1701)
Must I a girl forever be (P.A. Motteux: The Island Princess) (1699);
Now that Love’s holiday is come;
Now to you, ye dry wooers (Motteux: The Island Princess) (1699);
Oh my poor husband (Motteux: The Island Princess) (1699);
O, I feel the mighty dart (1699);
Serene and gentle was the air (1702);
Silvia by a double charm (1700);
Slaves to London I’ll deceive you (Motteux: Love’s a Jest, or The Comical Mistakes) (1696);
Sleep betray’d the unhappy lover (1701);
Smile then with a beam divine (Settle: The World in the Moon) (1697);
So sweet’s that charm (D’Urfey: Madam Fickle);
The bonny grey-eyed morn (D’Urfey: The Fond Husband) (1696);
The rosy morn looks blithe (D. Crawford: Love at First Sight) (1704);
’Tis sultry weather (Motteux: The Island Princess) (1699);
Twelve hundred years at least (c1705);
Ulm is gone (D’Urfey) (1702);
Was it a dream? (C. Cibber: The Fool in Fashion) (1695);
Well, Cloris, how find you (Powell: The Cornish Comedy) (1696);
What shall I do? (1699);
When maids live to thirty (Powell: The Cornish Comedy) (1696);
While the lover is thinking (Motteux: The Amorous Miser) (1705);
Whilst the French their arms discover (D’Urfey) (1701);
Whilst thus our calmer pleasures flow (Settle: The World in the Moon) (1697);
Why does Willy shun his dear (1699);
Young Corydon and Phyllis sat (c1695)
Other music for plays:
Antony and Cleopatra (C. Sedley), ov., ?1696, Lcm
A Wife for any Man (T. D’Urfey), incid music, 1696–7, Lcm
The World in the Moon (E. Settle), 1697, Lbl
The Island Princess (P.A. Motteux), ov., 3 act tunes, incl. ‘The Four Seasons, or Love in every Age’, 1699, Lbl (facs. in MLE, C2, 1985)
All for the Better (F. Manning), ov., airs, incid music, 1703, Och; airs in Harmonia anglicana (London, 1702)
Titus Andronicus (E. Ravenscroft, after W. Shakespeare), ov., act tune, Lcm
Incid music for 2 unnamed plays, Lbl Add.35043 (vn pt only), Ob Mus.Sch.C.73
Vocal religiosa:
Services:
San, Gl, a, 3/4vv, GB-Cfm, Ckc, S. Arnold: Cathedral Music (London, 1790)
TeD, Jub, Ky, Cr, c, 2/4vv, Lam, Ob
TeD, Jub, Ky, G, 3/4vv, Lam, Ob
Anthems:
principal MS sources only; verse unless otherwise stated
Blessed is he that considereth, 2/4vv, Lbl
Bow down thine ear, for the Fast, 1705, 3/4vv, Lbl, Lsp, Ob, US-Cn, J. Page: Harmonia sacra (London, 1800)
How long wilt thou forget me, 1/4vv, GB-Cfm, Lbl, Ob, Och, US-Cn, W. Boyce: Cathedral Music, ii (London, 1768)
I will exalt thee, 3/4vv, GB-Och (org pt only)
I will give thanks, 1/4vv, EL
I will love thee, O Lord my strength, 2/4vv, Lbl, LI, 2 in Ob, US-AUS, Boyce: Cathedral Music, iii (1773)
I will love thee, O Lord my strength, on Marlborough’s victory at Eliksem, 1705, 3/4vv, GB-Cfm, Lbl, Ob, Och, US-AUS
I will magnify thee, 5/6vv, GB-EL
My song shall be of mercy, full, 3vv, H. Playford: The Divine Companion (London, 1701)
O be joyful in God, all ye lands, for the Feast of the Sons of the Clergy, 1706, 1/4vv, DRc, Lbl
O Lord, God of my salvation, full, 6vv, Ckc, Lbl, LF, Ob, Page: Harmonia sacra (London, 1800); may be by Vaughan Richardson, see Spink
O Lord, rebuke me not, 1/4vv, Ob
O Lord, we gat not, 3/4vv, org obbl, Ob
Praise the Lord, O Jerusalem, for the coronation of Queen Anne, 1702, full, 4vv, Lbl, Och, Ob, US-AUS, Boyce: Cathedral Music, ii (1768)
Praise the Lord, O my soul, full, 3vv, GB-DRc
Praise the Lord, O my soul, 3/4vv, 1705, Lbl, 2 in Ob, US-AUS
Sing unto the Lord all the whole earth, lost, text in Chapel Royal wordbook: Divine Harmony (London, 1712)
The earth is the Lord’s, 3/4vv, GB-Lbl, LI
The Lord is full of compassion, 3/4vv, EL, Lbl, Lsp, Ob, US-Cn
The Lord is king, for the Thanksgiving service for the Union of Scotland and England, 1707, 3/4vv, GB-Mp, Ob, US-Cn
The Lord is my strength, on Marlborough’s victory at Ramillies, 1706, 3/4vv, GB-Cfm, Lcm, Ob
This is the day, 3/4vv, Lsp, Ob
Odes:
Alexander’s Feast (J. Dryden), St Cecilia’s Day 1697, lost
Come, come along for a dance and a song, on Purcell’s death, 1695, Lbl, ed. W. Bergmann (London, 1961)
Hail, happy queen, on Marlborough’s victories, 1706, lost
Hark, she’s called, the parting hour is come (R. Crashaw: A Song on the Glorious Assumption of the Blessed Virgin), Ob
Let Nature smile, for Queen Anne’s birthday, ?1706, inc., Lbl
No more, great rulers of the sky, ‘for ye Gentlemen of ye Island of Barbadoes’, ?1703, Lbl, Lcm, Ob
Now Albion, raise thy drooping head, ‘on His Majesty’s happy Deliverance’, [1696], Ob
O harmony, where’s now thy power, New Year 1706, Lbl, Ob
Pay your thanks to mighty Jove, on the Peace of Ryswick, 1697, Ob
Tell the world, on the Peace of Ryswick, 1697, Ob
Other:
Psalms, hymns etc, GB-Ob, 1693, 1700, H. Playford: Harmonia sacra (London, 1714), The Divine Companion, i (London, 1722)
Instrumental:
[7] Choice Lessons, hpd/spinet (London, 1711/R), ed. J. Harley (London, 1984)
2 suites, hpd, Lbl Add.31465
34 pieces, hpd/spinet: 1700, 1700 (incl. The Prince of Denmark’s March), The Harpsicord Master, bks [i]–iii (London, 1697–1702), CDp, Cfm, Lbl, Lcm, Ob, Och, J-Tn; selection ed. J. Harley (London, 1988)
Suite, wind insts, incl. The Prince of Denmark’s March (‘Trumpet Voluntary’), Lbl Add.30839, 39565–7
Suite, tpt, 2 ob, bn, str, bc, ed. R.L. Minter (London, 1971)
Other pieces, vn/rec, 1 in Ob, others pubd in various anthologies c1700
OBRA:
Vocal secular:
Songs, catches and dialogues:
all published in London; stage works given in parentheses
Ah, Charmion, (c1703), A gentle warmth (c1715);
Ah, fly (c1705);
Alas, here lies the poor Alonzo slain (T. Shadwell: Timon of Athens) (1704);
Cease that enchanting song (c1703);
Celia is soft (c1700);
Come sweet lass (1698);
Cou’d a man be secure (R. Howard: The Committee) (c1700);
Divine Astrea hither flew (E. Settle: The World in the Moon) (1697);
Drink, my boys (T. D’Urfey) (c1705);
Each tender virgins’ fears (The Siege of Barcelona) (c1703);
Farewell, ungrateful nymph (1699);
Hark, the cock crow’d (D’Urfey) (1697);
Here’s a health to Queen Anne;
How often have I curst (c1705);
If Cloris please (G. Powell: The Cornish Comedy) (1696), lost;
If you’d win Melissa’s heart (1699);
I’m vexed to think (c1703);
I’m wounded by Amanda’s eyes (1701);
In drinking full bumpers; In faith, ’tis true;
I seek no more to shady coverts (E. Settle: The World in the Moon) (1697);
Jockey was a dowdy lad (D’Urfey: The Campaigners) (1698);
Jocky was as brisk and blith a lad (c1700);
Kneel, O kneel (D’Urfey: Cinthia and Endimion) (1696);
Long has Pastora rul’d the plain (J. Vanburgh: The Relapse) (1696);
Lord, what’s come to my mother (D’Urfey: The Bath, or The Western Lass) (1701)
Must I a girl forever be (P.A. Motteux: The Island Princess) (1699);
Now that Love’s holiday is come;
Now to you, ye dry wooers (Motteux: The Island Princess) (1699);
Oh my poor husband (Motteux: The Island Princess) (1699);
O, I feel the mighty dart (1699);
Serene and gentle was the air (1702);
Silvia by a double charm (1700);
Slaves to London I’ll deceive you (Motteux: Love’s a Jest, or The Comical Mistakes) (1696);
Sleep betray’d the unhappy lover (1701);
Smile then with a beam divine (Settle: The World in the Moon) (1697);
So sweet’s that charm (D’Urfey: Madam Fickle);
The bonny grey-eyed morn (D’Urfey: The Fond Husband) (1696);
The rosy morn looks blithe (D. Crawford: Love at First Sight) (1704);
’Tis sultry weather (Motteux: The Island Princess) (1699);
Twelve hundred years at least (c1705);
Ulm is gone (D’Urfey) (1702);
Was it a dream? (C. Cibber: The Fool in Fashion) (1695);
Well, Cloris, how find you (Powell: The Cornish Comedy) (1696);
What shall I do? (1699);
When maids live to thirty (Powell: The Cornish Comedy) (1696);
While the lover is thinking (Motteux: The Amorous Miser) (1705);
Whilst the French their arms discover (D’Urfey) (1701);
Whilst thus our calmer pleasures flow (Settle: The World in the Moon) (1697);
Why does Willy shun his dear (1699);
Young Corydon and Phyllis sat (c1695)
Other music for plays:
Antony and Cleopatra (C. Sedley), ov., ?1696, Lcm
A Wife for any Man (T. D’Urfey), incid music, 1696–7, Lcm
The World in the Moon (E. Settle), 1697, Lbl
The Island Princess (P.A. Motteux), ov., 3 act tunes, incl. ‘The Four Seasons, or Love in every Age’, 1699, Lbl (facs. in MLE, C2, 1985)
All for the Better (F. Manning), ov., airs, incid music, 1703, Och; airs in Harmonia anglicana (London, 1702)
Titus Andronicus (E. Ravenscroft, after W. Shakespeare), ov., act tune, Lcm
Incid music for 2 unnamed plays, Lbl Add.35043 (vn pt only), Ob Mus.Sch.C.73
Vocal religiosa:
Services:
San, Gl, a, 3/4vv, GB-Cfm, Ckc, S. Arnold: Cathedral Music (London, 1790)
TeD, Jub, Ky, Cr, c, 2/4vv, Lam, Ob
TeD, Jub, Ky, G, 3/4vv, Lam, Ob
Anthems:
principal MS sources only; verse unless otherwise stated
Blessed is he that considereth, 2/4vv, Lbl
Bow down thine ear, for the Fast, 1705, 3/4vv, Lbl, Lsp, Ob, US-Cn, J. Page: Harmonia sacra (London, 1800)
How long wilt thou forget me, 1/4vv, GB-Cfm, Lbl, Ob, Och, US-Cn, W. Boyce: Cathedral Music, ii (London, 1768)
I will exalt thee, 3/4vv, GB-Och (org pt only)
I will give thanks, 1/4vv, EL
I will love thee, O Lord my strength, 2/4vv, Lbl, LI, 2 in Ob, US-AUS, Boyce: Cathedral Music, iii (1773)
I will love thee, O Lord my strength, on Marlborough’s victory at Eliksem, 1705, 3/4vv, GB-Cfm, Lbl, Ob, Och, US-AUS
I will magnify thee, 5/6vv, GB-EL
My song shall be of mercy, full, 3vv, H. Playford: The Divine Companion (London, 1701)
O be joyful in God, all ye lands, for the Feast of the Sons of the Clergy, 1706, 1/4vv, DRc, Lbl
O Lord, God of my salvation, full, 6vv, Ckc, Lbl, LF, Ob, Page: Harmonia sacra (London, 1800); may be by Vaughan Richardson, see Spink
O Lord, rebuke me not, 1/4vv, Ob
O Lord, we gat not, 3/4vv, org obbl, Ob
Praise the Lord, O Jerusalem, for the coronation of Queen Anne, 1702, full, 4vv, Lbl, Och, Ob, US-AUS, Boyce: Cathedral Music, ii (1768)
Praise the Lord, O my soul, full, 3vv, GB-DRc
Praise the Lord, O my soul, 3/4vv, 1705, Lbl, 2 in Ob, US-AUS
Sing unto the Lord all the whole earth, lost, text in Chapel Royal wordbook: Divine Harmony (London, 1712)
The earth is the Lord’s, 3/4vv, GB-Lbl, LI
The Lord is full of compassion, 3/4vv, EL, Lbl, Lsp, Ob, US-Cn
The Lord is king, for the Thanksgiving service for the Union of Scotland and England, 1707, 3/4vv, GB-Mp, Ob, US-Cn
The Lord is my strength, on Marlborough’s victory at Ramillies, 1706, 3/4vv, GB-Cfm, Lcm, Ob
This is the day, 3/4vv, Lsp, Ob
Odes:
Alexander’s Feast (J. Dryden), St Cecilia’s Day 1697, lost
Come, come along for a dance and a song, on Purcell’s death, 1695, Lbl, ed. W. Bergmann (London, 1961)
Hail, happy queen, on Marlborough’s victories, 1706, lost
Hark, she’s called, the parting hour is come (R. Crashaw: A Song on the Glorious Assumption of the Blessed Virgin), Ob
Let Nature smile, for Queen Anne’s birthday, ?1706, inc., Lbl
No more, great rulers of the sky, ‘for ye Gentlemen of ye Island of Barbadoes’, ?1703, Lbl, Lcm, Ob
Now Albion, raise thy drooping head, ‘on His Majesty’s happy Deliverance’, [1696], Ob
O harmony, where’s now thy power, New Year 1706, Lbl, Ob
Pay your thanks to mighty Jove, on the Peace of Ryswick, 1697, Ob
Tell the world, on the Peace of Ryswick, 1697, Ob
Other:
Psalms, hymns etc, GB-Ob, 1693, 1700, H. Playford: Harmonia sacra (London, 1714), The Divine Companion, i (London, 1722)
Instrumental:
[7] Choice Lessons, hpd/spinet (London, 1711/R), ed. J. Harley (London, 1984)
2 suites, hpd, Lbl Add.31465
34 pieces, hpd/spinet: 1700, 1700 (incl. The Prince of Denmark’s March), The Harpsicord Master, bks [i]–iii (London, 1697–1702), CDp, Cfm, Lbl, Lcm, Ob, Och, J-Tn; selection ed. J. Harley (London, 1988)
Suite, wind insts, incl. The Prince of Denmark’s March (‘Trumpet Voluntary’), Lbl Add.30839, 39565–7
Suite, tpt, 2 ob, bn, str, bc, ed. R.L. Minter (London, 1971)
Other pieces, vn/rec, 1 in Ob, others pubd in various anthologies c1700
Informació addicional...
AMAZON: CLARKE, J. - Suites of Aires & Messiah
SPOTIFY: CLARKE, J. - Suites of Aires & Messiah
Tant si us ha agradat, com si no, opineu, és lliure i fàcil!
Tant si us ha agradat, com si no, opineu, és lliure i fàcil!
Fantástico! ... como siempre!! Nunca deja de asombrarme el ingente número de compositores cuya existencia ignoraba por completo y que, de no ser por tu excelente trabajo, jamás habría llegado a conocer. Ya ni siquiera soy capaz de llevar la cuenta.
ResponEliminaMuchísimas gracias Pau!!
Frantisek
... Y los que aún quedan por recuperar y cuya existencia también ignoraba por completo. Musicalmente para el melómano vivimos, sin lugar a dudas, en una edad de oro! Tanto por cantidad pero especialmente por calidad! Qué decirte querido Frantisek, es una pasada!
EliminaAbrazo fuerte!
Pau
Could you please repost this one? Many thanks and have a nice day
ResponEliminaUn administrador del blog ha eliminat aquest comentari.
ResponElimina