300 anys després, celebrem i commemorem els desconeguts

Obra de Martinus Nellius (1669-1719), pintor holandès (1)

Johann Georg Christian Störl (1675-1719) - Sonata No.3
Giovanni Battista Alveri (c.1660-1719) - Cantata a voce sola Op.1 'Mia vita, mio bene'
Joaquín Oxinagas (1719-1789) - Sonata in C
Gregor Schreyer (1719-1767) - Two Pastorellas
Christian Gottfried Krause (1719-1770) - Trio Sonata in d
Franz Niklaus Jakob (1719-1791) - Salve Regina

- 300è aniversari de compositors a qui difícilment escoltarem -

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Parlem de Pintura...

Martinus Nellius (1621 - Den Haag, 1719) va ser un pintor holandès. Es desconeix la major part de la seva vida sent la primera referència de 1674, any que la Rijksbureau voor Kunsthistorische Documentatie va documentar la seva estada com a pintor a Leiden. Posteriorment, es va traslladar a La Haia, en la qual ja hi va romandre la resta de la seva vida i on va realitzar la majoria de les seves obres. En aquest sentit, es va especialitzar en natures mortes en un estil proper al de l'escola neerlandesa i flamenca del seu temps. Martinus Nellius, la carrera de qui es va desenvolupar principalment entre els anys 1671 i 1712, va morir a La Haia el 1719.

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Parlem de Música...

Giovanni Battista Alveri (c.1660-1719) va ser un organista i compositor italià.

He was a pupil of G.P. Colonna and is described in his Cantate a voce sola da camera op.1 (Bologna, 1687; one ed. H. Riemann: Ausgewählte Kammer-Kantaten, Leipzig, [1911]) as a musician in the service of Marquis Guido Rangoni. Alveri also published Arie italiane amorose e lamentabili for solo voice and continuo (Antwerp, 1690), and two operas by him (Il re pastore, overo il Basilio in Arcadia and L'Isione) were performed at the court of Wolfenbüttel in 1691. The libretto of Il re pastore describes him as a ‘virtuoso’ of the duke there and as a member of the Accademia Filarmonica di Bologna. His name appears in a list of instrumentalists who were at Parma Cathedral on 10 August 1719. According to Schmitz, his cantatas are mostly fairly conservative in form although not without interesting features. Seven motets by him survive (D-Bsb Mus.ms. 30094); since his book of 1687 is his op.1, printed volumes of cantatas by him of 1671 and 1678, mentioned by Fétis, must be spurious.

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John Barrett (c.1676-1719) va ser un organista i compositor anglès.

From about 1686 to 1691 he was a chorister in the Chapel Royal under John Blow. He became organist of St Mary-at-Hill on 25 August 1693 and was appointed music master at Christ’s Hospital on 28 September 1697. He held both these posts until his death. He contributed a poem in homage to Blow to Amphion Anglicus (London, 1700) and was elected to the Amicable Society of Blues in about 1704. It is possible that he married Mary Saunders on 9 March 1711 in St Mary-at-Hill. Like many of his contemporaries, such as Jeremiah Clarke, John Eccles and Daniel Purcell, Barrett composed mainly for the theatre, and his many songs, mostly of the double-barrelled art song variety, are both tuneful and attractive, as are the several little keyboard pieces published in the first three books of The Harpsicord Master (1697–1702) and various other early 18th-century anthologies. The style is essentially Purcellian, but the use of motto openings in almost all the extended songs reveals an awareness of rather more up-to-date Italian vocal practice, and in one case (Begone, begone, thou too propitious light, n.d.) Barrett actually produces what must be one of the very first English recitative–aria–recitative–aria cantatas as such (though the term ‘cantata’ is not used). His incidental music for Shadwell’s The Lancashire Witches was popular, and no fewer than 30 performances at Drury Lane between 1713 and 1729 are recorded; like that of several other plays to which he also contributed, however, it is no longer extant.

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Giacomo Battistini (c.1665-1719) va ser un compositor italià.

He was probably born in northern Italy. From 14 April 1694 he was maestro di cappella of Novara Cathedral, and provided the cathedral with a completely new and varied repertory; he was also active in the theatre (1694–5). For financial reasons he left the cathedral on 1 April 1706, becoming maestro di cappella of S Gaudenzio on 27 June; he held the post for the remainder of his life and reorganized the music there. Battistini's best-known works are the Motetti sacri (1698), the Armonie sagre (1700) and his pieces in the concertato style; these show a secure technique and a light though expressive style.

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John Broderip (1719-1770) va ser un compositor anglès.

Organist and composer, son of William Broderip. On 2 September 1740, during a brief period as organist of Minehead, he advertised for subscribers to his New Set of Anthems (Wells, c1747). On 2 December he was admitted vicar-choral of Wells Cathedral and from 1 April 1741 until his death he was organist. He may also have been organist at Shepton Mallet, a post that was advertised as vacant in January 1771. A second book of anthems was published in London in about 1750, and Psalms, Hymns and Spiritual Songs in 1769.

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Alexander Damascene (c.1650-1719) va ser un cantant i compositor anglès.

He is described as a French Protestant in his letters of denization (22 July 1682). He was appointed to the ‘King's Vocall Musick’ and made ‘composer in his Majesty’s private musick in ordinary’ in 1689. However, he is listed as one of the vocal musicians who remained in England with Queen Mary when William III went to Holland in 1691. Although he had sung with the Chapel Royal at the coronation in 1689, and had been ‘extraordinary’ since 1690, it was not until 1695 that he obtained a full place in the Chapel – the one vacated by Henry Purcell on his death. He sang solos in most of Purcell's court odes from 1690 onwards, as well as in Hail! bright Cecilia (1692). He again sang at the coronation of Queen Anne in 1702. In his will he described himself as ‘of the Parish of St Anne's, Westminster, Gentleman’, bequeathing his estate to Sarah Powell, his daughter-in-law. He was a prolific composer of songs, many of which were published in such collections as Choice Ayres and Songs (RISM, 16843/R1989 in MLE, A5), The Theater of Music (16855–16875/R1983 in MLE, A1), Comes amoris (16874–16888, 16936–16945), Vinculum societatis (16917) and the Gentleman's Journal (1692–4). Some were popular enough to be included in Pills to Purge Melancholy (1707–20).

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Robert Desbrosses (1719-1799) va ser un actor i compositor francès.

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Aureus Dix (1668-1719) va ser un compositor bohemi.

He was a friend and possibly a pupil of Count Jan Antonín Losy. His death certificate states that he died of consumption and that he was then 50. Dix had a high reputation in his day and both Baron and Walther mention him with approval. He also had some repute as a teacher. Dlabačz described a lute tutor by Dix, but this has not been located. Nor have two sonatas for two lutes listed in a Breitkopf catalogue of 1761. For a long time it was believed that no compositions by Dix had survived, but in 1955 two suites were found (in CZ-Bm), and since then seven more pieces have come to light. While it is difficult to generalize from so few sources, one can say that his pieces, all in the standard dance forms of the time, are in a squarer, less ornamented style than those of his contemporaries. The suites are melodically attractive and exploit the lute well, showing that Dix deserved his title of ‘supreme Prague lutenist’.

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Adalbert Fauner (1719-1769) va ser un compositor austríac.

Einer der ersten bekannten Komponisten der Alt-Wiener-Volkskomödie (Volkstheater). War zunächst in Wien an St. Peter, dann als Musikdirektor an der Minoritenkirche tätig. Hielt sich 1747 beim Regens chori M. Gurtler im Stift Melk auf.

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John Goldwin (1667-1719) va ser un organista i compositor anglès.

He was a chorister of St George's Chapel, Windsor, from 1675 to 1684, and in 1685 he became assistant to William Child as organist and to Matthew Green, Master of the Choristers, receiving ‘half a clerk's pay, provided he assist the organist upon all necessary occasions and diligently instruct the choristers in the art of singing’. In 1694 he was granted a reversion of both posts, to which he duly succeeded in 1697 (as organist, at £44 a year) and 1704 (as Master, at £23 14s. a year). In the chapter records of St George's Chapel he is referred to as ‘Golding’ (likewise in his baptismal record at Windsor Parish Church), but he usually signed himself Goldwin, as did his contemporaries when copying his music. All his surviving compositions are for the church, and comprise a Service in F (printed in Samuel Arnold's Cathedral Music, 1790) and at least 37 anthems (principally GB-Och 94, in the hand of his Windsor colleague William Isaack). The service is a rather routine piece, but some of the full anthems, among them Hear me, O God and O Lord God of hosts, are imaginative and comparable with Purcell's in the same vein. The verse anthems are more numerous and mainly celebratory in nature, hence somewhat prone to cliché, but competently written; there are striking moments in such works as Unto thee have I cried, Ponder my words, O Lord and O Lord my God. He is fond of treble solos and duets, and growing sectionalization with contrast of movement, tempo and key between verses is a feature, leading to the establishment of the ‘cantata anthem’ in a work like O be joyful in the Lord. Various anthems were included by Boyce, Arnold and Page in their collections of cathedral music, but their choice was governed by considerations of 18th-century taste and ease of performance.

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Johann Christian Gössel (1719-1797) va ser un organista i compositor alemany

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Franz Leopold Graff (1719-1779) va ser un compositor austríac.

Franz Leopold Graff, ein Sohn des Ruppersthaler Schulmeisters Andreas Graff, war ab 1741 Kantor und ab 1774 Schulmeister im Benediktinerstift Göttweig. Er komponierte etwa 100 Sakralwerke, darunter 10 Messen und 14 Requien, von denen viele im Musikarchiv des Stiftes Göttweig erhalten sind.

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Johann Daniel Grimm (1719-1760) va ser un professor i compositor alemany.

Following early education from local musicians, he joined the Moravian Church in 1747, teaching at religious schools in Herrnhut and Marienborn. Among his students was Johann Friedrich Peter. In 1755 he compiled a chorale book containing around 1000 tunes, arranged according to meter. His other composition, written in a homophonic style, include 13 string trios, 13 cantatas, and many anthems.

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Johann Kaspar Hardmeyer (1651-1719) va ser un compositor suís.

Fils de Johann Melchior (1630-c.1700). Après sa formation de pasteur (examen en 1679), H. fut catéchète à Wollishofen en 1680, pasteur à Bonstetten en 1686 et à Affoltern am Albis en 1701, puis doyen du chapitre du Freiamt en 1707. Il traduisit les psaumes de l'hébreu et les publia accompagnés de mélodies (Die Harpf des Gottsäligen Königs und Propheten David, 1701). Auteur d'une série de poésies de circonstance sur des personnalités zurichoises et d'un hymne célébrant le renouvellement de l'alliance de Zurich et Berne avec Venise. Quelques textes politiques anonymes lui sont également attribués.

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Johann Christian Jacobi (1719-1784) va ser un oboista i compositor alemany.

Jacobi was born in Tilsit, Prussian Lithuania (now Sovetsk, Russia). He had his first lessons on the oboe from his father, a skilled player of the violin and oboe. After the premature death of his father, he spent a period of self-tuition before moving to Berlin where he immediately sought lessons with the royal Kammermusicus and famous oboe virtuoso Peter Glösch. In 1746, he was accepted into the Hofkapelle of Frederick the Great and, at this time, began studying composition with his colleague, the flautist Friedrich Wilhelm Riedt. By 1754, Jacobi was employed as the principal oboist in the Hofkapelle of Frederick the Great's cousin, Charles Frederick Albert, Margrave of Brandenburg-Schwedt in Berlin. On the recommendation of Johann Joachim Quantz, in 1768 King Frederick appointed Jacobi as the director of the Hautboistenschule in Potsdam, responsible for training the nearly 2000 oboists in the Prussian army. Jacobi was a member of the "Freitagsakademien" (Friday academies), a musical society which met each Friday at the house of Johann Gottlieb Janitsch. For Jacobi, Janitsch was said to have composed all manner of trios, quartets and concertos in "all the usual and unusual keys". Such pieces allowed Jacobi to improve his skills as an oboist, and earned him a great reputation amongst Berlin's musical societies. Two works by Janitsch bear a dedication to Jacobi, and several other works in extremely uncharacteristic keys for the oboe by Janitsch can be presumed to have been composed for him. They are a testament to his great skill on the instrument. Bruce Haynes lists him among the great oboists of the baroque period. Unfortunately, no compositions by Jacobi have survived.

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Franz Niklaus Jakob (1719-1791) va ser un compositor alemany.

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Christian Gottfried Krause (1719-1770) va ser un compositor alemany.



He received instruction on the violin, keyboard and timpani from his father, a town musician also named Christian Krause, but decided upon a career in law, with music as an amateur pursuit. After juristic studies at the University of Frankfurt an der Oder (1740–45), he became a legal secretary to Count Rothenburg in Berlin by the end of 1745. With his appointment as lawyer to the municipal council in 1753 his prestige increased rapidly, and he acquired a large home in Potsdam in which he established a highly popular music salon, attracting writers, poets and philosophers as well as musicians. The performances which he held there during and after the Seven Years War were among the few concert series of serious music in Berlin. He later became Justizrat of the High Prussian Court (probably in 1762) and held that post until his death. Although Krause composed several cantatas for private performances, some lieder, a few instrumental pieces and a Singspiel, he is most important as a writer and music compiler. His Von der musikalischen Poesie, written by 1747, was one of the first treatises dealing with the setting of words to music. Its publication five years later marked the beginning of a new era for the lied, and the foundation of the first Berlin lied school. In this work Krause advocated a return to folklike simplicity, in contrast to the instrument-orientated style of the Leipzig lied school led by Sperontes. He cited French folksong as an ideal (perhaps a political gesture reflecting the king's preference for French culture) and called for unornamented lieder with simple accompaniments which could be eliminated without destroying the continuity of the vocal line. Krause soon began to compile lieder of the style he wished to encourage. He collaborated with the poet Karl Ramler in gathering and editing 31 lieder which they published as Oden mit Melodien (1753); a second volume followed in 1755. Neither Krause, Ramler, the poets nor the composers were named in these volumes or others Krause edited, presumably because he wished the lieder to be judged solely on their intrinsic merit. However, Friedrich Marpurg published an index to the first volume of Oden mit Melodien (Historisch-kritische Beyträge zur Aufnahme der Musik, i, 1754, p.55) which showed that Krause himself had composed five songs for it; among the other composers represented were C.P.E. Bach, Quantz and J.F. Agricola, and the poets included J.W.L. Gleim, Friedrich von Hagedorn, E. von Kleist and G.E. Lessing. Krause and Ramler's last and largest compilation was the four-volume Lieder der Deutschen mit Melodien (1767–8), which incorporated most of the lieder from their earlier collections.

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Pietro Paolo Laurenti (1675-1719) va ser un cantant i compositor italià.

Composer, string player and singer, son of Bartolomeo Girolamo. According to Fétis he was a Franciscan and managed to accommodate a great diversity of musical activities in both sacred and secular spheres. His first instrument was the violin; he then devoted himself to the cello; but it was as a viola player that he was engaged at S Petronio in December 1691. In the period 1695–1706 he was listed among the violinists but he returned to the ranks of the viola players, 1706–12. He was admitted to the Accademia Filarmonica as a cellist in 1698 and as a composer (having studied with Perti) in 1701. He was elected principe of the academy in 1701 and again in 1716. From 1703 he was maestro di cappella at the Collegio dei Nobili in Bologna. Pietro Paolo was noted as a singer in church when young, and was active as an opera singer in the last nine years of his life. He sang in Lotti's Teuzzone at Bologna in 1711–12 and made his final appearance in 1718–19 at Venice. His works reflect this many-sided career. The surviving instrumental works comprise a published trio sonata, two cello sonatas and a sinfonia in manuscript. Six operas of his were performed in Bologna between 1701 and 1714; 11 of his oratorios are known, all but one performed in Bologna (the first nine are attributed to B.G. Laurenti in older reference works).

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Johann Lindell (1719-1787) va ser un compositor finès.

Oli Turun katedraalikoulun ja tuomiokirkon yhteinen director cantus, laulunjohtaja, hiippakunnan johtava laulunopettaja. Monet ovat sitä mieltä, että hän oli koko vuosisadan merkittävin kanttori. Katedraalikoulussa, joka oli tietenkin poikakoulu, oli laulua entiseen malliin: joka päivä puolenpäivän ja kello yhden välisenä aikana. Koulun kuoro avusti tuomiokirkon jumalanpalveluksissa. Opetuksen tarpeisiin Lindell julkaisi 1770-luvulla kaksi kokoelmaa keskiaikaisia Piae Cantiones –koululauluja. Toisen kokoelman kansilehdellä on sykähdyttävä kuva näihin lauluihin liittyvistä kaari-tansseista. Lindell julkaisi myös ensimmäisen suomalaisen musiikkiopin. Hän soitti ja opetti monia soittimia. Ehkä niihin kuului myös kantele. Urkuja Marianpäivänä soitti epäilemättä Carl Petter Lenning (1711-1788), tuomiokirkon urkuri, vuosisatansa merkittävin hänkin alallaan. Aariasta ja sen esityksestä vastasivat siis vuosisadan parhaat voimat. Tästä on muistutettava siksi, että monet pitävät tuon ajan kanteletta vain kansan soittimena.

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Jan Antonín Mareš (1719-1794) va ser un compositor bohemi.

Narodil se v Chotěboři, hudbu a zpěv studoval v tamním klášteře. Později hru na roh také v Drážďanech a hru na violoncello v Berlíně. Tam se seznámil s knížetem Bestuževem a na jeho radu odešel roku 1748 do Petrohradu a podstatnou část života pak prožil v Rusku v Petěrburské oblasti. Je zakladatelem tzv. „ruské rohové hudby“, což byl sbor 37 hornistů, původně z poddaných knížete Naryškina, z nichž každý hrál pouze jeden tón chromatické stupnice. Podobný orchestr pak vznikl i u carského dvora a Mareš se stal jeho kapelníkem. V Chotěboři je dnes téměř neznámý, v Rusku je však ctěn a vážen.

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Benedikt Müller (1659-1719) va ser un compositor suís.

Wirkte am damaligen Benediktinerstift Mehrerau, ausgebildet von P. Josephus Langenauer (1647–1708) und P. Placidus Hellbock (1642–1710), als die „überragendste künstlerische Persönlichkeit“ dieses Klosters. Seine geistlichen Kompositionen sollen wegen ihrer „außerordentlich süßen Harmonien von allen Musikkennern empfohlen und täglich in der Mehrerau und in den umliegenden Klöstern verwendet“ worden sein. Langenauer dürfte M. die Begeisterung für das Schuldrama vermittelt haben. Ergebnis waren viele „Comoediae et Exhibitiones comicae“, die in der Mehrerau wie auch in Rottweil/D aufgeführt wurden. Eine Drucklegung seiner Werke lehnte er „aus Bescheidenheit“ ab.

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Joaquín Oxinagas (1719-1789) va ser un organista i compositor espanyol.

The chapter records of Toledo Cathedral provide the date of baptism. Donostía reported his service as organist at Burgos Cathedral (1740) and in Bilbao (1742). A note by Vicente Pérez in the royal chapel records (E-Mn M.762) indicates his appointment as third organist of the royal chapel on 8 January 1747, a position he still occupied in 1749 when he wrote the dictamen to the works of Elías. He was appointed principal organist of Toledo Cathedral in 1750, assuming the post on 11 December, and became the expert on the organ built by Justo Llaneza for the collegiate church of Talavera de la Reina, Toledo, in 1786. Pérez, in reporting his death, mentioned that he had been in Madrid for the coronation of Carlos IV in 1789. The few known works by Oxinaga are of high quality. A sonata and two minuets were published by Ruiz-Pipó in Música vasca del siglo XVIII para tecla (Madrid, 1972). Pedrell included a paso in El organista liturgico español (Barcelona, 1905) and three fugues in Antologia de organistas clásicos españoles, ii (Madrid, 1908, 2/1968); one of these corresponds to one of the two fugues (termed intentos) in Rubio’s Organistas de la Real capilla, i (Madrid, 1973). P. Donostia published a sonata on the fifth tone in Música da tecla en el país vasco: siglo xviii (Lecaroz, Navarra, 1953, 2/1976). Oxinaga’s fugues are among the finest Spanish organ pieces of the 18th century, distinguished by their sparkling counterpoint, varied treatment of the subjects and climactic endings. A 1793 inventory from Toledo Cathedral (Barbieri papers, E-Mn) lists an eight-voice mass and Dixit, neither apparently extant.

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Johann Sigismund Richter (1657-1719) va ser un organista i compositor alemany.

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Aegidius Schenk (1719-1780) va ser un organista i compositor austríac.

Sohn des Schulmeisters und Organisten Johann Sch. (* ca. 1694 [Ort?], † 13.11.1750 Birkfeld/St), der 1724 mit seiner Familie nach Birkfeld übersiedelte. 1736 ging Sch. nach Graz, um an der Univ. zu studieren, und trat 1738 in das Minoritenkloster Mariahilf ein (Profess 1739, Priesterweihe 1742). Dort war er Organist und komponierte zahlreiche kirchenmusikalische Werke, die bis ins 19. Jh. sehr beliebt waren. 1747 wurde er Baccalaureus. Ab 1759 hielt er sich z. T. in anderen steirischen Klöstern auf, u. a. 1764–67 in Pettau (Ptuj/SLO).

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Gregor Schreyer (1719-1767) va ser un compositor alemany.

In 1740 he entered the Benedictine house at Andechs, one of the most musical German monasteries at the time, where he had ample opportunity to study music, and eventually became choirmaster. He may have spent some time at the monastery of St Emmeram in Regensburg in the early 1750s, but was certainly at Andechs as choirmaster in 1756, the year of his first publication. Unlike many composers of church music in the mid-18th century, Schreyer does not seem to have had the needs of the small and comparatively inexperienced parish choir in mind. The eight masses of his op.1, Jubilus musicus, for four voices, two violins, trumpets, drums and organ (Augsburg, 1756), apparently originally written for the 1000th anniversary celebrations at Andechs, are on a large scale; the Kyrie, Gloria and Credo are each treated as a succession of separate movements, often with difficult solo arias. Moreover, the six masses of Sacrificium matutinum for four voices, two violins and organ, op.2 (Augsburg, 1763), though described as ‘breves’, are with one exception on an almost equally large scale. His op.3, Sacrificium vespertinum, containing vesper psalms for four voices, two violins and organ, was published at Augsburg in 1766. Almost all Schreyer’s arias contain much elaborate coloratura and are heavily ornamented; his violin parts are among the most complex to be found in contemporary published church music, making much use of multiple stopping and recurrent demisemiquaver figurations. For the most part, however, Schreyer’s ability to devise elaborate vocal and instrumental figuration is not matched by his powers of musical invention, especially in contrapuntal choral movements; but he occasionally shows himself capable of expressive word-painting at appropriate points. (E. Kraus: Weltenburg und die Musik des Bayerischen Barock, Weltenburg, 1971)

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Carl Pirmin Singer (1719-1774) va ser un organista i compositor austríac.

Trat 1734 ins Kloster Neustift ein und wurde 1742 zum Priester geweiht. Die Kunst seines Orgelspiels wurde besonders gelobt.

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Johann Georg Christian Störl (1675-1719) va ser un organista i compositor alemany.

He grew up in Gaildorf, near Backnang, and, according to Mattheson, was a chorister at the Stuttgart court at the age of 12; but he is recorded there only after 16 April 1690 (he remained a chorister until 22 January 1695). He received his basic training in music at the hands of the Hofkapellmeister Theodor Schwartzkopff, who later boasted that he had taught Störl many good things for seven years and had ‘brought him so far in the field in instrumental achievement, especially on the keyboard’ that even as a junior member of the Kapelle Störl was capable of ‘playing the organ for ordinary occasions at court’. At the beginning of 1697 Duke Eberhard Ludwig sent him to Pachelbel in Nuremberg, where Störl received instruction in composition and keyboard. He returned to Stuttgart and in 1699 became court organist. In 1701 the duke granted him permission to spend time studying under F.T. Richter in Vienna; while there he played before the emperor. In February 1702 he travelled to Maastricht, by sea to Venice, and then on to Ferrara, Bologna and Rome, where he arrived on 8 March and remained until 11 January 1703. While in Rome he came into contact with Francesco Grassi, Bernardo Pasquini and Arcangelo Corelli. The return journey took him through Florence, Bologna, Ferrara and Venice, where he stayed from 23 January until 24 March (here he met C.F. Pollarolo), and on through Maastricht, Augsburg and Ulm. He reached Stuttgart again on 5 May, having been appointed Hofkapellmeister there on St George’s Day (23 April). He worked in this post alongside his former teacher, Schwartzkopff, under the senior Kapellmeister; until 1704 that position was held by J.S. Kusser, and from 1706 by J.C. Pez. Disagreements with Pez and the poor remuneration in this post were the reasons behind Störl’s application for the post of organist at the Stiftskirche at the beginning of 1707; he was appointed on 19 February and took up office on St George’s Day, but apparently remained Hochfürstlich Württembergischer Kapellmeister. In his new capacity he did much to reorganize the music of the chapter. His hymnbook for the organ (its melodies are typical of the taste of the period) contains many original settings, some of which continued in use until the 20th century. Schubart, writing of Störl’s ecclesiastical cantatas, considered the ‘tuttis and the final choruses to be particularly masterly’. Störl’s dignified, two-movement sonatas for cornett and three trombones were presumably intended as tower music for the Stiftskirche.

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Johann Friedrich Treiber (1642-1719) va ser un escriptor i compositor alemany.

He was headmaster of the Arnstadt Lyceum. For two generations his family had been friends and acquaintances of the Bach family. He wrote on philosophy and jurisprudence, but only two published musical works by him are known: Preces et hymni Lycei Schwartzburgi Arnstadtiensis, cum melodiës et numeris musicis (Arnstadt, 1694), a collection of prayers and 19 polyphonic hymns for use in his school; and De musica Davidica, itemque discursibus per urbem musica nocturnis (Arnstadt, 1701). A few other educational pieces by him survive in manuscript (in D-ARsk). He probably composed jointly with his son, Johann Philipp Treiber, the ‘operetta’ Die Klugheit der Obrigkeit in Anordnung des Bierbrauens (Arnstadt, 1705).

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Jean Joseph Vade (1719-1757) va ser un poeta i compositor francès.



He was the son of a merchant and moved to Paris with his parents at the age of five. Despite a deficient education, he became contrôleur du vingtième (a tax-collecting appointment) at Soissons in 1739, and moved to similar posts at Laon and Rouen before returning to Paris in 1743 as secretary to the Duke of Agenois. In 1745 he was employed in the bureau du vingtième in Paris. His lively output of verse and prose brought him into literary circles, and he became friendly with Collé and Fréron; the latter friendship earned him the enmity of Voltaire, who nevertheless admired his work. After an unsuccessful début at the Comédie-Française in 1749 (his play Les visites du jour de l’an had only one performance), Vadé turned to the Opéra-Comique at the invitation of the new director, Jean Monnet. The huge success of La fileuse (1752), his first opéra comique, helped to put the newly reopened theatre on a sound financial basis, and most of his subsequent works staged there were equally well received. In 1751 he was granted a pension of 400 livres by Louis XV, whom he had earlier dubbed ‘le Bien-Aimé’. But his dissipated way of life affected his health, and he died aged 38 after a painful operation. His illegitimate daughter, known as Mlle Vadé, enjoyed brief fame in the late 1770s as an actress at the Comédie-Française. Although Vadé’s prolific output includes serious fables and epistles and a quantity of epigrams, bouquets and other light poetry, he is best remembered for the creation of the genre poissard, or ‘fish-market style’, which he used in many of his chansons and opéras comiques. This style developed from a close study of the behaviour and language of Parisian market folk, giving his writing a new realism and earthy humour which made it immensely popular at all levels of society until long after his death. The burlesque poem La pipe cassée was particularly admired. It was the spontaneity and liveliness of his early work for the Théâtre de la Foire that caused him to be chosen as librettist for Les troqueurs (1753), produced at the height of the Querelle des Bouffons and modelled on opera buffa. The combination of Vadé's simple plot and lifelike peasant characters with Dauvergne's italianate music was particularly successful, and did much to establish the style of opéra comique in which newly composed music replaced the traditional vaudevilles. Vadé's remaining opéras comiques, prominent among which were the still-popular parodies of contemporary Opéra productions, are all of the earlier type which enjoyed a final flowering in the 1750s. Although most of the music for these consists of standard vaudeville melodies, Vadé composed some of the airs himself (exactly how many is difficult to establish, for many of the ‘airs de M. Vadé’ included in editions of the plays are in fact well-known tunes). They are written in a simple but attractive style, strongly influenced by the Italian music of the Bouffons. Only the melodic lines survive. As well as those included in editions of the librettos, others were printed in the Recueil noté de chansons de M. Vadé (Paris, 1758) and in the various editions of Oeuvres de M. Vadé (Paris, 1755, enlarged 2/1758; The Hague, 1759).

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Adam Weissenhofer (1663-1719) va ser un compositor austríac.

Legte 1683 die Profess im Stift Seitenstetten ab und wurde 1688 zum Priester geweiht. Ca. 1687–93 war er dort Sängerknabenpräfekt, später Seelsorger in Ybbsitz, St. Michael am Bruckbach/NÖ und auf dem Sonntagberg.

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Diakonus Zänkl (1719-1783) va ser un compositor alemany.

Zänkl, (Diakonus), wurde zu Unterwinkling in Baiern 1719 geboren, und 1740 als Franziskaner eingekleidet. Er besaß ausserordentliche musikalische Talente, und war ein guter Sänger. Auch in der Komposition war er sehr bewandert, und verfertigte für seinen Orden über 100 Messen, mehrere Litaneien, Offertorien u. dgl. die nicht nur von seinen Mitbrüdern, sondern auch von andern Künstlern und Kennern der Musik sehr geschätzt wurden. Er starb zu München 1783.

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Laurentius Mathias Žrižek (1719-1787) va ser un compositor austríac.

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