Pietro Pompeo Sales (1729-1797)
- Veni Sancte Spiritus
Performers: Freiburger Domsingknaben; Raimund Hug (leitung)
Further info: Pietro Pompeo Sales (1729-1797) - Sinfonia D-Dur
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Italian composer. After the early death of his parents in an earthquake
he went to Innsbruck, entered the service of Baron Pircher and studied
at Innsbruck University. In 1752 he composed a school drama for the
Jesuits. Two years later he became conductor of an Italian opera troupe,
with which he visited Cologne, Brussels, Lille and other cities. In
1756 he took charge of the court chapel of Prince-Bishop Joseph,
Landgrave of Hesse-Darmstadt, in Augsburg and Dillingen an der Donau. He
travelled widely as a performer and composer, becoming a member of the
Bologna Accademia Filarmonica (1758) and composing an oratorio for
Mannheim (1762) and operas for Munich (1765) and Padua (1767). After the
landgrave’s death in 1768, Sales, taking with him some of the Augsburg
musicians, moved to the court of the Trier Elector Clemens Wenzeslaus
(who had succeeded to the title of Prince-Bishop of Augsburg) at
Ehrenbreitstein am Rhein. There he headed the court chapel, one of the
largest in Germany, although he was not appointed court Kapellmeister
until 1787, after the death of Konrad Starck. He maintained his
connection with the Munich court by composing the carnival operas in
1769 and 1774. In 1774 he married the court singer Franziska Blümer. In
1776 he appeared in London as a viol player (according to Choron and
Fayolle: Dictionnaire historique des musiciens, Paris, 1810–11/R, this
was his second visit), and in 1777 he performed a Passion in Frankfurt.
In 1786 he moved with the elector’s court to the newly built castle at
Koblenz, which the court had to abandon twice (in 1792 and 1794) during
the wars of the French Revolution. In 1797 he again had to flee the
French and died before he could return. Sales was a versatile composer
in the current Italian style, but the care with which he wrote also
reflects developments in Germany. He was well regarded as a composer in
his lifetime, but a promise he had made to the elector not to publish
prevented any wider distribution of his work. Schubart thought highly of
Sales, although he expressed some reservations about his work in the
Ideen zu einer Ästhetik der Tonkunst. It must be assumed that many of
his compositions are lost. His most important surviving works are his
oratorios, particularly Betulia liberata.
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