dimecres, 29 de novembre del 2023

DONIZETTI, Gaetano (1797-1848) - Sinfonia per la morte di Capuzzi (1818)

Francesco Ferrari (1811-1878) - Ritratto di Gaetano Donizetti


Gaetano Donizetti (1797-1848) - Sinfonia (in re minore) per la morte di [Antonio] Capuzzi (1818)
Performers: Camerata Budapest; László Kοvács (conductor)

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Italian composer. His father was from a poor family of artisans who obtained the position of caretaker in the local pawnshop. At the age of nine, he entered the Lezioni Caritatevoli di Musica, a charity institution that served as the training school for the choristers of S. Maria Maggiore; he studied singing and harpsichord there, later studying harmony and counterpoint with J.5. Mayr. With the encouragement and assistance of Mayr, he enrolled in the Liceo Filarmonico Comunale in Bologna in 1815, where he studied counterpoint with Pilotti; later, he studied counterpoint and fugue with Padre Mattei. His first opera, Il Pigmalione (1816), appears never to have been performed in his lifetime. He composed two more operas in quick succession, but they were not performed. Leaving the Liceo in 1817, he was determined to have an opera produced. Mayr helped him to obtain his first professional engagement, a commission that resulted in Enrico di Borgogna, performed in November 1818 at the Teatro di S Luca in Venice. Up to this point Donizetti's professional activities had been confined to northern Italy and to smaller theatres, but in 1821 he was invited to compose a new opera for the Teatro Argentina in Rome. The resulting work, Zoraid di Granata, was Donizetti's most successful yet, winning him an invitation from the leading impresario of the time, Domenico Barbaja, to write for Naples. Donizetti settled in Naples in February 1822 and was to be based there for the next 16 years. With Anna Bolena (Milan, 1830), Donizetti established himself as a master of the Italian operatic theater. Composed for Pasta and Rubini, the opera was an overwhelming success. Within a few years it was produced in several major Italian theaters, and was also heard in London, Paris, Dresden, and other cities. Donizetti left Naples in October 1838 and moved permanently to Paris. In March 1842 Rossini attempted to persuade Donizetti to accept the post of maestro di cappella at the cathedral of San Petronio in Bologna, but Donizetti declined in order to accept the far more prestigious position of Hofkapellmeister to the Habsburg court in Vienna and court composer to the Austrian emperor. The last opera produced in his lifetime was Caterina Cornaro (Naples, 1844). By this time Donizetti began to age quickly; in 1845 his mental and physical condition progressively deteriorated as the ravages of syphilis reduced him to the state of an insane invalid. In 1846 he was placed in a mental clinic at Ivry, just outside Paris; in 1847 he was released into the care of his nephew, and was taken to his birthplace where he died on 8 April 1848.

dilluns, 27 de novembre del 2023

KROMMER, Franz (1759-1831) - Concerto Pour deux Clarinettes (c.1802)

Unknown - Volkssänger in einem Gasthaus (c.1850)


Franz Vinzenz Krommer (1759-1831) - Concerto Pour deux Clarinettes
composé et dédié à M. de Marsano, Op.35 (c.1802)
Performers: Ludmila Pеtеrková (clarinet); Marjolein de Rοοs (clarinet);
Czech Ensemble Baroque; Roman Válеk (conductor)

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Moravian composer. He was the son of the innkeeper and later mayor of Kamenice Jiří Kramář (1737–1810), and the nephew of the composer and choirmaster Anton Matthias Krommer (1742-1804) with whom he studied violin and organ. Later he was self-taught in composition. He became a violinist in the orchestra of the Duke of Styrum in Simontornya (1786), becoming his music director (1788). Towards the end of 1790 he became Kapellmeister of Pécs Cathedral; after 1793 he acted as Kapellmeister and composer in the service of a Duke Karolyi and later of Prince Antal Grassalkovich de Gyarak. In 1798 he became Kapellmeister to Duke Ignaz Fuchs. Then he returned to Vienna where in 1806 he applied, unsuccessfully, to join the Vienna Hofkapelle as a violinist. In 1810 he was appointed Ballett-Kapellmeister at the Wien Hofkapelle. On 14 June 1815 he was appointed Kammertürhüter to the emperor, and in this office accompanied Emperor Franz I to Paris and Padua in the same year, and to Verona, Milan and Venice in 1816. From 13 September 1818 until his death he succeeded Leopold Anton Kozeluch as the last official director of chamber music and court composer to the Habsburg emperors. As a composer, he wrote over 300 works, among them, accomplished solo concertos for wind instruments, as well as symphonies, sacred works, much chamber music and piano pieces. He was one of the most successful of the many influential Moravian composers in Vienna at the turn of the 18th century. His son August Krommer (1807-1842), an insurance agent in Vienna, was for a time a violinist in the orchestra of the Burgtheater, and also appeared in public as a pianist in 1833.

diumenge, 26 de novembre del 2023

DIAS DE OLIVEIRA, Manoel (c.1735-1813) - Te Deum laudamus

Vinzenz Fischer (1729-1810) - Triumphzug eines Feldherrn durch den Titusbogen (1791)


Manoel Dias de Oliveira (c.1735-1813) - Te Deum laudamus
Performers: Camerata Antiqua de Curitiba; Roberto de Regina (conductor)
 Further info: Te Deum

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Brazilian composer, organist and conductor. He was active in the province of Minas Gerais during the late colonial period and worked as a scribe in several brotherhoods in São José del Rei and São João del Rei. In the register of death certificates and wills at the church of S Antônio in his native city he is described as ‘mestre compositor de muzica’. According to research by J.M. Neves, Oliveira was also a captain and a mulatto. His rather extensive output includes a Mass, a Miserere, Te Deum, Magnificat, novenas, litanies and motets. The works are preserved chiefly in the archives of the Lira Sanjoanense Orchestra and the Lira Ceciliana, though few of the manuscripts are autograph.

divendres, 24 de novembre del 2023

ATTWOOD, Thomas (1765-1838) - Trio for the piano forte, violin and violoncello obligato (c.1787)

George Barret (1723-1784) - River Landscape


Thomas Attwood (1765-1838) - Trio for the piano forte, violin and violoncello obligato, Op. I (c.1787)
Performers: Concilium Musicum Wien
Further info: Les Élèves De Mozart

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English composer and organist. His father, Thomas Attwood, was an under-page to George III, and a viola player and trumpeter in the King's Band. Throughout his life Attwood benefited from royal patronage. At 9, he became a chorister at the Chapel Royal. In 1781 he was made one of the Pages of the Presence to the Prince of Wales, who made it possible for him to study in Naples with Felipe Cinque and Gaetano Latilla (1783-85). He then went to Vienna, where he received composition lessons from Mozart. In 1787 he returned to England and resumed his court position. He was made music teacher to the Duchess of York in 1791 and to the Princess of Wales in 1795. In 1796 he became organist at St. Paul's Cathedral and composer at the Chapel Royal. In 1813 he helped to organize the Philharmonic Society of London, with which he appeared as a conductor. When the Royal Academy of Music in London was organized in 1823, he was made a professor. In 1825 he became musician-in-ordinary to the king. He was named organist of the Chapel Royal in 1836. Mendelssohn became his close friend, and among his students were his godson, Thomas Attwood Walmisley, George Bridgetower and Cipriani Potter. Attwood's compositions, whether for the stage, the church or the home, were profoundly affected by his intense experience as Mozart's pupil. His output includes music for some 30 stage works, several instrumental pieces, much vocal music, including the fine coronation anthems 'I was glad' (1821) and 'O Lord, grant the king a long life' (1831), a Service in F, songs and glees. Thomas Attwood Walmisley edited 'Services and Anthems Composed by T. A.' (London, 1852).

dimecres, 22 de novembre del 2023

BACH, Wilhelm Friedemann (1710-1784) - Sinfonia a 6 (c.1740)

Jan Josef Horemans II (1714-1792) - Romantic scene (1760)


Wilhelm Friedemann Bach (1710-1784) - Sinfonia (d-moll) â 2 Travers:, 2 Violini, Viola et Basso (c.1740), Fk 65
Performers: Akademie für Alte Musik Bеrlin; Stephen Mаi (conductor)

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German composer and organist. The eldest son of Johann Sebastian Bach, he received his earliest musical training from his father, later enrolling in the Thomasschule in Leipzig. In 1726 he was sent to Merseburg to study violin under Johann Gottlieb Graun, returning in 1729 to enroll in Leipzig University. There he studied mathematics, but in 1733 he was appointed organist at the Sophiakirche in Dresden. In 1746 he was appointed as organist at the Liebfraukirche in the Pietist city of Halle. Unfortunately, his relations with the town fathers and his cantor Georg Mittag were problematic, and he began to apply for other posts throughout Germany without success, although he was allowed in 1762 to style himself as Kapellmeister to the court of Hessen-Darmstadt even though he did not obtain the position. In 1764 he simply quit his position and began to support himself through private teaching, eventually leaving for Braunschweig in 1770 and subsequently for Berlin four years later. There, he continued to teach even though he was initially welcomed at the court of Anna Amalia, the sister of Frederick II of Prussia. His last years were spent in extreme poverty exacerbated by alcoholism. Although active as a composer, his reputation during his lifetime was primarily for his keyboard improvisation, no doubt due in part to the rigorous training provided by his father. His music, however, is often characterized by a mixture of older styles (also inherited from his father) and a sense of harmonic and formal experimentation that often created extreme contrast and jarring dissonances. Not surprisingly, some of his earlier compositions were so close in style to those of his father that they were misattributed. He was a good teacher; his students include his brother Carl Philipp Emanuel Bach, Johann Gottlieb Goldberg, and Johann Nikolaus Forkel, with whom he also collaborated on that author’s biography of Johann Sebastian Bach. His music, cataloged according to F (Falck) or BR numbers, consists of 32 cantatas (two secular); an opera, Lausus und Lydie; two Masses and several Mass movements; a German Te Deum; several other smaller sacred settings; 15 keyboard sonatas; 18 works for musical clockwork; around 40 polonaises; 10 keyboard fantasies; some 40 or so miscellaneous works for the keyboard; 11 fugues/canons; three sonatas for two keyboards (one titled “concerto”); eight symphonies; seven concertos (five for keyboard, and one each for flute and two harpsichords); a sextet; nine flute duets; three viola duets; and five trio sonatas. The famous portrait by Wilhelm Weitsch is now known to portray his cousin.

dilluns, 20 de novembre del 2023

CIRRI, Ignazio (1711-1787) - Sonata per Clavicembalo e Violino

Sebastiano Lazzari (c.1730-c.1790) - A trompe l'oeil with musical instruments


Ignazio Cirri (1711-1787) - Sonata (in do maggiore) per Clavicembalo e Violino, Op.2 (c.1772)
Performers: Luca Gіаrdіnі (violin); Filippo Pаntіerі (clavecin)
Further info: Cirri - Sonatas

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Italian composer and organist. Brother of the cellist and composer Giovanni Battista Cirri (1724-1808), his musical education was obtained locally. In 1758 he took Holy Orders and was elected to the Accademia Filarmonica in Bologna, where he was closely in touch with Padre Martini. The following year he obtained the post as maestro di cappella at Forlì a post he held the rest of his life. Little has been studied on his musical style or works; he published a set of Dodici Sonate per organo, Op.1 (London, 1770) and Sei Sonate per clavicembalo con accompagnamento per violino, Op.2 (London, c.1772). Two sacred pieces, a Chirie e Gloria a Quattro con Strumenti and a Credo a 5, are preserved only in manuscript. 

diumenge, 19 de novembre del 2023

GEREMIA, Giuseppe (1732-1814) - Missa pro defunctis (1809)

Jakob Becker (1810-1872) - Der vom Blitz erschlagene Schäfer (1844)


Giuseppe Geremia (1732-1814) - Missa pro defunctis (1809)
Performers: Katia Ricciarelli (soprano); Salvatore Fisichella (tenor); Furio Zanasi (baritone); Francesca Aparo (alto); Camerata Polifonica Siciliana; Douglas Bostock (conductor)

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Italian composer. He studied in Naples at the Conservatorio di Santa Maria di Loreto, where he was a pupil of Francesco Durante. His first work, an oratorio entitled The Flight into Egypt or Jesus Stolen into Egypt, dates from this Neapolitan period. Together with Nicola Logroscino and Giacomo Insanguine he composed the music for the comic opera L'innamorato balordo (1763). In 1773 he became maestro di cappella in Catania at both the cathedral and the Benedictine abbey of San Nicolò l'Arena. He later left the cathedral post to his pupil Giacinto Castorina in 1800 but retained the abbey position at least until 1807. Geremia's surviving works include about 100 sacred compositions held in manuscript mostly in Catania. Among these are the dialogo teatrale La città d'Abella liberata of 1780, 12 other oratorios including Mosé trionfante (1800) and Il ritorno di Noemi (1802), two secular and two sacred cantatas and 23 masses, including a Missa pro defunctis (1809) and Messa breve in F (1810). Together with Vincenzo Tobia Bellini, he was the most prominent composer in Catania in the second half of the 18th Century.

divendres, 17 de novembre del 2023

KREUTZER, Rodolphe (1766-1831) - Concerto pour Violon (1806)



Rodolphe Kreutzer (1766-1831) - Concerto (en sol majeur) pour Violon, No.17 (1806)
Performers: Axel Strаuss (violin); San Francisco Conservatory Orchestra; Andrew Mοgrеlia (conductor)
Painting: Unknown artist - Portrait of the composer Rodolphe Kreutzer 

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French violinist, composer and teacher. His father, a wind player, gave him early instruction in music; he began studying violin and composition with Anton Stamitz in 1778. On 25 May 1780, he played a Stamitz violin concerto at the Paris Concert Spirituel, and returned there in May 1784 to play his own first Violin Concerto. In 1785 he became a member of the king's music, and soon established a notable reputation as a virtuoso. In 1789 he settled in Paris, where he first gained success as a composer for the theater with his opera-comique Paul et Virginie (1791). His opera-comique Lodoiska (1791) was also a success, being accorded an even warmer reception than Cherubini's score of the same name. In 1793 Kreutzer became a professor at the Institute National de Musique; when it became the Paris Conservatory in 1795, he remained on its faculty, retiring in 1826. Beginning in 1798 he made a number of outstanding concert appearances at the Theatre Feydeau and the Opera in Paris, being made solo violin at the latter in 1801; he also became a member of Napoleon's chapel orchestra (1802) and of his private orchestra (1806). His ballet-pantomime Paul et Virginie (1806) found favor with Paris audiences, as did his ballet Les Amours d'Antoine et Cleopatre (1808) and his comedie lyrique Aristippe (1808). In 1810 he suffered a broken arm in a carriage accident, which effectively put an end to his career. However, he continued to hold his various positions as a violinist. In 1815 he was made maitre de la chapelle du roi. In 1816 he was appointed second conductor, and in 1817 first conductor at the Opera, retaining this post until 1824, at which time he became director (1824-26). His last opera, Matilde (c.1826-27), was refused by the Opera management. By then in declining health, he spent his remaining years in retirement. Kreutzer was one of the foremost violinists of his era. With Pierre Baillot and Pierre Rode, he stands as one of the founders of the French violin school. Beethoven greatly admired his playing, and was moved to dedicate his Violin Sonata, Op.47 (the Kreutzer), to him. Kreutzer's most celebrated publication remains the brilliant 42 etudes ou caprices for Unaccompanied Violin. He also composed a number of fine violin concertos. His renown as a teacher brought him many students, including his brother Jean Nicolas Auguste Kreutzer (1778-1832), Charles Philippe Lafont and Lambert Massart. With Rode and Baillot, he published 'Methode de violon' (1803).

dimecres, 15 de novembre del 2023

ZACHOW, Friedrich Wilhelm (1663-1712) - Das ist das ewige Leben

Louis Chéron (1660-c.1715) - The Marriage of Hercules and Hebe


Friedrich Wilhelm Zachow (1663-1712) - Das ist das ewige Leben
Performers: Veronika Wintеr (soprano); Franz Vіtzthum (alto); Immo Schrödеr (tenor); Markus Flаіg (bass);
Rheinische Kаntorеi; Das Klеinе Konzert; Hermann Mаx (conductor)

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German composer and organist. His maternal grandfather and father were Stadtpfeifer, and he received training in organ and as a Stadtpfeifer. In 1676 he went with his family to Eilenburg, where he most likely studied with Johann Hildebrand. From 1684 until his death he was organist at the Marienkirche in Halle, where he also led the noted musical performances every third Sunday. Zachow was one of the leading composers of church cantatas and keyboard works of his day. He is remembered chiefly as Handel's teacher but is important in his own right as a composer of church cantatas and keyboard music. Zachow became an eminent teacher and besides Handel his pupils included Gottfried Kirchhoff, J.G. Krieger and J.G. Ziegler. Surviving from an apparently large output, are about 30 cantatas in various forms from sacred concerto to operatic, a chorale mass, 3 Latin motets, about 50 keyboard chorales, and about 20 assorted keyboard works.

dilluns, 13 de novembre del 2023

ROMBERG, Bernhard (1767-1841) - Grosse Kinder-Symphonie (1836)

Thomas Rowlandson (1757-1827) - A Musical Family (1802)


Bernhard Romberg (1767-1841) - Grosse Kinder-Symphonie (C-Dur) FÜR Wachtel, Nachtigall, Kukuk, Schnarre, Triangel, Trompete, Trommel, (Nürnberger Kinderinstrumente.)
Zwei Violinen und Bass oder PIANOFORTE, Op.62 (1836)
Performers: Orchestra de chambre 'Pro Arte' de Munich; Kurt Rеdеl (1918-2013, conductor)

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German cellist and composer son of the bassoonist and cellist Bernhard Anton Romberg (1742-1814). He learnt the cello from his father before begin his career in Munster when he appeared with his cousin Andreas Jakob Romberg (1767-1821) at age 7; they toured with their fathers thereafter, making visits to Frankfurt am Main (1782) and Paris (1784, 1785). After playing in the Bonn electoral orchestra (1790-93), they fled in the face of the French invasion and went to Hamburg, where they were members of the opera orchestra at the Ackermann Theater; they then toured Italy (1795-96) and visited Vienna (1796), where they became friends of Joseph Haydn. After further travels in Italy and another visit to Paris (1801), the cousins pursued separate careers. Bernhard Heinrich visited Spain in 1801, served as professor of cello at the Paris Conservatory (1801-03), and then joined the Berlin Royal Court Orchestra (1805). He visited Russia in 1807 and England in 1814, and was Berlin Hofkapellmeister (1816-19). In 1820 he went to Hamburg, which he made his home with the exception of another Berlin sojourn (1826-31); also made extensive tours as a virtuoso. He published 'Methode de violoncelle' (Berlin, 1840). As a composer, his works include two motets, six stage works (some monodramas), numerous Lieder, nine symphonies, 19 concertos (mainly violin and cello), 50 rondos for strings and piano, 11 string quartets, six trios, and a number of keyboard works. He had two children who pursued musical careers: Bernhardine Romberg (1803-1878), a concert singer, and Karl Romberg (1811-1897), a cellist in the St. Petersburg German Opera orchestra (1830-42).

diumenge, 12 de novembre del 2023

LANG, Johann Georg (1722-1798) - Missa solemnis in D

Johann Georg Trautmann (1713-1769) - Nächtliche Feuersbrunst (c.1765)


Johann Georg Lang (1722-1798) - Missa solemnis in D
Performers: Suzanne Cаlаbra (soprano); Elke Burkеrt (alto); Axel Reichardt (tenor); Tobias Schаrfеnbеrgеr (bass); Trierer Kammerchor; SWR-Rundfunk-Orchester Kaiserslautern; Manfred Mаy (conductor)

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Bohemian composer, keyboardist and violinist. His first training was in Prague, where he studied keyboard and violin. In 1746 he was hired by the Prince-Archbishop of Augsburg as a musician, and in 1749 he was sent to Italy, where he studied under Francesco Durante and Girolamo Abos in Naples. Returning three years later, he was appointed Konzertmeister in 1758, and in 1768 the new ruler, Archbishop Clemens Wenzeslaus, Elector of Trier, moved his court to the summer palace at Ehrenbreitstein. Even toward the end of his life when the court abandoned their residences, Lang remained in Ehrenbreitstein near Trier. Known mainly for his instrumental works, Lang’s compositions are characterized by good periodic structure and broad melodies. These include five Masses, a litany, a Te Deum, several Lieder, 38 symphonies, 29 keyboard concertos, 25 horn concertos (and eight other concertos), nine mixed quartets with keyboard, 25 sonatas, 21 works for keyboard, three trios, and duos for violin and cello.

divendres, 10 de novembre del 2023

CUPIS DE RENOUSSARD, François (1732-1808) - Duo Pour deux Violoncelles

Attributed to Filippo Falciatore (1718-1768) - Figures from the Commedia dell'arte dancing


François Cupis de Renoussard (1732-1808) - Duo (VI) Pour deux Violoncelles, oeuvre III (c.1770)
Performers: Michel Tοurnus (cello); Florian Lаurіdοn (cello)

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French composer and cellist, youngest son of Ferdinand-Joseph Cupis (1684-1757), teacher of violin and 'maître à danser'. Brother of the violinist and composer Jean-Baptiste Cupis de Camargo (1711-1788), the horn player Charles Cupis and the ballerina Marie-Anne de Cupis de Camargo (1710-1770), he apparently had a wild youth. In 1751 when he was a cello student under Martin Berteau at the Collège des Quatre Nations, he was arrested for stealing linen from his father and selling it. In 1759 action was again brought against him (and his elder brother Charles, a horn player and member of the Académie Royale de Musique orchestra, 1746-50) for drunkenness. According to Spectacles de Paris, he was a member of the Concert Spirituel orchestra, 1764-71 and 1774-77, and a member of the Académie Royale de Musique orchestra, 1767-70. In order to marry Marie-Reine Thomé de Beaumont (6 November 1770) he had to sign a renunciation of the theatre and resign his post at the Opéra. Despite his youth rebellious years he became a creditable cellist and composer mainly by his promoting of the cello in France. As a composer, he wrote chamber music and, at least, two cello concertos.

dimecres, 8 de novembre del 2023

WITT, Friedrich (1770-1836) - Concerto in F a Due Corni Principale (1797)

François-Gabriel-Guillaume Lépaulle (1804-1886) - Presumed portrait of future Comte de Plaisance


Friedrich Witt (1770-1836) - Concerto in F a Due Corni Principale, Due Violino, Due Oboe, Due Corni Repieno, Viola e Basso (1797)
Performers: Hermann Bаumаnn (horn); Christoph Kοhlеr (horn); Concerto Amsterdam;
Jaap Schrödеr (1925-2020, conductor)

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German cellist and composer. Born at Schloß Halbergstetten, he probably received his early training at the court there. In 1789 he was appointed cellist at the court of Oettingen-Wallerstein, where he came into contact with Antonio Rosetti. In 1802 the performance of his oratorio Der leidenede Heiland in Würzburg led to an appointment as Kapellmeister in the city. From 1814, when he resigned that post, to his death he was Kapellmeister at the Würzburg theatre. Witt was not a prolific composer, and his style reflects that of Rosetti. His works include three stage pieces, two oratorios, three Masses, two large odes, 12 symphonies (though the infamous so-called Jena symphony once attributed to Beethoven is a crude forgery), eight concertos, a septet, a quintet, and several wind partitas. 

dilluns, 6 de novembre del 2023

BRÉVAL, Jean Baptiste (1753-1825) - Simphonie concertante (1789)

Charles François Lacroix de Marseille (c.1700-c.1780) - Mediterranean harbour (1776)


Jean Baptiste Bréval (1753-1825) - Simphonie concertante Pour une Flute, et un Basson
Avec accompagnement de deux Violons, Alto et Basse (1789)
previously attributed to François Devienne (1759-1803)
Performers: Marc Grаuwеls (flute); Alain de Rеijckеrе (bassoon);
Wаlloon Chamber Orchestra; Bernard Lаbаdie (conductor)

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French composer and cellist. He studied cello with Jean-Baptiste Cupis and in 1776 he became a member of the Société Académique des Enfants d’Apollon. His debut was in 1778 at a Concert Spirituel performing one of his own sonatas. He subsequently was a member of its orchestra (1781-91), and then played in the orchestra of the Theatre Feydeau (1791-1800). Afterwards he assumed the administration of the Concerts de la rue de Cléry and became a member of the Paris Opéra orchestra, a position from which he retired in 1814. His music was also performed by various Paris concert societies. Bréval’s compositions, written between 1775 and 1805, consist mostly of instrumental music and reflect contemporary Parisian musical taste: graceful melodies are propelled by energetic rhythms and supported by an unobtrusive harmonic structure. He composed a great quantity of instrumental music, including symphonies, cello concertos, string quartets, trios, duos, and sonatas. He also wrote an opera-comique, Ines et Leonore, ou La Soeur jalouse, performed in Versailles on 14 November 1788. His brother Stanislas-Laurent Bréval (1760-?), was a violinist in the service of the Count of Ogny and played in the orchestras of the Paris Opéra and the Concert Spirituel.

diumenge, 5 de novembre del 2023

ARIOSTI, Attilio (1666-1729) - Cantata 'Pur al fin gentil viola'

Studio of Jean-Baptiste Santerre (1651-1717) - Portrait of a young lady, half-length, in a white silk dress, singing


Attilio Ariosti (1666-1729) - Cantata 'Pur al fin gentil viola'
Performers: Charlotte Lehmann (soprano); Günther Weiss (viola d'amore);
Jürgen Wolf (1938-2014, cello); Theodor Klein (harpsichord)

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Italian composer, singer and instrumentalist. He joined the order of S. Maria de' Servi at the Bologna monastery in 1688, took minor orders in 1689, and received his diaconate in 1692. Abandoning the order, he was in the service of the Duke of Mantua in 1696. With Lotti and Caldara, he collaborated on the opera Tirsi (Venice, 1696). In 1697 he went to Berlin as a court composer and staged the first Italian operas there. From 1703 to 1711 he was in the service of the Vienna court. In 1716 he went to London, where he was a composer with the Royal Academy of Music. Among the operas he brought out there were Coriolano (1723), Artaserse (1724), Dario (1725) and Lucio Vero, imperator di Roma (1727). He also published a volum of six cantatas and six lessons for the viola d'amore (1724), on which he was an accomplished performer. These are usually called the Stockholm Sonatas, as the sole surviving source for most of them is in the Statens Musikbibliotek in Stockholm, Sweden. In all, he composed at least 22 operas, instrumental music, five oratorios, and many cantatas. 

divendres, 3 de novembre del 2023

BRENTNER, Jan Josef Ignác (1689-1742) - Concertus (II) in d (1720)

Circle of Jan Cossiers (1600-1671) - Young musicians playing a violin and a flute


Jan Josef Ignác Brentner (1689-1742) - Concertus (II) in d
aus 'Horae pomeridianae seu Concertus cammerales sex', Op.4 (1720)
Performers: Jana Sеmеrádová (flute); Collegium Mаriаnum

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Bohemian composer. He was born into the family of the mayor of the town of Dobřany in Western Bohemia. From about 1717 to 1720 he lived in Prague, where he published several of his works. He seems to have been connected with the religious brotherhood of St Nicholas in the Malá Strana, Prague, for which he wrote his German mourning motets. His Offertoria solenniora op.2 was dedicated to his patron Raymund Wilfert, abbot of the Premonstratensian monastery at Teplá. Brentner’s music is in late Baroque concerto style, with occasional simple songlike motifs. Many of his arias are in da capo form, and those of Hymnodia divina are remarkable for their concertante treatment of accompanying solo instruments, especially the violin. Brentner’s works continued to be performed at the monastery at Strahov, Prague, until the 1840s.

dimecres, 1 de novembre del 2023

DITERS VON DITTERSDORF, Joannes Carolus (1739-1799) - Simphonia ex D

Anton Radl (1772-1852) - Verlosung eines Hammels in der Umgebung von Frankfurt am Main (Kirchweihszene), 1802


Joannes Carolus Diters von Dittersdorf (1739-1799) - Simphonia ex D (c.1766)
Performers: Capella Clarοmοntana; Tomasz Wаbnіc (conductor)

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Austrian composer and violinist. Born to Paul Ditters, costumier at the imperial court and theatre in Vienna, and his wife Anna (née Vandelin), he received his earliest education at the Jesuit school in Vienna, where he displayed a precocious talent as a violinist, enough so that in 1751 he was performing with local court orchestras. Here he came to the attention of Giueseppe Bonno and Christoph Willibald von Gluck, the latter of whom took him with him to Italy in 1763. There Ditters achieved success as a virtuoso, and by 1765 he had been hired by Archbishop Adam Patachich as Michael Haydn’s successor at Großwerdein (now Oradea, Romania). He improved the quality of the ensemble, but in 1769 it was dissolved and Ditters relieved of his duties. He found other employment with the Archbishop of Breslau, Count Philipp Gotthard von Schaffgotsch as a state administrative functionary at Schloss Johannesberg (now Janský vrch, Poland), and in 1773 he was appointed as chief forester at nearby Javernig (Javornik). This appointment required aristocratic rank, and Ditters was ennobled as von Dittersdorf at Freiwaldau (Jeseník). In 1784 he returned to Vienna where he participated actively in the musical life of the city. His rank allowed him access to all levels of the court society, and his abilities earned him the friendship of colleagues such as Joseph Haydn and Wolfgang Amadeus Mozart, with whom he performed in a string quartet (the cellist was his student Jan Křtitel Vanhal). In 1790, however, he returned to music as Kapellmeister to Duke Carl Christian Erdmann zu Württemberg-Oels, a post that also included governmental administrative duties. He moved to Oels (Olésnice) and then Karlsruhe in Upper Silesia. 

A reversal of fortune caused him to retire in 1796, and he moved to the small town of Neuhof (Červená Lhota), where he died only a couple of days after completing his autobiography. He was a prolific and progressive composer, particularly with respect to his use of the characteristic symphony, sometimes based upon Classical stories. He was conventional in terms of his harmony, but his skill in contrasting instruments (as well as writing for unusual timbres and combinations) demonstrates a good sense of color. His formal structures are often conventional, and his textures mainly homophonic, but he was considered one of the foremost composers of Vienna during his day. He can be considered one of the most popular composers of Singspiels of his day, with one work, Doktor und Apotheker, achieving international success. The number of works composed demonstrates an almost inexhaustible creativity and includes: 127 symphonies (with another 90 likely, making him the most prolific composer in the genre of all time, if true), 18 violin concertos, five viola concertos, eight oboe concertos, four keyboard concertos, nine other concertos (for oboe d’amore, harp, contrabass, cello, flute, and two violins), four sinfonia concertantes (including two for string quartet and orchestra, one for viola, contrabass, and orchestra, and another for 11 solo instruments), four serenades, five cassations, 16 divertimentos, 18 string trios, seven string quartets, six horn quintets, six string quintets, 35 partitas, 72 preludes, 31 keyboard sonatas, 136 solo keyboard works, 16 violin sonatas, 32 operas, three concert arias, 16 secular cantatas, 16 Masses, a Requiem, four oratorios, 11 offertories, eight litanies, and 170 smaller sacred works such as Psalms, motets, and so forth.