dimecres, 16 d’octubre del 2024

VAN MALDERE, Pierre (1729-1768) - Sinfonia Ex D à 8 Stroment

Johann Georg Platzer (1704-1761) - The Abduction of Helen (c.1750)


Pierre van Maldere (1729-1768) - Sinfonia Ex D à 8 Stroment, VR 66
Performers: Les Agrémеns; Florian Hеyеrick (conductor)

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Flemish composer and violinist. Baptized in the St. Géry parish in 1729, he received his earliest education from Baroque violinist Jean-Joseph Fiocco before being accepted into the second violin section of the royal chapel of Charles of Lorraine at the age of 17. In 1749 he was appointed concertmaster and two years later embarked upon the first of several concert tours, this one to Dublin where he published his first compositions, six trios for two violins and basso, with William Mainwaring. He also served as in-house composer for the Charitable Music Society and Philharmonick Concerts. In 1754 he appeared as a soloist in his own violin concerto at the Concerts spirituels in Paris, where the Mercure de France proclaimed him a “great talent,” a sentiment later echoed by Carl Ditters von Dittersdorf. In 1757 he accompanied his patron to Vienna, and due to the success of his opera Les amours champêtres, he decided to devote his attentions to the composition of opera, becoming a codirector of the Grand Théâtre in Brussels. This was made possible by an appointment as valet de chambre to Prince Charles, which allowed him the freedom to explore opportunities outside of court. By 1766, however, the enterprise had failed, but in the intervening years he had attained a considerable reputation for his symphonies, which were published in London and Paris and were lauded by theorists such as Johann Adam Hiller. He also was much sought after as a teacher. He died from a stroke at his home in Brussels. He composed around 60 symphonies, of which 26 were published during his lifetime. In addition, he wrote six operas, an orchestral concerto, a flute concerto, two violin concertos, 27 trio sonatas, 15 violin sonatas, and three keyboard trios. His musical style, characterized by Hiller and others, was described as “full of fire and invention ... and far more cohesive, orderly, and weighty than the works of some others” and “uncommonly brilliant.” The symphonies especially show dramatic elements that are characteristic of the Sturm und Drang, including restless ostinati, syncopations, abrupt dynamic changes, tremolo, and use of minor keys.

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