Un portal on escoltar i gaudir de l'art musical dels segles XVI, XVII, XVIII i XIX. Compartir la bellesa de la música és l'objectiu d'aquest espai i fer-ho donant a conèixer obres de compositors molt o poc coneguts és el mètode.
Bohemian composer, conductor and singer. Son of the composer Jan Tuček
(?-1783), he began his career both as a singer and as a conductor at the
Hybernia Theatre and later to the National Theatre in Prague as
harpsichordist. In 1797, he became the court Kapellmeister for the Duke
of Courland, Peter von Biron, in Sagan and Náchod. In 1799, he was
appointed Kapellmeister in Breslau and from 1806 to 1809, he worked at
the Leopoldstadt Theatre in Vienna and then in Budapest, where he
remained the rest of his life. As a composer, he wrote operas, operettas
and singspiels as well as symphonies, concertos and church music. His
compositions, though largely overshadowed by more famous contemporaries,
were well-regarded in his time and showcased his command of musical
forms. His son was the composer František Tuček (1782-1850), whose
daughter Leopoldine Tuček (1821-1883) was an opera singer.
Austrian composer. After being ordained a priest in 1874, he deepened
his musical studies with Franz Xaver Haberl and Michael Haller at the
Regensburg School of Church Music. His training at this institution, a
center of the Cecilian Movement, would shape his
compositional style. In 1885, he was appointed Kapellmeister at Brixen
Cathedral. His tenure there was marked by numerous honors, including
being named an honorary citizen of Brixen in 1905, a monsignor in 1906,
and a cathedral canon in 1917, the year of his retirement. As a
composer, he wrote over 200 works, mostly sacred. They are characterized
by their adherence to the ideals of the Cecilian Movement, which sought
to restore the purity and simplicity of early Christian music. However,
his works also exhibit a highly personal and expressive style, blending
traditional forms with innovative harmonies and melodies. He made
significant contributions to the field of sacred music, particularly
during the late 19th and early 20th centuries.
François Devienne (1759-1803) - Simphonie concertante [G] pour deux flûtes avec accompagnement de deux violons, alto, basse, deux haubois et deux cors ... œuvre 76 (c.1800)
French flautist, bassoonist, composer and teacher. He was the seventh of
eight children born to Pierre Devienne and his second wife Marie Petit.
Following early musical education as a choirboy, he was sent to Paris
to study flute with Félix Rault. In 1780 he joined the orchestra of the
Prince de Rohan, making his debut at the Concerts spirituels in 1782.
From then until 1785 he performed there as a soloist at least 18 times,
but after 3 April 1785 he did not appear there for four years. From 1785
to 1789 his place of employment is uncertain; he may have been a member
of the Swiss Guards Band in Versailles. Devienne probably returned to
Paris in autumn or winter 1788. Thereafter he played flute and bassoon
at the Opéra until the Revolution, when he joined the military band of
the French Guards. In 1795 he was appointed as an inspector and
professor of flute at the new Conservatoire following the publication
two years earlier of his treatise 'Méthode de flûte théoretique et
pratique'. In May 1803 he entered Charenton, a Parisian home for the
mentally ill, where he died the following September after a long illness
which ended by impairing his reason. He was an extraordinarily prolific
composer of peculiar importance from the impulse that he gave to
perfecting the technique of wind instruments. He wrote 12 operas, seven
sinfonia concertantes, 14 flute and five bassoon concertos, 25 quintets
and quartets, 46 trios, 147 duos, and 67 sonatas, as well as a symphony
and two Revolutionary hymns. As a teacher, Joseph Guillou was one of his
most famous pupils. François Devienne was regarded in his lifetime as a
flute virtuoso, and his works were frequently reprinted abroad.
Austrian composer, keyboard player and teacher. Born into a prominent
Viennese family, he studied under Johann Joseph Fux and Mattheo Palotta
beginning around 1735. Fux was so impressed by his student that he
recommended him in 1739 for the post of court composer, which was
followed the next year by an appointment as organist for Dowager Empress
Elisabeth. By 1749 he had become hofklaviermeister with the
responsibility of instructing the royal family on the keyboard. Four
years earlier, in 1745, his opera 'Ariodante' launched a career in the
royal theatres, and by 1751 he had published a treatise 'Rudimenta
panduristae oder Geig- Fundamenta', which was a forerunner of Leopold
Mozart’s work. By 1765, however, he began to be afflicted with gout,
resulting in a diminishing of his capacity and confinement to his home
the final years of his life. Wagenseil was a much-appreciated teacher,
whose students included Frantisek Xaver Dusek, Leopold Hofmann, and
Johann Baptist Schenk. As a composer, he wrote 16 operas; three
oratorios; 17 Masses and a Requiem; over 90 other sacred works
(including canticles, Psalms, hymns, etc.); nine secular cantatas; 30
concert arias; 77 symphonies; 81 concertos for keyboard (most with
string accompaniment); other concertos for flute, violin, cello,
bassoon, and trombone; seven violin sonatas; seven divertimentos; four
flute quartets; 60 trio sonatas; and a large number of smaller works for
keyboard. Although his early Masses display a Baroque style, his
symphonies and concertos, of which he was one of the most prolific
composers of the period, were much more advanced, while his penchant for
solid, colorful orchestration, interesting harmony, and attention to
dramatic detail presage the opera reforms of Christoph Willibald von
Gluck in his opera serias. Georg Christoph Wagenseil can be considered
one of the pivotal figures in the development of the Classical style in
Vienna with a compositional career that spanned a period from Fux, his
teacher, to Haydn brothers and W.A. Mozart, for whom he served as a
precursor.
Flemish composer and horn player. He came from a musical family and
received horn and violin lessons from his father. By the age of 13 he
played first horn at the Ghent opera and in 1804 he entered the Paris
Conservatoire where he studied with Frédéric Duvernoy and Charles Simon
Catel. After playing the horn in the orchestra at the Odéon he became
principal horn at the Opéra-Comique. In 1825 he was appointed director
of the theatre in Ghent but soon resigned and after the 1830 Revolution
became a conductor in Antwerp and The Hague. He was the founding
director of the Royal Conservatory of Ghent in 1835 and served as
director there until his death. As a composer, he wrote at least six
operas (1818-1830), a Requiem, several concertos and symphonies
concertantes, and chamber music and songs. His brother Jean-Baptiste
Mengal (1792-1878) was also a horn player and one of the founders of the
Paris Société des Concerts du Conservatoire.
Italian composer. Son of a military officer, he grew up in Parma. In
around 1725 he apparently received further musical education in Milan,
where he made his debut as a composer in 1737. In 1744 he was appointed
as music director of the Ospedale della Pietà in Venice in a post he
held until 1746. A decree of 24 November 1753 refers to his engagement
as assistant Kapellmeister of vocal music in Munich from 1 August 1753;
his appointment coincided with the opening of the Residenztheater. On 5
June 1754 he was named music teacher to the princesses Maria Anna
Josepha and Josepha Maria. Following the death of Giovanni Porta, he was
appointed Kapellmeister on 7 September 1755. In 1778 Elector Carl
Theodor confirmed his official post, but he probably rendered no further
service. After his death, he was succeded by Franz Paul Grua. As a
composer, his works include 20 operas, 34 Masses, 11 offertories, eight
oratorios, six litanies, around 125 smaller sacred works, 20 symphonies,
and a flute concerto. His stepdaughter Antonia Bernasconi
(c.1741-c.1803) was a soprano mainly active in Vienna.
French harpsichordist and composer. His life remains somewhat shrouded
in mystery. While François-Joseph Fétis suggested a birth year around
1720, an announcement in 'L’avant coureur' from 1761 describes him as
'still very young', casting doubt on this early date. As a child, he was
sent to study with his uncle named 'Butet', an organist, but his
uncle's 'mediocre talents' hindered the young musician's progress. A
fortunate encounter at age 13 with the Marquise de la Mézangère, a pupil
of François Couperin, dramatically changed his trajectory. The Marquise
welcomed him into her Parisian home, providing harpsichord lessons
herself and entrusting his musical education to the violinist
Saint-Saire. By 1754, Simon had already established himself as a
teacher, attracting a large number of pupils. Despite the demands of his
burgeoning career, he dedicated time to composition, studying with
Antoine Dauvergne. As a composer, his early works, including petits
motets and harpsichord pieces, were performed in private concerts and
garnered critical acclaim. His harpsichord compositions, published as
Op.1 in 1761, impressed Joseph Brunon Le Tourneur, 'maître de clavecin
des enfants de France', leading to a remarkable marriage and the promise
of succeeding to Le Tourneur's prestigious royal position. His career
flourished then and he became harpsichord teacher to the dauphine, the
queen, and the Countess of Artois. Although he assumed Le Tourneur's
duties upon his retirement, the official title did not transfer to him
until 1770. He should not be confused with a violist named 'Simon' who
composed six symphonies in 1748 or the composer 'Simon' active between
1757 and 1771.
Italian violinist and composer. While specific details about his early
life are scarce, his musical career began to take shape in the mid-18th
century. In 1726, his Sinfonia in A minor for flute, two violins, and
basso continuo was published, marking the earliest verifiable date in
his professional life. From 1734 to 1740, he was involved with the
prestigious Cappella Reale and the orchestra of the Teatro San
Bartolomeo, two of the most important musical institutions in Naples at
the time. As a composer, his surviving output remain in manuscript at
the Naples Conservatory San Pietro a Majella. The bulk of it consists of
15 concertos for various combinations of instruments and nine
symphonies (many of them containing important solos for string or wind
instruments and coming close to belonging to the concerto category). His
compositions are characterized by a unique blend of lyricism and
rhythmic inventiveness and despite his role as a minor figure in the
history of instrumental music, he deserves be part in the development of
the concerto and the symphony in southern Italy during the first half
of the 18th century.
Bohemian composer and pedagogue. Born and raised in Bakov nad Jizerou,
he studied at the Piarist gymnasium in Kosmonosy and later he studied
composition with Josef Seger. From 1747 to his death, he was a teacher,
choirmaster and member of the literary fraternity in Bakov nad Jizerou.
As a cantor there for over four decades, he composed a vast body of
works, primarily for the church. His compositions include numerous
masses, requiems, oratorios, and, most notably, a collection of
Christmas pastorals. These pastorals, simple yet heartfelt, have become a
beloved part of the Bohemian Christmas tradition. His musical style was
characterized by its adherence to the Baroque tradition, while also
incorporating elements of folk music. His compositions are often
described as melodious and expressive, reflecting the musical tastes of
the time and place. As a pedagogue, he played a significant role in the
development of music education in Bohemia. He founded a literary
brotherhood and was instrumental in fostering a love of music among his
students.
Italian priest, organist and composer. He was the son of Giovanni Luca
Girolami and brother of Carlo Antonio Girolami who was the first of the
family to move to Castelnuovo Garfagnana in the province of Lucca,
where, in 1728 he married Chiara Teresa, daughter of Cristoforo
Pieracchi. The descendents were related with the Counts of Carli
Girolami the Marquesses of Gargioli Malaspina of Reggio Emilia. Giovan
Battista Girolami was ordained a priest in 1724, and in 1763 he became
the maestro di cappella at the cathedral in Castelnuovo. He was
pensioned in 1784. His music is mostly unknown, but it mainly consists
of sacred works, including several Masses (and Mass movements), an
unfinished Messa da requiem (c.1775), and numerous smaller compositions.
Austrian composer and conductor of Moravian birth. The son of a
schoolmaster, he received his early education in Znaim from the Jesuits,
later continuing his studies at Tyrnau in medicine, theology, and
philosophy. Around 1777 he moved to Vienna as a teacher of keyboard
while also working as a local church organist and with Artaria as a
proofreader. He studied composition with Anton Zimmermann and soon
obtained additional work as a violinist at the Leopoldstadt Theatre.
There he became assistant to Wenzel Müller, writing his first
Singspiels. During the 1790s he met with considerable success with the
Singspiels 'Das Faustrecht in Thüringen' and 'Die Löwenritter', both of
which were continued through several successful sequels. In 1810 he went
to Graz as Kapellmeister, but returned to Vienna until 1818, when he
was dismissed from his position. During the night of 28 February to 1
March 1830 he was among the victims of severe floods in the Leopoldstadt
when a sudden thaw caused the Danube to overflow its banks. He lost
almost all he possessed, including his musical scores, and died in utter
poverty little more than a year later. As a composer, his output
includes 19 Singspiels, 10 oratorios, 14 Masses, three Requiems, 30
symphonies (including one on Wellington’s Victory), seven concertos,
several small chamber works with strings, and numerous keyboard works.
He also brought out several theoretical works, including tutors for the
flute, piano, violin and cello and on thoroughbass, and a singing
manual, all published by Artaria between 1787 and 1794. Despite he has
been all but forgotten, he was frequently performed in various countries
(including Scandinavia) for many years, giving rise to numerous
imitations and sequels.
German singer, actress and composer. Daughter of the oboist Johann
Friedrich Schröter (1724-1811), her earliest instruction was from her
father and later from Johann Adam Hiller with whom she appeared in
Hiller’s Grand Concerts in Leipzig. In 1776 a friendship with Johann
Wolfgang von Goethe led to an appointment as a chamber musician at the
Weimar court of Princess Anna Amalia. Although this was dissolved in
1783, she continued to live there supporting herself through lessons and
through her musical salons. She and a companion moved to Ilmenau in
1801 in a vain attempt to recover from a lung disease. The bulk of her
compositional efforts were dedicated toward Lieder (compiled in two
collections from 1786 and 1794), of which 41 have survived, including an
early setting of Goethe’s Der Erlkönig. In addition she composed 360
Italian airs and duets (lost), as well as music for two Singspiels. Her
brothers Johann Samuel Schroeter (1753-1788) and Johann Heinrich
Schröter (c.1760-after 1784) were musicians and composers, and her
sister Marie Henriette Schröter (1766-after 1804) was a singer, active
in Darmstadt court.
Dalmatian-Croatian composer and nobleman. A member of a family of
Dalmatian nobility, he was trained in music by Giovanni Valentini,
maestro di cappella of the Dubrovnik cathedral. In 1752 he became a
member of the Great Council. By 1757 he traveled to Rome to study under
Rinaldo da Capua, but his position in society redirected his life toward
a role as a politician. In 1776 he negotiated with France on behalf of
the Republic and from 1781 to 1782 he was ambassador for the Republic of
Dubrovnik to the Holy Roman court in Vienna, during which period he
became friends with Christoph Willibald von Gluck, Joseph Haydn, and
Pietro Metastasio. His health began to fail upon his return to Dubrovnik
when he was afflicted with chronic arthritis, and in a fit of
despondency he committed suicide by leaping from the upper story of his
palace. He was occupied with musical composition for a small portion of
his life, even as he maintained a career in politics. His output
includes nine symphonies, two sonatas (one keyboard and one violin),
several arias, and a motet in Croatian titled 'Bablionskiem na riekama'
(Super flumina Babylonis, Psalm 136). His musical style is galant,
although he shows some influences of the Italian opera. His son, Antun
Sorkočević (1775-1841), was also a politician and composer, active in
France.
German Benedictine monk and composer. Few details are known about his
life. In 1791 he professed his vows and entered as monk at St. Peter's
Abbey, Schwarzwald. There he also served as choirmaster from 1806. In
1815, he became a parish priest in Bollschweil. He retired in 1821 and
settled in Kirchhofen. As a composer, he mainly wrote sacred music,
mostly lost, and he published the collection '46 Variationen zur
steigenden Übung für Clavier-Schüler, und zur Erleichterung des
Unterrichtes für die Lehrmeister als ein noch vorhandenes Bedürfnis
verfertiget und herausgegeben'.
German cellist, composer and conductor. After the early death of his
mother, he received general education at the Carlsschule in Stuttgart,
the military academy founded by the duke, where he became friendly with
Friedrich von Schiller and the sculptor Johann Heinrich Dannecker. He
studied cello with Eberhard Malterre and cello and composition with
Agostino Poli in Stuttgart, and in 1781 became solo cellist in the Court
Orchestra there. In 1783, he married Luise Andreae with whom he had
seven children. He served as music master at the Carlsschule (1785-94),
and in 1791 was made director of German music at the Stuttgart Court
Theater. In 1793 he succeeded Poli as court Konzertmeister, where he
championed the works of W.A. Mozart. As a composer, he produced 12
operas at Stuttgart, of which the best was 'Die Geisierinsel', after
Shakespeare's 'The Tempest' (1798). His other stage works included
'Zalaor' (1787), 'Tamira' (1788), 'Das Pfauenfest' (1801), and
'Ebondocani' (1803). His music also includes a monodrama, five sets of
incidental music, two Masses, 14 sacred and 16 occasional cantatas, an
ode, two symphonies, 12 concertos (10 for cello and two for flute, in
addition to a concertante for two flutes), two cello sonatas, a trio for
three cellos, and four duos. However, his name became widely known
through the numerous ballads and lieder (c.300 works) published from
1791 onwards. His son Gustav Adolf Zumsteeg (1794-1859), after taking
over his mother’s music shop (1821), helped to found the Stuttgart male
choir Liederkranz (1824) and later established a music publishing house
for choral works (1825), which remained active until it was purchased by
Kazimierz Sikorski in 1940. His daughter Emilie Zumsteeg (1796-1857)
was a singer, pianist and composer.
Jean Gilles (1668-1705)
- Laudate nomen domini // En Simphonie
Performers: Marie-Claire Cottin (soprano); Pierre Pеgaud (tenor); Joseph
Sagе (countertenor); Jacques Bοna (bass); Michel Carеy (baritone);
Avignοn Vocal Ensemble; Georges Durаnd (conductor)
French composer. He received music training in the choir school of the
Cathedral of St. Sauveur at Aix-en-Provence. His teacher was Guillaume
Poitevin, who also taught André Campra and Esprit Antoine Blanchard. On 5
November 1688, at Poitevin’s request, he shared the positions of
sous-maître and organist with another student, Jacques Cabassol.
Poitevin retired on 4 May 1693 and he succeeded him as maître de
musique. After moving on several times, he was appointed maître de
musique at the Cathedral of St Etienne at Toulouse in 1697, as the
successor of André Campra. In 1701 the Duke of Burgundy and the duc de
Berry, grandsons of Louis XIV, visited Toulouse with great ceremony.
With the attention this event brought him, Gilles’s reputation grew, and
in July 1701 he was offered the directorship of the choir school at
Notre Dame des Doms, Avignon. He agreed to accept, and Rameau was
appointed to deputize until he arrived, but although Gilles may have
spent a short time at Avignon he never left his post at Toulouse. As a
composer, his most famous work was Messe des morts, which contains an
erudite fugue in its Requiem, attesting to Gilles's excellent technique.
It became part of the regular services at funerals and was performed at
services for Louis XV in 1774. He additionally wrote 32 choral motets
and other sacred works.
Italian composer. He was the son of French oboist Alexis Saint-Martin
and older brother of the better-known composer Giovanni Battista
Sammartini. Young Giuseppe's first instruction likely came from his
father, and by 1711 the two brothers were performing together in an
orchestra. Giuseppe's first surviving compositions date to the
mid-1710s. Around the time of that publication, Giuseppe and Giovanni
became members of a Milan orchestra and by 1720 they had joined that
city's Regio Ducal Theater orchestra. In 1729, Giuseppe departed Italy
for Brussels, where he remained briefly before traveling to London, the
city he would settle in for the remainder of his career. He was already
recognized in England as a promising composer, owing to the publication
there of his 12 Trio Sonatas in 1727. But it was his musicianship on the
oboe that made him a celebrity in the English capital. In the 1730s
Sammartini played in Handel's orchestra and performed in many
productions of Handel's operas, including that of Arminio, which
features difficult obbligato writing for the oboe in the Act II aria,
"Quella fiamme." In 1736 Sammartini was appointed music teacher in the
household of Prince Frederick of Wales. His duties included instructing
the Prince's wife Augusta and her children in music, and undoubtedly
involved many private chamber music performances before the Prince and
his retinue. Sammartini held this post until his death. This final
decade-and-a-half was apparently a very happy time for him: many of his
works date to this period, some carrying dedications to the Prince (12
Sonatas, Op. 1; 1736) and to Augusta (12 Trios, Op. 3; 1743). Sammartini
died at the household of the Prince during the week of November 17,
1750.
Italian teacher and composer. Son of the composer active in Hanover,
Matteo Lotti, he received early lessons from Giovanni Legrenzi. He
became a salaried alto singer on 30 May 1689, assistant to the second
organist on 6 August 1690, second organist on 31 May 1692, and first
organist on 17 August 1704. Seven years earlier, in 1697, he was
'maestro di cappella' for the church of the Spirito Santo, and the
following year, he finished an entire book of masses, presumably for use
there and at San Marco. He also composed sacred music for the Ospedale
degli Incurabili, although the terms of his appointment there, if any,
are not known. He excelled equally as an opera composer for the Venetian
theatre, with sixteen works premiered between 1706 and 1717 alone.
Having reached fame as one of the most celebrated church and theater
composers of his time, he was invited in September of 1717 together with
his wife, Santa Stella, a renowned soprano, and several musicians from
the basilica of San Marco, by the Electoral Court of Saxony to come to
Dresden for a two year residency. During his stay in Dresden, he wrote
numerous sacred works, chamber music, and three operas that were given
during the festival month, in the new opera house that Augustus II 'the
Strong' had built especially for this occasion. In 1719 he returned to
his posts in Venice. Despite the success of his psalm motet Miserere of
1733, thereafter sung every Holy Thursday at San Marco for the rest of
the century, he failed to win the election to be 'maestro di cappella'
when the post fell vacant that year. He finally won the appointment on 2
April 1736, which qualified him for the annual salary of 400 ducats and
free lodging in the piazza de’ Canonici. As a teacher, he was highly
praised and several of his pupils became accomplished composers, among
them, Domenico Alberti, Girolamo Bassani, Baldassare Galuppi,
Michelangelo Gasparini, Benedetto Marcello and Giambattista Pescetti.
Antonio Lotti was the last of the great Baroque 'maestro di cappella' of
San Marco in Venice, his legacy of sacred music, including at least 10
masses and 2 requiems, remained in the regular repertory of the basilica
throughout the 18th century. He could compose in the stile antico for
liturgy, and his polyphony might comprise as many as 10 voices full of
dissonant suspensions. He was also internationally prominent in the
musical theater, having composed at least 24 operas and 8 oratorios, as
well as at least 88 secular cantatas; a 1705 publication of vocal duets,
trios, and “madrigals”; a concerto for oboe d’amore; 6 sonatas for
violin and continuo; 6 sinfonie; and a half-dozen assorted chamber
works.
Italian organist, composer and teacher. Born and raised in Bologna, his
father was an organist and organ builder. Following in his footsteps, he
played the organ in Bologna and nearby towns to support his family
after his father's death. He studied counterpoint under Stanislao Mattei
and was admitted to the Accademia Filarmonica in 1805. Later, he
succeeded Mattei as choirmaster of San Petronio in Bologna and was
appointed professor of counterpoint at the Liceo Filarmonica, a position
he held until his death. Among his notable pupils were Michele Puccini
and Francesco Cellini. As a composer, he wrote at least two operas:
"L'ajo in imbarazzo" and "Non essere geloso." He also composed
instrumental pieces, including three concertos, and sacred music.
Additionally, he published a treatise on instrumentation titled "Breve
insegnamento teorico sulla natura, estensione, proporzione armonica...
per tutti strumenti."
German composer. Son of the Kantor Friedrich Georg Fasch (1663-1700), he
was recruited at age 13 by Johann Kuhnau for the St. Thomas School in
Leipzig. He founded a collegium musicum at the university there in 1708
through which Fasch became familiar with the Italian concertos of
Antonio Vivaldi and others. Despite having little formal training in
composition, he was invited to compose operas by Duke Moritz Wilhelm of
Saxe-Zeit in 1711 and 1712, and, thereafter, he held positions as
violinist in Bayreuth in 1714, as organist in Greiz until 1721, and then
as Kapellmeister in Prague, before reluctantly accepting the same post
in Zerbst in 1722. He was not altogether happy with the strict Lutheran
regime there, but although he visited elsewhere, particularly Dresden,
he remained in Zerbst for the rest of his life. His friend Georg Philipp
Telemann gave performances of his church music in Hamburg, and Johann
Sebastian Bach prepared several transcriptions of his overtures for
performances with the Leipzig Collegium Musicum. Fasch's innovative
orchestral writing foreshadowed the Classical style. Most of his vocal
compositions (13 masses, 66 church cantatas, 9 church cantata cycles, 14
serenatas, and 4 operas) are lost, but his instrumental works survive
in manuscript and represent an important pre-classical oeuvre: 87
overtures, 18 solo concertos, 46 ensemble concertos, 18 trio sonatas, 12
sonatas a quattro and 19 symphonies. After Georg Philipp Telemann, he
probably was the most famous German composer toward the end of the
Baroque. His son Carl Friedrich Christian Fasch (1736-1800) was
harpsichordist and composer at the court of Frederick the Great in
Berlin from 1756.
