Unknown composer (18th Century)
- Sinfonie in D-Dur
Performers: Sephira Ensemble Stuttgart
Further info: Glanz des Rokoko
dimecres, 21 de gener del 2026
dilluns, 19 de gener del 2026
GORDINI, Paolo (18th Century) - Sonata per il Cembalo
Paolo Gordini (18th Century)
- Sonata (Fa maggiore) per il Cembalo
Performers: Vаnia dаI Mаso (cembalo)
Further info: Il Clavicembalo a Venezia
---
Paolo Gordini (18th Century)
Italian composer and harpsichordist primarily active in Venice during
the transition from the late Baroque to the Galant style. Nothing is
known about his life. As a composer, he left several harpsichord
sonatas. His musical language is characterized by the melodic elegance
and rhythmic clarity typical of the Venetian school, drawing stylistic
parallels to contemporaries such as Baldassare Galuppi and Domenico
Alberti.
diumenge, 18 de gener del 2026
PERNECKHER, Franciszek (1712-1769) - Vesperae Dominicales â 9 Stromenti
Franciszek Perneckher (1712-1769)
- Vesperae Dominicales (C-Dur) â 9 Stromenti | Canto Alto Tenore
Basso | 2 Violini | 2 Clarini | Con | Organo | Pro Choro Clari Montis C.
Nro. 34
Performers: Anna Krawczyk (soprano); Piotr Olech (alto); Maciej Gocman
(tenor); Mirosław Borczyński (bass);
Concerto Polacco; Marek Toporowski
(conductor)
Further info: Musica Claromontana vol.47
---
Polish violinist and composer. While much of his personal life remains
unknown, he was documented as a violinist and Kapellmeister at the
Pauline Monastery at Jasna Góra in between 1759 and 1768. He must have
been a unique musician when compared with other band members, as at 250
złoties his remuneration ranked among the highest in the ensemble’s
history. Although early thematic catalogues, such as the one by Paweł
Podejko, originally attributed six Masses to him, modern musicological
research, including handwriting analysis and RISM database comparisons,
has confirmed that only two can be definitively attributed to
Perneckher: the Missa Nativitatis Domini in A and the Missa Nativitatis
in F. He also left, among others, two collection of Vesperae, two
sonatas, two symphonies, and Offertories. Other works formerly
associated with his name have since been reattributed to contemporary
composers like František Xaver Brixi or remain unidentified due to the
fragmentary state of the surviving sources.
divendres, 16 de gener del 2026
MANCINI, Francesco (1672-1737) - Concerto a 4 (1725)
Francesco Mancini (1672-1737)
- Concerto (sol minore) di Flauto, Violini, Violetta e Basso (1725)
Performers: Jean-Pierre Boullet (recorder); Ensemble Baroque Le Rondeau
---
Italian organist and composer. He entered the Conservatorio di S Maria
della Pietà dei Turchini in 1688 as a student of organ, where he studied
with Provenzale and Ursino; after six years he was employed as an
organist. At the beginning of the 18th century he entered the service of
the viceroy and in 1704 became the principal organist of the royal
chapel. He was appointed maestro di cappella there in 1708 but by
December of that year the post was returned to Alessandro Scarlatti and
Mancini became his deputy (in 1718 he obtained a guarantee that he would
succeed Scarlatti). In 1720 he became Director of the Conservatorio di S
Maria di Loreto, and so played an important part in the training of a
new generation of composers. Mancini succeeded Scarlatti in 1725,
remaining in the post until his death. In 1735, however, he suffered a
stroke and remained semi-paralysed until his death two years later.
dimecres, 14 de gener del 2026
GRAUPNER, Christoph (1683-1760) - Sinfonia a 5 (1747)
Christoph Graupner (1683-1760)
- Sinfonia (D-Dur) | a | 2 Corn: | Tymp: | 2 Violin | Viola | e | Cembalo (1747)
Performers: Idées heureuses Ensemble
Further info: Christoph Graupner (1683-1760) - Ouverture in G (c.1733)
---
German composer. The son of Christoph Graupner (1650-1721) and Maria
Hochmuth (1653-1721), he was born into a family of tailors and
clothmakers. He received his earliest musical training from the local
Kantor Michael Mylius (who early detected Graupner’s exceptional
abilities to sing at sight) and the organist Nikolaus Kuster. In 1694 he
followed Kuster to Reichenbach, remaining there under his guidance
until admitted as an alumnus of the Thomasschule in Leipzig, where he
remained from 1696 to 1704. His teachers there included Johann Schelle
and Johann Kuhnau, for whom he also worked as copyist and amanuensis.
His subsequent studies in jurisprudence at the University of Leipzig
were broken off in 1706 through a Swedish military invasion, and he
emigrated to Hamburg. In Leipzig he had already made firm and
artistically stimulating friendships with G.P. Telemann (then director
of the collegium musicum) and Gottfried Grünewald. At Hamburg in 1707 he
succeeded J.C. Schiefferdecker as harpsichordist of the Gänsemarktoper.
Between 1707 and 1709 Graupner composed five operas for this theatre
and possibly collaborated with Reinhard Keiser in the joint composition
of another three. His librettists included Hinrich Hinsch and Barthold
Feind, a jurist-satirist-aesthetician. In 1709, in response to an
invitation from Ernst Ludwig, Landgrave of Hesse-Darmstadt, he accepted
the position of vice-Kapellmeister to W.C. Briegel, whom he succeeded on
the latter’s death in 1712. In 1711 he was married to Sophie Elisabeth
Eckard, who bore him six sons and a daughter; her younger sister was
married to a Lutheran pastor, Johann Conrad Lichtenberg of Neunkirchen
in Odenwald, the author of the texts of most of Graupner’s subsequent
cantatas.
Under Graupner’s direction the Darmstadt Hofkapelle experienced a period
of vigorous expansion. At its peak (1714-18) the Kapelle employed 40
musicians, many of whom, in keeping with practices of the day, were
adept in several different instruments. In these early years of his long
incumbency, Italian operas were performed frequently and he centred his
activities on operatic compositions. Between 1712 and 1721 he also
renewed his early friendship with Telemann, then active in Frankfurt.
After 1719, however, financial pressures enforced a reduction in the
size of the Kapelle and Graupner composed no more operas, concentrating
instead on the cantata, orchestral and instrumental forms. During this
period most of the orchestral personnel were obliged to find subsidiary
employment, often in other court duties, and the relationship between
the Landgrave and his musicians deteriorated. In 1722-23 he successfully
applied (in competition with J.S. Bach) for the Thomaskirche cantorate
in Leipzig, on Telemann’s withdrawal, but when the Landgrave refused
acceptance of his resignation, granting him a significant increase in
salary and other emoluments, he decided to remain in Darmstadt. There
his reputation attracted a number of important composers, including J.F.
Fasch, as his students. Until his activities were restricted by failing
eyesight and eventually blindness in 1754, he remained extraordinarily
prolific, producing 1418 church cantatas, 24 secular cantatas, 113
symphonies, about 50 concertos, 86 overture-suites, 36 sonatas for
instrumental combinations and a substantial body of keyboard music.
dilluns, 12 de gener del 2026
HAINDL, Franz Sebastian (1727-1812) - Synfonia in G (c.1765)
Franz Sebastian Haindl (1727-1812)
- Synfonia in G. à 2 Violini, Viola Obl. 2 Corni in G. e Basso (c.1765)
Performers: Innsbrucker Kammerorchester; Othmar Costa (1928-2018, conductor)
---
German Kapellmeister, violinist and composer. His grandfather Philipp
Haindl (?-c.1681) was a choral director at Ebersberg (near Munich), and
his father Johann Sebastian Haindl (1645-1732) was a choirboy at Munich
Cathedral, a singer in the Damenstift at Hall, and the choral director
at Altötting (1683-1706, and from 1715). Haindl first studied music with
his stepfather, the tenor Wolfgang Stängelmayr, and as a choirboy at
the Altötting collegiate church. He studied the violin at Munich and
went to Innsbruck in 1748. In 1752 Duke Clemens of Bavaria appointed him
first violinist at the Munich court, a post he held until about 1778,
though he stayed much of the time at Innsbruck, where he met Leopold
Mozart. After Duke Clemens's death in 1770 he frequently performed
festival music at monasteries in the Tyrol, where most of his extant
works are held. From 1785 to 1803 he served the Bishop of Passau as a
violinist, personal servant and (according to Gerber) from 1793 as
musical director of the theatre.
diumenge, 11 de gener del 2026
PUCKLITZ, Johann Daniel (1705-1774) - Erstanden ist der heil'ge Christ
Johann Daniel Pucklitz (1705-1774) - Concerto. ex D.# | auf Ostern. (Erstanden ist der heil'ge Christ) | a 2
Chör | C. A. T. B. | Due Oboen | Due Violini | Viola | C. A. T. B. | Due
Clarini e Tympani |
2 Oboes Si: pl: | Taille e Basson | a 4 | Tromboni
Rip: | e | Fondamento
Performers: Heike Hеilmann (soprano); Ewa Zеunеr (alto); Virgil
Hartingеr (tenor); Marek Rzеpka (bass);
Goldbеrg Baroque Ensemble;
Andrzej Mikolаj Szаdеjko (conductor & organ)
Further info: Easter Cantatas of 18th Century Gdańsk
---
German composer. Almost nothing is known about him. A lifelong resident
of the city of Danzig (now Gdańsk), he was a member of the City Council
Ensemble, which served both the municipal government and St. Mary’s
Church, and he organized public concerts on Młyńska Street. His 62
surviving works, written in the Late Baroque style, include cantatas,
oratorios, and masses. His cantata 'Freue dich, Danzig' was dedicated to
the young harpsichordist Johann Gottlieb Goldberg, a future student of
Johann Sebastian Bach and the work's likely first performer. Pucklitz's
compositions, such as the Christmas cantata 'Denen zu Zion wird ein
Erlöser', are notable for their use of the bombard, an instrument that
remained active in Danzig after it had fallen out of use in the rest of
Europe. His manuscripts are held at the Gdańsk Library of the Polish
Academy of Sciences.
divendres, 9 de gener del 2026
MASSONNEAU, Louis (1766-1848) - Sinfonie à grand orchestre (1794)
Louis Massonneau (1766-1848)
- Sinfonie (c-moll) à grand orchestre 'La tempête et le calme'
... œuvre 5me (1794)
Performers: Mеcklеnburg-Schwеriner Hofkapelle; Ivаn Törzs (conductor)
Further info: Musik der Mecklenburg-Schweriner Hofkapelle
---
German violinist, composer and conductor of French descent. He was a son
of a French chef cuisinier at the Kassel court; there he studied the
violin with the Kapellmeister Jacques Heuzé and composition with the
violinist Joseph-Karl Rodewald. In 1783 he became a violinist and viola
d'amore player in the Hofkapelle of Landgrave Frederick II. In 1785,
after the death of the landgrave, he moved to Göttingen to become first
violinist at the Academic Concerts, under the direction of Johann
Nikolaus Forkel. In 1795 he was appointed conductor at Frankfurt, two
years later he occupied the same post at the new theatre in Altona and
in 1799 he was conductor of the prince's chapel at Dessau. In April
1803, he settled in Ludwigslust, as assistant to the Kapellmeister
Eligio Celestino. When Celestino died on 24 January 1812, he assumed the
roles of orchestral conductor and Kapellmeister until his retirement in
1837. As a composer, he wrote three symphonies, several concertos, and
many chamber music as well as sacred and secular music. His music shows
familiarity with the violinistic idiom, fine feeling for orchestral
sonority and gift for lyricism.
dimecres, 7 de gener del 2026
VANURA, Česlav (1694-1736) - Laetentur coeli (1736)
Česlav Vaňura (1694-1736) - Laetentur coeli aus 'Cultus Latriae seu duodecim offertoria
solemnia, accomodata primariis per annum festivitatis domini, a quatuor
vocibus, canto, alto, tenore, basso, violinis duobus, alto-viola,
trombis partim duobus, partim quatuor tymp. & organo ... op. 2'
(1736)
Performers: Thurgauer Kammerchor; Thurgauer Barockensemble; Raimund
Rüegge (conductor)
Further info: Festliche Musik aus Böhmen
---
Boehmian composer. Nothing is known about his youth. As a member of the
Minorite order he was appointed first organist to the convent church of
St James at Prague in 1734. On the title-page of his 'Offertories Cultus
Latriae seu duodecim offertoria solemnia ... Op.2' he is referred to as
regens chori there. In 1735 he was awarded the degree of magister
musicae. Although he might have been active at the Prague Minorite
convent in the same years as his elder contemporary Bohuslav Matěj
Černohorský, he was apparently not Černohorský's pupil. As a composer,
his works stand near to Černohorský and Šimon Brixi, especially the
offertories, written in a late Baroque idiom with a characteristic
mixture of concerto style and contrapuntal texture. His 'Litanies' are
primarily homophonic. He sometimes aimed at pictorial interpretation of
the text, and his orchestration is varied, with emphasis on the brass
instruments.
dilluns, 5 de gener del 2026
STARZER, Joseph (1726-1787) - Divertimento in C-Dur
Joseph Starzer (1726-1787)
- Divertimento in C-Dur
Performers: Seattle Trumpet Consort
Further info: Music For The Natural Trumpet
---
Austrian composer and violinist. No details of his musical training are
known, but it has been surmised that he studied with court composer
Giuseppe Bonno, the teacher of his sister Catharina Starzer. By about
1752 he was a violinist in Vienna's Burgtheater orchestra, where he
began his career as a composer of ballets. During the winter of 1758-59,
he went to Russia, where he was active at the Imperial court in St.
Petersburg; gave concerts and later was made Konzertmeister and then
deputy Kapellmeister and composer of ballet music; served as maitre de
chapelle et directeur des concerts in 1763. Returning to Vienna about
1768, he composed several notable ballets. With Florian Leopold
Gassmann, he helped in 1771 to organize the Tonkiinstler-Sozietat, for
which he wrote a number of works. In 1779 he retired as a violinist and
in 1785 gave up his duties with the society. Joseph Starzer was one of
the leading Austrian composers of his day, winning distinction not only
for his ballets but for his orchestral and chamber music; his string
quartets have been compared favorably with those of Joseph Haydn.
diumenge, 4 de gener del 2026
PERGOLESI, Giovanni Battista (1710-1736) - In hac die tam decora (c.1732)
Giovanni Battista Pergolesi (1710-1736)
- Mottetto a Più voci 'In hac die tam decora' (c.1732)
Performers: Rachel Redmont (soprano); Marta Fumagalli (contralto); Ghislieri Choir & Consort; Giulio Prandi (conductor)
---
Italian composer and violinist. Following early training in Jesi under
Francesco Santini, he enrolled in the Conservatorio dei Poveri di Gesù
Cristo in Naples, where his teachers were Gaetano Greco and Francesco
Feo. He began his compositional career composing oratorios, such as the
1731 'La conversion e morte di San Guglielmo'. His first opera,
'Salustia', written for Naples in 1732, was a limited success, but he
was appointed as maestro di capella to Prince Ferdinando Colonna
Stigliano. Other operatic successes followed, but the most important was
his 1733 'Il prigionero superbo' with its two-act intermezzo 'La serva
padrona'. This is considered a seminal work in the creation of the
buffa. A second appointment at the court of the Duke of Maddaloni in
1734 led to further commissions, such as the opera 'L’Olimpiade', which
premiered at the Teatro Tordinona in Rome in 1735. Although this work
was initially not a success, Pergolesi’s career was meteoric. His
health, however, deteriorated and in 1736 he was confined to the
Capuchin monastery in Pozzuoli, where he died from tuberculosis.
Although he was only 26, he completed 11 operas and oratorios, two
Masses, five cantatas (including Orfeo in 1736), two Salve Reginas, one
Magnificat, a set of Marian vespers, and his most famous work, the
Stabat mater, which was commissioned by the Confraternità dei Cavalieri
di San Luigi di Palazzo shortly before his death (although a later
composer, Giovanni Paisiello, claimed it had actually been written
around 1730). His instrumental works were few, including four violin
sonatas and possibly a violin concerto. Following his untimely death,
his reputation spread throughout Europe, and a number of works were
falsely attributed to him, such as a set of six concerti grossi (now
known to be by Uno van Wassenaer). His Stabat mater was performed widely
(in various arrangements), and his Serva padrona was considered the
epitome of the new Italian comic style, particularly in Paris, where it
served as the center of the Querelle des bouffons. His style emphasizes
diatonic melody and triadic harmony, often with good contrasting themes.
He was a leading figure in the rise of Italian comic opera in the 18th
century.
divendres, 2 de gener del 2026
BRIXI, František Xaver (1732-1771) - Concerto ex F Organo Principale
František Xaver Brixi (1732-1771)
- Concerto ex F Organo Principale
Performers: Ales Bаrtа (organ); Virtuosi di Prаga; Oldrich Vlcеk (conductor)
---
Bohemian organist and composer. Son of Šimon Brixi (1693-1735), he
received his musical education at the Piarist Gymnasium in Kosmonosy.
His teachers included Václav Kalous, a significant composer. In 1749 he
left Kosmonosy and returned to Prague, where he worked as an organist at
several churches. In 1759 he was appointed Regens chori (choir
director) and Kapellmeister of St Vitus Cathedral, thus attaining, at
age 27, the highest musical position in the city; this office he held
till his early death. He wrote some 290 church works (of the most varied
type), cantatas and oratorios, chamber compositions, and orchestral
compositions. He was a prolific composer of music for the liturgy, and
wrote more than 100 masses, vespers and motets, among others. He also
composed secular music such as oratorios and incidental music, concertos
and symphonies. Brixi died of tuberculosis in Prague in 1771, at the
age of 39.
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