FRIGEL, Pehr (1750-1842) - Ouvertura in c-moll (1777)

Pehr Frigel (1750-1842) - Ouvertura in c-moll (1777)

Performers: Kungliga Operаns Orkester; Philip Brunеllе (conductor)

Drawing: Seger Tielemans (publisher active 1663-1771) - Stockholm

Further info: Royal Swedish Court: Music from the 18th Century

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Pehr (Per, Peter) Frigel [Frigelius]

(Kalmar, 2 September 1750 - Stockholm, 24 November 1842)

Swedish composer. Son of Pehr Frigelius and his wife Ingrid Helena Wahlberg, in 1755 his father was made vicar of Madesjö, where the family settled until Frigel was enrolled at Kalmar grammar school. During his school years he studied violin, organ and music theory for cathedral organist Hans Björkman Hansson; then from 1770 to 1776 he pursued further studies in Uppsala, where he also served as deputy both for the university’s director musices and for the cathedral organist. In Stockholm he became acquainted with Johann Gottlieb Naumann and Joseph Martin Kraus, both of whom gave him further instruction in composition. In 1778 he was elected to the Swedish Royal Academy of Music, and in 1780 two of his symphonies were performed; he became secretary of the academy in 1794, a post he held for 47 years. His most productive period as a composer was between 1795 and 1815, during which time he wrote overtures, symphonies, numerous cantatas for the Jakobskyrka and the academy. He also collaborated with Carl Stenborg on the incidental music to 'Äfventyraren, eller Resan till Månens ö' (‘The Adventurers, or The Journey to the Isle of the Moon’, 1791), and 'Kotzebue’s Eremiten' (1798). The oratorio 'Försonaren på Oljeberget' (‘The Redeemer on the Mount of Olives’) to a text by Samuel Ödmann, performed at the Royal Opera in 1815, is considered his finest work. His only opera, 'Zoroaster', was never performed, but some arias for French operas were produced at the Royal Opera. He taught music theory at the Swedish Royal Academy of Music from 1814 to 1830. He died in 1842 at the age of 92, having just recently been awarded a medal in his image for his long service to the academy. He composed in a classical style, and he expressed a preference for what he termed 'orthodox' music.

DE CASTRO, Francisco José (c.1670-c.1730) - Concerti accademici a quattro

Francisco José de Castro (c.1670-c.1730) - Concerti accademici a quattro, cioe un'oboe, due violini e violone con la parte per il cembalo consecrati all'Illustrissimo Signore Carlo da Persico dall'Accademico Formato, Opera Quarta (1708)

Performers: Collegium Instrumentale

Painting: Carel van Falens (1683-1733) - Noblemen on horseback conversing with peasants

Further info: Conciertos académicos de Francisco José de Castro

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Francisco José (Francesco Giuseppe) de Castro [‘Accademico Formato’]

(Sevilla, c.1670 - c.1730)

Spanish composer. He was a Jesuit novice, educated at the Collegio dei Nobili di San Antonio Viennese in Brescia, where he studied music with the composer and organist Paris Francesco Alghisi. He was sponsored as a member of the Accademia dei Formati by Count Cayetano Giovanelli, to whom he dedicated his first publication, 'Trattenimenti armonici da camera a tre, due violini, violoncello, o cembalo ... opera prima' (Bologna, 1695). Like Castro's other three publications, the Trattenimenti armonici were issued under the pseudonym ‘Accademico Formato’. No exemplars of opp.2 and 3 are known; op.4 is a set of 'Concerti accademici a quattro, cioe un'oboe, due violini e violone con la parte per il cembalo ... Opera Quarta' (Bologna, 1708). He was one of the few Spanish composers of this period who cultivated the non-religious instrumental music genre. He was not related to Spanish playwright Francisco de Castro (1672-1713).

IVANSCHIZ, Amandus (1727-1758) - Missa ex D

Amandus Ivanschiz (1727-1758) - Missa ex D# | a | Canto Alto | Tenore Basso |

Violino primo | Violino Secundo | Alto Viola obligata | Clarinis 2|b|u|s Organo

Performers: Aleksandra Lewandowska (soprano); Katarzyna Hołysz (mezzosoprano); Piotr Szewczyk (tenor);

Maciej Straburzyński (bass); Accademia dell' Arcadia; Bartłomiej Stankowiak (conductor)

Painting: Bernardo Bellotto (1721-1780) - The Freyung in Vienna

Further info: Jasnogórska Muzyka Dawna vol.26

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Amandus (Matthias Leopold) Ivanschiz [Ivanschitz, Ivanschütz, Ivanscics, Ivančić, Ivančič et al.]

(Wien, bap. 24 December 1727 - Ort?, 1758)

Austrian composer. Only fragmentary information about his life is available. He entered the Pauline order in his hometown and choose the name of Amandus likely by the end of 1742. After his novitiate in the Ranna monastery at the age of 16 (1743) he took his monastic vows. He then studied in Maria Trost and Wiener Neustadt, where he was ordained a priest on November 15, 1750. Between 1751 and 1754 he stayed in Rome as an assistant to the Procurator General of the order, from where he returned to Wiener Neustadt. In 1755 he was sent again to the Maria Trost monastery, where he died in 1758, at the young age of 31. He was a prolific and popular composer: there survive about 100 works by him in manuscripts copies, dating mostly from 1762 to 1772 and scattered throughout the Habsburg Empire and in south Germany. His music is characteristic of the transition from late Baroque to early Classical style, and his best works are his masses and symphonies. The masses are mostly scored for four soloists, four-part choir, two violins and bass and a pair of trumpets; some are of considerable dimensions, and they show distinct Neapolitan traits. The symphonies, many of which have four movements, are scored for strings, sometimes with a pair of trumpets or horns. The trios, entitled variously ‘Divertimento’, ‘Nocturno’, ‘Sinfonia’, ‘Sonata’ and ‘Parthia’, are mostly in three movements in the same key; Ivanschiz’s frequent use of the viola as the second solo instrument is a forward-looking trait.

BYSTROM, Thomas (1772-1839) - Sonate pour le Pianoforte et Violon obligé

Thomas Byström (1772-1839) - Sonate (B-Dur) des 'Trois sonates pour le clavecin ou pianoforte

avec accompagnement d'un violon obligé composées par ... Oeuvre. 1 (1801)

Performers: Izumi Tateno (piano); Yoshiko Arai (violin)

Drawing: James Gillray (1757-1815) - Playing in Parts

Further info: Musica Fennica 1772-1843

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Thomas Byström

(Helsinki, 28 August 1772 - Stockholm, 2 October 1839)

Finnish-Swedish music teacher, composer and military officer. The son of a successful statesman in the province of Finland (then part of Sweden), he was encouraged to study violin and piano at an early age by his father. In 1787 he enrolled at a military academy in St. Petersburg, later joining the Swedish army in 1792 as an adjutant and subsequently aide-de-camp to Gustav IV Adolph. He was mostly stationed in Stockholm beginning with his Swedish army career and was thus able to participate in musical social circles. He was elected in 1794 to the Royal Swedish Academy of Music, and in 1801 he published a set of violin sonatas, as well as a series of strophic Lieder. As a government military official, however, his compositional career was limited. He taught music for a period (1813-1825) at the Royal Academy. He was elected an honorary member of the Harmoniska Sällskapet in 1832. As a composer, his works, dated from the period 1794 to 1805, include the three violin sonatas, nine songs, and a set of variations on a Russian theme, as well as several smaller keyboard works. His style has been likened to early Ludwig van Beethoven in its use of motives and sequencing, as well as bold harmonic modulations.

DE FESCH, Willem (1687-1761) - Concerto Grosso (1741)

Willem de Fesch (1687-1761) - Concerto Grosso (D-Dur) des

'VIII Concerto's in seven parts' ... Opera the Tenth (1741)

Performers: La Sfera Armoniosa; Mike Fentross (conductor)

Painting: Jan Josef Horemans (1714-1792) - A music party on a terrace

Further info: Willem de Fesch - Concerti Grossi and Violin Concerto

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Willem (William, Guillaume, Guglielmus) de Fesch [Defesch, de Veg, de Feghg, du Feche]

(Alkmaar, bap. 26 August 1687 - London, 3 January 1761)

Dutch composer and violinist. He was the son of Louis de Fesch and Johanna Maasbragt. Despite his parents’ marriage in Amsterdam (1685) and his brother’s birth in Alkmaar, the family orginated from the Pays de Liège and returned to Liège before 1690. De Fesch may have been a choirboy or even a singer in Liège during the 1690s. By about 1710 both he and his elder brother Pieter (1685-?) had settled in Amsterdam: Pieter had stayed some years in Leiden, where he was registered as a musician at the University on 6 June 1706. In Amsterdam De Fesch married Anna Maria Rosier, daughter of the composer Carl Rosier, who was active in Bonn, Amsterdam and Cologne. The names Willem, Pieter and Anna Maria de Fesch occur in the accounts of the City Theatre for dancing, singing and playing during the years 1708-21. De Fesch remained in Amsterdam until 1725. During this period he made several appearances as a concert violinist, including three at Antwerp in 1718, 1719 and 1722. In 1725 he was appointed kapelmeester at Antwerp Cathedral in succession to Alphonse d’Eve, a post he held until 1731, when he resigned because of repeated quarrels with the chapter and the chapel – quarrels for which his temperamental, mean and slovenly character was apparently to blame. A few years later De Fesch was with his family in London, where he remained for the rest of his life. In London, De Fesch was able to develop his activity as a concert violinist and virtuoso to the full. He seems to have been organist of the Venetian Chapel in London during the first years of his stay in England. He also appeared frequently as a concert violinist, often performing his own compositions. In 1748 and 1749 De Fesch directed the orchestra at Marylebone Gardens. After 1750 he seems to have withdrawn from public life.

ROSENMULLER, Johann (1619-1684) - Sinfonie con cinque stromenti (1660)

Johann Rosenmüller (1619-1684) - Sinfonie con cinque stromenti aus 'Sonate da camera cioè sinfonie, alemande, correnti, balletti, sarabande, da suonare con cinque stromenti da arco, et altri' (1660)

Performers: Gradus ad Parnassum Wien; Ton Kοοpman (conductor)

Painting: Follower of Pier Francesco Mola (1612-1666) - Homer playing the violin, in the company of a pupil

Further info: Sonate da camera

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Johann (Giovanni) Rosenmüller [Rosenmiller]

(Oelsnitz nr Zwickau, 24 August 1619 - Wolfenbüttel, bur. 12 September 1684)

German composer, trombonist, organist and teacher. He studied music at the Olsnitz Lateinschule and theology at the University of Leipzig (1640). There he most likely continued his musical studies with Tobias Michael, cantor of the Thomasschule, and he is listed as an assistant there in 1642, being made first assistant in 1650. He was also named organist of the Nicolaikirche in 1651 and music director in absentia of the Altenburg court in 1654. However, he lost these posts when he and several of the schoolboys were arrested and incarcerated as homosexuals in 1655. He escaped and eventually made his way to Venice, where he became a trombonist at San Marco in 1658. He secured a position as a composer there by 1660, and later was composer at the Ospedale della Pieta (1678-1682). He then returned to Germany to serve as Kapellmeister at the Wolfenbuttel court. He was a distinguished composer of both sacred vocal works and instrumental music. His compositions were well known in Germany and helped to advance the acceptance of the northern Italian styles.

GORCZYCKI, Grzegorz Gerwazy (c.1665-1734) - Missa Rorate Coeli

Grzegorz Gerwazy Gorczycki (c.1665-1734) - Missa Rorate Coeli

Performers: Aldona Bartnik (soprano); Matthew Venner (alto); Maciej Gocman (tenor); Tomáš Král (bass);

Andrzej Kosendiak (conductor)

Painting: Marcin Zaleski (1796-1877) - Wnetrze kosciola OO.Dominikanów w Krakowie (1849)

Further info: Gorczycki - Sacred music

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Grzegorz Gerwazy Gorczycki [Gorczyca, Gorczyce, Gorzzyski]

(Rozbark, c.1665 - Kraków, 30 April 1734)

Polish composer. He studied philosophy at Prague University from about 1678 to 1683, and then theology at Vienna University until 1689. At the beginning of 1690 at the latest, he moved to Kraków, where he was ordained in spring 1692. Soon afterwards he was appointed professor at the Congregatio Missionis at Chełmno, Pomerania; one of his duties there was to direct the music in the chapel. In 1694 he returned to Kraków and became a curate and from 1696 the penitentiary of Wawel Cathedral. He was composing by this time, since one of his works, 'Tota pulchra es, Maria', is dated 1694. In 1698 he was made director of music at Wawel Cathedral, a position that he retained until his death. From 1702 he was also a senior member of the chapel of the Angelists at the cathedral. In 1705 he became canon of the collegiate church of Skalbmierz and from about 1720 parish priest of one of the Kraków churches. He conducted the Wawel chapel at the coronation of the Elector August III of Saxony at Kraków on 17 January 1734, and died shortly afterwards. He was mainly a composer of liturgical music to Latin texts. He was long remembered, particularly in Kraków.

SALULINI, Paolo (1709-1780) - Concerto con Saltero (1751)

Paolo Salulini (1709-1780) - Concerto (Sol maggiore) con Saltero e VV. (1751)

Performers: Karl-Heinz Schickhaus (1938-2007, dulcimer); Münchener Kammerorchester;

Hans Stadlmair (1929-2019, conductor)

Painting: Carlo Lodi (1701-1765) & Antonio Rossi (1700-1753) - Telemaco vede mentore trasformarsi in Minerva

Further info: Concerto Con Salterio

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Paolo Salulini

(Siena, 1709 - Siena, 1780)

Italian composer. He received his initial musical training in Siena under 'Il Cavaliere de la Cioja' before undertaking advanced studies with Padre Giovanni Battista Martini at the Accademia Filarmonica in Bologna. Following his education, he returned to Siena, serving for several years as principal violinist of the opera orchestra. On 5 May 1765, he was appointed maestro di cappella at Siena Cathedral, a position he held until his death. During his fifteen-year tenure at the cathedral, he produced an extensive body of sacred music, including a complete annual cycle of modern-style orchestral services for Sundays and feast days. Among his liturgical works, his Requiem Mass for Emperor Francis I (1765) is particularly noted for its structural and counterpuntal merit. Although his sacred output remains largely unstudied, he is occasionally remembered for his secular instrumental output, notably a 'Concerto con Saltero' (1751).

SALIERI, Antonio (1750-1825) - Serenade in F-Dur (c.1773)

Antonio Salieri (1750-1825) - Serenade in F-Dur (c.1773)

Performers: Heidelberger Sinfoniker; Timo Jouko Herrmann (conductor)

Painting: Jacques François Joseph Swebach (1769-1823) - Halte de cavaliers dans un paysage vallonné

Further info: Salieri - Strictly Private

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Antonio (Anton) Salieri [Saliori]

(Legnago, 18 August 1750 - Vienna, 7 May 1825)

Italian composer, mainly active in Vienna. After studying with his brother Francesco Salieri, he received further education from Giuseppe Simone, a student of Padre Giovanni Battista Martini. After the deaths of his parents between 1763 and 1765, he was taken as a protégé by Giovanni Mocenjo in Venice. There he continued his studies with Giovanni Pescetti and Ferdinando Pacini until 1765. The following year he was taken by Florian Gassmann to Vienna, where in 1770 his first operas were performed. In 1778 he returned to Italy and succeeded in establishing a reputation for his works for the stage, and upon his return to Vienna in 1780 he wrote a German Singspiel, Der Rauchfangskehrer, for his newly emerging national theatre. Thereafter Christoph Willibald von Gluck took him on as a disciple, allowing him secretly to compose Les Danaïdes for Paris. This and work as a tutor to the royal family allowed him to be appointed as hofKapellmeister in 1788. By 1790 he began to withdraw from active duty, leaving much of the work to his student, Joseph Weigl, and although he had a revived career as an opera composer a few years later, his last work, Die Neger, was written in 1804. As a teacher, Salieri had numerous pupils who made major contributions to the world of music, including Ludwig van Beethoven and Franz Schubert. For many years he was the head of the Tonkünstlersozietät and in 1815 was responsible for programming the music that accompanied the Treaty of Vienna conference. Although his reputation has suffered through mostly unfounded rumors of his relationship with Mozart, he must be considered one of the main composers of the entire era. His music demonstrates good orchestrational skill, dramatic use of harmony, excellent attention to form, and a good grasp of theoretical principles. A prolific composer, his works include 41 operas, five oratorios, five Masses, two Requiems, 13 graduals, 31 offertories, 18 introits, seven Psalms, 10 hymns, 12 motets, 17 choruses, 96 insertion or concert arias, 13 secular cantatas, 180 canons, 20 vocal quartets, 70 vocal trios, 50 vocal duets, 45 songs, five ballets, four symphonies, seven concertos and sinfonia concertantes, five serenades, and a large amount of smaller chamber works. He cataloged his own sacred music around 1817, but his works have been cataloged according to A numbers.

FOCKING, Hendrik (1747-1796) - Sonata pour la flûte traverse

Hendrik Focking (1747-1796) - Sonata in D-Dur des

'VI Sonates pour la flûte traverse solo avec une basse continuo ... œuvre première'

Performers: Wilbert Hazelzet (traverso); Amsterdams Barok Ensemble

Drawing: Pierre Fouquet (1753-1799) - Gezicht op het Stadhuis, de Nieuwe Kerk en de Waag op de Dam te Amsterdam

Further info: Music from the Netherlands

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Hendrik Focking

(Danzig, 17 August 1747 - Amsterdam, 7 April 1796)

Dutch composer, organist and carillonneur. His parents were Mennonites from Haarlem who lived in Danzig from 1739 to 1752, when they moved to Amsterdam. He was blind, and it may be assumed that he received his musical instruction from the blind organist Jacob Potholt. From 1769 until his death he was carillonneur at the Oude Kerk and the Regulierstoren (now Munttoren), Amsterdam. In 1780 he became organist of one of the Mennonite communities in Amsterdam, the one usually called ‘bij het Lam en bij de Toren’, after the locations of its churches. Focking taught the well-known blind Amsterdam organist and carillonneur Daniël Brachthuyzer (1779-1832). His only known compositions are the 'VI sonates pour le flute traverse solo, avec une basse continuo, oeuvre première'. They follow the pattern of the mid-18th-century three-movement solo sonata and their style resembles that of North German composers. They were published privately by the composer, lack a dedication and are undated. His son Cornelis Focking (1770-?) was also an organist.

BUTNER, Crato (1616-1679) - Te Deum Laudamus (1662)

Crato Bütner (1616-1679) - TE DEUM LAUDAMUS: ... 12. Vocibus & 8. Instrumentis binisq; Tubis & Tympano, | unà cum | BASSO CONTINUO PRO ORGANO ... | ANNO M DC LXII. (1662)

Performers: Cappella Gedanensis; Alina Kowalska-Pinczak (Conductor)

Painting: Neapolitan school (18th century) - The Pool of Bethesda

Further info: Te Deum Laudamus

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Crato (Cratone) Bütner [Büthner, Bytner, Buthnerus et al.]

(Gotha or Sonneberg, 1616 - Danzig, 1679)

German composer and organist. Nothing is know of his early years. From 1650 he was organist of St Saviour, on the outskirts of Danzig. He soon became Kantor and director of music at St Catherine; according to Hermann Rauschning he was appointed in 1652, though he still described himself as organist of St Saviour in publications up to 1654. In both parishes he was required to teach in schools, and as director of music at St Catherine he could rely on the services on average of eight instrumentalists and six singers. It was to his directorship that the church owed its prominent position in the musical life of Danzig. Evidence of Bütner's activities and of the extensive and varied cultivation of music in the Danzig of his day was afforded by a collection of printed music, consisting of some 150 pieces, both instrumental and vocal, by Italian, Polish and German composers and including over 50 sacred vocal works by Bütner himself. His numerous surviving works are very varied both in their forms and in the forces for which they are scored, some of the latter being substantial. Most of them are Lutheran settings of German words which introduced the sacred concerto to Danzig. Typical features of his music include short-winded motivic writing, simple harmony, a quick succession of short, compressed sections and the setting off against each other of homophonic groups of voices. The style of his music, even if it is somewhat inexpressive, was something quite new in Danzig.

Sig. Matouš (18th Century) - Parthia ex Dis

Sig. Matouš (18th Century) - Parthia ex Dis

Performers: Prague Mozart Trio

Drawing: George Johann Scharf (1788-1860) - Street musicians

Further info: Musique en Trio pour Instruments a Vent

JANIEWICZ, Feliks (1762-1848) - Concerto à Violon Principal (1804)

Feliks Janiewicz (1762-1848) - Cinquième concerto (e-moll) à violon principal, deux violons, deux alto,

basse, flûte, deux bassons, deux hautbois et deux cors (1804)

Performers: Zbigniew Pilch (violin); Musicae Antiquae Collegium Varsoviense; Kai Bumann (1961-2022, conductor)

Painting: Józef Marszewski (1827-1883) - Vilnius viewed from Tauras Hill (1872)

Further info: Concertos for violin and orchestra

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Feliks (Felice, Felix) (Benjamin) Janiewicz [Yaniewicz, Jennewitz, Yarnold]

(Vilnia, 1762 - Edinburgh, 21 May 1848)

Polish violinist and composer. He probably received his initial training in Warsaw, becoming a musician in the court orchestra of King Stanisław August in 1777. In 1784 he decided to move to Vienna, where he performed at various concerts for several years, and in 1787 he made his debut at the Concerts spirituels in Paris. There he was also employed in the orchestra of the duc d’Orléans. In 1792 he went to London, where he appeared as violinist and composer, first at private concerts and soon afterwards in public, mostly at Salomon’s concerts. His next London appearances were apparently not until 1794. He also gave concerts in other English cities, in Scotland and Ireland. In 1800 he married Miss Eliza Breeze of Liverpool, where in 1801 he opened a 'Music, Musical Instrument Warehouse', which traded until 1829; he also had a music shop in London, 1810-12. In 1815 he moved to Edinburgh. He led the orchestra in the first Edinburgh Festival in the same year and in subsequent festivals (1819, 1824), and was an active teacher and organizer of musical life. In February 1829 he gave his last public concert. As a composer, his music is largely for his own instrument and consists of five violin concertos and six trios for two violins and cello. The style is reminiscent of Giovanni Battista Viotti. He left two talented daughters, Felicia Janiewicz, a pianist, and Paulina Janiewicz, a harpist.

DIEUPART, Charles (1676-1751) - Suitte de Clavessin (1701)

Charles Dieupart (1676-1751) - Suitte (II) de Clavessin des 'Six suittes de clavessin divisées en ouvertures, allemandes, courantes, sarabandes, gavottes, menuets, rondeaux & gigues composées & mises

... dédiées à Madame la Comtesse de Sandwich' (1701)

Performers: Luc Beauséjour (harpsichord); Hervé Niquet (harpsichord)

Painting: German School (18th century) - Portrait of Nun or collegiate lady

Further info: Musique Française À Deux Clavecins

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Charles (François) Dieupart [Diepart]

 (Paris, 10 August 1676 - Saint-Germain-sur-École, 26 January 1751)

French harpsichordist, violinist and composer. Nothing is known of his early years. Son of Nicolas Dieupart (?-1700), an ordinary musician to Louis XIV's Grande Ecurie, at some point, he befriended Elizabeth Wilmot of Rochester, countess of Sandwich, and Jacques Paisible who were visiting James II of England in his exile at Saint-germain-en-Laye near Paris. He is first heard of in England in an advertisement for a concert at Drury Lane, London, on 11 February 1703, when he accompanied Gasparo Visconti in some of Arcangello Corelli’s sonatas. According to John Hawkins, he played the harpsichord and Nicola Francesco Haym the cello in this and Giovanni Bononcini’s 'Il trionfo di Camilla' (1706), and he wrote an overture and chaconne for Peter Anthony Motteux’s pasticcio 'Thomyris' (1707). He was evidently a prominent member of the Drury Lane musical establishment. In the winter of 1707-1708 he was among those involved in setting up a rival operatic project at the Queen’s Theatre in the Haymarket, London, and wrote and arranged music for its first production, Motteux’s pasticcio 'Love’s Triumph' (1708); Motteux wrote in the preface that any success ‘will owe not a little to Mr Dieupart, for his share in the Contrivance of the Entertainments and his supplying what Recitative and other Music was necessary’. According to Hawkins, Dieupart played continuo with Haym in Alessandro Scarlatti’s 'Pyrrhus and Demetrius' (1708), and he played in the Haymarket orchestra until about 17 November 1710, when he was apparently dropped. He did not entirely retire from concert life: concertos by him were performed at Drury Lane for ‘Two Hautboys and Two Flutes’ (14 March 1722), ‘Little Flute’ (11 May 1722), ‘Hautboys, Flutes and Violins’ (15 May 1723), as well as a trumpet sonata (14 May 1726). Hawkins wrote that Dieupart ‘grew negligent’ towards the end of his life, ‘and frequented concerts performed in ale-houses, in obscure parts of the town, and distinguished himself not more there, than he would have done in an assembly of the best judges, by his neat and elegant manner of playing the solos of Corelli’. His last known appearance was in Hampstead on 11 September 1724, when he played ‘Violin Concertino’ and was billed as ‘Capt Dupar, Scholar to the late celebrated Signor Corelli, and late Musick Master to his present Highness the Prince of Orange’.

BELISSEN, Laurent (1693-1762) - Laudate Pueri

Laurent Belissen (1693-1762) - Laudate Pueri | Motet a grand choeur et Simp. e | Par M.r. Belissen. | Maitre de Musique du Concert de Marseille | & de L'abbaye de Saint Victor de la Meme Ville

Performers: Les Festes D'Orphée; Guy Laurent (conductor)

Painting: Gérard de Lairesse (1641-1711) - The Marriage Feast of Peleus and Thetis

Further info: Grands Motets en Provence

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Laurent Belissen [Bellissen, Bellissens]

(Aix-en-Provence, 8 Aug 1693 - Marseilles, 15 July 1762)

French composer. His home was near the Cathedral of St Sauveur in Aix; although there is no evidence that he was admitted to the choir school, he was probably one of the last composers to study with Guillaume Poitevin, maître de musique there. By 1722 Belissen was in Marseilles, where he made his career. He followed Blanchard as maître de musique at the Abbey of St Victor, and held this position for the rest of his life, also directing the Académie de Concerts in Marseilles. Many of Belissen's works are lost or in uncatalogued collections. The extant works, principally grands motets, reveal a style markedly different from the Versailles motets of Lalande, Campra and Mondonville. Belissen preferred a four-voice texture to the five-voice one popular with the Versailles composers. His choral style combines French and Italian characteristics: his choral fugues are highly developed and repeat the text continuously in the Italian manner. His orchestral treatment in the motets also reflects Italian practices, with the use of ritornello passages as an important articulatory device.

TITZ, Anton Ferdinand (1742-1810) - Sinfonia in C-Dur

Anton Ferdinand Titz (1742-1810) - Sinfonia in C-Dur

Performers: Pratum Integrum Orchestra

Drawing: Thomas Rowlandson (1756-1827) - A Musical Family (1802)

Further info: Instrumental Music

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Anton (August) Ferdinand Titz [Tietz, Dietz, Dietzsch]

(Nuremberg, 1742 - St Petersburg, 25 December 1810)

German violinist and composer. He was orphaned at an early age and was taught painting in Nuremberg by his uncle and aunt. By the age of 16 he was a violinist at St Sebaldus’s church there. After an unhappy love affair a few years later he went to Vienna, where he played in the opera orchestra and may have studied with Joseph Haydn. In 1771 he became a member of the Hofkapelle in St Petersburg; Catherine the Great paid him the highest salary of any of her court musicians. He also taught at the theatre school, gave the future Tsar Aleksandr I violin lessons, directed a court chamber orchestra (which included the clarinettist Joseph Beer and other outstanding musicians), and performed publicly, for instance in 1782, but most of his performances were at court, as a violinist and viola d'amore player. Later in life he suffered a mental disorder that sometimes prevented him from working, but he was encouraged and protected by Senator Aleksey Grigoryevich Teplov, a St Petersburg amateur musician. He dedicated three string quartets to Teplov and three more to Aleksandr I. Ludwig Spohr remarked in 1803 that his former technique, noted particularly for sensitivity in adagios, had largely vanished. His salon cantata, 'Le pigeon bleu et noir gémit', was a favorite with private audiences in St. Petersburg on into the 19th century. Anton Ferdinand Titz established a reputation in Europe for his development of the string quartet, of which he composed 18. Other works include 11 violin sonatas, 10 string quintets, three duos for two violins, a symphony, and a violin concerto. Other works composed for the Russian court have been lost. He has often been confused with the Dresden violinist Ludwig Tietz (1774-1827).

HERNANDEZ Y LLANA, Francisco (c.1700-1780) - Cantada de Navidad (1765)

Francisco Hernandez y Llana (c.1700-1780) - Aria 'Barbaro' de la Cantada de Navidad 'Allende el orbe' (1765)

Performers: Mariví Blasco (soprano); Harmonia del Parnàs; Marian Rosa Montagut (conductor)

Painting: Franz Carl Remp (1675-1718) - Der Tanz um das goldene Kalb

Further info: Bárbaro

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Francisco Hernández y Llana [Yllana, Illana]

(Alzira, c.1700 - Burgos, 9 May 1780)

Spanish composer. Originated from Lubiano (Álava), he was born in Alzira (Valencia). He began his career in 1723 upon being appointed maestro de capilla at Astorga Cathedral, during which time he also made unsuccessful attempts to secure the post at Santiago de Compostela Cathedral in 1723 and 1724. He subsequently moved to Valencia in 1728 to serve at the Royal College Seminary of Corpus Christi (El Patriarca), before being appointed maestro de capilla at Burgos Cathedral in 1729, a prestigious position he held for over five decades until his death. As a composer, he cultivated a vast repertoire primarily dedicated to sacred music, characterized by liturgical works and vernacular compositions; notably, his surviving output includes sacred pieces housed across his former places of employment (Astorga, El Patriarca, and Burgos) as well as archives in El Escorial, Segorbe, and Arantzazu (which preserves three Spanish-texted religious works), alongside nine instrumental recercadas preserved at El Patriarca. 

PEREYRA DA COSTA, Antonio (c.1697-1770) - Concerto grosso (1741)

Antonio Pereyra da Costa (c.1697-1770) - Concerto grosso (b-moll) 'Concertos grossos com doys violins, e violão de concertinho obrigados: e outros doys violins, viola e orgão, de concerto grosso a arbitrio

... opera premeira' (1741)

Performers: Ensemble Bonne Corde; Diana Vinagre (conductor)

Painting: Jan Josef Horemans (1682-1759) - A park landscape with a musical party outside an Italianate villa

Further info: Concerti Grossi

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Antonio Pereyra da Costa [Pereira da Costa]

(Funchal, c.1697 - Funchal, 14 April 1770)

Portuguese composer and priest. His early years are unknown. He served as the mestre de capela at the Cathedral of Funchal in Madeira from around 1740 until his death. While contemporary accounts, such as the 1750 Gazeta de Lisboa, attest to his composition of vocal works for regional religious observances, his enduring musicological significance rests upon his surviving Opus 1, a collection of twelve concerti grossi (1741). This corpus constitutes a critical milestone in Iberian music history, representing both the sole extant set of 18th-century concerti grossi of Portuguese provenance and the first printed musical publication by a Madeira-based musician. Stylistically, Pereira da Costa’s instrumental work demonstrates a rigorous mastery of the Corellian Italianate structural model, which he innovatively synthesized with distinct Iberian melodic and rhythmic idioms to produce a highly localized and vibrant expression of the late Baroque aesthetic. He also published 12 Serenatas for the Guitar (London, c.1755).

MÜLLER, Johann Kasper (1743-1804) - Magnificat

Johann Kasper Müller (1743-1804) - Magnificat aus 'Vesperae ex C'

Performers: Cantus et Musica Freiburg; Raimund Hug (conductor)

Painting: Francesco Panini (1745-1812) - Innenansicht von St. Peter in Rom mit päpstlicher Prozession

Further info: Freiburger Kirchenmusik des 18

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Johann Kasper Müller [Muller]

(1743 - Freiburg?, 1804)

German composer. Nothing is known of his life and career. He was probably active as a composer in Freiburg im Breisgau. He presumably served as a parochial organist or Kapellmeister, contributing functional sacred repertoire to the Catholic liturgical traditions of southwestern Germany. While much of his output remains lost, his legacy rests upon a recently recovered collection of Vesperae ex C. This extant manuscript offers insight into regional sacred composition, demonstrating a conservative yet refined adherence to late 18th Century choral counterpoint and homophonic textures characteristic of the southern German church style.

STRATIKO, Josip Mihovil (1728-1783) - Concerto a due Violini Obbligati

Josip Mihovil Stratiko (1728-1783) - Concerto (D-Dur) a due Violini Obbligati

Performers: Bojan Čіčіć & Ivan Jаkšеkovіć (violins); Croаtіаn Baroque Ensemble

Painting: Elias Mögel (?-1786) - Still life with a violin (1760)

Further info: Josip Mihovil Stratiko (1728-1783) - Concerto a due Violini Obbligati

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Josip Mihovil (Giuseppe Michele) Stratiko [Stratico]

(Zara [now Zadar, Croatia], 31 July 1728 - Sanguinetto, 31 January 1783)

Croatian composer and violinist. The son of a Venetian nobleman, he received his education in Padua, where he studied under Giuseppe Tartini and Antonio Sberti. Sometime between 1758 and 1763 he moved to Sanguinetto, a town near Verona, where he accepted the position of vicario. Also there, he wrote his treatise, Trattato di musica, as well as taught pupils. Due to his family connections, he had little need to find employment, and thus he could concentrate on his own theories and musical composition. His works still need a thorough study and include 35 symphonies, 61 violin concertos, 15 violin duos, 170 violin sonatas, six string quartets, and 50 trios, as well as a number of smaller chamber works. His finest compositions are his concertos for the violin, which are strongly influenced by Tartini, and his six string quartets. His brother Symeon Filippos Stratigos (1733-1824) was a prominent physician, educator and scientist known to Goldoni and Voltaire.

ROSQUELLES, Miquel (c.1641-1684) - Magnificat anima mea

Miquel Rosquelles (c.1641-1684) - Magnificat anima mea

Performers: La Companyia Musical; Josep Cabré (conductor)

Drawing: Johann III Stridbeck (1707-1772) - Barcelona, die Haupt Statt in Catalonien (c.1745)

Further info: Florilegium Musicum Cataloniae

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Miquel (Miguel) Rosquelles

(Moià, c.1641 - Barcelona, 29 July 1684)

Spanish teacher and composer. Almost nothing is known of his life. He began his association with the basilica of Santa Maria del Mar in Barcelona in 1669, when the incumbent mestre Josep Reig ceded the duties of the post to him. Rosquelles formally succeeded Reig on 22 February 1674, in a post he held until his death. As a composer, his surviving output comprises five villancicos for 11 to 13 voices, an eight-voice mass, a Nunc dimittis and a Compline (both scored for 15 voices), a Magnificat and the hymn Te lucis ante terminum. As a teacher, his most notable pupil was the prominent theorist and composer Francesc Valls.

MOZART, Franz Xaver (1791-1844) - Concerto pour le Piano Forte (c.1809)

Franz Xaver Mozart (1791-1844) - Concerto (C-Dur) pour le Piano Forte, Op.14 (c.1809)

Performers: Henri Sigfridsson (piano); International New Symphony Orchestra; Gunhard Mattes (conductor)

Painting: Karl Gottlieb Schweikart (1772-1855) - Portrait of Franz Xavier Wolfgang Mozart (1825)

Further info: Franz Xaver Mozart (1791-1844) - Klavierkonzert Es-Dur, Nr.2 (c.1819)

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Franz Xaver Wolfgang (‘Wolfgang Amadeus’) Mozart

(Vienna, 26 July 1791 - Carlsbad, 29 July 1844)

Austrian composer and pianist, the sixth child and younger surviving son of Wolfgang Amadeus and Constanze Mozart. He received his first piano instruction in 1796 from František Xaver Dušek in Prague, where he lived with the Dušek family. In Vienna he continued his studies under Sigismund Neukomm, Andreas Streicher, J.N. Hummel, Antonio Salieri, G.J. Vogler and J.G. Albrechtsberger. His first compositions, which include the Piano Quartet op.1, appeared in 1805. On 30 March 1807 Salieri declared his pupil to possess ‘a rare talent for music’, and prophesied a career for him ‘not inferior to that of his celebrated father’. On 22 October 1807 Franz Xaver went to Lemberg (now L'viv). In Podkamien he accepted a post as tutor in the home of Count Viktor Baworowski, a position he held until December 1810. In 1811 he became a music teacher in the home of the imperial chamberlain, Janiszewski, in Sarki (near Lemberg). He gave up that post in 1813 and lived as a freelance musician in Lemberg, where he supervised the training of Julie Baroni-Cavalcabò. From 1819 to 1821 he undertook an extended concert tour during which he played in Kiev, Warsaw, Copenhagen (where he saw his mother and his stepfather, Georg Nikolaus Nissen), Hamburg, Berlin, Leipzig, Dresden (where he visited his cousin, Carl Maria von Weber), Prague, Vienna, Venice, Milan (where he visited his brother Carl), Zürich, Berne, Frankfurt, Mannheim, Augsburg, Munich and Salzburg (where he visited his aunt, Maria Anna).

In 1822 he returned to teach in Lemberg; in 1826 he went to Salzburg to see his mother. In the same year he renewed his studies in counterpoint with Wagenseil’s pupil, Johann Mederitsch, who bequeathed him all his compositions. Also in that year he founded the Cäcilien-Verein in Lemberg, but in 1838 he left Lemberg and settled in Vienna. In 1841 he was made honorary Kapellmeister of the Dommusikverein and the Mozarteum in Salzburg, and in 1842 he stayed with his brother there during celebrations on the unveiling of the Mozart memorial; at the festival concert he played his father’s D minor Piano Concerto k466. In December of the same year the Congregazione ed Accademia di S Cecilia in Rome named him maestro compositore onorario. In his will Franz Xaver stipulated, among other things, that any of his father’s autographs found in his papers, his father’s portrait and piano, as well as his own library, should be given to the Dommusikverein and the Mozarteum as a lasting memorial to his father. This Mozart-Nachlass passed partly to the Internationale Stiftung Mozarteum and partly to the consistorial archive in Salzburg. The brilliant pianistic figuration prominent in Franz Xaver’s music reveals the particular influence of his teacher Hummel. The more relaxed quality and richer sonority of his piano writing, as reflected especially in his Second Piano Concerto (1818), however, hint at the characteristic piano style of Chopin and Liszt.

STEFFANI, Agostino (1654-1728) - Dixit Dominus a 10

Agostino Steffani (1654-1728) - Dixit Dominus a 10

Performers: Neue Hofkapelle Munchen; Christoph Hammer (conductor)

Painting: Simon Vouet (1590-1649) - Model for Altarpiece in St. Peters

Further info: Agostino Steffani - Musica Sacra

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Agostino (Augustinus, Gregorio) Steffani [Staffani, Stefani, Steffano, Stievani et al.]

(Castelfranco Veneto, 25 July 1654 - Frankfurt, 12 February 1728)

Italian diplomat and composer. His musical career began as a soprano at the church of Il Santo in Padua, and he sang in a Carnival opera of Venice, probably Carlo Pallavicino’s 'Demetrio' in 1666. The Elector Ferdinand Maria of Bavaria took him to Munich, where he studied with Johann Caspar Kerll. He visited Rome in 1672 for more education and had his first sacred music published. In July 1674, he was appointed court organist in Munich. In 1678 and 1679, he visited Paris and heard a tragédie lyrique of Jean-Baptiste Lully, and in January 1681, his first opera, 'Marco Aurelio', was mounted in Munich. He made his first contact with Hanover on a diplomatic mission and was appointed Kapellmeister by Duke Ernst August in summer 1688. In the 1690s, he was occupied increasingly by diplomatic work concerning the status of Hanover and the War of the Spanish Succession. In 1703, he entered the service of Elector Palatine Johann Wilhelm, in Düsseldorf, and thereafter composed very little music. He continued to take an interest, however, and was even elected president of London’s Academy of Ancient Music on 1 June 1727. A composer who, as diplomat, helped to secure the elevation of the city of Hanover to electorate status and, as churchman after his ordination in 1680, rose to the rank of apostolic vicar for northern Germany and also left a legacy of about 14 operas, 3 lighter stage works, 10 psalm settings, a Stabat Mater (his greatest work in his own estimation), a few instrumental works, and about 75 chamber cantatas for two voices, almost all composed before 1702, the music for which he was most famous in his time.

BUSTIJN, Pieter (1649-1722) - Suite in g-moll (c.1712)

Pieter Bustijn (1649-1722) - Suitte (V, g-moll) pour le Clavessin (c.1712)

Performers: Bob van Asperen (harpsichord)

Painting: Isaac de Moucheron (1667-1744) - An italianate landscape with figures resting by a fountain

Further info: The Harpsichord In The Netherlands (1580-1712)

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Pieter (Pierre) Bustijn [Bustyn, Bustin, Bystyn]

(Middelburg?, bap. 25 July 1649 - bur. Middelburg, 22 November 1729)

Dutch organist, carillonneur and composer. His family were French-speaking. He may have studied with Remigius Schrijver (?-1681), a Middelburg organist; he completed the music for 'Uitbreidinge over het Bouk der Psalmen' (1682, lost), begun by Schrijver, who had died before completion of the work. In 1681 he was appointed organist of the Nieuwe Kerk, and carillonneur of the abbey bell tower in Middelburg. He served as organ adviser in Middelburg and Goes and may have been director of the Middelburg collegium musicum during the period 1681-1729. In 1712 the carillon of the Middleburg abbey tower was destroyed; its replacement, constructed by the famous bellfounders Jan Albert de Grave and Claas Noorden of Amsterdam in 1714, was inspected by Bustijn and Abraham de Coup, organist of the Walloon church and carillonneur of the market bell-tower, and, according to various reports, was of outstanding quality. Relatively little Dutch keyboard music of the time has survived. Bustijn’s IX suittes pour le clavessin (Amsterdam, c.1712) are of great importance to the history of the genre in the Netherlands. Their balanced arrangement by key is reminiscent of the use of symmetrical cycles culminating in the art of Bach. Their style points to that of the keyboard works of Bach and Handel, as well as showing some French influence.

QUILMETES, Carles (1775-1834) - Sinfonia 1a (1804)

Carles Quilmetes (1775-1834) - Sinfonia 1a (1804)

Performers: Música Antiga de Girona; Albert Bosch (conductor)

Painting: Balthasar Beschey (1708-1776) - Fishmarket

Further info: Música Antiga de Girona

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Carles Quilmetes [Quilmetas]

(Vic, 1775 - Girona, 1834)

Spanish violinist, double bassist, and composer. After receiving his studies in composition in Barcelona, he was appointed as a violinist at Girona Cathedral, where his tenure spanned more than forty years. Notably, he was the first lay musician to secure a permanent position within the cathedral's musical chapel (capella de música), frequently performing on both the violin and the double bass. His career was severely disrupted in 1809 by the Siege of Girona during the Peninsular War. As liturgical music was marginalized, lay musicians faced acute financial hardship due to the chapter's inability to provide regular stipends. Following the French occupation, he petitioned for readmission in 1811; initially granted only charitable alms, he was formally reinstated in December of that year under a severely diminished annual salary of twenty pounds. Upon his retirement in 1826, the cathedral chapter permitted his grandson, Carles Sipiera Quilmetes, to act as his substitute, though the youth was denied a permanent chair owing to his age. As a composer, he belonged to a prominent multi-generational lineage of cathedral string players that also included his son, the priest and long-standing chapel violinist Josep Quilmetes. While the vast majority of his works are lost, his surviving output is distinguished by a three-movement work, the Symphony No.1 (1804). 

BORGHI, Luigi (c.1745-c.1806) - Sonata pour Violon et Basse (1772)

Luigi Borghi (c.1745-c.1806) - Sonata pour Violon et Basse from

'Six | SOLOS | for a | Violin and Bass | Humbly Dedicated to | SIR ROWLAND WYNNE Bar' (1772)

Performers: Daniel Pintеño (violin); Concеrto 1700

Drawing: Paul Sandby (1731-1809) - The North Terrace of Windsor Castle

Further info: Violin Sonatas in Late 18th-Century

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Luigi Borghi [Porchi, Porghi]

(Bologna, c.1745 - London, c.1806)

Italian composer and violinist. A student of Gaetano Pugnani, he moved to London in 1769 at the behest of William Hamilton. A prominent orchestral violinist, he was leader of the second violins at the Handel Commemoration of 1784 and at the Professional Concert from 1785 until 1792. He composed ballet music for the Italian opera, was assistant manager of O’Reilly’s opera company at the Pantheon in 1791 and, shortly afterwards, married the prima donna Anna Casentini (fl. 1787-1796). The bulk of his music was published during his lifetime and includes six violin concertos, six symphonies-overtures, two ballets, 12 violin sonatas (titled “solos”), nine duos for two violins, 12 duets, 64 cadenzas, and a sonata for viola d’amore. His music is representative of the 'Empfindsamkeit style', with good contrast and lyrical motivic lines. He was not related to Giovanni Battista Borghi (1738-1796).

SINGER, Josef Anton (1810-1882) - Missa pastoralis (1860)

Josef Anton Singer (1810-1882) - Missa pastoralis (1860)

Performers: Heike Heilmann (soprano); Julia Diefenbach (soprano); Johannes Puchleitner (tenor);

Andreas Dürlinger (tenor); Markus Flaig (bass);

Chor und Orchester der Akademie St. Blasius; Karlheinz Siessl (conductor)

Painting: Wilhelm Ludwig Friedrich Riefstahl (1827-1888) - Kinderbegräbnis in Passeier (Tirol) (1886)

Further info: Tiroler Weihnachtskonzert 2017

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(Josef Anton) Peter (Petrus) von Alcantara (Alkantara) Singer

(Unterhäselgehr, [now Häselgehr, Tyrol] 18 July 1810 - Salzburg, 25 January 1882)

Austrian composer, organist, music theorist, and instrument maker. The son of a miller, bell founder, and instrument maker, he attended the gymnasium in Hall in Tirol from 1824 to 1830 before entering the Franciscan Order in Salzburg in 1829, where he took his simple vows in 1830, solemn profession in 1833, and was ordained a priest in 1834. He pursued theological studies in Salzburg, Schwaz, and Bolzano until 1837, subsequently serving as organist and choir director in Bolzano and Innsbruck between 1837 and 1840. From 1840 onward, he resided at the Franciscan monastery in Salzburg, where he also held the position of master of novices. In addition to developing a harmonium and several physharmonica variants, he constructed the Pansymphonikon in 1845, a reed-based keyboard instrument designed to emulate a full orchestra that drew widespread admiration from notable contemporary figures, including Franz Lachner, Franz Liszt, and Richard Wagner. In his theoretical treatise 'Metaphysische Blicke' he drew upon the traditions of Jean-Philippe Rameau and Anton Reicha to argue that all music derives from the tonic triad, a concept he termed the "primal harmony" (Urharmonie) and associated with the Holy Trinity, alongside its auxiliary harmonies, namely the dominant seventh and the subdominant with an added sixth. As a composer, he adhered to the standard Franciscan scoring for organ and choir, occasionally utilizing vocal soloists; however, his orchestral style of organ accompaniment, rich harmonic language, and unconventional text setting (characterized by omissions and rearrangements) stood in stark contrast to the aesthetic tenets of the Caecilian movement. Conversely, his virtuosic organ performances, particularly his pedal technique, were highly acclaimed by both Franz Liszt and Anton Bruckner.

HEINICHEN, Johann David (1683-1729) - Concerto con Corni da Caccia

Johann David Heinichen (1683-1729) Work: Concerto (F-Dur) con Corni da Caccia, Seibel deest

Performers: Musica Antiqua Köln; Reinhard Goebel (conductor)

Painting: Scuola del XVIII secolo - Ritratto di gentiluomo con lettera

Further info: Per L'Orchestra Di Dresda

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Johann David (Davidde) Heinichen [Heinchen, Heinnichen, Heinick]

(Krössuln, nr Weissenfels, 17 April 1683 - Dresden, 16 July 1729)

German composer and theorist. He was the son of David Heinichen who, after an education at Leipzig's Thomasschule and the university, moved to Krössuln for a lifelong career as pastor. Johann David also attended the Thomasschule Leipzig. There he studied music with Johann Schelle and later received organ and harpsichord lessons with Johann Kuhnau. The future composer Christoph Graupner was also a student of Kuhnau at the time. Heinichen enrolled in 1702 to study law at the University of Leipzig and in 1705-06 qualified as a lawyer (in the early 18th century the law was a favored route for composers; Kuhnau, Graupner and Georg Philipp Telemann were also lawyers). Heinichen practiced law in Weissenfels until 1709. However, Heinichen maintained his interest in music and was concurrently composing operas. In 1710, he published the first edition of his major treatise on the thoroughbass. He went to Italy and spent seven formative years there, mostly in Venice, with great success with two operas, Mario and Le passioni per troppo amore (1713). Mario was staged again in Hamburg in 1716 with the German title, Calpurnia, oder die romische Grossmut. In 1712, he taught music to Leopold, Prince of Anhalt-Köthen, who took him as composer. The same prince would appoint Johann Sebastian Bach Kapellmeister at the end of 1717. In 1716, Heinichen met in Venice Prince Augustus III of Poland, son of King Augustus II the Strong, and thanks to him was appointed the Royal-Polish and Electoral-Saxon Kapellmeister in Dresden. His pupils included Johann Georg Pisendel. In 1721, Heinichen married in Weissenfels; the birth of his only child is recorded as January 1723. In his final years, Heinichen's health suffered greatly; on the afternoon of 16 July 1729, he was buried in the Johannes cemetery after finally succumbing to tuberculosis. 

HOTTETERRE, Jacques-Martin (1673-1763) - Suite en Re majeur (1708)

Jacques-Martin Hotteterre (1673-1763) - Suite en Re majeur des 'Première livre de Pieces pour la flûte-traversiere, et autres instruments, avec la basse-continue ... augmentée de plusieurs agréments, et d’une démonstration de la manière qu’ils se doivent faire; ensemble une basse adjoutée aux pièces de deux flûtes' (1708)

Performers: Frans Brüggen (1934-2014, flute); Wieland Kuijken (cello); Gustav Leonhardt (1928-2012, harpsichord)

Painting: Nicolas Lancret (1690-1743) - Picnic after the Hunt

Further info: Suites ∙ Sonatas ∙ Pièces ∙ Brunettes

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Jacques (Martin) Hotteterre ‘le Romain’ [Haulteterre, Haute terre, Hoteterre, Obterre et al.]

(Paris, 29 September 1673 - Paris, 16 July 1763)

French composer. Son of Martin Hotteterre (c.1635-1712), he was the most celebrated member of the family, and had a brilliant career as a player, teacher and composer. In about 1704, he succeeded his cousin Jacques Hotteterre in the post of basse de hautbois et taille de violon at the royal court. Hotteterre lived and studied in Rome early in his career, and his nickname le Romain (the Roman) came from this period. He spent two years (1698-1700) employed by Prince Francesco Ruspoli in Rome, before adopting the nickname of "Le Romain" at some point between 1705 and 1707. By 1708, he became a musician to the King of France, in the king's 'Grande Écurie, and in 1717, he inherited René Pignon Descoteaux's post as Jouëur de Fluste de la musique de chambre. He owed his fame largely to his talent for playing the flute, an instrument for which he wrote a number of pieces, significantly extending the repertory for the instrument. In addition, he played the bassoon, oboe, and musette. Hotteterre was also an internationally celebrated teacher to aristocratic patrons. He wrote one method for the transverse flute, recorder, and oboe, published in 1707, as well as a method for the musette, published in 1737. His 'L'Art de préluder sur la flûte traversière' was published in 1719. It was Europe's first flute manual and was used widely. He died in Paris in 1763.