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.