WAGENSEIL, Georg Christoph (1715-1777) - Sinfonia à 5

Georg Christoph Wagenseil (1715-1777) - Sinfonia (D-Dur) | a | Corno Primo | Corno Secondo | Oboe Primo | Oboe Secondo | Violino Primo | Violino Secondo | Viola | et | Basso, MicWka 374

Performers: Camerata Bern; Thomas Fսri (conductor)

Painting: Bernardo Bellotto (1721-1780) - Hof Palace, Seen from the North

Further info: Georg Christoph Wagenseil (1715-1777) - Sinfonia in D-Dur (1746)

---

Georg Christoph Wagenseil [Waghenseil, Vangenzeil, Vagensäll et al.]

(Vienna, 29 January 1715 - Vienna, 1 March 1777)

Austrian composer, keyboard player and teacher. Born into a prominent Viennese family, he studied under Johann Joseph Fux and Mattheo Palotta beginning around 1735. Fux was so impressed by his student that he recommended him in 1739 for the post of court composer, which was followed the next year by an appointment as organist for Dowager Empress Elisabeth. By 1749 he had become hofklaviermeister with the responsibility of instructing the royal family on the keyboard. Four years earlier, in 1745, his opera 'Ariodante' launched a career in the royal theatres, and by 1751 he had published a treatise 'Rudimenta panduristae oder Geig- Fundamenta', which was a forerunner of Leopold Mozart’s work. By 1765, however, he began to be afflicted with gout, resulting in a diminishing of his capacity and confinement to his home the final years of his life. Wagenseil was a much-appreciated teacher, whose students included Frantisek Xaver Dusek, Leopold Hofmann, and Johann Baptist Schenk. As a composer, he wrote 16 operas; three oratorios; 17 Masses and a Requiem; over 90 other sacred works (including canticles, Psalms, hymns, etc.); nine secular cantatas; 30 concert arias; 77 symphonies; 81 concertos for keyboard (most with string accompaniment); other concertos for flute, violin, cello, bassoon, and trombone; seven violin sonatas; seven divertimentos; four flute quartets; 60 trio sonatas; and a large number of smaller works for keyboard. Although his early Masses display a Baroque style, his symphonies and concertos, of which he was one of the most prolific composers of the period, were much more advanced, while his penchant for solid, colorful orchestration, interesting harmony, and attention to dramatic detail presage the opera reforms of Christoph Willibald von Gluck in his opera serias. Georg Christoph Wagenseil can be considered one of the pivotal figures in the development of the Classical style in Vienna with a compositional career that spanned a period from Fux, his teacher, to Haydn brothers and W.A. Mozart, for whom he served as a precursor.

WAGENSEIL, Georg Christoph (1715-1777) - Sinfonia in D-Dur (1746)

Georg Christoph Wagenseil (1715-1777) - Sinfonia in D-Dur (1746)

Performers: Vienna Baroque Ensemble; Theodor Guschlbauer (conductor)

Painting: Christian Reder detto Monsù Leandro (1656-1729) - L'avanzata delle truppe

Further info: Georg Christoph Wagenseil (1715-1777) - Concerto für Trombone

---

Georg Christoph Wagenseil [Waghenseil, Vangenzeil, Vagensäll et al.]

(Vienna, 29 January 1715 - Vienna, 1 March 1777)

Austrian composer, keyboard player and teacher. Born into a prominent Viennese family, he studied under Johann Joseph Fux and Mattheo Palotta beginning around 1735. Fux was so impressed by his student that he recommended him in 1739 for the post of court composer, which was followed the next year by an appointment as organist for Dowager Empress Elisabeth. By 1749 he had become hofklaviermeister with the responsibility of instructing the royal family on the keyboard. Four years earlier, in 1745, his opera 'Ariodante' launched a career in the royal theatres, and by 1751 he had published a treatise 'Rudimenta panduristae oder Geig- Fundamenta', which was a forerunner of Leopold Mozart’s work. By 1765, however, he began to be afflicted with gout, resulting in a diminishing of his capacity and confinement to his home the final years of his life. Wagenseil was a much-appreciated teacher, whose students included Frantisek Xaver Dusek, Leopold Hofmann, and Johann Baptist Schenk. As a composer, he wrote 16 operas; three oratorios; 17 Masses and a Requiem; over 90 other sacred works (including canticles, Psalms, hymns, etc.); nine secular cantatas; 30 concert arias; 77 symphonies; 81 concertos for keyboard (most with string accompaniment); other concertos for flute, violin, cello, bassoon, and trombone; seven violin sonatas; seven divertimentos; four flute quartets; 60 trio sonatas; and a large number of smaller works for keyboard. Although his early Masses display a Baroque style, his symphonies and concertos, of which he was one of the most prolific composers of the period, were much more advanced, while his penchant for solid, colorful orchestration, interesting harmony, and attention to dramatic detail presage the opera reforms of Christoph Willibald von Gluck in his opera serias. Georg Christoph Wagenseil can be considered one of the pivotal figures in the development of the Classical style in Vienna with a compositional career that spanned a period from Fux, his teacher, to Haydn brothers and W.A. Mozart, for whom he served as a precursor.

WAGENSEIL, Georg Christoph (1715-1777) - Concerto für Trombone

Georg Christoph Wagenseil (1715-1777) - Concerto (Es-dur) für Trombone, IGW 69

Performers: Hаns Böttlеr (trombone); Concеntus Musicus Wiеn; Nicolаus Hаrnoncourt (1929-2016, conductor)

Painting: Bernardo Bellotto (1722-1780) - Entrance to a Palace or Architectural Capriccio with a Portrait of Voivod Franciszek Salezy Potocki

Further info: Georg Christoph Wagenseil (1715-1777) - Orgelkonzert C-Dur, Nr.1

---

Georg Christoph Wagenseil

(Vienna, 29 January 1715 - Vienna, 1 March 1777)

Austrian composer, keyboard player and teacher. He can be considered one of the pivotal figures in the development of the Classical style in Vienna with a compositional career that spanned a period from Fux, his teacher, to Haydn and W.A. Mozart, for whom he served as a precursor. Wagenseil’s father and maternal grandfather were functionaries at the Viennese imperial court. In his teens he began to compose keyboard pieces and to receive keyboard instruction with the organist of the Michaelerkirche in Vienna, Adam Weger. His accomplishments brought him to the attention of the court Kapellmeister, Johann Joseph Fux, who recommended him for a court scholarship in 1735; for the next three years he received intensive instruction in keyboard playing, counterpoint and composition from his sponsor and from Matteo Palotta. As a result of an enthusiastic endorsement from Fux, Wagenseil was appointed composer to the court on 6 February 1739, a post he held until his death. He also served as organist from 1741 to 1750 in the private chapel of Empress Elisabeth Christine (widow of Charles VI), and in 1749 became Hofklaviermeister to the imperial archduchesses. To the latter he dedicated four sets of divertimentos, which were engraved and issued as opp.1-4 by Bernardi of Vienna (1753-63). Wagenseil travelled to Venice in 1745 to supervise the production of his first opera, Ariodante, and in 1759-60 he was in Milan for a performance of Demetrio. In the mid-1750s uncommonly generous publication privileges granted by Parisian printers brought about a flood of instrumental compositions, particularly symphonies, which raised him to international prominence, and which were undoubtedly responsible for Burney’s high opinion of him. Among those acquainted with his music was the young Mozart, who played one of Wagenseil’s concertos before Maria Theresa in 1762 and several keyboard pieces at the English court in 1764. Haydn was likewise familiar both with numerous instrumental works, as entries in the so-called Quartbuch show, and with Wagenseil’s operas, which found their way to Eisenstadt. Wagenseil was also renowned as a keyboard virtuoso, and elicited the highest praise from contemporaries such as C.F.D. Schubart (who remarked that Wagenseil ‘played with extraordinary expressive power and was capable of improvising a fugue with great thoroughness’). But from about 1765 steadily worsening lameness and an attack of gout which affected his left hand curtailed his activities at court and eventually confined him to his quarters where, according to Burney, who visited him on several occasions, he continued to compose and to teach. Among Wagenseil’s pupils were Leopold Hofmann, J.A. Štěpán, F.X. Dušek, Johann Gallus-Mederitsch, G.A. Matielli, P. le Roy, the brothers Franz and Anton Teyber, and J.B. Schenk. The last, who began instruction in 1774, provided in his autobiography a detailed account of his mentor’s teaching methods which, not surprisingly, were based on Fux (a legacy Schenk was then to transmit to Beethoven later in the century) but which were also remarkable for their time in drawing on Handel and Bach.

WAGENSEIL, Georg Christoph (1715-1777) - Orgelkonzert C-Dur, Nr.1

Georg Christoph Wagenseil (1715-1777) - Orgelkonzert C-Dur, Nr.1

Performers: Stefan Johannes Bleicher (orgel);

Südwestdeutsches Kammerorchester Pforzheim; Vladislav Czarnecki (leitung)

Painting: Julius Caesar Ibbetson (1759-1817) - Jack in his Glory a Hackney Coach Driven by Drunken Sailors

Further info: Georg Christoph Wagenseil (1715-1777)

---

Georg Christoph Wagenseil

(Vienna, 29 January 1715 - Vienna, 1 March 1777)

Austrian composer, keyboard player and teacher. He can be considered one of the pivotal figures in the development of the Classical style in Vienna with a compositional career that spanned a period from Fux, his teacher, to Haydn and W.A. Mozart, for whom he served as a precursor. Wagenseil’s father and maternal grandfather were functionaries at the Viennese imperial court. In his teens he began to compose keyboard pieces and to receive keyboard instruction with the organist of the Michaelerkirche in Vienna, Adam Weger. His accomplishments brought him to the attention of the court Kapellmeister, Johann Joseph Fux, who recommended him for a court scholarship in 1735; for the next three years he received intensive instruction in keyboard playing, counterpoint and composition from his sponsor and from Matteo Palotta. As a result of an enthusiastic endorsement from Fux, Wagenseil was appointed composer to the court on 6 February 1739, a post he held until his death. He also served as organist from 1741 to 1750 in the private chapel of Empress Elisabeth Christine (widow of Charles VI), and in 1749 became Hofklaviermeister to the imperial archduchesses. To the latter he dedicated four sets of divertimentos, which were engraved and issued as opp.1-4 by Bernardi of Vienna (1753-63). Wagenseil travelled to Venice in 1745 to supervise the production of his first opera, Ariodante, and in 1759-60 he was in Milan for a performance of Demetrio. In the mid-1750s uncommonly generous publication privileges granted by Parisian printers brought about a flood of instrumental compositions, particularly symphonies (see illustration), which raised him to international prominence, and which were undoubtedly responsible for Burney’s high opinion of him. Among those acquainted with his music was the young Mozart, who played one of Wagenseil’s concertos before Maria Theresa in 1762 and several keyboard pieces at the English court in 1764. Haydn was likewise familiar both with numerous instrumental works, as entries in the so-called Quartbuch show, and with Wagenseil’s operas, which found their way to Eisenstadt. Wagenseil was also renowned as a keyboard virtuoso, and elicited the highest praise from contemporaries such as C.F.D. Schubart (who remarked that Wagenseil ‘played with extraordinary expressive power and was capable of improvising a fugue with great thoroughness’). But from about 1765 steadily worsening lameness and an attack of gout which affected his left hand curtailed his activities at court and eventually confined him to his quarters where, according to Burney, who visited him on several occasions, he continued to compose and to teach. Among Wagenseil’s pupils were Leopold Hofmann, J.A. Štěpán, F.X. Dušek, Johann Gallus-Mederitsch, G.A. Matielli, P. le Roy, the brothers Franz and Anton Teyber, and J.B. Schenk. The last, who began instruction in 1774, provided in his autobiography a detailed account of his mentor’s teaching methods which, not surprisingly, were based on Fux (a legacy Schenk was then to transmit to Beethoven later in the century) but which were also remarkable for their time in drawing on Handel and Bach.

WAGENSEIL, Georg Christoph (1715-1777) - Cello Concerto in A

Obra de Charles Joseph Flipart (1721-1797), pintor francès (1)

- Recordatori de Georg Christoph Wagenseil -

En el dia de la commemoració del seu 240è aniversari de decés

---

Parlem de Pintura...

Charles Joseph Flipart (Paris, 1721 - Madrid, 1797) va ser un pintor i gravador francès. Es va formar inicialment amb el seu pare, el pintor i gravador Jean-Charles Flipart. Als 18 anys, va marxar a Venècia, on va ingressar al taller de Jacopo Amigoni. Allà va coincidir amb Giambattista Tiepolo, i va treballar al taller de gravats de Joseph Wagner, reproduint composicions de Pietro Longhi. El 1748 va viatjar a Espanya amb Amigoni i el 1750 ja figurava en el registre d'artífexs pintors del Real Laboratorio de Piedras Duras, havent estat nomenat pintor i gravador de Fernando VI. No obstant això, sembla que el títol de gravador no va ser efectiu, ja que oficialment es va considerar vacant la plaça de gravador de cambra des de la mort de Juan Bernabé Palomino el 1777 fins al nomenament de Manuel Salvador Carmona el 1783. Amb motiu d'un viatge dels reis a Alba de Tormes, Flipart va realitzar dos quadres, Sant Francesc i Sant Francesc de Paula, regal de Fernando VI per al temple del Convent de les Carmelites. Va morir a Madrid el 1797.

Font: En català: No disponible - En castellano: Charles Joseph Flipart (1721-1797) - In english: Charles Joseph Flipart (1721-1797) - Altres: Charles Joseph Flipart (1721-1797)

---

Parlem de Música...

Georg Christoph Wagenseil (Wien, 29 de gener de 1715 - Wien, 1 de març de 1777) va ser un professor, compositor i organista austríac. Considerat una de les figures cabdals en el desenvolupament i consolidació de l'estil clàssic vienès, Wagenseil es va formar amb Adam Weger, organista de la Michaelerkirche de Viena. Els seus èxits van despertar l'interès del mestre de capella Johann Joseph Fux. Va rebre una beca i es va formar en clavecí, contrapunt i composició amb Fux i amb Matteo Palotta (1688-1758). Gràcies al suport d'aquests mestres, va ser nomenat compositor de la cort el 6 de febrer de 1739, càrrec que va ocupar fins a la seva mort. També va exercir com a organista entre els anys 1741 i 1750 a la capella privada de l'emperadriu Elisabeth Christine (vídua de Carles VI), i el 1749 es va convertir en Hofklaviermeister de les arxiduquesses imperials. El 1745 va viatjar a Venècia per supervisar la producció de la seva primera òpera, Ariodante, i el 1759-1760 va viatjar a Milà per a una actuació de la seva òpera Demetrio. La fama de Wagenseil va créixer i va arribar a Mozart que va estudiar la seva música i fins i tot va interpretar algun dels seus concerts davant de Maria Teresa d'Àustria el 1762. A partir del 1765, i degut a l'empitjorament constant de la coixesa que patia i d'un atac de gota que va afectar la seva mà esquerra, el van obligar a reduir les seves activitats a la cort i, finalment, el va confinar a les seves estances on es va dedicar a la composició i docència. Entre els seus alumnes cal citar a Leopold Hofmann, J.A. Štěpán, F.X. Dušek, Johann Gallus-Mederitsch, G.A. Matielli (1733-1805), P. le Roy, els germans Franz i Anton Teyber, i J.B. Schenk. Aquest darrer, al servei de Wagenseil a partir del 1774, va descriure en la seva autobiografia la relació detallada dels mètodes d'ensenyament del seu mentor que van ser propers a Fux i que anys més tard Schenk va transmetre a Beethoven. Wagenseil va morir a Viena el març de 1777.

OBRA:

Vocal secular:

Opera:

unless otherwise stated, first performed in Vienna and MSS in A-Wn

Ariodante (dramma per musica, 3, A. Salvi, after L. Ariosto), Venice, S Giovanni Grisostomo, aut. 1745, facs. in IOB, lxxiii (1981)

La clemenza di Tito (dramma per musica, 3, P. Metastasio), Burg, 15 Oct 1746

Demetrio (dramma per musica, 3, Metastasio), Florence, Pergola, 26 Dec 1746, I-Nc

Alessandro nell’Indie (op, 3, Metastasio), Burg, 11 Aug 1748

Il Siroe (dramma per musica, 3, Metastasio), Burg, 4 Oct 1748

L’olimpiade (op, 3, Metastasio), Hof, 14 May 1749

Antigono (dramma per musica, 3, Metastasio), Vienna, Schönbrunn, 14 May 1750

Vincislao (dramma per musica, 3), Schlosstheater, 8 Dec 1750

Le cacciatrici amanti (festa teatrale, 2, G. Durazzo), Laxenburg, 25 June 1755

Prometeo assoluto (serenata, G.A. Migliavacca), bei Hofe, 24 March 1762

Contribs. to: Andromeda, 1750; Euridice, 1750, facs. in IOB, lxxv, 1983); 

Armida placata, 1750; 

Catone and Merope, cited in MGG1 (H. Scholz-Michelitsch)

Cants.: 

Al consiglio d’un fonte; 

Clori bell’idol mio; 

Ecco l’infausto lido; 

I lamenti d’Orfeo (C.G. Pasquini), Vienna, Hof, 26 July 1740, A-Wgm, Wn; 

La gelosia (Metastasio); 

Il quadro animato, 2vv, Wgm; 

La pesca; 

L’inciampo; 

Poiche morir

Other vocal: 

3 duets; 

c30 arias, 1 in L’écho ou journal de musique (Liège, 1764), CH-Bu, EN, D-DO,RH, I-MAav

Vocal religiosa:

MSS in A-Wn unless otherwise stated

Orats: 

Gioas, re di Giuda (Metastasio), 1755; 

La redenzione (Metastasio), 1755; 

Il roveto di Mosè (Abbate Pizi), 4 March 1756

Masses: 

Missa spei, 1736; 

Missa ‘Domine libera animam meam’, 1737; 

Missa, 5vv, 1738; 

Missa ‘Panem quotidiam’, 4vv, 1739, A-Wgm; 

Missa S Antonii, 1741; 

Missa S Francisci Salesii, 1742; 

Missa solenne Immaculatae conceptionis, 4vv, insts, 1743, D-Bsb; 

Missa solenne, C, 1746; 

Missa ‘Transfige cor meum’; 

Missa S Catharinae, A-Wn, D-OB; 

Missa ‘Obscura’, A-Wn, D-OB; 

Missa S Theresiae; 

Missa brevis, Bsb*; 

4 masses, 4vv, A-Wn, CH-FF; 

1 mass, e; 

Requiem, 4vv, D-Bsb

Other sacred: 

c90 liturgical works, 1737–55, incl. 9 Marian ants, c20 offs, hymns, grads, seqs, ints, canticles, A-KR, Wgm,Wn, CH-EN, D-Bsb, MÜs, H-P; 

14 songs

Instrumental:

Orch.:

thematic catalogue in Scholz-Michelitsch, 1972

Syms.: 

6 trio en symphonie, op.2 (1756); 

6 simphonies à 4 parties obligées, op.3 (c1760); 

Sinfonia à più stromenti (c1765); 

64 others, A-Gmi, GÖ, KR, SF, Wgm,Wn, B-Bc, CH-Bu, CZ-Pnm, D-KA, RH,ROu, Rtt, SWl, GB-Lbl, H-Bn, I-BGc, US-Wc, 2 ed. in DTÖ, xxxi, Jg.xv/2 (1908/R); 

15 ed. in The Symphony 1720–1840, ser. B, iii (1981); 

15 others in anthologies (c1755–c1762); 

3 cited in catalogues

Hpd concs.: 

Concert choisie ‘La Haye’ (n.d.); 

4 concerti, hpd, 2 vn, b (c1760); 

2 concerts choisis, op.7 (1761); 

2 concerto (c1764); 

6 Concertos, hpd/org, 2 vn, b (London, 1761); 

6 Concertos, org/hpd (London, c1765), some from 4 concerti, c1760; 

3 quartetti concertanti, hpd/pf, 2 vn, b, op.10 (c1776); 

2 concerto (1781); 

53 others, A-GÖ, Sn, ST, Wgm, Wn, CZ-KRa, Pnm, D-Bsb, Dlb, DO, MT, RH, I-BRc,CHc, SQ-BRnm, US-LOu, Wc: 12 others cited in catalogues; 1 for 4 hpd, A-Wn; 6 for 2 hpd, Wgm, Wn, CZ-KRa

Other concs.: 

4 for fl, D-KA, Rtt; 2 for 2 vn, A-GÖ,B-Bc; 

1 for vn, A-Sn, Wgm; 

2 for vc, 1752, 1763, Wst, ed. in Diletto musicale, lxi (Vienna, 1960), cxxi (Vienna, 1963); 

1 for bn, for alto trbn, CZ-KRa, ed. P. Angerer (Zumikon, 1990)

Chbr.:

Thematic catalogues in Michelitsch, 1966, and Scholz-Michelitsch, 1972 and 1980.

Str: 

sestetto, qnt, 4 qts, A-Wn; 

6 sonates en trio, 2 vn, b, op.1 (n.d.); 

6 Sonatas, 2 vn, vc/hpd (London, 1760); 

33 other trios, Wgm,Wn, Wst, CH-BEb, CZ-Bm, KRa, I-Gl,S-HÄ, L, Uu, US-BE; 

15 other trios cited in catalogues

Str, kbd: 

2 vn sonatas, 1 in 6 Sonatas, hpd, vn, op.2 (London, c1756), 1 in B-Bc; 

2 divertimentos, hpd, vn, b, op.5 (Vienna, 1770); 

suite, kbd, 3 str, CZ-KRa; 

4 terzettos, 1 vn sonata, cited in catalogues

Wind: 

7 divertimentos, A-Wgm, D-SWl; Partita a 8, A-Wgm; 

2 fl sonatas, DK-Kk, F-Pn

Kbd divertimentos, sonatas, suites: Suavis artificiose elaboratus concentus … continens 6 parthias (Bamberg, 1740); 

4 in Musaeum pantaleonianum, c1750, H-Bn; 

6 as op.1 (Vienna, 1753); 

6 as op.2 (Vienna, 1755), ed. H. Scholz-Michelitsch (Vienna, 1996); 

9 in Cymbalum jubilationis, c1755, Bn; 

Divertissement musical contenant 6 sonates (Nuremberg, 1756); 

4 in Raccolta di sonate, c1760, D-Dlb; 

6 as op.3 (Vienna, 1761); 

3 divertimentos (Vienna, 1761); 

6 as op.4 (Vienna, 1763); 

3 divertimentos, 2 pf, CZ-KRa, D-Bsb; 

18 others, A-GÖ, Wgm, Wn,CH-E, MÜ, CZ-KRa, D-BFb, Bsb, DK-A,Kc, Sa, GB-Lam, NL-DHgm, SI-Pk, S-L,Sm, US-AAu, LEm; 

3 ed. in RRMCE, xxxii–xxxiii (1889); 

7 others in contemporary anthologies

Other kbd: 

97 Versetten aus verschiedenen Tönen … samt einer Fuge, A-Wn; 

Praeambula 8 tonorum (8 verset cycles), Wn; 

14 preludes, GÖ, D-Bsb; 

1 prelude and fugue, Bsb; 

1 prelude, 1 fugue, in Musaeum pantaleonianum c1750, H-Bn; 

18 single pieces, A-Wgm, B-Bc, CH-E, D-Bsb, Dlb,DS, SWl, S-L; 

15 arrs. of concs., 2 pf, Dlb; 

6 orch works arr. pf, A-Wn, KR, and in contemporary anthologies

Literatura:

Rudimenta panduristae oder Geig-Fundamenta, worinnen die kürzeste Unterweisung für einen Scholaren … dargethan wird (Augsburg, 1751)

Font: En català: No disponible - En castellano: Georg Christoph Wagenseil (1715-1777) - In english: Georg Christoph Wagenseil (1715-1777) - Altres: Georg Christoph Wagenseil (1715-1777) 

---

Informació addicional... 

INTERPRETS: Orchester Le Phénix; Christophe Coin (cello)
RECICLASSICAT: WAGENSEIL, Georg Christoph (1715-1777)
AMAZON: WAGENSEIL, G.C. - Symphonies & Cello Concertos

IMSLP: Georg Christoph Wagenseil (1715-1777)

CPDL: No disponible

SPOTIFY: WAGENSEIL, G.C. - Symphonies & Cello Concertos



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

WAGENSEIL, Georg Christoph (1715-1777) - Harp Concertos

Obra de Jacob van Schuppen (1670-1751), pintor francès (1)

- Recordatori de Georg Christoph Wagenseil -

En el dia de la celebració del seu 300è aniversari de naixement

---

Parlem de Pintura...

Jacob van Schuppen (Fontainebleau, 26 de gener de 1670 - Viena, 29 de gener de 1751) va ser un pintor barroc francès d'origen flamenc. Fill del pintor i gravador Pieter van Schuppen, des ben petit va començar a pintar com a deixeble del seu pare i amb el seu oncle Nicolas de Largillière. El 4 de juliol de 1704 va entrar a formar part de la Reial Acadèmia de Pintura i Escultura de París i l'any següent es va casar. Van Schuppen es va dedicar principalment a realitzar retrats, gràcies als quals va adquirir suficient reputació com per rebre una oferta, el 1719, del Duc de Lorena amb qui va treballar un temps. El 1723 va viatjar a Viena on va ocupar el lloc de Pintor de Cambra de l'emperador Carles VI del Sacre Imperi Romà Germànic. El 20 de gener de 1725 es va convertir en primer pintor i director de l'Acadèmia de Belles Arts de Viena, ciutat on va residir i treballar fins el gener de 1751, l'any de la seva mort.

Font: En català: No disponible - En castellano: Jacob van Schuppen (1670-1751) - In english: Jacob van Schuppen (1670-1751) - Altres: Jacob van Schuppen (1670-1751)

---

Parlem de Música...

Georg Christoph Wagenseil (Viena, 29 de gener de 1715 - Viena, 1 de març de 1777) va ser un professor, compositor i organista austríac. Considerat una de les figures cabdals en el desenvolupament i consolidació de l'estil clàssic vienès, Wagenseil es va formar amb Adam Weger, organista de la Michaelerkirche de Viena. Els seus èxits van despertar l'interès del mestre de capella Johann Joseph Fux. Va rebre una beca i es va formar en clavecí, contrapunt i composició amb Fux i amb Matteo Palotta (1688-1758). Gràcies al suport d'aquests mestres, va ser nomenat compositor de la cort el 6 de febrer de 1739, càrrec que va ocupar fins a la seva mort. També va exercir com a organista entre els anys 1741 i 1750 a la capella privada de l'emperadriu Elisabeth Christine (vídua de Carles VI), i el 1749 es va convertir en Hofklaviermeister de les arxiduquesses imperials. Wagenseil va viatjar a Venècia el 1745 per supervisar la producció de la seva primera òpera, Ariodante, i el 1759-1760 va viatjar a Milà per a una actuació de la seva òpera Demetrio. La fama de Wagenseil va créixer i va arribar a Mozart que va estudiar la seva música i fins i tot va interpretar algun dels seus concerts davant de Maria Teresa d'Àustria el 1762. Wagenseil també va ser un reconegut virtuós d'orgue que sovint entusiasmava el seu públic fruit de la seva capacitat d'improvisar. A partir del 1765 degut a l'empitjorament constant de la coixesa que patia i d'un atac de gota que va afectar la seva mà esquerra, el van obligar a reduir les seves activitats a la cort i, finalment, el va confinar a les seves estances on es va dedicar a la composició i docència. Entre els seus alumnes cal citar a Leopold Hofmann, J.A. Štěpán, F.X. Dušek, Johann Gallus-Mederitsch, G.A. Matielli (1733-1805), P. le Roy, els germans Franz i Anton Teyber, i J.B. Schenk. Aquest darrer, al servei de Wagenseil a partir del 1774, va descriure en la seva autobiografia la relació detallada dels mètodes d'ensenyament del seu mentor que, com és lògic, eren propers a Fux i que anys més tard Schenk va transmetre a Beethoven. Com a compositor, va compondre 16 òperes, 3 oratoris, 17 misses i un Rèquiem, més de 90 obres sacres menors, incloent càntics, salms, himnes, etc., 9 cantates seculars, 30 àries de concert, 77 simfonies, 81 concerts per a teclat, la majoria amb acompanyament de cordes, altres concerts per a flauta, violí, violoncel, fagot i trombó, 7 sonates per a violí, 7 divertiments, quatre quartets de flauta, 60 sonates en trio i un gran nombre d'obres menors per a teclat. Wagenseil va morir a Viena el març de 1777.

OBRA:

Vocal secular:

Opera:

unless otherwise stated, first performed in Vienna and MSS in A-Wn

Ariodante (dramma per musica, 3, A. Salvi, after L. Ariosto), Venice, S Giovanni Grisostomo, aut. 1745, facs. in IOB, lxxiii (1981)

La clemenza di Tito (dramma per musica, 3, P. Metastasio), Burg, 15 Oct 1746

Demetrio (dramma per musica, 3, Metastasio), Florence, Pergola, 26 Dec 1746, I-Nc

Alessandro nell’Indie (op, 3, Metastasio), Burg, 11 Aug 1748

Il Siroe (dramma per musica, 3, Metastasio), Burg, 4 Oct 1748

L’olimpiade (op, 3, Metastasio), Hof, 14 May 1749

Antigono (dramma per musica, 3, Metastasio), Vienna, Schönbrunn, 14 May 1750

Vincislao (dramma per musica, 3), Schlosstheater, 8 Dec 1750

Le cacciatrici amanti (festa teatrale, 2, G. Durazzo), Laxenburg, 25 June 1755

Prometeo assoluto (serenata, G.A. Migliavacca), bei Hofe, 24 March 1762

Contribs. to: Andromeda, 1750; Euridice, 1750, facs. in IOB, lxxv, 1983); 

Armida placata, 1750; 

Catone and Merope, cited in MGG1 (H. Scholz-Michelitsch)

Cants.: 

Al consiglio d’un fonte; 

Clori bell’idol mio; 

Ecco l’infausto lido; 

I lamenti d’Orfeo (C.G. Pasquini), Vienna, Hof, 26 July 1740, A-Wgm, Wn; 

La gelosia (Metastasio); 

Il quadro animato, 2vv, Wgm; 

La pesca; 

L’inciampo; 

Poiche morir

Other vocal: 

3 duets; 

c30 arias, 1 in L’écho ou journal de musique (Liège, 1764), CH-Bu, EN, D-DO,RH, I-MAav

Vocal religiosa:

MSS in A-Wn unless otherwise stated

Orats: 

Gioas, re di Giuda (Metastasio), 1755; 

La redenzione (Metastasio), 1755; 

Il roveto di Mosè (Abbate Pizi), 4 March 1756

Masses: 

Missa spei, 1736; 

Missa ‘Domine libera animam meam’, 1737; 

Missa, 5vv, 1738; 

Missa ‘Panem quotidiam’, 4vv, 1739, A-Wgm; 

Missa S Antonii, 1741; 

Missa S Francisci Salesii, 1742; 

Missa solenne Immaculatae conceptionis, 4vv, insts, 1743, D-Bsb; 

Missa solenne, C, 1746; 

Missa ‘Transfige cor meum’; 

Missa S Catharinae, A-Wn, D-OB; 

Missa ‘Obscura’, A-Wn, D-OB; 

Missa S Theresiae; 

Missa brevis, Bsb*; 

4 masses, 4vv, A-Wn, CH-FF; 

1 mass, e; 

Requiem, 4vv, D-Bsb

Other sacred: 

c90 liturgical works, 1737–55, incl. 9 Marian ants, c20 offs, hymns, grads, seqs, ints, canticles, A-KR, Wgm,Wn, CH-EN, D-Bsb, MÜs, H-P; 

14 songs

Instrumental:

Orch.:

thematic catalogue in Scholz-Michelitsch, 1972

Syms.: 

6 trio en symphonie, op.2 (1756); 

6 simphonies à 4 parties obligées, op.3 (c1760); 

Sinfonia à più stromenti (c1765); 

64 others, A-Gmi, GÖ, KR, SF, Wgm,Wn, B-Bc, CH-Bu, CZ-Pnm, D-KA, RH,ROu, Rtt, SWl, GB-Lbl, H-Bn, I-BGc, US-Wc, 2 ed. in DTÖ, xxxi, Jg.xv/2 (1908/R); 

15 ed. in The Symphony 1720–1840, ser. B, iii (1981); 

15 others in anthologies (c1755–c1762); 

3 cited in catalogues

Hpd concs.: 

Concert choisie ‘La Haye’ (n.d.); 

4 concerti, hpd, 2 vn, b (c1760); 

2 concerts choisis, op.7 (1761); 

2 concerto (c1764); 

6 Concertos, hpd/org, 2 vn, b (London, 1761); 

6 Concertos, org/hpd (London, c1765), some from 4 concerti, c1760; 

3 quartetti concertanti, hpd/pf, 2 vn, b, op.10 (c1776); 

2 concerto (1781); 

53 others, A-GÖ, Sn, ST, Wgm, Wn, CZ-KRa, Pnm, D-Bsb, Dlb, DO, MT, RH, I-BRc,CHc, SQ-BRnm, US-LOu, Wc: 12 others cited in catalogues; 1 for 4 hpd, A-Wn; 6 for 2 hpd, Wgm, Wn, CZ-KRa

Other concs.: 

4 for fl, D-KA, Rtt; 2 for 2 vn, A-GÖ,B-Bc; 

1 for vn, A-Sn, Wgm; 

2 for vc, 1752, 1763, Wst, ed. in Diletto musicale, lxi (Vienna, 1960), cxxi (Vienna, 1963); 

1 for bn, for alto trbn, CZ-KRa, ed. P. Angerer (Zumikon, 1990)

Chbr.:

Thematic catalogues in Michelitsch, 1966, and Scholz-Michelitsch, 1972 and 1980.

Str: 

sestetto, qnt, 4 qts, A-Wn; 

6 sonates en trio, 2 vn, b, op.1 (n.d.); 

6 Sonatas, 2 vn, vc/hpd (London, 1760); 

33 other trios, Wgm,Wn, Wst, CH-BEb, CZ-Bm, KRa, I-Gl,S-HÄ, L, Uu, US-BE; 

15 other trios cited in catalogues

Str, kbd: 

2 vn sonatas, 1 in 6 Sonatas, hpd, vn, op.2 (London, c1756), 1 in B-Bc; 

2 divertimentos, hpd, vn, b, op.5 (Vienna, 1770); 

suite, kbd, 3 str, CZ-KRa; 

4 terzettos, 1 vn sonata, cited in catalogues

Wind: 

7 divertimentos, A-Wgm, D-SWl; Partita a 8, A-Wgm; 

2 fl sonatas, DK-Kk, F-Pn

Kbd divertimentos, sonatas, suites: Suavis artificiose elaboratus concentus … continens 6 parthias (Bamberg, 1740); 

4 in Musaeum pantaleonianum, c1750, H-Bn; 

6 as op.1 (Vienna, 1753); 

6 as op.2 (Vienna, 1755), ed. H. Scholz-Michelitsch (Vienna, 1996); 

9 in Cymbalum jubilationis, c1755, Bn; 

Divertissement musical contenant 6 sonates (Nuremberg, 1756); 

4 in Raccolta di sonate, c1760, D-Dlb; 

6 as op.3 (Vienna, 1761); 

3 divertimentos (Vienna, 1761); 

6 as op.4 (Vienna, 1763); 

3 divertimentos, 2 pf, CZ-KRa, D-Bsb; 

18 others, A-GÖ, Wgm, Wn,CH-E, MÜ, CZ-KRa, D-BFb, Bsb, DK-A,Kc, Sa, GB-Lam, NL-DHgm, SI-Pk, S-L,Sm, US-AAu, LEm; 

3 ed. in RRMCE, xxxii–xxxiii (1889); 

7 others in contemporary anthologies

Other kbd: 

97 Versetten aus verschiedenen Tönen … samt einer Fuge, A-Wn; 

Praeambula 8 tonorum (8 verset cycles), Wn; 

14 preludes, GÖ, D-Bsb; 

1 prelude and fugue, Bsb; 

1 prelude, 1 fugue, in Musaeum pantaleonianum c1750, H-Bn; 

18 single pieces, A-Wgm, B-Bc, CH-E, D-Bsb, Dlb,DS, SWl, S-L; 

15 arrs. of concs., 2 pf, Dlb; 

6 orch works arr. pf, A-Wn, KR, and in contemporary anthologies

Literatura:

Rudimenta panduristae oder Geig-Fundamenta, worinnen die kürzeste Unterweisung für einen Scholaren … dargethan wird (Augsburg, 1751)

Font: En català: No disponible - En castellano: Georg Christoph Wagenseil (1715-1777) - In english: Georg Christoph Wagenseil (1715-1777) - Altres: Georg Christoph Wagenseil (1715-1777)

---

Parlem amb veu pròpia...

Georg Christoph Wagenseil va ser un compositor austríac de naixement, vida i obra. Alumne predilecte del mestre de capella de la cort austríaca a Viena, Johann Joseph Fux, va viure la major part de la seva vida en aquesta ciutat, tot component música per a la cort fins a la seva mort. De fet, va viatjar poc ja que Viena, com a centre musical per excel·lència del segle XVIII, li oferia tot allò que un bon compositor, docent i intèrpret requeria. Va ser un compositor de transició ja que va escriure multitud d'obres en una barreja d'estils molt interessant i efectiva, entre simfonies i concerts però també òperes i abundant música religiosa. De fet, aquesta diversitat de llenguatges va ser la que va atraure l'atenció a un jove Mozart o al mateix Haydn, autors que van rebre obligadament la influència vienesa de Wagenseil, un autor cabdal per entendre el naixement i expansió del classicisme. A l'espera de poder dimensionar i especialment gaudir de l'obra vocal del seu repertori (fins ara ni una trista missa o òpera ha estat editada), recuperarem algun dels seus famosos concerts d'arpa. Instrumentalment, són diverses les obres recuperades, i d'aquestes les de major protagonisme són precisament aquests concerts d'arpa juntament amb les simfonies. Uns concerts que avui rescatarem per a celebrar el 300è aniversari de naixement, una efemèride que espero serveixi, com a mínim, per poder fruir d'alguna de les seves obres vocals. Pel que fa a l'obra concertant, de la que escoltarem els dos primers concerts, el No.1 i No.2 en la seva versió per arpa, dos violins i violoncel, Wagenseil estructura els concerts en tres moviments on l'arpa, instrument de corda pinçada compost per un arc ressonant, demostra l'atractiu i irresistible poder de convicció. Obres meravelloses d'un dels més importants mestres austríacs del classicisme!

Gaudiu i compartiu! 

---

Informació addicional...

INTÈRPRETS: Rachel Talitman (harp); Sylvie Bagara & Marie-Danielle Turner (violins); Emmanuel Tondus (cello)
PRESTOCLASSICAL: Wagenseil: Concertos for Harp

IMSLP: Georg Christoph Wagenseil (1715-1777)

CPDL: No disponible

SPOTIFY: Rachel Talitman – Wagenseil: Concertos for Harp

Tant si us ha agradat, com si no, opineu, és lliure i fàcil!