Un portal on escoltar i gaudir de l'art musical dels segles XVI, XVII, XVIII i XIX. Compartir la bellesa de la música és l'objectiu d'aquest espai i fer-ho donant a conèixer obres de compositors molt o poc coneguts és el mètode.
Bohemian composer. Very few details are known about his life. He is only
mentioned as a composer of the 18th century in the “Lexicon of
Biographical and Bibliographical Sources” by Robert Eitner (1903). Based
on recent studies it is now assumed that he belonged to the socalled
“bohemian musicians”, who came in the 18th century to the German courts
in the region of the middle Rhine. Adam Bernhard Gottron listed (1971)
among the immigrant courtmusicians who composed in Mainz, Nikolaus
Stulick, who died in that city in 1732. Among his extant works, two
symphonies, six concertos, several trios and sonatas, and a pastorella.
Austrian organist and composer. He was born as the son of a judicial
procurator in Reichenhall, on the Bavarian side of the border. From the
fact that at his death in 1684 it was mentioned that he was 55 years of
age, we can conclude that he was born in 1628 or 1629. He was educated
at the Benedictine University in Salzburg. There he probably received
music lessons from Abraham Megerle or the cathedral organist Marzellus
Isslinger. He also studied theology and was ordained priest in 1653. His
first musical position was that of organist at the Benedictine
monastery of St Lambrecht near Murnau in Styria. In 1654 he was
appointed vice-Kapellmeister at the court in Salzburg and in 1679 was
promoted to Kapellmeister. From 1666 until his death he was also
Kapellmeister at Salzburg Cathedral. As a composer, his output include 4
masses, 2 Magnificat settings, 2 Te Deum settings, 12 offertories, 5
Psalms and 3 litanies. His pieces for solo voice suggest the influence
of Monteverdi and other Italian composers who cultivated monodic music,
whereas some of his larger works reflect the so-called ‘colossal’ style,
as seen in the Missa Salisburgensis by Heinrich Ignaz Franz von Biber.
Austrian composer. Following training as a chorister in the Jesuit
school in Vienna, where he befriended Johann Michael Haydn and Johann
Georg Albrechtsberger, he became an initiate in the Augustinian Order in
1753 and was ordained as a priest in 1757. At that time he was
appointed as regens chori of the monastery of St. Florian, where he
lived the rest of his life. His music circulated widely during his
lifetime, where it achieved a reputation for good command of
counterpoint, as well as the prevalent Neapolitan sacred musical style.
His 'Missa profana', sub-titled ‘a mass to satirize stuttering, bad
singing and the onerous office of a schoolmaster’, is attributed to
Wolfgang Amadeus Mozart and to Florian Gassmann in two Viennese copies,
but a manuscript of the work in Göttweig and a notice in the Vienna
Nationalbibliothek show it to be Aumann’s. His two 'Missae brevissimae'
are little disguised comments on the Josephian reform movement and his
'Missa Germanica' was one of the earliest Mass settings in the
vernacular. His works include 38 Masses, 12 Requiems, 29 Psalms, 25
Magnificats, 22 offertories, 10 litanies, eight responsories, seven
vespers, many other sacred motets and arias, four oratorios, two
Singspiels in Austrian dialect, numerous songs and canons, three
symphonies, and 25 serenades, divertimentos, and parthies. His music was
a distinct influence on Anton Bruckner who studied Aumann's
counterpoint.
German organist and composer. In 1795 he moved to the Jesuit Gymnasium
in Munich where he was a student of Joseph Schlett. From 1801 he studied
theology at the university of Landshut and one year later he settled in
Italy to study with Giovanni Simone Mayr in Bergamo. After further
training in Vicenza (1803-11), Venice, and Milan, he served as second
'maestro di cappella' to the viceroy of Milan. Upon his return to
Munich, he was made 'maestro al cembalo' of the Italian Opera in 1819.
In 1823 he became assistant of the Kapellmeister at the Royal National
Theater, and in 1826 Bavarian court Kapellmeister. In 1833 he was sent
by the Crown Prince Maximilian to Italy to collect old church music.
Together with Michael Hauber, the prebend of St Kajetan, and Caspar Ett,
he was influential in the revival of church music. He retired in 1864.
As a composer, he was very prolific. His output include two operas,
including 'Rodrigo und Chimene' (1821), 3 ballets, 43 Latin masses, 8
German masses, 8 Requiems, 130 secular songs, and over than 300 small
sacred pieces. He also left few instrumental works. Aiblinger’s early
large-scale masses with instrumental accompaniment show the influence of
Italian opera. From 1825 to 1833 he developed a transitional style with
frequent a cappella sections and more colla parte instrumentation. From
1830 he composed more smaller-scale works and the orchestral masses
were replaced by Landmessen.
Bohemian composer and conductor. His father, a choirmaster, taught him
singing and the violin and he later studied the organ and thoroughbass
with Haparnorsky, a church organist and composer. Then he studied
philosophy and law in Prague. He subsequently became secretary to Count
Franz von Funfkirchen, to whom he dedicated his first six symphonies, a
set in Haydnesque style (1783). He was also a member of his private
orchestra. During his first visit to Vienna, in either late 1785 or
1786, he made the acquaintance of Joseph Haydn, Carl Ditters von
Dittersdorf, Johann Georg Albrechtsberger and Wolfgang Amadeus Mozart;
he developed a warm relationship with Mozart, who performed one of his
symphonies at a subscription concert. He then became secretary and music
master to Prince Ruspoli, who took him to Italy. While in Rome
(1786-87), he composed a set of six string quartets, the first of his
works to be published. After leaving Ruspoli's service, he studied with
Giovanni Paisiello and counterpoint with Nicola Sala in Naples. He made a
brief visit to Paris in 1789, and then proceeded to London, where he
met and befriended Joseph Haydn, who was also visiting the British
capital. During his London sojourn, he was commissioned by the Pantheon
to write an opera, 'Semiramis'. Unfortunately, the theatre burnt down in
January 1792, and his music was either destroyed or never completed. He
returned to the Continent in 1793; in 1804 he became composer and
conductor of the Vienna Hoftheater, where he produced such popular
operas as 'Agnes Sorel' (1806) and 'Der Augenarzt' (1811). He also wrote
'Il finto Stanislao' (1818), to a libretto by Felice Romani, which
Giuseppe Verdi subsequently used for his 'Un giorno di regno'. He
likewise anticipated Richard Wagner by writing the first opera on the
subject of Hans Sachs's life in his 'Hans Sachs im vorgerückten Alter'
(1834). He retired from the Hoftheater in 1831, and his fame soon
dissipated; he spent his last years in straitened circumstances and
relative neglect, having outlived the great masters of the age. As a
composer, he was very prolific and his music includes 28 operas, 17
ballets, 11 Masses, two vespers, numerous other shorter sacred works,
around 60 symphonies (of which 40 were published), two keyboard
concertos and three sinfonia concertantes, three flute quartets, around
60 string quartets, 30 trios, 40 violin sonatas, 47 Lieder, and other
smaller chamber works. Although he was best known during his early
career as a composer of symphonies whose progressive structure, good
sense of melody, and interesting orchestration were lauded, his later
career after 1800 involved the stage, for which he composed nationalist
works such as the mentioned 'Hans Sachs im vorgerückten Alter'.
