He and his two younger brothers were trebles in the chorus at the 1784 Handel Commemoration. Although noted as both organist (at Tavistock Chapel and subsequently at Covent Garden Theatre) and pianist, being a pupil of the celebrated J.S. Schroeter, he was even more famed as a singing teacher. His pupils included Eliza Salmon (née Munday), Mrs Vaughan (Miss Tennant), Master (James) Elliot and Charles Smith, all of whom performed in the Covent Garden Oratorios and further afield in the family’s festivals. After his father’s death, Ashley continued to preside at the organ for the Oratorios until 1813 and assisted (2) General Christopher Ashley in their management. Ashley was also a composer; his published works include three sonatas for piano and violin op.1 (London, c1790), a sonata for piano op.2 (London, c1790), and three vocal canzonets for one and two voices op.5 (London, c1795). The sonatas are substantial two-movement affairs with florid piano parts. The more attractive songs (again with bravura accompaniments) may have been written for his pupils. Curiously, two piano compositions Arabella: Introduction with Theme and Variations and La fete heureuse appeared in 1824. Both were disparaged by The Harmonicon but it recalled Ashley as ‘a good conductor and an able organist’.
Daniel Belknap (Framingham, 9 de febrer de 1771 - Pawtucket, 31 d'octubre de 1815) va ser un compositor americà, un dels primers al seu país.
He worked in his native town as a farmer and a mechanic, also teaching singing schools from the time he was 18. He married around 1800, and in 1812 moved to Pawtucket. Almost all his 85 known compositions were first printed in his own tune books, an exception being his most widely published piece, ‘Lena’, which was introduced in The Worcester Collection (Boston, 5/1794). Belknap’s The Harmonist’s Companion (Boston, 1797), a 32-page collection, contains only his own compositions, which are written in an American idiom untouched by European-inspired reform. His later compilations, The Evangelical Harmony (Boston, 1800), The Middlesex Collection (Boston, 1802) and The Village Compilation (Boston, 1806), are devoted almost entirely to American music; they introduced pieces by 17 Massachusetts and Connecticut composers as well as many of Belknap’s own compositions. Unlike many of his fellow psalmodists, Belknap also wrote secular music. His compilation The Middlesex Songster (Dedham, MA, 1809) contains Belknap’s March, his only known instrumental composition. The American Antiquarian Society owns two letters by Belknap, including one from April 1810 asking the composer Timothy Swan to sell him the copyright to his tunes ‘China’ and ‘London’; Belknap published Justin Morgan’s Judgment Anthem that year as a separate issue.
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Adrien Louis Boieldieu (Paris, 3 de novembre de 1815 - Quincy, 9 de juliol de 1883) va ser un compositor francès, fill no reconegut del famós compositor Adrien Boieldieu.
The illegitimate son of Adrien Boieldieu and Thérèse Regnault, a singer at the Opéra-Comique, he was served both ill and well by his father’s fame. Following the death of his father in 1834 the French government allocated him an annual pension of 1200 francs. His début as a stage composer was with a work left incomplete by his father, the opéra comique Marguerite, which Louis hastened to finish. However, it was a failure at the box office and none of his subsequent works achieved more than ephemeral notice. La fille invisible (1854) is representative of Boieldieu’s mature writing. It shows thorough acquaintance with the style of Donizetti and liberal use of modulations through 3rds; melodies are undistinguished. A waltz chorus provides local colour in the first two acts, a device used five years later by Gounod in Faust. L’opéra à la cour (1840), initially intended for the inauguration of a new building for the Opéra-Comique, is of interest as a particularly elaborate example of 19th-century French operatic pastiches. It includes musical materials from such diverse sources as Weber’s Der Freischütz, Rossini’s Bianca e Falliero and God Save the Queen.
All Boieldieu’s other works are vocal. His drawing-room romances are often misattributed to his father.
Stage works first performed in Paris unless otherwise stated
Marguerite (oc, 3, E. Scribe and F. de Planard), OC (Bourse), 18 June 1838 (Paris, c1838), collab. A. Boieldieu
L’opéra à la cour (oc, 4, Scribe and J.-H. Vernoy de Saint-Georges), OC (Favart), 16 July 1840, collab. Grisar
L’aïeule (oc, 1, Saint-Georges), OC (Favart), 27 Aug 1841
Le bouquet de l’infante (oc, 3, Planard and A. de Leuven), OC (Favart), 27 April 1847, vs (Paris, c1847)
La butte des moulins (oc, 3, J. Gabriel and P. Desforges), Lyrique, 6 Jan 1852, vs (Paris, c1852)
La fille invisible (oc, 3, Saint-Georges and H. Dupin), Lyrique, 6 Feb 1854, vs (Paris, c1854)
Le moulin du roi (oc, 2, de Leuven), Baden-Baden, 15 July 1858
Le chevalier Lubin (oc, 1, M. Carré and V. Perrot), Fantaisies-Parisiennes, 23 May 1866, vs (Paris, c1867)
La fête des nations (à-propos allégorique, 1, A. Pougin), Fantaisies-Parisiennes, 27 April 1867
La halte du roi (oc, 2, C.-L.-E. Nuitter), Rouen, Arts, 16 Dec 1875
Alain Blanchard (opéra, 3, J. Réfuveille), unperf.
Many romances, 1v, pf;
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Oliver Brownson (Bolton, 13 de maig de 1746 - Smithfield, 20 d'octubre de 1815) va ser un compositor i mestre de cant americà.
Brownson taught at singing schools for 30 years in Connecticut and Massachusetts; he made his home in New Hartford and Simsbury, Connecticut between 1776 and 1802, when he moved to Smithfield. The first of Brownson’s 33 published compositions (all ed. K. Kroeger, Three Connecticut composers, New York, 1997) appeared in Andrew Law’s Select Harmony (Cheshire, CT, 1779). Brownson’s own Select Harmony (four issues, n.p., 1783-c1791) introduced a large number of new pieces by the compiler and other talented, original Connecticut composers such as Asahel Benham, Solomon Chandler, ?Joseph Strong and Timothy Swan. Its engraved title page depicts a choir arranged around three sides of a meeting house gallery, the leader at the centre with pitchpipe in hand. Brownson also compiled A New Collection of Sacred Harmony (Simsbury, CT, 1797), which he printed himself, adding his own portrait to the second issue. In tunes such as ‘Salisbury’ and the extremely popular ‘Virginia’, Brownson brought to the sturdy New England idiom an expressive use of melisma and a fine melodic gift.
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Prosper-Didier Deshayes (c.1750 - Paris, 1815) va ser un dansaire, professor i compositor francès, famós per les seves representacions de dansa.
He danced at least once at the Comédie-Française in 1762 and was ballet-master there by 1764; he was an adjoint at the Opéra in 1774. In 1777 he made his début as a composer at the Concert Spirituel, and during the following ten years his compositions were performed there 25 times – the fourth-largest number of presentations of works by a native composer in that period. He was dismayed by the foreign domination of French musical life and, in response to an unfavourable review of his oratorio Les Macchabées (1780), wrote ‘It is unfortunate for a French musician to have been born in his own country’. He was master of dance at the Ecole Royale de Chant from its establishment in 1784 and made his début as an opera composer the following year with Le faux serment, ou La matrone de Gonesse. After the Revolution he was employed by the National Treasury and, according to Duval, joined the National Guard; he was active again at the Opéra from 1801. His greatest work is Zélia (1791), on a libretto by Dubuisson based on Goethe’s Stella; the Almanach des spectacles reported that ‘In Zélia he has shown genius’. Duval said of him: ‘Esteemed for his abilities and his character, he left few works and many friends’.
Deshayes’ son, Pierre Louis Deshayes le fils (b Paris, April 1771; d Paris, 18 June 1791), was a student at the Ecole Royale de Danse et de Musique and a member of the Bataillon des Elèves de la Place de Louis XIV. Another son, André Jean-Jacques Deshayes (b Paris, 24 Jan 1777; d Batignolles, Paris, 19 Dec 1846) was a dancer and choreographer at the Opéra and a professor of maintien théâtral at the Paris Conservatoire from 1817. He wrote Idées générales sur l’Académie royale de musique, et plus spécialement sur la danse (Paris, 1822).
Several other musicians and dancers were named Deshayes, but no relationship has been established among them or with Prosper-Didier Deshayes. The first occurrence of the name in a musical context is a reference to Toussaint Deshayes, trompette du roi in the early 17th century. Campardon identified Jacques Deshayes with Joseph Dezais (fl 1710–22), a choreographer at the Opéra who taught dancing and published collections of dances, but his claim has never been proved. A singer, dancer and choreographer named Des Hayes associated with the Comédie-Italienne has been traced by Briquet from the early 18th century to 1768. Claude Des Hayes, possibly his brother, was one of the 24 Violons du Roi from 1720 to 1746 and published sonatas for two flutes. A Mlle Deshayes, possibly his sister, was an actress at the Théâtre-Italien; L’Affichard’s verse portraits of her appeared in the Mercure de France in 1743. Thérèse Boutinon des Hayes became the first wife of La Pouplinière in 1737. Jean-François Deshayes (or De Hesse) was an actor and later a choreographer active at the Comédie-Italienne and the court. Jean-Baptiste Deshayes-Saloman made string instruments in Paris about 1740–80 and was probably the maître de harpe who became a freemason in 1788. Pierre-Edme Deshays, ‘professeur de musique’, is listed among the freemasons in 1789. Lyonnet listed several 19th-century actors named Deshayes.
all performed in Paris; all printed works published in Paris
Le faux serment, ou La matrone de Gonesse (cmda, 2, L.H. Dancourt), Beaujolais, 31 Dec 1785 (1786), excerpts (1786 and n.d.)
La défaite du serpent Python par Apollon (scène lyrique, 1, Renou), Société des Enfants d'Apollon, 1 June 1786
Le paysan à prétention (opéra bouffon, 1, Eyrand), Beaujolais, 12 June 1786, romance (n.d.)
L'auteur à la mode, ou Le mari complaisant (cmda, 2, Durival), Beaujolais, 23 Dec 1786, excerpts (1786, 1787, n.d.)
Berthe et Pépin (cmda, 3, Pleinchesne, after C.-J. Dorat: Les deux reines), Italien, 3 Nov 1787
Delie, ?1787 (ballet-héroïque, 1), unperf., F-Pc*
La chute de Phaëton (scène lyrique, 1, Renou), Société des Enfants d'Apollon, 12 June 1788
Adèle et Didier (oc, 1, Boutillier), Italien, 5 Nov 1790
Zélia, ou Le mari à deux femmes (drame, 3, P.-U. Dubuisson, after J.W. von Goethe: Stella), Louvois, 29 Oct 1791 (n.d.)
La suite de Zélia (3, Dubuisson), Louvois, 25 Feb 1792
Mélite, ou Le pouvoir de la nature (cmda, 3, Desfontaines, after M. de Cervantes: Leocadia), Italien, 19 March 1792
La fin du jour (opéra-vaudeville, 1, Rouhier-Deschamps), Palais-Variétés, 2 Aug 1793
Le mariage patriotique (cmda, 2, Rouhier-Deschamps), Cité-Variétés, 19 Dec 1793
Le petit Orphée (opéra-vaudeville, 4, Rouhier-Deschamps), Palais-Variétés, 1793 [parody of Gluck: Orfée et Euridice]
Le congrès des rois (cmda, 3 Desmaillot [A.F. Eve]), OC (Favart), 26 Feb 1794, collab. Dalayrac, Grétry, Méhul and 8 others
Arlequin imprimeur, ou Pourquoi écoutait-il? (comédie mêlée de vaudevilles, 1, Lepitre), Cité-Variétés, 16 June 1794
Bella, ou La femme à deux maris (3, A. Duval), Amis de la Patrie (Louvois), 15 June 1795
Don Carlos (fait historique, 2, F.P.A. Léger and A.P. Dutremblay), OC (Favart), 11 Jan 1800
Henri de Bavière (3, Léger and Dutremblay), Molière, 22 Aug 1804
Many works in contemporary anthologies
Les Macchabées (orat), 1780;
Le sacrifice de Jepthé (orat), 1786;
Hymns, listed in Pierre (1904);
Bn Conc., 1779, lost;
Cl Conc., 1783, lost;
Première suite d'harmonie, 2 cl, 2 hn, 2 bn (n.d);
Syms. in MS mentioned by Fétis;
Works in contemporary anthologies
3 syms. (Paris, ?1788), also attrib. G.M. Cambini
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Daniel Decatur Emmett (Mount Vernon, 29 d'octubre de 1815 - Mount Vernon, 28 de juny de 1904) va ser un compositor americà.
He had little formal education, but in early youth learned popular tunes from his musical mother and taught himself to play the fiddle. At the age of 13 he became an apprentice printer and in 1834 enlisted in the US Army. At Jefferson Barracks, Missouri, he became an expert fifer and drummer, publishing his own Fifer’s and Drummer’s Guide in 1862 in cooperation with George Brace. On receiving his discharge from the army on 8 July 1835 he joined a Cincinnati circus, for one member of which he wrote the words of his first ‘black song’ (to the tune of Gumbo Chaff). In 1840–42 he toured with the Angervine and other circuses as a blackface banjoist and singer.
In November 1842 Emmett and Frank Brower (1823–74), a blackface dancer and singer who was the first black impersonator to play the bones, formed a fiddle and bones duo in New York. From 6 February 1843 they performed at the Bowery Amphitheatre with Billy Whitlock on the banjo, and Dick (Richard Ward) Pelham (1815–76) on the tambourine, as the Virginia Minstrels (for illustration see Minstrelsy, American). In contrast with earlier black impersonators, these four presented an entire evening of imitation black music, dancing, anecdotes and oratory, advertised as ‘entirely exempt from the vulgarities and other objectionable features which have hitherto characterized negro extravaganzas’. After spectacular successes in New York and Boston, the Virginia Minstrels toured England, beginning with a performance at the Concert Rooms, Liverpool, on 21 May 1843. Emmett performed independently at Bolton, Lancashire, and then travelled with circuses before rejoining Pelham and Brower in Dublin on 22 April 1844. In September of the same year Emmett and Brower sailed for the USA; with two new members they began a New England tour at Salem, Massachusetts, on 23 October.
During the next 14 years Emmett had to counter growing competition from other minstrel groups. He gave his troupe such names as ‘Operatic Brothers and Sisters’ to add respectability, and inserted ‘wench’ numbers in which male dancers impersonated females to titillate jaded audiences. He wrote and acted in ‘Ethiopian Burlettas’ (musical farces) such as German Farmer, or The Barber Shop in an Uproar, and launched a genre called ‘machine poetry’ in which his semiliterate black characters pretentiously assumed the inventive and progressive qualities of the Industrial Age. In 1853 he became part-owner of Charles T. White’s Minstrels, and in 1855 opened the first minstrel hall in Chicago, at 104 Randolph Street. In November 1858 he disbanded his troupe and joined Dan Bryant’s Minstrels in New York, with whom he continued performing until the end of the 1861–2 season in Chicago. He wrote the tunes and words for the shows’ finales, called ‘walk-arounds’ (identified by Nathan as secular imitations of the black ‘shout’), played the banjo and other instruments, acted in comic skits and sang parodies of well-known serious artists.
Emmett’s most successful walk-around, now known as Dixie, was first published in an authorized version (1860) as I Wish I was in Dixie’s Land (see illustration); it had been pirated a month earlier in New Orleans by P.P. Werlein as I Wish I was in Dixie, with music credited to J.C. Viereck and words to W.H. Peters. It was first performed in New York at Mechanics Hall, Broadway, by Bryant’s entire cast on 4 April 1859, as the ‘plantation song and dance’ concluding part 3 of the show. In it Emmett imitated the black call-and-response pattern; the chorus answers the soloist in the verse with ‘Look away’ and in the refrain with ‘Hooray’. Emmett lived in Chicago from 1867 to 1870 and from 1871 to 1888. At first he worked as a member of Haverly’s Minstrels, but after losing his voice he played the fiddle in various saloons. His rough-hewn black tunes and lyrics offended genteel society of the time and he was gradually forgotten. His poverty prompted younger minstrels to stage two benefits (1880 and 1882) that together brought him over $1000 and in 1881–2 enabled him to be employed as a fiddler in Leavitt’s Gigantean Minstrels.
After a tour that was notably successful in the South because of Dixie, Emmett returned to Chicago, and in 1888 retired to Mount Vernon, Ohio. From 1893 to his death he was aided by a weekly allowance from the Actor’s Fund of America. Between 1843 and 1865 Emmett published at least 30 songs, most of which are banjo tunes or walk-arounds, and between 1859 and 1869 he composed another 25 tunes which are still in manuscript at the Ohio Historical Society, Columbus. Collections published in 1843–4 contain 36 tunes sung by him, only six of which are securely attributable to him. His authenticated tunes, always in heavily accented duple meter and always in a major key, are matched with gnarled texts that never treat any downtrodden person in a kindly or dignified manner.
Texts and tunes by Emmett; all printed works published in New York unless otherwise indicated. Catalogue in Nathan.
Old Dan Emmit’s Original Banjo Melodies (Boston, 1843–4) Emmit’s Celebrated Negro Melodies (London, c1844)
I Ain’t Got Time to Tarry, perf. 1858;
Flat Foot Jake, 1859, lost;
High, Low, Jack, perf. 1859;
Johnny Gouler, 1859, lost;
Jonny Roach, perf. 1859;
Loozyanna Low Grounds, 1859;
Road to Georgia, 1859;
Sandy Gibson’s, perf. 1859;
What o’ Dat, 1859;
Billy Patterson (1860);
Go ’way Boys (1860);
I Wish I was in Dixie’s Land (1860);
John Come Down de Hollow (1860);
Massa Greely, O, 1860;
Old K. Y. Ky. (1860);
Wide Awake (Boston, 1860)
Darrow Arrow (1861);
De Contrack, or Down On the Beach-Low Farm (1861);
Turkey In de Straw (1861);
Bress Old Gen. Jackson, 1862;
De Back-log, 1862, lost;
Mr. Per Coon, 1862;
Goose and Gander, 1863, lost;
Here We Are! Here We Are!, or Cross Ober Jordan (1863);
High Daddy (1863); Ober in Jarsey, 1863;
Footfalls On de Carpet, 1864, most lost;
Jack on the Green (1864);
Little Mac is On de Track (1864)
Road to Richmond (1864); U. S. G. (1864);
Old Time Rocks, perf. 1865;
Whar Y’e Been so Long, 1865, lost;
Abner Isham Still, 1868, lost;
I am Free, 1868;
Sugar in de Gourd, 1868;
Want Any Shad, 1868, lost;
Whoa! Bally!, 1868, tune lost;
The Wigwam, 1868, lost;
Yes or No, 1868;
Dutchman’s Corner, late 1860s;
15th Amendment, 1881;
Reel O’er de Mountains, n.d.
Other songs and tunes:
De Boatman’s Dance (Boston, 1843);
I’m Gwine Ober de Mountains (Boston, 1843);
’Twill Nebber Do to Gib it Up So (Boston, 1843);
Dar He Goes! Dats Him (Boston, 1844);
Dandy Jim from Caroline (London, c1844);
Come Back Steben, ?1844, tune lost;
Jordan is a Hard Road to Travel (Boston, 1853);
Root, Hog or Die (Boston, 1856);
I’m Going Home to Dixie (1861);
The Black Brigade (1863);
Mac Will Win the Union Back (1864);
Striking Ile (1865)
c25 other songs and tunes, some with banjo acc., and unpubd works
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Philipp Fahrbach (Viena, 25 d'octubre de 1815 - Viena, 31 de març de 1885) va ser un director de banda i compositor austríac.
In 1825 he joined the newly formed orchestra of Johann Strauss the elder, and he worked closely with Strauss on the preparation of the latter's works. He formed his own orchestra in 1835, rivalling Strauss and Lanner and occasionally deputizing as conductor of the court balls. Fahrbach came into his own with the deaths of Lanner and Strauss, before being overshadowed again with the emergence of the younger Johann Strauss. He published some 400 dances and marches, as well as theatre and religious music, and he contributed articles on wind instruments and military music to the Allgemeine Wiener Musikzeitung. A large collection of his manuscripts is in A-Wst. His son Philipp (b Vienna, 16 Dec 1843; d Vienna, 15 Feb 1894) was also a composer and bandmaster. He studied the violin under Jakob Dont and by 1855 was directing his father's orchestra. His appearance in Paris for the exhibition of 1878 and his subsequent foreign appearances brought him and his music wide popularity, not least in Britain. He published about 350 dances and marches.
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Giuseppe Gherardeschi (Pistoia, 3 de novembre de 1759 - Pistoia, 6 d'agost de 1815) va ser un organista i compositor italià.
He began his musical education with his father Domenico (1733-1800), maestro di cappella of Pistoia Cathedral, and his uncle Filippo Maria. He then completed his studies with Nicola Sala at the Conservatorio di S Maria della Pietà dei Turchini in Naples. He returned to Pistoia where he became organist at S Maria dell'Umiltà. In 1785 he married Alessandra Leporatti who gave him seven children before her death in 1794. In 1795 he married Francesca Maestripieri, who gave him a daughter. In 1800, on his father's death, he was appointed maestro di cappella of Pistoia Cathedral. All his organ pieces, written especially for the cathedral organ, contain very specific registration instructions. He was succeeded at the cathedral first by his son Luigi (1791-1871) and then by his grandson Gherardo (1835-1905). They were also composers and much of their sacred and instrumental music survives (mostly in I-PS).
Daliso e Delmita (op), 1782;
Angelica e Medoro (cant.), 1783;
L'apparenza inganna (op), 1784, collab. Carlo Spuntoni, lost;
L'ombra do Catilina (cant.), 1789;
L'impazienza (cant.), 1798;
La speranza coronata (cant.), 1804–9;
choruses, arias, duettos
Il sacrificio di Jeft (orat), 1803;
30 masses, 3 matins, 37 Lamentations, 90 motets, 5 TeD, other works
6 sonate, hpd/pf, vn obbl (Florence, before 1800);
6 trios, 2 vn, vc, 1784;
2 sonatas, hpd;
Numerous works for org, ed. in: Musiche pistoiesi per organo, ii, MMI, 1st ser., vi (1978, 2/1984);
Antologia del Settecento organistico pistoiese (Brescia, 1983);
Musiche d'organo a Pistoia (Brescia, 1989);
Letteraturo organistica toscana al XVII al XIX secolo (Pistoia, 1999): all ed. U. Pineschi
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John William Glover (Dublin, 19 de juny de 1815 - Dublin, 19 de desembre de 1899) va ser un professor, director i compositor irlandès.
He studied in Dublin, where he played the violin in a theatre orchestra from 1830. In 1848 he succeeded Haydn Corri as director of the music at St Mary's, the Roman Catholic Pro-cathedral, and the same year was appointed the first professor of vocal music in the Normal Training-School of the Irish National Education Board. In 1851 he founded the Choral Institute of Dublin, and for many years he was an energetic promoter of choral music in Ireland. He composed two Italian operas to librettos by Metastasio; a cantata, St Patrick at Tara (1870), performed at the O'Connell centenary in 1875; Erin's Matin Song (1873); an ode to Thomas Moore, One Hundred Years Ago (1879); and an opera on Goldsmith's The Deserted Village (1880), besides church music, concertos and songs. (J.D. Brown and S.S. Stratton: British Musical Biography, Birmingham, 1897/R)
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Franz Götz (Strašice, nr Rokycany, bap. 29 de juliol de 1755 - Kroměříž, bur. 17 de desembre de 1815) va ser un compositor bohemi, conegut pel seu virtuosisme amb els instruments de corda.
He was trained as a chorister at the shrine of Svatá Hora, Příbram, and studied in Prague at the Jesuit seminary of St Václav, which he entered in 1768. It is thought that he studied the violin with his elder brother Antonín (d 1804), an excellent violinist. He graduated as Bachelor of Theology and prepared for his entry into the Benedictine order, but suddenly changed his plans and accepted the post of first violinist in the Brno theatre. In the 1770s he made a concert tour of Silesia, and in Breslau became acquainted with Dittersdorf, who engaged him (?1778) as first violinist for Bishop Schaffgotsch in Javorník (Jauernig). When the orchestra was disbanded the recommendation of Baron Kaschnitz gained him the post of Kapellmeister of the Brno theatre for about two years. In April 1788 he became Kapellmeister to the Archbishop of Olomouc, Cardinal Anton Theodor Colloredo-Waldsee (1777-1811), with an annual salary of 550 florins.
Apart from several concert tours to Prague, he remained until his death at the archbishop’s Kroměříž residence or in Olomouc, where his employer was one of the main patrons of the local collegium musicum. In 1790 he attended the coronation of Leopold II in Prague and aroused great interest as a violinist and composer, gaining the notice of both Mozart and Salieri. The following year, at the coronation of Franz II, he had much success as a viol player. In 1794 he applied unsuccessfully to become Kapellmeister at Olomouc Cathedral. According to Dlabacž, Götz composed many sonatas, duets, trios and concertos for the viol, which at the time was played ‘in various places in Bohemia’. However, in Czech archives no music for viola da gamba by Götz has been found, whereas many of his works for viola d’amore are known; it seems that Dlabacž may have been mistaken. Only a negligible amount of his other instrumental music mentioned by Dlabacž (sonatas, concertos, symphonies) has survived. Götz owned a valuable music collection, valued at 150 florins at his death.
11 Latin arias, duets and choruses;
aria, Se d’una alma costante
Concerto, c, pf, A-Wgm;
6 duets, va d’amore;
6 minuets and Musica à la turca, C
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Roman Hoffstetter (Laudenbach, 24 d'abril de 1742 - Miltenberg-am-Main, 21 de maig de 1815) va ser un compositor alemany, germà de Johann Urban Alois Hoffstetter.
German composer, probably the brother of Johann Urban Alois Hoffstetter. He entered the nearby Benedictine monastery of Amorbach (now in Bavaria), which then belonged to the electoral archbishopric of Mainz; taking his vows on 5 June 1763, he was ordained priest on 10 September 1766. In his monastery he held the office of regens chori, and for a few years was also prior. After the dissolution of the monastery in 1803 he moved with his abbot to the neighbouring town of Miltenberg. Hoffstetter came into prominence through Alan Tyson’s discovery that he was probably the composer of the set of six string quartets op.3 (including the famous F major ‘Serenade’ in no.5) hitherto attributed to Haydn. Further researches by Finscher, Unverricht and Tyson have established his authorship for the first two quartets with some degree of certainty.
His model for the Divertimento a quattro was Haydn, though he owed much of his musical inspiration to J.M. Kraus. Hoffstetter’s musical ideas are memorable, easily accessible and popular in style, but his working out of material does not attain Haydn’s concentration. Apart from three viola concertos, which might suggest that he was himself a viola player, he composed various pieces of church music. His masses show some uncertainty in tonal structure. Writing to F.S. Silverstolpe on 11 January 1802 he confessed as much, and acknowledged that ‘everything that flows from Haydn’s pen seems to me so beautiful and remains so deeply imprinted on my memory that I cannot prevent myself now and again from imitating something as well as I can’. Appropriately, several of his works became known under Haydn’s name.
10 masses, some in Walldürn, D-WÜd and Hofbibliothek, Jagstberg, others lost;
3 vespers and 1 lit, marked ‘Hofstetter’, probably by Roman Hoffstetter
3 va concs., c1785, S-L, 1 in D-Bsb all ed. in Fine;
6 as op.1 (Amsterdam, c1770) [attrib. J. Haydn (London, 1774), cf hIII: D1, G1, C1, F1, B1, Es1];
6 as op.2 (Mannheim, c1780);
2 in op.3 [attrib. Haydn (Paris, 1777), cf hIII, 13–14];
2 qts, c1765 [attrib. Haydn, cf hIII: F3, F6], CH-Bu
Font: En català: No disponible - En castellano: Roman Hoffstetter (1742-1815) - In english: Roman Hoffstetter (1742-1815) - Altres: Roman Hoffstetter (1742-1815)
Robert Hudson (London, 25 de febrer de 1730 - Eton, 19 de desembre de 1815) va ser un compositor i cantant anglès.
One of Charles King’s last pupils at St Paul’s, he sang as a young man at Ranelagh and Marylebone Gardens in London, and in 1755 was assistant organist of St Mildred Bread Street (though see Dawe). In 1756 he was appointed vicar-choral of St Paul’s Cathedral, in 1757 he was elected a member of the Royal Society of Musicians, in the following year a Gentleman of the Chapel Royal and in 1773 he was appointed almoner and master of the children of St Paul’s, resigning the last two posts in 1793. He was also music master at Christ’s Hospital from 1767 until 1808. He was buried at St Paul’s on 28 December 1815, having been a vicar-choral there for 60 years. Hudson’s principal compositions were A Psalm of Thanksgiving to be Sung by the Children of Christ’s Hospital on Monday and Tuesday in Easter Week (London, 1787), and The Myrtle, a collection of songs in three books (London, 1767). He also composed numerous songs (many published in the Lady’s Magazine), a service (GB-Lbl), some chants and many hymn tunes. His works include a setting for five voices of the lines on Child’s monument at Windsor, beginning ‘Go, happy soul’. His daughter Mary Hudson (d London, 28 March 1801) was an organist and composer of hymn tunes.
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William Jackson (Masham, 9 de gener de 1815 - Bradford, 15 d'abril de 1866) va ser un compositor anglès.
He was known as ‘Jackson of Masham’ to distinguish him from William Jackson ‘of Exeter’ (1730-1803). He was the son of a miller, John Jackson, and left school at 13 to work in the mill and bakery. In his free time he taught himself first to repair, and then to construct, organs; he also learnt how to play various instruments, and the elements of thoroughbass, using tutors and scores from the public library. In 1832 he was appointed first organist of Masham church. In 1839 he went into business as a tallow-chandler, but in the same year his first composition, an anthem, was published. He progressed to a prize glee (1840), a setting of Psalm ciii (Huddersfield Choral Society, 1841), and finally, in 1844, to the highest rung of the ladder – an oratorio, The Deliverance of Israel from Babylon, given at Leeds in 1847. In 1852 Jackson made music his profession and settled at Bradford, where he became organist of St John's (1852–6) and of Horton Lane Independent Chapel (1856). He was conductor of the Bradford Choral Union (male voices), chorus master of the Bradford Musical Festivals of 1853, 1856 and 1859, and conductor of the Festival Choral Society from 1856. In 1858 he brought his chorus of 210 singers to London and performed to the queen at Buckingham Palace. He was also in business as a music seller in Bradford.
Jackson composed several oratorios and cantatas for the Bradford Festival. He did not live to conduct his last major work, Praise of Music, composed for the festival of 1866. He also composed a number of anthems, glees and songs, and published three hymnbooks and A Singing Class Manual (London, 1849). It is evident from the oratorios that he was thoroughly steeped in the music of Handel, though there are also reminiscences of Haydn and Mozart; of the later style of Spohr and Mendelssohn there is no trace. He was never able to overcome his lack of thorough technical training, and his scores are full of blunders and crudities, yet they have a certain primitive strength, particularly in passages of declamatory recitative. Jackson's second son, William (b Bradford, 1853; d Ripon, 10 Sept 1877), became organist of Morningside parish church, Edinburgh; he composed a few songs and partsongs.
Choral, with acc.:
Ps ciii, 1841;
The Deliverance of Israel from Babylon, orat (Leeds, 1844);
Mass, E, 4vv, org (London, 1846);
Isaiah, orat (London, 1851);
Ps ciii [2nd setting] (London, 1856);
The Year, cant (London, 1859);
Full Service, G (London, 1864);
Praise of Music, sym., 4vv, orch (London, 1866)
Anthems, glees, partsongs, songs
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Johann Christoph Kaffka [Engelmann] (Regensburg, 1754 - Riga, 1815) va ser un compositor alemany.
He studied the violin with his father, Joseph Kaffka (b Bohemia, c1730; d Regensburg, 1796), a violinist in the Thurn und Taxis court orchestra at Regensburg from about 1748 and composer of a Missa solemnis (D-Rtt). Later he studied music theory with Joseph Riepel and was briefly a violinist in the Regensburg court orchestra. After studying to become a Jesuit, then a Cistercian, he changed his name and began a long and chequered theatrical career in 1775 as music director of the Brunian company in Prague. He worked as a composer, librettist and actor-singer with troupes in Nuremberg (Moser, 1777), Frankfurt (Marchand), Leipzig (Bondini), Regensburg (Schopf, 1778–9), Stuttgart (Schikaneder, 1778, 1793), Berlin (Döbbelin, 1779–81), Brno and finally Breslau (Maria Wäser, to 1789), where he composed most of his operas. He had his greatest success at Breslau, and his ‘extremely advantageous figure’ won him an ardent female following. His wife Theresine (née Rosenberger) Kaffka was also a performer and dancer.
Kaffka also wrote melodramas, incidental music, ballets, celebratory prologues, oratorios, masses, vespers, a requiem, symphonies and songs, now mostly lost; his collection Musikalischer Beytrag für Liebhaber des deutschen Singspiels (Breslau, 1783) was meant to be a periodical, but only two issues appeared. In 1803 he settled in Riga as a bookseller and continued playing the violin only in amateur concerts. Kaffka’s operas are his most important works. As a composer he was keenly aware of current fashion; in a crushing review of Bitten und Erhörung (for the birthday of Frederick the Great, 1783), Cramer accused him of copying long passages from Benda, Gluck, Schuster and particularly Naumann’s opera Cora (printed in German translation, 1780), and the melodrama Rosemund (1782) was also criticized for plagiarism. According to Schilling, however, Das wütende Heer, oder Das Mädchen im Thurme (1782) earned a warm reception with its use of folk legend and its pleasant music. Kaffka’s elder brother Wilhelm Kaffka (b Regensburg, 11 July 1751; d Regensburg, 1806) was a virtuoso violinist, leader of the Regensburg court orchestra, and composer of a Divertimento for nine instruments (D-Rtt).
Die Zigeuner (Lustspiel mit Gesang und untermischten Tänzen, 5, H.F. Möller, after M. de Cervantes: La gitanilla), Munich, 1778
Antonius und Cleopatra (Duodrama mit Gesang, 2, B.C. d’Arien), Berlin, 15 Nov 1779, D-Bsb
Der Äpfeldieb, oder Der Schatzgräber (Operette, 1, C.F. Bretzner), Berlin, 26 June 1780
Rosemund (Melodram, 1, Bretzner), Breslau, Jan 1782, vs (Breslau, 1784)
Das wütende Heer, oder Das Mädchen im Thurme (Operette, 3, Bretzner), Breslau, Jan 1782, lost
Der Guk Kasten, oder Das Beste komt zulezt (komische Operette, 2, Kaffka), Breslau, 1782
So prellt man alte Füchse (Operette, 1, Kaffka, after F.L.W. Meyer), Breslau, 1782
Bitten und Erhörung (prol, 1), 24 Jan 1783, vs (Stettin, 1784)
Der blinde Ehemann (Operette, 2, J.F. Jünger), Breslau, 1788
Der Talisman, oder Der seltene Spiegel (romantisch-komische Oper, 3, Bretzner), Breslau, 1789, lost
Other works, lost, mentioned GerberNL
Songs in J. André: Lieder und Gesänge (Berlin, 1779–80)
Musikalischer Beytrag für Liebhaber des deutschen Singspiels, pf, 2 vn, va, b (Breslau, 1783)
Many other works, lost
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Karol Kątski (Kraków, 6 de setembre de 1815 - Paris, 27 d'agost de 1867) va ser un violinista i compositor polonès.
He studied at the Warsaw Conservatory and had composition lessons from Bianchi in St Petersburg and with Reicha in Paris (although he cannot have arrived in Paris long before Reicha’s death, unless he preceded the rest of his family there). Although a respected musician, he did not, in Fétis’s opinion, fulfil the promise of his childhood; he lived in Paris as a teacher, violinist (in the Opéra-Comique orchestra for several years) and viola d’amore player. He composed chamber music and pieces for violin and piano, published in Paris and Leipzig, and was a member of the music societies of Vienna, Munich, Stockholm, Kraków and Lublin.
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Bernard Lorenziti (Kirchheim, c.1749 - 1815) va ser un violinista i compositor francès.
His father was maître de chapelle to Prince Nassau de Weilburg. Bernard was taught by his brother Joseph Antoine Lorenziti (c1740-89), maître de chapelle of Nancy Cathedral. According to the Almanach musical (1775-83/R), which praised his ‘distinguished talent for the violin’, he spent about a year in Paris, where in March 1777 he published his op.1, Six Quatuors. In November that year he went to Nancy. He was a violinist in the orchestra of the Académie Royale de Musique in Paris from Easter 1787, and in 1802 was appointed first violin in the quartet established to accompany rehearsals. His retirement is recorded in a decree of 19 October 1812, issued in Moscow. According to Fétis, he wrote almost 250 works, some 40 of which were published. They are often confused with compositions by his brother. Those which have been preserved, mainly for string instruments, are concertos and chamber music. They are technically simple, and his Six Trios (1780) were considered suitable for ‘an amateur who, fearing comparison with a virtuoso, wishes to shine in a concert and yet to play with him’ (Almanach musical, 1781). In 1798 he published his Principes, ou Nouvelle Méthode de musique pour apprendre facilement à jouer du violon. The main interest of this work lies in the duos added to it.
published in Paris unless otherwise stated
Violin Concerto (1787)
Viola Concerto (c1799)
3 sonatas, va, acc. b, op.39 (c1800)
6 duos, 2 vn, op.3 (c1781);
6 duos, 2 vn, op.5 (c1781);
6 duos concertants, (fl, vn)/2 vn (c1794);
6 duos d'une difficulté progressive à l'usage des commençants, 2 vn (c1794–7), also pubd as op.38 (Bonn, 1797);
6 duos concertants, 2 vc/2 bn (c1807);
3 duos dialogués à l'usage des commençants (18e livre de duos), 2 vn, op.36 (c1812)
6 trios, 2 vn, b (1780);
3 trios concertants, 3 vn, op.38 (c1799)
6 qts, 2 vn, va, b, op.1 (1777);
Bataille de Prague, 2 vn, va, b (c1794)
La gamme, et 5 petits airs, vn, acc. va/b (1777);
Airs variés, vn, acc. b (1785);
Marche des Marseillois, vn, vc (c1793–4);
Airs variés (2e suite), vn, acc. b (1794);
6 airs variés, vn, acc. vn (c1800);
Ah, vous dirai-je maman, vn (c1808)
Canon, ou divertissement, 2 cl, 2 bn (c1800)
Ouverture d'Iphigénie en Aulide (Gluck), vn (c1811–14)
Menuet avec 10 variations, vn, b (1787), mentioned in Calendrier musical universel (1788);
6 trios, 2 vn, b, op.4 (n.d.), mentioned by Gerber; Pots-pourris (c1794–7), mentioned by Pierre
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José Maurício (Coimbra, 19 de març de 1752 - Figueira da Foz, 12 de setembre de 1815) va ser un compositor portuguès, d'estil molt proper a Haydn.
After preliminary studies for the priesthood, he began a theological course at Coimbra University in 1768 but abandoned it for music. He studied at Salamanca and from about 1784 to 1786 was mestre de capela at Guarda Cathedral. He then returned to become organist of the priory of S Cruz at Coimbra. In 1791 he was invited to direct the music school in the bishop’s palace and to become mestre de capela of Coimbra Cathedral. On 18 March 1802 John VI appointed him professor of music at Coimbra University. For his many students he published at Coimbra in 1806 his Methodo de música, escrito e offerecido a Sua Alteza Real o Principe Regente Nosso Senhor. During Massena’s occupation he escaped to Lisbon, where on 5 July 1810 he joined the Brotherhood of St Cecilia. The next year he returned to his university post. Maurício composed chiefly sacred works, of which his Stabat mater and Miserere settings were best known. He also composed many modinhas, two of which, along with a minuet, were published in Nova arte de viola (Coimbra, 1789), written by his pupil Manuel da Paixão Ribeiro. His Magnificat in G minor (P-Ln M.M. 183), his only large church work transcribed, reveals him as a highly competent follower of Haydn who modulated convincingly, had a fine sense of variety and climax and employed styles ranging from Italian vocal fioriture to a well-wrought fugal finale. (DBP)
Many modinhas, incl. A paixão qe. sinto em mim, in Jornal de modinhas (Lisbon, 1794);
At least 26 masses before 1803, incl. no.8, 1785, and no.19, 4vv, org, 1796, P-Ln;
2 sets of responsories for the Office of the Dead;
Music for Holy Week, 1801;
2 Mag, Ln;
3 sets of vesper pss;
3 sets of matins;
2 Stabat mater, vv, orch, Ln;
Hymns, others, Ln
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Joaquin Montero (Sevilla, c.1740 - Sevilla, 1815) va ser un compositor espanyol, actiu principalment a Sevilla.
He was organist of the parish church of S Pedro el Real in Seville. He published a Compéndio armónico (Madrid, 1790) and Seis sonatas para clave y fuerte piano op.1 (Madrid, 1790; ed. L. Powell, Madrid, 1977); he also published sonatas and minuets for harpsichord (1796). A treatise by him, Tratado teórico-práctico sobre el contrapunto, dated 1815, is also extant (E–Bc, Sc). To judge from a dated manuscript (E-Mn M2810), Montero was active as a composer as early as 1764. The manuscript contains, among other works, ten minuets for harpsichord and piano, some of the earliest Spanish keyboard works to indicate specifically the piano as well as the harpsichord (ed. A. Ruiz-Pipó, Madrid, 1973). Montero’s Seis sonatas para clave y fuerte piano represent his best surviving works. Almost all of the movements of his sonatas approximate to sonata-allegro form and show a very lucid melodic organization, with a good sense of phrase balance, and many have Alberti basses or similar accompaniment patterns.
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Francisco António Norberto dos Santos Pinto (Lisboa, 6 de juny de 1815 - Lisboa, 30 de gener de 1860) va ser un compositor portuguès.
A boy soprano, he studied solfège with a singer in the royal chapel of Bemposta, then the horn with the royal cavalry bandmaster Justino José Garcia. At 15 he became a member of the same band and, on 30 September 1830, of the Brotherhood of St Cecilia, not being required to take the usual tests because of his already recognized ability. Two years later he became cornettist in the royal police guard band and in 1833 first horn player of the S Carlos Theatre orchestra. During the next five years he studied composition and orchestration with Manuel Joaquim Botelho, second flautist of that orchestra from 1825 to 1865. In 1854 he won the competition to succeed Franz Kuckembuk as professor of brass instruments at the National Conservatory and in 1857 he was promoted to director of the S Carlos orchestra.
Pinto made his début as a composer with music for the ballet Adoração do sol (S Carlos, 19 October 1838), which was danced by Huguet Vestris both that season and the next. During the next 15 years he composed 18 more ballets and, between 1841 and 1859, incidental music for 33 plays by such leading dramatists as Mendes Leal, Augusto Lacerda, José Romano and Silva Leal. His 46 sacred works composed between 1833 and 1859 culminated in the ambitious Te Deum given its posthumous première on 17 October 1863 in the church of Loreto in Lisbon in honour of D. Fernando. Although italianate, Pinto's prolific output of theatre and church music competed with Casimiro's for first honours in mid-19th-century Lisbon. Both his eighth orchestral overture (1845), dedicated to Liszt, and his Symphonia in D major in one movement with slow introduction (MS, P-Em 147) extracted maximum brilliance from a reduced theatre orchestra.
19 ballets, incl. contradanças from Dionisio tirano de Syracusa, 1841, in Semario harmonico, 3rd ser., no.63;
Incid music for 33 plays, incl. ballet from O tributo das cem donzellas (Mendes Leal), 1845, arr. pf in Semario harmonico, 3rd ser., nos.126-7
1 modinha, 1v, pf, in Semario harmonico, 3rd ser., no.71;
Romance, sung by Clara Novello, S Carlos, 18 June 1851 (Lisbon, n.d.); 2 romances (J. Romano) (Lisbon, n.d.);
A pomba e a saudade (Romano), melodia, in memory of Queen Maria II (Lisbon, n.d.)
46 works, incl. 3 solemn masses, solo vv, 4vv, orch;
6 masses, 2–4vv, orch;
2 Gloria, 3–4vv, orch;
4 Cr, 3–4vv, orch;
5 matins, 3–4vv, orch;
8 Tantum ergo, 1–4vv, orch;
3 novenas, 1 for 4vv, org, 2 for 3–4vv, orch;
2 TeD, 3vv, orch;
3 Litanies of Our Lady, 3–4vv, orch;
2 Lamentations, 4vv, orch;
Other pieces for Holy Week
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Ferdinand Praeger (Leipzig, 22 de gener de 1815 - London, 2 de setembre de 1891) va ser un escriptor, pianista i compositor alemany.
He was the son of Heinrich Aloys Praeger (b Amsterdam, 23 Dec 1783; d Magdeburg, 7 Aug 1854), a violinist, guitarist and composer (especially of chamber music), and opera director in Leipzig (1818–28), Magdeburg and Hanover. Ferdinand developed his gifts early, playing the cello well at the age of nine but transferring to the piano on Hummel’s advice. In 1831 he taught at The Hague, also continuing his piano, violin and composition studies. In 1834 he settled in London, where he was much in demand as a teacher, and from 1842 he acted as London correspondent of the Neue Zeitschrift für Musik. He later translated Emil Naumann's history of music. He gave a successful concert of his compositions at Paris in January 1851, and in 1852 he played at Leipzig, Berlin and Hamburg. His overture Abellino was conducted by Berlioz in July 1855, and in 1867 his Piano Trio was chosen for performance at Meiningen. He also composed a symphonic prelude to Byron’s Manfred (1880), four string quartets, piano pieces and songs. A concert of his works was organized by his pupils on 10 July 1879 in London.
An early enthusiast for Wagner, Praeger was partly (not, as he claimed, primarily) responsible for the invitation to Wagner to conduct eight of the Philharmonic Society’s concerts in London in 1855. Wagner stayed with him; and they had further contacts in 1877, and at other times and places. Nevertheless, he greatly exaggerated his closeness to Wagner, and with his Wagner as I Knew him (London, 1885; Ger. trans., Leipzig, 1892 as Wagner, wie ich ihn kannte), published without the authorization of the Wagner family, he was accused of falsifying evidence, inventing stories and altering letters (differently in the English and German editions) so as to exalt his role in Wagner’s career. This distortion was exposed by various biographers, chiefly Ashton Ellis, and in 1893 Houston Stewart Chamberlain obtained the original letters from the Earl of Dysart as evidence for his exposure, which proved so devastating that the German publishers withdrew Praeger’s book. Though totally discredited, the book retained a certain interest for some personal impressions of Wagner, and later research has shown it to be less mendacious than was once thought. Praeger was in turn described by Wagner as ‘an unusually good-natured man, though one too excitable for his standard of culture’ (Mein Leben).
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William Reeve (London, 1757 - London, 22 de juny de 1815) va ser un organista i compositor anglès, especialitzat en obres teatrals.
After abandoning an apprenticeship as a law stationer, he studied the organ with Mr Richardson of St James's, Westminster, and in 1781 became an organist in Totnes, Devon. In 1783 he returned to London to compose all-sung burlettas for John Astley's equestrian theatre and John Palmer's short-lived Royalty Theatre; these non-patent houses were not permitted to perform spoken drama. Some of Reeve's pieces were revived at the patent theatres after the Royalty closed in 1788: the ballet-pantomime Don Juan (1787), for example, proved particularly successful, and both Drury Lane and Covent Garden adopted it for their repertories. Reeve was elected to the Royal Society of Musicians in 1787, eventually serving as a Governor in 1794 and 1804. He acted in the Haymarket company in 1789 and at Covent Garden for two seasons (1789–91 at £2 a week), playing minor roles at both. When Covent Garden's house composer, William Shield, left abruptly in autumn 1791, Reeve took over the position (at £4 a week), which included completing Shield's score for the ballet-pantomime, Oscar and Malvina (1791).
After Shield's return in 1792 Reeve became organist of St Martin Ludgate but continued as a freelance composer for London's patent and minor theatres. He also provided much rather facile music for the topical spectacles and pantomimes at Sadler's Wells. During Lent 1794 he was engaged at the Lyceum Theatre for four nights a week, producing Mirth's Museum, a variety entertainment. He served a second term as Covent Garden's house composer during 1797–8 and began collaborating with other composers. From 1803 until his death Reeve also served as co-proprietor, director of music, and shareholder of Sadler's Wells Aquatic Theatre, where he set about 80 librettos, many written by co-proprietor Charles Isaac Mungo Dibdin. Because of the success at Drury Lane of Reeve's comic opera The Caravan (1803), which featured an on-stage water tank into which Carlos the wonder dog leaped to rescue a drowning child, Sadler's Wells installed an irregularly shaped 8000-gallon tank, three feet deep, beneath the stage.
Reeve wrote music for the new specialty, ‘aquadrama’: all-sung musicals featuring pirates, waterfalls, nautical battles, ocean fiends and other watery terrors. Reeve wrote largely to support and highlight the talents of specific performers, such as the clown Joseph Grimaldi at Sadler's Wells, and to provide easy listening. He could rapidly compose strophic comic songs in the popular Scottish style and compile scores based on genuine ballads and folksongs. Reviewers found his music entertaining. Some of his other popular later works included a melodrama, The Purse (1794), a Robin-Hood pantomime, Merry Sherwood (1795) (especially the drinking song ‘I am a friar of orders grey’) and a comic opera, The Cabinet (1803). At his death, Reeve owned seven of Sadler's Wells's 40 shares, which he bequeathed to his daughter, Charlotte. His family pursued theatrical careers as well: Mrs Reeve sang at Astley's and in Mirth's Museum, Charlotte was an actress and his son George composed for Sadler's Wells and played the trumpet. A portrait of Reeve engraved by J. Hopwood (after E. Smith) appears in the libretto to The Cabinet.
only works from which music survives are listed; all first performed in London and published in London shortly after first performance; librettos or song texts published unless otherwise stated
The Double Jealousy (burletta), Astley's, 1785, 2 songs, no lib
The Taylor's Fox Hunt (interlude), Astley's, 1785, 1 song, no lib
The Trumpeter's Hoarse Clang (Johnstone), song in An Harmonic Jubilee (musical piece), LCG, 22 May 1786 [also sung in The Prussian Dragoon, or The Termagent Mistress (burletta), Astley's, 2 Aug 1788]
Don Juan, or The Libertine Destroyed [pantomime ballet, 2, C. Delphini, after T. Shadwell: The Libertine), Royalty, July 1787, 4 songs and ballet music [incl. music by Gluck]; pubd after revival LDL, 26 Oct 1790
Hero and Leander (burletta, I. Jackman), Royalty, sum. 1787, ov. and 2 songs
Hobson's Choice, or Thespis in Distress (burletta, W.C. Oulton), Royalty, 3 July 1787, 1 song, no lib
Thomas and Susan, or The Fortunate Tar (burletta, after J. O'Keeffe: The Poor Soldier), Royalty, 1787, vs, no lib
Sweet Boy, Yes (J. O’Keeffe), song for revival of The Touchstone, or Harlequin Traveller (pantomime, 2 pts, C. Dibdin), LCG, 30 Nov 1789; repr. in MLE, D1, 1990
The Evening Brush (variety entertainment, J. Collins), LLY, 1790–94, 14 songs in 2 sets
Tippoo Saib, or British Valour in India (pantomime ballet, 1, M. Lonsdale), LCG, 6 June 1791 [rev. as Tippoo Saib, or The East-India Campaigning, LSW, July 1791], vs, no lib
Oscar and Malvina, or The Hall of Fingal (pantomime ballet, 1, J. Byrne, after J. Macpherson: Ossian), LCG, 20 Oct 1791, vs; collab. W. Shield
My Name is Tippy Bob, song in Bluebeard, or The Flight of Harlequin (pantomime, 2, Delphini), LDL, 21 Dec 1791, no lib
O'Whack's Journey to Paris, song in Notoriety (comedy, 5, F. Reynolds, after J. Fletcher: Monsieur Thomas), LCG, 5 Nov 1791
Songs for pasticcio version of Gluck's Orpheus and Eurydice, LCG, 28 Feb 1792, no lib
The Mad Guardian, or Sunshine After Rain (musical farce, 2, T.J. Dibdin), Manchester, 15 March 1793 [1st London perf. LCG, 16 April 1799]
The Purse (musical drama, 1, J.C. Cross), LLH, 8 Feb 1794, vs
Mirth's Museum, or The Country Club (variety entertainment, 3), LLY, Lent 1794, 9 songs
British Fortitude and Hibernian Friendship, or An Escape from France (musical drama, 1, Cross), LCG, 29 April 1794, vs
The Apparition (musical drama, 2, Cross), LLH, 3 Sept 1794, vs
Grand Ov. & La Chasse for Shield's Hercules and Omphale (pantomime ballet, 2, Byrne), LCG, 17 Nov 1794
Merry Sherwood, or Harlequin Forester (pantomime, 2, M. Lonsdale, J. O'Keeffe and W. Pearce), LCG, 21 Dec 1795, vs
The Charity Boy (musical farce, 2, Cross), LDL, 5 Nov 1796, ov. and 2 songs
Olympus in an Uproar, or The Descent of the Deities (burletta, 2, after K. O'Hara: The Golden Pippin), LCG, 5 Nov 1796, ov. and 1 song, MS lib US-SM
Harlequin and Oberon, or The Chace to Gretna (pantomime, 2, J. Wild and J. Follet), LCG, 19 Dec 1796, ov. in pts and 3 songs, MS song texts SM
Bantry Bay, or The Loyal Peasants (comic op, 2, G.N. Reynolds), LCG, 18 Feb 1797, vs
Raymond and Agnes, or The Castle of Lindenbergh (pantomime ballet, 2, C. Farley, after M.G. Lewis: Ambrosio, or The Monk), LCG, 16 March 1797, vs, ballet music
Incid music to The Honest Thieves, or The Faithful Irishman (farce, 2, T. Knight, after R. Howard: The Committee), LCG, 9 May 1797, 1 song
The Begging Gypsy & You Faithless Man, songs for S. Arnold's the Maid of the Mill (comic op, 2, Cross, after I. Bickerstaff), LCG, 20 Oct 1797
An Escape into Prison (musical farce, 2, Cross, after E. Inchbald: The Hue and Cry), LCG, 13 Nov 1797, ov. and 1 song
The Round Tower, or The Chieftains of Ireland (pantomime ballet, 1, Cross), LCG, 24 Nov 1797, vs, lib in Cross: Circusiana (London, 1809) and Dramatic Works (London, 1812)
Joan of Arc, or The Maid of Orleans (pantomime ballet, 1, Cross), LCG, 12 Feb 1798, ov. and 6 songs in short score
The Raft, or Both Sides of the Water (musical interlude, 1, Cross), LCG, 31 March 1798, ov. and 2 songs
Harlequin's Return (pantomime, 2, Cross), LCG, 9 April 1798, ov. and 4 songs, MS song texts SM
Ramah Droog, or Wine Does Wonders (comic op, 3, J. Cobb), LCG, 12 Nov 1798, vs; collab. J. Mazzinghi
The Embarkation (musical entertainment, 2, A. Franklin), LDL, 3 Oct 1799, vs
The Turnpike Gate (comic op, 2, Knight), LCG, 14 Nov 1799, vs, ov. in pts; collab. Mazzinghi
Paul and Virginia (comic op, 2, Cobb, after J.-H.B. de St Pierre: Paul et Virginie), LCG, 1 May 1800, vs; collab. Mazzinghi
The Blind Girl, or A Receipt for Beauty (comic op, 3, T. Morton), LCG, 22 April 1801, ov.; collab. Mazzinghi
Chains of the Heart, or The Slave by Choice (comic op, 3, P. Hoare, after Marsollier: Gulnare), LCG, 9 Dec 1801, vs; collab. Mazzinghi
Harlequin's Almanack, or The Four Seasons (pantomime, 2, T.J. Dibdin), LCG, 28 Dec 1801, ov. and 4 songs
The Cabinet (comic op, 3, T.J. Dibdin, after ballad The Golden Bull), LCG, 9 Feb 1802, vs; collab. J. Braham, D. Corri, J. Davy and J. Moorehead
Once Happy and To Arms, songs in Delays and Blunders (comedy, Reynolds), LCG, 30 Oct 1802
Family Quarrels (comic op, 3, T.J. Dibdin), LCG, 18 Dec 1802, vs; collab. Braham and Moorehead
Edward and Susan, or The Beauty of Buttermere (musical drama, C.I.M. Dibdin, after a true story), LSW, 11 April 1803, 3 songs
The Caravan, or The Driver and His Dog (melodrama, 2, Reynolds), LDL, 5 Dec 1803, vs
The Little Gipsies (Two Little Gypsies) (operatic farce, C.I.M. Dibdin), LSW, 2 April 1804, 2 songs
Thirty Thousand, or Who's the Richest? (comic op, 3, T.J. Dibdin, after M. Edgeworth: The Will), LCG, 10 Dec 1804, vs; collab. Braham and Davy
Out of Place, or The Lake of Lausanne (operatic farce, 2, Reynolds), LCG, 28 Feb 1805, vs; collab. Braham
An Bratach, or The Water Spectre (aqua drama, C.I.M. Dibdin), LSW, July 1805, ov. and 2 songs
The White Plume, or The Border Chieftains (melodrama, 3, T.J. Dibdin, after Scott: The Lay of the Last Minstrel), LCG, 10 April 1806, vs
The Invisible Ring, or The Water Monster and Fire Spectre (aqua drama, C.I.M. Dibdin), LSW, 25 June 1806, 1 song
O! The Hawthorn was Blowing and Ti Tum Ti, songs in Five Miles Off, or The Finger Post (comedy, 3, T.J. Dibdin), LLH, 9 July 1806
Arbitration, or Free and Easy (operatic farce, 2, Reynolds), LCG, 11 Dec 1806, 1 song, MS lib SM; collab. G. Lanza
The Ocean Fiend, or The Infant's Peril (aqua drama, C.I.M. Dibdin), LSW, 25 May 1807, ov. and 2 songs
Kais, or Love in the Deserts (op, 4, I. Brandon, after B. Disraeli: Mejnoun and Leila), LDL, 11 Feb 1808, vs; collab. Braham
The White Witch, or The Cataract of Amazonia (aqua drama, C.I.M. Dibdin), LSW, 18 April 1808, vs
Thirty Thousand, or Harlequin's Lottery (pantomime, C.I.M. Dibdin), LSW, 18 April 1808, 1 song
Harlequin High Flyer, or Off She Goes (pantomime, C.I.M. Dibdin), LSW, 4 July 1808, ov. and 4 songs
The Magic Minstrel, or The Fairy Lake (aqua drama, C.I.M. Dibdin), LSW, 8 Aug 1808, ov. and 5 songs [rev. as Oberon, LSW, 3 Oct 1814]
Fashion's Fools, or The Aquatic Harlequin (pantomime, C.I.M. Dibdin), LSW, 3 April 1809, 1 song
The Wild Man, or The Water Pageant (aqua drama, C.I.M. Dibdin, after M. de Cervantes: Don Quixote), LSW, 22 May 1809, 2 songs
Castles in the Air, or Columbine Cowslip (pantomime, C.I.M. Dibdin), LSW, 31 July 1809, 2 songs
The Spectre Knight (aqua drama, C.I.M. Dibdin, after W. Scott: Marmion), LSW, 4 June 1810, ov. and 2 songs
Tricks upon Travellers (comic op, 3, J.B. Burges), LLY, 9 July 1810, 3 songs; collab. C. Horn
Bang Up!, or Harlequin Prime (pantomime, C.I.M. Dibdin), LSW, 23 July 1810, 2 songs, ed. in Mayer
Dulce Domum, or England the Land of Freedom (pantomime, C.I.M. Dibdin), LSW, 15 April 1811, 3 songs, no lib
The Red Reaver (melodrama, C.I.M. Dibdin), LSW, 15 April 1811, ov. and 1 song
The Irish Duel, song in Where to Find a Friend (comedy, 5, R. Leigh), LLY, 29 May 1811
The Council of Ten, or The Lake of the Grotto (aqua drama, C.I.M. Dibdin), LSW, 3 June 1811, vs
Up to Town (comic op, 3, T.J. Dibdin), LCG, 6 Nov 1811, 1 song, MS lib SM; collab. H. Condell, T. Welsh and J. Whitaker
The Prince, or The Illuminated Lake (aqua drama, C.I.M. Dibdin), LSW, 30 March 1812, 1 song, no lib
Whang Fong, or The Clown of China (pantomime, C.I.M. Dibdin), LSW, 11 May 1812, 1 song, no lib
Johnnie Armstrong, or The Scottish Outlaw (aqua drama, C.I.M. Dibdin), LSW, 15 July 1812, 1 song, no lib
The Dinner, song in Schneiderkins (farce, T.J. Dibdin), LCG, 16 Oct 1812, MS play text SM
An Obstinate Man, Mr and Mrs Pringle and Don't Angry Be With Annette, songs for revival of W. Jackson's The Lord of the Manor (comic op, 3, C.I.M. Dibdin and L. MacNally), LCG, 24 Oct 1812
London, or Harlequin and Time (pantomime, C.I.M. Dibdin), LSW, 19 April 1813, 1 song
Rokeby Castle, or The Spectre of the Glen (aqua drama, C.I.M. Dibdin, after Scott: Rokeby), LSW, 19 April 1813, 2 songs, no lib
The Brachman, or The Oriental Harlequin (pantomime, C.I.M. Dibdin), LSW, 28 June 1813, 1 song
Kaloc, or The Slave Pirate (aqua drama, C.I.M. Dibdin), LSW, 9 Aug 1813, 2 songs
Who's to Have Her? (operatic farce, 2, T.J. Dibdin), LDL, 22 Nov 1813, vs; collab. Whitaker
Narensky, or The Road to Yaroslav (comic op, 3, C. Brown), LDL, 21 Dec 1813 [as The Russian Village], vs; collab. Braham
The Farmer's Wife (comic op, 3, C.I.M. Dibdin), LCG, 1 Feb 1814, vs; collab. J. Addison, H. Bishop, Condell, Davy and Welsh
The Two Califs, or The Palace of the Waters (aqua drama, C.I.M. Dibdin), LSW, 11 April 1814, 2 songs
Bannister's Budget with The Shipwreck, or Two Ways of Telling a Story (musical entertainment, T.J. Dibdin or G. Colman (ii)), LDL, 30 May 1814, 2 songs
The Corsair (aqua drama, C.I.M. Dibdin, after G.G. Byron: The Corsair), LSW, 1 Aug 1814, 4 songs
Brother and Sister (comic op, 2, W. Dimond, after J. Patrat: L'heureuse erreur; lyrics by C.I.M. Dibdin), LCG, 1 Feb 1815, vs; collab. Bishop
The Mermaid, or Harlequin Pearl Diver (pantomime, C.I.M. Dibdin), LSW, 28 March 1815, 1 song
The Juvenile Preceptor, or Entertaining Instructor (London, c1801) [kbd tutor]
Jamie and Anna, a Scots Pastoral in One Act (London, ?1810), vs
Many songs pubd singly and in contemporary anthologies, probably from theatrical works
Font: En català: No disponible - En castellano: No disponible - In english: William Reeve (1757-1815) - Altres: No disponible
Joseph Robinson (Dublin, 16 d'agost de 1815 - 23 d'agost de 1898) va ser un baríton, director i compositor irlandès.
He was a chorister at St Patrick's at the age of eight. In 1834 he founded the Antient Concerts Society, which he conducted for 29 years. In 1837 he became conductor of the University Choral Society, founded by the students; at one of its concerts Mendelssohn's music for Antigone was given for the first time outside Germany. He conducted this Society for ten years. He conducted music for the opening of the Cork Exhibition in 1852, and the Dublin International Exhibition in 1853. In 1856 efforts were made to revive the Irish Academy of Music, founded in 1848 but languishing for want of funds and pupils. Robinson and his wife (3) Fanny Arthur joined as professors, and when, after 20 years, Robinson resigned, the institution had become stable and important. He also taught Stanford harmony. For the Handel centenary in 1859 he gave Messiah, with Lind and Belletti among the principals. In 1865 he conducted an orchestra and chorus of 700 when the Prince of Wales opened the large Exhibition Palace. In 1876 he established the Dublin Musical Society, a chorus which he trained. He wrote songs, concerted pieces and anthems. After Fanny Arthur's death he remarried in 1881.
Font: En català: No disponible - En castellano: No disponible - In english: Joseph Robinson (1815-1898) - Altres: No disponible
Johann Peter Salomon (Bonn, bap. 20 de febrer de 1745 - London, 28 de novembre de 1815) va ser un violinista i compositor alemany, actiu principalment a Anglaterra.
He was the second son of Philipp Salomon, a member of the oboe band and subsequently a court musician in Bonn. On 30 August 1758, at the age of only 13, he was appointed to a salaried position as a musician at the Bonn court. In 1761 or 1762 he went on tour, at first retaining his salary since his father deputized for him. Salomon was probably trying to gain a footing in Dresden, which at that time was the seat of government of Saxony and Poland. By summer 1764 he was at Rheinsberg as musical director to Prince Heinrich of Prussia. At the prince's second household in Berlin Salomon met C.P.E. Bach, and through him became familiar with J.S. Bach's solo violin sonatas and partitas, which he is said to have still performed in exemplary fashion during his years in London. He left Rheinsberg probably in 1780 and went via Paris to London, where he made his first public appearance at Covent Garden on 23 March 1781. Apart from journeys on the Continent, including repeated visits to Bonn, he remained in England for the rest of his life. Salomon played a leading part in English musical life, not only in London but in the provinces as well. Having made his name as a brilliant violinist, he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts.
He mounted subscription concerts from 1783, featuring such international artists as the soprano Mme Mara, and his greatest triumph was to secure Haydn's visits to London in 1790–91 and 1794–5, for which the two sets of six ‘Salomon’ or ‘London’ symphonies (h I:93–104) were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies (for example, the phrase marked ‘Salomon solo ma piano’ in the trio of no.97, and the florid violin part of no.103, second movement); the Concertante in B (h I:105) was composed for Salomon, who played the solo violin part; and the six string quartets opp.71 and 74 (h III:69–74), written between the two London visits in 1793, though dedicated to Count Apponyi, were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation.
He was one of the founder-members of the Philharmonic Society and led the orchestra at its first concert on 8 March 1813. He died as a result of a riding accident and was buried in the cloisters of Westminster Abbey. On 28 February 1816 Beethoven, who had had business dealings with Salomon, wrote to Ferdinand Ries: ‘I am greatly distressed at the death of Salomon, for he was a noble-minded man whom I well remember since my childhood’. And Rochlitz in his obituary in the Allgemeine musikalische Zeitung remarked: ‘Among all purely executant musicians of this age none has had so wide, so decisive and so beneficent an influence as he’. Rochlitz's tribute is a qualification of Salomon's merits as well as an appreciation, however, for it explicitly takes no account of his compositions. As the author of a substantial number of works he is virtually forgotten despite his gift for imaginative and attractive tunes, perhaps because of his limited ability in developing his material.
Les recruteurs (comédie lyrique, 1), Rheinsberg, 1771
Le séjour du bonheur (comédie, 1), Berlin, 5 March 1773
Titus, Rheinsberg, 1774
La reine de Golconde, Rheinsberg, 1776, 1 aria (Leipzig, 1790)
Windsor Castle, or The Fair Maid of Kent (grand masque, 2, W. Pearce), London, CG, 6 April 1795, collab. R. Spofforth, vs (London, 1795)
Scene in Pizarro (R.B. Sheridan) (London, c1800)
Hiskias (orat, Blum), 1779, D-Bsb;
Kantate zur Ehrung der Zarin Katharina, lost;
Grosser Chor zur Feier der Genesung des Königs, 1789;
6 English Canzonets, 1v, pf (London, 1801);
A Second Set of  English Canzonets, S/T, pf (London, 1804);
6 Chansons, S, pf (London);
Glees and songs, 3–4vv, pf, pubd separately (London, 1803–6)
Vn Conc., D, arr. kbd by G. Masi (London, 1805);
2 caprices, vn, c1780, US-NYp;
6 sonates, vn, vc (Paris, 1783), as 6 Solos, op.1 (London, ?1783);
Sonata, vn, vc, 1780–90, B-Bc;
6 Favorite Airs with Variations, vn, vc/pf, ?c1800 (London, 1806);
Romance, vn, str orch, ?1810, F-Pn, ed. in Diletto musicale, cdlxxi (1971);
6 Variationen in Kirnberger: Vermischte Musikalien (Berlin, 1769);
Vn concs., str trios, str qts, Sonata a 4 for glass harmonica, all lost
J. Haydn: 12 London syms. (hI:93–104) for pf trio (London, n.d.), for fl, str qt, pf ad lib (London, ?1801);
9 other syms. (hI:48, 64, 73, 80, 82, 83, 88, 90, 92) for fl, str qt, pf ad lib; G.B. Viotti:
3 str trios, rev. Salomon (London, 1810)
Font: En català: Johann Peter Salomon (1745-1815) - En castellano: Johann Peter Salomon (1745-1815) - In english: Johann Peter Salomon (1745-1815) - Altres: Johann Peter Salomon (1745-1815)
Johan Ernst Christoph Schick (1753-1815) va ser un violinista i compositor holandès.
His father took him to Amsterdam, intending him to follow his own career of dancing-master. The boy’s musical talent was discovered by J.A. Kreusser, who taught him the violin; he soon became a virtuoso player, emulating the style of Michael Esser and Lolli. In 1773 he followed his teacher's brother G.A. Kreusser to Mainz and became chamber musician in the electoral Kapelle there. In 1791 he married the singer Margarete Hamel. He was appointed violinist in the Berlin court orchestra in 1793, and leader in 1813. In 1804 with K.M. Bohrer he organized subscription concerts at which lesser-known Classical works were heard; at one of these, Beethoven’s Second Symphony was performed. His compositions – six violin concertos and masonic songs – were never widely known.
Font: En català: No disponible - En castellano: No disponible - In english: No disponible - Altres: No disponible
Johann Lukas Schubaur (Lechfeld, 23 de desembre de 1749 - Munich, 15 de novembre de 1815) va ser un compositor alemany.
He attended the theological seminary in Neuburg an der Donau, where he also acquired a comprehensive musical education. He gave up the monastic life because of illness, and studied medicine in Vienna, making a living by giving piano lessons and writing short occasional compositions. From 1775 he practised in Neuburg an der Donau; soon afterwards he settled in Munich and held several important medical posts. Schubaur’s activities as a dilettante composer were linked with the efforts of the Palatine court in Munich to develop an independent German Singspiel alongside Italian and French comic opera. His first attempt, Melide, oder Der Schiffer, translated freely by Schubaur himself from a French model and performed in 1782 in Munich, failed utterly and aroused discussion only after the success of his next Singspiel, Die Dorfdeputierten. For this work Schubaur chose a lighter text which had already been set by E.W. Wolf and later appeared in a well-known setting by Dieter and Teyber. It was his greatest artistic and commercial success (largely because of the vocal score, which he published himself) and is said to have received over 100 performances in Munich alone, as well as frequent stagings throughout Germany as late as 1813. After the resounding failure of Das Lustlager (1784) and the only moderate success of Die treuen Köhler (1786) Schubaur gave up writing for the theatre. Among his works only Die Dorfdeputierten and Die treuen Köhler are extant; additional works, mentioned by Eitner and Lipowsky, cannot be authenticated as Schubaur’s.
first performed at Munich, Nationaltheater
Melide, oder Der Schiffer (Spl, Schubaur, after F. de Falbaire), 24 Sept 1782
Die Dorfdeputierten (Spl, 3, G.E. Heermann, after C. Goldini: Il feudatorio), 8 May 1783, vs (Mannheim and Munich, c1783)
Das Lustlager (Spl, 2, F.M. Babo), 4 Aug 1784
Die treuen Köhler (Spl, 2, Heermann), 29 Sept 1786, vs (Munich, 1786)
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John Scott (c.1775 - Jamaica, 1815) va ser un organista i compositor anglès.
He worked in London so briefly and with so little effect that contemporary references to him are of extreme rarity. He studied the organ under William Sexton at St George’s, Windsor, where he had been a chorister, and became deputy organist at Westminster Abbey under Samuel Arnold. In 1796 or 1797 he was appointed pianist (i.e. répétiteur) at Sadler’s Wells Theatre, for which he composed some short burlettas, pantomimes and ballets; none of the music survives. Scott’s only publications seem to have been a set of glees (c1799) and a comic song, Abraham Newland, about the chief cashier of the Bank of England. The words were by Charles Dibdin junior, who recorded in his memoirs (London, 1956, p.35) that its popularity at Sadler’s Wells brought him the beginnings of fame and enough money on which to get married; its piracy by another publisher, Dale, led to a famous lawsuit. But the tune was already popular, and Scott did no more than provide it with a simple accompaniment.
In 1800 Dibdin became manager of Sadler’s Wells but did not think well enough of Scott to extend his contract there. From 1806 to 1813 he ran his own theatre, possibly called the Sans Pareil, which stood between Heathcock Court and Bullen Court. According to the Lord Chamberlain's accounts he was licensed to produce burlettas, pantomimes, ‘Dancing Song & Recitation with Optical & Mechanical Exhibitions’ (see BDA). Scott then left for Jamaica to be organist at Spanish Town. Sadler’s Wells’s records are far from complete at this time; Scott wrote the music for four works for the theatre, but nothing seems to be known about them: The Magician and the Invisible Lover (burletta, 1797), The Mountain of Miseries, or Harlequin Tormentor (pantomime, 1797), The Master of the Cave, or Harlequin and the Fay (pantomime, 1798) and The Oracle of Delphi, or Hercules’ Vagaries (1799). According to Grove's Dictionary, 1st edn, he also composed ‘the well-known anthem, “Praise the Lord, O Jerusalem”’.
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Temistocle Solera (Ferrara, 25 de desembre de 1815 - Milano, 21 d'abril de 1878) va ser un llibretista i compositor italià.
Everything about him was larger than life: his Herculean physique, his torrents of words and invective and, above all, his career of almost unbelievable contrasts. While his father languished in the dreaded Spielberg prison, he was educated in Vienna, ran away to join a circus, completed his studies in Milan and Pavia and, in his early twenties, published books of verse. His first operatic task was to rework a text by Piazza for Verdi (Oberto conte di San Bonifacio, 1839). Four more librettos followed quickly, two of which he set to music himself, before Verdi’s setting of Nabucodonosor (Nabucco) brought him fame. I Lombardi alla prima crociata, Giovanna d’Arco and Attila continued the collaboration with Verdi but before the last was finished he followed his wife, the soprano Teresa Rosmina, to Spain, where he became director of productions in Madrid (and, reputedly, the favourite of Queen Isabella). Attila was completed by Piave, in the face of Solera’s bitter recriminations. He was soon back in Italy and after 25 years of extraordinary, picaresque adventures, he died in abject poverty.
He never worked with Verdi after Attila, though he pressed several librettos on him. Verdi refused to have further dealings with him, but in 1861 he contributed anonymously to a fund to help him. Solera always spoke of Verdi with the warmest praise, taking credit for his success. Verdi however held that Solera had only himself to blame; had he applied himself to his career, he could have been the foremost librettist of the day. Solera’s successful librettos show an eye for a theatrical situation, an unquenchable flow of colourful language, an ability to express emotional and patriotic sentiments in phrases which evoked a strong response from Verdi, and a style of versification which propelled his lines forward. Nothing Solera wrote later matches the force of his Verdi librettos; if the dramatic structure creaks at times, the words carry all before them. He also composed a cantata, La melodia (autograph MS in I-Mr), and some sacred works, chamber music and songs.
dl dramma lirico
Oberto conte di S Bonifacio (dramma, rev. of A. Piazza), Verdi, 1839 (Graffigna, 1842, as I Bonifazi ed i Salinguerra);
Ildegonda (dramma), Solera, 1840 (Arrieta, 1845; Morales, 1865);
Gildippe ed Odoardo (melodramma), O. Nicolai, 1840;
Il contadino d’Agliate (melodramma), Solera, 1841;
Galeotto Manfredi (tragedia lirica), C. Herman, 1842;
Nabucodonosor (dl), Verdi, 1842;
I Lombardi alla prima crociata (dl), Verdi, 1843
Genio e sventura (dl), Solera, 1843;
Giovanna d’Arco (dl), Verdi, 1845;
Attila (dl, Act 3 completed by Piave), Verdi, 1846;
La conquista de Granada (dl), Arrieta, 1850;
La hermana de Pelayo (dl), Solera, 1853;
La fanciulla delle Asturie (tragedia lirica), B. Secchi, 1856;
Sordello, A. Buzzi, 1856;
Pergolesi, S. Ronchetti-Monteviti, 1857;
Vasconcello, Villanis, 1858;
Una notte di festa, Villanis, 1859;
L’espiazione, A. Peri, 1861;
Zilia (dl), Villate, 1877
Font: En català: Temistocle Solera (1815-1878) - En castellano: Temistocle Solera (1815-1878) - In english: Temistocle Solera (1815-1878) - Altres: Temistocle Solera (1815-1878)
Wincenty Studziński (Kraków, 30 de març de 1815 - Kraków, 15 de juliol de 1854) va ser un violinista, director i compositor polonès.
He was the son and pupil of Marcin Studziński, violinist and member of a Jesuit ensemble and military band in Kraków. From 1833 to at least 1848 he was a member of the Wawel Cathedral ensemble, and in 1836 became solo violinist in a theatre orchestra (from 1838–43 also its conductor). He taught the violin at the music school of the Technical Institute in Kraków from 1845 and soon became its director, a post he held until his death. His teaching method was based on the textbooks of Spohr and Campagnoli. Regarded as the best violinist in Kraków of his time, he took an active part in the city's concert life as a soloist and a performer of chamber music. Critics wrote of his artistic taste and perfect intonation, but criticized him for his overly sweet tone and weak right hand. The most talented composer in his family, he adopted the stylistic formulae of the classics, but did not apply them in a hackneyed way; he introduced chromatic harmony and a variety of rhythmic structures. His considerable number of compositions, many of which were unpublished, include a string quartet in E op.28 (MS in the Institute of Musicology library, Jagiellonian University), three other string quartets, mazurkas for piano (published in Kraków, c1850), mazurs for piano (Kraków, c1855, and Warsaw, 1860), a choral piece Taniec i śpiew szkieletów (‘Dance and Song of the Skeletons’, published in 1884), other songs and instrumental and orchestral pieces. Several manuscripts of his and his brothers' works are held in PL-Kj, Wn, Wtm, the library in the music department of the Jagiellonian University, and A-Wn.
Font: En català: No disponible - En castellano: No disponible - In english: No disponible - Altres: Wincenty Studziński (1815-1854)
Adolph Trube (Waldenburg, 16 de gener de 1815 - Glauchau, 17 de març de 1857) va ser un organista, professor i compositor alemany.
He was the son of the church musician Johann Adolph Trube (b Grosserkmannsdorf, 1789; d Waldenburg, 8 Feb 1839), who studied at the Friedrichstadt seminary in Dresden before becoming organist and teacher at the girls’ school in Waldenburg (1813). J.A. Trube was a rigorous teacher and his practical chorale collection was widely circulated. Adolph Trube studied with the Kantor Fincke at the seminary in Plauen, became a Präzeptor and organist there and later took a teaching post in Schneeberg. From 1840 he was Kantor, music director and singing teacher (later also organist) at Glauchau. He founded Glauchau’s mixed church choir and was also an important promoter of secular music. He formed choirs and organized large-scale evening concerts of varied vocal and instrumental programmes. He was also an excellent pianist and an imaginative composer; his works are solidly constructed and are noteworthy for their contrapuntal artistry and careful instrumentation. He also arranged and published his father’s motet Jauchze dem Herrn alle Welt.
Cants., incl. Das ist mir lieb, 4vv, chorus, orch;
Motets, incl. Tzschirners letzte Worte an heiliger Stätte, 4–7vv, chorus, Zum Aerntfest, 2 T, B, male vv; songs, 4vv
Einschiffung (C.O. Sternau);
Ich feire meine schönste Stunde;
Schön ists, die Harfe schlagen (Meissner);
other songs, 4vv
4 concert ovs., orch;
Ruhe sanft, aria, 2 tpt, t hn, trbn;
pf pieces, incl. set of variations on themes from La fille du régiment and L’elisir d’amore;
numerous sets of character-pieces;
pieces, pf 4 hands
Font: En català: No disponible - En castellano: No disponible - In english: No disponible - Altres: No disponible
Mykhaylo Verbyts'ky (Ulyuchi, 1815 - Mlyny, 31 de desembre de 1870) va ser un sacerdot i compositor ucraïnès.
Ukrainian priest, composer and writer on music. As a composer he helped lay the foundations for the development of modern Ukrainian music. His works are formally unsophisticated, often strophic, and usually in the minor mode; but his stage works (notably Prostachka (‘The Simpleton’), 1870) are representative of a popular folk genre that was melodically fluid, singable, pictorial and emotionally evocative. His instrumental writing does not extend far beyond the simple development of folktunes. Nevertheless, he composed 12 so-called symphonies (really overtures), on the sixth of which Stanislav Lyudkevich based an orchestral piece and a piano trio. He also composed Zapovit (‘Testament’, 1868), a setting of Shevchenko’s poem for bass solo, double choir and orchestra, the operetta Podgoryane (Lemberg (now L'viv, 1864), sacred and secular choral works and songs. He is best known as the composer of the Ukrainian national anthem Shche ne vmerla Ukrayina (‘The Ukraine has not Perished’), which in 1917 was adopted by the new Ukrainian republican government.
Carl Wilhelm (Schmalkalden, 5 de setembre de 1815 - Schmalkalden, 26 d'agost de 1873) va ser un director i compositor alemany.
He learnt the violin and the piano from his father at an early age and decided on a musical career when he was quite young. He took harmony, thoroughbass and organ lessons from the organist Burbach and in 1832 went to Kassel to study the violin and the piano with Anton Bott and theory with Baldewein; he completed his music education in Frankfurt, studying the piano with Aloys Schmitt and theory with Johann André. After public performances as a pianist, he went to Krefeld in 1840, where he took over the conductorship of the Liedertafel from 1841 and the Singverein from 1849. He also founded and directed song festivals in the Lower Rhine area. In 1865 he returned home to Schmalkalden after increasing ill-health and bad nerves, partly the consequences of alcoholism. Wilhelm is remembered for his male-voice setting of Max Schneckenburger’s poem Die Wacht am Rhein. His friend Wilhelm Greef had given him the text, which he set on 10 March 1854 and his setting appeared in Greef’s Liedersammlung in May. Its popularity increased through performance at the song festivals and it was sung by 20,000 voices at a Dresden song festival in July 1865. In 1871 Bismarck wrote him a letter of recognition and awarded him an annual pension for his setting, which had become one of the most popular patriotic songs, almost reaching the status of a national anthem, during the Franco-Prussian War.
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Michel Woldemar (Orleans, 17 de juny de 1750 - Clermont-Ferrand, 19 de desembre de 1815) va ser un violinista i compositor francès.
He was born into a wealthy family and took his name from his godfather Woldemar, Count of Lowendal, Marshal of France. According to Lottin, in his youth he was held prisoner at the Sabot d’Angers, where he developed his talent for the violin. In Paris he took lessons with Lolli and became a well-known violinist. He said that he performed his ‘Fandango, air favori des Espagnols’ (published in 6 rêves d'un violon seul) in Madrid about 1770, and he took part in the concerts of the Baron de Bagge in Paris. A change of fortune obliged him to earn his living by playing, and he left Orléans and followed a troupe of travelling actors. By June 1801, however, he was the owner of a vineyard in Orléans, and in January 1806 he was giving lessons and accompanying voice, piano and harp. In April 1804, he had moved to Paris, and in about 1807 he settled in Clermont-Ferrand where he was attached to the cathedral choir school and taught music.
Woldemar’s works include studies, caprices, varied themes and melodies, sonatas, duos, violin concertos, and a concerto for a five-stringed ‘violon-alto’(c - g - d' - a' - e''). He described himself as ‘élève de Lolli’. His Sonates fantomagiques conjure up a dialogue with the ghosts of Lolli, Mestrino, Pugnani and Tartini. His Grande méthode, ou Etude élémentaire pour le violon contains a variety of exercises (for scales, runs, trills, bowing, pauses, double-stopping etc.) and gives examples by famous masters, in particular Mestrino, Lolli, Cramer and Giornovichi. Inventive by nature, he devised a curious system of musical stenography, the Tableau mélo-tachygraphique. He also wrote a parody of the Ten Commandments (the Commandemens du violon), and published letters and articles, often ironic and polemical, in the Correspondance des amateurs musiciens and above all in Le Courrier des spectacles; his criticism of Les mystères d’Isis (a French adaptation of Mozart’s Die Zauberflöte) in 1801 drew a sharp reply from Le Sueur.
printed works published in Paris unless otherwise stated
Conc. for violon-alto, C (1787);
6 airs variés, 2 vn (c1800);
Romances du Prisonnier [Della Maria] variées, vn, b (c1800);
6 thèmes fugués dans le mode mineur, vn (c1800);
3 thèmes d’Haydn variés, vn (c1800);
3 vn duos, op.6 (c1800);
3 duos dialogués, vn, va (c1802);
3 duos à la première position, 2 vn (c1802);
4 sonates fantomagiques (les ombres de Lolli, de Mestrino, de Pugnani, de Tartini), vn, b (c1802);
6 rêves, vn (1803);
3 vn concs., a, E, d (1803–4), no.3 arr. cl, fl (1804), lost;
Recueil d’airs de Fanchon la vielleuse, arr. 2 vn (c1804);
Gavotte de Vestris variée, vn (1805);
12 nouvelles variations sur Les folies d’Espagne, vn (1805);
Quatuor dialogué, str qt (1805);
Romance de Gaviniès variée, vn (1805), ?lost
Studies, etc. (for vn solo unless otherwise stated): Le nouvel art de l’archet, 1, 2 vn (1798);
Caprices ou études (c1800);
Etude ou  caprices (c1800);
Etudes élémentaires, 2 vn (c1800);
Le nouveau labyrinthe harmonique, op.10 (c1800) [incl. double stopping exercises];
12 études d’une difficulté progressive (c1801);
12 grands solos ou études (c1802);
Etude élémentaire de l’archet moderne (1802);
Exercises (Vienna, 1802–5);
6 caprices ou points d’orgue (c1804);
4 grands solos ou études, op.40 (c1826) [2nd edn of 4 sonates fantomagiques];
La gamme fuguée (n.p., n.d.)
Méthode pour le violon (1795–8);
Grande méthode ou Etude élémentaire pour le violon (1798–9; 2/1802–3, with 15 leçons faciles);
Barême lyrique de Woldemar, ou L’art de composer toute sorte de musique sans savoir la composition (1800), lost;
Tableau mélo-tachygraphique (1800);
Méthode d’alto (c1800);
Méthode de clarinette (c1802)
ed.: Méthode de violon par L. Mozart (c1804)
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