diumenge, 5 de juliol de 2015

300 anys després, celebrem i commemorem als desconeguts!

Claude-Joseph Vernet - A Storm on a Mediterranean Coast (1767)
Obra de Claude Joseph Vernet (1714-1789), pintor francès (1)

... Vacances d'estiu / Summer vacation ...

- 300è aniversari de compositors a qui difícilment escoltarem -

Parlem de Pintura...

Claude Joseph Vernet (Avinyó, 14 d'agost de 1714 - París, 3 de desembre de 1789) va ser un pintor francès. Va néixer en el si d'una família d'artistes, fill d'Antoine, un pròsper artesà i decorador, i al seu torn pare de dos escultors, Louis-François i Joseph. Vernet va rebre probablement les seves primeres lliçons del seu pare, qui el va enviar aviat al taller del mestre més destacat d'Avinyó: Philippe Sauvan, pintor de retaules i escenes mitològiques. Més tard va treballar amb Jacques Viali, pintor de paisatges i marines, gèneres en els quals es va especialitzar immediatament. El 1732 va viatjar amb una pensió concedida pel marquès de Caumont a Itàlia, on va realitzar dibuixos de monuments i escultures de l'Antiguitat pel seu mecenes. La seva formació va rebre supervisió primer de l'Acadèmia de França a Roma i després per part del pintor de marines Adrien Manglard. Gràcies a l'incipient turisme del Grand Tour, Vernet va aconseguir aviat una notable reputació internacional de paisatgista i pintor de marines. Els seus motius més venuts van ser les vistes pintoresques de la campanya romana, les vedute topogràfiques dels monuments romans i sobretot els paisatges i marines, en els quals queda de manifest la influència de la tècnica pictòrica holandesa del segle XVII i de l'obra de Claude Lorraine i Salvator Rosa

Els ingredients artístics elaborats per Vernet suggereixen una certa atmosfera de preromanticisme i corresponen a l'estètica del sublim, un tòpic molt de moda en el debat teòric del moment, sobretot al seu retorn a França. Allà Lluís XV li va encomanar la sèrie de vistes sobre els Ports de França, barreja de descripció topogràfica i artística amb tints idealitzats. Vernet, per a complir aquest encàrrec, va viatjar durant la dècada del 1750 al llarg de la costa mediterrània i dels ports situats al nord del país. Va realitzar, només, quinze llenços d'una bellesa extraordinària, reconeguda per Denis Diderot en els seus comentaris dels Salons, on Vernet els va exposar anualment. El 1765 es va instal·lar a la capital gala, on va continuar representant els mateixos temes que a Itàlia. El 1778 va emprendre un viatge als Alps suïssos, sumant-se a l'interès il·lustrat sorgit des de mitjans segle, per estudiar, pintar i reconèixer la bellesa dels fenomens geològics. Va morir a París el desembre de 1789.

Font: En català: No disponible En castellano: Claude Joseph Vernet (1714-1789) In english: Claude Joseph Vernet (1714-1789) - Altres: Claude Joseph Vernet (1714-1789)

Parlem de Música...

John Alcock (London, 11 d'abril de 1715 - 23 de febrer de 1806) va ser un organista i compositor anglès, pare del també compositor John Alcock.

John Alcock - Organ voluntary in D major

He was a chorister of St Paul’s Cathedral when, in his own words (GB-Lcm 1189), he and Boyce were ‘Schoolfellows and Bedfellows’ under Charles King. Afterwards he was apprenticed to John Stanley. In the early years of the 18th century, growth in the number of organs in large provincial parish churches afforded new professional opportunities, and Alcock is an early example of an organist who reached a cathedral position through posts in parish churches – in his case St Andrew’s, Plymouth (1737), and St Laurence’s, Reading (1742). He was admitted vicar-choral and organist of Lichfield Cathedral in January 1750. He took the BMus degree at Oxford in 1755 and the DMus there in 1766. The cathedral documents fail to make clear exactly when he ceased to be organist, but this was certainly by September 1765. By the cathedral statutes, the organist held a place as vicar-choral, which constituted a freehold, and this Alcock continued to hold for the rest of his life, living in the cathedral close and doing duty in the choir. He was organist of Sutton Coldfield parish church, Warwickshire, from 1761 to 1786 (part of this time while still organist of Lichfield Cathedral), and of Tamworth parish church from 1766 to 1790. He was also private organist to the Earl of Donegal.

In the dedication of his Service in E minor in 1753 Alcock stated that sometimes only one priest vicar and one lay vicar attended the cathedral services, and he also alluded to ridiculous criticism of his organ accompaniments. In 1758 trouble arose between him and the men of the choir, who accused him of mockery and of ‘splenetic tricks upon the organ to expose or confound the performers’. Alcock’s fiery temperament is revealed in his semi-autobiographical novel, The Life of Miss Fanny Brown (published pseudonymously, under the name of John Piper, in 1761), in which these events are described. That Alcock considered himself hard done by as a result of his conditions of work at Lichfield is abundantly clear from his argumentative preface to his anthems published in 1771. It is possible that, far away in the Midlands yet having troubled to take a doctorate (for what it was then worth), he felt he lacked the status which his contemporary Boyce and others enjoyed. For that reason, perhaps, it was a gratification to him when visiting London in his old age to be invited to join the Musical Graduates’ Meeting established by Samuel Arnold (whom he helped with his Cathedral Music, 1790).

In the course of his work Alcock became impressed by the ‘numberless Mistakes’ in manuscript copies of older cathedral music, and in 1752 he issued a prospectus of a plan for a quarterly publication of a service engraved in score. He proposed to start with Tallis’s Dorian Mode Service, Byrd’s Short Service and Gibbons’s in F (all of which it is interesting to note that he proposed to transpose up a tone), and working through to Charles King. Apparently for lack of response nothing came of this, though Alcock issued his own Service in E minor as a specimen of the engraving. When he heard of Greene’s proposal to publish an anthology of cathedral music he presented him with the materials already gathered. Greene’s plan, as is well known, eventually came to fruition in Boyce’s Cathedral Music. Alcock had antiquarian interests, scoring for himself some of Tallis’s and Byrd’s Latin church music and Morley’s canzonets and balletts (Lbl Add.23624 and Lcm 952–3). He once owned the Tregian anthology, the ‘Sambrooke MS’ (now US-NYp Drexel 4302). It is to him that the story of Byrd’s contact with Philippe de Monte is owed.

Alcock’s own music has a good general level of competence in an idiom adhering to that prevailing in his early manhood. No doubt his instrumental music derived from Stanley, but without the master’s freshness and vigour. His anthems are in similar mould to those of Greene, whose general style they share, and in fact in his aforementioned preface he felt it necessary to anticipate possible charges of plagiarism from both Croft and Greene. But only the Service in E minor, of all his church music, ever attained any currency, and this is too lacking in character to have survived. As published it is a slightly revised form of the original composed in 1732. Alcock’s output includes several large-scale anthems with orchestra, including We will rejoice, which he contributed to the Worcester Music Meeting of 1773. He cultivated the art of catch and canon writing, and won Catch Club prizes in 1770, 1772 and 1778.

In connection with the organ accompaniment to cathedral music, Alcock made some remarks that are worth mentioning. To the anthem Unto thee have I cried he supplied an organ part in full (virtually a short score), in order to prevent people, when the vocal bass part rests, from ‘keeping a continual Roaring upon the Full-Organ, by striking Chords, or, at least, Octaves, with the Left-hand, to every Note’. And in relation to his E minor Service he said:
As in Cathedral Music the usual Method is to play the Treble [voice-part] uppermost, I have left out those Figures which are of Course expressed in that Part … they being quite unnecessary … [In verses] the Notes in the upper Parts [are] play’d just as they are wrote, (except when the Contra-Tenor, and Tenor Parts are uppermost, which are often performed eight Notes above) and not as in Through Bass, which is the Reason why I have not figured most of the Verses.


Vocal secular:

Twelve English Songs, with a Recitativo & Duet out of … Rosamond, 1v, fl, bc (1743) [duet acc. vn, bc]
Songs, catches, canons, glees and kbd works pubd singly and in contemporary anthologies

Vocal religiosa:

A Morning [Communion] and Evening Service, e, 3–6vv, org, 1732 (1753) [with important ded.]
Six and Twenty Select Anthems … a Burial Service … and part of … the 150th Psalm, 1–8vv, org, 1732–71 (1771 [with preface], 2/c1775)
Miserere, 4vv, 1756 (Lichfield and London, 1771)
3 anthems, 1778–9, in Six New Anthems, 2–4vv, 2 ob, bn, org (c1790) [remainder by John Alcock (ii)]

Chants and psalm tunes in:
Psalmody, or a Collection of Psalm Tunes … with Several Festival Hymns (Reading, ?1749);
Divine Harmony (Birmingham, 1752);
The Pious Soul’s Heavenly Exercise (1756) [with preface];
The Harmony of Sion (1779, 2/1816);
The Harmony of Jerusalem (1801)
Services, GB-Lsp, LF: Verse Service, B , 1771;
Third Service, F, 1788;
Services in C, E , a; setting of Commandments etc.

Laudate Dominum, double choir, orch, 1754, LF [rev. 1771 as We will rejoice]; Blessed is he, vv, orch, 1761, Ob [rev. 1776 as O praise the Lord];
The Ways of Sion, double choir, orch, 1766, Ob [rev. from verse anthem in Six and Twenty Select Anthems];
Sing unto the Lord, vv, orch, 1776, LF;
Behold how good, 1785, LF;
Almighty and everlasting God, 1789, LF;
Why do the heathen, 1793, Lcm;
Let every Soul, 1794;
Lord, teach us, 1798, LF


Six Suite’s of Easy Lessons … with a Trumpet Piece, hpd (1741, 2/1742), ed. R. Jones (c1985)
Six Concerto’s in Seven Parts [2 fl, 2 ob, bn], 4 vn, va, vc, bc (1750/R1989 in TCMS, iii)
Ten Voluntaries, org/hpd, i (1774); nos.1, 2, 6, 10 ed. in Tallis to Wesley, xxiii (1961), nos.4, 5, 7, [8] ed. P. Marr, Eight Georgian Organ Voluntaries for Manuals (c1985)
Harmonia Festi, or a Collection of Canons … Glees, & Catches, mostly 4–5vv (Lichfield, 1791)

Font: En català: No disponible En castellano: No disponible In english: John Alcock (1715-1806) - Altres: No disponible


Atys (St Domingue, 18 d'abril de 1715 - Paris, 8 d'agost de 1784) va ser un flautista i compositor francès.

... Sense música disponible ...

His skill as a flute virtuoso and teacher made him renowned in Paris and Vienna, but his concert career was cut short by a chin wound received in a pistol duel. He was among the first flautists to use crescendo and diminuendo instead of simple echo contrasts. His compositions, all published in Paris, are primarily intended for amateur flautists: they include duos ‘en forme de conversation’ op.1 (1754), sonatas ‘dans le goût italien’ op.2 (1756, lost), further duos and quartets, a Feste concertante (1775, lost) and minuets for orchestra. He also published two flute methods. (Choron-FayolleD; FétisB; La BordeE)

Font: En català: No disponible En castellano: No disponible In english: Atys (1715-1784) - Altres: No disponible


Johann Gottfried Bernhard Bach (Weimar, 11 de maig de 1715 - Jena, 27 de maig de 1739) va ser un organista i compositor alemany, fill de Johann Sebastian Bach.

... Sense música disponible ...

He was a pupil of his father, and was organist of the Marienkirche in Mühlhausen, 1735-7. He then became organist of St Jacobi in Sangerhausen (a position for which his father had applied in 1702). He left Sangerhausen in spring 1738, with what intention is not known. In a letter of 26 May 1738 Johann Sebastian complained bitterly of his ‘undutiful son’, whose character was apparently unstable and who had got into debt. He matriculated as a law student at Jena University on 28 January 1739, but died only a few months later ‘of a high fever’.

Font: En català: Johann Gottfried Bernhard Bach (1715-1739) En castellano: Johann Gottfried Bernhard Bach (1715-1739) In english: Johann Gottfried Bernhard Bach (1715-1739) - Altres: Johann Gottfried Bernhard Bach (1715-1739)


Pasquale Cafaro (S Pietro in Galatina, 8 de febrer de 1715 - Naples, 25 d'octubre de 1787) va ser un compositor italià, membre de la famosa Escola Napolitana d'Òpera i descobridor del famós castrat Caffarelli.

Pasquale Cafaro - Stabat Mater (Naples, 1785)

Italian composer. According to some sources he was born in 1706; however, when he entered the Naples Conservatorio di S Maria della Pietà dei Turchini on 23 December 1735, he declared himself to be 20 (or in his 20th year), which places his birthdate in 1715 or 1716. He was admitted to the conservatory under a five-year contract, studying under primo maestro Nicola Fago, secondo maestro Leonardo Leo and, after 1737, with Leo’s successor Lorenzo Fago. He remained in Naples all his life, and between 1745 and 1771 established himself as a respected composer of oratorios, operas, cantatas and church music. On 11 July 1759 he succeeded Girolamo Abos as secondo maestro of his former conservatory and, contrary to some accounts, did not resign from this post in 1785, but retained it until his death. His most notable student was Giacomo Tritto.

Between 1763 and 1766 Cafaro conducted operas by Hasse and Traetta, among others, at the Teatro S Carlo. Public recognition, and especially his compositions for court events (including cantatas for the king’s birthday), led to his appointment on 25 August 1768 as a maestro di cappella soprannumerario of the royal chapel; he was also music master to Queen Maria Carolina. After the death of Giuseppe de Majo, primo maestro of the royal chapel, the incumbent vice-maestro Giuseppe Marchitti was denied succession and, without the customary public competition, the position given to Cafaro on 21 December 1771; he also continued as maestro di musica della regina, later becoming maestro di musica della real camera. After assuming the leadership of the royal chapel he stopped writing operas and produced primarily sacred music. A Stabat mater, dedicated to the king and queen and printed in Naples in 1785, became his best-known work outside Italy.

Although Cafaro never composed an opera buffa, certain stylistic tendencies associated with this genre (simplicity of harmonic structure, texture and orchestration) are reflected in his serious works. In them the dramatic pathos of earlier composers gave way to Classicist abstraction, expert use of Neapolitan formulae and accepted modes of expression. As a result his music was praised by his contemporaries for ‘grace and purity of style’ and later criticized for ‘poverty of invention’. In the Neapolitan tradition Cafaro was one of the essential links between the generation of Leo and Durante and that of Cimarosa and Paisiello.


Vocal secular:

staged at S Carlo, Naples, unless otherwise stated
La disfatta di Dario (3, A. Morbilli), 20 Jan 1756, F-Pc*, I-Mc, Nc, P-La, US-Wc
L'incendio di Troia (3, Morbilli), 20 Jan 1757, A-Wn, F-Pc*, P-La, US-Wc
Ipermestra (3, P. Metastasio), 26 Dec 1761, F-Pc*, I-Vnm, P-La
Arianna e Teseo (3, P. Pariati), 20 Jan 1766, F-Pc*, I-Nc, P-La
Creso, ultimo rè della Lidia (3, G.G. Pizzi), Turin, Regio, spr. 1768, F-Pc* (dated 1777), P-La
L'olimpiade (3, Metastasio), 12 Jan 1769, F-Pc*, I-Nc, P-La, US-Wc
Antigono (3, Metastasio), 13 Aug 1770, F-Pc*, I-Nc, P-La, rev. 1774

Prologo per una cantata, 1v, 1764, F-Pc;
5 cants., Naples, S Carlo, for the king’s birthday: 12 Jan 1763, P-La, 1764, F-Pc, 1766, Pc, I-Nc, 1769, 1770, both F-Pc;
Peleo, Giasone e Pallade, 3vv, 1766, I-Nc;
Ercole ed Acheloo (Mattei), Naples, S Carlo, for King of Spain’s birthday, 20 Jan 1766;
La giustizia placata, for the Duke of Lavino, 1769, F-Pc;
4 cants., Naples, for the Translation of the Blood of S Gennaro, 6 May 1769, F-Pc, 1770, GB-Lbl, 1775, 1781, both F-Pc;
Cant., Naples, for the queen’s birthday, 13 Aug 1770, GB-Lbl;
Il natale d’Apollo (festa teatrale, Mattei), Naples, S Carlo, for birth of the hereditary prince, 4 Jan 1775, F-Pc;
La felicità della terra, I-Nc

Sacred and secular arias, duets, solfeggi, partimenti, GB-Lbl, I-Mc, Nc

Vocal religiosa:

Il figliuol prodigo ravveduto, 26 Feb 1745;
Il trionfo di Davidde, 1746;
La Betulia liberata (P. Metastasio), 1746;
L’invenzione della croce, 1747;
Oratorio per il glorioso S Antonio di Padova

Ky, Gl, 2 choirs, 1760, I-Nc;
Messa breve, 4vv, 1769, F-Pc;
2 for 4vv, 1771, Pc;
Ky, Gl, Cr, 1772, Pc;
2 undated, Pc;
1 for 5vv, A-Wn;
1 for 5vv, 1785/6, GB-Lbl;
mass movts, Cfm, I-Nc;
Requiem, 4vv, D-MÜs

Mottetto pastorale, 1747, I-Nc, 1 for 2 choirs, 1750, GB-Lbl, 1 dated 1753, F-Pc, 1 dated 1756, GB-Lbl, Cadant arma, 5vv, Lbl, Undique sacri amoris, 1v, I-Nc

Other sacred:
Litania in pastorale, 4vv, D-MÜs, I-Mc;
Mag, D-Mbs, MÜs;
Christus, 1v, I-Nc;
Confitebor, 4vv, 1759, GB-Lbl;
Confitemini (It. trans., S. Mattei), 1773, D-MÜs, F-Pc, I-Mc;
Deus in adjutorium, 2 choirs, 1746, Nc;
Dixit, 4vv, 1771, Nc;
Et misericordia, Nc;
Gloria Patri, 1780, GB-Lbl;
Laudate pueri, D-MÜs;
2 Miserere, 5vv, 1764, 4vv, unacc., both I-Nc;
Misit verbum, 2vv, Nc;
Propter quod, 5vv, Mc;
Regina coeli, 1v, GB-Lbl;
Holy Week Responsories, 4vv, I-Nc;
2 Salve regina, 5vv, vv, Mc, 1v, GB-Lbl;
2 Sepulto Domino, 4vv, bc, I-Mc, 5vv, 1774, Nc;
Subsequitur, 2vv, Nc;
Tantum ergo, 1v, Nc;
Stabat mater, 4vv, str, bc, 1784 (Naples, 1785), Mc*
Isacco figura del redentore (orat, Metastasio), 1763

Font: En català: Pasquale Cafaro (1715-1787) En castellano: No disponible In english: Pasquale Cafaro (1715-1787) - Altres: Pasquale Cafaro (1715-1787)


Giovanni Battista Casali (Roma, 1715 - Roma, 6 de juliol de 1792) va ser un compositor italià, membre de l'Accademia Filarmonica de Bolonya i actiu principalment a Roma.

Giovanni Battista Casali - Improperium expectavit

In 1740 he was admitted to the Bologna Accademia Filarmonica. He was assistant to Girolamo Chiti, maestro di cappella at S Giovanni in Laterano in Rome, and in 1745 was designated his successor, taking up the post in 1759. Between 1752 and 1791 he was a member of the Congregazione di S Cecilia, serving as one of the examiners and several times holding the office of guardiano della sezione dei maestri compositori. From 1754 until his death he was also maestro di cappella at S Maria in Vallicella and was active in several other churches in Rome. He exchanged letters (now in I-Bc) with Martini in Bologna.

Casali wrote much in the strict contrapuntal style of the Roman school, but also used the modern concertante style with virtuoso coloratura lines and homophonic writing, and often with instrumental accompaniment. Burney, who heard his oratorio Abigail (1770) in Rome, called the music ‘common-place, for though it could boast of no new melody or modulation, it had nothing vulgar in it’. This remark is perhaps the source of Fétis’s judgment that Casali ‘had little invention, but his style was very pure’. Grétry, who was Casali’s pupil for two years, praised his counterpoint instruction and called him one of the most famous maestri di cappella in Rome. Casali’s compositions, which are mainly sacred, are in church archives in large numbers, above all at S Giovanni in Laterano, Rome. His Roman oratorios followed the style of the mid-18th-century opera seria, which preserved the da capo aria. During his long term of office he became one of the best-known Italian composers of sacred music of his time.


Vocal secular:

Candaspe (Campaspe) regina de’ Sciti (dramma per musica, B. Vitturi), Venice, S Angelo, carn. 1740;
La costanza vincitrice (dramma per musica), S Giovanni in Persiceto, Sept 1740, collab. others;
Il Bajazette (op, A. Piovene), Rimini, 1741;
La lavandarina (int, A. Lungi), Rome, Valle, 1746;
Le furbarie di Bruscolo Trasteverino (int), Rome, Pace, carn. 1747;
La finta merciaia (tedesca) (int), Rome, 1747;
L’impazzito (int, G. Aureli), Rome, Valle, carn. 1748;
Antigona (dramma per musica, G. Roccaforte), Turin, Regio, carn. 1752;
Arianna e Teseo, lost
Arias from Endimione (P. Metastasio)

Vocal religiosa:

S Fermina, Rome, 1748;
Per la festività dell'assunzione di Maria Vergine, Rome, 1753;
La natività della Vergine, Foligno, 1754;
Il roveto di Mosè, Rome, 1755;
La pazienza ricompensata negli avvenimenti di Tobia, Bologna, 1761 [MS dated Rome, 1755];
La benedizione di Giacobbe, Rome, 1761;
Salomone re d’Israele, Rome ?1770;
Pastorale per il SS Natale, Rome, 1770;
Componimento drammatico per la festività del S Natale, Rome 1773;
Componimento sacro per la festa di S Filippo Neri, 1773;
Abigail, 1770, lost;
L’adorazione de’ magi, ?Rome

Other sacred:
c24 masses, 4–5vv and 8–9vv, 1 ed. A. Reinthaler (Wiesbaden, 1986), 1 ed. W. Fürlinger (Altötting, 1992);
Pastoralmesse; over 150 ants, 1–4vv;
c60 ps settings, 4–8vv;
c110 grads, mostly 2vv;
over 90 offs;
c10 Mag, 4–9vv;
c43 hymns;
5 tracts;
over 20 motets;
Tantum ergo;

Font: En català: No disponible En castellano: No disponible In english: Giovanni Battista Casali (1715-1792) - Altres: Giovanni Battista Casali (1715-1792)


Constantin Christian Dedekind (Reinsdorf, 2 d'abril de 1628 - Dresden, 2 de setembre de 1715) va ser un poeta i compositor alemany, net d'Henning Dedekind.

Constantin Christian Dedekind - Högtlovad vare konungen

He received his early education at the famous abbey at Quedlinburg, where his teacher was the abbess, Anna Sophia, Landgravine of Hesse. At 13, influenced by the abbess, he had already begun to write poetry, and five years later he went to Dresden to study with Christoph Bernhard. In 1654 he became a bass singer in the Dresden Hofkantorei and was still in that position in 1663, by which time he had married Bernhard’s wife’s sister, Maria Dorothea Weber. In 1666, two years after Bernhard left Dresden for Hamburg, Dedekind was appointed director of the Dresden Hofkapelle. He was one of the numerous distinguished violinists then resident in Dresden, and the prominence of string music at the court attested to Dedekind’s influence. In 1675, however, he resigned in the face of mounting animosity towards him on the part of the other musicians: court music at Dresden was torn between Italian and German musicians each attempting to dominate, and despite the high level of performance the atmosphere was charged with unpleasant tensions. As a tax collector at Meissen and in the Erzgebirge, Dedekind had accrued enough wealth to survive now without a musical appointment. He tried his hand at music publishing but was unsuccessful. He had not neglected his poetry during his years in Dresden, however, and under the pseudonym ‘Con Cor D’ he was elected to the prominent poetic academy known as the Elbschwanenorden. During the last 40 years of his life he composed very little and devoted his artistic energies to poetry.

Dedekind’s most important work is his huge collection Aelbianische Musen-Lust (1657). It contains 146 sacred and secular solo songs with continuo. The texts, whose authorship is clearly indicated, are by the most important lieder poets of the time, including Dach, Finckelthaus, Fleming, Gläser, Rist, Schirmer and Dedekind himself. Nearly all the songs are strophic, with generally syllabic setting of the words. Most of his other music displays much more Italian influence. Following Adam Krieger he inserted instrumental ritornellos between strophes, and in a few cases the violins accompany the solo voice. His Musicalischer Jahrgang contains 120 ‘concertos’ – sacred works for two voices and bass, with the optional addition of a bass voice and two violins, or substitution of them for the continuo and the two voices respectively. The forms used include recitatives, ariosos and da capo arias, and these and other pieces in similar collections by Dedekind are thus examples of German sacred cantatas. He also wrote dance music of various types. His literary works include song texts, scriptural translations, lyric and satiric poetry, plays sacred and secular, intermedi and oratorio texts.


only those with music; literary works listed in Stege and Thomas
Selige Fortreis des … Melchior Albhartens (Dresden, 1651)
A. et O.: Jesus! Zehen andächtige Buss-Gesänge (1652, lost; 2/1655)
Aelbianische Musen-Lust (Dresden, 1657/R)
Doppelte Sangzälle (Dresden, 1662)
Geistliche Erstlinge (Dresden, 1662); several ed. in NM, xliii (1929)
Musikalische Spätlinge (Dresden, 1662)
Davidische geheime Musik-Kammer (Dresden, 1663)
Gottes stäte Liebe (Dresden, 1664)
Süsser Mandelkärnen (Dresden, 1664, enlarged 2/1665)
Davidisches Harfen-Spiel, das ist der ganze Psalter (Frankfurt, 1665)
K.R.P. belebte, oder ruchbare Myrrhen-Blätter (Dresden, 1666)
Davidischer Harfenschall (Frankfurt, 1670)
Geschwinder und seeliger Abschied der … Frauen Annen Margarethen … Metzner (Dresden, 1670)
… sonderbahrer Seelen-Freude, oder kleinerer Geistlichen Concerten, Erster Teil (Dresden, 1672)
Musicalischer Jahrgang und Vesper-Gesang … Deutsche Concerten …, 3vv (Dresden, 1673–4)
König Davids göldnes Kleinod, oder 119. Psalm (Dresden, 1674)
Chr. Findekellers Begräbnis-Chor (Dresden, 1675)
Singende Sonn- und Festtages unterl. Andachten (Dresden, 1683)

Font: En català: Constantin Christian Dedekind (1628-1715) En castellano: No disponible In english: Constantin Christian Dedekind (1628-1715) - Altres: Constantin Christian Dedekind (1628-1715)


William Felton (Drayton, 1715 - Hereford, 6 de desembre de 1769) va ser un organista i compositor anglès.

William Felton - Nunc Dimittis

He was the son of George Felton, a clerk, and was educated at Manchester Grammar School and St John's College, Cambridge (BA, 1738; MA, 1743). He married Anna, daughter of the Rev. Egerton Leigh, by whom he had a daughter. Felton was ordained priest by the Bishop of Hereford on 11 August 1742, became a vicar-choral and sub-chanter of the cathedral on 3 February 1743, and minor canon in 1760. In 1769 he was made chaplain to the Princess Augusta, widow of the Prince of Wales, and in the same year he was appointed custos of the College of Vicars Choral at Hereford. From 1744 he held various parochial appointments in Herefordshire. He was buried in the Lady Chapel at Hereford Cathedral: the inscription on his gravestone states that he died at the age of 54 and was ‘multiplici doctrina eruditus, rerum musicarum peritissimus’.

Felton was a steward at the Three Choirs Festival in Hereford in 1744 and in Gloucester in 1745; and his name is on the list of subscribers to Thomas Chilcot's Twelve English Songs (1744). He seems to have enjoyed wide popularity as a performer on the harpsichord and organ. Burney, who considered Felton a better performer than composer, recollected hearing in his youth ‘the celebrated Mr Felton’ play at Shrewsbury, and wrote in his History of his ‘neat finger for common divisions and the rapid multiplication of notes’. In his Account of the Musical Performances … in Commemoration of Handel (London, 1785/R) he related an anecdote about Felton's endeavours to persuade Handel to subscribe to his op.2 concertos through the violinist Abraham Brown; Handel started up angrily and said: ‘A parson make concerto? Why he no make sarmon?’. Handel's name did, however, appear on the subscription list to Felton's op.1 concertos. Felton is chiefly known as a prolific composer of organ and harpsichord concertos; Burney pronounced that he ‘produced two concertos out of three sets that were thought worthy of playing in London’. Despite this, Felton's concertos were widely acquired by music society libraries and private collectors, and his music frequently appeared in 18th-century domestic manuscript anthologies (see Harley).

Felton had a natural ability for devising bold, powerful thematic material, but his keyboard skills tempted him to include an excessive amount of passage-work. The ‘Andante with variations’ of the third concerto in op.1 achieved wide popularity as ‘Felton's Gavot’ or ‘Farewell Manchester’ (the latter title probably dating from December 1745, when it was supposedly played as the troops of the Young Pretender left Manchester). It is also said to have been played at the execution, in 1746, of Jemmy Dawson, the Manchester Jacobite, who was a contemporary of Felton's at St John's College, Cambridge (this legend may originate in the fact that a Felton concerto was played at the Manchester subscription concerts, which were notoriously Jacobite, in 1744). In about 1748 the tune was printed as Fill the Glass, a song for three voices. Burney said that it appeared in Ciampi's opera Bertoldo, produced at Covent Garden in 1762. The tune remained popular until the middle of the 19th century.



1 Six Concerto's, org/hpd, insts (1744)
2 Six Concerto's, org/hpd, insts (1747)
Fill the glass (Farewell Manchester, or Felton's Gavot), song, 3vv (c1748) [adapted from Andante of op.1 no.3]
3 Eight Suits of Easy Lessons, hpd (1752)
4 Six Concerto's, org/hpd, insts (1752)
5 Six Concerto's, org/hpd, insts (c1755)
6 Eight Suits of Easy Lessons, hpd (1757)
7 Eight Concerto's, org/hpd, insts (1762)

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Ignazio Fiorillo (Nàpols, 11 de maig de 1715 - Fritzlar, juny de 1787) va ser un compositor italià i pare del conegut compositor Federigo Fiorillo.

Ignazio Fiorillo - Clavicembalo sonata II

He studied with Durante and Leo at the Conservatorio di S Maria di Loreto in Naples. His début as an opera composer took place in Venice with Mandane (1736), and for the next few years he was active in northern Italy, producing at least seven operas in Venice, Milan and Padua. In 1745 he joined a travelling company; with it he toured central and northern Europe for the next four years. Three intermezzos by him were produced in Prague in 1748. The following year he left the company in Brunswick, where his opera L’olimpiade was successfully produced. It was followed in 1750 by Demofoonte, and in 1754 Fiorillo was appointed court conductor there. In the next eight years he wrote at least six Italian operas for Brunswick, all to librettos by Metastasio, as well as some church music. In 1762 he took up a similar position at the Hessian court in Kassel. He produced only four new operas there but continued to compose occasional church works, of which his Requiem was especially admired (see Apell). In 1780 he was pensioned and retired to Fritzlar.

Of Fiorillo’s 18 or more operas and intermezzos fewer than a third have survived; much of his church music, including the Requiem, has also disappeared. His style was said to be in imitation of Hasse.


Vocal secular:

all opere serie unless otherwise stated
L’egeste (melodramma), Trieste, 1733;
Mandane (B. Vitture), Venice, 1736;
Partenope nell’Adria (serenata, B. Biancardi), Venice, 1738;
Artamene (N. Stampa), Milan, 1739;
Il vincitor di se stesso (A. Zaniboni), Venice, S Angelo, aut. 1741, aria I-Mc;
Volgeso (A. Zeno), Padua, 1742, D-Dl, Wa;
Angelica (P. Metastasio), Venice, 1744, W;
L’olimpiade (Metastasio), Venice, 1745, W;
L’amante ingannatore (int), Prague, 1748;
Li birbi (int, A. Zanetti), Prague, 1748;
Il finto pazzo (int), Prague, 1748;
Vecchio passo in amore (int), Hamburg, Nicolini, 1748;
Astige, re di Medi (dramma per musica, Apolloni), Brunswick, wint. 1749;
Demofoonte (Metastasio), Brunswick, 1750, only lib extant;
Didone abbandonata (Metastasio), Brunswick, 1751, Wa;
Siface (Metastasio), Brunswick, 1752, Wa;
Demetrio (Metastasio), Brunswick, 1753, Wa, aria I-PLa;
Ciro riconosciuto (Metastasio), ?Brunswick, 1753, D-Wa;
Endimione, ?Brunswick, 1754, rev. as Diana ed Endimione, 1763, pt 1, Kl, Wa;
Nitteti (Metastasio), Kassel, ?Brunswick, 1758, rev. 1771, Wa;
Ipermestra (Metastasio), Brunswick, 1759;Artaserse (Metastasio), ?1750s, Brunswick, rev. Kassel, 1765, pts 2, 3, Kl;
Andromeda (V.A. Cigna-Santi), Kassel, 1771;

Pantomimes, all perf. Brunswick, cited in GerberL: Arlequin Cupido, Arlequin esclave, La naisance d’arlequin;
Incidental music to Nicolini’s ballets, cited in GerberL
Arias: D-ROu, W, SWl; B-Bc; I-Mc, Nc

Vocal religiosa:

all lost works mentioned in Apell
Isacco (orat, Metastasio)
several masses; 1 Ky, 1 Gl, Kl;
3 TeD, 1 in Kl;
2 Miserere, frag. in Bsb;
2 Mag, 1 in Kl;
revisions to Jommelli’s Requiem, Bsb;
psalms; motets


[6] Sonate, hpd (Brunswick, 1750)
2 syms., cited in EitnerQ;
sinfonia, D, KA; 2 ov., B-Bc

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Pater Felix Gass (Neustadt, 8 d'agost de 1715 - 20 de febrer de 1752) va ser un compositor alemany.

... Sense música disponible ...

Fr. Felix Gass was born in Neustadt/Saale as first child of the couple Johannes and Susanna Margaretha Gass, born Hundertpfundt, and baptized under the name Georg Anton. His father Johannes Gass was a clerk of the bishopric office in Neustadt. After attending classes at the Augustinian school Gass professed to the Augustinian monastery of Muennerstadt on November 6th, 1733. In the following year he moved to the Augustinian convent of Uttenweiler where he studied moral theology. Probably after his studies he returned back to his home monastery of Muennerstadt. Therefrom Br. Felix was sent  to Freiburg/B. in June 1737. On March 28th, 1739 Gass was ordained. In the year 1740, Gass was confessor and organist in the Augustinian convent of St. Maurice in Fribourg/CH. In the year 1743 at the latest, Gass moved again to Freiburg/B. In Freiburg/B, Gass had the duties of a confessor and organist.

Gass died on February 20th, 1752 at the age of only 36 on a pulmonary catarrh that led to suffocation. All extant sources characterize him as an excellent organist and a much celebrated composer. Furthermore, he was a deeply religious and spiritual man. The prior of Muennerstadt writes about him: 'His musical abilities in playing the organ have been fully-trained and he was known as an excellent organist. Unfortunately, he was snatched in prosperous manhood from the music choir on earth and associated to the music choir in heaven as a sacred singer evermore.'

At the time of the publication of his only preserved work Gass was organist in Freiburg/B. The regrettably undated work was most probably written after his return from Fribourg/CH, thus between 1743 and 1745. This work with piano arias for the keyboard bears the Baroque title „David ludens ad arcam Dei“ (= „David plays in front of the Ark of the covenant“) and was printed in Augsburg by the Protestant publisher Johann Christian Leopold the Elder (1699–1755) [RISM G 469]. This collection totally attached to the piano setting contains 30 Arias for the keyboard. The carefreeness with which Gass used song and dance pieces for a  liturgical setting, testifies to late Baroque sensibility and extraversion. On account of easy playablilty he spares alto and tenor voices. Besides this printed work the necrology testifies further compositions: 12 Masses, 12 Offertories and 24 Concertos. These manuscripts have been lost so far. Furthermore Gass published a short manual to choral singing in 1746. The Augustinian Hermit Fr. Felix Gass from the Rhoen area has left an interesting heritage that should be rediscovered by music enthusiasts and musicologists in the future.


Vocal religiosa:

12 Masses;
12 Offertories;


30 Piano Pieces;
24 Concertos;

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Georg Siegmund Gebel (Breslau, 1715 - Breslau, 1775) va ser un organista i compositor alemany, fill del també compositor Georg Gebel i germà de Georg Gebel.

... Sense música disponible ...

Second son of (1) Georg Gebel (i). He became second organist at St Elisabeth in Breslau in 1736. In 1744 he became second organist at St Maria Magdalena, in 1748 organist at the Dreifaltigkeitskirche, and in 1749 first organist at St Elisabeth, where he remained until 1762. He composed church cantatas and organ pieces, none of them known to survive.

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Bernhard Adam Grube (Walschleben, 21 de juny de 1715 - Bethlehem, 20 de març de 1808) va ser un compositor i cantant alemany, membre de la comunitat Moraviana i actiu principalment a Pennsylvania (EUA).

... Sense música disponible ...

Born into a family of the Moravian Church, he began his career as a teacher at the age of 17 following studies at the University of Jena. In 1748 he immigrated to Bethlehem, Pennsylvania, to become a missionary to the Delaware (Lenapi) nation. By 1765 he was pastor at Lititz, Pennsylvania, where he directed the collegium musicum of the church. He later served in North Carolina, New Jersey, and New England before retiring to a Moravian community. His music consists of a large number of sacred vocal works, mainly anthems.

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Charles-Joseph van Helmont (Brussels, 19 de març de 1715 - Brussels, 8 de juny de 1790) va ser un compositor, organista i director flamenc, actiu principalment a Brussel·les.

Charles-Joseph van Helmont - La Françoise

He studied as a choirboy under Petrus Hercules Brehy at the collegiate church of St Michel et Ste Gudule in Brussels where, at the age of 18, he succeeded Josse Boutmy as titular organist. In 1737 he was appointed choirmaster at the Kapellekerk of Brussels (the parish church of Notre Dame de la Chapelle), and styled himself ‘Directeur de musique de la Chapelle roÿale espagnolles’. The premature death of J.H. Fiocco in 1741 enabled him to return to Ste Gudule, this time as music director (zangmeester), a position he had aspired to since the onset of Brehy's terminal illness in October 1736, but which had gone to Fiocco. For the next 36 years, Van Helmont lived with his growing family in the choraelhuys (maîtise) where he supervised the musical and general education of the choristers, composed frequently for the service, and undertook the task of conserving Ste Gudule's extensive music collection. In 1768 he founded a musical association which gave weekly public concerts; this was one of the first societies of its kind in Brussels. In 1777 he resigned from Ste Gudule passing his duties to his son Adrien Joseph.

The majority of Van Helmont's compositions are sacred; they comprise a substantial corpus of the approximately 525 manuscripts of the fonds Ste-Gudule, now housed primarily in the Brussels Conservatory library, with additional manuscripts in the Royal Library Albert I. His numerous motets (written between 1733 and 1769) are nearly all for a choir of four (or more) parts and instruments, with tutti–ripieno technique; a few are for one or two solo voices, instruments and continuo. The works written before 1741 need only a limited instrumental complement as they were intended for a smaller musical establishment, while the later works employ more substantial forces, including transverse flutes, oboes and cors de chasse in addition to the customary strings and continuo. Many manuscripts survive with multiple sets of parts and full scores, of which several bear the date of composition and specific liturgical usage. The extent of Van Helmont's output is only now coming to light. His recently accessible 501-page manuscript Psalmi vesperarum et competi de officiis decanalibus, for four voices, strings and continuo, contains numerous motets and miscellaneous religious pieces (including three settings of the Te Deum for four voices and continuo by other composers) which the young Van Helmont submitted to the canons of Ste Gudule in his bid to succeed Brehy.

The copious rubrics are invaluable to our understanding of sacred music and liturgical practice in 18th-century Brussels. Many other works are listed in 18th-century inventories, although the whereabouts of these manuscripts are unknown. Van Helmont's motets are sectional and consist of a series of choruses interspersed with solo and duo sections, arias and solo recitatives. Da capo form predominates in the solo arias and duos. Thematically the works are strongly coloured by Italianate writing with mannerist formulae: the heavily ornamented melodies are set to predictable harmonic progressions underpinned by complex rhythmic devices. The masses are in the same style. Judith (1756), an oratorio to a Latin text, is a ‘sacred history’ of slight musical interest. Similarly, his three ‘Simphonies’ are not particularly original in nature. Van Helmont's main secular work, Le retour désiré (1749), is a divertissement written to mark the return of the Hapsburg governor-general Charles de Lorraine to the Austrian Netherlands after a French occupation. The Pièces de clavecin (1737) consists of two suites showing Rameau's influence and also a self-concious flamboyance. The pieces have evocative titles after the French style such as La caille, La sauteuse, La mélodieuse, Le parc and employ both rondeau structure and stylized dance forms. A familiarity with Handel is evident as well. The organ fugues are brief compositions that conclude with a full-voiced ricercar-like cadential structure or with an improvisatory flourish. Texturally they are better suited to the harpsichord than to the organ.


Vocal secular:

New airs for Gryselide (op, J.F. Caunaert, after A. Zeno), Brussels, Monnaie, 23 Jan 1736
Le retour désiré, divertissement pour la paix, vs (Brussels, 1749)

Vocal religiosa:

Masses (4vv, str, bc (org), unless otherwise indicated):
Missa pro defunctis, 1739;
Missa solemnis S Clarae, 2 ob, str, bc, 1739;
Missa solemnis SS Trinitatis, 1741;
Missa solemnis, 5vv, str, bc, 1742;
Missa solemnis novi altaris, 5vv, 2 fl/ob, 2 cl ad lib, str, bc, 1743;
Missa solemnis S Gudilae, 1745;
Missa doi chori, 8vv, ob, 2 hn, str, bc, Advent 1746;
Missa Jubilemus, 6vv, 2 ob, 2 hn, 2 bn, timp, db, bc, 2 vn, bc, 1751;
Missa pastorella, fl, 2 hn, 2 vn, bc, 1756;
Missa solemnis, ob, 2 vn, bc, 1757;
Missa S Caeciliae, 8vv, str, bc, 1769;
Missa de Nativitate;
Missa solemnis, 2 ob, str, bc;
Missa Venatoria (B-Br)

65 motets (most for 4vv, insts, org; some for solo vv):
41 dated, 1733–69, 24 undated, detailed list in Wangermée;
4 addl motets, undated (B-Br); others, lost

Other works:
Litaniae BMV, 4vv, bc: 5 collections, 1756–9;
Litaniae Lauretanae, 4 vv, str, bc, 1739 (B-Br);
5 Ants for the Mass of St Roch, 4 vv, bc (Br);
3 Mag, 4vv, insts, bc;
Lamentations: Les 9 leçons de la Semaine Sainte, 1v, insts, 1737;
3me lamentation du Jeudÿ Sainte, 1v, va/vc, bc, 1756;
6 concentus sacri, incl, 1 mass, 3 motets, lits, 1 TeD, 4vv, str, bc (Brussels, ? 1751–64);
Stabat mater dolorosa, 4vv, str, bc, 1759 (Br);
Tantum ergo, 4vv, bc (Br);
Tantum ergo, 4vv, bc, 1769 (Br);
Tantum ergo, 4vv, str, bc (Br);
Te Domine, 1748, inc. (Br);
Hymn, 8vv, str, bc (Br);
Vespers ant, 4vv, str, bc (Br)

Psalmi versperarum et completi de officiis decanalibus (organ preludes, office hymns and motets, mostly for 4vv, insts, bc), 1737 (Br)
Judith (orat), 5 solo vv, ob, 2 hn, str, bc, 1756


Overtura, 2 orchs, 1754, Bc;
Symphonia, 1739 (Br);
Symphonia, 1741 (Br)

Pièces, hpd (Brussels, 1737), 1st suite ed. in MMBel, vi (1948);
6 fugues, org, D-Bsb, nos.1–3, 5 ed. in MMBel, vi (1948)

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Melchior Hoffmann (Bärenstein, c.1679 - Leipzig, 6 d'octubre de 1715) va ser un organista i compositor alemany.

Melchior Hoffmann - De Aeternitate Schlage doch

As a choirboy in the Dresden Hofkapelle, Hoffmann received his musical training from Johann Christoph Schmidt (i). He went to Leipzig in autumn 1702 and enrolled at the university to study law. He also joined the student collegium musicum founded by Telemann. When Telemann left Leipzig in June 1705, Hoffmann succeeded him as organist and music director of the Neukirche, and took over as director of Telemann’s collegium musicum. He was also conductor of the Leipzig civic opera, which had been in existence since 1693 and for which he wrote a number of works. In 1709 he met the violin virtuoso Johann Georg Pisendel, who became leader of the orchestra of Hoffmann’s collegium. At this time the ensemble consisted of 50 to 60 musicians and had won fame and recognition beyond the Leipzig area.

Hoffmann seems to have visited England between 1709 and 1710, but no details are known. There is no definite evidence of a visit to Italy in 1714 either, and it is unlikely that he went there. In 1713 he applied, along with J.S. Bach and three other candidates, to succeed F.W. Zachow as organist at the Liebfrauenkirche in Halle. When Bach eventually declined the appointment on 19 March 1714 the Halle consistory offered it to Hoffmann, but although he officially accepted the post he never took up his duties in Halle, and in fact resigned on 23 July. On 9 September 1714 he married Margaretha Elisabeth Philipp and in the same month became one of the few Leipzig musicians of the time to be granted citizenship. He had been suffering from a serious illness since 1713 and died on the evening of 6 October 1715, aged only 36. He was buried in the Johannisfriedhof in Leipzig on 10 October; all the pupils of the Thomasschule attended the funeral.

Hoffmann died a prosperous citizen, regarded by his contemporaries as an important composer and a sensitive musician. The Leipzig chronicler Christoph Ernst Sicul described him in an obituary as ‘a famous composer’, whose collegium musicum had produced many fine musicians holding prominent positions as organists or in the Kapellen of major German courts. Gottfried Heinrich Stölzel, a member of Hoffmann’s collegium from 1707 to 1710, and the Darmstadt court poet Georg Christian Lehms also paid tribute to Hoffmann’s great importance in their writings, and Charles Burney regarded him as one of the finest composers of the first half of the 18th century. In spite of his early death Hoffmann left a quite extensive body of work, although only a fraction of it has survived. Very little from his secular output, and in particular from his operas, is extant, and his music only began to attract attention from musicologists when three works previously attributed to Bach (bwv53, 189 and Anh.21) were recognized as being by Hoffmann (or, in the case of bwv53, probably by him). In older studies Hoffmann has often been confused with the Breslau composer Johann Georg Hoffmann.

Melchior Hoffmann’s music shows a feeling for unusual and effective orchestration. His cantata and opera arias are notable for their pleasant, attractive and accessible melodies, sometimes with a strong emotional emphasis, as in the cantata Meine Seele rühmt und preist. His later compositions show Italian influence.


Vocal secular:

performed in Leipzig; music lost except for some arias in D-SHs and S-L
Acontius und Cydippe, 1709;
Banise, oder Die dritte Abteilung dieser asiatischen Prinzessin, 1710;
Balacin, oder Die erste Abteilung der asiatischen Banise, 1712;
Chaumigrem, oder Die andere Abteilung der asiatischen Banise, 1712;
Die amazonische Königin Orithya, 1713;
Rhea Sylvia, 1714

Other secular vocal:
Auf, muntre Sinnen zum Jagen, T, str, bc;
Ich lebe als im Schlafe, S, str, bc;
Schönste Lippen, eure Liebe, S, ob, bc;
Treue Liebe edler Seelen, S, str, bc;
Verdopple, Tyranne, verdopple dein Rasen, S, ob, str, bc;
Verfolge mich immer mit rasenden Stürmen, S, str, bc: all D-SHs

8 cants., listed in Breitkopf catalogue, 1761

Vocal religiosa:

Missa (e), B, vn/fl, bc, D-Bsb (partly autograph), later version (a), S/T, va, bc, Bsb;
Sanctus (a), SATB, str, bc, 1708, Bsb*;
Sanctus (C), SATB, 3 tpt, timp, str, bc, Bsb*;
Sanctus (D), SATB, 3 tpt, timp, 2 ob, str, bc, Bsb; Mag (d), SATB, 2 vn, 2 va, bc, 1700, Bsb*

Entfernet euch, ihr schmeichlenden Gedanken, S/T, 2 hn, 2 ob, str, bc, Dl;
Lob sei dem allerhöchsten Gott, SATB, 2 tpt, str, bc, B-Bc;
Meine Seele erhebt den Herrn, S, fl, str, bc, D-Bsb (partly autograph), RUS-SPsc*;
Meine Seele rühmt und preist, T, fl, ob, vn, bc, D-Bsb;
Singet dem Herrn ein neues Lied, SATB, 2 tpt, timp, str, bc, 1708, Bsb, DK-Kk*

3 missa brevis (C, C, G), D-Bsb;
4 cants., MÜG;
Schlage doch, gewünschte Stunde (cant.), A, bells, str, bc, Bsb

32 cants., listed in Breitkopf catalogues, 1761 and 1764


Sinfonie (f), str, D-Dl, GB-Lbl;
Conc. (E ), hn, 2 ob, str, D-Dl;
Sonata (g), ob, vn, bc, Dl

5 sinfonie (D, D, F, A, B ), str, bc, listed in Breitkopf catalogue, 1762

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Ikuta Kengyō (1656 - Kyoto, juny de 1715) va ser un instrumentista i compositor japonès, especialista en l'art del heikyoku.

... Sense música disponible ...

He specialized in the heikyoku, which he probably studied with Imai Kengyō, and the koto, which he probably studied with Kitajima Kengyō. In 1696 he was promoted to the rank of Kengyō in the guild of professional blind musicians. He may have inaugurated the Ikuta-ryū school of koto playing. He has been attributed with transforming the koto tsume (plectrum) from the narrow, long version used by the tsukushi-goto into the modern ikuta form (square-shaped); with inventing two new tuning systems, hon-kumoi-jōshi and nakazora-chōshi; and with producing the first ensemble combination of koto and shamisen (shamisen) by adding a jiuta. All of these are significant milestones in the development of sōkyoku and its relationship with jiuta. However, there is no evidence that he made these innovations alone; it is widely thought that they should be equally attributed to Kitajima Kengyō, who died before Ikuta was promoted to the rank of Kengyō. The name ‘Ikuta Kengyō’ was later adopted by Ōmori Kengyō and Hideshima Kengyō on their respective promotions to the rank of Kengyō in 1715 and 1740.

The following works are probably by Ikuta: 3 koto kumiuta (Kagami no kyoku; Koryū shiki genji (also attributed to Yatsuhashi); Omoigawa (also attributed to Kitajima)); the danmono Godan no shirabe (also attributed to Kitajima and Tomino Kōtō); Kinuta; the nagauta (Ozasa); and Jūnidan sugagaki (for shamisen). At first, Ikuta's music was transmitted orally and later it was transcribed and printed. Omoigawa and Godan no shirabe were printed in Sōkyoku tailshū (Tokyo, 1792), while Kagami no kyoku and Koryū shiki genji were secretly transmitted and notated only in 1941. Kinuta was printed in Yanoichi zōhan bon kinuta no fu (Tokyo, 1822) and its slightly transformed version is still practised. Ozasa was not notated and only its song text is preserved. Many of these works are in an edition by H. Kikuhara (Jiuta Sōkyoku gskufu zensha, Tokyo, 1987).

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Johann Ernst of Saxe-Weimar (Weimar, 25 de desembre de 1696 - Frankfurt, 1 d'agost de 1715) va ser un violinista i compositor alemany.

Johann Ernst of Saxe-Weimar - Violin Concerto

This gifted, short-lived prince was the second son of Johann Ernst IX of the Ernestine branch of the Saxon house of Wettin. He was highly regarded by his contemporaries, J.S. Bach, Telemann, Walther, Mattheson and Bellermann. As a child, he was taught the violin by G.C. Eilenstein, court musician, and, after 1707, the keyboard by J.G. Walther, Weimar town organist. Walther’s birthday gift to the young prince in 1708 was a manuscript treatise, Praecepta der musikalischen Composition (ed. P. Benary, Leipzig, 1955). He was in direct contact with J.S. Bach, Weimar court organist from 1708 to 1717. He was sent to study at the University of Utrecht, returning in spring 1713; thereafter he studied composition with Walther for nine months.

Of his 19 instrumental works cited by Walther, six violin concertos survive as op.1, Six Concerts à un Violon concertant, deux Violons, une Taille, et Clavecin ou Basse de Viole. They were engraved on copper plates and published posthumously by Telemann in 1718 (according to Telemann’s preface, the prince was engraving the plates before his death). Four of the concertos are in three movements, two in four; four are in minor keys, two in major. Italian violinistic figures are common. Vivaldi’s influence is quite possible: the prince could have returned from Holland with Vivaldi’s op.3 concertos published in Amsterdam in 1712. Four compositions by Johann Ernst provide the basis for six keyboard concerto arrangements by J.S. Bach: unknown works were used for bwv592 and 595, for organ (or 592a and 984 for harpsichord), and op.1 nos.1 and 4 became bwv982 and 987, for harpsichord. Telemann dedicated his first published music, Six Sonates à violon seul (Frankfurt, 1715), to the prince.

Font: En català: No disponible En castellano: No disponible In english: Johann Ernst of Saxe-Weimar (1696-1715) - Altres: Johann Ernst of Saxe-Weimar (1696-1715)


Václav Kalous (bap. Solnice, 27 de gener de 1715 - Rychnov nad Kněžnou, 22 de juliol de 1786) va ser un compositor txec i un dels més importants del seu país durant el segle XVIII.

Václav Kalous - Pastores quem vidistis in C

He is best known under his monastic name, Simon à Scto Bartholomaeo (or simply Simon). After studying at the Piarist Gymnasium in Rychnov nad Kněžnou, he began serving his novitiate in Lipník nad Bečvou (17 October 1736), where with special dispensation he was able to take his vows after a year, on 23 October 1737. Thereafter he worked in colleges and schools of his order as priest, teacher, organist and choirmaster. His best-known pupils were F.X. Brixi and Antonín Brosmann. He taught in Strážnice (1737–8, 1761–9), Vienna (1738–9, 1741–2), Horn (1739–41, 1742–4), Mikulov (1745–6), Kosmonosy (1746–8, 1756–7), Lipník nad Bečvou (1748–50), Benešov (1750–52), Prague (1752–6), Slaný (1757–9) and Kroměříž (1759–61). In 1769 he began working in Rychnov nad Kněžnou, where he remained until his death, even though the local Piarist Gymnasium was closed in 1783.

Kalous is one of the prolific Czech composers of the 18th century who mastered the technique of church music but had little individuality. The mingling of Baroque elements (mainly from the works of Caldara and J.J. Fux) with incipient Classical traits (simplification of the harmony and the preponderance of homophonic writing) is typical of Kalous's work. His melody is vocal, rich in Baroque sequences and coloratura, but almost without chromaticism and dotted rhythms. He composed mostly for one or four voices accompanied by two violins, viola, bass and organ, occasionally with added oboes, horns and trumpets. He introduced into Czech church music the type of three-sectional Italian offertory made up of a homophonic vocal tutti, solo arias and a concluding vocal fugue prefaced by a short homophonic introduction. Kalous's works were popular in Bohemia and Moravia up to the first two decades of the 19th century. A thematic catalogue compiled by Straka lists 103 items, but does not include (for instance) the music for school plays which Kalous presumably wrote but which has not been found.


Vocal religiosa:

27 masses;
2 Vespers;
8 litanies;
11 Regina coeli;
5 Salve regina;
4 Stationes theophoricae;
Sepolcro Affectus erga Christum in sepulcro (on parts of the Stabat mater text)
44 offertories, graduals and other smaller church compositions

Font: En català: No disponible En castellano: No disponible In english: No disponible - Altres: Václav Kalous (1715-1786)


Johann Wolfgang Kleinknecht (Ulm, 17 d'abril de 1715 - Ansbach, 20 de febrer de 1786) va ser un violinista i compositor alemany.

... Sense música disponible ...

He first studied the violin with his father and apparently made an impressive début as a youthful performer. After studies at the Gymnasium in Ulm he toured several German cities with success and in 1733 became a member of the court chapel at Stuttgart. There he studied the violin with the Kapellmeister, G.A. Brescianello, and shortly thereafter embarked on another successful tour of many German courts. This led to an appointment as first violinist at the court of Eisenach, a position from which he soon obtained leave to serve as guest conductor at the court at Bayreuth. In 1738 he became the director at Bayreuth and in this capacity encountered many of the best performers from Berlin and Dresden, among them the violinist Franz Benda, whose style Kleinknecht thereafter adopted as a model. He returned to Eisenach briefly to fulfil his obligation to that court and to pursue his own musical studies, but after the death of his patron he again went to Bayreuth and remained until 1769, when the entire chapel moved to Ansbach. Hiller described Johann Wolfgang as an outstanding violinist whose execution was noted for its rhythmic accuracy, energy, and beauty of tone, and claims these qualities enlivened the entire orchestra at Bayreuth. His biography first appeared in Meusel's Miscellaneen in 1782.


composer identified only as Kleinknecht; many of the lost works may be by other members of the family


6 sonatas, vn, bc (Paris, c1760)
3 Sonatas or Duets, 2 vc/bn (London, 1774)

Lost works, listed in Brook:
9 concs.;
2 partitas, insts;
1 sinfonie, insts;
13 trios, 2 fl, bc;
12 trios, 2 vn, bc;
6 duets, 2 fl;
6 solos, vn, bc;
Sonata, kbd solo;
Trio, fl, kbd obbl;
Duet, 2 vc
40 addl lost works, listed in Delius

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Jakob Kremberg (Warsaw, c.1650 - London, 20 de setembre de 1715) va ser un compositor polonès, actiu principalment a Anglaterra.

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He was registered at the University of Leipzig in 1672, became a chamber musician to the Duke-Administrator of Magdeburg in 1677, and joined the royal music at Stockholm the next year. He was an alto at the Dresden court between 1682 and at least 1691. Between 1693 and 1695 he directed the Hamburg opera with Johann Sigismund Kusser; he may have been the author of the libretto for Georg Bronner's opera Venus, oder Die siegende Liebe (1694; lost). Some time in the following two years he was at the University of Leiden, where he composed a setting of a poem by the physician and scientist Herman Boerhaave and perhaps taught John Clerk of Penicuik (Davidson). Kremberg is next heard of advertising a concert series on 24 November 1697 at Hickford's Dancing School in London, claiming that he had ‘lately come out of Italy’. Boerhaave told Clerk in a letter dated 9 February 1698 that Kremberg ‘kept a band of fine musicians in London’, who were praised for performing pieces celebrating the Peace of Ryswick, the king's birthday, the New Year and ‘the elevation of the Count of Albermarle’. Furthermore, though he ‘sang and played the lute at night by the bed of the King with his young son’, he ‘was not paid a single penny, rather he incurred immense expenses and ran up enormous debts’.

Nothing more of him is known until 1702, when he is encountered in Scotland as music master to the children of Lady Grisell Baillie of Mellerstain House, Berwickshire. He finally received an English court post in April 1706, and was replaced by James Moore on 23 September 1715; he is presumably the ‘James Cranbrook’ who was buried three days earlier at St Anne's, Soho. He was survived by his wife Dorothea Sophia; the James Kremberg who had four children baptized at St Andrew's, Holborn, between 1715 and 1722 was presumably his son. Kremberg was one of the more incompetent composers of the period, though that did not prevent him from writing some large-scale pieces, including A New-Framed Entertainment, a series of operatic scenes for a lost play similar to The Rehearsal, by the 2nd Duke of Buckingham. However, he is included in a list of leading lutenists in the Milleran manuscript (F-Pn Rés.823) and was an accomplished music copyist. All the surviving manuscripts of his compositions are in his elegant, distinctive hand, and he also copied GB-Lcm 779 (facs. in MLE, E1, 1990), a shortened English version of Giovanni Bononcini's Camilla possibly prepared for a court performance on 6 February 1707, and US-Wc M1515.A11 Case, a score of theatre suites by William Corbett, William Croft, John Eccles, James Paisible, Daniel Purcell and others, mainly copied from the Walsh series Harmonia Anglicana.


Betrachtung der Welt (Ade O Weltigkeit!), 4vv, bc (Dresden, 1687); ed. in EDM, lxxix
Musicalische Gemüths-Ergötzung oder Arien (40 songs, 16 with verses by Kremberg), 1v, bc/lute/b viol/angélique/gui (Dresden, 1689); 3 ed. in Friedlaender, 1 ed. in Wolf
England's Glory (masque), for Queen Anne's birthday (London, 1706), music lost
A Collection of Easy and Familiar Aires, 2 rec; ov., passacaille, 3 rec (London, 1707), frag.
A New-Framed Entertainment (operatic scenes for a lost play), GB-Lcm
4 songs: Aurelia has sweet pleasing charms, 1v, vn/ob, hpd/bn; Farewell ye gilded follies, 1v, fl/vn, hpd; Lavinia has majestic charms, 1v, bc; Since I have seen Lucinda's charms, 1v, rec/vn, hpd, Och, US-LAuc
Setting of a poem by H. Boerhaave, ?1696/7, lost
Conc., C, 3 vn, opt. bc, S-Uu

Font: En català: No disponible En castellano: No disponible In english: Jakob Kremberg (c.1650-1715) - Altres: No disponible


Georg Gottfried Petri (Sorau, 9 de desembre de 1715 - Görlitz, 6 de juliol de 1795) va ser un compositor alemany, kantor i germà de Balthasar Abraham Petri (1704-1793).

... Sense música disponible ...

After studying law for four years in Halle he practised that profession for a short time in several places; he was appointed lecturer in law in Halle in 1740, and then served as a private tutor for government officials. From 1748 he was the music director in Guben, and was assistant headmaster there from 1763 (in 1755 he had applied unsuccessfully for the post of Thomaskantor in Leipzig). When he became Kantor in Görlitz in 1764 his well-known teaching abilities as well as his knowledge of music and foreign languages were cited. He continued in that office, also directing the music at the church of St Peter und St Paul, until his death.

Petri was a prolific composer, especially of church music, but his only proven extant work is the second part of the two-volume Musikalische Gemüths-Belustigungen (Pförten [Brody], 1761–2), consisting of songs, keyboard pieces and violin pieces. He composed at least three yearly cycles of church cantatas and other occasional sacred works (some of the texts were published in the Lausitzisches Magazin from 1768); for the 200th anniversary of the Gymnasium at Görlitz in 1765 he composed Gesang der drei Männer im Feuerofen, a drama musicum, and published the essay Oratio saecularis, qua confirmatur coniunctionem studii musici cum reliquis litterarum studiis erudito non tantum utilem esse, sed et necessariam videri (Görlitz, 1765). According to an advertisement in the Oberlausitzer Monatsschrift of 1796, Petri's library at his death contained about 1000 musical works. He himself had written more than any other composer, but there were 102 works by Telemann and others by Agricola, Bach, Doles, Graun, Hasse and Homilius. The two masses marked ‘Petri’ in the Luckau church archives may be by him (Biehle attributed them to (3) Johann Samuel Petri).

Font: En català: No disponible En castellano: No disponible In english: Georg Gottfried Petri (1715-1795) - Altres: No disponible


Johann Christoph Ritter (1715 - Clausthal, 25 de gener de 1767) va ser un organista i compositor alemany, alumne de J.S. Bach.

... Sense música disponible ...

Ritter was from 1744 until his death the organist of the Marktkirche in Clausthal, an important mining centre in the Harz mountains with a lively and independent cultural life. A complete copy of Bach’s Clavier-übung, i–ii (bwv 825–30, 971, 831), which he prepared around 1740, was long thought to be the only extant copy of these works dating from before Bach’s death; however, it seems to depend on the printed version of 1731 and obviously contains some writing errors (see Jones). Another copy of the same works, known in Bach scholarship as p215, is also in Ritter’s hand, but it was not written until after 1755. Barthold Fritz, the Brunswick builder of keyboard instruments, frequently mentioned him in his treatise on keyboard tuning as the consignee of clavichords ‘for commission’, and Ritter’s numerous petitions to the Clausthal council regarding the disrepair of the organ show a comprehensive knowledge of and great experience in organ building. His only extant compositions are a set of Drey Sonaten, denen Liebhabern des Claviers verfertiget … erster Theil (1751), dedicated to the superintendent of mines, G.P. von Bülow, and published by Haffner of Nuremberg. These works, always interesting and full of good ideas, represent a historically important stage in the development of the early pre-Classical keyboard sonata.

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Antonio de Salazar (Puebla, c.1650 - Mexico, 25 de març de 1715) va ser un compositor mexicà, mestre de capella de la Catedral Metropolitana de Mèxic.

Antonio de Salazar - Tarará, que yo soy Antón

According to Estrada, he (or someone of the same name) sought admission to the capilla of Mexico City Cathedral as a player of the bajón in November 1672. He was turned down, but may have been appointed to the post at some later date. On 20 June 1679 Salazar applied for the position of maestro de capilla at Puebla Cathedral, identifying himself as a resident of Puebla. After a rigorous examination in every facet of performance and composition, he was appointed maestro de capilla on 11 July. His duties included giving a daily one-hour lesson in polyphonic music to the entire cathedral music staff, and he was also ordered to deposit copies of his compositions in the cathedral archive. At the same time the authorities offered him remuneration of 64 pesos for villancicos and chanzonetas already composed. At Puebla Salazar composed Latin motets and hymns as well as many villancicos for special feasts, including five sets to texts by Sor Juana Inés de la Cruz for the feasts of Christmas 1678 and 1680, St Peter the Apostle 1680 and 1683 and the Assumption 1681. In August 1688 he entered the competition for the post of maestro de capilla at Mexico City, and after demonstrating his abilities in plainchant, counterpoint and the composition of a motet and a villiancico, he was appointed on 3 September, receiving more than twice as many votes as the nearest of his four rivals for the position. His annual salary was 500 pesos with the opportunity to earn more for extra duties. He was also given the services of a copyist and a quantity of music paper. His place at Puebla was taken by Miguel Dallo y Lana.

In Mexico City Salazar found the cathedral music archive to be in a lamentable state, with many works missing altogether, and he set about reorganizing it. In 1692 he also helped to supervise the installation of a new organ built in Madrid by Jorge de Sesma; it was placed on the Epistle side of the cathedral. A significant number of Salazar's villancicos remain. They include movements based on popular dance and song forms such as the folía, jácara, kalenda, negro, ensaladilla and juguete. In the 1691 villancicos for the feast of St Peter, attributed to Sor Juana Inés de la Cruz, there are references to many instruments – clarín, trompeta, sacabuche, cornett, organ, bajón, violin, chirimía, trumpet marine, cítara, violón, tenor, vihuela, rabelillo, bandurria and harp – and it is possible that some of these were included in Salazar's scores. Salazar's villancicos to texts by Sor Juana for Mexico City Cathedral include those for St Peter the Apostle 1690 and 1692 and for the Assumption 1690. The ensalada that concludes the 1690 villancicos for the Assumption includes a juguete and quotes the popular tune Yo voy con todo la artillería in the jácara. In his two-voice negro Tarara tarara qui yo soy Antoniyo and other vernacular works Salazar demonstrated his ability at writing popular semi-theatrical pieces in black dialect. Salazar's sacred Latin works show a mature command of counterpoint. His double-choir O sacrum convivium uses imitation, antiphonal writing and rhythmic vitality to fine effect, and in Quis Deus magnus the contrasting of major and minor modes and the use of initial upbeats are distinctive. In the six-part Inveni David a tenor soloist alternates with four-part chorus and two continuo lines (probably played on one or two organs, dulcians and possibly harp).

Salazar's compositions were disseminated throughout New Spain, and are found today in archives in Guatemala, Mexico City, Morelia, Oaxaca, Puebla and Tepotzotlán. Many of his villancicos survive in Mexico City Cathedral and in the Sánchez Garza Collection in the Centro Nacional de Investigación y Documentación Musical ‘Carlos Chávez’, Mexico City, which originated in the music archive of the Convento de la SS Trinidad in Puebla. The parts for Angelicos coros con gozo cantad name the nuns who originally performed the music. Male teachers and musicians were sometimes called in to examine or instruct nuns and novices. In 1712, in the Convento de S Jerónimo, Salazar examined and attested to the musical abilities of Josepha de Torres Moctezuma on the harp and organ. Stevenson (1996, pp.23–37) has suggested that Salazar, Francisco López Capillas and Joseph de Agurto y Loaysa gave Sor Juana Inés de la Cruz musical instruction at the Convento de S Jerónimo. Salazar's other pupils included José Pérez de Guzmán, who became maestro de capilla at Oaxaca Cathedral, and Manuel Francisco de Cárdenas from Guadalajara, who remained in Mexico City as a singer.

In 1710 the cathedral authorities agreed to Salazar's petition to cease his duties as teacher of counterpoint and canto figurado to the choirboys since, at the age of 60, he was almost blind and in poor health. During his illness his pupil Manuel de Zumaya deputized for him as director of music at the cathedral, and also collaborated with him in composing four Latin hymns (in MEX-Mc Choirbook V), Salazar writing the first parts of Egregie Doctor Paule, Christe sanctorum decus and Miris modis repente liber and the second part of O crux ave spes unica. Salazar died intestate on 25 March 1715 in his house on Calle Tabuca, leaving his widow Doña Antonia de Cáceres. In recognition of his importance he was buried in Mexico City Cathedral. Zumaya succeeded him as maestro de capilla.


Vocal religiosa:

Missa sine nomine, 5vv, Morelia, Colegio de las Rosas
Oficio de difuntos, 4vv, bc, MEX-Pc
Mag, 5vv, Pc;
Mag, 8vv, Oaxaca Cathedral;
Mag toni octavi, 12vv, Oaxaca Cathedral

Letania a Maria SS nuestra señora, 5vv, bc, Pc;
Letania a 6, Pc;
Letania de nuestra señora de Loreto, 1690, Mexico City, Colección Sánchez Garza

Motets etc.:
Benedicamus Patrem et Filium, Mc;
Benedictus Dominus Deus a 8, Mc;
Dixit Dominus, 5vv, bc, Pc;
Euge serve bone a 8, Mc;
Exurgens Ioseph a somno fecit, 4vv, Pc;
Hic est Michael Archangelus, 8vv, tpts, vns, Pc;
Hodie concepta est BVM, 8vv, Mc;
Inveni David a 6, 1703, Mc;
Joseph fili David noli temere, 8vv, Oaxaca Cathedral;
Missus est Gabriel angelus, 4vv, Pc;
Motete de Señor S Joseph, 8vv, Oaxaca Cathedral;
O sacrum convivium, 8vv, Tepotzotlán, Museo del Virreinato;
Quis Deus magnus, Mc;
Salve regina, 8vv, Pc;
Stabat mater dolorosa, 4vv, Pc; Tibi laus, Mc; Vidi Dominum, Mc

Christe sanctorum decus (collab. M. de Zumaya), Mc;
Egregie Doctor Paule (collab. Zumaya), Mc;
In Assumptione Virginis ad Laudes, 4vv, Pc;
In festo Petri et Pauli ad Laudes, 4vv, Pc;
In festo Petri et Pauli ad Matutinum, 5vv, Pc;
In festo S Jacobi Apostoli ad Vesp., 4vv, Pc;
In festo S Joseph Conf., 4vv, Pc;
Miris modis repente liber (collab. Zumaya), Mc;
O crux ave spes unica (collab. Zumaya), Mc

Villancicos and chanzonetas:
MSS in Mexico City, Colección Sánchez Garza, unless otherwise stated
A celebrar, 1714, Mc;
A coger las floras, 4vv, bc, MEX-Pc;
A coronarse reyna de los cielos, Mc;
A de la nave, 1708, Mc;
A de la zentinela, 1707, Mc;
A del cielo, a de la tierra,1699, Mc;
A el portal sagalejos, 1707, Mc;
A el ver nazer entre pajas;
Aguas, tierras, fuego, vientos, 1703, Mc;
A la estrella que borda los valles, 2vv, bc, doubtful;
Al agua marineros, 1708, Mc;
A la lid que sea presta, 1713, Mc;
A la mar, 1705, Mc;
A la palestra a la lied, 1714, Mc;
Alarma toquen, 1713, Mc;
Al ayre fragrancias despidan las flores;
Albrisias, 1714, Mc;
Al Campo, 1713, Mc;
Al son que dos clarines, Mc;
Angelicos coros con gozo cantad, a 8;
Arde afable hermosura, 1693, Mc;
Atension, atension, 1698, Mc;
Atencion del aire y del fuego, a 8;
Aves flores, luces fuentes, a 11, 1704, Oaxaca Cathedral;
Ay, ay de quanta fragrancia, a 6;
Ay que el sol de toledo, 1710, Mc;
Ayresillos, 1713, Mc;
Ciega la fe los sentidos, a 8;
De Pedro sagrado, Mc;
Despertad, despertad, 1968, Mc;
Detente, tu firmesa, Mc;
Digan, digan, 1701, Mc;
Digan quien vio tal;
Escuche lo nenglo que vamo a belen;
Escuchen que en este día, Oaxaca Cathedral;
Guachi pelos alanbeque, a 6;
Guarda la fiera, 1691, ed. in Saldívar (1934);
Las campanas, 1712, Mc;
Los clarines resuenen, 1706, Mc;
La culpa y el amor, 1712, Mc;
Marinero, marinero a la playa, Mc;
Mi Dios si Ilorais, 2vv, bc, GCA-Gc;
No es sino que el Auror, 1702, Mc;
No me tengais pastores, 1700, Mc;
Nora buena vengais Anton, 3vv;
Oid, aprended, 1699, Mc;
Oigan la xacarilla;
Oigan un vexamen, 5vv, ed. in Saldívar (1934);
Ola hao marineros, 1710, Mc;
Ola, ola principes sacros, 1702, Mc;
Oygan, Mc;
Oygan que de un sirculo brebe, 4vv;
Oy que Maria, 1710, Mc;
Pajarillos garsotas del ayre bajad a mi accento, Mc;
Paloma soverana, 1709, Mc;
Pastores del valle, 1712, Mc;
Pedro aunque el mar, 1709, Mc;
Plantas, flores, 1710, Mc;
Primores amanyes, Gc;
Pues el alva aparese, 1694, Mc;
Que alegre la tierra, 1712, Mc;
Repiquen alegres, 1714, Mc;
Resonad, 1711, Mc;
Si el agravio Pedro, 4vv, bc, 1710, ed. in Orta Velázquez, Mc;
Sobre el primero, 1720, Mc;
Suenen, suenen clarines alegres, 1703, Mc;
Tarara qui yo soy Anton ninglito, negro, S, S, bc;
Tierra, tierra, 1713, Mc;
Toquen a fuego, a 4, Oaxaca Cathedral;
Toquen los clarines, 1709, Mc;
Un ciego que contravajo canta, a 2;
Va de vejamen y de fiesta y de chansa, 1701, Mc;
Vaya otra ves, 1706, Mc;
Vengan corriendo, A, T, bc, Gc;
Vengan, vengan que llama, Mc;
Villancico a nuestro padre S Pedro, 2vv, bc, Oaxaca Cathedral

Font: En català: No disponible En castellano: Antonio de Salazar (c.1650-1715) In english: Antonio de Salazar (c.1650-1715) - Altres: No disponible


Johann Matthäus Schmiedeknecht (Ülleben, 1660 - Gotha, abril de 1715) va ser un professor i compositor alemany, actiu principalment a Gotha.

... Sense música disponible ...

After working in Ichtershausen he became court Kantor in Gotha in 1685 and was a respected if not specially important music teacher. He had connections with the court Kapellmeisters Wolfgang Mylius and Christian Witt, and with the traditional musical institutions of Gotha, which were linked with the names of Pachelbel, Telemann and, in music education, Andreas Reyher. His Tyrocinium musices is related to Reyher’s Gothaer Schulmethodus and is dedicated to ‘enthusiastic and music-loving youth’, following the model of the textbooks by Schneegass, Dedekind and others. His compositions, many of them in the traditional form of the motet for two choirs, show a marked personal touch in their rhythmic and dynamic subtlety.


Ein Diener soll in Freud und Lied, motet, 8vv (Gotha, 1696) [second choir as ‘echo’]
Da pacem Domine, motet, 8vv, D-Bsb
Kommt, ihr Engel und wieget, motet 6vv, Grossenlupnitz Church, Eisenach
Der Herr segne dich, motet, 8vv, Grossenlupnitz Church, Eisenach
4 funeral anthems, 4–8vv (Gotha, 1688–99)
Tyrocinium musices, das ist Erster Angang zur Singkunst [or Fundamente] (Gotha, 1710)

Font: En català: No disponible En castellano: No disponible In english: Johann Matthäus Schmiedeknecht, (1660-1715) - Altres: No disponible


Carlo Sodi (Rome, c.1715 - Paris, setembre de 1788) va ser un compositor italià, actiu principalment a França.

... Sense música disponible ...

On arriving in Paris around 1749, he obtained a position as violinist in the orchestra of the Comédie-Italienne, performed his mandolin concerto at the Concert Spirituel (6 April 1750) and became music master to Mme Favart. He provided the music for several ballet-pantomimes choreographed by his younger brother Pietro, but enjoyed greater success with his parodies of Italian intermezzos presented mainly at the Comédie-Italienne during the 1750s. He was granted a pension by the Comédie in 1765, thereafter teaching the mandolin but struggling against poverty and failing sight.

Baïocco et Serpilla (1753) was one of the first in a series of works by various librettists and composers parodying the popular repertory of the Bouffon troupe, which performed in Paris between 1752 and 1754. Parody techniques – the borrowing of text or music, or both – were important in preparing the ground for a more sophisticated type of opéra comique in which original librettos were set to original music. The text of Baïocco was adapted by C.-S. Favart from Il giocatore (performed by the Bouffons in August 1752), and this was set by Sodi as recitative, ariettes and dialogue duets. Contemporary reviews of M.-J.-B. Favart’s performance and other documents suggest that, during 1753, two versions of the Baïocco parody were staged at the Comédie-Italienne: the older (by Biancolleli and Romagnesi, first inspired by performances of Orlandini’s original at the Opéra in June 1729) was revived in May but was replaced by Sodi’s newer and more vibrant version in either August or September. Sodi composed further parodies, but by the end of the 1750s original composition had superseded parody techniques as the basis for opéra comique. He subsequently set a new libretto by Sedaine, Les troqueurs dupés, in 1760, but this was a failure.

Pietro Sodi (b Rome, c1716; d Charleston, c1775), younger brother of Charles, was a dancer and choreographer active throughout Europe. During the 1740s he partnered Marie Camargo and Mlle Lany at the Paris Opéra. He later moved to the Comédie-Française as maître de ballet and also worked at the Comédie-Italienne’s école de danse. The ballet-pantomimes he choreographed during the 1740s and 1750s were staged at all the major Parisian theatrical venues, including the royal court. From 1756 to 1757 he worked as a maître de ballet at the Kärntnertortheater in Vienna, where he met Hilverding and Angiolini. Well known for his spectacular leaps and turns in the then fashionable grotesque style, Sodi’s highly pantomimic comic dances may have had some influence on the early ballet d’action. He worked for a short period at the Teatro San Samuele, Venice (1757–8) then returned to Paris before his departure to America in 1774.


Vocal secular:

all first performed in Paris
Baïocco et Serpilla (opéra bouffon italien, 3, C.-S. Favart, after the Bouffons: Il giocatore), Comédie-Italienne (Bourgogne), ? 6 Sept 1753 (Paris, n.d.)
Le charlatan (cmda, 2, J. Lacombe, after the Bouffons: Tracollo medico ignorante), Comédie-Italienne (Bourgogne), 17 Nov 1756, excerpts in J. Dubreuil: Dictionnaire lyrique portatif (Paris, 1764)
La femme orgueilleuse (parodie, 2, A.-F. Quétant, after the Bouffons: La donna superba), Comédie-Italienne (Bourgogne), 8 Oct 1759, excerpts in Dubreuil
Les troqueurs dupés (cmda, 1, M.-J. Sedaine), OC (Foire St-Germain), 6 March 1760
Ballet-pantomimes (choreographed by P. Sodi): Les mandolines, Opéra, 1744;
Les vendangeurs (La vendange), Comédie-Italienne (Bourgogne), 26 Feb 1751;
Le jardin des fées, OC (Foire St-Laurent), 13 July 1752;
Les batteurs en grange, OC (Foire St-Laurent), 12 Aug 1752;
Les amusements champêtres, Comédie-Française, 1753;
Le bal, Comédie-Italienne (Bourgogne), 14 Feb 1754;
La cocagne, ou Les jours gras de Naples, Comédie-Italienne (Bourgogne), 25 Feb 1759;
L’amour vainqueur de la magie, Comédie-Italienne (Bourgogne), 8 March 1759;
Le bouquet, Opéra;
La noce, Comédie-Française

Vocal religiosa:

La passione di Gèsu Cristo, 1733;
Gioas re di Giuda, 1739;
Betulia liberata, 1740: all listed in SartoriL


Mandolin Concerto, perf. 6 April 1750
6 airs, acc. 2 vn, va, b (Paris, 1780)

Font: En català: No disponible En castellano: No disponible In english: No disponible - Altres: No disponible


Franz Sparry (Graz, 28 d'abril de 1715 - Kremsmünster, 7 d'abril de 1767) va ser un compositor austríac.

... Sense música disponible ...

After serving as a choirboy at the monastery of Admont, he studied philosophy at Salzburg University. He entered the Benedictine house of Kremsmünster in 1735, but later returned to Salzburg to study theology. While there he met and may have studied with J.E. Eberlin, the court organist, and his first compositions date from his second period there, in 1736. He finally left Salzburg in 1739 and returned to the monastery, but in 1740 the abbot, who wished to encourage his musical talent, allowed him to go to Italy to study. He went first to Naples, where he was a pupil of Leo, and heard and copied much music by other leading Neapolitans, such as Jommelli and Alessandro Scarlatti. In 1741 he left for Rome to study the a cappella style with Chiti. In 1742 he returned to Kremsmünster, after a disastrous journey complicated by the War of Austrian Succession (northern Italy was overrun with Spanish troops), during which he lost most of his transcriptions of Italian music in a violent storm in the Adriatic. He spent the rest of his life in the monastery, where he was director of music from 1747 until his death.

The bulk of Sparry’s output consists of Latin oratorios and incidental music for the annual school plays at Kremsmünster and Lambach, but he also wrote many German sacred arias and a good deal of liturgical music (now in A-KR, LA). His attempts to imitate the current Italian style in his Latin oratorios are rather colourless, for he lacked the appropriate melodic gift. But his Italian training stood him in good stead in German arias, of which he wrote about 50; they often have a lyrical quality, rhythmic flexibility and harmonic variety not to be found in similar works by his more thoroughly Teutonic contemporaries. (A. Kellner: Musikgeschichte des Stiftes Kremsmünster, Kassel, 1956)

Font: En català: No disponible En castellano: No disponible In english: Franz Sparry (1715-1767) - Altres: No disponible


Gottfried Vopelius (Herwigsdorf, 28 de gener de 1645 - Leipzig, 3 de febrer de 1715) va ser un editor i compositor alemany.

... Sense música disponible ...

He attended the Gymnasium in Zittau and showed such promise that in due course he was promoted choir leader. He later studied at Leipzig University. On 3 July 1671 he was appointed collaborator ultimus at the Nikolaischule at Leipzig, and on 31 March 1677 he became Kantor there and at the Nikolaikirche. He taught syntax, Latin etymology, prosody, Greek Testament and geography as well as music, and he also supervised Bible reading and poetry exercises. He remained there until his death, in spite of the comment in a visitation of 1712 that he had become an embarrassment to the institution. He published Neu Leipziger Gesangbuch, von den schönsten und besten Liedern verfasset … mit 4. 5. bis 6. Stimmen, deren Melodeyen theils aus Johann Herman Scheins Cantional, und andern guten Autoribus zusammen getragen, theils aber selbsten componiret (Leipzig, 1682). This compendium, comprising 1104 pages and important for the study of church music in Leipzig in the later 17th century, contains 55 pieces for solo voice, two in three parts, 241 in four, 14 in five and four in six, as well as two Passions (after Johann Walter (i)) and a Resurrection history (after Scandello); there are also 113 items of which only the texts are given. Where necessary, Latin and German texts are both printed. Among the composers represented are Joachim a Burck, Johannes Crüger, Demantius, Melchior Franck, Hammerschmidt, Tobias Michael, Michael Praetorius, Rosenmüller, Schelle, Heinrich Schütz and Schein, whose Cantional (1627), from which 96 pieces were taken, was the mainstay of the collection. Vopelius included three pieces of his own, among them the chorale aria Also hat Gott die Welt geliebt, which Bach used (bwv68). An interesting development of a theme of Vopelius by Rosenmüller is given by Moser.

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Marc’Antonio Ziani (Venice, c.1653 - Viena, 22 de gener de 1715) va ser un compositor italià, actiu parcialment a Àustria, nebot de Pietro Andrea Ziani i un dels músics més importants de la cort de Viena durant els primers anys del segle XVIII.

Marc’Antonio Ziani - Chi piacere altrui desia

The most important influence on Ziani's early life was probably his uncle, with whom he may have studied. Certainly Pietro Andrea's reputation and connections, particularly in Venice and Vienna, must have aided Ziani throughout his life. Marc’Antonio began his career as an opera composer in 1674 by adapting older works for the Venetian stage. In 1677 he acted as an intermediary for his uncle (who was in Naples) during negotiations with S Marco concerning the latter's post as first organist; after Pietro Andrea resigned, Marc’Antonio boldly applied for the position, but was passed over. Pietro Andrea may have arranged for his nephew's first opera, Alessandro Magno in Sidone, first performed in Venice in 1679, to be repeated in Naples later that year. Ziani may have attended his uncle's deathbed in Naples early in 1684. Letters written in 1699 and 1703 suggest that he spent a considerable amount of time in Bologna, and possibly studied there.

On 28 September 1686 Ziani became maestro di cappella di chiesa to Ferdinando Carlo Gonzaga, last Duke of Mantua; his uncle's past service to Empress Eleanora Gonzaga in Vienna may have influenced this appointment. Caffi's assertion (Storia della musica, 1854–5) that the duke paid Ziani to give music lessons to Caldara remains unproven. Although Ziani was in Ferdinando Carlo's service until at least 1691, he remained active in Venice, where the duke often visited. He soon became (with Pollarolo) one of the republic's leading opera composers. He was a member of the Venetian congregation of St Cecilia (1687) and the instrumentalists’ guild Arte de Sonadori (c1694, presumably as an organist); he may also have been involved (as Pietro Andrea had been) with the Ospedale degli Incurabili. His Venetian operas were revived numerous times in other cities; Tullo Ostilio was particularly successful. In 1695 he supervised a production of L'amante eroe (as Alessandro amante eroe) in Turin.

Already at the height of a brilliant career in Venice, on 1 April 1700 Ziani was appointed vice-Hofkapellmeister to Emperor Leopold I in Vienna. In December 1711 he participated in the coronation of Charles VI at Frankfurt, and on 1 January 1712 Charles officially promoted him to Hofkapellmeister (the previous Hofkapellmeister, Antonio Pancotti, died in 1709). In Vienna, Ziani's duties included composing operas and shorter dramatic pieces for birthdays and namedays of imperial family members, as well as for carnival; he probably wrote several of the anonymous dramatic works performed in Vienna during these years. He also composed sepolcri for the annual Good Friday celebrations, as well as masses and motets for special feasts and saints' days. On his death he was succeeded by his vice-Hofkapellmeister, J.J. Fux.

Ziani's excellent reputation continued to be evident after his death, when the emperor granted life pensions not only to his widow but also to his brother Francesco. An elaborate memorial service was held at S Salvatore, Venice, in which Senesino participated. Ziani's works continued to be performed regularly in Vienna until the 1740s, and he was mentioned in Bartolomeo Dotti's Satire (Amsterdam, 1709) and Lotti's plagiarism dispute with Bononcini. He continued to be highly regarded until the late 18th century: Arteaga, for example, included him among those composers who wrote ‘in the very best taste’. A Pietro Ziani (b c1663, possibly Marc’Antonio's brother) was named one of the best violinists in Venice in 1706; he was active both at S Marco and the Mantuan court.

Ziani's first known works, modestly presented as ‘retouchings’ of operas by more famous masters, are instead virtual recompositions that show a secure grasp of Venetian styles. His arias of the early 1680s typically feature a repeating bass pattern, often imitated by the voice; the most successful numbers (like those of his uncle) are poignant, slow arias in 3/2 or a measured 4/4. His recitative is graceful and melodious, its harmonic motion and melodic inflections carefully tailored to reflect the ebb and flow of the drama. A hallmark of Ziani's style throughout his career was an attempt to achieve variety in both form and texture. His works show a reluctance to capitulate entirely to the da capo aria trend, often favouring altered A sections with codas, as well as more complex forms and occasional arioso fragments. By the 1690s he was finding imaginative ways to vary the instrumental texture using just the 4-part strings and continuo (with occasional trumpet) typical in Venice; for example, he sometimes included elaborate obbligato lines for continuo instruments.

In Vienna, Ziani had tremendous resources at his disposal. He was part of a brilliant team that included the Bononcinis, Fux and Ariosti, the court poets Cupeda, Bernardoni and Stampiglia, the designers Burnacini and the Galli-Bibienas, plus an impressive stable of singers and a large and interesting assortment of virtuoso instrumentalists (including theorbist and composer F.B. Conti). Ziani took particular advantage of the latter group: many arias feature difficult obbligato parts for violin, cello, viola da gamba, bassoon, trombone (in sacred works), and lute (L'Ercole vincitor dell'Invidia, 1706); he was one of the first to use the chalumeau (Caio Popilio, 1704). In 1702 the oboe joined the Viennese orchestra; thereafter Ziani's works regularly require oboes, often playing independent parts, and sometimes forming a concertino contrasting with the strings. Schoenbaum saw parallels with Bach in Ziani's treatment of solo instruments, in the contours of his themes and in the nature of his thematic development.

Like his uncle, Ziani exemplified the superb technique favoured at the imperial court. His command of counterpoint is often apparent, as in the double fugues of the introductions to his sepolcri, and the cantus firmus movement ‘La scala’ in the opera Il sacrifizio d'Isacco (1707), in which the strings portray the character's increasing anxiety by weaving elaborate counterpoint around a series of rising hexachords. Wellesz felt that such pieces ‘have scarcely ever been surpassed’. Ziani's operas and oratorios have extensively developed sinfonias and ritornellos; those in sepolcri contain striking chromatic passages that may have influenced Vivaldi. Affective chromaticism is also prominent in his later vocal writing. A vast number of liturgical pieces by Ziani survive, most apparently dating to his years in Vienna; some were still in the repertory of Austrian monasteries as late as 1785. These works use both stile antico (‘con l'organo e senza’) and more modern concerted styles, with a rich range of instruments.


music lost unless source given

Vocal secular:

La schiava fortunata (G.C. Corradi, after G.A. Moniglia), S Moisè, 1 Jan 1674, I-MOe, Vnm, arias MOe; rev. of A. Cesti, Semirami
Leonida in Tegea (N. Minato), S Moisè, 9 Feb 1676, Vnm, arias Vc, Vqs; rev. of A. Draghi's setting
Alessandro Magno in Sidone (La virtù sublimata dal grande) (A. Aureli), SS Giovanni e Paolo, carn. 1679, Nc, Vnm, arias D-HVs, I-MOe, Nc, Rvat, Vqs; aria ed. M. Zanon, 36 arie italiane di 36 diversi autori dei secoli XVII e XVIII (Milan, 1959)
Damira placata (?F. Acciaiuoli, after Aureli), site of S Moisè, carn. 1680, Vnm; perf. with puppets
L'Alcibiade (Aureli), SS Giovanni e Paolo, carn. 1680, MOe (perf. Modena, 1685), Vnm, arias B-Bc, I-Vqs
La Flora (N. Bonis), S Angelo, carn. 1681, Vnm, arias Bca, Rvat, Vqs; completion of op by A. Sartorio
Tullo Ostilio (Alba soggiogata dai Romani) (A. Morselli), S Salvatore, carn. 1685, D-Mbs (perf. Verona, ?1689), F-Pc (perf. Reggio, 1686), arias D-MÜs
L'inganno regnante, o vero L'Atanagilda regina di Gottia (Corradi), SS Giovanni e Paolo, 26 Dec 1687, arias GB-Lbl, Ob, I-Rvat
Il gran Tamerlano (Corradi), SS Giovanni e Paolo, 1689, arias F-Pn, I-MOe
La Falsirena (Marte deluso) (R. Cialli), S Angelo, carn. 1690, arias D-MÜs, GB-Lbl, Och, I-MOe, Rli, Rvat
Creonte (Cialli), S Angelo, carn. 1691, arias F-Pn, GB-Cfm, I-Rvat
L'amante eroe (Alessandro amante eroe) (D. David), S Salvatore, carn. 1691, arias D-MÜs
La Virtù trionfante dell'Amore e dell'Odio (Gl'amori ministri della fortuna) (F. Silvani), S Salvatore, aut. 1691, arias GB-Lam, I-Rvat
La Rosalinda (A. Marchi, after B. Morando), S Angelo, 11 Nov 1692, arias I-Rvat
L'Amore figlio del Merito (M. Noris), S Angelo, carn. 1694, arias, PAc, Rvat
La moglie nemica (Silvani), S Salvatore, 10 Jan 1694, arias, PAc, Rvat
Il Domizio (Corradi), S Angelo, carn. 1696, arias F-Pn, I-Rvat
La finta pazzia d'Ulisse (Noris), S Salvatore, carn. 1696, arias Rvat
La costanza in trionfo (Silvani), S Angelo, 3 Nov 1696, D-AN, arias B-Bc, I-Vc, Vlevi
I rivali generosi (Belisario in Ravenna) (A. Zeno), S Salvatore, carn. 1697, arias A-Wn, F-Pn, GB-Ob
La ninfa bizzarra (dramma pastorale, Aureli), Venice, Dolo, nr Novo Teatro, Oct 1697
Eumene (Zeno), S Angelo, aut. 1697
Odoardo (Zeno), S Angelo, carn. 1698, arias Ob, I-Rvat
L'Egisto re' di Cipro (Corradi), S Cassiano, aut. 1698, arias B-Bc
Gl'amori tra' gl' odii, o sia Il Ramiro in Norvegia (M.A. Remena), S Cassiano, carn. 1699
Il Teodosio (various), S Cassiano, carn. 1699; lib not by V. Grimani
Il duello d'amore e di vendetta (L'odio placato) (Silvani), S Salvatore, 26 Dec 1699, arias GB-Lpro
La pace generosa (Silvani, after L.A. Seneca: Troades), S Salvatore, 10 Feb 1700
Le gare dei beni (applauso poetico per musica, 1), Vienna, Favorita garden, 25 July 1700, A-Wn; also attrib. C.A. Badia
Il Gordiano pio (D. Cupeda), Vienna, Wiener Neustadt, 26 Aug 1700, D-B, I-Vgc
La congiura del Vizio contro la Virtù (scherzo musicale, 1, Cupeda), Vienna, Hof, 15 Nov 1700; not by P.A. Ziani
Temistocle (azzione scenica, 3, Zeno), Vienna, Favorita garden, 27 June 1701
Gli ossequi della notte (serenata, 1, Cupeda), Vienna, Favorita garden, 25 July 1701
La fuga dell'Invidia (poemetto drammatico, 1, P.A. Bernardoni), Vienna, Hof, 15 Nov 1701
Il Romolo (Cupeda), Vienna, Favorita, 20 Aug 1702
L'Esopo (tragicomedia per musica, 3), Vienna, Hof, 13 Feb 1703, A-Wn (Act 3 only)
Caio Popilio (trattenimento musicale, 1, Cupeda), Vienna, Gran Sala avanti il Teatro, 9 Jun 1704, Wn
L'Ercole vincitor dell'Invidia (D. Mazza), Vienna, Hof, 19 March 1706, Wn
La Flora (poemetto drammatico pastorale, 1, Bernardoni), Vienna, 21 April 1706, Wn, D-Dl; with arias by Joseph I
Il Meleagro (Bernardoni), Vienna, Hof, 16 Aug 1706, A-Wn
L'Alboino, Vienna, Hof, carn. 1707, Wn (Act 3 only); lib not by Corradi
Il campidoglio ricuperato (festa per musica, S. Stampiglia), Vienna, Hof, 26 July 1709, Wn
Chilonida (Minato), Vienna, Hof, carn. 1710, Wn; with arias by Joseph I; possibly perf. 21 April 1709
L'Atenaide [Act I] (Zeno), Vienna, Hof, 19 Nov 1714, Wn, D-W; Act 2 by A. Negri, Act 3 by A. Caldara
Amor tra nemici, Vienna, 1714
Andromeda (poemetto drammatico, P. Pariati), Vienna, Hof, 1714, A-Wn

Introduzione per musica al problema della prima accademia … se si possi trovare un'amore senza speranza (cant., Bernardoni), 1706, A-Wn*
Introduzione per musica al problema della seconda accademia … sè più innamori bella donna che pianga, overo Bella donna, che canti (cant., Bernardoni), 1706, Wn*
Introduzione per musica al problema d'un accademia (cant., Bernardoni), 1707
Introduzione per musica per una altra accademia (cant., Bernardoni), 1707
Other secular cants. and arias, Wgm, Wn, D-B, MÜs, GB-Lbl, Lam, I-BGc, MOe

Vocal religiosa:

18 masses, 4, 5, 8vv, some with insts, A-HE, KN, Wgm, Wn*, D-B, OB; 1 ed. K. Rasch and H. Boehm (Augsburg and Vienna, 1932)
3 requiem settings, A-HE, KN, Wn
116 motets, etc., H, HE, KN, Wgm, Wm, Wn, CH-Saf, CZ-Bm, K, D-B, Lem, OB, I-Vgc;
5 motets ed. in DTÖ, ci–cii (1962);
2 pieces ed. K. Shifrin, The Solo Baroque Trombone in Chamber Music, i, ii (Nottingham, 1987)

11 sepolcri:
Il fascietto di Mirra, in petto alla sposa de'sacri cantici (?D. Cupeda), 1701;
Le profezie adempiute e le figure illustrate (?Cupeda), 1702;
La tempesta de'dolori (?Cupeda), 1703;
Il mistico Giobbe (Cupeda), 1704, A-Wgm (excerpts), Wn, D-Rp;
Le due Passioni: una di Christo nel corpo, l'altra della vergine madre nell'anima (P.A. Bernardoni), 1705, I-Vnm (‘Il sepolcro’, not by B. Marcello; ?autograph);
La morte vinta sul Calvario (Bernardoni), 1706, A-Wn, I-Vgc;
Il sacrifizio d'Isacco (Bernardoni), 1707, A-Wn, I-Vgc;
La Passione nell'orto (Bernardoni), 1708, A-Wn, I-Vgc;
Giesù flagellato (Bernardoni), 1709, A-Wn, I-Vgc;
La sapienza umana, illuminata dalla religione nella Passione del figliuolo di Dio (G.B. Ancioni), 1710, A-Wn, I-Vgc;
Il sepolcro nell'orto (S. Stampiglia), 1711, A-Wn, I-Vgc

5 orats:
La Giuditta, 1686, F-Pc;
Davide liberato (L. Verzuso Beretti), 1687;
Il giudizio di Salomone (R. Cialli), 1687/1698, A-Wn (perf. 1701);
Santa Pelagia, 1698;
Santa Eufrosina (P. del Nero), 1713, Wn, I-Vgc

15 masses, 5 requiem settings, 8 vespers settings, other sacred pieces, A-Ee, H, KR, LA, CZ-Bm, Pak, St František, Prague, D-DS, F-Pn


Ziani's Aires or Sonatas in 3 Parts, 2 vn, bc, op.1 (London, 1703), nos.1–12 probably by T.G. Albinoni, nos.13–22 probably by Ziani; see also ‘Doubtful Works’ (6 sonatas)
Sonata, 2 vn, bc, GB-Ob

Attributed to ‘ziani’
Arias and cants. D-DS, Kl, MÜs, F-Pn, GB-Lbl, I-Bc, Nc, Vc, US-IDt:
Sonata, C, org, in: Sonate da organo, ed. G.C. Arresti (Bologna, ?1697//R);
[17] Sonates, org, hpd (Amsterdam, 1705);
Volentarys & fugues (London, 1710/R); D-Dl (lost), MÜp, GB-Lbl (‘Capriccio’), I-Nc
Individual pieces in: Select preludes & voluntarys, vn (London, 1705/R);
Select preludes & volluntarys, fl (London, 1708);
Meslanges de musique (Paris, 1726)
Ov., C, 2 vn, bc, A-WIL

Doubtful works
Pimpinone (intermezzo, P. Pariati); set by Albinoni, 1708, F.B. Conti, 1717
6 sonatas (B , g, e, f, A, F), 2 vn, 2 va, vc, org, GB-DRc, Och; arr. a 3 in 6 sonates (Amsterdam, 1702), Ziani's Aires (London, 1703), attrib. ‘Ziani’ in these sources, probably by Albinoni
6 sonatas, 3 vn, vc, bc, A-Wst, attrib. Marco Ziani
Sonata a 6, D, tpt, str, bc, GB-Och, attrib. ‘Ziani’, probably by Albinoni
9 toccatas, hpd, I-Nc, attrib. ‘D. Nicolò Ziani Napoletano’

Font: En català: Marc’Antonio Ziani (c.1653-1715) En castellano: Marc’Antonio Ziani (c.1653-1715) In english: Marc’Antonio Ziani (c.1653-1715) - Altres: Marc’Antonio Ziani (c.1653-1715)


Giuseppe Zonca (Brescia, 1715 - Monaco di Baviera, 4 de gener de 1772) va ser un cantant i compositor italià, actiu principalment a Alemanya.

... Sense música disponible ...

After philosophical and theological studies he was ordained a priest, but then dedicated himself to music. On 22 April 1752 he was hired as a bass singer in the Munich Hofkapelle. In 1754 his oratorio La morte d’Abel was performed at the court (also performed in Bologna, 1759, and Bonn, 1760, with Beethoven’s father in the role of Adamo); his serenata L’Angelica and opera Il re pastore were presented there in 1758 and 1760 respectively. Lipowsky (1811) praised the unusually deep notes and pleasant upper register of his voice. As a composer he set many texts by Metastasio and followed the methods of Italian opera seria without originality. Some of the works attributed to him may have been composed by his brother (or nephew) Giovanni Battista Zonca.


Vocal secular:

L’Angelica (serenata, 2, Metastasio), Munich, Hof, 28 Aug 1758, D-Mbs
Il re pastore (os, 3, Metastasio), Munich, Hof, 15 June 1760, lost
La partenza (serenata, Metastasio), collab. N. Jommelli, Dlb [? by G.B. Zonca]

Cessa o Tirsi, B, bc, 1783, A-Wgm [? by G.B. Zonca];
4 in D-Dlb; 2 in Mbs; 1 in DK (formerly DO); 1 in SWl;
1, from Ipermestra, in EB; aria from Artaserse, cited in GerberNL;
21 arias (Metastasio), 2 from Antigono, Artaserse, Catone in Utica, Demetrio, Demofoonte, Ezio, Semiramide, Siroe, cited in thematic catalogue of Electress Maria Anna Sophie’s collection, Mbs

Vocal religiosa:

La morte d’Abel (orat, P. Metastasio), Munich, Hof, 10 March 1754, lost
2 motets, cited in GerberNL [? by G.B. Zonca]

Font: En català: No disponible En castellano: No disponible In english: No disponible - Altres: Giuseppe Zonca (1715-1772)

6 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

  2. Señor, Paul Muad Dib , si se pudiera tenesr esto:


    desde ya muchas gracias.

    1. Señor Anónimo,

      Me complace confirmar que si la tengo, próximamente la compartiré.