Fue un compositor e historiador musical austríaco de ascendencia checa nacido en 1817 en la localidad de Mauth (actualmente Mýto, República Checa). Su padre era un hombre culto y su madre era la hermana del musicólogo Raphael Georg Kiesewetter. La educación de Ambros estuvo enfocada hacia el conocimiento de las artes, en especial la música; aunque decidió estudiar Derecho para desempeñar cargos dentro del Ministerio de Justicia en Austria, dejando para su tiempo libre el desarrollo de su talento musical. Desde la década de 1850 en adelante inició una nueva trayectoria laboral como crítico de música y escritor de ensayos. En 1862 comenzó el trabajo de redacción de su más importante escrito, Geschichte der Musik (Historia de la música), una compilación de seis libros publicados entre 1864 y 1882. El trabajo de investigación y redacción fue reanudado por Otto Kade y Wilhelm Langhans debido a la muerte de Ambros el 28 de junio de 1876. Ambros también fue profesor en historiografía musical en Praga en 1869, así como pianista y compositor de piezas musicales, las cuales estaban inspiradas en el estilo romanticista de Mendelssohn.
Die Grenzen der Musik und Poesie: eine Studie zur Aesthetik der Tonkunst (Prague, 1856, 2/1976; Eng. trans., 1893); ed. in IMa, 2nd ser., Instituta, vi (1978) [with Eng. and It. trans.]
Das Conservatorium in Prag: eine Denkschrift bei Gelegenheit der fünfzigjährigen Jubelfeier der Gründung (Prague, 1858)
Der Dom zu Prag (Prague, 1858)
Zur Lehre vom Quinten-verbote: eine Studie (Leipzig, 1858)
Culturhistorische Bilder aus dem Musikleben der Gegenwart (Leipzig, 1860, 2/1865)
ed., with F.X. Wöber: Der Minne Regel von Eberhardus Cersne aus Minden, 1404 (Vienna, 1861)
Geschichte der Musik, i (Leipzig, 1862, rev. by B. von Sokolowsky 3/1887/R); ii (Leipzig, 1864, rev. by H. Riemann 3/1891/R); iii (Leipzig, 1868, rev. by O. Kade 2/1893/R)
Die Burg Carlstein in Böhmen und ihre Restaurierung (Vienna, 1865)
Bunte Blätter: Skizzen und Studien für Freunde der Musik und der bildenden Kunst (Leipzig, 1872, 2/1896); new ser. (Leipzig, 1874, 2/1896)
ed. G. Nottebohm: Geschichte der Musik, iv (Leipzig, 1878, rev. by H. Leichtentritt 3/1909/R)
ed. J. Batka: Aus Italien, Kleinere Schriften aus dem Nachlasse, i (Pressburg and Leipzig, 1880) [essays and letters]
Geschichte der Musik der Neuzeit in Studien und Kritiken aus dem Nachlasse (Pressburg and Leipzig, 1882); also pubd as Zwei musikalische Nachlasshefte (Pressburg and Leipzig, c1882) and as Abriss der Musikgeschichte (Halle, 1891)
ed. O. Kade: Geschichte der Musik, v (Leipzig, 1882, 3/1911)
Alfred Angel (Sussex, 14 de juny de 1816 - Devon, 24 de maig de 1876) va ser un organista i compositor anglès.
Organist, choirmaster and composer baptized in Chichester as son of Joseph and Jane, chorister and later until 1842 assistant organist of Wells Cathedral, apr.1842-1876 organist, sub-chanter and informator puerorum (master of the choristers) of Exeter Cathedral, 1842 vicar and 1864 lay vicar at Exeter Cathedral, 1850 professor of music, among his pupils were Walter Bond Gilbert and Ferris Tozer, 1850 until death residing at Cathedral Yard at The Close in Exeter, he was buried in the Old Cemetery.
Rafael Anglés Herrero (Rafalés, 1730 - Valencia, 9 de febrer de 1816) va ser un organista i compositor aragonès.
Fue organista de la Colegiata de Alcañiz hasta 1762. Ese mismo año obtuvo la plaza de organista de la Catedral de Valencia, puesto que ocupó más de cincuenta años. Como docente, impartió clases en el Seminario de dicha ciudad. Compuso obras vocales y para órgano, algunas de las cuales fueron editadas por Joaquín Nin y por Josep Climent, como la Salmodia para órgano, Brillantes luceros, Aria en Re menor, Adagietto y Fugato, 5 pasos o fugas y 3 sonatas. Dionisio Preciado editó sus 9 sonatas y pastorales. Sus composiciones para órgano pueden interpretarse además en el clave y algunas, también en el fortepiano. Sus obras se conservan en los archivos catedralicios de Orihuela, Valladolid y Valencia, y en la Biblioteca de Catalunya.
Spanish organist and composer. While serving as maestro de capilla at the collegiate church of Alcañiz, near Zaragoza, he competed in 1761 for the position of organist at Valencia Cathedral in succession to Vicente Rodríguez. He was narrowly defeated by Manuel Narro, though his playing was judged superior ‘en el estilo moderno’, but Narro remained only briefly and Anglés received the appointment on 1 February 1762, retaining it until his death. Chapter records show that he also serviced and tuned the cathedral organ, served as professor (catedrático) of plainsong, and was active in adjudicating competitions for other musical posts in the cathedral; the choice of José Pons as maestro de capilla in 1793 seems to have been his. Works credited by earlier authorities to Anglés (supposedly in E-Bbc and ORI) apparently do not exist; the latter contains one eight-part villancico, Brillantes luceros. On the other hand, Valladolid Cathedral possesses a manuscript of his pasos and sonatas for organ or piano (see AnM, iii, 1948). Joaquín Nin published four pieces from a manuscript in the possession of José Iturbi in Classiques espagnols du piano, ii (Paris, 1928). On the evidence of these his music was dominated by Haydn’s style; even the Fugatto is homophonic and pianistic in character, more scherzo than fugue. The intense Aria in D minor, however, with an embellished, spun-out melody over a steadily moving bass, suggests a late manifestation of the Baroque style. José Climent published an edition of two sonatas (Madrid, 1970) and his Salmodia para organo has been edited by Dionisio Preciado (Madrid, 1981).
Prosper Marius Pierre Audran (Aix-en-Provence, 28 de setembre de 1816 - Marseille, 9 de gener de 1887) va ser un tenor i compositor francès.
Est un chansonnier et ténor français, père d'Edmond Audran. Fils d'un entrepreneur, il fait des études à l'école des beaux-arts de Marseille et commence à chanter dans de petites salles où il est repéré pour sa voix1. Il fait d'abord partie du théâtre de la Monnaie à Bruxelles (1838-1839) et débute en 1842 à l'Opéra-Comique où il devient rapidement premier ténor et parolier. Il participe à nombre d'opéras des années 1840 tels que Le roi d'Yvetot d'Adolphe Adam (1842), Le puits d'amour d'Eugène Scribe (1843), Angélique et Médor d'Ambroise Thomas (1843), Haydée ou le secret d'Daniel-François-Esprit Auber (1847) ou La fée aux roses de Jacques-Fromental Halévy (1849). Il devient par la suite directeur du Conservatoire de Marseille (1863).
La Colombe du soldat (romance) (1851)
Vous pleurez d'être heureux (romance) (1853)
Le guide des montagnes (romance dramatique) (1854)
Veillez sur mon enfant (prière), (1855)
Prière à la Vierge (1867)
La mère chrétienne (berceuse) (1870)
Alexandre Batta (Maastricht, 9 de juliol de 1816 - Versailles, 8 d’octubre de 1902) va ser un violoncel·lista i compositor holandès.
Alexandre Batta received his first music lessons from his father, a choral conductor, as did his brothers Laurent and Joseph. When Alexandre was five years old the family moved to Brussels, where his father had been offered employment. There he witnessed a performance by the French cellist Nicolas-Joseph Platel and from that moment onwards his sole desire was to become a cellist. Eventually his father consented and Alexandre became a student of Platel himself, taking lessons partly during the same period as Adrien François Servais. In 1834 he obtained a ‘First Prize’ and a year later he settled in Paris. He rapidly established an extensive network there, including composers such as Berlioz, Meyerbeer, Rossini, Gounod, Donizetti, Liszt and Bellini, writers such as Balzac, Eugène Sue and the Dumases, both father and son, as well as the artists Meissonnier, Delacroix, Corot, Ten Kate and Rochussen. Chamber music concerts given in collaboration with Liszt were to resound in Paris’s collective musical memory for decades and Batta was a welcome guest in the leading Parisian salons, including those of Mme. de Girardin and the prominent lawyer and parliamentarian Antoine Pierre Berryer. Whereas his friend Servais consciously and significantly contributed to the development of technique and virtuosity in his compositions, it would seem that over time Batta became more and more captivated by the cello’s vocal qualities, in this respect inspired by the tenor Giovanni Battista Rubini, whom he heard performing in the Théâtre-Italien.
Both Berlioz (‘son violoncelle exhalait de véritables sons de voix humaine, et l’émotion était générale…’) and Balzac (‘quand Batta peint l’amour et en rappelle les rêveries les plus éthérées aux femmes attendries…’) extolled the quality of his tone and his cantilenas. A journalist who visited Batta shortly before his death wrote that his home in Versailles resembled a museum, full of works that he had been given by his artist friends. These included the celebrated portrait by Meissonnier, which he bequeathed to the Palace of Versailles museum. Although Batta seldom visited Maastricht any more, he nevertheless had an enduring, special bond with his birthplace. As early as 1892, thus during his lifetime, a broad avenue in the new Maastricht station district was named after him: the Alexander Battalaan (the French version of Batta’s first name – Alexandre – is generally used outside of the Netherlands). For his part, Batta bequeathed Maastricht a number of portraits, his music library and a sum of money to be used in support of talented, impoverished musicians. Batta’s works for cello and piano, including numerous operatic paraphrases and transcriptions, are a reflection of Parisian salon culture from 1835 to 1900.
Duo sur Robert le Diable by J.Benedict and A. Batta (1840)
Fantaisie sur Lucie de Lamermoor de G. Donizetti (1841)
Una furtiva lagrima. Romance de l’Élisire d’Amore de Donizetti (1843)
Résignation. Méditation pour Violon, Violoncelle, Piano ou Orgue-Mélodium opus 52 (1858)
Souvenirs de Gluck. Morceau de Concert (1861)
Élégie composée par E.W. Ernst Œuvre 10 transcribed by Alex. Batta [c. 1840]
Souvenir. Chant [c. 1843/1844]
Adieu donc belle France. Romance de Marie Stuart [c. 1845/1846]
Souvenir de Dom Sébastien. Elégie opus 48 (1847)
Fantaisie sur des Motifs de l’Opéra I Puritani (1850)
6 Lieder de Fr. Schubert transcribed by A. Batta [1854/1855]
Songe d’enfant. Rêverie composed for piano by Madame Clémentine Batta. Transcribed and arranged by Alexandre Batta (1858)
Il Trovatore. Opéra de Verdi. Fantaisie [c. 1862]
La Reine de Saba. Rêverie Arabe [c. 1866]
Oh! Dites-lui. Romance de Madame la princesse Kotschoubey. Transcribed by Alexandre Batta
Souvenirs du Béarn. Chants des montagnes [?]
Passiflore. Souvenir d’autrefois [?]
Réminiscences de La Juive [?]
François-Emmanuel-Victor Bazin (Marseilles, 4 de setembre de 1816 - Paris, 2 de juliol de 1878) va ser un professor, conductor i compositor francès.
He became a student at the Paris Conservatoire in 1834, and studied composition with Henri-Montan Berton and Halévy. He won premiers prix for harmony and accompaniment (1836), counterpoint and fugue (1836) and for organ playing (1839). The jury of the Prix de Rome awarded him a second prize on 30 April 1839, and the first prize on 23 May 1840. His cantata written for the competition, Loÿse de Montfort, was performed at the Opéra on 7 October 1840. On completing his studies he divided his time mainly between teaching and composition, and worked occasionally as a conductor. He held an unsalaried post as teacher of harmony and accompaniment at the Conservatoire from 1838 to 1 April 1841 and was appointed accompanist to the opera class on 1 December 1839. He became (unsalaried) assistant professor of harmony and accompaniment on 1 October 1843 and professor of harmony and accompaniment on 1 January 1849. Finally, on 1 October 1871, he succeeded Ambroise Thomas as professor of composition. Some of Bazin’s choral works may have been performed by the Accademia Filarmonica Romana while he was at the Villa Medici. When he returned to Paris he soon became highly regarded as a teacher and as a composer. In 1846 his one-act Le trompette de Monsieur le Prince proved to be the first of a series of successful stage works up to 1870, all performed by the Opéra-Comique. The most popular, judging by the many transcriptions, must have been the three-act Le voyage en Chine, to a libretto by Eugène Labiche (1865). Vocal music was another of Bazin’s main interests.
He composed for and conducted choirs in Paris. He was an enthusiastic supporter of the male-voice choir movement there, and when the Orphéon was divided into two sections in 1860 he was appointed conductor for the Left Bank of the Seine. His theoretical works, which include Cours d’harmonie théorique et pratique (Paris, 4/1857) and Traité de contrepoint (Paris, n.d.), are strongly rooted in the traditions of the Conservatoire; after 1844 Bazin was one of their most intransigent defenders. With Massé and Reber, he represented conservatism against the more modern and liberal tendencies of César Franck. No doubt this aspect of Bazin’s character was more marked after 1871, with the appointment of Ambroise Thomas (well known for his conservative ideas) as director of the Conservatoire. Bazin’s fortunes as an opera composer, however, declined beside the increasing success of Massenet, whom he had refused to accept as a student in his composition class at the Conservatoire. Ironically, Massenet succeeded him at the Conservatoire and the Institut de France when he retired. Bazin received several honours besides his official appointments. Although an attempt to succeed Adam as a member of the Institut failed on 21 June 1856, he was eventually elected on 5 April 1873 (in succession to Carafa). He became vice-president of the composition section of the Académie des Beaux-Arts in 1877 and president in 1878. He was made an Officier de L’Instruction Publique in 1875 and an Officier of the Légion d’Honneur in 1876.
all opéras comiques, first performed in Paris, Salle Favart
Le trompette de Monsieur le Prince (1, Mélesville [A.-H.-J. Duveyrier]), 15 May 1846, excerpts, vs (1846), fs (1851)
Le malheur d’être jolie (I, C. Desnoyers), 18 May 1847, excerpts, vs (1847)
La nuit de la Saint-Sylvestre (3, Mélesville and M. Masson, after J.H. Zschokke), 7 July 1849, vs (1849) [pubd as La Saint-Sylvestre]
Madelon (2, T. Sauvage), 26 March 1852, excerpts, vs (1852), fs (c1854)
Maître Pathelin (1, A. de Leuven and J.A.F. Langlé), 12 Dec 1856, vs (1857), fs (n.d.)
Les désespérés (1, de Leuven and J. Moinaux), 26 Jan 1858, vs (1858)
Marianne (1, A. Challamel) (1861–2), unperf.
Le voyage en Chine (3, E.M. Labiche and A. Delacour), 9 Dec 1865 (1866)
L’ours et le pacha (1, Scribe and Saintine [J.X. Boniface]), 21 Feb 1870, vs (1870)
Unperf.: La belle au bois dormant; Mascarille
Loÿse de Montfort (cant., 3, E. Dechamps and E. Pacini), Paris, Opéra, 7 Oct 1840 (1840)
Missa solemnis, Rome, 1842 (1865)
Ste Geneviève de Paris (hymn, G. Chouquet), male chorus, 4vv (1862)
Other sacred and secular works
Giovanni Luigi Bazzoni (Milano, 1816 - Paris, setembre de 1871) va ser un compositor italià.
Fece rappresentare due opere nella città natale, la seconda delle quali, Salvator Rosa, con esito "assolutamente negativo". Si trasferì quindi a Parigi, dove insegnò canto e divenne direttore del canto al Théatre-Italien. In quel periodo compose alcune opere per canto e per pianoforte. Dopo un'operetta priva di qualità musicali tornò in Italia, dove la sua ultima opera, Il rinnegato fiorentino, cadde a Torino con una sola rappresentazione. Bazzoni tornò allora a Parigi dove morì in miseria.
I tre mariti, farsa per musica in un atto, Milano, Teatro della Canobbiana, 24 giugno 1836
Salvator Rosa, melodramma comico in un atto, Milano, Teatro della Canobbiana, 27 giugno 1837
Le bandeau de l'amour, operetta, libretto di Hippolyte-Julien-Joseph Lucas, Théâtre des Folies-Nouvelles, 1855
Le quart d'heure de Rabelais, operetta in un atto, Parigi, Folies-Nouvelles, circa 1858
Il rinnegato fiorentino, melodramma lirico in quattro atti, Torino, Teatro Regio, 13 febbraio 1864 (tratto da L'assedio di Firenze di Francesco Domenico Guerrazzi)
Seule au monde
La fille de l'hôtesse
Le sommeil de l'enfant
Voici la neige
Rimprovero, romanza senza parole per pianoforte
Farfalla, valse poetique per pianoforte
Lagrima d'addio, rêverie per pianoforte
Duetti italiani per canto
Le zingare, per soprano e contralto, testi di Carlo Pepoli
La sera, per soprano e tenore
Il brindisi, per tenore e baritono, testo di Carlo Pepoli
La costanza, per mezzosoprano e tenore
La pietà, serenata spagnola, per soprano e contralto
La fuga della schiava, per soprano e baritono
Tanburi Büyük Osman Bey (Istanbul, 1816 - Istanbul, 1885) va ser un compositor otomà.
He is considered one of the most outstanding peşrev compositors in Ottoman classical music. Tanburi Büyük Osman Bey was born in 1816 in the Tophane district of Istanbul. Most of the information we have on him originates from an oral tradition amongst his pupils and the pupils of those who knew him. His father, Zeki Mehmed Ağa as well as his grandfather Tanburi Numan Ağa were musicians of renown. At the age of eight, he was accepted to the Imperial School of Enderun, where he began his education among the foregoing masters of Turkish classical music, from whom he required a firm theoretical basis. His acquaintance with the tanbur also dates back to those years. As his father Zeki Mehmed Ağa is said to have refused to pass on to his son his knowledge of the tambur, most of the work must have come to be incumbent on Osman Bey himself. He is also said to have participated in fasıls with prominent vocal musicians of his time such as Rifat Bey and Haşim Bey, improving mostly his vocal technique. With the death of his father, he gave up singing and concentrated solely on his instrument and took part in "incesaz fasılları" performed at the court of Sultan Abdülaziz Han.
He is said to have made most of his compositions at this period. As he was enthusiastic about Mevlana Djelaleddin Rumi, he frequented many mevlevihanes, especially the Kulekapısı Mevlevihanesi on Fridays. He is also said to have had an obsessive temperament, known for attempting to beat a kanuni who played a false note while playing the transition to the final part of his uşşak peşrevi. In 1885, he succumbed to a pulmonary disorder from which he had been suffering for a long time, and is now buried in the cemetery of the Yahya Efendi Dergâhı in Istanbul. He had three sons and a daughter. As a composer, he excelled mostly in peşrevs which make up an important part of the current repertoire. His style displays a certain minimalism, avoiding rapid changes from one uslub to the other, thus lightening the peşrev form and conferring it a balanced structure. Most of his peşrevs use devr-i kebir as their rhythmical basis and are easily distinguishable from the earlier works of his precedents. The only former peşrev composer he is said to have cherished is Gazi Giray Han, of whose "Hüzzam Peşrevi" he had much appreciation (he designated the work as "sehl-i mümtenî", meaning "a simple work done with great skill", a "piece of jewel"). After having refused for a long time to compose a peşrev in this maqam (hüzzam) for the musical rites of the Mevlevi order, he finally composed the famous hüzzam peşrevi on the instigation of the sheikh of the Galata Mevlevi Monastery Atâullah Efendi. This piece is still widely heard during Mevlevi rites.
Bilmem nedir ey gülizar
Aşkın ile ey nevcivan
Gönül meyleyledi bir mehcemale
Getir saki badeyi mayei candır
Gül yüzünü seyredip can ile sevdim seni
Derunumda var türlü hicran
Firkatin kâr etti cana nevcivan
Gördüğüm anda seni ey nevcivan
Vadinde ey şuhı melek
Bin can ile sevdim seni
Goncai nevhıyzveş açılmak istersek eğer
Dil sevdi sen şuhşeni
Ey dilberi işvenüma
Ferahfeza Saz Semaisi
Hicazkâr Saz Semaisi
Hisarbuselik Saz Semaisi
Hüzzam Saz Semaisi
Maye Saz Semaisi
Nişaburek Peşrev Nişaburek
Nühüft Saz Semaisi
Rast Saz Semaisi Rast
Revnaknüma Saz Semaisi
Saba Saz Semaisi
Suzidil Saz Semaisi
Tarzınevin Saz Semaisi
Carl Binder (Wien, 29 de novembre de 1816 - Wien, 5 de novembre de 1860) va ser un compositor austríac.
He spent almost his entire career as a Kapellmeister at Viennese suburban theatres, writing a large number of scores for Possen (farces) and Singspiele, most of which did no more than satisfy the expectations of the audiences of his day. He did, however, achieve a few major successes, most notably with the scores to seven of Nestroy’s plays written between 1851 and 1859, and in his instrumentation (from pirated vocal scores) of Offenbach’s operettas which reached Vienna in the late 1850s. From 1840 to 1851 he wrote over 60 scores for the Theater in der Josefstadt, the first being to F. Blum’s Die Tochter des Räubers (7 July 1840) and the most successful probably being that to J. Nikola’s Der letzte Zwanziger (12 September 1850), which was performed first at the Hernals Arena and altogether 111 times. Of approximately 80 works written by Binder between 1849 and 1860, those most frequently performed at the Carltheater (formerly the Theater in der Leopoldstadt) included the scores to Nestroy’s Kampl (1852) and Umsonst (1857), Kaiser’s Verrechnet (1851) and the ‘Charakterbild’ Die Frau Wirtin (1856), and Kalisch’s Ein gebildeter Hausknecht (1858). The only score truly to outlive its composer was for Nestroy’s parody Tannhäuser (1857), which enjoyed 75 performances in the Carltheater between 1857 and 1860 and has been revived successfully (and recorded) in modern times. The recent discovery of a letter (now in A-Wst) from Binder to his colleague A. E. Titl has resolved some longstanding uncertainties about the middle years of Binder’s career. Sent from Pressburg and dated 15 December 1847, this letter lists nine operas Binder had conducted at the theatre there in two months since his arrival, and shows that he considered he had been unfairly dismissed from his post at the Theater an der Wien by its director, Franz Pokorny. It is unclear when he returned to Vienna, but he mentions plans to perform Titl’s opera Das Wolkenkind in Pressburg for the latter’s benefit evening, 15 January 1848. Another recent discovery indicates that Binder was elected an honorary member of the Dom-Musik-Verein in Salzburg on 10 April 1854. The music of Binder's vocal numbers for Nestroy's plays is included in Johann Nestroy: Historisch-kritische Ausgabe (ed. J. Hein and others, Vienna, 1977–); the full vocal score of the Tannhäuser parody is in Stücke, xxxvi (ed. P. Branscombe). Binder’s son Karl, a promising musician, died in Vienna in 1870, at the age of 27.
William Batchelder Bradbury (York, 6 d’octubre de 1816 - Montclair, 7 de gener de 1868) va ser un compositor, professor i editor nord-americà.
He was born into a musical family with early opportunities to sing and to play various musical instruments. After his family moved to Boston in 1830 Bradbury studied music with Sumner Hill, attended Lowell Mason's Boston Academy of Music and sang in Mason's Boudoin Street Church Choir. During the 1830s he also gained experience as an organist and teacher, including 18 months as a teacher at singing schools in Machias, Maine. In 1840 Bradbury moved to New York, becoming music director of the First Baptist Church, Brooklyn. During 1841 he became music director of the Baptist Tabernacle of New York, began singing classes for children similar to those of Mason in Boston and published his first collection, The Young Choir (compiled with Thomas Hastings, with whom he also collaborated in four later collections). Annual festivals directed by Bradbury with as many as 1000 singing children led to the introduction of music in New York's public schools. Bradbury spent two years (1847–9) in Europe, mostly in Leipzig, studying the piano with Wenzel, singing with Boehme, harmony with Hauptmann and composition with Moscheles. He wrote letters from Europe to the New York Observer and the New York Evangelist. Following his return to the USA Bradbury continued teaching music to children, composing and compiling numerous collections of music. His tune book The Jubilee (1858) reportedly sold over 200,000 copies. For Sunday schools Bradbury pioneered small collections with cheerful titles, such as The Golden Chain (1861) and Fresh Laurels (1868), whose sales were reported at 2,000,000 and 1,200,000 copies respectively. Bradbury's most popular Sunday school tune is his setting of Jesus loves me. He also composed music for such hymns as Just as I am without one plea, Sweet hour of prayer and He leadeth me, all of which remain in the repertory of most American evangelical churches. He composed several cantatas, the most popular which was Esther (1856). In 1854 Bradbury, his brother Edward G. Bradbury and a German piano maker formed the firm which became the Bradbury Piano Company. Bradbury's pianos received the endorsement of Theodore Thomas, William Mason, Gottschalk and others. Following Bradbury's death the firm was controlled by F.G. Smith and was later absorbed into the Knabe Piano Company.
59 publications include at least 2 cants., 812 hymn tunes, 28 anthems, 10 motets, 9 glees, 78 secular songs, 5 qts, 10 patriotic choruses and songs, 13 sacred sentences, introits and responses
Albinia, comtessa de Buckinghamshire (Westminster, 1757 - Nocton, 1816) va ser una comtessa i compositora aficionada.
She was a fun-loving and wealthy heiress. The daughter of Lord Vere Bertie, she married George Hobart at the age of nineteen, eventually inheriting the title of Countess of Buckingham in 1793. In the meantime, while her husband chased failed careers in diplomacy, politics, opera management and the army, as well as various mistresses, Albinia had babies – five sons and four daughters – and chased celebrity. At her rococo house in Richmond (based on the king of Prussia's summer palace), she hosted legendary parties for crowds of fashionable London society. Her guests were entertained by theatrical and musical performances starring Albinia and her daughters in costume. Her fame grew as she showed off expensive clothes at public assemblies, private parties, and in flattering portraits. Even her vices were fashionable. As a mania for high-stakes gambling spread across England in the 1780s and 1790s, Albinia became notorious for betting huge sums on card games – a hobby she had in common with other rich notables such as Charles James Fox and Georgiana Cavendish. Since she was excluded from the all-male clubs where the really big-money games usually took place, she began running her own illegal high-stakes card table in her home. Despite being fined, threatened with the pillory, and attacked by a popular press scandalised by what they saw as her brazen law-breaking, lack of propriety, and greed, Albinia seems to have been entirely unrepentant. Nevertheless, the only things she ever managed to gain from these activities were enormous debts.
Although not terribly interested in politics for its own sake, Albinia had friends and relations in high places, including her in-law Lord North, the former prime minister. When in 1784 her relative Sir Cecil Wray stood for election in Westminster (one of the few in the country which actually required candidates to win popular votes as well as bribe and bully the electors), she publicly campaigned for him, against the majority of her friends who were vocal supporters of the opposition candidate, Fox. The newspapers loved the scandalous idea of aristocratic ladies taking part in the grubby chaos of a parliamentary election, and especially made the most of Albinia's supposed rivalry with the younger Cavendish, Fox's star cheerleader. For puritanical commentators like James Gillray, Albinia was a symbol of everything wrong with modern Britain – self-indulgent, extravagant and badly behaved. Most horrifying of all, she was a middle-aged woman (she had reached the advanced age of 47 by the time of the Westminster election) who refused to surrender the limelight to her daughters. As she got older and fatter, and continued to wear the latest and most eye-catching outfits, Gillray seems to have found her physical appearance increasingly caricatureable. In pictures like 'A Sphere, Projecting Against a Plane', he simply makes fun of her distinctive round body and its contrast to the ultra-thin "Plane" of William Pitt. Indeed, Gillray portrayed her so often and so nastily that today she is remembered almost entirely as a victim – though perhaps a gloriously unabashed one – of his satires.
Antoine Clesse (Mons, 30 de maig de 1816 - 9 de març de 1889) va ser un cançoner i compositor belga.
Chansonnier, compositeur, armurier, il se servit de son art pour développer les idées à connotation sociale, la défense de l’ouvrier, de l’artisan. il est mentionné en 1887 dans La Belgique Maçonnique (ouvrage qui n'est pas toujours considéré comme fiable) comme Antoine Clesse - chansonnier; mais aussi dans le Dictionnaire maçonnique et liste des maçons célèbres de Maurice Cock. Paul Delsemme lui consacre une page dans son ouvrage Les écrivains francs-maçons de Belgique. On sait qu'il fut membre de la Loge montoise de la Parfaite Union, à laquelle, avec le compositeur Hippolyte Héro, il dédia en 1851 l'hymne La Lumière ! dont il avait fait le texte. Le 24 juin 1854, le Grand Orient de Belgique célébra une grande fête solsticiale nationale pour saluer le retour sous les drapeaux de l'Art royal belge des Loges de la Parfaite Intelligence et l'Etoile Réunies et des Philadelphes. A la p. 23 du Tracé de cette fête, on peut lire que, pendant l'intervalle des services du Banquet, le Frère Antoine Clesse gratifia l'Assemblée d'une de ses belles compositions lyriques. Celle-ci, qui est intitulée Les petits airs et les petites chansons, y est même reproduite, et cela permet de voir qu'il s'agit d'une chanson qui ne présente aucun caractère maçonnique.
Henri-Louis-Stanislas Mortier de Fontaine (Wiśniowiec, 13 de maig de 1816 – London, 10 de maig de 1883) va ser un pianista i compositor rus.
Russian pianist of great technical ability He made his professional debut at Danzig in 1832 and the following year appeared in Paris. He went to Italy in 1837, returned to Paris in 1842 and in 1850 went back to Russia, settling in St. Petersburg, where he taught from 1853 to 1860. For the next eight years he lived in Munich, then visited Paris and London, where he spent the latter part of his life. He is said to have been the first musician who played Beethoven's Sonata, Opus 106, in public.
Kam als Sohn eines Badearztes in Baden bei Wien zur Welt und war ursprünglich für den Staatsdienst bestimmt. Als der Vater an der Cholera starb widmete er sich voll der Musik und erhielt seine pianistische Ausbildung bei Carl Czerny und Joseph Fischhof. Bald trat er in den Salons der Wiener Gesellschaft mit großem Erfolg auf. Ab 1835 führten in Konzertreisen nach: Bukarest, Odessa, St. Petersburg, Moskau und Konstantinopel (1843). Es folgten sehr erfolgreiche Tourneen durch Österreich, Deutschland, Belgien, England, USA und Frankreich. Leopold von Meyer, als Pianist ein brillanter Techniker, war als Komponist ein typischer Vertreter der Salonmusik (Opernparaphrasen, Variationen, Charakterstücke, Modetänze und Klavierstücke mit exotischem Charakter). Gegen Ende seines Lebens geriet er in Vergessenheit.
Soffren Degen (Copenhagen, 12 d’octubre de 1816 - Copenhagen, 7 de juliol de 1885) va ser un guitarrista i compositor danès.
His father committed suicide before the young Søffren had reached the age of two. Degen’s introduction to music came through his stepfather Andreas Hallager who was a professional composer, conductor and an oboe player. Andreas Hallager had a strong affection for the guitar. Degen gave his first public performance as a 13-year-old student at the conservatory, when he recited a poem by the poet Christian Wilster. The young Søffren Degen considered the guitar as his primary study, but the conservatory did not accept the guitar as a serious instrument for the students, so Degen was trained as a cellist and a composer. The great Danish composer J. P. E. Hartmann was responsible for most of Degen’s training. Degen was heavily inspired in his compositions by Hartmann. Degen fought all his life for a serious attitude towards the guitar, so that the guitar could be accepted in the higher circles of music society and enter the concert stage as a serious concert instrument. He toured around Europe as a very successful guitar virtuoso, and he supplemented his income with engagements as a cellist and as an actor. Degen is the only Danish guitarist from the 19th century who we know for sure was seriously involved with the main international guitar community. He had very close ties to Napoléon Coste, and two letters from Coste to Degen have survived. Degen strongly believed in the future of the heptacord guitar (seven-string guitar). He was convinced that it was superior to the usual six-string guitar. Coste might have been his main source of inspiration in this belief. All of Degen’s compositions and transcriptions are written for the heptacord. Degen’s involvement with the international guitar environment is obvious, and the traces of Coste, Mertz and Giuliani in his compositions and transcriptions leave us with the impression of a great 19th century guitar virtuoso.
His exceptional instrumental sense is seen, for example, in the strange and interesting composition “ Sorgmarsch” (Funeral March). The surprising and original way of imitating church bells in this composition indicates how far he had reached as a guitar player and composer. Degen’s greatest contribution to the guitar repertoire is to be found in his unusual compositions and transcriptions for cello and guitar. These are all major concert works. Degen was trained as a cellist and he mastered the cello, as did many other great 19th century guitarists. His transcriptions are based on well-known music by Mozart, Haydn, Schubert and cello virtuosos such as Dotzauer, Flatov and Bochmühl. Degen was not like his colleague Henrik Rung (1807-1871), a highly important composer with strong influence on the Danish tradition. Degen’s importance is mainly as an instrumentalist and an international figure in the guitar world. Degen’s compositions are well crafted and written in highly romantic style, often program music, and nearly always in a (for the guitar) unusually large-scale form. That large-scale form was no doubt inspired by Coste. Many of Rung’s compositions have a touch of the Danish national Romantic style. Degen died in 1885 in Copenhagen. A few traces of his work still survive in the guitar world today. It was a student of his, Thorvald Rischel, who gathered one of the world’s most important collections of guitar music, today in the Royal Library in Copenhagen, thanks to which many 19th century guitar works have survived until today.
Franz Benedikt Dussek (Čáslav, 22 de març de 1766 - Zatičina, 1816) va ser un compositor bohemi.
Composer, son of Jan Dussek. He was taught music by his father, for whom, at quite an early age, he was proficient enough to deputize at the organ. He played the violin, cello and piano. Later he went to Italy, where he wrote a number of serious and comic operas (including La caffetiera di spirito, La feudataria, L’impostore and Roma salvata), an oratorio (Gerusalemme distrutta), piano and violin concertos, and several chamber works, of which a Serenade in E op.34, a Trio ou Notturno for three flutes, and a Sonata for violin and piano op.2 were published; the Serenade, for two oboes or clarinets, two horns and strings, was formerly attributed to Jan Ladislav Dussek (d11). According to Bergamo (1992) Dussek became a Kapellmeister in Ljubljana in 1790, after his time in Italy, and composed a number of symphonies and serenades, which survive in Ljubljana.
Sir George Elvey (Canterbury, 27 de març de 1816 - Windlesham, 9 de desembre de 1893) va ser un organista i compositor anglès.
He began his musical career as a chorister at Canterbury Cathedral, where his older brother Stephen was Master of the Boys. When Stephen was made Organist of New College, Oxford, George went to live and study with him; he progressed so rapidly that by the age of seventeen he was an expert organist. He was appointed Organist and Master of the Choristers at St George’s Chapel in 1835 aged only nineteen years, beating more experienced candidates such as Samuel Wesley to the post. On taking up his duties directing the choir, Elvey found it in “in a very disordered state” but within a few years he had restored order and built up its prestige to make it one of the finest in the country. As well as performing in St George’s Chapel, Elvey travelled with the choir to perform at historic national events, including the opening ceremony of the Great Exhibition and the funeral service of the Duke of Wellington. As well as taking charge of the choir and playing the organ in the Chapel, Elvey gained a BMus and DMus from New College, Oxford, during his early years at St George’s. He was renowned for his dramatic performances of the works of Handel and was also a prolific composer - many of his pieces were composed for specific ceremonies and performed only once. The original music manuscripts for many of Elvey’s works are now preserved in the St George’s Chapel Archives. They include his 1834 Gresham Gold Medal-winning anthem “Bow down thine ear, O Lord”, his doctoral exercise “The ways of Zion do Mourn”, and “The souls of the righteous” - a funeral anthem written to commemorate the death of Prince Albert. During his time at St George’s Elvey increased the prominence of the role of Organist. He was appointed as Private Organist to Queen Adelaide (wife of William IV) and later to Queen Victoria. Additionally, through Elvey’s influence and intervention, since 1849 the St George’s Chapel Organist has had the sole right to conduct musical arrangements at State ceremonials held in St George’s Chapel. George Job Elvey was knighted on 24th March 1871 to recognise his work as an organist and composer; most specifically for the “Festival March” he wrote to be performed at the wedding of Princess Louise, the sixth child of Queen Victoria. In 1882 Elvey resigned his post as Organist to St George’s and lived in retirement until his death; he was buried in St George’s Chapel graveyard on 14th December 1893.
David Hermann Engel (Neuruppin, 1816 - Merseburg, 1877) va ser un organista i compositor alemany.
Després d'haver estudiat a Dessau i Breslau completà la seva educació musical a Berlín, i es dedicà a l'ensenyança del piano, fins al 1848 en què fou nomenat organista de l'església principal de Merseburg i professor del Gimnàs. Per les seves obres de cant per a l'ús general del poble va merèixer una medalla d'or que l'atorgà el rei de Prússia. Va compondre estudis per a orgue, lieders, salms, un oratori, cors per a veus soles.
Carl Ludwig Fischer (Kaiserslautern, 9 de febrer de 1816 - Hannover, 15 d’agost de 1877) va ser un compositor alemany.
Kapellmeister und als solcher Hofkapellmeister des Königs Georg V. von Hannover. Ab 1847 wirkte Fischer als Theaterkapellmeister in Trier, Köln, Aachen, Nürnberg, Würzburg und Mainz. 1852 wurde Fischer 2. Hofkapellmeister an der Seite von Heinrich Marschner. Hauptsächlicher Arbeitsort war nun das von Georg Ludwig Friedrich Laves errichtete und im selben Jahr eröffnete Königliche Opernhaus. Einer der ersten Schüler Fischers war der spätere Hofopernsänger Georg Nollet. 1853 trat er dem Hannoverschen Künstlerverein bei. 1855 dirigierte er erstmals mit dem Tannhäuser eine Oper von Richard Wagner in Hannover. 1860 wurde er Hofkapellmeister. Fischer engagierte sich stark für die Sängerbewegung in Deutschland: 1845 war er beim Ersten Deutschen Sängerfest in Würzburg Festkomponist und -dirigent, 1864 war er in Köln beim Sängerfest des Rheinischen Sängerbundes Dirigent und in Kaiserslautern Leiter des dritten Fests des pfälzischen Sängerbundes. Von 1864 bis 1867 war er Mitglied des ersten Ausschusses des Bundes der Vereinigten Norddeutschen Liedertafeln. Karl Ludwig Fischer wurde 1877 auf dem Stadtfriedhof Engesohde beigesetzt, wo sich bis heute sein Grabmal mit Medaillon in der Abteilung 25N, Nummer 8 findet. 1882 wurde ihm zu Ehren die Fischer-Eiche im hannoverschen Stadtwald Eilenriede gepflanzt.
Carl Friberth (Wullersdorf, 7 de juny de 1736 - Wien, 6 d’agost de 1816) va ser un tenor, llibretista i compositor.
Brother of Joseph Frieberth, with whom he is often confused. He was a musician in the Esterházy retinue from 1 January 1759, numbering among the highest-paid singers; also in 1759, Prince Paul Esterházy sent him to Italy to study singing. Haydn wrote a number of roles and arias for him and for his wife of 1769, the former Maria Magdalena Spangler, and seems to have aided their careers at Eisenstadt out of friendship. The couple took the roles of Tobias and Sarah in the première of Il ritorno di Tobia (Vienna, 1775), and Friberth wrote the libretto (in Italian) to Haydn’s opera L’incontro improvviso of the same year (based on L.H. Dancourt's La rencontre imprévue, set by Gluck); he may also have adapted Lo speziale, Le pescatrici and L’infedeltà delusa. After leaving Esterházy’s service in 1776, Friberth became Kapellmeister at Vienna’s two Jesuit churches (the Kirche Am Hof and the Universitätskirche) and at the Minoritenkirche. He retained these posts until his death and devoted himself primarily to the composition of church music, including nine masses. He also sang in Katharina Schindler’s troupe (1776), published 24 lieder in Kurzböck’s Sammlung deutscher Lieder für das Klavier (iii, 1780), and from 1771 was a member of the Vienna Tonkünstler-Societät, which he later served in various important administrative capacities. An Italian journey of 1796, underwritten by Prince Esterházy, is said to have brought him the pope’s Order of the Golden Spur. Some Italian and Latin vocal pieces by him are extant and there are editions of nine of his lieder.
Meingosus Gaelle (Buch, 16 de juny de 1752 - Maria Plain, 4 de febrer de 1816) va ser un teòleg, físic i compositor alemany.
He attended the grammar school at Tettnang and the Hofen priory school attached to the Benedictine abbey of Weingarten (now Schloss Friedrichshafen, Lake Constance). He entered the monastery of Weingarten in 1769 and took his vows in 1771. From autumn 1771 he studied at the Benedictine University of Salzburg, taking doctorates in philosophy (1773) and theology (1777) and becoming friendly with Michael Haydn. He returned to Weingarten and was ordained (20 September 1777); at the monastery he taught practical philosophy and mathematics, was in charge of the novices and became deputy librarian, choral director and even chief cook. After the dissolution of the monastery (1802) he remained at Weingarten for two years, then became professor of dogmatics and ecclesiastical history at the University of Salzburg. Numerous copies of works by Haydn, Mozart and Beethoven in the St Peter chapter library indicate that Gaelle performed them for his Salzburg brothers. After the dissolution of the university he was appointed Father Superior of Maria Plain (1811), where he devoted himself particularly to experiments on the theory of electricity and published his Beyträge zur Erweiterung und Vervollkommnung der Elektricitätslehre in theoretischer und practiscsher Hinsicht (Salzburg, 1813/R). Gaelle’s compositions were intended for use in church services and to promote conviviality within the monastery. Of special importance is the setting of Sebastian Sailer’s Schöpfung (Adam und Evas Erschaffung), which Gaelle designated a comic opera. Siegele has noted the effective use of simple melodies and rich harmonies in the arias, melodramatic style in the recitatives and intimate instrumentation. Beneath the comic aspect, both Sailer’s text and Gaelle’s music have more complex features. Gaelle’s compositional style (in the opera chamber works) is characterized by the use of single themes, fairly long series of variations, modulations to remote keys and small musical units.
Ger. Mass, 3vv, org;
4 cants., 1808–9, 1 pubd;
30 Vesperae falsobordonicae, 4vv, org, 1789, collab. M. Steyr;
Huc venite, piae mentes, chorus an Festtagen, S, A, SATB, insts, ed. E. Seifriz (Altötting, c1996);
Ave regina, T, B, org, 1790;
Regina coeli, 4vv, org, 1787;
Salve regina, S, insts, ed. E. Seifriz (Altötting, c1996);
Salve regina, T, B, org;
Stabat mater, 4vv, insts;
Tantum ergo, 4vv, insts, 1807;
2 Veni creator spiritus, A, str;
2 motets; 23 offs;
19 grads; Ger. lit, 3vv, org/hp;
3 hymns, 1785;
others, some lost
Adam und Evas Erschaffung (comic op, S. Sailer), 1796;
Das unschuldige Vergnügen, lieder, 1v, hp, 1777;
songs, mostly 3 male vv, hp
2 sonatas, pf, vn/fl, va, 1801;
sonata, pf, vn, vc, 1801;
sonata, pf, vn, va, 1801;
sonata, pf, va, 1801;
pf sonata, 1808;
5 sonatas, hp, vn, va, vc, 1809;
sonata, fantasia, 2 serenades, hp;
others, incl. arrs. of syms., chbr works
Werner Hans Rudolph Rosenkrantz Giedde (4 d'octubre de 1756 - 1816) va ser un compositor danès.
Var en dansk embedsmand, amatørfløjtenist, komponist og musiksamler. Hans navn skrives også W.H.R.R. Gjedde. Hans karriere ved hoffet startede med ansættelse som page ved enkedronning Juliane Maries hof. Han avancerede til kammerpage og kammerjunker for at blive udnævnt til kammerherre i 1785. Han var med i den kommission, som nedsattes i august 1784 for at reorganisere Det Kongelige Kapel, og han var med til at foreslå indkaldelsen af J.G. Naumann som kapelmester. I årene 1791-1793 var han administrativ chef for Det Kongelige Kapel. Hans journal om arbejdet er bevaret, og her fortæller han om både økonomiske problemer og en vis udfordring i at sikre en høj moral blandt de ansatte. Giedde gik i høj grad op i arbejdet som kapellets chef, udarbejdede en ny instruks og sørgede for, at orkestret fik nogle faste klarinettister. Blandt hans andre aktiviteter var ordningen af Hofmusikarkivet på Christiansborg Slot. Imidlertid brændte slottet i 1794 og en stor del af musikarkivet gik tabt.
Pierre-Louis Ginguené (Rennes, 25 d’abril de 1748 - St Prix, 16 de novembre de 1816) va ser un autor i compositor francès.
He was born at Rennes, in Brittany, and educated at a Jesuit college there. He came to Paris in 1772, and wrote criticisms for the Mercure de France. He also composed a comic opera, Pomponin (1777). The Satire des satires (1778) and the Confession de Zulmé (1779) followed. The Confession was claimed by several different authors and was very successful. Ginguené's defence of Niccola Piccinni against the partisans of Glück made him more widely known. He hailed the first symptoms of the French Revolution, and joined Giuseppe Cerutti, the author of the Mémoire pour le peuple français (1788), and others in producing the Feuille villageoise, a weekly paper addressed to the villages of France. He also celebrated in an indifferent ode the opening of the states-general. In his Lettres sur les confessions de J.-J. Rousseau (1791), he defended the life and principles of his author. He was imprisoned during the Reign of Terror and escaped with life only by the downfall of Maximilien Robespierre. After his release he assisted, as director-general of the "commission exécutive de l'instruction publique", in reorganizing the system of public instruction, and he was an original member of the Institute of France. In 1797, the Directory appointed him minister plenipotentiary to the king of Sardinia. After seven months, Ginguené retired to his country house of St Prix, in the valley of Montmorency.
He was appointed a member of the tribunate, but Napoleon, finding that he was not sufficiently tractable, had him expelled at the first "purge", and Ginguené returned to his literary pursuits. He was one of the commission appointed to continue the Histoire littéraire de la France, and he contributed to the volumes of this series which appeared in 1814, 1817 and 1820. Ginguené's most important work is the Histoire littéraire d'Italie (14 vols., 1811–1835). He was putting the finishing touches to the eighth and ninth volumes when he died. The last five volumes were written by Francesco Salfi and revised by Pierre Daunou. In the composition of his history of Italian literature he was guided for the most part by the great work of Girolamo Tiraboschi, but he avoids the prejudices and party views of his model. Ginguené edited the Décade philosophique, politique et littéraire until it was suppressed by Napoleon in 1807. He contributed largely to the Biographie universelle, the Mercure de France and the Encyclopidie méthodique; and he edited the works of Nicolas Chamfort and of Lebrun. Among his minor productions are an opera, Pomponin on le tuteur mystifié (1777); La Satire des satires (1778); De l'autorité de Rabelais dans la revolution présente (1791); De M. Neckar (1795); Fables nouvelles (1810); Fables inédites (1814).
Achille Graffigna (San Martino dall'Argine, 6 de maig de 1816 - Pàdua, 19 de juliol de 1896) va ser un compositor italià.
Es va formar al Conservatori de Milà. Va compondre 18 òperes, algunes sobre llibrets que ja havien servit per a altres òperes d'il·lustres compositors com Cimarosa, Rossini o Piccinni. Les partitures de Graffigna resulten molt inferiors a les homònimes d'aquells mestres: Il matrimonio segreto (1883); La buona figliuola (Milà, 1886), i Il Barbiere di Siviglia estrenada a Pàdua.
Henry Francis Greville (10 d’agost de 1760 - Port Louis, 13 de gener de 1816) va ser un violinista i compositor anglès.
He was the son of the Member of Parliament Fulke Greville and the poet Frances Greville. He served in the army from 1777 to 1793 in the Royal Irish Regiment of Dragoon Guards.While in the army he became interested in theatricals, and after leaving the army tried to organize professional theatre shows. His first "theatrical fête" was in 1801, and included supper for his friends, intended to mean a picnic, which he intended as a potluck. Based on the success of this venture, he decided to form a Pic-Nic Society the next year, which lasted only one year, although an unsuccessful attempt was made to revive it the following year. In January 1803, he began a weekly newspaper, the Pic-Nic, to report theatrical affairs, which he handed over to William Combe in February. In 1803, he purchased the lease on a mansion on Little Argyll Street from Hylton Jolliffe for £70. After making alterations and adding to it, in 1806 he gave two balls, the first of which was on June 2 and was attended by the Prince of Wales, the Duke of Cambridge and the Duchess of York. He then borrowed £2000 from the banker Thomas Coutts and purchased the freehold on the house in July. At first he styled the house "The Fashionable Institution," but later changed the name to the Argyll Rooms. In 1807, the Lord Chamberlain granted Greville an annual license to host music, dancing, burlettas, and dramatic performances at the Argyll Rooms. The license was renewed the next year, but afterwards, the license was confined to music and dancing. William Taylor, the manager of the King's Theatre in Haymarket, described the first two seasons as: "There was no Stage, beyond a small elevation for the Singers to stand upon, and … no more than four of these were employed in petit pices [sic] of one short Act merely introductory to assemblies and Balls, and … no Dancers were ever seen, confined alone to subscribers for only 12 nights the first year and but 8 the second and last experiment there, and … no money was even taken at the doors." By 1811, Greville was ill and in deep debt. He tried to sell the Argyll Rooms in 1811. He went abroad in 1812, possibly as a condition of his family helping with his debts. He sold the Argyll Rooms to Stephen Slade. He died on January 13, 1816 in Port Louis, Mauritius.
Filla del violinista i compositor Charles Hague, es va formar amb el seu pare. Com a compositora va publicar la col·lecció Six songs with an accompaniment for the piano forte (London, 1814).
Henry Harington (Kelston, 29 de setembre de 1727 - Bath, 15 de gener de 1816) va ser un físic i compositor anglès.
He came of a landed Somerset family, and entered Queen's College, Oxford, on 17 December 1745, graduating BA in 1749 and MA in 1752. While there he sang and played the flute, and joined the Club of Gentlemen Musicians directed by William Hayes. Instead of taking orders, as he had originally intended, he studied medicine, and on leaving Oxford in 1753 he began to practise as a physician at Wells. In 1762 he took the degrees of MB and MD at Oxford. In 1771 he moved to Bath, where he continued to practise, and became a well-known and well-loved local personality. He was in turn alderman, magistrate and mayor. He was appointed physician to the Duke of York, and in 1784 ‘composer and physician’ to the Harmonic Society of Bath on its foundation by Sir John Danvers. Though an amateur, Harington (like Lord Mornington) established a position as one of the leading glee writers of the day. He published four collections between about 1780 and 1800, as well as many single glees, catches, duets and so on. Many of his glees also appeared in the anthologies of the period. One of them, Retirement (‘Beneath the silent rural call’, c1775) was converted by Thomas Williams into a hymn tune, still well known under the alternative names ‘Harington’ and ‘Retirement’. Otherwise his most popular pieces were two duets, How sweet in the woodlands (for two sopranos), first published in the London Magazine for October 1774, and Damon and Clora (soprano and tenor), composed 1745, published in about 1770. He was particularly successful in satirical catches, such as The Stammerers, The Alderman's Thumb and Dame Durden; in lyrical or sentimental vein his music is pleasing, though hardly profound. He also produced a few sacred pieces, similar in style to his serious glees. His hymn Eloi! Eloi! was sung on Good Friday in Bath Abbey for many years. He wrote a good deal of unimportant poetry, A Treatise on the Use and Abuse of Music, and some theological works.
46 glees, catches and trios, and c30 songs and duets pubd singly, in 18th-century anthologies, and in Harington's collections: A Favorite Collection of Songs, Glees, Elegies and Canons, 1–5vv (London, c1780);
3 Remarkable Admir'd Catches, 3vv (Dublin, c1780);
A Second Collection of Songs, Glees, Elegies, Canons and Catches, 1–36vv (London, c1785);
A Third Collection of Trios, Duetts, Single Songs & Rotas, 1–3vv (Bath, c1790);
Songs, Duetts, and other Compositions … never before published (London, c1800)
Lucy, or Fixt Air, a Cantata set to music by l'Abbate Burletti on the Model of the Ancient Chromatic System (London, c1780)
I Heard a Voice from Heaven (A Requiem), 3vv (London, c1775)
Eloi! Eloi! or, The Death of Christ, chorus, orch (Bath, c1800)
4 anthems and 1 hymn pubd singly and/or in 18th-century anthologies
Carl Haslinger (Wien, 11 de juny de 1816 - Wien, 26 de desembre de 1868) va ser un director, pianista i compositor austríac.
Der Sohn des Verlegers Tobias Haslinger besuchte zunächst vier Klassen im Akademischen Gymnasium und erhielt dann eine musikalische Ausbildung. Im Klavierspiel wurde er von Carl Czerny, in der Kompositionslehre von Ignaz von Seyfried unterrichtet. Seinen ersten öffentlichen Auftritt hatte er im Alter von 18 Jahren. Es folgten Tourneen durch die Donaumonarchie, bis Haslinger nach einer Erkrankung im Jahr 1859 seine rechte Hand nur noch eingeschränkt gebrauchen konnte. Nach dem Tod seines Vaters 1842 übernahm er, zunächst zusammen mit seiner Mutter, den Musikverlag. 1843 wurde das Geschäft neu am Kohlmarkt (heutige Adresse: Graben 19) eröffnet und war berühmt für seine zahlreich aufgestellten Büsten von Komponisten. Nach dem Tod seiner Mutter Caroline war er ab 1848 alleiniger Inhaber und agierte sehr erfolgreich. Zu den Komponisten, die er neu ins Verlagsprogramm aufnahm, gehörten Johann Strauss, Josef Strauss, Eduard Strauß und Carl Michael Ziehrer. In Zusammenarbeit mit Josef Kriehuber entstanden die meisten Künstlerporträts des Verlages. Haslinger veranstaltete sowohl in seinem Lokal als auch in verschiedenen Sälen Wiens Konzerte. Nach seinem Tod führte seine Witwe Josephine mit zwei Prokuristen den Verlag noch bis zum Verkauf an Robert Emil Lienau am 9. Dezember 1875 weiter. Bestattet wurde Haslinger auf dem Matzleinsdorfer Friedhof. Haslinger hinterließ einige hundert Kompositionen, darunter Klavier- und Kammermusik; Lieder, Chöre, geistliche Musik, Tanzmusik (Walzer, Polkas, etc.), Märsche und Wienerlieder.
Edvard Mads Ebbe Helsted (København, 8 de desembre de 1816 – Fredensborg, 1 de març de 1900) va ser un compositor i violinista danès.
Compositor y violinista danés nacido en Copenhague. Hermano del compositor Carl Helsted y primo del pintor Frederik Ferdinand Helsted, se formó como violinista, perteneciendo a la Orquesta Real danesa de 1838 a 1869, primero como miembro de la orquesta y desde 1863 como concertino (asistente del director). Tuvo que dimitir de este puesto en 1869 por razones de salud. Como profesor ejerció le enseñanza desde 1869 hasta 1890 en el Conservatorio de Música de Copenhague. Escribió la música para los ballets, Bournonville (1838), Toreador (1840), Nápoles (1842), Kirsten Arrow (1845), Viejos recuerdos (1848), Psique (1850) y para el Festival de las Flores de Genzano (1858).
Giuseppe Jannacconi (Roma, 1740 - Roma, 16 de març de 1816) va ser un compositor italià.
According to Fétis he studied music first with Don Soccorso Rinaldini, a papal singer, then with Gaetano Carpani, the teacher of Clementi, who was a fellow student. The formative influence on him was Pasquale Pisari, whose assistant he later became. Pisari introduced him to the strict counterpoint of the Roman school and gave him his own research notes, from which Jannacconi acquired a close familiarity with the Palestrina style. He passed on his knowledge and his notes to Giuseppe Baini, his pupil (from 1802) and friend, who made use of them in his celebrated study of Palestrina, published in 1828. In 1779 Jannacconi applied for the post of maestro di cappella at Milan Cathedral, but was not able to go there for the competition and Giuseppe Sarti was given the position. He became a music teacher in the orphanage at Rome; from 1811 until his death he was maestro di cappella at S Pietro, succeeding N.A. Zingarelli. Jannacconi was one of the last representatives of the Roman school. Even when he employed instrumental accompaniment, his music, which may be in as many as 16 parts, adheres to the principles of the stile osservato or the stile concertato. His importance for the 18th-century ‘Palestrina style’ lies less in his works than in the fact that his study of the stile antico was based on Palestrina's actual music, thus making a substantial contribution towards a better understanding of the style. Abbé Santini, another of Jannacconi's pupils, was a keen collector of his music, and many of Jannacconi's works are now preserved in the Santini collection in Münster.
c60 masses or mass sections, 2 lost;
35 psalm settings, 2 psalm collections;
vesper ants, 2 collections;
2 Marian ants;
3 off collections;
3 Dies irae;
Responsori per la Natività;
3 TeD, 1 lost;
Musica per le tre ore d'Agonia;
83 motets, 3 lost;
Several untexted pieces, mostly contrapuntal
2 str qnts, 2 vn, va, vc, db
Henry Kleber, born in 1816, emigrated at age 16 from the German city of Darmstadt with his family in 1832. Henry’s first job in Pittsburgh was teaching music at an exclusive girl’s academy. A gifted tenor he performed concerts beginning in 1836. Angered in 1850 by an unfavorable review from music critic Henry Shaad, he chased the music critic into a store beating him with a cowhide whip. He was fined $100 and court costs. Henry published the first of his hundreds of light dance compositions in 1839. At St. Paul's Cathedral and the Third Presbyterian Church Henry served as organist and choir director. He organized the first band west of the Alleghenies called the Citizen’s Brass Band. He is also credited with organizing the Troubadours club in 1874 and the Mozart Club in 1878. Kleber was also a member of the Pittsburgh Philharmonic Society which was a forerunner of the Pittsburgh Symphony. Kleber also produced concerts with local and national artists. His concert with singer Jenny Lind cause a near riot in Pittsburgh. Lind-o-mania swept Pittsburgh in the Spring of 1851, when Henry Kleber booked the Swedish Nightengale for two nights of concerts on April 25& 26, 1851 at Pittsburgh’s new Masonic Hall. About 1,500 tickets were, through an auction, at average prices of $7.50 -- about $194 in today's money. Thousands of people flocked into Pittsburgh from the surrounding towns in hopes of getting a seat at the concert. On the evening of the 25th an immense crowd surrounded the Masonic Hall completely unnerving Jenny Lind. The Morning Post estimated the crowd outside the theater to at about 7,000 to 8,000 people. Despite the intense noise from the crowd, Lind gave a great performance.
The Morning Post paper wrote “Her voice is sweet as the warbling of birds”. But, the second show was never held. In fear of the crazed Pittsburgh mob, Jenny Lind fled Pittsburgh in the middle of the night. Kleber opened one of Pittsburgh’s first music stores in 1846 called “Sign of the Golden Harp” at 301 Third Street. His store was the first to import pianos over the Allegheny Mountains on the new canal. He sold pianos, melodeons, violins, brass horns, sheet music, flutes, accordions, and drums. Upright Chickering pianos sold for $250 to $700 and Steinway grand piano sold for $1000. The store prospered and moved to bigger quarters in 1850 and again in 1862 to Wood Street. Kleber gave music lessons at his store. He conducted informal musicales with his pupils at the homes of wealthy Pittsburghers. One of his pupils was Stephen Foster. Kleber sold a piano that he imported from Germany to a musician friend of Stephen Foster, Mary Woods. It was on the Woods piano that Foster wrote several of his early compositions. Kleber was a close friend of Foster collaborating with him on several compositions. Kleber sang a moving aria from "Joseph in Egypt" at Stephen Foster’s funeral at the Trinity Church in 1864. Actor Felix Bressart played the part of Henry Kleber in the 1939 movie biography of Stephen Foster entitled “Swanee River”. Henry Kleber died in 1897 having greatly contributed to the musical life of Pittsburgh.
Heinrich Christoph Koch (Rudolstadt, 10 d’octubre de 1749 - Rudolstadt, 19 de març de 1816) va ser un teòric, violinista i compositor alemany.
In 1768 he was admitted into the band as a violinist, having received instruction from Göpfert of Weimar, and in 1777 obtained the title of 'Kammermusiker.' He composed various pieces of small importance for the court, but his fame rests upon his contributions to musical literature. His 'Versuch einer Anleitung zur Composition' appeared in three parts between the years 1782 and 1793; and his 'Musikalisches Lexicon' in 1802. This was republished in a condensed form in 1807 and 1828, but its complete revision dates from 1865, and is the work of Arrey von Dommer. [See Dommer in Appendix, vol. iv. p. 617.] He wrote several other works of less importance on harmony and other subjects connected with the art, and died March 12, 1816.
Franz Krenn (Droß, 26 de febrer de 1816 - Sankt Andrä-Wördern, 18 de juny de 1897) va ser un professor i compositor austríac.
He studied under Ignaz von Seyfried in Vienna, and served as organist in a number of Viennese churches, becoming Kapellmeister of St. Michael's Church in Vienna in 1862. From 1869 until 1893 Krenn taught harmony, counterpoint and composition at the Vienna Conservatory. During this time, he appears to have acquired the nickname 'Old Krenn', and is today often described as having been a rather pedantic teacher. Among his well-known pupils are Leoš Janáček, Mathilde Kralik, Gustav Mahler, who studied with him between 1875 and 1878, Richard Robert, Hans Rott, and Alexander von Zemlinsky. His compositions include masses, cantatas, oratorios, requiems, choral and solo songs, works for organ and piano, and symphonies. He died in Sankt Andrä-Wördern.
Felipe Larrazábal Betancourt (Caracas, 3 de juliol de 1816 - Terranova, 23 de novembre de 1873) va ser un polític i compositor veneçolà.
Hijo de Juan Santos Larrazábal de la Rebilla y Carmen Betancourt y Sistiaga. Hermano de Juan Manuel y José Antonio. Su infancia transcurrió en España, donde se mudó la familia por la guerra de independencia que se vivía en Venezuela. En Madrid tanto él como sus hermanos iniciaron estudios musicales; al finalizar la contienda, la familia retornó a Venezuela en 1830. Continuó Felipe sus estudios de música y de arte en Caracas, en el Colegio Independencia. En 1839, él y sus hermanos formaron parte de la orquesta dirigida por el músico Toribio Segura; actividad que realizó mientras publicaba en la prensa caraqueña, artículos sobre la situación política imperante en el país. Distribuyendo su tiempo entre la música y el periodismo. El 20 de agosto de 1840 comienza su transitar por el mundo de la política, al formar parte de los fundadores del Partido Liberal. Dos años más tarde, obtuvo el Doctorado en Derecho en la Universidad Central de Venezuela. En 1843, era redactor del órgano de divulgación del Partido Liberal, El Liberal. Y dos años después, fundó su propio periódico, El Patriota. Durante las elecciones presidenciales de 1846, apoyó la candidatura de Antonio Leocadio Guzmán quien perdió frente a Judas (José) Tadeo Monagas; siendo nombrado a pesar de ser opositor, gobernador de provincia (1848-1850) y diputado (1852-1854). En 1854, participó en la elaboración de la Ley de Abolición de la Esclavitud, la cual fue aprobada ese mismo año por el entonces presidente José Gregorio Monagas.
Una vez concluida la Guerra Federal (1859-1863), solicitó que se restituyera en el país la libertad de prensa y que se decretara la abolición de la pena de muerte en el país. En 1864, inició su etapa como docente impartiendo la cátedra de derecho público en la Universidad Central de Venezuela; y publicó Principios de derecho público. Al siguiente año, viajó al exterior con motivo de la publicación de su trabajo Vida del Libertador Simón Bolívar, y tres años más tarde fundó el Conservatorio de Música; es oportuno destacar que su pasión por la música lo llevó a ser uno de los compositores más importantes de Venezuela; destacando en su creación musical el Trío en la mayor N° 2 para piano, violín y violoncelo, publicado en Curazao, cuando se exilió allá, considerado un ejemplo digno de la música de cámara del romanticismo venezolano. En 1870 formó parte de los fundadores del partido Unión Liberal. Entre los cargos que ejerció, destacan el haber sido Director del Conservatorio de Bellas Artes; Magistrado de la Alta Corte Federal; y diputado del Congreso Nacional. Posteriormente fue expulsado del país en 1871; año en el que tuvo que exiliarse, viviendo un tiempo en Curazao. Felipe Larrazábal Betancourt viajaba en el barco Ville du Havre, desde Nueva York hacia Francia, cuando naufragó la nave, cerca de las costas de Terranova, Canadá, por haber embestido su barco con otro, en una tormenta; perdiendo la vida el 23 de noviembre de 1873; en aquel lamentable accidente se extraviaron aproximadamente más de 1000 folios manuscritos de sus obras, entre las que estaba la Vida de Sucre, la cual llevaba lista para entregarla a la imprenta. Desaparecía en el mar, lejos de su tierra, un excelente músico, abogado, periodista y político venezolano.
Antoine-Joseph Lavigne (Besançon, 23 de març de 1816 - 1886) va ser un compositor francès.
He received his early musical education from his father, a musician in an infantry regiment. On Jan. 24, 1830, he was admitted a pupil of the Conservatoire at Paris, where he studied the oboe under Vogt, but was obliged to leave on May 3, 1835, on account of his father's regiment being ordered from Paris. He resumed his position on Oct. 17, 1836, and obtained the first prize in 1837. He was for several years principal oboe at the Theatre Italien at Paris. In 1841 he came to England, and appeared as oboe soloist at the Promenade Concerts at Drury Lane, and has now for some years been a member of Mr. Charles Halle's orchestra at Manchester. He addressed himself with great earnestness to applying to the oboe the system of keys which Boehm had contrived for the flute, and devoted several years to perfecting the instrument. This admirable player has great execution and feeling; but what he is most remarkable for is his power and length of breath, which by some secret known to himself enables him to give the longest phrases without breaking them.
Robert Lesjak (c.1737 - 1816) va ser un monjo, organista i compositor croat.
His father, George Loder, was a successful flautist in Bath, and his mother, Fanny Philpot, was a piano teacher and sister of Lucy Anderson. He went to the USA in 1836, living first in Baltimore and then in New York, where he was prominent in the early years of the Philharmonic Society (founded 1842). He played the double bass for five seasons, and occasionally conducted the society's orchestra, notably at the first American performance of Beethoven's Ninth Symphony on 20 May 1846. In 1844 he was principal of the New York Vocal Institute, for which he published The New York Glee Book containing many of his own partsongs. In 1856 he went to Australia, with Anna Bishop, and conducted operas at Adelaide. In 1859 he was again in London, conducting the revival of (2) Edward Loder's Raymond and Agnes there on 11 June. His operettas Pets of the Parterre and The Old House at Home were staged at the Adelphi Theatre in 1861–2. In 1863 he returned to Australia, conducting that year in Melbourne the first Australian performance of Les Huguenots. He died in Australia after a long illness.
He studied composition and organ under Friedrich Schneider at Dessau. In 1836 he was appointed principal organist at the Marienkirche in Danzig, and conductor of the Gesangverein there. He enjoyed a high reputation as a pianist and gave excellent concerts of chamber music, besides acting as critic for the Danziger Zeitung. His compositions, about 50 of which were published, include three operas, Maja und Alpino, oder Die bezauberte Rose (1843), Der König von Zion (1850) and Das Walpurgisfest (1855); two oratorios, Johannes der Täufer (1845) and Das Gedächtniss der Entschlafenen (a requiem using selected texts from the German Bible, produced by Spohr at Kassel in 1856), his most significant works; Psalm lxxxvi; several symphonies; numerous songs and characteristic piano pieces; several works for organ including a Choralbuch (1845) which shows the influence of the Bach revival; and keyboard arrangements of the symphonies of Haydn, Mozart, Beethoven and Schubert.
Antoine Francois Marmontel (Clermont-Ferrand, 16 de juliol de 1816 - Paris, 16 de gener de 1898) va ser un pianista, professor i compositor francès.
He was a pupil of Zimmermann at the Paris Conservatoire where he won the premier prix in 1832, playing a concerto by Alkan. He then studied composition with Le Sueur and in 1835 won a deuxième prix in counterpoint and fugue with Halévy. He taught solfège at the Conservatoire from 1837 and piano as a temporary replacement for Herz in 1846. In 1848 he succeeded Zimmermann, and he retained this class until his retirement in 1887. His reputation as a teacher was outstanding; his pupils included Albéniz, Debussy, d’Indy, Diémer, MacDowell, Pierné and Planté. He also taught his son Antonin-Emile-Louis Corbaz (b Paris, 24 Nov 1850; d Paris, 23 July 1907), who won the premier prix in piano at the Conservatoire in 1867 and taught piano there from 1901 until his death. Marmontel’s many piano studies and other piano solo pieces including sonatas number about 200. He also edited more than 300 piano works for Heugel’s series ‘Ecole classique du piano’.
L’art classique et moderne du piano (Paris, 1876)
Les pianistes célèbres (Paris, 1878)
Symphonistes et virtuoses (Paris, 1881)
Virtuoses contemporains (Paris, 1882)
Eléments d’aesthétique musicale (Paris, 1884)
Histoire du piano et de ses origines (Paris, 1885)
Jean Paul Égide Martini (Freystadt, 31 d’agost de 1741 - Paris, 14 de febrer de 1816) va ser un compositor francès d’origen alemany.
A son of the organist Andreas Martin, he was trained first by his father and later at the Jesuit seminary in Neuburg. In 1758 he began studies in philosophy at the University of Fribourg, supporting himself by playing the organ at the local Franciscan convent. During this period he was known as Schwarzendorf. In 1760 he arrived destitute in Nancy, where his musical gifts soon brought him to the attention of two influential patrons: in Fléville the Marchioness of Desarmoises, who held what was reputed to be the most aristocratic and witty salon in the provinces, and in Lunéville Stanislas I, the exiled King of Poland, Duke of Lorraine and father-in-law of Louis XV. Shortly after Stanislas’s death in 1764 Martini went to Paris, where his instrumental works began to appear under the name ‘Martini il Tedesco’ to distinguish him from G.B. Martini. Thanks probably to his Lorraine patrons, Martini had introductions to important courtiers. After winning a contest for march composition, he received the recommendation of the Duke of Choiseul and was consequently appointed to the Marquis of Chamborant’s regiment (with responsibility for composing military music, now apparently lost) and, more importantly, to a post in the service of the Prince of Condé. In 1773 the prince promoted him to the position of intendant de la musique, in which he wrote chamber music, romances and chansons, and composed and arranged theatre music. The Duchess of Bourbon lent her support to the première of Le fermier cru sourd, but to no avail. Martini’s celebration of Louis XVI’s accession, Henri IV, met with better success, though the king reportedly found it boring and sycophantic. Court performances of many of Martini’s works followed. His resetting of Favart’s Annette et Lubin brought him to the attention of the Count of Artois (the future Charles X), who then appointed him his directeur de la musique and had the opera presented at Fontainebleu (6 February 1789).
In 1787 Martini became the unofficial director of the concerts de la reine, and two years later he was appointed general director of the Théâtre de Monsieur (later the Théâtre Feydeau). However, with the fall of the monarchy (1792) the latter position disappeared, and his principal patrons emigrated. One of his collaborators, the Chevalier de Curt, published in London a collection of Martini’s songs (many of them connected to members of the royal family) and his Prière pour le roi, which by 1793 would have been considered subversive in France. His involvement with the court was well known, and he risked arrest as a supporter of the ancien régime; he left the capital for Lyons and returned only with the end of the Terror (late 1794). With the Thermidorian Reaction he again benefited from official support; although his proposal for the reform of music education was not adopted, he received a special government grant in 1795 and an appointment as inspecteur to the new Conservatoire (he assumed duties in 1798 and retired, unwillingly, in 1802). He also participated in government-sponsored fêtes. Martini adapted skilfully to the changing regimes. After the signing of the concordat re-establishing Roman Catholicism in France (1802) and the failure of his most recent operas to stay in the repertory, he turned increasingly to church music. He also served the imperial regime, and his Messe solemnelle and Te Deum were performed on official state occasions. His scène héroïque in honour of Napoleon’s marriage in 1810 to Marie-Louise of Austria includes representations of classical Greece (Sappho), the French heritage (Corneille) and the emperor’s favourite bard (‘Ossian’). Yet with the Restoration of the Bourbons he insisted on – and received – his appointment as surintendant de la musique du roi (to which in 1788 he had been named en survivance, next in line after the death of the current holder). His last compositions were written for the royal chapel; for some he reworked compositons of the previous decade.
La convalescence de Thémire (divertissement, 1, Gaultier), Fléville, Marchioness of Desarmoises, 20 Feb 1765, F-Pn [to celebrate her recovery from illness; probably fully staged]
L’amoureux de quinze ans, ou La double fête (cmda, 3, P. Laujon), Paris, Comédie-Italienne (Bourgogne), 18 April 1771 (Paris, 1771) [for the marriage of the Duke of Bourbon]
Le nouveau-né (cmda, 3, Laujon), Chantilly, Duke of Bourbon’s, late sum. or early aut. 1772 [for the birth of the Duke of Enghien]
Le fermier cru sourd, ou Les méfiances (cmda, 3, Laujon), Paris, Comédie-Italienne (Bourgogne), 7 Dec 1772
Le rendez-vous bien employé (comédie-parade, 1, L. Anseaume), Paris, Comédie-Italienne (Bourgogne), 10 Feb 1774
Henri IV [Henri IV, ou La bataille d’Ivry] (drame lyrique, 3, B.F. de Rosoi), Paris, Comédie-Italienne (Bourgogne), 14 Nov 1774 (Paris, 1775/R in FO, lxiv [forthcoming]) [for the accession of Louis XVI]
Le droit du seigneur (cmda, 3, F.G. Desfontaines and Laval), Fontainebleau, 17 Oct 1783 (Paris, 1784)
L’amant sylphe, ou La féerie de l’amour (cmda, 3, A.-F. Quétant), Fontainebleau, 24 Oct 1783 (Paris, 1783)
Annette et Lubin (oc, 1, M.-J.-B. Favart, J.F. Marmontel, J.B. Lourdet de Santerre and C.-S. Favart), Gennevilliers, Count of Vaudreuil's, 1785 (Paris, 1789)
Sapho (tragédie lyrique, 3, C.M. Pipelet de Leury [later the Princess von Salm-Reifferscheid-Dyck], Paris, Amis de la Patrie [Louvois], 12 Dec 1794 (Paris, 1795), rev. c1805 (?1805), unperf.
[Sophie de Pierrefeu, ou] Le désastre de Messine (drame lyrique/fait historique, 3, J.-A. de Révéroni Saint-Cyr), intended for 1797–8, unperf., lib (Paris, 1804) [cited as Sophie, ou Le tremblement de terre de Messine in Salm-Reifferscheid-Dyck, iv, 1841–2]
Ziméo (opéra, 3, Lourdet de Santerre), Paris, Feydeau, 16 Oct 1800 (Paris, 1800)
La maison louée, ou La maison à deux maîtres (cmda, 3, Desfontaines), Paris, OC (Feydeau), 30 Aug 1806, lib in F-Pan
Chanson in L.-A. Beffroy de Reigny and L.-C.-A. Chardiny: L’histoire universelle, Paris, Monsieur, 16 Dec 1790
Le couvent, ou Le bienfait de la loi [Amélie, ou Le couvent] (drame, 2, J.B. Pujoulx), Paris, Monsieur, 3 March 1791
Camille, ou Le souterrain, 1796, F-Pn, S-St, attrib. ‘Martini’, probably by Martín y Soler;
Le poëte supposé, ou Les préparatifs de la fête [lib. of Le nouveau né, rev. Laujon, set by S. Champein, 1782];
La partie de campagne, by L.-E. Jadin, 1810;
Les rendezvous nocturnes [Fr. trans. of title of play, in It., in repertory of Comédie-Italienne 1740–79, sometimes confused with Le rendez-vous bien employé]
Political chansons and hymnes:
Prière pour le roi (London, 1793);
Chant funèbre (C.M. Pipelet, later von Salm-Reifferscheid-Dyck), c1794, text in Salm-Reifferscheid-Dyck 1841–2, ii;
Hymne à l’agriculture (Pipelet), vv, band F-Pn (inc.), arr. with bc (Paris, 1796);
Anniversaire de la fondation de la République (M.J. Chénier), vv, band (Paris, 1798);
Chant triomphal (Leclerc), vv, band, 1798, Pn (inc.);
Chant d’allégresse, 1801
Other chansons and romances:
Airs du Droit du seigneur et 3 romances nouvelles (Paris, 1784):
7 pieces from Le droit du seigneur, 1–2vv, hp/pf, 3 romances, 1v, hp/pf, str and bc ad lib;
2e recueil de petits airs de chant, 1v, pf/hp (Paris, 1785);
3e recueil de petits airs de chant, 1v, pf/hp (Paris, ?1790);
Rondes, ariettes & romances, 1v, pf (London, 1792);
4e recueil de petits airs de chant, 1v, pf/hp (Paris, 1794);
[5e recueil: arrs. of music from Sapho] 6e recueil d’airs de chant (Chénier), 1v, pf/hp (Paris, c1798);
other songs, most in collections
Solfège, S, bc, in Solfèges pour servir à l’étude dans le Conservatoire de Musique (Paris, 1802), 26–7;
Arcabone, magicienne (scène lyrique, P. Quinault: Amadis) (Paris, c1805), S, orch/pf; Airs, 3vv, [pf], lost, in possession of Baronne de Franck, c1805;
Scène héroïque, ou Cantate sur le mariage de Sa Majesté l’Empereur Napoléon avec S.A. Impériale et Royale Marie-Louise (Salm-Reifferscheid-Dyck), 1810, vv, orch/pf, Pn;
Hymne à Apollon, chorus, orch, 1811;
Cantate, vv, orch, by c1815 Pn;
Italian rondo and airs, perf. 1783–4 (see Pierre, 1974, pp.322–3, 327), by Martín y Soler
Messe solemnelle (Ky, Gl, Cr, Laudabo nomen Dei, Cantate Domino, O salutaris hostia, Ag, Domine salvum fac Imperatorem Napoleonem/regem/principem) (Paris, 1808), rev. version, by c1815, F-Pn
Messe des morts à grand orchestre (Paris, c1815)
8 other masses, all by c1815, Pn:
no.1 (Exultate Dominum Deum, Cantate Domino, Deus judex justus),
no.2 (A solis ortu, Laudate Dominum),
no.3 (Ky, Dilexi quoniam exaudiet Dominus),
no.4 (Super flumina Babylonis),
no.5 (Inclina Domine aurem tuam),
no.6 (Ky, Laudabo nomen Dei),
no.7 (Ky, ?Les dernières paroles de Jesus Christ, lost: see Lefebvre),
no.8 (Ky, In te Domine speravi):
Te Deum, perf. Paris, Concert Spirituel, 1790, lost
Te Deum (Paris, 1809) [?based on Te Deum, 1790]
Domine salvum fac Imperatorem Napoleonem, vv, bc (Paris, 1809), rev. as Domine salvum fac regem, by c1815, Pn
6 pss, S, Mez, pf/org, vc ad lib (Paris, c1805);
2 O salutaris hostia, vv, bc, both (Paris, 1809);
6 other O salutaris hostia, most with orch, by c1815, Pn;
Deus Deus meus respice in me, Domine in virtute tua, Domine salvum fac regem, Ecce sacerdos magnus, unacc. vv, Laudate Dominum, Laudate pueri Dominum, S, orch, all by c1815, Pn
Sinfonia, 2 ob, 2 hn, str (Paris, 1768);
6 simphonie, 2 vn, va, b, op.5 (Paris, 1768);
6 trio à grand’ orchestre, 2 vn, bc, op.6 (Paris, 1770);
Suite d’airs, perf. 1773, and Symphonie, perf. 1775 (see Pierre, 1974, pp.302, 304), perhaps drawn from pubd works;
Conc., F, 1st movt, D-Hs;
c100 marches and other wind music, entr’actes, 1770–89, lost;
Allegretto, in F.C. Lefebvre: Héro et Léandre (ballet), Paris, 1799m F-Po;
Danse militaire et villageoise in A.-E.–M. Grétry: Richard Coeur-de-lion, Paris, 1807, Po
6 quartetti, fl, vn, va, vc, op.1 (Paris, 1766), nos.5 and 6 for ob/fl, vn, vc;
6 trios, vn, vc, hpd, op.2 (Paris, 1766);
4 divertimenti, hpd, 2 vn, vc, op.3 (Paris, 1767);
6 notturni, hp/hpd, 2 vn, vc, op.4 (Paris, 1768);
Trio, cl/fl/vn, cl, b, F-Pn;
other chbr works, 1770–89, lost
Philipp Meissner (Burgpreppach, 24 de setembre de 1748 - Würzburg, 6 de juliol de 1816) va ser un clarinetista, professor i compositor alemany.
He showed musical talent at an early age, and took clarinet lessons with the court clarinettist Martin Hessler. When he was barely 16 he played before Prince-Bishop Adam Friedrich of Würzburg; he left school in 1766 and, on the prince-bishop’s advice, left Würzburg to further his studies by travelling. At Strasbourg he was taken into the service of Cardinal Prince Constantin of Rohan, with whom he went to Paris. Within three years he was a chamber musician in the employ of the Count of Branca and afterwards was first clarinet in the royal guards’ band and in the Opéra orchestra. He often played with great success at the Concert Spirituel and at the Concert des Amateurs, and won no less approval when he appeared at the court at Versailles. Now a recognized virtuoso, Meissner returned to Würzburg and in 1776 was appointed court and chamber musician in the prince-bishop’s Kapelle, a position he held for some 30 years; he later also directed the so-called Turkish Music. He travelled widely in Germany and Switzerland. He founded a clarinet school at Würzburg where his pupils included such notable figures as F.J. Bähr, C.A. Göpfert and the Würzburg clarinettist Kleinheuss. Siebold praised his ‘full, ringing tone’ and ‘beautiful, tender execution’ on the clarinet, while Froehlich, in his discussion on articulation, cited Meissner's students as being particularly successful at playing with the mouthpiece turned to place the reed against the upper lip.
Harmoniestücke für Blasinstrumente (Leipzig, n.d.) (2 vols.);
2 qts, cl, vn, va, vc (1813) (1814; repr. attrib. ‘Kinzi’, 1819, 1882);
duos, 2 cl: op.3 (n.d.), ed. B. Pauler (Winterthur, 1994);
2 as op.4 (n.d.);
3 without op. no. (n.d.)
MS concs., variations, cl, lost
Joseph (Christian) Willibald Michl (Neumarkt, 9 de juliol de 1745 - Neumarkt, 1 d’agost de 1816) va ser un compositor alemany.
Double bass player, publisher and composer, son of Johann Anton Leonhard Michl (1716–1781), choirmaster and organist in Neumarkt, and brother of (1) Johann Joseph Ildefons Michl and (2) Ferdinand Michl. He studied at the electoral Gymnasium and Lyceum in Munich, and was an accomplished double bass player in the Jesuit church of St Michael until about 1767. In the 1760s Elector Maximilian III Joseph sent him to Freising to study for two years under Placidus von Camerloher. By the beginning of 1771 at the latest Michl was named a composer to the electoral chamber. His opera buffa Il barone di Torre (1772) was remarkably successful, and in 1774 he travelled to Italy at the elector’s expense. In 1776 he wrote within four weeks (in place of the ill Josef Mysliveček) the Carnival opera Il trionfo di Clelia for the Munich court. With the succession of the new elector, Carl Theodor, in January 1778 Michl was dismissed with a pension of 125 florins (which he did not receive until 1780), raised to 240 florins in 1790. In July 1779 he was granted a privilege to publish music in manuscript; he seems however to have restricted this activity to his own works. From about 1784 to 1 September 1803 he lived with his brother-in-law, Johann Baptist Moser, a judge at the Augustinian prebendary institute at Weyarn, and wrote sacred works as well as symphonies and school dramas for the monastery. In 1786 he also taught composition at the Benedictine abbey at Tegernsee. Michl was a talented composer, known particularly for his sacred works. These include numerous extant liturgical works as well as six Lenten meditations, performed at the Congregatio Latina Major in Munich between 1768 and 1772, which are now lost. Also lost are numerous works for school theatres, though several larger stage and vocal works remain, some of which were possibly composed by Johann Michael Michl, the musical director of F.J. Moser’s theatrical troupe. Michl’s instrumental output includes a wide range of orchestral and chamber works, and his abilities as a composer are attested by Burney, who, having heard a quintet performed in Munich (1772), wrote that few works showed more genius and invention or demanded more skill in performance.
Stage (first perf. Munich unless otherwise stated):
Il barone di Torre Forte (ob, 2), Salvator, 23 March 1772, D-Rtt;
L’amante deluso (ob), 27 Nov 1773, lost;
Milton und Elmire (Spl, 1, H. Spaur), Frankfurt, Schauspielhaus im Junghofe, 1773, F, Munich, 6 June 1785;
Il trionfo di Clelia (os, 3, P. Metastasio), Hof, 8 Jan 1776, Mbs;
Johann Faust (Spl, 5, P. Weidmann), Salvator, 16 May 1776, lost;
Der König und der Pächter, Munich, 1777, lost;
Das Urtheil des Paris (ballet, C. Le Grand and P. Constant), after 1777, lost;
Fremor und Meline (Spl, 3, Spaur), Mainz, An der grossen Bleichen, Jan 1778;
Die reisenden Komödianten (Spl, 3, G.W. Burmann), 1778;
Der Jahrmarkt (Spl, 2, F.W. Gotter), Mannheim, National, 13 Feb 1780, with music by G. Benda;
L’isola disabitata (azione teatrale, 1, Metastasio), 1780, lost;
Regulus, der Patriot (os), Weyarn, 3 Sept 1781, frag. Bsb, WEY;
Der König auf der Jagd (Spl), 8 Aug 1785, lost
Zephiro et Flora, Munich, 1776, lost;
Il trionfo della gloria, Munich, before 1778, Dlb;
Wohin krochst du, WEY;
Il re alla caccia, Il cacciatore deluso, mentioned in LipowskyB
More than 22 masses;
Gioas, re di Giuda (orat), Munich, Lent 1772, Rtt;
Ich warne dich (orat), ?Munich, Mbs;
many shorter works
6 syms., WEY;
5 syms., Rtt;
1 sym., Bsb;
1 sym., Mbs;
1 sym., US-BEm;
8 serenades, Rtt;
CI Conc., CH-E;
Bn Conc., D-Bsb;
3 concs., pf, Bsb;
5 divertimentos, CH-Bu, D-BE, Mbs;
6 qts, US-BEm;
6 qts, 2 vn, bn obbl, vc, A-KR;
qt, 2 vn, bn obbl, vc, D-Bsb;
6 sonatas, pf, vn, bn, Bsb;
others, listed in Breitkopf catalogues (1773–87)
Ferdinand Möhring (Alt Ruppin, 18 de gener de 1816 - Wiesbaden, 1 de maig de 1887) va ser un compositor, director d'orquestra i organista alemany.
Des de la seva infància mostrà singulars disposicions per a la música. després d'estudiar composició en la Reial Acadèmia de Berlín, el 1840 fou nomenat organista i director de música a Saarbrücken, i el 1845 passà amb el mateix càrrec a Neuruppin, on també es dedicà a l'ensenyança del cant. Tant a Wiesbaden com a Neuruppin, s'aixecaren monuments a la memòria d'aquest músic el 1894 i 1897 respectivament. La seva especialitat fou la composició per a cors d'homes, havent compost en aquests terreny diverses, entre les que se citen com a més notables: Das Dichtergra bam Rhein, Normannenzug, Seligster Traum; per a cors mixts i veus soles, va compondre: Das Pfarrikaus i Scholss Warren.
Arthur O’Neill (Drumnastrade, 1734 - Crowhill, 29 d’octubre de 1816) va ser un arpista i compositor anglès.
When only two years of age he accidentally suffered an injury to his right eye while, he remarked, diverting myself with a penknife .1 This accident, together with subsequent cures administered to both his eyes by what he described as quacking doctors, rendered him totally blind. As career prospects for blind children were extremely limited, Arthur s parents sent their ten-year-old son to Owen Keenan in Augher, Co. Tyrone, to learn to play the harp.He displayed skill for the instrument partially because of a musical instinct but, mainly, because of his instinct for survival. After five years of tuition, the young man (aged just 15) began a long life as a wandering bard. We read from his memoirs that he spent most of his adulthood travelling the island of Ireland where he was lauded and scorned, praised and ignored by both nobility and the not so noble alike. Arthur O Neill cherished his lineage and heritage. Indeed, at an event held in honour of the old Irish clans in Killarney, he declared to his host Lord Kenmare and the assembled guests at the banquet table, it s no matter where an O Neill sits, and let it be at what[ever] part of the table I am, it should be considered the head of it !2 O Neill was not an admirer of flamboyance, sycophancy or wealth but of the more important qualities of talent, learning and decency within people regardless of their status, religion or social ranking. In his late forties and into his fifties, O Neill competed at three harping competitions in Granard, Co. Longford and at another in Belfast in 1792. As a relatively young man, the already muchtravelled Arthur O Neill had been befriended by Michael and Elizabeth McDonnell of Cushendall, County Antrim.
They had invited Arthur to reside with them and to teach the harp to their sons, Alexander, Randall and James. The friendship between the bard and James McDonnell (1763-1845) was to last a lifetime. James, then a doctor in Belfast, helped organise the Belfast Harpers Assembly in July, 1792. At this gathering, which took place in the Assembly Rooms, Belfast, a nineteen-year-old church organist, Edward Bunting (1773-1843), was commissioned to musically notate the airs played by the eleven assembled harpers. The fusion of McDonnell s foresight and Bunting s musical talent ensured that the melodies, of what was an old and fading harping tradition, were preserved for future generations. At the 1792 competition, O Neill won second prize playing The Green Woods of Truagha and Mrs Crofton. Around half the airs played at the festival had been written by Turlough O Carolan (1670-1738). Although he preferred the ancient harp music to Carolan s more modern compositions, O Neill respected Carolan for his creative skills and his significant contribution to the Irish bardic tradition. Indeed, Mrs Crofton was written by Carolan. In 1808, at the request of the newly-established Belfast Harp Society , Arthur, then aged 74, settled in Belfast where he was appointed Professor of the harp by the Society at a salary of thirty pounds a year. His mission was to teach the harp to young people, most of whom, like he, were blind. Content in the knowledge that they had secured the services of an experienced and knowledgeable bard, the Society prepared a statement for the press expressing their delight:
... that the person, whom they have been so fortunate as to procure for a master, is already far advanced in life [and is] the only person they know, now living in the kingdom capable of that office ...
Belfast s Cromac Street was the location for much harp-related activity and the Belfast Harp Society had its headquarters at number 21. Arthur O Neill was housed just a few doors away. The engraver, Thomas Smyth, who also lived on this street, made an intricate engraving of O Neill which featured in various forms in Bunting s publications. Another Cromac Street neighbour, Valentine Reanney, was related to Rabbie Burns, the Bard of Ayrshire. Edward Bunting commissioned his private secretary, Thomas Hughes, to write O Neill s life story at the bard s dictation. This memoir (most probably written in the year 1810) provides a vivid insight into, not only Arthur s personality and his music, but the social and cultural climate of the Ireland of the 1700s. As he recounted his stories to Hughes, O Neill was ever-conscious that his dictations could later be read by people who might be offended by his lucid recollections. True to character, he admitted to not caring a pin into whose hands these unconnected memoirs may fall .4 Although the work of Bunting, McDonnell, et. al. in the Belfast Harp Society ensured that the Irish harping tradition was safely preserved for generations to come, it is unfortunate that the person of Arthur O Neill became collateral damage in their efforts. The Bard of Tyrone had been initially welcomed to Belfast. However, after some four years he was left to fend for himself. Anonymous contributors to the Belfast Commercial Chronicle and The Belfast News Letter related how O Neill was being neglected by the Belfast Harp Society. Augustus wrote of O Neill living in abject poverty ... in a filthy lane off Mill Street . Reacting to such letters and to public opinion, the Harp Society held benefit concerts for him. This controversy proved too much for the proud, silent, uncomplaining O Neill . In 1816, without pomp or ceremony, he returned to the county of his birth. He died at Crowhill, Maydown, near Benburb, on 29th October that year at the age of 82. He is buried in the churchyard in Eglish.
Jean Paulus (Haguenau, 5 d’agost de 1816 - Paris, 14 d’abril de 1898) va ser un compositor i director francès.
En 1835, Paulus obtient un premier prix de clarinette au conservatoire de Paris. Il devient par la suite chef de musique sur les navires Hercule et La Belle Poule, où il participe aux cérémonies du transfert des cendres de Napoléon. Il est officiellement nommé chef de musique de François d'Orléans, prince de Joinville. De 1848 à 1864, il fonde la batterie fanfare de la Garde républicaine de Paris, qui se développe ensuite pour former l'Orchestre de la Garde républicaine.
William Lovell Phillips (Bristol, 26 desembre 1816 - 19 març 1860) va ser un compositor anglès.
At an early age entered the cathedral choir of that city, and subsequently proceeded to London, where he sang as Master Phillips, the beauty of his voice attracting the approbation of Miss Stephens, afterwards Countess of Essex. He studied at the Royal Academy of Music, where he was a pupil of Cipriani Potter, and class-fellow of Sterndale Bennett, and eventually became Professor of Composition at that institution. From Robert Lindley he took lessons on the violoncello, and soon became a member of the orchestras of the Philharmonic, Antient Concerts, Her Majesty's, the Sacred Harmonic Society, etc., besides being regularly engaged at all the great Musical Festivals. He was at different times musical director of the Olympic and Princess's Theatres, composing the music for a variety of dramas. For many years he held the post of organist at St. Katherine's Church, Regent's Park, and at one time conducted a series of concerts at St. Martin's Hall. In addition to numerous songs he composed a Symphony in F minor, which was performed with great success at the concerts of the Royal Academy of Music, and of the Society of British Musicians. Prior to his fatal illness he was engaged on an opera founded on a Rosicrucian story, and a cantata on a Welsh subject. He also attained great proficiency on the pianoforte, playing at the concerts of the Royal Academy, his last public performance being the fifth concerto of Moscheles in C major. He died March 19, 1860, and was buried at the Highgate cemetery.
Józef Poniatowski (Roma, 20 de febrer de 1816 - London, bur. 3 de juliol de 1873) va ser un tenor i compositor polonès.
He was a great-nephew of the Polish King Stanislas August Poniatowski. He studied in Rome, then in Florence under C. Zanetti and F. Ceccherini. At the age of 17 he won a prize in mathematics, but devoted himself to composition, also first appearing as a singer in the theatres of Florence, Lucca, Bologna and Genoa, mostly in works by Rossini and Donizetti. His first opera, Giovanni da Procida, was staged privately in Florence (1838), and publicly in Lucca (1839) with Poniatowski singing the tenor part; it was well received. Don Desiderio was performed in Pisa (1840) and then, with great success, in Venice, Florence, Milan, Livorno, Bologna, Rome and Naples; in 1858 it was given at the Théâtre Italien in Paris. Of his other operas, Bonifazio de’ Geremei (1843) was the most popular in Italy. He wrote librettos for some of his operas. Poniatowski held diplomatic posts in Brussels (1849), London (1850–53) and finally Paris, where his Pierre de Médicis was staged at the Opéra in 1860, and his Au travers du mur at the Théâtre Lyrique in 1861. In that year he was appointed director of the Théâtre Italien. He accompanied Napoleon III into exile in England; his La contessina, written for Adelina Patti, was performed in London (as Gelmina), as were excerpts from his Mass in F. His operas are marked by melodic inventiveness and effective orchestration. Warsaw critics wrote that he sang like Rubini and composed like Donizetti (Kurier Warszawski, 3 March 1844). His ballad The Yeoman’s Wedding Song remained popular in England for a long time. He wrote a booklet, Le progrès de la musique dramatique (Paris, 1859).
MSS lost unless otherwise stated
Giovanni da Procida (os, 3, J. Poniatowski, after G.N. Niccolini), private perf., Florence, 25 Nov 1838; public, Lucca, Giglio, 1839
Don Desiderio, ossia Il disperato per eccesso di buon cuore (dg, C. Zaccagnini, after G. Giraud), Pisa, Accademia dei Ravvivati, 26 Dec 1840, F-Pn, excerpts arr. pf (Milan, c1841), vs (Paris, ?1858)
Ruy Blas (os, Zaccagnini, after V. Hugo), Lucca, Giglio, 2 Sept 1843
Bonifazio de’ Geremei (os, 3, Poniatowski), Rome, Argentina, 28 Nov 1843, Po, excerpts (Milan, c1845); rev. as Marzio Coriolano e Lambertazzi, Florence, Pergola, 1848
La sposa d’Abido (os, 3, G. Peruzzini, after Byron), Venice, Fenice, Feb 1845, lib (Venice, 1845)
Malek Adel (os, 3, after S. Cottins: Mathilde), Genoa, Carlo Felice, 20 June 1846
Esmeralda (os, 3, F. Guidi and Poniatowski, after Hugo), Florence, Palazzo Vecchio, 26 June 1847
Pierre de Médicis (os, 4, J.-H. Vernoy de Saint-Georges and E. Pacini), Paris, Opéra, 9 March 1860, vs (Paris, 1860–61)
Au travers du mur (oc, 1, Vernoy de Saint-Georges), Paris, Lyrique, 9 May 1861, vs (Paris, 1861); rev. version, London, St George's Hall, 6 June 1873
L’aventurier (oc, 4, Vernoy de Saint-Georges), Paris, 26 Jan 1865, vs (Paris, 1870–72)
La contessina [La jeune contesse] (dg, 3, A. de Lauzières, after Vernoy de Saint-Georges and J. Adenis), Paris, Italien, 28 April 1868, Pn, vs (Paris, n.d.), rev. as Gelmina (F. Rizzelli), London, CG, 4 June 1872, lib (London, 1872)
Messe solennelle, 4vv, vs (Paris, 1867);
Mass, F, London, 27 June 1873, vs (London, n.d.);
The Yeoman’s Wedding Song, ballad (London, n.d.);
Circé, scène dramatique (Paris, n.d.);
Femme du contrabandier, scène (Paris, n.d.);
Hochzeitsmorgen: Kling, Klang, wie schön der Sang, 1v, pf (Leipzig, n.d.);
Love’s Oracle, 1v, pf (London, n.d.);
Ma cinquantaine, 1v, pf (Paris, n.d.);
Il était là, mélodie (Paris, 1863);
8 mélodies, 1v, pf (Paris, 1858);
Stabat mater, frag., Pn;
Boléro, pf (Paris, 1863)
François Hubert Prume (Stavelot, 3 de juny de 1816 – Liège, 14 de juliol de 1849) va ser un violinista i compositor belga.
Prume was Professor of Violin at the Conservatories of Liège at the age of seventeen years, where his pupils included Hubert Léonard, and his own nephew, Frantz Jehin-Prume. His many concert tours brought him to capitals throughout Europe, during which he performed occasionally with Franz Liszt. He received the honorary title of "Virtuoso of the Duke of Gotha". However, his career ended prematurely with his death from cholera at the age of 33. He was buried in Liège at the Cimetière de Robermont. The great hall of the former Abbey of Stavelot in his hometown was named in his memory.
Domenico Rampini (Friuli, c.1765 - Trieste, 19 de desembre de 1816) va ser un compositor italià.
He held posts as harpsichordist at the theatres of S Samuele, Venice (Carnival 1791), and S Pietro, Trieste (1792–1801). When Trieste’s Teatro Nuovo was opened in 1801, he became its maestro di cappella, a post he held for at least a dozen years, along with that of maestro at the cathedral. His many occasional cantatas performed at the Teatro Nuovo suggest considerable public success. A Vincenzo Rampini (fl Venice, 1790) wrote two brief keyboard treatises, Regole per suonare la spinetta (including seven sonatinas) and Regole per accompagnare il basso, e partimenti (both in Museo Correr Manuscripts, I-Vc). He also composed two arias for the pasticcio Didone abbandonata performed in Venice in 1790 (copies in D-BFb, F-Pc, I-Vc). Schmidl suggested that he may have been a cousin of Domenico Rampini.
Stage, all perf. Trieste:
L’impresario di Smirne (dg, 2, ? G. Foppa), S Pietro, 3 Feb 1798;
Inno popolare (cant., G. de Coletti), 3vv, S Pietro, 4 Oct 1798;
Inno (cant., Coletti), 3vv, S Pietro, 4 Oct 1799;
Pimmalione (dg, 2), Nuovo, 6 March 1802;
Trieste rasserenata (cant.), Nuovo, 12 Oct 1802;
I geni pacificati (cant.), Nuovo, 12 Feb 1808;
Minerva consolata (cant.), Nuovo, 28 Jan 1814;
Il sogno di corvo (cant.), Nuovo, 12 Feb 1814;
La gloria (cant., D. Rossetti), Nuovo, Feb 1814
Easter vespers, 1798;
Requiem, 3vv, orch, org, 1808;
Mass, Trieste, for Napoleon’s visit, 11 Aug 1809;
Pastorella for Christmas;
Kyrie, 3vv, wind, org, I-Vsmc
Edward Francis Rimbault (London, 13 de juny de 1816 - London, 26 de setembre de 1876) va ser un musicòleg i compositor anglès.
The son of a London organist, Stephen F. Rimbault (1773–1837), he received his first instruction in music from his father and then became a pupil of Samuel Wesley. At the age of 16 he was appointed organist of the Swiss Church, Soho. As a young man he directed his attention to the study of music history and literature, and in 1838 delivered a series of lectures on the history of music in England. In 1840 he took an active part in the formation of the Musical Antiquarian and Percy societies; he became secretary of both and edited several works for them, and in 1841 was made editor of the music publications of the Motett Society. In 1842 he was elected Fellow of the Society of Antiquaries and a member of the Swedish Royal Academy of Music, was awarded a doctorate by Göttingen University and was offered (but declined) the chair of music at Harvard University. He joined the committee of the Handel Society in 1844, and edited three of the society's volumes. He was extremely active for the rest of his life as a lecturer and in collecting, editing and writing about early music, particularly English; but he still found time for composing and was organist of various London churches. He left an immense music library, which was sold by Sotheby's in July 1877, and included the Mulliner Book, the Sambrooke Manuscript and John Gamble's Commonplace Book. Not all his possessions were acquired by conventional means: in the early 1840s he helped himself to various items from the library of Christ Church, Oxford, which he subsequently sold to the British Museum.
Rimbault was a pioneer in English musicology, and his achievement should be measured not by the accuracy of his editions (for naturally they have been superseded several times over) but by the educational effect of his discoveries and revivals on the Victorian public: his work first gave the ordinary musician some awareness of the riches of England's musical past. Duckles calls him a ‘transitional figure’ between those who edited early music for the pleasure of amateurs and those who did so to share knowledge among specialists. He produced editions of the early settings of the Anglican liturgy, of Thomas East's Whole Book of Psalms and of countless early anthems and motets, which were eagerly seized on by church choirs in need of more inspiring material than the contemporary cathedral music. He also arranged many operas and other works, wrote many elementary books and articles for periodicals. The long list of his works in Brown and Stratton is by no means complete. He was also the founder and co-editor of The Choir and Musical Record (1863–78). His compositions, including an operetta The Fair Maid of Islington (1838), incidental music for The Castle Spectre (1839) and the cantata Country Life (published posthumously), are of slight importance.
ed.: R. North: Memoirs of Musick (London, 1846)
Bibliotheca madrigaliana: a Bibliographical Account of the Musical and Poetical Works Published in England during the Sixteenth and Seventeenth Centuries (London, 1847/R)
with E.J. Hopkins: The Organ: its History and Construction (London, 1855, enlarged 3/1887/R)
ed.: T. Overbury: The Miscellaneous Works in Prose and Verse (London, 1856/R)
The Harmonium: its Uses and Capabilities (London, 1857)
The Pianoforte: its Origin, Progress and Construction (London, 1860)
The Old Cheque-Book, or Book of Remembrance of the Chapel Royal (London, 1872/R)
vol. no. in Musical Antiquarian Society publications
W. Byrd: A Mass for Five Voices, MAS, i (1841)
T. Morley: The First Set of Balletts, MAS, i (London, 1842)
H. Purcell: Bonduca, MAS, vii (1842); Ode, Composed for the Anniversary of St Cecilia's Day, ibid., xix (1847)
Anthems for Festivals, Services, Miscellaneous Anthems, Motett Society, i–iii (London, 1842–3)
O. Gibbons: Fantasies in Three Parts, MAS, ix (1843)
E. Lowe: A Short Direction for the Performance of Cathedrall Service (London, 1843)
T. Tallis: Responses (London, 1843)
Cathedral Chants of the XVI, XVII and XVIII Centuries (London, 1844)
Daily Service with the Musical Notation as Used in the Abbey Church of St. Peter, Westminster (London, 1844)
S. Arnold, ed.: Cathedral Music (London, 1844)
T. East, ed.: The Whole Book of Psalms, MAS, xi (1844)
A Collection of Anthems … from … MS Part Books formerly in the Evelyn Collection, MAS, xiv (1845) [contains music by Bateson, M. East, Ford and Weelkes]
T. Bateson: The First Set of Madrigals, MAS, xvii (1846)
Parthenia, MAS, xviii (1847)
Musical Illustrations of Bishop Percy's Reliques of Ancient English Poetry (London, 1850/R)
G.F. Handel: Messiah, The Works of Handel [Handel Society] (London, 1850); Samson, ibid. (London, 1853); Saul, ibid. (London, 1857)
Rounds, Catches and Canons of England (London, ?1865/R)
Trained in Braunschweig and at the University of Helmstedt, he became cantor at Laumberg about 1760 and choir director in Lüneberg a few years later. In 1776 he was cantor at the Güstrow Gymnasium, moving to a similar post in Parchim in 1795. His music is conservative in style, with galant traits, though little of it has survived or been studied. Extant works consist of five cantatas, though he is known to have composed more.
Julius Adolf Rühlmann (Dresden, 28 de febrer de 1816 - Dresden, 27 d’octubre de 1877) va ser un compositor alemany.
Ausgebildet wurde er vom Stadtmusikus Zillmann sowie Kreuzkantor Julius Otto. Er war Vorstand des Witwen- und Waisenfonds der Kapelle, Gründungsmitglied und Vorsitzender des Dresdner Tonkünstler- Vereins sowie Instrumenteninspektor der Kapelle. Seit 1856 unterrichtete er am Kgl. Konservatorium in den Fächern Klavier und Musikgeschichte. Außerdem widmete er sich der Vivaldi- Forschung, hielt musikhistorische Vorträge und war Autor verschiedener musikwissenschaftlicher Schriften. (aus „ Von der churfürstlichen Cantorey zur Sächsischen Staatskapelle Dresden“ Andreas Schreiber/ 2003). Er ist der Verfasser des Buches „Geschichte der Bogeninstrumente“ und des Beitrags „Antonio Vivaldi und sein Einfluss auf Johann Sebastian Bach“. Beides im Bestand der Sächsisches Landes- und Universitätsbibliothek Dresden. Er war mit Robert Schumann befreundet. Sein Name findet sich u.a. auf der Dienstliste der „Tannhäuser“- Uraufführung 1845 unter der Leitung von Richard Wagner.
Siegfried Saloman (Tønder, 2 d'octubre de 1816 - Dalarö, 22 de juliol de 1899) va ser un violinista i compositor danès.
Fou contemporani de Franz Liszt, i estudià en els Conservatoris d'Estocolm i Dessau on va ser alumne de Fröhlich, Paulli, Wexschall i Hartmann, de qui va rebre classes de violí, instrument amb el que es va donar a conèixer. Saloman va viatjar arreu d'Europa amb la cantant d'òpera sueca Henriette Nissen, amb qui es va casar el 1850. A partir de 1859 el matrimoni s'instal·la a Sant Petersburg, quan mori Henriette, Siegfried es retirà a Estocolm. Va compondre, obres per a violí, lieder i les òperes Das Diamantkreuz (1844); Die Rosen der Karpathen (1868); Der Flüchling von Estrella (1872), i Penelope (Londres, 1889), entre d'altres. El 1842 els seus nou quadernets de romanços i cançons es van publicar a Hamburg.
Matteo Salvi (Botta di Sedrina, 24 novembre 1816 - Rieti, 18 ottobre 1887) va ser un compositor italià.
Salvi was born in Botta di Sedrina (Provincia di Bergamo), Italy. A student of Gaetano Donizetti, he is best known for having completed the score of Donizetti’s unfinished opera Le duc d’Albe for its first public performance in 1882, some forty years after Donizetti’s death. (The libretto was translated into Italian, and the opera was performed as Il duca d’Alba.) Salvi is usually credited as the composer of the tenor aria “Angelo casto e bel” in Il duca d’Alba, although as he was helped in the reconstruction of Donizetti’s score by several composers, including Amilcare Ponchielli, there has been some dispute as to the degree to which he was the aria’s sole composer. He died in Rieti, Italy.
Gualtiero Sanelli (Parma, 14 de maig de 1816 - Maranhão, 15 de desembre de 1861) va ser un compositor i director italià.
At a very early age he joined the chorus of the ducal theatre in Parma, where he later became a prompter. While studying singing at the Scuola di Musica in Parma, he also studied composition with Alinovi. From 1835 to 1839 he served as chorus master at the opera in Mantua. As a member of a touring opera company he visited Milan and other Italian cities, then (1841) Mexico and probably other Central American countries. On his return to Europe, he settled in Paris where he taught singing and began to study composition seriously; later he was active in England as a conductor of opera seasons organized by Italian impresarios. By 1858 he was resident conductor in Pernambuco, Brazil, where he had gone with an opera company organized by the impresario Mariangeli. From there he moved to Maranhão, where he died insane. Sanelli composed 11 operas, all first performed in Italy between 1838 and 1855 and conducted by him on his tours. Vocal scores of three of them, and excerpts from three others, were published by Ricordi, who also possessed the autograph scores.
Gustav Schmidt (Weimar, 1 de setembre de 1816 - Darmstadt, 11 de febrer de 1882) va ser un director i compositor alemany.
He studied in Weimar under Hummel, Eberwein and Lobe, and in Leipzig with Mendelssohn. He conducted at the theatre in Brünn (now Brno) from 1841 to 1844, then in Würzburg (1845), Frankfurt (1846), Wiesbaden (1849), Frankfurt (1851–61), Leipzig (1864–76) and Mainz. He finally became court Kapellmeister in Darmstadt in 1876. His operas, for some of which he wrote his own texts, include the successful Prinz Eugen (performed in Frankfurt, 1847), Die Weiber von Weinsberg (Frankfurt, 1858), and the less popular La Réole (Breslau, 1863) and Alibi (Darmstadt, 1880). Much admired as a conductor, he was an early champion of Wagner and introduced Tannhäuser and Lohengrin to Frankfurt; he also sought to make Berlioz’s music better known in Germany. Liszt, who conducted Die Weiber von Weinsberg in Weimar, took an interest in his plan for a conference of Kapellmeisters to increase their artistic standing in music and at the same time their musical standards. Schmidt also wrote popular songs and choruses.
Johann Paul Schulthesius (Fechheim, 14 de setembre de 1748 - Livorno, 18 d’abril de 1816) va ser un pianista i compositor alemany.
He received his earliest training in music from his father. After studying at the Gymnasium in Coburg (c1764–70) he entered Erlangen University where he completed his theological studies; while in Erlangen he also studied music with the organist and composer J.B. Kehl, who acquainted him with the keyboard sonatas of C.P.E. Bach. In 1773 he accepted the pastorship of the Dutch and German businessmen’s congregation in Livorno, where he continued his musical studies with Raniero Checchi and soon became known as an expert keyboard player and fashionable composer. He played a private recital of his own works in 1780 (or 1782) before Grand Duke Leopold of Tuscany and the Duchess of Parma, who turned pages for him; at the end of the performance he was presented with a gold repeater watch. In 1807 he was elected permanent secretary of the fine arts division of the Società Italiana di Scienze, Lettere ed Arti. The keyboard figures prominently in Schulthesius’s published works, which are chiefly ‘characteristic’ sets of variations. Of the Sept variations op.9 (dedicated to Forkel) a reviewer wrote: ‘These [variations] are not so much those that one calls brillant than well considered; they are placed in good sequence, and knowledgeably composed’ (AMZ, iii, 1800–01, col.750). The reviewer of his sonatas with violin accompaniment, opp.1–2, noted that the works were melodious and easy to play, with good interplay between the violin and keyboard, and that the final sonata was ‘exceptionally charming’ (Magazin der Musik, ed. C.F. Cramer, Hamburg, 1783–6/R, i, 80, 170–71; ii, 885). Besides his Memoria sulla musica da chiesa (Livorno, 1810) he wrote short articles for the Allgemeine musikalische Zeitung.
1 Tre sonate, hpd/pf, acc. vn obbl (Livorno, c1780)
2 Sonata a solo, hpd/pf (Livorno, c1781)
2 Four Sonatas, hpd/pf, acc. vn obbl (London, c1784)
3 Two Quartets, hpd/pf, acc. vn, va, vc (London, c1785)
4 Otto variazioni facili, hpd/pf, vn, va, vc (Livorno, 1787), lost
5 Allegretto avec 12 variations, hpd/pf, acc. vn, va, vc (Basle, c1792)
6 Allegretto with 12 Variations, hpd/pf (Basle, n.d.), lost
6 Andantino grazioso de Mr Pleyel varié, hpd/pf, acc. vn, vc (Basle and Augsburg, n.d.)
8 Andantino avec 8 variations, hpd/pf (Basle, n.d.) [?pubd as op.7 in Augsburg]
9 Sept variations, pf (Augsburg, 1797)
10 Eight Variations on a Russian Air, hpd/pf (Livorno, n.d.), lost
11 Twelve New Variations on Marlborough’s Air, hpd/pf, vn, va, vc (Florence, n.d.), lost
12 Riconciliazione fra due amici [L. Marchesi, Schulthesius] … variazioni analoghe al soggetto, pf (Augsburg, 1803)
13 L’allegria sopra la suddetta riconciliazione, ?pf (?Livorno), lost
14 Eight Variations on an Original Theme, pf (Livorno, n.d.), lost
15 Variazioni sentimentali sopra tema originale, pf (Leipzig, c1812)
16 X variations sur un thême original, pf (Leipzig, c1812)
17 IX variazioni sopra tema originale e rondò, pf (Leipzig, 1814)
18 Sonata caratteristica, pf (Leipzig, c1816)
Axel Gabriel Silfverstolpe (Stockholm, 10 d’agost de 1762 - Stockholm, 5 de setembre de 1816) va ser un polític i compositor amateur suec.
Var en svensk hovman, politiker, skald och amatörmusiker. Han var riddarhussekreterare från 1795 till sin död och ledamot av Svenska akademien. Axel Gabriel Silfverstolpe var son till bankokommissarien Fredrik Silfverstolpe och Eleonora Catharina Leijonhufvud samt systerson till Axel Gabriel Leijonhufvud. Efter studier vid Uppsala universitet blev han 1779 kanslist vid Riddarhuset, och värvades efter några år till Krigsexpeditionen som kopist där han var till 1789. Han återvände sedan till Riddarhuset som förste riddarhuskanslist, och blev 1792 hovjunkare och änkedrottning Sophia Magdalenas handsekreterare. 1811 blev han änkedrottningens kammarherre. Silverstolpe blev ledamot nr. 139 av Kungliga Musikaliska Akademien den 18 december 1793. Han var akademiens preses 1813-1815. 1794 blev han ledamot av Svenska Akademien, stol 7. Han var också ledamot av Kungliga Vetenskapsakademien från 1798. Han var först gift med Hedvig Charlotta Brakel, vars mor var en Boije af Gennäs. I det äktenskapet föddes Fredrik Otto Silfverstolpe och döttrarna Eleonora Ulrica, gift Leijonhufvud, och Charlotta Gabriella, gift med en fabrikör Svedelius. Han gifte om sig med grosshandlardottern Anna Christina Alm, med vilken han fick dottern Carolina Christina, gift med en grosshandlare. Silverstolpes dotterson, läkaren och folkbildaren Anton Nyström skriver i sin självbiografi 1929 att morfadern Axel Gabriel Silvertolpe vid 1809 och 1810 års riksdagar "skrev ett utkast till våra grundlagar, som till största delen äro hans verk".
Dimitrie Suceveanu (1816 - 1898) va ser un compositor romanès.
Dimitrie Suceveanu s-a născut în anul 1816 sau după alte surse în anul 1820 în orașul Suceava. A urmat studii la "Școala de la Trei Ierarhi" și la Școala de cântăreți bisericești din Iași. A lucrat ca psalt la bisericile "Albă", "Sfântul Pantelimon", "Sfântul Ioan Gură de Aur" din Iași. Ulterior a profesat ca protopsalt la Mitropolia din Iași (1844-1845), precum și ca profesor la Școala de cântăreți bisericești din Iași (1848-1890). A avut merite deosebite în popularizarea operei ieromonahului Macarie, reeditându-le cu unele modificări și adăugiri. În anul 1848 a retipărit trei cărți de "muzichie" și anume: Teoreticonul, Anastasimatarul și Irmologhionul. Mai târziu au fost tipărite și alte lucrări de muzică psaltică ale lui Dimitrie Suceveanu:
Ideomelariu adekă Kântare pe singur glasul unit Ku Doksastariul (Partea I, II, III, Manastirea Neamțul, 1856);
Idiomelariul (1857) care este opera principală a creației muzicale a lui Dimitrie Suceveanu;
Doxastariul (în colaborare cu monahul Dosoftei de la Mănăstirea Neamț);
Stihiră. Facerea lui D. Suceveanu, glas VI (1912);
La 2 Februarie. Întâmpinarea Domnului. Slava laudelor, glas VI (1919);
Slava Sf. Constantin, 21 Mai, glas V (1919).
A mai tipărit Prohodul Domnului și a compus multe alte cântări tipărite mai târziu și chiar atunci în colecțiile altor protopsalți, ca: heruvice, axioane, polieleie, anixandare etc. A mai tradus din limba greacă lucrarea Psaltichia de Gheorghe Paraschiedes. A fost un bariton de excepție, fiind foarte apreciat de către Mitropolia Moldovei. De asemenea, a fost și traducător de compoziții psaltice. A înfrumusețat muzica psaltică și a creat o adevărată școală de psaltichie. În anul 1879, a donat o sumă importantă bolniței Spitalului "Sf. Spiridon" din Iași, numele său fiind imortalizat pe o placă de marmură încastrată în zidurile clădirii, alături de nume ilustre de domnitori și de mari boieri ai Moldovei. Pentru meritele sale, a primit titlul de Paharnic. Dimitrie Suceveanu a trecut la cele veșnice în anul 1898, în orașul Iași. Tot el este si cel care va îmbrăca în ferecătură de argint și pietre prețioase Icoana Maicii Domnului cea nefăcută de mână numită și PRODROMIȚA. Ferecătura se distinge prin migala și finețea lucrăturii, fiind socotită una dintre cele mai reușite ale genului din timpurile recente.
Carl Ludwig Thiele (Quedlinburg, 18 de novembre de 1816 – Berlín, agost de 1848) va ser un compositor i organista alemany.
Les primeres lliçons de música les rebé del seu pare, que llavors era cantor de Berlín. Thiele mostrà ben aviat els seus coneixements musicals, particularment en l'orgue, sobre el que adquirí un domini extraordinari, el que li'n valgué aconseguir la plaça d'organista de l'església parroquial de Berlín. Aquest gran artista no va poder demostrar del tot la seva vàlua, ja que el còlera posà fi als seus dies quan a penes tenia trenta-dos anys. Va escriure gran nombre de peces de concert per a orgue (en do menor i en mi bemoll) i unes variacions en do i la bemoll.
Pellegrino Tomeoni (Lucca, 21 de febrer de 1721 - Lucca, ?1816) va ser un organista i compositor italià.
According to his son Florido (Méthode), he studied in Naples. His return to Lucca is documented in 1748 by his participation in the music for the feast of S Croce as a tenor and his involvement in the opera season at the Teatro Pubblico. Subsequently he held a series of posts as maestro di cappella in or near the city: from 15 February 1750 to 20 September 1778 at the collegiate church in Camaiore, from 14 March 1779 at Lucca’s seminary and diaconal church of S Michele in Foro, and from 4 July 1785 until his death at the collegiate church in Pietrasanta. He is known to have composed the recitatives and some arias for the production of Zenobia (a pasticcio on a libretto by Metastasio, with Caterina Gabrielli in the title role) at the Teatro Pubblico in 1761, where he was employed, at least on an occasional basis, as maestro al cembalo. He also contributed three works (music now lost) to Lucca’s funzioni delle Tasche, a three-day local festival held every 30 months to elect the city’s government. Most of his works, however, were for the church, as his duties required. More than 30 years after his death, his sacred music was still performed in Lucca. His short treatise on thoroughbass was considered highly laudable for the ‘clarity and facility of the scholarship’.
all performed at Tasche in Lucca; music lost
Dione siracusano, Tasche 1750 (15 Dec)
Il Narsete, generale di Giustiniano imperatore, Tasche 1770 (10 Dec)
Marzio Coriolano, Tasche 1773 (14 June)
Mass, mass sections and psalms, 4–8vv, orch/unacc.;
1 Magnificat, 8vv;
motets: all I-Ls
16 psalms, other church music: all PAc
Toccatas, org, VRNs
Regole pratiche per accompagnare il basso continuo, esposte in dialoghi per facilitare il possesso alla principiante gioventù (Florence, 1795).
Peter Urbani (Milan, 1749 - Dublin, 1816) va ser un cantant i compositor italià.
He is said to have obtained a MusD from the University of Milan; he then went to London with his countryman Rontzini in search of work, spent unspecified years there and in Dublin, appeared singing Scottish songs at concerts in Glasgow between 1781 and 1784, and settled in Edinburgh in 1784. In Edinburgh he sang at the Musical Society concerts in St Cecilia's Hall and published six volumes of Scottish songs, including original songs of his own; he ran a music shop and publishing house with Edward Liston at 10 Princes Street from 1795, wrote a singing instruction manual, and lost a lot of money mounting Handel's oratorios. Around 1808 he returned to Dublin, destitute, and died there in 1816. Two operas by him were performed in Dublin during the 1784–5 season, but many of his compositions seem to be lost. Robert Burns met Urbani in 1793 and described him as ‘a narrow, contracted creature’. Burns, always easy-going, put up with Urbani's vanity and commercial self-interest for the sake of his fine singing and the promotion he was giving to Scottish songs, but refused to give him lyrics already promised to George Thomson. Urbani is sometimes credited with inspiring Burns to write Scots wha hae, but this is based on a misreading of Burns's letter to Thomson of August 1793.
Il Farnace, Il trionfo di Clelia, Dublin 1784–5, lost
6 Sonatas, hpd, op.5 (Edinburgh, c1785)
A Selection of Scotch Songs, harmonised and improved, i–vi (Edinburgh, 1792–1804), vols.i–iv for 1v with 2 vn, va, vc; vols.v–vi for 1v with vn, vc, pf
A Favourite Selection of Scotch Tunes, 2 fl/vn (Edinburgh, c1795)
Many single songs, pf fantasies on popular tunes, Scottish song arrs. (for fuller information, see RISM)
The Singer's Guide (Edinburgh, c1795)
Ignaz Vitzthumb (Baden bei Wien, 14 de setembre de 1724 - Brussels, 23 de març de 1816) va ser un director i compositor austríac.
He was also music director of the La Monnaie theatre in Brussels. Vitzthumb was born in Baden bei Wien. Arriving in Brussels in 1735 at the age of 11, he entered the service of archduchess Maria Elisabeth of Austria as a child-singer in her choir. Taught by Jean-Joseph Fiocco, then choirmaster of the Brussels chapel royal, Vitzthumb became a court drummer at sixteen, a post he held for more than 40 years alongside other roles. His half-brother, François-Antoine Vitzthumb, was a trumpeter in the court and his son Paul Vitzthumb (1761–1838) succeeded him as court drummer. After the War of the Austrian Succession, in which he had served in a regiment of Hungarian hussars, he returned to Brussels and took part in several chambers of rhetoric and compagnies bourgeoises, of which there were Francophone as well as Flemish versions. He showed off his talents as a violinist, conductor and theatre director, and was a member of the Concert bourgeois. He is also mentioned among the court musicians as a composer, tenor and violinist in 1758 and 1759, and as a composer from 1760 to 1775. From 1761, he entered the Théâtre de la Monnaie as its composer and music master, and taught singing to young actors such as Angélique D'Hannetaire and Alexandre Bultos. In 1772, he and the singer Louis Compain became co-directors of the Théâtre, then Vitzthumb was sole director from 1774 to 1777. This period is considered to be one of the most fertile in the Théâtre de la Monnaie's life, and travellers like Charles Burney did not hesitate to praise the quality of the members of its acting troop and orchestra. Even so, the theatre soon went bankrupt and so Vitzthumb was forced to abandon his role as director, though he retained that of conductor. Suspended from all his jobs in 1791 for taking part in the insurrection against Joseph II, Vitzthumb left for Amsterdam to take up a post as music master at the "Collège dramatique et lyrique". Falling seriously ill the following year, he returned to Brussels to live with his son Paul and died there in 1816, aged 91.
Lamentations of Jeremiah for Holy Week (manuscript fragments)
Symphonies (manuscript fragments)
Sinfonia a più stromenti
Recueils d'ariettes d'opéra (arrangements of 14 verses, 1775-1786)
La Fausse esclave (1761)
L'Éloge de la vertu ou le Tribut des cœurs, libretto by Louis Compain (1761)
Le Soldat par amour, with Pierre van Maldere, libretto by Jean-François de Bastide (1766)
Céphalide ou les Autres mariages samnites, libretto by prince Charles-Joseph de Ligne (1777)
La Foire de village, libretto by François-Xavier Pagès (1786)
Christiane Ernestine Franziska von Fricken (Neuberg, 7 de setembre de 1816 - Asch, 13 de novembre de 1844) va ser una pianista i compositora, amiga íntima de Robert Schumann.
Robert Schumann met Ernestine von Fricken in 1834 and fell in love with her. They met at Wieck’s place, where Ernestine lived since April as a piano student and house guest of Wieck. After a secret engagement Baron von Fricken agreed to the marriage and wanted to adopt Ernestine, who probably was the illegitimate child of his sister. The adoption should legitimize her, but did not improve her economic conditions. Whether Schumann was bemused by the obscure relation in Ernestine’s family or deterred by her obvious impecuniosities, or his sudden love for Clara Wieck is not clear. What is certain is that he felt hemmed and asked Ernestine for the dissolution of the engagement, to which she agreed without any desire for revenge, although she was deeply affected. Ernestine, whom Schumann dedicated his Allegro, op. 8 and the Chamisso songs op. 31 and whose place of origin (Asch) is perpetuated in the Carnaval, op. 9, remained well-disposed to Clara and Robert Schumann until her early death. In 1838, she married Count Zedtwitz. Both Ernestine and her adoptive father rejected to support Friedrich Wieck in the process against Robert Schumann with negative statements.
Samuel Webbe (London?, 7 d’octubre de 1740 - London, 25 de maig de 1816) va ser un organista, cantant i compositor anglès.
He was generally acknowledged as the most important composer of the glee. His father died in Minorca, where he held a government post. Sources vary as to whether his wife had already moved there before their child was born. As a result of legal complications, the widow was left in poor circumstances, and Samuel received little education. He was apprenticed to a cabinetmaker at the age of 11, which profession he left after the requisite seven years. He then began work as a copyist at John Welcker’s music shop in Gerard Street, Soho. It was there that he met Barbandt, organist at the Bavarian Embassy Chapel, from whom he received his first, and only musical education. Webbe married Anne Plumb at St Marylebone Parish Church on 30 May, 1763. It was about this time that he became active as a composer. Webbe was elected a Privileged Member of the Noblemen’s and Gentlemen’s Catch Club in 1771. He had been associated with the club since at least 1766, when he won the first of the annual prize medals that were offered to encourage new compositions, with his canon O that I had wings. He continued to win medals and cash premiums until 1792. In 1784 he succeeded Thomas Warren as secretary of the club, a position that he held until 1812. Upon its foundation in 1787 he became librarian of the Glee Club. He composed several hundred catches, canons, rounds and glees, and wrote many of the texts. His works display a broad stylistic range, from short, witty, three-part catches and more serious canons (in which there is a marked delight in technical proficiency), to the glees, whose sectional nature is designed to reflect more closely the changes in mood of the text. His contribution to the field of the glee was such that his compositions were recognized as the standard to which both his contemporaries and successors aspired. It is unfortunate that Glorious Apollo became his most famous glee, by virtue of its being sung at the opening of every meeting of the Glee Club, as it is far from representative of his talents.
In 1775 Webbe became organist at the Sardinian Embassy Chapel, a post held earlier in the century by Arne. He was closely associated with the other Catholic embassy chapels in London, where his music was also performed. In 1782 he contributed some items to a volume mostly containing plainchant, and three years later he published a collection of his own music, as used at the Sardinian chapel. A Collection of Masses and a further volume of motets appeared in 1792. His compositions became widely used in the Catholic church in the 19th century, mainly as a result of arrangements by Novello. He was influential as a teacher, providing free instruction on Friday evenings at the chapel ‘to such young gentlemen as present themselves to learn church music’. Among his pupils were Danby, Dignum, Knyvett and Novello, who were choristers at the chapel. He almost certainly influenced the young Samuel Wesley, who became a friend of his son, Samuel. Much of his Catholic Church music is in a simple homophonic style, as would have suited the mostly amateur singers who made up the embassy choirs of the time. Of much greater interest are the solos and duets within these works. They reflect the taste and conventions of contemporary operatic writing, including provisions for cadenzas, and the growing influence of the Viennese Classical style. With the number of continental singers in London at the time, and with his own involvement in opera, it seems more than likely that he would have had the services of professional soloists to do justice to such works. Subsequent generations turned away from the graceful miniatures of Webbe towards the larger works of the Viennese school, popularized early in the 19th century by Novello in the Portuguese Embassy Chapel.
Webbe also sang as a professional bass. The contemporary Catholic writer Charles Butler relates that Webbe was called in an emergency to sing the role of Mengotto in Piccinni’s La buona figliuola. His name appears on the cast lists at Drury Lane, Covent Garden and the King’s Theatre, where he sang the role of Count Baccellone in Gassmann’s La contessina in January 1774. He was also connected with the pleasure gardens at Marylebone and Vauxhall, and his own compositions were performed there. His obituary in The Gentlemen’s Magazine contains the comment: ‘As an English composer, he will always rank with Lock, Morley, Purcell and Arne’, yet with the demise of the glee Webbe’s reputation declined dramatically. Throughout his compositions elements of the continuing influence of Handel blend with the Classical style, as a result of his contact with continental composers such as J.C. Bach and Abel working in London. Some of his Anglican compositions, in which Webbe was careful to adhere to the tradition of the verse anthem, survived in use into the 20th century. His most enduring works, however, are his hymn tunes, particularly ‘St Thomas’, ‘Tantum ergo’, ‘Veni Sancte’ and ‘Melcombe’.
The Ladies Catch Book (after 1768)
2nd to 9th Book of Catches, Canons and Glees, 3–6vv (c1771–95)
A Selection of Glees, Duets, Canzonets, etc. (1812)
6 Original Glees, ed. S. Webbe (ii) (1840)
Numerous glees, catches, canons, etc., pubd singly and in 18th- and 19th-century anthologies incl.: A Collection of Catches, Canons and Glees, ed. T. Warren, vi–xxxii (after 1767 – after 1793);
Amusement for the Ladies, 3–5vv (c1780);
The Ladies Collection of Catches, ii–vi (1785–);
The Professional Collection of Glees (1791);
The Favourite New Glees (1792);
J. Sale: A Collection of New Glees (?1800);
A Selection of Glees from the MSS of the Concentores (?1800);
Vocal Harmony, i–viii (c1810–30)
6 Canzonetts, 2vv (c1789);
other canzonets pubd singly, in 18th-century anthologies and in A Fourth Book of Catches, Canons and Glees (c1778)
Divertimenti a Tavola, 6 Little Duets Unaccompanied (c1790)
6 Favourite Songs in The Pianoforte Magazine, i/8 (1797);
other songs and cants. pubd singly and in 18th-century anthologies
A Miscellaneous Collection of Songs, etc. (1798);
A Collection of Selected Melodies (c1805)
Latin sacred vocal:
An Essay on the Church Plain Chant (1782) [E]
A Collection of Sacred Music as used in the Chapel of the King of Sardinia (c1785) [K]
A Collection of Masses with Accompaniment for the Organ (1792) [M]
A Collection of Motetts or Antiphons (1792) [L]
(d), S, T, B, org, K;
(G), 4vv, org, K;
(A), S, B, org, M;
(B ), S, B, org, M;
(C), S, B, org, M;
(D), S, B, org, M;
(F), T, B, org, M;
(F), A, T, B, org, M;
‘Seventh’ (F), 3vv, arr. for 4vv by J.F. Barnett (1864);
1st Requiem Mass (g), 3vv, arr. for 4vv by V. Novello (1864);
2nd Requiem Mass (e), 3vv, arr. for 4vv by V. Novello (1864);
Anthem Mass (d/D), S, A, T, B, 4vv, org, GB-Lbl, ed. V. Novello (1826)
(D), 4vv, org, K;
(F), S, S, B, org, K;
(G), 4vv, K;
(E), S, S, A, T, B, org, K;
(F), 5vv, L;
(A), S, A, B, org, ed. V. Novello (1822);
(D), 4vv, org (1872)
Ad te Domine levavi (F), B, org, K;
Alma Redemptoris (B ), S, S, org, K;
Alma Redemptoris (D), S, 4vv, org, L;
Ascendit Deus (D), S, S, org, K;
Asperges me (D), 4vv, org, ed. V. Novello (1815);
Attollite portas (C), 4vv, org, L;
Audi Domine hymnum (C), T, 4vv, org, K;
Ave maris stella, 4vv, org, ed. V. Novello (1822);
Ave regina (D), S, S, org, K;
Ave regina (C), 4vv, org, K;
Ave regina (F), 4vv, L;
Benedicamus (F), S, S, org, L;
Cantantibus organis (E), 3vv, org, L;
Da mihi, Domine (F), A, T, org, K;
Deus misereatur (A), T, B, org, L;
Ecce nunc tempus (E), 4vv, org, L;
Ecce sacerdos magnus (E ), T, B, org, L;
Emitte spiritum tuum (A), 3vv, org, L;
Exaudi Domine (g), B, org, K;
Ex ore infantium (F), S, S, 4vv, org, L;
Exurgat Deus (E ), 4vv, K;
Haec dicit Dominus (F), 4vv, org, L;
Haec dies quam fecit Dominus (B ), T, T, B, org, L;
In manus tuas, Domine (G), 4vv, L;
In manus tuas, Domine (E ), 5vv, K;
Iste confessor, 4vv, org, ed. V. Novello (1822);
Jerusalem (F), 4vv, org, L;
Juste et pie vivamus (G), S, S, org, L;
Justorum animae (F), S, S, org, K
Lauda anima mea Dominum (F), S, org, K;
Lauda Sion (A), S, S, B, org, L;
Lucis creator, 4vv, org, ed. V. Novello (1815);
Nunc dimittis (a), T, B, org, L;
O filii (g), 4vv, org, L;
O Jesus Deus magne (B ), S, S, org, L;
O Rex gloriae (B ), S, B, org, L;
O Roma felix (G), S, B, org, L;
O sacrum convivium (F), S, 4vv, org, K;
O sacrum convivium (G), S/T, B, org, L;
O salutaris hostia (F), S/T, B, org, E;
O salutaris hostia (F), S, S, org, K;
Perfice gressus (F), S/T, org, L;
Per omnia saecula saeculorum (F), 4vv, L;
Preces populi tui (a), 4vv, org, L;
Protector in te sperantium Deus (G), S, A, org, L;
Qui seminant (a), S, S, chorus, org, ed. V. Novello (1815);
Regina caeli (A), S, S, 4vv, org, L;
Rorate coeli (A), S, S, S, 4vv, org, L;
Sacris solemnis (F), 4vv (1854);
Salve regina (G), S, T, B, K;
Salve regina (D), S, T, B, B, org, K;
Salve regina (E ), S, org, K;
Salve regina (F), S, T, B, org, L;
Sancta Maria, succurre (D), S, S, 4vv, org, L;
Stabat mater (G), 2vv, org, E;
Super flumina Babylonis (g), 4vv, org, K;
Tantum ergo (F), 2vv, E;
Tantum ergo (F), S, S, S, org, K;
Tantum ergo (F), T, SATB, Lbl;
Tantum ergo (d), 4vv, org, K;
Tantum ergo (G), 4vv, org, K;
Tantum ergo (C), S, S, 4vv, org, K;
Tantum ergo (A), 4vv, org, L;
Tantum ergo, Lbl;
Te lucis ante terminum, 4vv, org, ed. V. Novello (1822);
Tibi omnes angeli (F), 4vv, org, L;
Tu elegisti (F), A, T, B, B, org, ed. V. Novello (18915);
Tu es gloria mea (A), B, org, K;
Veni sancte spiritus (F), S, B, org, L;
Victimae paschali (D), 4vv, org, L;
Vidi aquam (B ), S, B, org, L
Chants, psalm tones, etc., E, K, L, GB-Lbl
English sacred vocal:
8 Anthems in Score for the Use of Cathedrals and Country Choirs (c1785) [X]
12 Anthems (c1801) [Y]
all accompanied by organ
Almighty God, we beseech thee, 4vv, Y;
Christ being raised, S, S, B, 3vv, Y;
How excellent is thy mercy, A, T, B, 4vv, X;
How lovely are thy dwellings, S, S, B, 3vv, Y;
Let the heavens rejoice, S, S, B, 3vv, Y;
O Lord, hear the prayer of thy servants, A, T, B, 4vv (c 1800);
O Lord, my king, T, B, 3vv, Y;
Salvation belongeth unto the Lord, S, S, B, 4vv, Y;
Save us, O God, 4vv, X;
Shew me thy ways, O Lord, S, S, B, 3vv, Y;
Sing unto the Lord, S, S, B, 4vv, Y;
Teach us, O Lord, A, T, B, 4vv, X;
The day is thine, S, A, T, B, 4vv, Y;
The eyes of all wait upon thee, S, S, B, 3vv, Y;
The heav’ns declare, B, 4vv, X;
The Lord is the portion of the just, S, S, 4vv, X;
The soul that sinneth, S, S, T, B, 4vv, Y;
Thou, Lord, in the beginning, S, S, A, T, B, B, X;
Unto thee, O Lord, T, B, 4vv, X;
When the fullness of time, S, A, T, B, 4vv, X;
When the Lord shall build up Sion, S, S, B, 3vv, Y
O Lord, hear the prayer of thy servants (c1800)
A Collection of Original Psalm Tunes, 3–4vv (c1806) [with S. Webbe (ii)]
6 Sonatas, pf/hpd (c1780)
2 pieces, org, Lbl Add.14335; contains transcs. by Webbe of pieces by other 18th-centuryt composers; some anonymous works may be by Webbe; see Weaver
Singing tutors: L’amico del principiante (c1790); 42 Vocal Exercises (1798)
Thomas Westrop (Lavenham, 15 de desembre de 1816 - London, 17 desembre 1881) va ser un compositor d’himnes anglès.
Edward Wolff (Warsaw, 15 de setembre de 1816 - Paris, 16 d’octubre de 1880) va ser un pianista i compositor polonès.
He studied under Zawadzki (piano) and Elsner (composition) at the Warsaw Conservatory. He then moved to Vienna and continued his studies under Würfel. After his début there he went in 1835 to Paris, where he remained until his death, making his living as a pianist and composer. He wrote well over 300 compositions, chiefly for piano, including a concerto, five sets of studies, nocturnes, romances, fantasies, many transcriptions from operas, and a great number of duets for violin and piano: 32 jointly with Bériot, eight with Vieuxtemps, one with Panofka and three duets for cello and piano with Alexandre Batta. His music was excessively influenced by Chopin.
Erik Fredrik Wrangel (Västergötland, 17 de juliol de 1816 - Växjö, 9 de juliol de 1896) va ser un militar, historiador i compositor suec.
Var en svensk militär, krigshistoriker och tonsättare, far till Herman och Ewert Wrangel. Wrangel var 1831-34 student i Lund och utnämndes 1837 till underlöjtnant vid Västgöta regemente, där han, som 1844 utexaminerats från Högre artilleriläroverket och 1845 förordnats till generalstabsofficer, 1861 utnämndes till major. Han tog 1865 avsked som överste i armén och utnämndes samma år till postinspektor i Växjö. Han var 1844-46 lärare vid militärskolan i Skara, 1847-49 vid militärskolan i Stockholm och 1858-65 lärare i krigskonst och krigshistoria vid Högre artilleriläroverket samt tjänstgjorde 1848-65 i Lantförsvarsdepartementets kommandoexpedition, sedan 1858 som souschef. Sedan Wrangel anonymt utgivit Kriget mellan Ryssland och Turkiet (1854) och dess fortsättning Österländska kriget 1854-56 (1854-57), utarbetade han efter av K. M:t 1860 lämnat uppdrag och efter att under loppet av 1861 ha övervarit föreläsningarna vid åtskilliga utländska generalstabsofficersskolor Krigshistoriens grunddrag. Försök till lärobok för Krigshögskolan (3 delar, 1866-85), det enda arbetet i sitt slag författat av en svensk. År 1851 blev han led.amot av Krigsvetenskapsakademien och redigerade 1860-65 dennas "Handlingar och tidskrift", i vilka han skrev bland annat Berättelse öfver krigskonstens utveckling under åren 1853-1857 (1858). Wrangel komponerade därjämte melodiösa sånger, som vunnit popularitet inom den sjungande dilettantkretsen, som solosången Får du en vän och duetten Hör hur stilla vinden susar.
William Thomas Wrighton (1816 - 13 de juliol de 1880) va ser un compositor d’himnes anglès.