Special thanks to my friend 'Tassos' for composers portraits
He studied with Tartini, probably between 1730 or 1731 and 1733, by which date his name appears in the list of musicians at Faenza Cathedral, as third (and last) violinist under the direction of his brother, Don Francesco Alberghi, maestro di cappella. In 1742 he was referred to in Faenza chronicles as ‘Paolo Alberghi, Professore’, and both his virtuosity and his compositions – sonatas and violin concertos – were extravagantly praised. In 1753 he became first violinist and, on his brother’s death in 1760, maestro di cappella as well; he retained both positions until his death. Alberghi supplemented his small salary from the cathedral by playing for civic festivities and for the two academies of Faenza, and by composing and teaching; among his pupils were Bernardo Campagnoli, Antonio Bisoni, Cristoforo Babbi and possibly Giuseppe Sarti (unconfirmed). A portrait of Alberghi in the Biblioteca Comunale of Faenza (which, together with the Archivio Capitolare del Duomo, contains much biographical material in manuscript) indicates that he was blind in one eye. Alberghi was granted the civic position of Depositario all’ordinario in 1747, holding it intermittently until his death. In this post he was responsible for collecting taxes and paying wages, including his own. In his last years he was evidently in ill health and began to delegate an increasing portion of his responsibilities to his students and sons.
Alberghi was essentially a late Baroque composer. The structural designs, harmonic treatment and idiomatic violin writing in his instrumental works, of which only a small portion are extant, are characteristic of mid-18th-century practices and reveal strong links with Tartini’s music prior to 1760. Most of the solo sonatas and trios are in three movements, but there are a few two-movement works and some early four-movement trio sonate da chiesa. Individual movements are often monothematic. The solo sonatas are more technically demanding than the trio sonatas and were clearly intended for Alberghi’s own performance. The works focus on rhythmic and melodic detail, technical finesse and passionately expressive melodic lines. Alberghi’s concertos also follow Tartini’s three-movement model: the opening movements are in ritornello form, the slow movements are instrumental arias, accompanied by two violins and cello only, and concluding movements are often dance-like and galant in character and suggest a folksong influence. The violin writing, especially in the concertos, bears out Alberghi’s reputation as a virtuoso: he used extensive ornamentation integrated into the melodic structure, with chains of trills, intricate dotted rhythms, long sequences of figuration, often with patterns that require rapid string crossing. Later works call for performance in 7th position and long passages in multiple stops, often with two melodies carried simultaneously.
In the concertos the solo passages become increasingly elaborate during the course of each movement, culminating in extremely difficult caprices, and usually ending with improvised cadenzas. Alberghi’s extant sacred music is generally more conservative in style than his instrumental music: the textures are consistently contrapuntal, with overlapping phrases and flowing, rhythmically animated melodies. Careful attention is paid to text declamation. In his later works, the counterpoint becomes more complex, but the style is freer and the melodic lines smoother and increasingly expressive. The melodic style and vocal treatment in the Gloria and incomplete Veni creator spiritus, both composed after 1765, suggest the aria style of the contemporary dramma giocoso. His son (Angelo) Ignazio Alberghi (bap. Faenza, 17 Dec 1758; d ? Bologna, after 1836) was a tenor di mezzo carattere and a church composer. He sang in most of the major theatres in north Italy, Rome and Naples, and between 1785 and 1795 divided his time between Italy and Germany, performing in operas in both countries, serving as maestro di cappella of Faenza Cathedral, 1787–96, and for 20 years in the service of the Elector of Saxony in Dresden. His only extant work is a cantata, dated 1797, for solo voice and orchestra, celebrating the birth of Prince Frederick August (in D-Dl).
Messa … per la Quaresima, SATB, org, 1763;
Gl, SATB, org, 1775;
Mag, SATB, vle, vc, org, inc.;
resp. for Holy week, double SATB choir, org
25 hymn settings, SATB, org, 1 inc.;
1 hymn setting, double SATB choir, org
Veni creator spiritus (motet), S, SATB, org, inc.
Compieta (for Proper of Offices: 5 pss, ant, hymn, Canticle of Simeon), double SATB choir, org
Il genio romano e il genio faentino (componimento drammatico, N. Tosetti), S, B, org, Faenza, 1767, music lost, lib pubd (Faenza, 1767)
Faenza liberata dalla peste (componimento drammatico, F. Maccabelli), S, A, T, B, org, Faenza, 1769, music lost, lib pubd (Faenza, 1769)
20 vn concs., 2 dated 1756, US-BEm;
3 vn concs., 1 dated 1759, Wc [1 duplicates a conc. in BEm];
1 vn conc.;
1 conc., dated 1743, I-Bc;
2 ornamented conc. slow movts, US-BEm
Ov. and scene ‘Tu resterai mia cara’, Wc
12 sonatas, vn, b, BEm;
1 sonata, vn, b, I-Bc;
1 sonata, vn, b, Vlevi
17 trios, 2 vn, b, US-BEm;
23 trios, 2 fl, b [11 duplicate trios for 2 vn, b in BEm], BEm;
1 trio, 2 fl, b, I-PS [duplicates trio for 2 vn, b, in US-BEm]
Charles Babell (1636 - 1716) va ser un intèrpret de fagot i compositor anglès.
A bassoonist and composer in the Drury Lane Theatre orchestra until he was 80.
Charles Barbandt (Hanover, bap. 30 d'abril de 1716 - London?, c.1775) va ser un compositor anglès.
He was the only son and eldest child of Bartholomäus Barbandt (b Hanover, 3 July 1687; d Hanover, 6 May 1764), a musician of the court orchestra at Hanover, and Maria Catharina Barbandt (née Caligari). The first member of the Barbandt family to settle in Hanover seems to have been Joseph, Bartholomäus's father, who, according to records of the parish of St Clemens, Hanover, had come from Modena. Charles followed the example of his grandfather and father and became a member of the Hanoverian court orchestra. Although records do not indicate which instruments he played there, it is likely that he was employed mainly as a woodwind player, as later he often appeared as an oboist, flautist and clarinettist. The exact date of his entry into the orchestra is unknown, but he is listed in its payrolls until 1752 as ‘Barbandt junior’. His father remained with the orchestra until his death in 1764, but Charles left for London in the early 1750s. Barbandt's name first appears in a London concert programme on 14 January 1752, when a benefit concert was given for him at Hickford's Room in Brewer Street. On 4 January 1753 he married Anne Casanova at the Portuguese Embassy chapel and from about the same time appeared as an oboist and flautist in London theatres.
In the 1754–5 season he was organist at Covent Garden Theatre and in 1756 embarked on his most ambitious project, a small-scale oratorio series, financed by subscription, at the Little Theatre in the Haymarket. A second series ran during January and February 1761. Barbandt's own concertos and solos were performed during the intervals. Mr Barbandt's Yearly Subscription of New Music appeared in monthly instalments between 10 March 1759 and 10 February 1760; it included symphonies (i.e. overtures), chamber music, Italian and English airs and duets, and sonatas. In 1764 he became organist of the Bavarian Embassy chapel in Warwick Street, Golden Square; his Hymni sacri was composed for use there. The Bavarian ambassador, Count Haslang, subscribed to some of Barbandt's works – as did a few of the composer's former Hanoverian colleagues – and was godfather to Barbandt's son Franz Xaver Ludwig (b 1753). Later Barbandt was also organist at the Portuguese Embassy chapel, but in 1776 he relinquished this post to a former pupil, Samuel Webbe (i). According to the playbills, Barbandt's four oratorios each had a bipartite, rather than the more usual Handelian tripartite, structure. Barbandt's surviving works, with their even phrases, simple harmonic progressions and predominance of melodic line, show his awareness of the galant idiom, which, even in his sacred works, he preferred to a more solemn, contrapuntal style.
lost; all first performed London, Little Theatre, Haymarket
Universal Prayer (A. Pope), 13 Feb 1755; 1 air in Mr Barbandt's Yearly Subscription, Dec 1759
Paradise Regained (J. Milton), 25 March 1756
On the Divine Veracity (E. Rowe), 9 March 1758
David and Jonathan, 28 Jan 1761
Hymni sacri, antiphonae & versiculi, 2–4vv (London, 1766)
God Save Great George the Third our King, vv, with Sonata, hpd, 1761, GB-Lbl
6 Sonatas, 2vn/fl/ob, bc (vc/hpd), op.1 (London, 1752)
6 Sonatas or Duetts, 2 fl/vn, with 6 Lessons, 2 hn, op.2 (n.p., n.d.)
Conc., ?str, cls, hns, timp, lost, perf. in interval of Paradise Regained, 25 March 1756
4 Favourite Italian Songs, 1v, str, fl, ob, with 2 Sonatas, hpd, op.3 (London, ?1760)
Short and Easy Rules for the Thorough Bass, with minuet and 13 variations, hpd, op.4 (London, c1760), minuet also pubd as Lady Powis's Minuet with Variations (London, c1760)
6 Sonatas, hpd, op.5 (London, ?1760)
6 Symphonies, 2 hn, str, bc, op.6 (London, ?1760)
Sonata, hpd (London, 1764) [ded. George III]
Quartetto, 3 vn/fl/ob, bc (vc/hpd) (London, n.d.)
Miscellaneous works pubd in Mr Barbandt's Yearly Subscription of New Music (London, March 1759–Feb 1760):
Sonata, A, hpd (March 1759);
The glorious Restoration (Mr Redmond), ode, bound with April 1759 issue but probably later addn;
Verra un di che la mia bella fugitiva pastorella, aria, S (April 1759);
Sonata, C, 2 vn, 2 ob, 2 fl (May 1759);
Lesson, C, cittera/gui (June 1759);
Now the bright morning star, recit, Hail, bounteous May, aria, S (June 1759);
Sinfonie, D, str, hns, bc (July 1759);
Se l'idolo che adoro, S, S (Aug 1759);
Sonata, G, hpd, vn/fl (Sept 1759);
Occhi vezzosi, aria, S (Oct 1759);
Sonata, G, 2 vn, 2 ob, 2 fl, bc (Nov 1759);
2 Lessons, C, gui/cittern (Dec 1759);
Teach me to feel, air, S (Dec 1759);
Sinfonie, E , str, hns, bc (Jan 1760);
Per novo amor de lira, S, S (Feb 1760)
Filippo Baroni (1660 - 1716) va ser un compositor italià.
Benedictus a Sancto Josepho (Geldern, c.1642 - Boxmeer, 6 de desembre de 1716) va ser un compositor holandès.
Nacido Benedictus Buns y conocido también como Buns Gelriensis. Entró al monasterio Carmelita de Geldern en 1659, tomó sus votos en 1660 y fué ordenado en 1666. Antes de 1671 fue transferido al monasterio de Boxmeer, donde sirvió como sub-prior por lo menos durante los períodos 1671 a 1674, 1677 a 1683 y 1692 a 1701. Buns viajó a Mechelen, Amberes y Bruselas para asistir a reuniones del capítulo Carmelita. Desde 1679 hasta su muerte desempeñó el puesto de funcionario (titularus) organistin Boxmeer en el órgano de Bremser, fabricado por Blasius Bremser fuera de Mechelen. Como organista, Buns fue el sucesor de Hubertus à Sancto Joanne Vlaminck (1633–1679) un organista bien conocido en Boxmeer (from 1668–1679), quien –incluyendo el monasterio- era parte de un enclave católico independiente que no pertenecía al Ducado de Brabante. Desde 1699 Buns se consideró como compositor privado, directo de orquesta y organista ("Aulae Bergis phonascus et organista") –del Conde Oswaldo van den Bergh en Boxmeer y de la familia van den Bergh en 's-Heerenbergh. Otra faceta de Benedictus Buns era como experto en órganos y consultor de órganos. En 1688, Buns inició la terminación y expansión del órgano de Bremser en Boxmeer por Jan van Dijck. Buns murió en Boxmeer, donde fue enterrado en el edificio del monasterio, y fue sucedido por Cecilius à Sancto Gerardo. Benedictus compuso principalmente obras sacras vocales, que incluyen siete misas, dos requiem, seis letanías, diez diálogos en parte alegóricos y numerosos motetes sobre textos litúrgicos y no litúrgicos en latín. Todos tienen acompañamiento instrumental; la mayoria tiene una introducción instrumental, algunos incluso una sinfonía o sonata en la mitad. Esas obras, que son predominantemente en un estilo concertato, son buenas tecnicamente, pero hay poca modulación imaginativa y sólo esporádico cromatismo. Las sonatas Op 8 están ordenadas en un ciclo de quintas, con una sonata que modula desde Fa menor a Mi Mayor al centro del ciclo.
He entered the Carmelite monastery at Geldern in 1659, took his vows in 1660 and was ordained in 1666. Before 1671 he was transferred to the monastery at Boxmeer, where he served as sub-prior at least during the years 1671–4, 1677–83 and 1692–1701; he was also organist from 1679 until his death. Benedictus composed mainly sacred vocal works, which include seven masses, two requiem settings, six litanies, ten partly allegorical dialogues and numerous motets on Latin liturgical and non-liturgical texts. All have instrumental accompaniments; the majority have an instrumental introduction, some even a symphony or sonata in the middle. These works, which are predominantly in a concertato style, are sound technically, but there is little imaginative modulation and only sporadic chromaticism. The sonatas op.8 are arranged in a cycle of fifths, with a sonata which modulates from F minor to E major at the centre of the cycle.
for detailed list of contents, see van der Meer (1958)
1 Missae, litaniae, et motetta, 4–6vv, 2 vn, bn, bc (Antwerp, 1666); 1 piece ed. in Noske
2 Corona stellarum duodecim serta, 1–4vv, 2 vn, 2 va, 2 trbn, bn, bc (Antwerp, 2/1673)
3 Flosculi musici, 1–4vv, 2 vn, bn, bc (Antwerp, 1672)
4 Musica montana in monte Carmelo composita, 1–4vv, str, bn, bc (Antwerp, 1677)
5 Completoriale melos musicum, 2–4vv, str, bn, bc (Antwerp, 1678); also includes 1 sonata for 2 inst ensembles; 1 piece ed. in Noske
6 Encomia sacra musice decantanda, 1–3vv, str, bn, bc (Utrecht, 1683); 4 pieces ed. in EMN, xv (1982); 1 piece ed. in Noske
7 Orpheus gaudens ac lugens sive Cantica gaudii ac luctus, 1–5vv, str, bn, bc (Antwerp, 1693), lost; MS copy of Missa pro defunctis in B-Bc
8 Orpheus Elianus è Carmelo in orbem editus (Amsterdam, ), 13 church sonatas, 2 vn, vc, org; edn of no.3 ed. by H. Schouwman
9 Missa sacris ornata canticis, 1–3vv, 1–4 str, bc (Amsterdam, c1699–1700); 1 piece ed. in Noske
Pasquale Bini (Pesaro, 21 de juny de 1716 - Pesaro, abril de 1770) va ser un violinista i compositor italià.
He evidently attracted patronage at an early age, for when he was 15 years old Cardinal Olivieri sent him to Padua to study with Tartini. He remained there for more than three years and then went to Rome, where he played so well that rumour credited his success with causing the death from embarrassment of the violinist Montanari. Bini soon returned to Padua for more study, however, having heard that Tartini had changed his style. His admiration for Tartini was returned by the teacher, who spoke of no other pupil except Nardini in such complimentary terms. On Bini’s return to Rome a year later, Tartini wrote recommending him to an English patron: ‘He plays better than I do, and I am proud of it, for he is an angel in morals and religion’. Cardinal Olivieri died in 1738, and Bini entered the service of Cardinal Acquaviva Troiano. After the latter’s death in 1747, Bini was unhappy in Rome and returned to his native Pesaro. Exactly what his difficulties were is unknown. Tartini, who again tried to help, hinted at serious emotional problems in recommending him to Algarotti and to Prince Lobkowitz. Bini, Tartini wrote, had suffered a hundred disasters of body and soul. He is most good and saintly in morals, marvellous in his profession, but feeble in spirit. Persecuted in Rome since the death of His Eminence Acquaviva, he has become so familiar with persecution as to have been in a manner of speaking maddened by it. Bini remained in Pesaro teaching and playing at the Teatro del Sole until 1754, when he entered the service of the Duke of Württemberg at a high salary as director of concerts and chamber music. He held the post until about 1759 and then returned once more to Pesaro. His emotional problems had perhaps worsened, for a contemporary account from Pesaro speaks of a ‘cerebral complaint’ which eventually caused his death. Bini was evidently a fine player and widely admired, but he owes his lasting reputation almost entirely to Tartini’s esteem for him. As a composer he had almost no fame and left only a handful of compositions, none of which was published. All his works, particularly the concertos, reflect a good technique and contain graceful passage-work, but they are conventional in form and generally unimaginative. Tartini’s early and middle works are the obvious models for the concertos and the sonata, but the duets are slightly more modern in style.
3 concs., solo vn, 2 vn, va, b;
5 duets, 2 vn;
Sonata, vn, b: all US-BEM
Concerto, vn, str, A-Wgm
Sonata, vn, b, cited in EitnerQ
Viktorin Brixi (Plzeň, 26 de juny de 1716 - Poděbrady, 30 de març de 1803) va ser un organista i compositor txec.
He received his basic musical education from his uncle Viktorin Zádolský, who was the parish priest at Skalsko. Later he studied at Čelákovice with the organist Josef Hojer, and completed his studies at the Piarist Gymnasium at Kosmonosy, where he is entered in the register for 1731 with the remark: ‘In musica et literis pari pasu ambulat’. His musical talent was already evident during his time at the Gymnasium. He took part in school plays as an actor and singer, and composed music for several of them. After a short stay in Liberec, he became a schoolmaster in Poděbrady and was later an organist and choirmaster at the church there. According to his autobiographical note written for Dlabač’s Künstler-Lexikon, he was offered a position at the imperial court in Vienna by Maria Theresa’s husband, Francis of Lorraine, who had heard him play in Poděbrady, and received a similar offer from the Prussian court through his half-brother Franz Benda who was at that time in the service of Frederick the Great. In declining the opportunity to leave his native country Brixi was exceptional among his Czech contemporaries, and he remained in Poděbrady until his death. Brixi’s works are typical of the music composed by Czech cantors and organists for village choirlofts. Like those of (2) František Xaver Brixi, they are rooted in the Neapolitan style, but in comparison they are simpler and less ambitious. His use of folk idioms occurs mainly in his Christmas music. A Missa pastoralis in D is at St Gilet’s Church in Nymburk; his other works include cantatas, offertories, arias, a Latin oratorio Jephta written in 1769 and a piano sonata. (Principal sources, CZ-Bm, Pnm.).
Jan Josef Bozan (1644 - Chroustovice, 1 de juliol de 1716) va ser un compositor txec.
A priest of Chroustovice, he collected sacred songs over a long period. His hymnal, Slaviček rajský na stromě života slávu tvorci svému prozpěvující (‘A nightingale of paradise, perched on The tree of life, singing glory to its creator’; Hradec Králové, 1719), which bears a dedication to Count František Antonín Sporck, was published posthumously with the count’s support. It contains both old and new hymns from Bohemia and other lands, and with about 930 texts and 470 melodies is one of the larger Catholic collections of the period.
Italian composer. According to Eitner a manuscript work in the Proske collection identifies him as a Florentine, but the only manuscript that Eitner listed from that collection bears only the composer's surname and may be of doubtful attribution. A manuscript motet (in D-Dlb) was composed in 1758 in Milan, and in June 1762 he was appointed maestro di cappella of S Maria della Scala in Milan. In January 1771 Chiesa took over the second harpsichord in the orchestra of Mozart's opera Mitridate when Lampugnani moved to the first harpsichord to replace Mozart after the initial performances. He was maestro al cembalo with Lampugnani at La Scala for the inaugural season of 1778–9. In 1799 he was judge of the competition for the post of maestro di cappella at Milan Cathedral. In his time Chiesa seems to have been highly regarded as a composer. In 1771 Leopold Mozart wrote in a letter to his wife: If about 15 or 18 years ago, when Lampugnani had already composed so much in England and Melchoir Chiesa in Italy, and I had heard their operas, arias and symphonies, someone had said to me that these masters would take part in the performance of my son's composition, and, when he left the clavier, would have to sit down and accompany his music, I should have told him that he was fit for a lunatic asylum. Burney, in Milan in 1770, wrote that ‘Chiesa and Monza seem and are said to be the two best composers for the stage here at present’. Chiesa, however, is not otherwise known to have composed for the theatre. His existing works are sacred (principally in CH-E, D-Dkh, Dlb) and instrumental (principally in A-Wgm, D-DS, KA, Mbs, I-Mc), including a concerto and several flute sonatas. He published a set of six trio sonatas op.1 (Paris, n.d.). Another set of six that appeared in London may be a partial reprint of these.
Diego de Xáraba y Bruna (Daroca, c.1652 - Madrid, c.1716) va ser un organista i compositor espanyol.
Proveniente de familia de músicos, Diego de Xáraba y Bruna, al igual que su hermano Francisco, fue hijo de la hermana y discípulo de Pablo Bruna, el famoso organista de la colegiata de Daroca. Ninguno de los dos hermanos cumplió los deseos de su tío de sucederle en su puesto en Daroca a su muerte, aunque finalmente Bruna dejaría a Diego en herencia «el manacordio, el mejor que yo tengo y que está en mi cuarto». Diego se trasladó hacia 1669 a Zaragoza, donde pasará a formar parte de la capilla de don Juan José de Austria, gobernador general de Aragón, que seguramente lo conocía de sus frecuentes estancias en Daroca. También fue organista del Pilar de 1674 a 1677, tras la muerte del ocupante anterior, José Muniesa. Durante su estancia en Zaragoza, firmó en 1674 la aprobación del tratado Instrucción de Música sobre la Guitarra Española de Gaspar Sanz. En una visita a Zaragoza para jurar los fueros, Carlos II, que probablemente había escuchado tocar a Diego en casa de su hermano don Juan José de Austria, nombra a Diego Xáraba organista primero de la Capilla Real. El compositor abandona Zaragoza hacia Madrid el 11 de junio de 1677. A la muerte de su tío, Pablo Bruna, en 1679, Diego Xáraba naturalmente no tomó el puesto de organista en Daroca para el que estaba previsto. En Madrid impartió clases de clavicordio a diversas reinas. También firmó la aprobación de Fragmentos Músicos de Pablo Nasarre en 1700 y de Reglas generales de acompañar en órgano, clavicordio y harpa de José de Torres en 1702.
Tiento accidental por Alamire.
Idea vuena por Alamire-Fuga.
Obra de lleno, tono 3.º.
Ferdinand Donninger (1716-1781) va ser un compositor alemany.
Johann Samuel Drese (Weimar, 1644 - 1 de desembre de 1716) va ser un organista, mestre de capella i compositor alemany.
Després d'haver estudiat composició, va ser nomenat organista de la cort de Jena, plaça que va ocupar fins el 1663, sent aquest any promocionat al càrrec de mestre de capella de la cort de Weimar, en la que Bach era organista i músic de cambra. En la mort de Drese, el succeí en el càrrec el seu fill Johann Wilhelm, que ja, des del 1705, era vice-mestre de la capella. Va deixar manuscrites algunes òperes, sonats per a clavecí i diversos motets.
Johan Fischer (Augsburg, 25 de setembre de 1646 - Schwedt, c.1716) va ser un compositor i violinista alemany.
Siendo niño estudió con el Augsburg Kantor Tobias Kriegsdorfer. En 1661 fue a Stuttgart para estudiar con Samuel Capricornus, después de cuya muerte en 1665 fue a París y pasó cinco años como uno de los copistas de Lully. Volvió después a Stuttgart en 1673 y un año más tarde se estableció en Augsburgo, donde en 1677 figura como músico de iglesia. En 1683 se hizo violinista en la capilla de la corte de Ansbach, donde se quedó durante tres años como intérprete, maestro y compositor. Desde 1690 a 1697 ocupó un cargo similar en Mitau (ahora Jelgava, Letonia) con el Duque Friedrich Casimir de Kurland. A fines de los años 1690 parece haber desarrollado una inquieta pasión por viajar y en los primeros diez años del siglo XVIII estaba viajando constantemente alrededor de Europa. En 1700 buscó empleo en Polonia y en 1701 en Lüneburg. Este último año se convirtió en Konzertmeister del Duque Friedrich Wilhelm Mecklenburg en Schwerin. En 1704 viajó a Copenhague, donde esperaba obtener un empleo en la corte pero fue defraudado. Estaba en Bayreuth en 1707, fue de nuevo a Escandinavia en 1710 y contempló una visita a Inglaterra. Pasó sus últimos años como Kapellmeister del Margrave Philipp Wilhelm de Brandenburg-Schwedt. Según Mattheson murió a los 70 años de edad. Fischer fue uno de los que, como Kusser, con tesón trasplantó el estilo francés de Lully a la música alemana; algunas de sus obras revelan esta influencia. Su música de cámara superviviente no deja ninguna duda sobre sus virtudes. Sus melodías son frescas y originales, sus ritmos y armonía variados y atractivos. Su música fue tocada ampliamente, y favorablemente alabada por Mattheson. Fischer fue un importante pionero requiriendo afinaciones de scordatura en alguna de su escritura para violín e incluso para la viola.
German composer and violinist. He studied as a boy with the Augsburg Kantor Tobias Kriegsdorfer. In 1661 he went to Stuttgart to study with Samuel Capricornus, after whose death in 1665 he went to Paris and spent five years as one of Lully’s copyists. He returned to Stuttgart in 1673 and a year later settled in Augsburg, where in 1677 he is heard of as a church musician. In 1683 he became a violinist at the Ansbach court chapel, where he stayed for three years as player, teacher and composer. From 1690 to 1697 he held a similar appointment in Mitau (now Jelgava, Latvia) with Duke Friedrich Casimir of Kurland. In the late 1690s he seems to have developed a restless passion for travel and in the first ten years of the 18th century he was constantly moving around Europe. In 1700 he sought employment in Poland, in 1701 in Lüneburg. In the latter year he became Konzertmeister to Duke Friedrich Wilhelm Mecklenburg at Schwerin. In 1704 he travelled to Copenhagen, where he hoped to gain employment at court but was disappointed. He was in Bayreuth in 1707, went to Scandinavia again in 1710 and contemplated a visit to England. He spent his last years as Kapellmeister to Margrave Philipp Wilhelm of Brandenburg-Schwedt. According to Mattheson he died at the age of 70. Fischer was one of those who, like Kusser, wholeheartedly transplanted the French style of Lully into German music; several of his works reveal this influence. His surviving chamber music leaves no doubt about his gifts. His melodies are fresh and original, his rhythms and harmony varied and engaging. His music was widely played, and highly praised by Mattheson. Fischer was an important pioneer in requiring scordatura tunings in some of his writing for the violin and even for the viola.
Motet: So wünsch ich manche gute Nacht, 1v, acc (Augsburg, 1681); according to EitnerQ authenticity questionable
Musikalische Mayen-Lust, a 7 (Augsburg, 1681)
Himmlische Seelen-Lust, 1v, acc (Nuremberg, 1686)
Musicalisch Divertissement, a 2 (Dresden, 1699)
Neuverfertigtes musicalisches Divertissement, a 4 (Augsburg, 1700)
Tafelmusik, a 3, 4 (Hamburg, 1702); ed. in HM, xvii (1951)
Musicalische Fürsten Lust, a 4 (Augsburg, 1706)
Feld- und Heldenmusik (Augsburg, 1706)
MSS of vocal and instrumental music in D-Bsb, Dl, SWl, S-Uu; 3 suites, rec, bc, in D-SWl, ed. in HM, lix (1950)
Pierre Gallot (c.1660 - Paris, c.1716) va ser un llaütista i compositor francés.
Lutenist and composer, son of Alexandre Gallot. He was known as ‘Gallot le jeune’ and is reputed to have been a remarkable performer. He also taught the lute and guitar to wealthy foreigners. The incomplete tablature of ‘Gallot à Paris’ (CZ-Pu KK83) contains one lute piece by him, and others appear in manuscripts (at F-Pn, B, PL-Lw, US-NY and A-GÖ). His Tombeau de la Princesse de Monaco is in a manuscript in Vienna (A-Wn 17706).
Gelasius Hiebler (1716 - 1780) va ser un organista i compositor alemany.
Louis Hotteterre (La Couture, c.1645 - Ivry, agost de 1716) va ser un artesà i compositor francés.
Son of Nicolas Hotteterre (i). He joined his father's workshop in Paris about 1664. From 1665 until his retirement to Ivry in 1714 he held the post of ‘saquebout et basse de violon de la chambre et grande Ecurie du roi’ (to which his great nephew Pierre Chédeville obtained the survivance on 26 September 1713). From 1679 to 1694 he had his own workshop on the rue des Lombards, moving to the rue des Ecrivains and then to the rue Marmousets (1709). Du Pradel listed him in 1692 as a maker of all types of woodwind instruments.
Pater Nikolaus Meichelbeck (Reichenay, 30 de juliol de 1716 - Ottobeuren, 26 d'abril de 1756) va ser un monjo i compositor alemany.
Meichelback was ordained at the Benedictine monastery of Ottobeuren in 1734, although he had been in residence as a pupil at the monastic school. He became the professor of philosophy there, in addition to becoming regens chori around 1745. The bulk of his music, which included Latin dramas, has not survived; his remaining works, a responsory and a Mass, all show that he was well versed in the new homophonic musical style of the 1750s.
Johann Anton Leonhard Michl (Neumarkt, 10 d'octubre de 1716 - Neumarkt, 1781) va ser un organista i compositor alemany.
Son of an organist, Jakob Michl, he was sent to Graz and Vienna for his musical training, although he probably had some lessons from his two brothers Ferdinand Jakob Michl and Johann Joseph Michl. He found employment among the Jesuits in Leoben as an organist, though he stayed only five years, returning to Neumarkt as his father’s successor in the local church. His music has never been explored, although he appears to have written a number of Masses and other sacred works.
Heinrich Georg Neuss (Elbingerode, 11 de març de 1654 - Wernigerode, 30 de setembre de 1716) va ser un teòleg, poeta i compositor alemany.
Neuß nació en Elbingerode, en las montañas de Harz, en el ducado de Brunswick, donde su padre era un cirujano. Este pronto se trasladó a Wernigerode, pero murió poco después, cuando él tenía dos años de edad, y la madre que ahora tenía que alimentarse y alimentar a dos huérfanos ganaba una miseria con la costura no recordó hacer estudiar a sus hijos, a pesar del indudable talento y anhelo íntimo que mostraban. Sin embargo, en 1664 al pequeño Heinrich se le ofreció una beca margravial, por lo que continuó sus estudios con asiduidad y decidió a sus 14 años entrar en el Hospitium de Blankenburg, donde por sí mismo reveló un gran deseo y talento hacia la música. Más tarde asistió a las escuelas superiores a Osterwiek, Quedlinburg y Halberstadt, fue luego durante tres años tutor de los hijos del Canzleidirectors Dr. Reccius en Wernigerode, dando referencias en 1677, con lo que fue finalmente capaz de llegar al disfrute de la beca tan esperada, en la Universidad de Erfurt. Aquí estudió teología durante tres años, fue luego tutor con el profesor Soden y luego regresó como profesor particular privado a Wernigerode. En 1683 fue vicerrector en Blankenburg, en 1684 Rector allí, en 1690 adjunto del diácono Christian Schmidt en Wolfenbüttel y pronto diácono en la iglesia local Heinrich Urban. Más tarde tomó clases con Heinrich Bokemeyer por correo, pero su correspondencia no ha sobrevivido. También inventó un diapasón de voz, así como un dispositivo de afinación para instrumentos de teclado, que él llamó "mensa". Neuss llegó en 1692 como predicador cerca de Hedwigsburg y fue nominado en el mismo año por el duque Rudolf August entre sus predicadores itinerantes y en 1695 Superintendenten der Asseburgischen Inspection en Remmlingen.
Ya en el año siguiente, después que recibió la dignidad teológica de Doctor en la Universidad de Giessen, el conde Ernst von Stolberg lo convocó a Wernigerode como pastor principal de San Silvestre y Georgen, Superintendente y del Consistorio. Neuss era igual de notable como poeta y cantante. Sus canciones espirituales, que fueron muy populares en los círculos pietistas, se presentaron bajo el título "Hebopfer zum Bau der Hütten Gottes" (Ofrendas para construir las cabañas de Dios) (1692). Una segunda edición ampliada apareció en 1703, y contiene 134 canciones con 86 melodías propias. Estas últimas eran principalmente canto en estilo de origen mundano y Neuss no sólo tomó prestado del ámbito de la canción popular secular, sino también de óperas alemanas y francesas. El conjunto de melodías está basado en acordes disonantes en general, y todo rastro de un cambio rítmico se mantiene lejos de ellos. Todavía tenemos una colección de Neuss, "Brunnenlieder, den Brunnengästen zu Pyrmont mitgetheilet" (1706). La obra principal de Neuss es "Hebopfer zum Bau der Hütten Gottes: das ist Geistliche Lieder, welche zur Andacht, Aufmunterung und Erbauung unsers Christenthums in allerhand Fällen zu gebrauchen" (Lüneburg, 1692). Con las 70 y tantas melodías que escribió para sus poemas hizo una importante contribución a la canción continuo pietista. También incluyó algunas melodías de J.C. Horn y J.P. Krieger e incluso una o dos arias de ópera de la época. El "Hebopfer" llamó mucho la atención en su tiempo, y el "Geistreiches Gesangbuch de Athanasius Freylinghausen (1704-14 y varias ediciones posteriores), la colección más influyente de canciones pietistas, contiene 37 piezas de la misma. Neuss también publicó "Brunnenlieder, den Brunnengästen zu Pyrmont mitgeteilt" (Pyrmont, 1706) y se dice que escribió una canción nupcial en 1712; escribió una introducción para "Der edlen Musikkunst, Würde, Gebrauch und Missbrauch" de Andreas Werckmeister (1691), pero una obra teórica a veces atribuida a él, "De musica parabolica", probablemente no es suya.
German composer, theologian and poet. His father died when he was two years old, therefore after attending the grammar schools at Osterwieck, Quedlinburg and Halberstadt he was forced through economic necessity to become a private tutor at Wernigerode before going on to study theology at Erfurt University from 1677 to 1680. After another period as a private tutor he became a deputy headmaster in 1683, and headmaster in 1684, at Blankenburg; he later became deacon at the church in the Heinrichstadt district of Wolfenbüttel. There, with two other clergymen, he held Pietist conventicles, which, however, were forbidden by ducal edict of 1692. After a brief stay at Hedwigsburg he became travelling preacher to Duke Rudolph August of Brunswick, who made him superintendent at Remlingen in 1695. In the same year he became a doctor of theology of the University of Giessen. Finally in 1696 Count Ernst von Stolberg summoned him to Wernigerode as superintendent and church councillor. He later took lessons with Heinrich Bokemeyer by post, but their correspondence has not survived. He also invented a pitch pipe as well as a tuning device for keyboard instruments, which he called ‘mensa’. Neuss’s main work is Hebopfer zum Bau der Hütten Gottes: das ist Geistliche Lieder, welche zur Andacht, Aufmunterung und Erbauung unsers Christenthums in allerhand Fällen zu gebrauchen (Lüneburg, 1692, 2/1703). With the 70 or so melodies that he wrote for his poems he made an important contribution to the Pietist continuo song. He also included a few melodies by J.C. Horn and J.P. Krieger and even one or two operatic arias of the time. The Hebopfer attracted much attention in its day, and the Geistreiches Gesangbuch of Athanasius Freylinghausen (1704–14 and several later editions), the most influential collection of Pietist songs, contains 37 pieces from it. Neuss also published Brunnenlieder, den Brunnengästen zu Pyrmont mitgeteilt (Pyrmont, 1706) and is said to have written a wedding song in 1712; he wrote an introduction to Andreas Werckmeister’s Der edlen Musikkunst, Würde, Gebrauch und Missbrauch (1691), but a theoretical work sometimes attributed to him, De musica parabolica, is probably not by him.
Donato Ricchezza (1648 - 1716) va ser un compositor italià.
Italian composer. He was active in Naples. His surviving works consist of sacred vocal music and oratorios, apparently written for the Oratorio di S Filippo (Girolamini). His oratorios from the 1680s show his familiarity with progressive idioms of his time: characteristic features include the use of obbligato accompaniments in the orchestra, the independent melodic character of the bass line in continuo arias, and the inclusion of sicilianos, an aria type only just becoming popular. Later oratorios show regressive tendencies, with static bass lines and a relative abundance of arias in 3/2 time similar to those popular during the composer’s youth. The sacred music features a variety of combinations, from solo voice with continuo to large concerted works for soloists, chorus and orchestra.
31 sacred compositions, incl. 2 masses
La fede trionfante, 1683;
S Giusto, 1683;
S Eustachio, before 1689;
Vita di S Eustachio, 1689;
Il martirio di S Eustachio, after 1689;
La ruina degli Angeoli;
La madre di Maccabei;
La gara degli elementi;
In honore del glorioso S Francesco Saverio;
S Martino vescovo
Johann Christian Röllig (1716 - 1780) va ser un compositor alemany.
War offenbar Kreuzschüler und wurde von Musikern aus dem Umfeld des Dresdner Hofes ausgebildet. Von Johann Christian Roellig — im Unterschied zu seinem älteren, in Zerbst wirkenden Bruder „Roellig jun.“ genannt — sind eine Reihe von Kantaten für den lutherischen Gottesdienst, weltliche Vokalwerke und Instrumentalkompositionen überliefert, die eindeutig aus dem Dresdner und Meißener Umfeld stammen. Die Kopien wurden von dem Meißener Amateurmusiker C. J. Chr. Klipfel, der im Hauptberuf bis 1763 Blumenmaler in der Meißener Prozellanmanufaktur war, angefertigt. Widmungen an Mitglieder des sächsischen Hofes und Wasserzeichen des benutzten Papiers unterstützen die Annahmen über die regionale Zuordnung. Über Anstellungsverhältnisse oder Lebensumstände des jüngeren Roelligs im Dresdner Raum ist nichts bekannt. Nach dem Siebenjährigen Krieg, von 1763 bis 1771, ist ein Johann Christian Roellig als „Korrepetiteur“ der Ackermannschen Theatertruppe nachweisbar. Aus dieser Zeit sind in Hamburg zwei Lust- und ein Singspiel erhalten. Danach scheint Roellig in die Dienste des zunächst Dresdner, dann Hamburger Kaufmanns Heinrich Carl (von) Schimmelmann (1724–1782)getreten zu sein, der durch Handel mit Meißener Porzellan und Sklaven zu großem Reichtum gelangt war.
Johann Evangelist Schreiber (Arth, bap. 4 d’abril de 1716 - St Urban, 18 d’abril de 1800) va ser un compositor suís.
After studying rhetoric and logic in Lucerne (1733–5), he entered the Cistercian monastery of St Urban in 1737, took his vows in 1738 and was ordained priest in 1741; he was Kapellmeister there in 1750–53 and Kantor in 1753–5. Between 1748 and 1755 he composed music for three stage productions. He then went to other Cistercian monasteries: until about 1770 he served at Lützel in the Jura, initially as an instructor, and he was briefly in charge of the parish of Oberlarg (1758–60), where his German sacred songs were sung before their publication; he also worked at Stürtzelbronn in Lorraine, as organist (1762), at Salem and Kaisheim (1772) and in Tennenbach (1773–5). He died in St Urban after years of mental illness. With F.J.L. Meyer von Schauensee, Schreiber was the only 18th-century Swiss composer of sacred music whose works found their way into print. His arias, masses and offertories are in the south German tradition that later reached its height with Haydn and Mozart and employ clear, straightforward harmonies, agreeable, pleasing melodies, concise forms and occasional parlando. Schreiber's profession of adherence to the Italian style probably referred to his extensive cantabile arias, which offer scope to virtuoso singers. He uses alternating tutti and solos in the manner of a concerto grosso; polyphonic writing is chiefly confined to the impressive choral fugatos. The straightforward German sacred songs of 1761 already display the spirit of the Enlightenment. In old age Schreiber concentrated on choral theory and practice; his treatise Fundamenta pro cantu plano seu chorali cisterciensi survives in manuscript (CH-E, Lz).
Fasciculus ariarum 24 gloriosae virgini Mariae (12 duets, 12 arias), vv, 2 vn, va, bc, op.1 (Fribourg, 1747);
Missale cisterciense musicum (6 masses, 2 requiem settings), solo vv, 4vv, orch, bc, op.2 (Fribourg, 1749);
Adoratio Dei per 15 offertoria solennia, 4vv, orch, bc, op.3 (St Gall, 1754);
Neue und annehmliche Arietten (32 sacred arias and duets), vv, org (Fribourg, 1761);
15 Mag, 4 Regina coeli, 6 Salve regina, vv, str, org, CH-SGs (inc.)
Pseudo-propheta (comoedia), Lucerne, 1748, lib Lz;
Sigeric (Trauer-Spiel), Zug, 1751, lib Zug, Stadt- und Kantonsbibliothek; melodrama [untitled], Neu St Johann, 25 Sept 1755, lib SGs
Georg Gabriel Schütz (Nuremberg, 14 de febrer de 1670 - Nuremberg, 13 de març de 1716)
Musician and composer, youngest son of (1) Gabriel Schütz. He studied with his father. He was a probationary town musician at Nuremberg and a town musician proper in 1702. There is a sacred song by him in Müller's above-mentioned collection of 1691.
Petronio Maria Pio Sgabazzi (Bologna, 15 d’octubre de 1716 - Bologna?, c.1740) va ser un compositor italià.
His father was Domenico Maria Sgabazzi, organist of S Petronio, Bologna, from 25 February 1697 until his retirement on 6 August 1743. Sgabazzi studied music with his father and counterpoint with Padre Martini. Evidence of his lessons in counterpoint is found in a manuscript, dated between 9 November 1735 and 12 July 1736, in which he recorded his compositions (I-Bc KK. 87). His other known compositions were written between 1736 and 1740. The five introits in strict counterpoint, composed during his apprenticeship with Martini, use cantus firmi. The concerted style of his other works resembles the style of his contemporaries in Reggio nell'Emilia, but the string parts (particularly the soloistic passages for the first violin) are carefully elaborated. (GaspariC, i, iii, iv; MGG1 (O. Mischiati))
Ky, 4vv, vns, 5 int, 4vv, 1736
Dixit Dominus, 4vv, str, bc, 1737
Nisi Dominus, 2vv, 1738
Ave regina, A, vns
Laudate pueri, 3vv, vns, 1738
Mag a 4, vns, 1740
Domine ad adiuvandum a 4, vns, 1740
Messa concertata (Ky, Sinfonia), 4vv, vns, inc.
Johann Trier (Themar, 2 de setembre de 1716 - Zittau, bur. 6 de gener de 1790) va ser un organista i compositor alemany.
He matriculated at the University of Leipzig on 2 June 1741. During the following years he probably studied with J.S. Bach and by the mid-1740s had become a prominent participant in several of Leipzig's musical societies. By 1 May 1746 he had assumed the direction of the collegium musicum formerly led by G.P. Telemann and J.S. Bach; he probably remained in this position until 1747. Although he failed in his attempt to succeed J.S. Bach as Thomaskantor in 1750, Trier was unanimously chosen in 1753 from nine applicants (including C.P.E. and W.F. Bach) for the important position of music director and organist of the Johanniskirche in Zittau, which he held from 1754 until his death. Two of his pupils, J.G. Schicht and J.G. Schneider (the elder), achieved some eminence. Trier was esteemed during his lifetime mainly as ‘one of our greatest masters of the organ’ (Gerber). However, he was also the composer of a variety of polonaises and preludes for clavier and organ and of at least two cycles of cantatas for the church year. His organ and church works are in the late Baroque polyphonic style.
Auf Geister, zeigt die frohen Triebe, vv, insts, 1786, B-Bc;
O Freudenfest, o Tag voller Wonne, vv, insts, Bc;
Jesus ward aufgehoben, for the Ascension, vv, insts, Bc;
Drei sind, die da zeugen, vv, insts, Bc;
44 sacred cants., solo vv, choir, insts, formerly Königsberg University Library, lost;
2 cycles, of cants. for the church year mentioned in GerberNL, lost
3 short preludes [?frags.], ed. K.E. Hering, Orgelmusik für Unterricht, Kirche und Schule; Polonaise, B-Bc;
Präludium auf drei Orgeln in der hl. Christnacht, 1755 mentioned by Sietz, present location unknown;
Prelude, a, mentioned by Sietz, present location unknown;
7 short polonaises, inc.
Serenata nach geschehener Erb-Huldigung, formerly Königsberg University Library, lost;
occasional works, incl. 2 Abendmusiken, insts, tpts, timp, Leipzig, 1747, 1748;
Partie, insts, lost;
MS Choralbuch, lost
Harald Vallerius (Vallerstad, 25 de desembre de 1646 - Uppsala, 8 de març de 1716) va ser un matemàtic, organista i compositor suec.
After attending the secondary school at Linköping he went to the University of Uppsala, where he matriculated in 1666. His many-sided talents and humility soon attracted the attention of Olof Rudbeck, whose foremost pupil he became. In 1675 he was appointed director of music and in 1676 organist of the university; he held both posts until 1691. He graduated MA in 1679 and was appointed lecturer in mathematics in 1680 and professor in 1690. He retired in 1711. Vallerius also periodically lectured on music, and musical events took place regularly at his house. Through his manuscript theoretical works Disputatio physico-musica de sono (1674), Disputatio physico-musica de modis (1686) and Disputatio de tactu musico (1698) he inaugurated a tradition of writing music dissertations that continued through the first half of the following century. Only one of Vallerius's compositions is extant, an unpretentious epithalamium (Fägnesång, in S-LI, Sk) of 1700. The rest of his music was destroyed by fires at his house (1692) and in Uppsala (1702), but through a letter of Olof Rudbeck's and the funeral oration by Johann Upmarck-Rosenadler (1716) it is known that it included an Ode acclamatoria (1675) for the coronation of Carl XI, a mourning cantata (1686) and music for the synod of the Swedish church in Uppsala (1693). Vallerius is musically most important for his work on the Swedish hymnal (1697) which, by royal command, he edited together with Rudbeck. Exactly how they divided the work between them is not clear, but all the evidence indicates that Vallerius must have been responsible for most of it. As some of the melodies have not been found elsewhere the possibility cannot be excluded that the editors wrote these particular ones themselves.
William Viner (1650 - Dublin, 1716) va ser un violinista i compositor anglès.
He was active in Dublin in the early 18th century, holding the position of Master of the State Music from 1703 until his death. His will was proved on 30 November 1716. In the present stage of research into this meagrely documented period of Dublin musical activity, little is known of the details of Viner's contribution. It is not clear, for instance, why the annual birthday ode was composed each year from 1709 by J.S. Kusser (known in Dublin as Cousser), who succeeded Viner as Master of the State Music in 1717. For the celebration of the Peace of Utrecht on 20 June 1713, Viner collaborated with Kusser in the preparation of special music for the Play House. Walsh published a set of solos for violin and bass which are described as ‘composed by the late Mr Viner of Dublin’, and Thomas Cross engraved a song by him, No Coelia … I'll no longer mourn. He was the arranger of a piece in Arie di camera (c1727) and is lauded in a poem by Pilkington, The Progress of Musick in Ireland (Dublin, 1730).
Philippine Charlotte von Preussen (Berlín, 13 de març de 1716 - Braunschweig, 16 de febrer de 1801) va ser una compositora alemanya.
Fou una noble prussiana, filla del rei Frederic Guillem I de Prússia (1688 - 1740) i de Sofia Dorotea de Hannover (1686 - 1757). El 2 de juliol de 1733 es va casar a Berlín amb el duc Carles I de Brunsvic-Wolfenbüttel, fill del duc Ferran Albert II de Brunsvic-Lüneburg (1680 - 1735) i d'Antonieta Amàlia de Brunsvic-Lüneburg (1696 - 1762). El matrimoni va tenir tretze fills.
Austrian composer and organist. He held posts as organist at the Benedictine abbey of Göttweig, Lower Austria (1736–43), and choral director of St Veit, Krems an der Donau (1746–53); between 1743 and 1746 he apparently studied philosophy and theology, and at some time between 1750 and 1752 he was ordained priest. In 1753 he was appointed to the charge of the Chapel of All Saints at Stein an der Donau, a sinecure which allowed him to devote the rest of his life exclusively to composition. Zechner was a leading figure in a group of composers who wrote for the monasteries and the nobility in Lower Austria. His compositions were distributed in all the Habsburgian countries and in southern Germany. His extensive output of liturgical music covers almost all contemporary genres and he was one of the first to feature extensive solo writing for the organ in some of his Missae solemnes. The early works still show the influence of Fux and Caldara, but more popular rhythmic and melodic elements become prevalent in the motets and arias and his later works are in a fully developed early Classical style. An interesting feature is his combination of galant melody with scholarly counterpoint. Zechner also composed seven applausus works for the abbey at Göttweig. Notable among his instrumental output, which has much in common with that of G.C. Wagenseil and M.G. Monn, are some late instances of music for lute and some early examples of keyboard concertos.
37 missae solemnes, 1 ed. F.W. Riedel, Grosse Orgelsolo-Messe (Stuttgart, 1999);
19 missae ordinariae;
8 masses, a cappella;
20 vespers, pss;
27 Marian antiphons;
3 Veni Sancte Spiritus;
61 Lat. offs, motets;
56 Ger. motets, arias;
7 applausus works;
other sacred and secular Works
10 syms., 2 ed. in The Symphony 1720–1840, ser. B, vi (New York, 1982);
4 hpd concs., ed. in MAM, xxxi–xxxiv (1973);
4 divertimentos, partitas, 2 for 2 vn, vc, ed. in MAM, xxiv (1970);
other pieces, org/lute