dimarts, 11 d’octubre de 2016

WESLEY, Samuel (1776-1837) - Symphonies

Barend Cornelis Koekkoek - Bosgezicht (1848)
Obra de Barend Cornelis Koekkoek (1803-1862), pintor holandès (1)


- Recordatori de Samuel Wesley -
En el dia de la commemoració del seu 179è aniversari de decés



Parlem de Pintura...

Barend Cornelis Koekkoek (Middelburg, 11 d'octubre de 1803 - Kleve, 5 d'abril de 1862) va ser un pintor holandès. Conegut al llarg de la seva vida amb l'etiqueta del "príncep de la pintura de paisatge", es va formar amb el seu pare Johannes Hermanus Koekkoek. El 1817 es va matricular a l'Acadèmia de Dibuix de Middelburg on va rebre formació d'Abraham Krayestein. El 1822 es va traslladar a Amsterdam on va estudiar 4 anys a la Koninklijke Academie van Beeldende Kunsten iniciant la seva carrera de pintor a partir del 1824. Ràpidament es va especialitzar en pintura de paisatges concentrant-se en les diferents estacions de l'any i en com aquestes modificaven l'entorn natural. Sovint va emfatitzar la grandesa de la naturalesa vers petites figures humanes en un clar sentit al·legòric romàntic. Guardonat en diverses ocasions, va gaudir d'ampli reconeixement al seu país i va treballar pel rei Friedrich-Wilhelm IV de Prussia, pel Tsar Alexander II i pel rei Willem II. Els seus germans Hermanus Koekkoek i Marinus Adrianus Koekkoek van ser pintors. Barend Cornelis va morir a Kleve l'abril de 1862.

Font: En català: No disponible En castellano: No disponible In english: Barend Cornelis Koekkoek (1803-1862) - Altres: Barend Cornelis Koekkoek (1803-1862)



Parlem de Música...

Samuel Wesley (Bristol, 24 de febrer de 1766 - London, 11 d'octubre de 1837) va ser un organista i compositor anglès de l'època georgiana tardana. Fill del conegut metodista i escriptor d'himnes Charles Wesley, nét de Samuel Wesley (poeta de l'últim període de Stuart) i nebot de John Wesley, el fundador de l'església metodista, va mostrar bon talent musical des de ben petit. Tocava el violí i l'orgue i va treballar com a director d'orquestra i professor de música. Moltes de les seves composicions més conegudes van ser escrites per a l'església, incloent el motet In exitu Israel. Les seves composicions seculars inclouen madrigal en cinc parts O singe unto mie roundelaie basat en el poema ben conegut de Thomas Chatterton. El 1788 Wesley va ser iniciat en la maçoneria en la Lògia d'Antiguitat. El Duc de Sussex el va nomenar Gran Organista el 1812, però va renunciar al càrrec el 1818. El seu fill, Samuel Sebastian Wesley, va ser també compositor i, com el seu pare, es va especialitzar en la música d'orgue i d'església. Al llarg de la seva vida va ser anomenat per alguns com "el Mozart anglès" tot i que amb aquesta etiqueta també es va conèixer a Linley Jr. Samuel Wesley va morir a Londres l'octubre de 1837.

OBRA:

Vocal secular:

Secular choruses, glees, partsongs:
for 3 voices, unaccompanied, unless otherwise stated
Adieu ye soft scenes of delight, glee, 1781, Lbl*, US-NYpm*
Begin the noble song (S. Wesley, 1662–1735: Ode to St Cecilia), 4vv, orch, 1799, GB-Lbl, Lcm; ed. F. Routh (1997)
Beneath, a sleeping infant lies (S. Wesley, 1691–1739), c1798, Lcm*
Beneath these shrubs (Epitaph on a Favourite Dog), 1800, Lcm*
Beneath yon grassy hillock, 1818, Lbl*
Blushete me, Carolos, 1798, Lcm*
But if his teeth so far are gone, 1824, Lcm*
Circle the bowl with freshest roses, 4vv, 1782, Lbl*, US-NYpm*
Father of light and life (J. Thomson: The Seasons), 4vv, 1801, GB-Lbl* (1820)
Goosy goosy gander, c1781, GB-Lbl*, US-NYpm* (c1800)
Happy the man and happy he alone (J. Dryden, after Horace), 1800, GB-Lcm*
Harsh and untuneful are the notes, glee (L. Sterne: Tristram Shandy), 1783, Lcm*, US-NYpm*
Here shall the morn (A. Pope), 4vv, c1807, GB-Lbl*, Lcm*
Hilaroi piomen oinon (Anacreon), 1800, Lbl*
Hurly burly, blood and thunder (E. Thurlow: The Asylum for Fugitive Pieces), 1810, Lbl, Lcm
If in fighting foolish systems, 1807, Lbl*
Integer penis (Imitation of Horace), c1798, Lcm*
I walked to Camden Town, burlesca, c1807, Lcm*
Life is a jest, 4 male vv, 1807, Lbl*, US-Wc*
Mihi est propositum (W. Mapes), 4vv, 1794, GB-Lbl*
Nella casa troverete, c1781, Lbl*, US-NYpm*
Now the trumpet's martial sound (W.B. Kingston), 4vv, 1815, GB-Lbl*
O Delia, ev'ry charm is thine, 4vv, Lcm
Old King Cole, 1813, Lbl*
On the salt wave we live, Lbl*
O sacred bird (M. Akenside: Ode to a Nightingale), 1800, Lcm*
O sing unto mie roundelaie, madrigal (T. Chatterton), 5vv, 1812, Lbl (1813)
Qualem ministrum, ode (Horace), 6vv, 1785, Lbl*
Roses, their sharp spines being gone, 1798, Lbl*, Lcm*
Say, can pow'r or lawless wealth, 1791, Lbl*
Sol do re me, 3vv, Lbl*
The glories of our birth and state (after W. Shirley), 4vv, 1799, Lbl*, Lcm*, Dorking, Royal School of Church Music
The Macedon youth, 1800, Lbl*
There are by fond mama supplied, 2 S, A, b, c1778, Lbl*, US-NYpm*
Thou happy wretch (E. Young: Night Thoughts), 1783, GB-Lcm*, US-NYpm*
Three bulls and a bear, catch, c1775, GB-Lbl*
Thus through successive ages stands, 4vv, orch, Lbl*
Tobacco’s but an Indian weed, 1800, private collection* (1800)
Unde nil maius (Eulogium de Johanne Sebastiano Bach) (after Horace), 1810, Lbl*
What bliss to life can autumn yield (S. Johnson), 1807, Lbl*
When Bacchus, Jove's immortal boy, 1806, Lbl* (1806)
When down his throat (M. Madan), c1798, Lcm
When first thy soft lips, glee, 1783, Lcm*, US-NYpm*
When friendship, love and truth abound, glee, GB-Lbl
When Orpheus went down, ?1781, Lbl*, US-NYpm*
While ev'ry short-liv’d flower of sense, 4 vv, 1822, GB-Cfm*, Ge*, Lbl*
While others, Delia, use their pen (The Rights of Men), 1800, Lbl, Dorking, Royal School of Church Music
While Prussia's warlike monarch blusters, 4vv, 1782, Lbl*
Whoes there? a granidier, catch, c1775, Lbl
Why should we shrink from life's decline? (Harvest Cant.), S, T, orch, 1813, Lbl
You are old, Father Dennis (after R. Southey), 1799, Lcm*

Songs, duets:
for solo voice with bass instrument unless otherwise stated
Adieu, ye joyful youths (W. Shenstone), 1783, GB-Ob*, US-NYpm*
Alack and alack (Derdam Downs), 1v, orch, c1775, GB-Lbl*
Alone on the sea-beat rock (Ossian: Armin's Lamentation), 1v, orch, 1784, Lbl*, US-NYpm*
And is he then set free (On the Death of William Kingsbury), 2vv, 2 vn, b, 1782, GB-Lbl*
An election’s a comical plan, c1777, Lbl
Autumnus comes (T. Percy), 1v, kbd, ?1778, Lbl, in D. Barrington: Miscellanies (1781)
Come all my brave boys who want organists' places (The organ laid open), 1798, Cfm*, Lbl* (1798)
Come, Stella (S. Johnson), 1801, Lbl*
England, the spell is broken, Lbl*
Eyes long unmoisten'd wept (Elegy on the Death of Malibran), recit and aria, 1v, pf (1836)
Fairy minstrels (W.B. Kingston), S/T, 2 fl, pf, Lbl [new words to Gentle warblings in the night]
Farewell! if ever fondest prayer (Byron), 1v, pf, Lbl*
Flutt'ring spread thy purple pinions (J. Swift), 1783, Lcm*, US-NYpm*
Gentle breath of melting sorrow, 1v, orch, c1780, GB-Lbl*
Gentle warblings in the night, S/T, 1799, 2 fl, pf, Lbl*
Go, minstrel, go (On Cramer's Leaving England), 1v, pf, c1835, Lbl*
Hark! his hands the lyre explore (T. Gray: Ode to the Progress of Poesy), S, pf, 1790, Lbl*, Lcm*
Hope away! enjoyment's come, aria, S, 2 vn, b, 1793, Lbl*
In gentle slumbers (M. Madan), 1v, orch, c1773, Lbl*
In radiant splendor (J. Davies), 1v, pf, 1816, Lbl*, Lcm* [on the marriage of Princess Charlotte]
La belle Gabrielle (Chanson d’Henri quatre), 2vv, b, 1792, Lbl*
Little tube of mighty power (Address to a Pipe), 1798, Lcm*
Louisa, view the melting tears, S, b, c1783, Lbl*, US-NYpm*
Love and folly were at play, 1v, pf (c1800)
Love, like a cage-contented bird, 1v, pf, GB-Lcm*
Love's but a frailty of the mind, 1783, Ob*, US-NYpm*
Near Thame's fam'd banks, 1v, 2 vn, b, 1799, Lbl
Not heav’n itself (J. Dryden, after Horace), 1804, Lbl
Of all the joys were e'er possest, 2vv, b, 1801, Lbl*
O how to bid my love adieu, arietta, 1783, Lcm*, US-NYpm*
One kind kiss before we part, c1783, GB-Ob*
Orpheus could lead the savage race (Dryden: A Song for St Cecilia's Day), 1v, pf, 1836, Lbl
O! that I had wings like a dove, ?1800, Lcm*
Pale mirror of resplendent light, arietta, 1783, Lcm*, US-NYpm*
Parting to death we will compare, arietta, 1783, GB-Lbl*, Lcm*, US-NYpm*
Phere moi kupellon (Anacreon), 1797, GB-Lbl*
Phere moi kupellon (Anacreon), 1829, Lbl*
See the young, the rosy spring (T. Moore, after Anacreon), 2vv, pf, 1809, Lbl, Lcm
Since pow'rful love directs thine eye, 2vv, b, 1783, Ob*, US-NYpm*
Sweet constellations, 2vv, b, 1782, GB-Lbl*, US-NYpm*
Tergi il pianto, idolo mio, rondo, 1v, orch (c1785)
There was a little boy, 2vv, pf (c1800)
The rising sun of freedom, 1v, 4vv, b, ?1798, Gb-Lcm*
The white robed hours, arietta, 1783, Lcm*, US-NYpm*
The world, my dear Mira, is full of deceit, 1v, hpd, 1784, NYpm*
Think of me, 1v, pf, 1837, GB-Lbl*
This is the house that Jack built, 1809, Lbl*
Too late for redress, arietta, 1783, Lcm*, US-NYpm*
’Twas not the spawn of such as these (after Horace), 1v, pf, 1825, GB-Lbl*, Lcm*
What a folly it is, 1836, Lbl*
What are the falling rills (cant.), 1v, orch, c1775, Lbl*
What shaft of fate's relentless pow'r, 1v, pf, c1795, Lbl*, Lcm*; ed. in MB, xliii (1979)
When all around grew drear and dark, 1v, pf, 1837, private collection*
When this life unblest we rove, 1v, pf, 1837, Lbl*
When we see a lover languish, aria, 1783, Lcm*, US-NYpm*
Within a cowslip's humble bell, c1808, GB-Lbl*
Yes, Daphne, in your face, 1v, kbd, 1781, Lbl, Ob*, US-NYpm*
Various vocal canons, Gb-Lbl

Vocal religiosa:

Masses:
Missa de Spiritu Sancto, 5 solo vv, 4vv, orch, 1784, GB-Lbl*, Cfm*; ed. F. Routh (1997)
Missa ‘In duplicibus’, plainchant, bc, 1789, Lbl (1816)
Missa ‘Pro angelis’, 4 solo vv, 4vv, org acc., 1811–12, Lbl, Lcm
Missa de sanctissimo Trinitate: Ky, Gl, Cr (inc.), 4vv, Lbl
Missa defunctorum, plainchant, org acc., Lbl
Requiem [int only], 4vv, 1800, Lbl, Lcm

Oratorios:
Ruth, 1774, GB-Lbl*
The Death of Abel, 1779, Lbl*

Service music and anthems:
Morning and Evening Service, F, 4vv, org (1824): TeD, Jub, 1808, GB-Lbl; Ky, San, Lbl*; Mag, Nunc, 1822, Lcm*
Evening Service, G (1897)
Nunc dimittis, G, S/T, org acc., c1775, Lbl
Litany responses, A, 4vv, 1806, Lbl
Kyrie, E, 4vv, 1827, Lcm;
Sanctus, E , 4vv, Lcm
Kyrie, 4vv, org acc., c1780, Lbl
Agnus Dei, 2vv, bc, Lcm

Other Latin:
Amavit eum Dominum, 2 female vv, org acc., c1780, Lbl*
Anima nostra erepta est, 5vv, c1798, Lbl*, Lcm*
Ave maris stella, 2 female vv, orch, 1786, Lbl*; ed. J. Marsh (1977), ed. F. Routh (1984)
Ave regina caelorum, 2 female vv, org acc., c1781, Lbl*
Ave regina caelorum, 5vv, org acc., Lbl* (c1840); ed. G. Webber (1997)
Ave verum corpus, 2 female vv, org acc., 1781, Lbl*
Ave verum corpus, 3vv, org acc., 1812, Lbl*
Beati omnes qui timent Dominum, 2vv, org acc., 1801, Lbl*
Benedicamus Deo, 4vv, Lbl* (1811)
Christe eleison, 4vv, 1810, Lbl
Collaudate Dominum, 3 male vv, 1830, Lcm*
Confitebor tibi, Domine, 4 solo vv, 5vv, orch, 1799, Lbl*; ed. in MB, xli (1978), ed. F. Routh (1984)
Constitues eos principes, 5vv, 1814, Lbl*; ed. J. Marsh (1974)
Credo in Deum, 3vv, c1780, Lbl
De profundis clamavi, 3 male vv, c1800, Lbl*
Deus majestatis, 8vv, orch, 1799, Lbl*, US-Wc*
Deus noster refugium, 3vv, 1807, GB-Lbl*
Dixit Dominus, 4vv, 1782, Ob*
Dixit Dominus, 8vv, org acc., 1800, Lbl*, Lcm*
Dixit Dominus, 3vv, 1806, Ge*, Lbl*
Domine salvam fac reginam nostram Mariam, 4vv, org acc., Lcm (1811)
Domine salvum fac regem nostrum, 3vv, org acc., 1780, Lbl*
Domine salvum fac regem nostrum, 2 female vv, org acc., 1780, Lbl*
Ecce iam noctis tenuatur umbra, 3 male vv, org acc., 1801, Lbl*
Ecce iam noctis tenuatur umbra, 5vv, org acc., 1808, Lbl*
Ecce Maria genuit nobis, 3 female vv, org acc., 1780, Lbl*
Ecce panis angelorum, 4vv, 1813, Lbl*; ed. G. Webber (1998)
Ecce sic benedicetur, 3 male vv, 1801, Lbl*
Emitte lucem tuam, 2 female vv, org acc., c1781, Lbl*
Exultate Deo, 5vv, orch/org acc., 1800, Lbl* (1830)
Gloria et honore, T, org acc., US-Wc* (1842); ed. J. Schwarz (1988)
Gloria Patri, B , 2 female vv, org acc., c1780, Lbl*
Gloria Patri, F, 2 female vv, org acc., ?1780, GB-Lbl*
Gloria Patri, 4vv, org acc., 1780, Lbl*
Gloria Patri, 3 male vv, c1800, Lbl*
Hodie Beata Virgo Maria, 3 female vv, org acc., 1780, Lbl*
In exitu Israel, 8vv, org, 1810, Lcm* (1885)
In manus tuas Domine, 4vv, Lbl*
In te, Domine, speravi, unison S, org acc., 1798, Lbl*, Lcm*
Justus ut palma florebit, 3vv, org acc., Lbl
Levate capita vestra, 4 male vv, 1798, Lbl*, Lcm*
Magnificat anima mea, 3 female vv, org acc., 1783, Lcm*
Magnificat anima mea, 4vv, org acc., 1821, Lbl*
Miserere mei, Deus, 2vv, org acc., 1792, Lbl*
Nocte surgentes, 3 male vv, 1801, Lbl*
Omnes gentes plaudite, 3 female vv, org acc., Lbl*
Omnia vanitas (Carmen funebre), 5vv, 1824, Lbl*, Lcm*, US-AUS; ed. in S.S. Wesley: A Dew Words on Cathedral Music (1849); ed. S. de B. Taylor (1952)
Ostende nobis, Domine, 4vv, 1827, GB-Lcm*
Pro peccatis suae gentis, 3 vv, 1792, Lbl*, Lcm*
Qui tollis peccata mundi, unison S, org acc., 1781–2, Lbl*, Lcm*
Sacerdos et pontifex, 4vv, c1780, Lbl*
Salve regina, 3vv, org acc., 1799, Lbl*, Lcm* (1826)
Sanctus Dominus Deus Sabaoth, 4vv, Lcm
Sit nomen Domini, 3vv, 1801, Lbl*
Sperate miseri, 2 female vv, org acc., 1783, Lbl*
Stabat mater, 1v, bc, Lcm
Stabat mater, 4vv, Lcm
Tantum ergo, Lcm*
Te decet hymnus, 4vv, 1798, Lcm*
Tota pulchra es, 2vv, org acc., 1812, Lbl*
Tu es sacerdos, 4vv, 1814, Lbl*; ed. J. Marsh (1974)
Tu es sacerdos, 6vv, 1827, Lcm*; ed. in S.S. Wesley: A Few Words on Cathedral Music (1849)
Ut queant laxis, 3 male vv, ?1812, Lcm*
Several antiphons, plainchant, bc, Lbl

Other English:
All go unto one place, B solo, 4vv, org acc., 1834, Lbl (c1837) [funeral anthem for C. Wesley (ii)]
All the earth doth worship thee, 4vv, org acc., 1801, Lbl*
Behold how good and joyful, G, S/T, 4vv, orch, org acc., c1775, Lbl*
Behold how good and joyful, B , 3 male vv, org, 1813, Lbl*
Behold, I was shapen in wickedness, S/T, org acc., c1775, Lbl*
Be pleased, O Lord, to deliver me, 3vv, c1802, Lbl*
Go not far from me, O God, S, S, org acc., c1825, Lbl*, Lcm*
Hear, O thou shepherd of Israel, 2 solo vv, 4vv, org acc., ?c1800, Lbl*
Hide thy face from my sins, S/T, org acc., c1775, Lbl*
In the multitude of the sorrows, 3 male vv, 1801, Lbl*
I said, I will take heed, A solo, 4vv, org acc., 1776, rev. 1797, in Page's Harmonia sacra, ii (1800)
I will arise and go to my Father, S/T, org acc., ?1837, Lbl*
Lord of the earth and heavens sublime, S/T, unison S, org acc., c1834, Lbl*
Mansions of heav’n your doors expand, 2 S, unison S, org acc., 1835, Lbl*
My delight shall be in thy statutes, S, org acc., 1816, Lbl*
Now the strife of death is over, 2 S, orch acc., ?1837, Lcm*
O deliver me, 2 S, org acc., Lcm, ed. S.S. Wesley, The European Psalmist (1872)
O give thanks unto the Lord, E, S, S, unison S, org acc., c1835, Lbl*
O give thanks unto the Lord, D, 4vv, org, 1837, Lcm* [coronation anthem]
O Lord God most holy, 4vv, 1800, Lbl*, US-Bp*
O praise the Lord, all ye heathen, S/T, org acc., c1775, GB-Lbl*
O praise the Lord of heaven, S, B, 4vv, org acc., c1775, Lbl*
O praise the Lord, ye that fear him, 4vv, org acc., c1825, Cfm
O remember not our old sins, 2 S, org acc., 1821, Lbl*, Lcm*, ed. S.S. Wesley, The European Psalmist (1872)
O ye that love the Lord, S/T, org acc., c1775, Lbl*
Praise the Lord, O ye servants, S/T, org acc., c1775, Lbl*
Praise the Lord, ye servants, T, SATB, c1810, Lbl*
Praise ye the Lord, ye immortal quires, S/T, B, 4vv, 1775, Lbl*
Sing praises unto the Lord, 4vv, org, Lbl*
The Lord is my shepherd, F, S/T, org acc., 1774, Lbl*
The Lord is my shepherd, B , S, A, 2 female vv, org acc., 1834, Lbl*
This shall be my rest for ever, 3vv, 1800, Lbl*, Lcm*
Thou, O God, art praised in Sion, 4vv, 1824, Lcm*, in A. Pettet: Original Sacred Music (1825) [Eng. version of ‘Te decet hymnus’]
Thou shalt make me hear of joy, 3vv, c1775, Lbl*
Who can tell how oft he offendeth?, S, org acc., 1823, Lbl*

Hymn tunes and sacred songs:
Original Hymn Tunes Adapted to Every Metre in the Collection by the Rev. John Wesley (1828)
57 original hymns in The Psalmist (1835–42)

Individual pieces:
And now another day is done (I. Watts), S, unison S, org acc., c1775, GB-Lbl*
Awake my glory, harp and lute, S, org acc., 1827, Lcm*
Come, Lord, from above, 2 S, org acc., c1775, Lbl*
Eternal father of mankind, 2 S, org acc., 1799, Lcm*
Far above their noblest songs (C. Wesley (ii)), 4vv, c1792, Lbl*
Father, I know my end is nigh, 1v, org acc., Lbl*
Father of me and all mankind (C. Wesley (ii)), S, org acc., c1825, Lcm*
Gentle Jesus, meek and mild (C. Wesley (ii)), S, pf/org acc., 1808, Lbl, ed. R. Langley (1997)
God of almighty love (C. Wesley (ii)), S/T, org acc., c1775, Lbl*
Hark! In the wilderness a cry (W. Shirley), 3vv, org acc., c1775, Lbl*
He’s blest whose sins have pardon gain’d (‘Bristol’), S, org, acc., 1806, Lbl* (1808)
How are thy servants blest, O Lord (J. Addison), S, 3vv, orch, c1804, Lbl*
In dreary waste where horror dwells (C./J. Wesley), 3vv, org acc., c1775, Lbl
Let all that breathe Jehovah praise, S, org acc., c1828, Lcm*
Let earth and hell their powers employ, 1v, bc, c1773, Lbl*
Lord, if with thee part I bear, S, S, org acc., c1775, Lbl*
Meet and right it is to praise God, S, org acc., c1828, Lcm*
Might I in thy sight appear (C. Wesley), S/T, pf/org acc., 1807, Lbl*; ed. S.S. Wesley, The European Psalmist (1872); ed. in MB, xliii (1979)
Music as first by heav'n designed, S/T, org acc., c1775, Lbl*
O Jesus our King, 1v, org acc., 1777, Lbl*
O Lord, my rock (‘Hertford’), 1v, org acc., 1806, Lbl*
O ’tis like ointment on the head, 2vv, org acc., c1828, Lcm*
Praise God from whom all blessings flow (T. Ken), S/T, org acc., c1775, Lbl*
Praise the Father for his love, S/T, org acc., c1775, Lbl*
Shepherd of souls, with pitying eye (C./J. Wesley), S/T, org acc., c1775, Lbl*
Shout, sons of heaven, your voices raise, 2 S, 2 female vv, org acc., 1834, Lbl*
Sweet were the sounds of heavenly love, 2 S, unison S, org acc., c1835, Lbl*
The sacred minstrel plays and sings, S/T, org acc., c1775, Lbl*
The supremely good, supremely great, S/T, org acc., 1807, Lbl*
Thou, Jesu, art our King (J. Wesley, after J. Scheffler), 4vv, 1798, Lbl*, Lcm*
Thus saith the Lord (C./J. Wesley), S/T, org acc., c1825, Lcm*
Thy royal seat, O Lord, S/T, org acc., Lcm*
To God the Father, God the Son, 3vv, 1774, Lbl*
To thee great Author of all good, SS, org acc., c1775, Lbl*
We sing the wise, the gracious plan (‘Hooke’), in J. Major: A Collection of Sacred Music (c1824)
What hymns, O Lord, of grateful joy (Christmas Hymn), S, unison S, org acc., c1835, Lbl*
What tho’ my frail eyelids refuse (‘Protecting Love’), S, org acc., 1807, Lcm*
When shall the poor, the child of grief, S, org acc., 1807, Lbl*
With pleasure I obey, S, org acc., c1775, Lbl*
Who is the trembling sinner (C. Wesley (ii)), S/T, pf/org acc., 1821, Lcm*, ed. S.S. Wesley, The European Psalmist (1872)
Many separate tunes and chants, Lbl, Lcm

Instrumental:

Orch.:
3 ovs., GB-Lbl*: G, 1775, D, 1778, C, 1780
4 syms., Lbl*: D, 1784, ed. R. Platt (1976), E , 1784, A, c1784, B , 1802, ed. in The Symphony 1720–1840, ser. E, iii (New York, 1983)
2 hpd concs., c1774, Lbl*: G, F
3 org concs.: A, 1787, D, 1800, rev. 1809, Lbl*; C, 1814, rev. 1816, private collection*, Lbl*
8 vn concs., Lbl*: C, 1779, A, ?1780, D, 1781, E , c1781, E, 1782, B , 1782, G, 1783, B , 1785
Sinfonia obbligato, vn, org, vc, D, 1781, Lbl*, ed. in The Symphony 1720–1840, ser. E, iii (New York, 1983)

Chbr.:
Str Qt, C, 1779, GB-Lbl*;
Str Qt, G, c1779, Lbl*;
Str Qt, E , ?c1825, Lbl, ed. F. Routh (1984)
Fugue on a theme from Haydn’s Creation, B , 1800, Lbl*;
Minuet in Haydn's Manner, F, 1800, Lbl*;
Minuet and Trio, c, 1807, Lbl*, Lcm*;

Trios:
G, 2 vn, b, ?1774, Lbl*;
3 for 2 vn, b: C, c1775, ‘Catherine Hill’, 1776, ‘Warwicks Bench’, 1776, all Lbl*;
Fugue, B , 3 ?str insts, c1780, Lbl*;
A, ob, vn, vc, ?c1780, Lbl*;
D, 3 pf, 1811, Lbl*;
F, 2 fl, pf, 1826, Lbl (c1830);
Quodlibet, 3 insts, Lbl;
Trio, 3 insts, Lbl;
Fantasia, 3 insts, Lbl

Sonatas:
G, vn, b, ?1774, Lbl;
F, vn, hpd, ?1775, Lbl;
E , vn, b, 1778, Lbl;
A, vn, b, 1778, Lbl;
2 Sonatas, G, C, pf/hpd, vn, op.2 (c1786);
Duet for Solomon, F, vn, pf, 1797, Lbl*;
3 Sonatas, D, A, B , pf/hpd, Mr*
March, D, 2 ob, 2 hn, 2 bn, serpent, 1777, Lbl (c1880);
Glee, 4 vn, Lbl;
Duos, 2 vn, Lbl, Mr

Organ:
published
12 Voluntaries, op.6 (1802–17): D, C, c, G, D, C, E , D, g, F, A, F; no.9, g, US-Wc*, no.10, F, GB-Lbl*; all ed. F. Routh (1982–3), G. Atkinson (2000)
Duet in 3 Movements, C, 1812, Lbl* (1836); ed. W. Emery (1964)
12 [recte 13] Short Pieces with a Voluntary Added (1816), Lcm*: G, G, G, a, a, a, F, F, F, D, D, D, D, d; ed. in Tallis to Wesley, vii (1967)
Variations on ‘God Save the King’, Lcm*, in Beauties for the Organ, i (1820)
Variations on ‘Rule Britannia’, Lcm*, in Beauties for the Organ, i (1820)
3 Voluntaries, ded. J. Harding, bk 1 (c1824): D, F, D
3 Voluntaries, ded. J. Harding, bk 2 (c1824): e, C, B
A Voluntary, ded. W. Linley, g (c1825)
A Short and Familiar Voluntary, A (1827)
2 Preludes and Fugues, ded. T. Adams, c, 1826, Lcm, G (1838)
A Voluntary, ded. H.J. Gauntlett, G (c1827)
A Voluntary, ded. W. Drummer, D (1828)
A Voluntary, ded. T. Attwood, B , 1829, Lcm (1830)
6 Introductory Movements and a Loud Voluntary with Introduction and Fugue, D, E, F, A, C, e, D, Lbl (1831)
6 Voluntaries for the Use of Young Organists, F, A, G, B , D, C, op.36 (c1831)
6 Short Voluntaries with Introductions for Young Organists, D, B , F, F, E , C, c1834, Lcm (c1837)
Fugue, ded. Mendelssohn, b, 1837, Lbl, Lcm* (1837); ed. in, Tallis to Wesley, xiv (1962)

Unpublished:
12 voluntaries: C, 1 movt, c1774, Lbl*; D, B , C, 1817, Lbl*; D, A, D, D, C, D, F, c1836, Lbl*; B , Lbl
Preludes throughout the octave, 1797, Lbl, Cfm
4 short preludes, ?1825, Lbl: C, G, D, A; prelude, G, c1833, Lbl*
Introduction to Bach's ‘St Anne’ fugue, c, 4 hands, 1812, Lbl*, Lcm*
3 introductions and fugues, Lbl: G, G, c1833, d, c1833 [fugue after Mozart's Requiem]
12 fugues, Lbl*: B , D, d, G, 1774; C, B , C, D, D, 1800; G, c1833; D, C, c1836
Many other miscellaneous pieces, Lbl*, Lcm*

Other keyboard:
published
in LPS, viii (1984)
8 Sonatas [op.1] (1777): B , D, F, C, A, E, †G, E
3 Sonatas, op.3 (?1789): C, F, D
12 Sonatinas, op.4 (1799): C, F, D, B , D, A, E , B , F, G, g, E
4 Sonatas and 2 Duets, op.5 (1801): A, B , D, E , F, D
March, 4 hands (c1807)
†Sonata in which is Introduced a Fugue on a Subject of Mr. Salomon, d (1808)
Sonata ‘The Siege of Badajoz’, D (1812)
The Sky Rocket, a Jubilee Waltz (1814)
Cobourg Waltz (1816)
Hornpipe and Variations from a Favorite Organ Concerto, D (1820)
Fugue, ded. J.B. Logier, D, 1825, private collection* (1828)
Grand Coronation March (1837)
5 variation sets: The Bay of Biscay (1813), Sweet Enslaver (1816), Scots wha hae wi' Wallace bled (1824), A Favorite Italian Air, Lbl*, Mr* (1827), Jessy of Dunblane, c1830–34, Dorking, Royal School of Church Music* (c1837)
14 rondos: Old Towler (c1795), Le melange (1800), Off she goes (c1802), A Favourite Polish Air (1808), Will Putty (?1809), †Widow Waddle, Lbl (c1810), Jacky Horner (c1810), †The Deserter's Meditations (1812), †A Christmas Carol (1814), †Moll Pately (1815), Bellissima signora (c1815), Kitty Alone and I (An Old English Air), Lbl (1830), I attempt from love’s sickness to fly (Purcell), 1830, Lbl* (c1830) Polacca, Lbl (c1880)

Unpublished:
Andante, D, and Presto, G, 4 hands, 1791, Lbl [on operatic themes]
Duet, G, 4 hands, 1791, Lbl
War Song, 1814, Lbl
The Duke of Wellington's Return, C, 1816, Lbl
8 pieces, 4 hands, c1831, Lbl: D, G, F, A, G, B , B , G
Sonata, G, 4 hands, 1832, Lbl
3 Variations on God Save the King, D, 4 hands, 1834, Lbl, Lcm
6 sonatas, G, g, B , G, F, 1774, Lbl; C, 1813–31, Lbl* (c1880)
5 rondos: del Signor Sporini, F, 1833, Lcm; [untitled], A , c1836, Lbl*; Drops of Brandy, 1837, Lbl*; A frog he would a-wooing go, Lbl*; The Lass of Richmond Hill, 1837, Lbl
3 variation sets: Happy were the days, c1800, Lbl; Le diable en quatre, 1801, Lcm; College Hornpipe, c1836, Lbl
Many other miscellaneous pieces, Lbl*, Lcm*

Editions and arrangements:
(selective list)
G.F. Pinto: 4 Canzonets and a Sonata [recte 2 sonatas] (London, 1807), collab. J. Woelfl
J.S. Bach: 6 Trio Sonatas bwv525–30 [org], adapted for pf 3 hands (London, 1809), collab. C.F. Horn
J.S. Bach: Das wohtemperirte Clavier (London, 1810–13), collab. Horn
G.F. Handel: 3 Hymns [in GB-Cfm], Lcm (London, 1826); ed. D. Burrows (1987)
Other Bach works, Lcm, US-NYp*; Handel duets and arias, GB-Lbl*, Lcm*

Literatura:

Lectures on music, GB-Lbl
An Exploration of the Gregorian Chant, Lbl
Reminiscences, 1836, Lbl
Letters (principal collections only): Cfm, Lbl, Lcm, Mr, US-ATu
E. Wesley, ed.: Letters of Samuel Wesley to Mr Jacobs (London, 1875); facs. repr. as The Wesley Bach Letters (London, 1988)
P.J. Olleson, ed.: The Letters of Samuel Wesley: Professional and Social Correspondence, 1797–1837 (Oxford, forthcoming)

Font: En català: Samuel Wesley (1766-1837) En castellano: No disponible In english: Samuel Wesley (1766-1837) Altres: Samuel Wesley (1766-1837) 



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Wesley's reputation in his lifetime was chiefly as an organist. He was particularly noted for his improvisations, the brilliance and originality of which are recorded in a number of rapturous first-hand accounts. According to his obituary in The Times, ‘his resources were boundless, and if called upon to extemporize for half-a-dozen times during the evening, each fantasia was new, fresh, and perfectly unlike the others’. Edward Hodges, hearing him play at Bristol in October 1829, described his performance as ‘truly astounding … the most wonderful I ever heard, more even than I had before been capable of conceiving; the flow of melody, the stream of harmony, was so complete, so unbroken, so easy, and yet so highly wrought that I was altogether knocked off my stilts’. Wesley's music reflects the wide range of influences to which he was exposed during his early years: the ‘ancient’ style of Corelli, Handel and other late Baroque composers heard during his childhood, the more ‘modern’ style of J.C. Bach and C.F. Abel, which he encountered after the move to London, and Gregorian chant and the idioms of continental Roman Catholic church music, which he heard at the embassy chapels. To these were added at various later stages the Haydn of the London symphonies and The Creation, and as much of the music of J.S. Bach as was available: the keyboard works, the solo and accompanied violin sonatas, and the Credo of the B minor Mass. 

A large proportion of Wesley's instrumental music dates from the early 1780s, a particularly prolific period when the family concerts provided a regular outlet for new compositions of all kinds. Apart from the later organ concertos, his one mature orchestral composition is the splendid Symphony in B  of 1802, written for an unsuccessful concert series and apparently never subsequently performed in his lifetime. It is an ambitious and wholly original work, which in the richness of its wind scoring and its well-integrated use of counterpoint nonetheless shows how much Wesley had learnt from the London symphonies of Haydn. The Overture in E formerly ascribed to him is now thought to be by his son Samuel Sebastian. Given Wesley's fame as a keyboard player, it is not surprising that keyboard music should form an important part of his output, and the largest category of his music published in his lifetime. Despite a good deal of recent publishing activity, however, only a small proportion of his keyboard music is available in modern editions. In the organ music, Wesley's grand manner is heard at its best in the op.6 voluntaries, while a more intimate and miniaturist side to his musical character is apparent in the Twelve Short Pieces. The piano music, written for a burgeoning domestic market, divides into two categories: unashamedly opportunistic potboilers such as the battle-piece The Siege of Badajoz and the jubilee waltz The Sky Rocket on the one hand, and more serious and substantial works such as the Sonata in D minor and many of the rondos and variation sets on the other.

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Informació addicional... 

INTERPRETS: Milton Keynes Chamber Orchestra; Hilary Davan Wetton
RECICLASSICAT: WESLEY, Samuel (1776-1837)
AMAZON: WESLEY, S. - Symphonies
SPOTIFY: WESLEY, S. - Symphonies



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