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Giovanni_Battista_Sammartini

Giovanni Battista Sammartini (1700 or 1701 – 15 January 1775) was an Italian composer, organist, choirmaster and teacher. He counted Gluck among his students, and was highly regarded by younger composers including Johann Christian Bach. It has also been noted that many stylizations in Joseph Haydn's compositions are similar to those of Sammartini, although Haydn denied any such influence. Sammartini is especially associated with the formation of the concert symphony through both the shift from a brief opera-overture style and the introduction of a new seriousness and use of thematic development that prefigure Haydn and Mozart. Some of his works are described as galant, a style associated with Enlightenment ideals, while "the prevailing impression left by Sammartini's work... [is that] he contributed greatly to the development of a Classical style that achieved its moment of greatest clarity precisely when his long, active life was approaching its end".
He is often confused with his brother, Giuseppe, a composer with a similarly prolific output (and the same first initial).

History
Giovanni Battista Sammartini was born to French emigrant and oboist Alexis Saint-Martin and Girolama de Federici in Milan, in what was Austria during most of his lifetime and Italy today. He was the seventh of eight children. He received musical instruction from his father and wrote his first work in 1725, which was a set of vocal works (now lost). Not long after, he acquired the position of maestro di cappella of the Congregazione in 1728.
Sammartini quickly became famous as a church composer and obtained fame outside of Italy by the 1730s. Over the course of the years, he joined many churches for work (8 or more by his death) and wrote music to be performed at state occasions and in houses of nobility. Although he never strayed far from Milan, he came into contact with many notable composers including J.C. Bach, Mozart, Boccherini, and Gluck, the latter of whom became his student from the years 1737 to 1741.
Sammartini’s death in 1775 was unexpected. Although he was highly regarded in his time, his music was quickly forgotten, and Sammartini wasn’t to be restudied until 1913 by researchers Fausto Torrefranca, Georges de Saint-Foix, and Gaetano Cesari. Ironically, most of his surviving works have been recovered from published editions from outside his hometown of Milan.

Works
Sammartini was a prolific composer, and his compositions include 4 operas, about 70 symphonies, ten concertos and some of the earliest chamber music known in the history of western music. As of 2004, approximately 450 known works have been composed by Sammartini, although a fair amount of his music has been lost, especially sacred and dramatic works. Some of it may have also been lost due to publishment under other names, especially that his brother, Giuseppe. His earliest music was for liturgical use.
Sammartini's works are referred to, in publications or recordings, either by the opus number they received in his lifetime, or by the J-C numbers they receive in the Jenkins-Churgin catalog referred to below. Newell Jenkins edited some of Sammartini's works, including a Magnificat, for the first time (he was also an editor of works by Vivalai, Paisiello and Boccherini, among others).
Sammartini’s music is generally divided into three stylistic periods: the early period (1724-1739), which reflects a mixture of Baroque and Preclassical forms, the middle period (1740-1758), which suggests Preclassical form, and the late period (1759-1774), that displays Classical influences, including Mozart. Sammartini’s middle period is regarded as his most significant and pioneering, during which his compositions in the galant style of music foreshadow the Classical era to come.

Known works
Operas (4)
Memet (1732, Lodi, Italy), 'tragedia' in three acts, the first movements of two of Sammartini’s earliest known symphonies appear as overtures
L'ambizione superata dalla virtù (26 December 1734, Teatro Regio Ducal, Milan), 'drama' in three acts
L'Agrippina, moglie di Tiberio (January 1743, Teatro Regio Ducal, Milan), dramma per musica in three acts,
La gara dei geni (28 May 1747, Teatro Regio Ducal, Milan), 'componimento drammatico' (of which only one aria survives)
Sonatas (over 50):
For organ
For cello
For violin
For flute
Concertos (10):
For cello and piccolo
For flute
For violin
Symphonies (68 or more)
Concertinos (7)
Marches (4)
Minuets (4)
String quintets (6)
Flute and string quartets (21)
String trios (~200)
Arias and vocal ensemble pieces (9)
Cantatas (8)
Sacred works (17)

Le Meteque - Giovanni

Wednesday, May 27, 2009 @ 4:02 AM

Antonio_Salieri

Antonio Salieri (18 August 1750 – 7 May 1825), was a Venetian composer and conductor. As the Austrian imperial Kapellmeister from 1788 to 1824, he was one of the most important and famous musicians of his time.

History
Born and raised in a prosperous family of merchants in Legnago, Salieri studied violin and with his parents, he moved to Padua, then to Venice, where he studied thoroughbass with Giovanni Battista Pescetti. There, he met Florian Leopold Gassmann in 1766, who invited him to attend the court of Vienna, and there trained him in composition based on Johann Joseph Fux's Gradus ad Parnassum. Salieri remained in Vienna for the rest of his life. In 1774, after Gassmann's death, Salieri was appointed court composer by Emperor Joseph II. He married Therese von Helferstorfer on 10 October 1774. The couple had eight children, only three of whom survived Salieri; his only son, Alois, died in 1805. Salieri became Royal and Imperial Kapellmeister in 1788, a post that he held till 1824. He was president of the "Tonkünstler-Societät" (society of musical artists) from 1788 to 1795, vice-president after 1795, and in charge of its concerts until 1818.
Salieri attained an elevated social standing, and was frequently associated with other celebrated composers, such as Joseph Haydn and Louis Spohr. He played an important role in late 18th and early 19th century classical music. He was a teacher to many famous composers, including Ludwig van Beethoven, Carl Czerny, Johann Nepomuk Hummel, Franz Liszt, Giacomo Meyerbeer, Ignaz Moscheles, Franz Schubert, and Franz Xaver Sussmayr. He also taught Wolfgang Amadeus Mozart's younger son, Franz Xaver, some years after Mozart's death.
Salieri died in Vienna and was buried in the Matzleinsdorfer Friedhof (his remains were later transferred to the Zentralfriedhof). At his funeral service his own Requiem in C minor - composed in 1804 - was performed for the first time. His monument is adorned by a poem written by Joseph Weigl, one of his pupils:
Rest in peace! Uncovered by dustEternity shall bloom for you.Rest in peace! In eternal harmoniesYour spirit now is dissolved.It expressed itself in enchanting notes,Now it is floating to everlasting beauty.
Original German poem:
Ruh sanft! Vom Staub entblößt,Wird Dir die Ewigkeit erblühen.Ruh sanft! In ew’gen HarmonienIst nun Dein Geist gelöst.Er sprach sich aus in zaubervollen Tönen,Jetzt schwebt er hin zum unvergänglich Schönen.

Works
Insertion arias and ensembles
"Addio carina bella" (Meng.) aria in G major for bass and orchestra, for?
"Affé questa sera grandissima" - "Una domina? Una nipote?" (Don Anchise) arie & recitative for bass and orchestra (1775?), for P. Anfossi's "La finta giardiniera"?
"Ah ciel che noja è questa" - fragment -
"Ah dove amici" recitative for soprano and orchestra, for?
"Ah non siete ogni si facile" (Tenast) aria for tenor and orchestra, for?
"Alla speranza" (Galatea) aria for soprano and Orchestra, for?
"All'idea del gran mistero" aria in A major for soprano, choir and orchestra, for?
"Anch'io nello specchio talora" aria in E major for soprano and orchestra (1771), for?
"Cedo l'intatto pegno" (Dely - Davidde) duet for soprano, tenor and orchestra, for?
"Che mi s'appresti?" (Capitano) aria in C major for bass and orchestra (1775), for?
"[...] che strane vicende" (Ros. - Fior. - Pasq. - Fulg.) fragmentary finale of an opera (Atto II), for A. Felici's "La novità"?
"Chi vuol la zingara" Duett für zwei Soprane und Orchester, für?
"Dall'uso parigino il bello, il sopraffino" aria in C major for soprano and orchestra (1773), for?
"Del morir le angoscie adesso" scene and aria for tenor and orchestra
"Denke nicht der Zeit der Schmerzen" duet for soprano, tenor and orchestra, for?
"Dico sol, che la padrona" (Lena) aria for soprano and orchestra, for "La Locandiera"?
"D'oro saranno i letti" (Fulg.) aria in D major for bass and orchestra (1775), for?
"Dottorini saputelli" (Clar.) arie for soprano and orchestra (1774), for?
"Eccomi al punto ch'io già tanta temei" fragmentary aria for soprano and orchestra, for?
"Fate largo al gran Pasquino" (Pasquino) aria in D major for bass and orchestra (1775), for A. Felici's "La novità"?
"Figlia mia diletta" trio for soprano, tenor, bass and orchestra, for?
"Fra tanto pietre brune" (Polidoro) recitative for bass and orchestra (1785?), für D. Cimarosa's "L'Italiana in Londra"?
"Gelosia d'amore è figlia" aria for soprano and orchestra, for?
"Goder lasciatemi" (Gianetta) aria for soprano and orchestra, for?
"Gran diavolo!" (Uberto) aria in F major for bass and orchestra, for?
"Guarda in quel volto" aria in E flat major for soprano and orchestra, for?
"Ho perduto la mia pace" (Brettone) aria for tenor and orchestra (1775), for G. Paisiello's "L'innocenza fortunata"?
"Ho stampato libri in foglio" aria for tenor and orchestra, for?
"Il pargoletto amabile" aria in A major for tenor and orchestra, for?
"In tuo favore mi parla il core" duet for two sopranos and orchestra, for?
"Io contento", recitative, for?
"Io di nuovo vel ripeto" aria for soprano and orchestra (1777), for?
"Io lo dico e il posso dire" trio for alto, tenor, bass and orchestra, for?
"Io non so che pensare" recitative and cavatina for tenor and orchestra, for?
"La donna è sempre instabile" (Belfusio) aria for tenor and orchestra, for "La fiera di Venezia"?
"La mia morosa me l'ha fatta" (Sandrina) aria for soprano and orchestra, for "Il talismano"?
"L'amour est un dieu" Canzone for soprano and orchestra, for?
"La sposa se cedo" aria for soprano and orchestra, for?
"Le diras, che il campione" (Gusman) aria for bass and orchestra (1775), for?
"Le Inconvenienze teatrali" quartet for soprano, alto, tenor, bass and orchestra, for?
"L'introduco immantinente" - "Quando ho visto il dottorino" (Rosina) recitative and aria for soprano and orchestra (1776), for "La finta scema"
"Madame vezzosissima" (Zeffirina - Valerio) fragmentary recitative and duet, for?
"Ma quai mali intorno al core" aria for tenor and orchestra
"Ma quale agli occhi miei" (Conte) recitative, for?
"Mia vaga Dorilla" aria for Bass and orchestra (1775), for B. Galuppi's "Il marchese villano"
"Moriam, moriam mia vita" recitative and duet for soprano, tenor and orchestra, for?
"Nel mio seno" aria, for?
"Non per parlar d'amore" (Laurina) aria in E flat major for soprano and orchestra, for N. Piccinni's "L'astretta"
"Non temer che d'altri" (Falsirena) aria for soprano and orchestra (1779), for "La fiera di Venezia"
"Non veste alla moda" (Aga.) aria for bass and orchestra (1774), for?
"Non vi fidate" aria for soprano and orchestra, for?
"Oh che donna che matta" (Peppino), recitative, for?
"Oh me infelice - Allor potrei" recitative and aria, for?
"Oh qual sorpasso giubilo" (Pilemone) aria in F major für bass and orchestra, for "Eraclito e Democrito"?
"Oh quanti veggarsi" (Cardano) aria for tenor and orchestra, for "Il talismano"?
"Oh sancte inviete" aria for soprano and orchestra (1775), for?
"Padrona stimatissima" (Pasquino) aria in D major for bass and orchestra, for A. Felici's "La novità"?
"Parlaste d'un cappone" aria for bass and orchestra (1776), for?
"Pasquino avrà quest'ora" recitative, for A. Felici's "La novità"?
"Paterio giudizio" aria for bass and orchestra, for?
"Per amore io già vancillo" (Perillo) aria for tenor and orchestra (1770), for?
"Perder sogetto amato" duet for two sopranos and orchestra, for?
"Per voi s'avanzi" aria for bass and orchestra, for?
"Qual densa notte" (Artalice - Chabri - Nehemia - Chor) finale of an opera, for?
"Quando sarà mia sposa" (Capitano) aria for bass and orchestra (1775), for?
"Quest'è un mar di confusione" quartet for sopran, alto, tenor, bass and orchestra, for?
"Rasserena nel tuo barbaro" fragmentary aria, for?
"Sans argent et sans crédit" (Boschetto - Pirati - Lauretta) scene with orchestra (1768), for?
"Scomodarmi da palazzo e trattarmi in questa guisa" aria in F major for soprano and orchestra (1775), for?
"Se amor m'ha dato in testa, se mi far delirare" aria for soprano and orchestra (1776), for?
"Se credessi di volare" (Peppino) aria in E flat major for bass and orchestra (1774), for?
"Se Dio veder tu vuoi" (Achio - Azia) duet, for?
"Se tu vedessi il core" (Isabella) aria in G major for soprano and strings, for B. Galuppi's "Il villano geloso"
"Signor mio scrivete bene" (Pasquino) aria in F major for bass and orchestra (1775), for A. Felici's "La novità"?
"S'odo, o duce" (Epponina - Voadice - Sabino - Arminio - Annio) finale of an opera (1785?), for G. Sarti's "Giulio Sabino"
"Son dama, ma so l'arte ancor delle plebe" (Polissena) aria in B flat major for soprano and orchestra (1774), for G. Paisiello's "Il tamburo (notturno)"
"Son nipote d'un togato" (Isabella) aria in F major for soprano and strings, for B. Galuppi's "Il villano geloso"
"Sopra il volto sbigotito" aria in E flat major for bass and orchestra, for?
"Talor non si comprende" aria for bass and orchestra, for?
"Tenero cor" recitative and cavatina for soprano and orchestra (1780), for?
"Tu che ferita sei" aria for tenor and orchestra, for "Il barone di Rocca antica"?
"Tutte le furie unite in questo petto io sento" aria for soprano and orchestra (1776), for?
"Tutti dicon che la moglie" aria for bass and orchestra, for?
"Una domina? una nipote?" - see: aria "Affé questa saria grandissima" -
"Un bel marito" aria for soprano and orchestra, for?
"Un pescatore mi pare amore" aria for bass and orchestra, for?
"Vedi ben che queste scene" trio for soprano, alto, bass and orchestra, for?
"Venga su la finestra" aria for tenor, choir and orchestra, for?
"Venissi cari, l'affare è serio" (Patenio) aria for bass and orchestra (1777), for?
"Verdammter Streich" (Mauser) aria for tenor and orchestra, for?
"[...] vicino a perdere l'amato ben" fragmentary aria, for?
"Villottino mio bellino" (Lisetta) aria for alto and orchestra (1775), for?
"Vi son sposa" aria, for?
aria (Polissena) for soprano and orchestra (1774), for G. Paisiello's "Il tamburo (notturno)"
finale of an opera for three sopranos, two tenors, bass and orchester (1779), for "La scuola de'gelosi"?

Ballets and incidental music
Ballet in 7 movements for "L'Europa riconosciuta" (1778)
Ballet in 16 movements
Ballet in 10 movements
Ballet in 8 movements
Fragmentary ballet
Overture, four incidental pieces and nine choirs for "Die Hussiten vor Naumburg" by August von Kotzebue (1803)

Secular cantatas
"Cantata per le nozze di Francesco I" for soloists, choir and orchestra (1808)
"Der Tyroler Landsturm" for soprano, tenor, bass, choir and orchestra (1799)
"Die vier Tageszeiten" for choir and orchestra (1819)
"Du, dieses Bundes Fels" for choir and orchestra
"Habsburg" for tenor, bass, choir and orchestra (1805/06)
"Il Trionfo della Gloria e della Virtù" for two sopranos, tenor, choir and orchestra (1774 or 1775)
"La Riconoscenza" for soprano, choir of five voices and orchestra (1796)
"La Riconoscenza de' Tirolesi" for choir and Orchester (1800)
"La Sconfitta di Borea" for soloists, choir and orchestra (1774 or 1775)
"Lasset uns nahen alle" for tenor, bass, choir and Orchester
"Le Jugement dernier" for tenor, choir and orchestra (1787/88)
"L'Oracolo muto" for soloists, choir and orchestra (1802/03)
"Wie eine purpur Blume" for two sopranos, choir and orchestra

Secular choirs
"An den erwünschten Frieden im Jahr 1814" for choir and orchestra (1814)
"An die Religion" for choir a cappella (1814)
"Bei Gelegenheit des Friedens" for soprano solo, tenor, bass and orchestra (1800)
"Beide reichen Dir die Hand" for choir - fragment -
"Del redentore lo scempio" for choir and orchestra (ca. 1805)
"Der Vorsicht Gunst beschütze, beglücktes Österreich, dich" for choir and orchestra (1813) - new version of the final movement of "Der Tyroler Landsturm" (1799) -
"Dio serva Francesco" for choir and orchestra
"Do re mi fa" for choir a cappella (1818)
"Es schallen die Töne" for choir and orchestra
"Herzliche Empfindung bey dem so lange ersehnten und nun hergestellten Frieden im Jahr 1814" for choir and orchestra (1814)
"O Friede, reich am Heil des Herrn" - see: "Herzliche Empfindung bey dem so lange ersehnten und nun hergestellten Frieden im Jahr 1814" -
"Hinab in den Schoß der Amphitrite" for choir and orchestra (from "Danaus"?)
"Il piacer la gioia" for choir and orchestra
"Ogni bosco, ogni pendice" for choir and orchestra
"Religion, Du Himmelstochter" - see: "An die Religion" -
"Schweb herab, o holder Seraph Friede" - see: "An den erwünschten Frieden im Jahr 1814" -
"Schwer lag auf unserem Vaterlande" - see: "Rückerinnerung der Deutschen nell'anno 1813" -
"Rückerinnerung der Deutschen nell'anno 1813" for choir and orchestra (1813/14)
Songs, ensembles and canons with or without piano
- ca. 340 works -

Sacred vocal music

Oratories and sacred cantatas
"Davidde" for soloists, choir and orchestra (1791) - fragment -
"Gesù al limbo" for soloists, choir and orchestra (1803)
"La passione di Gesù Cristo" for soloists, choir and Orchester (1776)
"Le Jugement dernier" for tenor, choir and orchestra (1787/88) - see above -
"Saul" for soloists, choir and orchestra (1791) - fragment -

Masses and single movements
Mass in C major for choir a cappella (1767)
Mass in D major for choir and orchestra (1788) - called "Hofkapellmeistermesse" -
Mass in C major for double choir and orchestra (1799) - called "Proklamationsmesse" -
Mass in D minor for soloists, choir and orchestra (1805)
Mass in B flat major for soloists, choir and orchestra (1809)
Kyrie in C major for soloists, choir and orchestra (1812) - part of an unfinished mass -
Kyrie in F major for choir and orchestra - fragment -

Requiem masses
Requiem in c minor for soloists, choir and orchestra (1804)
Requiem in d minor for choir and orchestra (ca. 1815-20) - fragment -

Graduals
"Ad te levavi animam meam" in E flat major for choir and orchestra
"A solis ortu" pro Festo SS. Corporis Christi, in C major for choir and orchestra (1810)
"Benedicam Dominum" pro Dominica 12ma post Pentecostem aut de Tempore, in B flat major for choir and orchestra
"Confirma hoc Deus" in C major for soloists, choir and orchestra (1809)
"Improperium" in c minor for choir a cappella
"Justorum animae" in A major for choir and orchestra
"Liberasti nos, Domine" pro Dominica XXIII. et ultima post Pentecostem, in D major for choir and orchestra (1799)
"Magna opera Domini" da tempore, in D major for choir and orchestra (1810)
"Spiritus meus" in d minor for choir and orchestra (1820)
"Tres sunt, qui testimonium dant in coelo" de SS. Trinitate, in D major for choir and orchestra
"Veni Sancte Spiritus" in B flat major for choir and orchestra (1800)
"Veni Sancte Spiritus" pro Festo Pentecostem, in B flat major for choir and orchestra (1805)
"Venite gentes" in C major for double choir and orchestra (1799)
"Vox tua mi Jesu" in C major for choir and orchestra (1774)

Offertories
"Alleluja (deinde) Bonum est" in D major for choir, strings and organ
"Alleluja" in D major for choir and orchestra (1774) - 1788 reused as "Amen"-Fugue in the "Gloria" of the Mass in D major -
"Assumpta est Maria" in C major for choir and orchestra (1799)
"Audite vocem magnam" in C major for Chor und orchestra (1809)
"Beatus vir, qui non abit" in D major for soloists, choir and orchestra
"Benedixisti Domine" in F major for choir a cappella
"Benedixisti Domine" in F major for choir a cappella
"Cantate Domino omnis terra" in C major for double choir and orchestra (1799)
"Desiderium animae" in F major for soprano, alto, bass and orchestra
"Domine, Dominus noster" in G major for choir and orchestra (1812)
"Dum corde pio" in C major for choir, double-bass and organ
"Excelsus super omnes gentes Dominus" in C major for choir and orchestra (1806)
"Gloria et honor(e)" in C major for choir and orchestra (1809)
"Jubilate Deo" in A major for choir and orchestra
"Justus ut palma" in B flat major for choir and orchestra
"Lauda Sion Salvatorem" in C major for choir and orchestra (1805)
"Laudate Dominum omnes gentes" in D major for choir and orchestra (1809)
"Magna et mirabilia sunt opera tua" in C major for choir and orchestra (1809)
"Magna opera Domini" in C major for chor and orchestra (1812)
"Miserere nostri" in g minor for choir and orchestra (1805)
"Miserere nostri" in E flat major for choir and orchestra (1803)
"O altitudo divitiarium" in C major for choir and orchestra (1809)
"O quam bonus et suavis est" in B flat major for soloists, choir and orchestra
"Populi timente sanctum nomen Domini" in E flat major choir and orchestra (1778)
"Salve Regina" in D major for choir and orchestra (1815)
"Salve Regina" (on German words) in G major for choir and organ
"Salve Regina" in B flat major for choir and orchestra
"Salvum fac populum" (1805) - lost -
"Si ambulavero in medio" in g minor for choir and orchestra (1809)
"Sub tuum praesidium" in B flat major for choir and orchestra (1820)
"Tui sunt coeli" in C major for choir and orchestra
"Tui sunt coeli" in E flat major for choir and orchestra

Psalms
"Beatus vir, qui timet Dominum" in D major for two tenors, choir and orchestra
"Confitebor Domine" in B flat major for choir and orchestra
"De profundis" in f minor for choir, bass and organ (1815)
"De profundis" in g minor for choir and orchestra (1815)
"Dixit Dominus" in G major for choir and orchestra
"Lauda, Jerusalem, Dominum" in C major for choir and orchestra (1815)
"Laudate pueri Dominum" in G major for choir of six voices and orchestra
"Magnificat" in C major for choir and orchestra (1815)
"Magnificat" in F major for two-part choir and orchestra (1815)

Litanies
"Litania di B.M.V." in F major for soloists, choir and orchestra
"Litania pro Sabbato Sancto" in B flat major for choir a cappella (1820)

Hymns
"Coelestis urbs Jerusalem" Hymnus de dedicatione Ecclesiae, in A major for choir and orchestra
"Genitori" in F major for soprano, choir and orchestra
"In te Domine speravi" in E flat major for two sopranos and bass (1817)
"Tantum ergo" in C major for double choir, two clarinets, four horns, four trumpets (Clarini), timpani, double-bass and organ
"Tantum ergo" in C major for choir, two oboes, two bassoons, four trumpets (Clarini), timpani and organ
"Tantum ergo" in C major for choir, two trumpets (Clarini), timpani and organ
"Tantum ergo" in F major for soprano and strings (1768)
"Te Deum laudamus" in C major for soloists, choir and orchestra (1819)
"Te Deum laudamus" de Incoronazione, in D major for choir and orchestra (1790)
"Te Deum laudamus" in D major for double choir and orchestra (1799) - new version of the "Te Deum" from 1790 -

Introitus
"Avertisti captivitatem Jacob" pro Dominica XXIII. et XXIV. post Pentecostem, in B flat major for choir, strings and organ
"Beati immaculati" de Virginibus et Martyribus et de Sancto Stephano, in F major for choir, strings and organ
"Concupiscit et deficit" in dedicatione Ecclesia et in Festo Tranfigurationis Domini, in F major for choir, strings and organ
"Dico ergo" pro Festis Beatae Mariae Virginis, in d minor for choir, strings and organ
"Domine exaudi vocem meam" pro Dominica XXII. post Pentecostem, in F major for choir, strings and organ
"Et justitiam tuam" pro Festo Epiphaniae, in d minor for choir, strings and organ
"Et psallare" pro Festo S. Joannis Apost. et S. Joannis Bapt., in B flat major for choir, strings and organ
"Inductus est Dominus" pro Dominica infra octavem Nativitas Domini et ad secundam missam, in F major for choir, strings and organ
"In civitate" pro Festo Purificationis Mariae et Dominica VIII. post Pentecostem, in C major for choir, strings and organ
"In mandatis ejus" de Confessore et in Festo Sancti Joachim, in g minor for choir, strings and organ
"Jubilate Deo Jacob" pro Dominica in albis, pro Feria II. post Pentecostem et in solemnitate corporis Christi, in d minor for choir, strings and organ
"Jubilate Deo" pro Festo St. Januarii Episcopus et Mart., pro Festo Ascensionis Domini, in F major for choir, strings and organ
"Laetentur insulae" pro Dominica III., IV., V., VI. post Epiphaniam, in F major for choir, strings and organ
"Ne quando taceas" pro Dominica VI. post Pentecostem, in d minor for choir, strings and organ
"Neque celaveris" de Confessore, in B flat major for choir, strings and organ
"Quam admirabile est nomen tuum" pro Festo Sanctissime Trinitatis, in d minor for choir, strings and organ
"Tu cognovisti" pro Festo Sanctorum Apostolorum, in d minor for choir, strings and organ

Motets and sacred arias and chants
"Audimus Dei verbum" - lost -
"Contra vos, o monstra horrenda" in B flat major, motet for soprano, choir and orchestra (1769)
"Cor meum conturbatum" in g minor for choir and orchestra
"Ecce enim veritatem" in G major for bass, three violas, double-bass and organ
"Fremat tirannus" in C major, motet for soprano, choir and orchestra (1778)
"Magna est virtus" - lost -
"Misericordius Dominus" in E flat major, duet for soprano, bass, violine and orchestra
"O mortales, festinate" in B flat major, aria for soprano, clarinet and orchestra
"Quae est illa" in B flat major, aria in honorem B.V.M. for soprano, oboe, strings and organ
"Quem terra pontus sidera" in A major for soprano and orchestra
"Salve Jesu pie" duet - lost -
"Tu es spes mea, Domine" for soprano, flute, oboe and orchestra

Instrumental music

Concertos
Concerto for oboe, violin, violoncello and orchestra in D major (1770)
Concerto for organ and orchestra in C major (1773) - second movement lost -
Concerto for piano and orchestra in C major (1773)
Concerto for piano and orchestra in B flat major (1773)
Concerto for flute, oboe and orchestra in C major (1774)
Concertino da camera for flute and strings G major (1777)

Symphonies, overtures and variations
Symphonie in D major "Il Giorno onomastico" (1775)
Symphonie in D major "La Veneziana" (built from overtures to "La Scuola de'gelosi" and "La Partenza inaspettata")
Three minuets for orchestra
26 Variations on "La Follia di Spagna" for orchestra (1815)
Allegretto in D major for orchestra
Symphonie (ouverture) in C major - overture to "Habsburg" -
Overture "La Frascatana"
Fragmentary Symphonie (overture) in G major
Fragmentary movement for bassoons and strings

Serenades
"Picciola Serenata" in B flat major for 2 oboes, 2 horns and bassoon (1778)
Serenade in B major for 2 clarinets, 2 bassoons, 2 horns and double-bass
Serenade in C major for 2 flutes, 2 oboes, 2 bassoons, 2 horns and double-bass (alternative version of the serenade in B flat major for seven instruments)
Serenade in F major for 2 flutes, 2 oboes, 2 bassoons, 2 horns and double-bass
Cassation in C major for 2 oboes, 2 English horns, 2 bassoons and 2 horns
Three trios in G major, E flat major and C major for 2 Oboes and bassoon
"Armonia per und tempio della notte" in E flat major for 2 oboes, 2 clarinets, 2 bassoons and 2 horns (ca. 1795)

Marches
11 Marches for orchestra (ca. 1804)
March for wind ensemble "Prägt tief in eure Herzen, Brüder"
"Parademarsch" in C major for wind ensemble
March "Die Landwehr" (1809)
March in honour of Gassmann in C major for orchestra (1820)

Chamber music
4 Scherzi armonici istrumentali for string quartet
Fugue for string quartet (tema H.! b.e.n. Die m. ist ein s. Ma non il testo)
Fugue for three instruments
Fugue in C major for two instruments (1818)
Fugue in E flat major for two instruments (Tema Kerscorchiano)
6 little pieces for piano
6 pieces for guitar - lost -

Allegretto - Antonio Salieri

@ 3:58 AM

Ludwig van Beethoven

Ludwig van Beethoven 16 December 1770– 26 March 1827) was a German composer and pianist. He was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music, and remains one of the most acclaimed and influential of all composers.

Born in Bonn, then in the Electorate of Cologne in western Germany, he moved to Vienna in his early twenties and settled there, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. Beethoven's hearing gradually deteriorated beginning in his twenties, yet he continued to compose, and to conduct and perform, even after he was completely deaf.

History
Beethoven was the grandson of a musician of Flemish origin who was also named Ludwig van Beethoven (1712–1773). The surname Beethoven is probably a corruption from Bettenhoven (Bettincourt in French), a village near Waremme, at the boundary of the Belgian provinces of Liège and Limburg.[citation needed] As of 1733 the elder Ludwig had served as a bass singer in the court of the Elector of Cologne. He rose through the ranks of the musical establishment, eventually becoming Kapellmeister (music director). The elder Ludwig had one son, Johann van Beethoven (1740–1792), who worked as a tenor in the same musical establishment, also giving lessons on piano and violin to supplement his income.

Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.

Beethoven was born of this marriage in Bonn in December 1770, and was baptized on 17 December 1770. Children of that era were usually baptized the day after birth, but there is no documentary evidence that this occurred in Beethoven's case. It is known that his family and his teacher Johann Albrechtsberger celebrated his birthday on 16 December. Thus, while the evidence supports the probability that 16 December 1770 was Beethoven's date of birth, this cannot be stated with certainty. Of the seven children born to Johann Beethoven, only second-born Ludwig and two younger brothers survived infancy. Caspar Anton Carl was born in 1774, and Nikolaus Johann, the youngest, was born in 1776.

Beethoven's first music teacher was his father. A traditional belief concerning Johann is that he was a harsh instructor, and that the child Beethoven, "made to stand at the keyboard, was often in tears". Concerning this, the New Grove indicates that there is no solid documentation to support it, and asserts that "speculation and myth-making have both been productive."Beethoven had other local teachers as well: the court organist van den Eeden, Tobias Friedrich Pfeiffer (a family friend, who taught Beethoven piano), and a relative, Franz Rovantini (violin and viola).[2] His musical talent manifested itself early—apparently he was advanced enough to perform at the age of nine, not seven as popularly believed. Johann, aware of Leopold Mozart's successes in this area, attempted unsuccessfully to exploit his son as a child prodigy. It was Johann who falsified Beethoven's actual age (which was seven) for six on the posters for Beethoven's first public performance in March 1778.

Some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Court's Organist in that year Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition: a set of keyboard variations (WoO 63). Beethoven soon began working with Neefe as assistant organist, first on an unpaid basis (1781), and then as paid employee (1784) of the court chapel conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named "Kurfürst" ("Elector") for their dedication to the Elector Maximilian Frederick, were published in 1783. Maximilian Frederick, who died in 1784, not long after Beethoven's appointment as assistant organist, had noticed Beethoven's talent early, and had subsidized and encouraged the young Beethoven's musical studies.

In 1787 another of Beethoven's early patrons, Count Waldstein, enabled him to travel to Vienna for the first time, hoping to study with Mozart. Scholars disagree on the authenticity of a story whereby Beethoven is said to have played for Mozart and impressed him; see Mozart and Beethoven. After just two months in Vienna, Beethoven learned that his mother was severely ill, and he was forced to return home. His mother died shortly thereafter, and the father lapsed deeper into alcoholism. As a result, Beethoven became responsible for the care of his two younger brothers, and he spent the next five years in Bonn.
In 1789, he succeeded in obtaining a legal order by which half of his father's salary was paid directly to him for support of the family. Another source of income was payment for Beethoven's service as a violist in the court orchestra. This familiarized Beethoven with three of Mozart's operas performed at court in this period.

Works
There soon followed a deep crisis in Beethoven's personal life, and possibly in his artistic life as well. His output dropped, and one critic even wrote that "the composing of great works seems behind him". The few works that date from this period are often of an experimental character. They include the song cycle "An die ferne Geliebte" and the Piano Sonata, Op. 90, works which inspired later generations of Romantic composers. This period also produced the extraordinarily expressive, but almost incoherent, song "An die Hoffnung" (Opus 94).

Beethoven began a renewed study of older music, including works by J. S. Bach and Handel, then being published in the first attempts at complete editions. He composed the Consecration of the House Overture, which was the first work to attempt to incorporate his new influences. But it is when he returned to the keyboard to compose his first new piano sonatas in almost a decade, that a new style, now called his "late period", emerged.

The works of the late period are commonly held to include the last five piano sonatas and the Diabelli Variations, the last two sonatas for cello and piano, the late quartets (see below), and two works for very large forces: the Missa Solemnis and the Ninth Symphony.

Beethoven then turned to writing string quartets on a commission from Prince Nikolay Golitsin of St. Petersburg. The war between Austria and France had devastated his finances, and the Prince was to pay an honorarium of 50 gold ducats per quartet. This series of quartets, known as the "Late Quartets", would go far beyond what either musicians or audiences were ready for at that time. One musician commented that "we know there is something there, but we do not know what it is." Composer Louis Spohr called them "indecipherable, uncorrected horrors," though that opinion has changed considerably from the time of their first bewildered reception. They would continue to inspire musicians and composers, from Richard Wagner to Béla Bartók, for their unique forms and ideas. Of the late quartets, Beethoven's favourite was the Fourteenth Quartet, op. 131 in C# minor, upon hearing which Schubert is said to have remarked, "After this, what is left for us to write?"

Beethoven wrote the last quartets amidst failing health. In 1821, a bad case of jaundice afflicted him, a sign of his impending liver failure. In April 1825 he was bedridden, and remained ill for about a month. The illness—or more precisely, Beethoven's recovery from it—is remembered for having given rise to the deeply felt slow movement of the Fifteenth Quartet, which Beethoven called "Holy song of thanks ('Heiliger dankgesang') to the divinity, from one made well". Beethoven went on to complete the (misnumbered) Thirteenth, Fourteenth, and Sixteenth Quartets.

The last work completed by Beethoven was the substitute final movement of the Thirteenth Quartet, deemed necessary to replace the difficult Große Fuge. Shortly thereafter (December 1826), illness struck again, with episodes of vomiting and diarrhea that nearly ended his life.

Beethoven Symphony No.5 (Fate) - I. Allegro con brio - Ludwig van Beethoven

@ 3:53 AM

Richard Georg Strauss

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer of the late Romantic and early modern eras, particularly of operas, Lieder and tone poems. Strauss was also a prominent conductor.

To Richard Strauss went the honour of being the composer of the music on the first compact disc ever commercially released: Herbert von Karajan's 1980 recording of the Alpine Symphony, released by Deutsche Grammophon in 1983.

History
Strauss was born on 11 June 1864, in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. He received a thorough, but conservative, musical education from his father in his youth, writing his first music at the age of six. He continued to write music almost until his death.
During his boyhood he had the good fortune to be able to attend orchestra rehearsals of the Munich Court Orchestra, and he also received private instruction in music theory and orchestration from an assistant conductor there. In 1874 Strauss heard his first Wagner operas, Lohengrin, Tannhäuser and Siegfried; the influence of Wagner's music on Strauss's style was to be profound, but at first his father forbade him to study it: it was not until the age of 16 that he was able to obtain a score of Tristan und Isolde. Indeed, in the Strauss household the music of Richard Wagner was considered inferior. Later in life, Richard Strauss said and wrote that he deeply regretted this.
In 1882 he entered Munich University, where he studied philosophy and art history, but not music. Nevertheless, he left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow, taking over from him at Meiningen when von Bülow resigned in 1885. His compositions around this time were quite conservative, in the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1 (1882–1883) is representative of this period and is still regularly played.

Richard Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being bossy, ill-tempered, eccentric and outspoken, but the marriage was happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he would prefer the soprano voice to all others. Nearly every major operatic role that Strauss wrote is for a soprano.

Works
* Op. 1, Festmarsch for large orchestra
* Op. 2, String Quartet in A
* Op. 3, Five Piano Pieces
* Op. 4, Suite in Bb for 13 wind instruments
* Op. 5, Sonata in b for piano
* Op. 6, Sonata in F for cello and piano
* Op. 7, Serenade in Eb for wind ensemble
* Op. 8, Concerto in d for violin and orchestra
* Op. 9, Stimmungsbilder for piano
* Op. 10, Eight Poems for high voice and piano

1. Zueignung (Ja, du weißt es, teure Seele)
2. Nichts (Nennen soll ich)
3. Die Nacht (Aus dem Walde tritt die Nacht)
4. Die Georgine (Warum so spät erst, Georgine?)
5. Geduld (Geduld, sagst du und zeigst mit weißem Finger)
6. Die Verschwiegenen (Ich habe wohl)
7. Die Zeitlose (Auf frischgemähtem Weideplatz)
8. Allerseelen (Stell auf den Tisch die duftenden Reseden)

* Op. 11, Concerto in Eb major for horn and orchestra (or piano)
* Op. 12, Symphony in f
* Op. 13, Piano Quartet in c
* Op. 14, Wandrers Sturmlied for six-part choir and orchestra
* Op. 15, Five Songs for middle and high voice and piano

1. Madrigal (Ins Joch beug' ich den Nacken)
2. Winternacht (Mit Regen und Sturmgebrause)
3. Lob des Leidens (Oh schmäht des Lebens Leiden nicht!)
4. Aus den Liedern der Trauer (Dem Herzen ähnlich)
5. Heimkehr (Leiser schwanken die Äste)

* Op. 16, Aus Italien, Symphonic Fantasy for orchestra
* Op. 17, Six Songs for high voice and piano

1. Seitdem dein Aug' in meines schaute
2. Ständchen (Mach' auf)
3. Das Geheimnis (Du fragst mich, Mädchen)
4. Aus den Liedern der Trauer (Von dunklem Schleier umsponnen)
5. Nur Mut! (Laß das Zagen)
6. Barkarole (Um der fallenden Ruder Spitzen)

* Op. 18, Sonata in Eb for violin and piano
* Op. 19, Six Songs for voice and piano

1. Wozu noch, Mädchen, soll es frommen
2. Breit über mein Haupt dein schwarzes Haar
3. Schön sind, doch kalt die Himmelssterne
4. Wie sollten wir geheim sie halten
5. Hoffen und wieder verzagen
6. Mein Herz ist stumm, mein Herz ist kalt

* Op. 20, Don Juan, Symphonic Poem for orchestra

Annen Polka - Strauss

@ 3:37 AM

Louis-Nicolas Clérambault

Louis-Nicolas Clérambault was a French musician, born and died in Paris (19 December 1676 - 26 October 1749), best known as an organist and composer.

History

- Clérambault came from a musical family (his father and two of his sons were also musicians). While very young, he learned to play the violin and harpsichord and he studied the organ with André Raison. Clérambault also studied composition and voice. - Clérambault became the organist at the church of the Grands-Augustins and entered the service of Madame de Maintenon. After the death of Louis XIV and Nivers, he succeeded the latter at the organ of the church of Saint-Sulpice and the royal house of Saint-Cyr, an institution for young girls from the poor nobility. He was responsible there for music, the organ, directing chants and choir, etc- It was in this post--it remained his after the death of Madame de Maintenon--that he developed the genre of the "French cantata" of which he was the uncontested master. - In 1719 he succeeded his teacher André Raison at the organs of the church of the Grands-Jacobins.

Works
- a large number of religious pieces with chants and choirs, (motets, hymns, Magnificat, Te Deum etc.);- more than 25 secular cantatas on subjects often inspired by Greco-Roman myths - sonatas for violin and basso continuo:- a book of dance pieces for the harpsichord (1704) in which he adopted the tradition of the unmeasured prelude;- a book of organ pieces in two suites (1710) in which melodic charm wins out over religious spirit. These two collections seemed destined to begin a cycle of pieces in all keys but Clérambault never completed the cycle.