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Article

Ortrun Landmann

[Jean]

(b c1705; d Dresden, Nov 13, 1779). German composer. He was a Jagdpfeifer at the Dresden court (1733–6), then until his death a violist in the Dresden Hofkapelle. He was also ‘ballet-compositeur’ of the court opera (from c1740), and composer and director of music for the elector’s French theatre (1763–9). According to Burney and Fürstenau, he added ballet music to operas by J.A. Hasse and made an adaptation of Rameau’s Zoroastre (Dresden, 1752); the documents of the Hofkapelle in the Dresden State Archives indicate that he also composed new pieces for various opéras comiques, and in 1756 he published a Recueil d’airs à danser executés sur le Théâtre du Roi à Dresde, arranged for harpsichord. The concertos and chamber works listed under ‘Adam’ in the Breitkopf catalogues may also be attributed to him. Few of his compositions are extant; apart from his arrangements of works by other composers, the Sächsische Landesbibliothek in Dresden contains only a concerto in G for flute and strings by him....

Article

Michael Talbot

revised by Enrico Careri

(b Bologna, Sept 20, 1685; d Bologna, Feb 18, 1751). Italian composer and violinist. He studied the violin with Carlo Manzolini, and counterpoint with P.M. Minelli and Floriano Arresti. He became a member of the Accademia Filarmonica, Bologna, in 1705, and from 1709 played the violin in the orchestra of S Petronio. His first set of concertos, published in 1713, were first performed under the composer's direction at the house of Count Orazio Bargellini. In 1721 Alberti was chosen president (principe) of the Accademia Filarmonica, a post to which he was re-elected in 1724, 1728, 1733, 1740 and 1746. A set of violin sonatas, op.2 (1721), was followed by a further set of concertos, collectively entitled ‘Sinfonie’, and issued by Le Cène in 1725 – presumably without the composer's authorization as they are incorrectly designated op.2. (This possibly inadvertent duplication of an opus number led to the renumbering of the violin sonatas as op.3 when published by Walsh shortly afterwards.) From ...

Article

(b Montaigut-sur-Save, Jan 26, 1700; d Paris, May 3, 1788). French concert entrepreneur and cellist. He served as basse du grand choeur in the Paris Opéra orchestra from 1736 to 1755. That he played the cello, rather than the basse de viole, is implied by Corrette in 1741: ‘at the Musique du Roi, at the Opéra, and in concerts, it is the violoncello that plays the basse continue’. By 1748 Capperan was rehearsing singers as a maître de chant. His health began failing by 1753. He had obtained the survivance of a charge in the Vingt-Quatre Violons du Roi in 1746 and succeeded to the post in 1749; he resigned it in 1759 to André-Joseph Exaudet. The Affiches de Paris reported his burial at St. Roch in Paris; the Almanach musicale gave the date of death.

On 14 June 1748, Joseph-Nicolas-Pancrace Royer made Capperan a 25 percent partner in the ...

Article

Francesco Giuntini and John Walter Hill

(b Florence, Sept 18, 1698; d after 1749). Italian trumpeter, impresario and composer. The word ‘corazza’ (cuirassier), used in connection with his name, suggests a link between his family (of German origin) and the Swiss Guard of the Grand Duke of Tuscany. On 13 December 1719 he joined a company of Florentine musicians. His activity as an impresario and composer of dramatic music was mostly in Florence, but also in other Tuscan cities such as Lucca, Pisa and Pistoia. After 1738 he is described in some librettos as ‘professor di tromba’ by imperial appointment, and after 1743 as ‘maestro di cappella della Real Brigata de’ Carabinieri di Sua Maestà Cattolica’. A French privilege to print his instrumental music, issued to Chinzer on 11 March 1749, suggests that he was in Paris at that time.

In his operas he continued the tradition of Florentine commedia per musica until its popularity was supplanted by the Neapolitan variety. His sonatas often employ rounded binary form, small-scale phrase repetition, reverse dotting, echo phrasing and small, ornamental figures typical of mid-century style. Lack of imagination is notable in his motifs....

Article

Brian Boydell

(b London, 1703; d London, July 3, 1767). English violinist, composer and musical director. He was the natural son of Isaacs, a dancing-master. As a pupil of Geminiani, he soon made a name as a remarkably gifted boy violinist, first appearing at one of Thomas Britton’s concerts, where, standing on a high stool, he played a solo by Corelli with great success. On 27 May 1714 he had a benefit concert at Hickford’s Room. In 1724 he visited Dublin, and on 17 June 1727 married Frances Gates at Stanmore, Middlesex.

In 1728 he was appointed to succeed J.S. Kusser as Master and Composer of State Music in Ireland, a post said to have been intended for Geminiani but transferred to Dubourg for religious reasons. From then until 1752, when he succeeded Festing as leader of the King’s Band in London, he spent most of his time in Dublin, where he was an active influence in the musical community, though occasionally travelling to London (he took part, for instance, in performances of Handel’s ...

Article

(b Modena, c 1700; d Naples, ?1774). Italian dancer, choreographer and impresario . He spent the early part of his career in Venice, where he created ballets for more than 40 operas, 1720–45. His name first appears as a choreographer for the 1720 Ascension season (Orlandini’s Griselda) at the Teatro S Samuele, here he worked for 11 Ascension seasons (later productions included works by Porpora, Albinoni and Galuppi, and Gluck’s Demetrio in 1742). He also choreographed at S Giovanni Grisostomo (24 operas, 1722–45, including Porpora’s Siface, Meride e Selinunte, Rosbale and Statira, and Hasse’s Alessandro nell’Indie and Semiramide riconosciuta) and at S Angelo, S Cassiano, and S Moisè. At the Teatro Falcone in Genoa (1731) and the Regio Ducal Teatro in Milan (1732–3, Lampugnani’s Candace; 1737–40, works by Bernasconi, Brivio and Leo) he worked with his wife Maria, a Venetian ballerina. While in Milan Goldoni, who knew the couple from Venice, spent an evening at their home, in his ...

Article

(Anton Christoph)

(bap. Vienna, Nov 17, 1710; d Vienna, May 30, 1768). Austrian dancer, choreographer and impresario. He was a member of a large theatrical dynasty active in Vienna from at least the 1660s. His father, Johann Baptist Hilverding, had been an associate of the famous Hanswurst Josef Anton Stranitzky, and his elder brother Johann Peter Hilverding led various troupes of German actors, ending his career in Russia. Franz Hilverding’s principal training – at the emperor’s expense – was with the dancer Blondy in Paris during the mid-1730s. While there he probably witnessed performances of Fuzelier and Rameau’s opéra-balletLes Indes galantes, an entrée of which, Le Turc généreux, he later imitated in a pantomime ballet. Hilverding’s sojourn in Paris almost certainly contributed significantly to his overall cultural education; his knowledge of literature and skill as a draughtsman and composer of music were thought unusual in a choreographer.

By 1737 he was engaged as a dancer at the Habsburg court, where he soon began composing ballets alongside Alexander and Franz Anton Phillebois. According to his pupil Gasparo Angiolini’s account, the period of mourning after the death of Charles VI in ...

Article

Nicholas Temperley

(bap. Aldersgate, London, Feb 26, 1724; d London, April 15, 1764). English amateur musician. ‘In his younger days he was a great beau’, said Hawkins, who is the chief source of information about Immyns. ‘He had been guilty of some indiscretions, which proved an effectual bar to success in his profession, and reduced him to the necessity of becoming a clerk to an attorney in the city’. He cultivated music assiduously, playing the flute, viola da gamba and harpsichord, and had a ‘cracked counter-tenor voice’. As a member of the Academy of Ancient Music, and as a student and copyist to Pepusch, he became familiar with much old music, which he preferred to that of his own day. In 1741 he founded the Madrigal Society, which began as a small group of mechanics and tradesmen experienced in psalmody, meeting at a tavern in Fleet Street. Immyns was ‘both their president and instructor’, and in preparation for the meetings he copied out some 200 madrigals and canons: his MS survives at the Fitzwilliam Museum, Cambridge. The music was confined to madrigals and other old music, by such composers as Ruffo, Lassus, Marenzio, Vecchi and Gesualdo; the English madrigalists were also explored. Immyns copied seven Palestrina motets for the society's use. From these modest beginnings sprang what is now the oldest musical association in existence....

Article

David Johnson

(b c1718; d Edinburgh, Oct 13, 1757). Italian composer, violinist, theoretician and impresario. It is assumed that Pasquali was born about 1718, since the Edinburgh burial records give the age at which he died as 39. According to Burney he came to London about 1743 and from then on was extremely active in the three main British musical centres. He spent the period 1748–9 in Dublin, where he produced an oratorio, Noah, and a masque, The Temple of Peace. By 1750 he was back in London, returning to Dublin in 1751. From October 1752 onwards he lived in Edinburgh, where he led the orchestras at both the Canongate Theatre and the Musical Society, wrote and acted in a ‘whimsical Farce’ entitled The Enraged Musician (based on Hogarth’s print), and composed, among other works, a Stabat mater which continued to be performed in Edinburgh after his death. His arrangement of Corelli’s concerto grosso op.6 no.4, with additional parts for horns, trumpets and timpani, survived in the concert repertory until the 1770s (see Fiske, 260)....

Article

Albert Dunning

[Bacciccia]

(b c1681; d The Hague, July 13, 1756). Italian violinist and impresario, active in the Netherlands. He is first heard of with a French opera company at The Hague in 1702, where he worked, ultimately as director, until 1725. There are no records of Ricciotti as composer, while as practising musician we know only that he was violin teacher to Count Willem Bentinck and played first violin in the concerts held at the homes of Bentinck and Wassenaer. On 26 February 1740 the states of Holland and West Friesland awarded Ricciotti a patent for the printing of six Concerti armonici a quattro violini obligati, alto viola, violoncello obligato e basso continuo, published in The Hague. The title-page mentions only that the concertos are dedicated to Count Bentinck by Ricciotti, at whose expense they were printed: no composer is named. In the dedicatory letter to Bentinck, Ricciotti begged the count ‘to take even greater pleasure in accepting these works since they stem from an illustrious hand [Illustre mano] which your Excellency esteems and honours, and to which I am bound out of respect’. When the concertos were reprinted by the London publisher Walsh, Ricciotti was named as the composer, and while this attribution can have no significance whatever, J.P. Hinnensthal (...

Article

Olive Baldwin and Thelma Wilson

[‘Lun’]

(b London, bap. May 19, 1692; d London, Nov 26, 1761). English theatre manager and dancer. He was the son of Christopher Rich (d 1714), the manager of the company that staged Purcell's later dramatic operas and the early English-Italian operas. In 1714 John opened the new theatre at Lincoln's Inn Fields, which his father had built. He kept a full repertory of plays, but his real preferences were music, dance and spectacle. These elements were combined in his famous pantomime afterpieces, most of which had music by Galliard. Under the name of Lun, Rich danced Harlequin in them for many years, and he was highly praised for his artistry in mime and movement. Pepusch wrote music for him at Lincoln's Inn Fields, and it was here that The Beggar's Opera (1728) made ‘Gay rich, and Rich gay’. He built the first Covent Garden theatre and continued to produce ballad operas, pantomimes and burlesques there from ...

Article

Lionel Sawkins and David Fuller

(b Turin, c1705; d Paris, Jan 11, 1755). French composer, harpsichordist, organist and administrator. His father was sent by Louis XIV to be the intendant of gardens and fountains at the court of Savoy; the family returned to Paris when Royer was still an infant, although he did not become naturalized until July 1751, less than four years before his death. For 25 years he was a central figure in Parisian musical life, with responsibilities at court, the Opéra and the Concert Spirituel. He acquired a great reputation for playing the harpsichord and organ (Laugier) and as a composer, was a brilliant and influential contemporary of Rameau through much of the latter's career. His first operatic essay was to contribute music to an opéra comique at the 1725 Foire St Laurent (Le fâcheux veuvage). His first term as maître de musique at the Paris Opéra (...

Article

David Johnson

(b Milan, 1749; d Dublin, 1816). Italian singer, composer and impresario. He is said to have obtained a MusD from the University of Milan; he then went to London with his countryman Rontzini in search of work, spent unspecified years there and in Dublin, appeared singing Scottish songs at concerts in Glasgow between 1781 and 1784, and settled in Edinburgh in 1784.

In Edinburgh he sang at the Musical Society concerts in St Cecilia's Hall and published six volumes of Scottish songs, including original songs of his own; he ran a music shop and publishing house with Edward Liston at 10 Princes Street from 1795, wrote a singing instruction manual, and lost a lot of money mounting Handel's oratorios. Around 1808 he returned to Dublin, destitute, and died there in 1816. Two operas by him were performed in Dublin during the 1784–5 season, but many of his compositions seem to be lost....