1-4 of 4 results  for:

  • Composer or Arranger x
  • Early 18th c./Late Baroque (1700-1750) x
  • Jewish Music x
Clear all


(b Paris, July 4, 1694; d Paris, June 15, 1772). French organist, harpsichordist and composer. Descended from a family of intellectuals of Jewish origin, the son of Claude Daquin and Anne Treisant, Louis-Claude was an infant prodigy. After taking some harpsichord lessons from his godmother Elisabeth Jacquet de la Guerre, and composition lessons from Nicolas Bernier, he was capable of playing before Louis XIV at the age of six and of conducting his own Beatus vir in the Sainte-Chapelle at the age of eight. In 1706 he was appointed organist at the convent of Petit St Antoine and was able to play on the organ of the Sainte-Chapelle. On 12 July 1722 he married Denise-Thérèse Quirot; they had only one child, Pierre-Louis D'Aquin de Châteaulion (c1722–97), whose Lettres trace the brilliant career of a father greatly admired by Parisian society. Louis-Claude's marriage contract tells us that at the time he was ...


Winton Dean

(b London, Sept 7, 1731; d London, Feb 9, 1765). Soprano and composer of Italian descent. She was a daughter of Charles Gambarini, counsellor to the Landgrave of Hessen-Kassel. She took the second soprano part at the first performance of Handel’s Occasional Oratorio in 1746, and in the Covent Garden revival a year later assumed most of Duparc’s role as well. She created the Israelite Woman in Judas Maccabaeus in 1747, and probably sang Asenath in Joseph and his Brethren the same year. Her name appears in the performing scores of Samson and Messiah, but it is not certain when she sang in these works. Her voice seems to have been a mezzo with a regular compass of d′ to g″, extended occasionally down to b and up to a″. About 1748–50 she published some harpsichord pieces and songs in Italian and English, including a setting of ‘Honour, riches, marriage-blessing’ from ...


Elizabeth Roche

(b 1694; d 1763). German composer. His one surviving publication, Alauda coelestis (Augsburg, 1750), contains six masses which are typical of much church music being published in the mid-18th century, when such music was becoming rather more elaborate than had been usual in the 1720s and 30s. There are also some manuscsript instrumental pieces, some of them scored with the participation of unusual instruments like hurdy-gurdy or jew’s harp as the middle part of the score. An account of his career is given in W. Senn: ‘Der Innsbrucker Hofmusiker Johann Heinrich Hörmann’, ...


Mary Térey-Smith

(b Rio de Janeiro, March 8, 1705; d Lisbon, Oct 18, 1739). Portuguese playwright of Brazilian birth . After his Jewish parents were arrested by the Inquisition in 1712 he was taken by relatives to Lisbon, where he grew up. Despite constant surveillance by the clergy he completed his studies at Coimbra University and became a respected lawyer, as well as engaging in literary and theatrical activities. In 1732 he obtained permission to present operas with life-size puppets at the Teatro dos Bonecos in the Bairro Alto during carnival. He produced seven operas based on his own plays in the five years to 1737, when, on the orders of the Inquisition, he was arrested and tried for sacrilegious libel. He was burnt at the stake in Lisbon’s infamous auto-da-fé of 1739.

Da Silva’s satirical style points to his familiarity with the writings of Cervantes and Molière. The two operas for which music is extant (in ...