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Howard Mayer Brown

revised by Giulio Ongaro

treatises, one on the recorder, Opera intitulata Fontegara (Venice, 1535 ), and one in two volumes on the viola da gamba, Regola rubertina (Venice, 1542 ) and Lettione seconda (Venice, 1543 ). Most 16th-century books on instruments are either quasi-encyclopedic surveys, like those by Sebastian Virdung ( 1511 ) and Martin Agricola ( 1528 and later), or else very simple sets of instructions for tuning, fingering and intabulating, like the lutebooks by Hans Gerle ( 1532 and later) and Adrian Le Roy ( 1574 ). Ganassi’s works differ from all others in their detail and


Horace Fitzpatrick

revised by Thomas Hiebert

double concerto at the Concert Spirituel; this was the first of at least eight appearances there by Domnich between 1785 and 1788 . In the latter year he played a solo concerto by Devienne, but he otherwise appeared mainly in duos and trios with Lebrun. By 1787 he had joined the Opéra orchestra as Lebrun’s second, in 1793 he entered the National Guard band and by 1799 he was second horn at the Théâtre Feydeou. Domnich, along with Duvernoy, Buch and Kenn, was appointed professor of the horn at the newly formed Paris Conservatoire in 1795 . He was professor of


Roger J.V. Cotte

depleted estate, and has since been untraced. Several portraits of Bagge are known, one of them engraved by Nicolas Cochin (reproduced in Terry) and another portraying him with a violin ‘comme un ménétrier’. Works all printed works published in Paris Orchestral 3 sinfonie (1788) 4 vn concs., all (n.d.) vn conc., F-Pn ; 2 symphonies concertantes, D-B Chamber 6 quatuors concertants, str qt, op.1 (1773) 6 trio, 2 vn, b (n.d.) Airs de Marlborough variés


Edward R. Reilly

revised by Andreas Giger

greatest influence on his development as a performer and composer. His interest in composition, particularly in works for the flute, continued to grow, stimulated by a wide range of Italian and French works then performed in Dresden. In the Saxon court’s repertory, however, influenced by opera seria and the instrumental compositions of Corelli, Torelli and Vivaldi, the Italian musical style gradually superseded the French. Between 1724 and 1727 Quantz completed his training with a period of study in Italy and shorter stays in France and England. He studied counterpoint