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[
"Tales of Mystery and Imagination (Alan Parsons Project album)",
"producer",
"Alan Parsons"
] |
Tales of Mystery and Imagination (Edgar Allan Poe) is the debut studio album by British rock band The Alan Parsons Project. It was released on 25 June 1976 in the United Kingdom by Charisma Records. The lyrical and musical themes of the album, which are retellings of horror stories and poetry by Edgar Allan Poe, attracted a cult audience. The title of the album is taken from the title of a collection of Poe's macabre stories of the same name.
Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on "The Tell Tale Heart", John Miles on "The Cask of Amontillado" and "(The System of) Dr. Tarr and Professor Fether", and Terry Sylvester of The Hollies on "To One in Paradise". The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky.
Tales of Mystery and Imagination peaked at #38 on Billboard's Pop Albums chart. The song "(The System Of) Doctor Tarr and Professor Fether" peaked at No. 37 on the Pop Singles chart, and No. 62 in Canada."The Raven" (original demo)
"Edgar" (demo of an unreleased track)
"Orson Welles Radio Spot"
"Interview with Alan Parsons and Eric Woolfson" (1976)
Disc 2: Tracks 1–11, original album in 1987 remixPersonnel
Track numbers in parenthesis.
Alan Parsons – EMI vocoder (2), Projectron synthesizer (3, 7, 10), recorder (5), additional vocals (11), synthesizer (3-4 on 1987 remix), cathedral organ (5 on 1987 remix) producer, engineer
Eric Woolfson – keyboards (1-3, 5, 7), backing vocals (2, 4), harpsichord (4), organ (7), additional vocals (11), synthesizer (9 on 1987 remix) executive producer
Andrew Powell – orchestral arrangement (2-4, 6, 8, 10), orchestral conductor (2-4, 6, 8, 10), keyboards (7), organ (9)
Francis Monkman – organ (7), harpsichord (9)
Billy Lyall – keyboards (1, 3), recorder (1), piano (4-5), Fender Rhodes electric piano (11), glockenspiel (11)
Christopher North – keyboards (2)
Orson Welles – narration (1 and 6 on 1987 remix)
Leonard Whiting – lead vocals (2), narration (11, 1 on 2006 remaster)
Arthur Brown – lead vocals (3)
John Miles – lead vocals (4-5), electric guitar (5)
Jack Harris – additional vocals (3, 5)
Terry Sylvester – additional vocals (4), lead vocals (11)
Jane Powell – backing vocals (11)
Smokey Parsons – vocals
Bob Howes & the English Chorale – choir (2-4)
Westminster City School Boys Choir – choir (11)
David Paton – acoustic guitar (1, 11), backing vocals (1), bass guitar (3-5, 7, 11)
Kevin Peek – acoustic guitar (9)
Laurence Juber – acoustic guitar (9)
Ian Bairnson – electric guitar (1, 3-5, 7, 11, 2 on 1987 remix), acoustic guitar (1, 11)
David Pack – electric guitar (2)
Joe Puerta – bass guitar (1-2)
Les Hurdle – bass guitar (6)
Daryl Runswick – double bass (9)
David Katz – violin, orchestra leader (6, 8, 10), orchestra contractor
Jack Rothstein – orchestra leader (6, 8, 10)
David Snell – harp (9)
Hugo D'Alton – mandolin (9)
Stuart Tosh – drums (1-5, 7, 9, 11), timpani (3), backwards cymbals (3)
Burleigh Drummond – drums (2)
John Leach – cimbalom (9), kantele (9)
Dennis Clarke - saxophone, clarinet
| 9
|
[
"Tales of Mystery and Imagination (Alan Parsons Project album)",
"performer",
"The Alan Parsons Project"
] |
Tales of Mystery and Imagination (Edgar Allan Poe) is the debut studio album by British rock band The Alan Parsons Project. It was released on 25 June 1976 in the United Kingdom by Charisma Records. The lyrical and musical themes of the album, which are retellings of horror stories and poetry by Edgar Allan Poe, attracted a cult audience. The title of the album is taken from the title of a collection of Poe's macabre stories of the same name.
Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on "The Tell Tale Heart", John Miles on "The Cask of Amontillado" and "(The System of) Dr. Tarr and Professor Fether", and Terry Sylvester of The Hollies on "To One in Paradise". The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky.
Tales of Mystery and Imagination peaked at #38 on Billboard's Pop Albums chart. The song "(The System Of) Doctor Tarr and Professor Fether" peaked at No. 37 on the Pop Singles chart, and No. 62 in Canada.
| 10
|
[
"Tales of Mystery and Imagination (Alan Parsons Project album)",
"record label",
"Charisma"
] |
Tales of Mystery and Imagination (Edgar Allan Poe) is the debut studio album by British rock band The Alan Parsons Project. It was released on 25 June 1976 in the United Kingdom by Charisma Records. The lyrical and musical themes of the album, which are retellings of horror stories and poetry by Edgar Allan Poe, attracted a cult audience. The title of the album is taken from the title of a collection of Poe's macabre stories of the same name.
Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on "The Tell Tale Heart", John Miles on "The Cask of Amontillado" and "(The System of) Dr. Tarr and Professor Fether", and Terry Sylvester of The Hollies on "To One in Paradise". The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky.
Tales of Mystery and Imagination peaked at #38 on Billboard's Pop Albums chart. The song "(The System Of) Doctor Tarr and Professor Fether" peaked at No. 37 on the Pop Singles chart, and No. 62 in Canada.
| 11
|
[
"At Night All Blood Is Black",
"country of origin",
"France"
] |
At Night All Blood Is Black (French: Frère d'âme, lit. 'Soul brother') is a novel by French author David Diop. First published in French on August 16, 2018, by Éditions du Seuil, it won the Prix Goncourt des Lycéens that same year.The English translation by Anna Moschovakis won the 2021 International Booker Prize. It was published in the UK by Pushkin Press and in the US by Farrar, Straus and Giroux.
| 0
|
[
"At Night All Blood Is Black",
"language of work or name",
"French"
] |
At Night All Blood Is Black (French: Frère d'âme, lit. 'Soul brother') is a novel by French author David Diop. First published in French on August 16, 2018, by Éditions du Seuil, it won the Prix Goncourt des Lycéens that same year.The English translation by Anna Moschovakis won the 2021 International Booker Prize. It was published in the UK by Pushkin Press and in the US by Farrar, Straus and Giroux.
| 2
|
[
"At Night All Blood Is Black",
"award received",
"Prix Goncourt des Lycéens"
] |
At Night All Blood Is Black (French: Frère d'âme, lit. 'Soul brother') is a novel by French author David Diop. First published in French on August 16, 2018, by Éditions du Seuil, it won the Prix Goncourt des Lycéens that same year.The English translation by Anna Moschovakis won the 2021 International Booker Prize. It was published in the UK by Pushkin Press and in the US by Farrar, Straus and Giroux.
| 9
|
[
"At Night All Blood Is Black",
"award received",
"International Booker Prize"
] |
At Night All Blood Is Black (French: Frère d'âme, lit. 'Soul brother') is a novel by French author David Diop. First published in French on August 16, 2018, by Éditions du Seuil, it won the Prix Goncourt des Lycéens that same year.The English translation by Anna Moschovakis won the 2021 International Booker Prize. It was published in the UK by Pushkin Press and in the US by Farrar, Straus and Giroux.
| 13
|
[
"Johann Christian Bach",
"place of death",
"London"
] |
Bach lived in Italy for many years starting in 1754, studying with Padre Martini in Bologna. He became organist at the Milan cathedral in 1760. During his time in Italy, he converted from Lutheranism to Catholicism- leaving the faith that had flourished in the Bach family for over two centuries- and devoted much time to the composition of church music, including music for a Requiem Mass and a Te Deum. Johann also composed a quantity of Latin sacred music during his time in Italy. His first major work was a Mass, which received an excellent performance and acclaim in 1757. In 1762, Bach travelled to London to première three operas at the King's Theatre, including Orione on 19 February 1763. In 1764 or 1765, the castrato Giusto Fernando Tenducci, who became a close friend, created the title role in his opera Adriano in Siria at King's.That established his reputation in England, and he became music master to Queen Charlotte. In 1766, Bach met soprano Cecilia Grassi, who was eleven years his junior, and married her shortly thereafter. They had no children. J. C. Bach performed symphonies and concertos at the Hanover Square Rooms. This was London's premier concert venue in the heart of fashionable Mayfair. The surrounding Georgian homes offered well-to-do clientele for his performances. One of London's primary literary circles, which included Jane Timbury, Robert Gunnell Esq., Lord Beauchamp, and the Duchess of Buccleuch, was acquainted with Bach, and members were regular attendees at his events.
In 1777, he won a landmark case, Bach v Longman, which established that (in English law) copyright law applied to musical scores.
By the late 1770s, both his popularity and finances were in decline. By the time of Bach's death on New Year's Day 1782, he had become so indebted (in part due to his steward embezzling his money), that Queen Charlotte stepped in to cover the expenses of the estate and provided a life pension for Bach's widow. He was buried in the graveyard of St. Pancras Old Church, London.
| 3
|
[
"Johann Christian Bach",
"place of birth",
"Leipzig"
] |
Life
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half-brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons.
He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a distinguished player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas, and symphonies.
| 6
|
[
"Johann Christian Bach",
"father",
"Johann Sebastian Bach"
] |
Life
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half-brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons.
He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a distinguished player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas, and symphonies.
| 7
|
[
"Johann Christian Bach",
"sibling",
"Carl Philipp Emanuel Bach"
] |
Life
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half-brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons.
He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a distinguished player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas, and symphonies.
| 13
|
[
"Johann Christian Bach",
"country of citizenship",
"Great Britain"
] |
Johann Christian Bach (September 5, 1735 – January 1, 1782) was a German composer of the Classical era, the eighteenth child of Johann Sebastian Bach, and the youngest of his eleven sons. After living in Italy for five years (1757-1762), Bach moved to London, where he became known as "The London Bach". He is also sometimes known as "The English Bach", and during his time spent living in the British capital, he came to be known as John Bach. He is noted for playing a role in influencing the concerto styles of Haydn and Mozart. He contributed significantly to the development of the new sonata principle.
| 17
|
[
"Johann Christian Bach",
"mother",
"Anna Magdalena Bach"
] |
Life
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half-brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons.
He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a distinguished player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas, and symphonies.
| 19
|
[
"Johann Christian Bach",
"country of citizenship",
"Electorate of Saxony"
] |
Johann Christian Bach (September 5, 1735 – January 1, 1782) was a German composer of the Classical era, the eighteenth child of Johann Sebastian Bach, and the youngest of his eleven sons. After living in Italy for five years (1757-1762), Bach moved to London, where he became known as "The London Bach". He is also sometimes known as "The English Bach", and during his time spent living in the British capital, he came to be known as John Bach. He is noted for playing a role in influencing the concerto styles of Haydn and Mozart. He contributed significantly to the development of the new sonata principle.
| 20
|
[
"Johann Christian Bach",
"place of burial",
"St Pancras Old Church, Camden"
] |
Bach lived in Italy for many years starting in 1754, studying with Padre Martini in Bologna. He became organist at the Milan cathedral in 1760. During his time in Italy, he converted from Lutheranism to Catholicism- leaving the faith that had flourished in the Bach family for over two centuries- and devoted much time to the composition of church music, including music for a Requiem Mass and a Te Deum. Johann also composed a quantity of Latin sacred music during his time in Italy. His first major work was a Mass, which received an excellent performance and acclaim in 1757. In 1762, Bach travelled to London to première three operas at the King's Theatre, including Orione on 19 February 1763. In 1764 or 1765, the castrato Giusto Fernando Tenducci, who became a close friend, created the title role in his opera Adriano in Siria at King's.That established his reputation in England, and he became music master to Queen Charlotte. In 1766, Bach met soprano Cecilia Grassi, who was eleven years his junior, and married her shortly thereafter. They had no children. J. C. Bach performed symphonies and concertos at the Hanover Square Rooms. This was London's premier concert venue in the heart of fashionable Mayfair. The surrounding Georgian homes offered well-to-do clientele for his performances. One of London's primary literary circles, which included Jane Timbury, Robert Gunnell Esq., Lord Beauchamp, and the Duchess of Buccleuch, was acquainted with Bach, and members were regular attendees at his events.
In 1777, he won a landmark case, Bach v Longman, which established that (in English law) copyright law applied to musical scores.
By the late 1770s, both his popularity and finances were in decline. By the time of Bach's death on New Year's Day 1782, he had become so indebted (in part due to his steward embezzling his money), that Queen Charlotte stepped in to cover the expenses of the estate and provided a life pension for Bach's widow. He was buried in the graveyard of St. Pancras Old Church, London.
| 42
|
[
"Johann Christian Bach",
"spouse",
"Cecília Grassi"
] |
Bach lived in Italy for many years starting in 1754, studying with Padre Martini in Bologna. He became organist at the Milan cathedral in 1760. During his time in Italy, he converted from Lutheranism to Catholicism- leaving the faith that had flourished in the Bach family for over two centuries- and devoted much time to the composition of church music, including music for a Requiem Mass and a Te Deum. Johann also composed a quantity of Latin sacred music during his time in Italy. His first major work was a Mass, which received an excellent performance and acclaim in 1757. In 1762, Bach travelled to London to première three operas at the King's Theatre, including Orione on 19 February 1763. In 1764 or 1765, the castrato Giusto Fernando Tenducci, who became a close friend, created the title role in his opera Adriano in Siria at King's.That established his reputation in England, and he became music master to Queen Charlotte. In 1766, Bach met soprano Cecilia Grassi, who was eleven years his junior, and married her shortly thereafter. They had no children. J. C. Bach performed symphonies and concertos at the Hanover Square Rooms. This was London's premier concert venue in the heart of fashionable Mayfair. The surrounding Georgian homes offered well-to-do clientele for his performances. One of London's primary literary circles, which included Jane Timbury, Robert Gunnell Esq., Lord Beauchamp, and the Duchess of Buccleuch, was acquainted with Bach, and members were regular attendees at his events.
In 1777, he won a landmark case, Bach v Longman, which established that (in English law) copyright law applied to musical scores.
By the late 1770s, both his popularity and finances were in decline. By the time of Bach's death on New Year's Day 1782, he had become so indebted (in part due to his steward embezzling his money), that Queen Charlotte stepped in to cover the expenses of the estate and provided a life pension for Bach's widow. He was buried in the graveyard of St. Pancras Old Church, London.
| 43
|
[
"Johann Christian Bach",
"family name",
"Bach"
] |
Johann Christian Bach (September 5, 1735 – January 1, 1782) was a German composer of the Classical era, the eighteenth child of Johann Sebastian Bach, and the youngest of his eleven sons. After living in Italy for five years (1757-1762), Bach moved to London, where he became known as "The London Bach". He is also sometimes known as "The English Bach", and during his time spent living in the British capital, he came to be known as John Bach. He is noted for playing a role in influencing the concerto styles of Haydn and Mozart. He contributed significantly to the development of the new sonata principle.Life
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth—an age gap exemplified by the sharp differences in the musical styles of father and son. Even so, father Bach instructed Johann Christian in music until his death in 1750. After his father's death, he worked (and lived) with his second-oldest half-brother Carl Philipp Emanuel Bach, who was twenty-one years his senior and considered at the time to be the most musically gifted of Bach's sons.
He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a distinguished player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas, and symphonies.
| 47
|
[
"Giovanni Battista Martini",
"occupation",
"composer"
] |
Giovanni Battista or Giambattista Martini, O.F.M. Conv. (24 April 1706 - 3 August 1784), also known as Padre Martini, was an Italian Conventual Franciscan friar, who was a leading musician, composer, and music historian of the period and a mentor to Mozart.Biography
Giovanni Battista Martini was born in Bologna, in that era part of the Papal States. His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin and he later learned singing and harpsichord playing from Padre Pradieri, and counterpoint from Antonio Riccieri and Giacomo Antonio Perti. Having received his education in classics from the priests of the Oratory of Saint Philip Neri, he afterwards entered the novitiate of the Conventual Franciscans at their friary in Lago, at the close of which he professed religious vows and received the religious habit of the Order on 11 September 1722.In 1725, though only nineteen years old, he received the appointment of chapel-master at the Basilica of San Francesco in Bologna, where his compositions attracted attention. He established a composition school at the invitation of amateur and professional friends, where a number of well-known musicians received their education. As a teacher, he consistently expressed his preference for the practices of the earlier Roman school of composition. Martini was a zealous collector of musical literature, and possessed an extensive musical library. Burney estimated it at 17,000 volumes; after Martini's death a portion of it passed to the Imperial library at Vienna, the rest remaining in Bologna, now in the Museo Internazionale della Musica (ex Civico Museo Bibliografico Musicale).
Most contemporary musicians spoke of Martini with admiration, and Leopold Mozart consulted him with regard to the talents of his son, Wolfgang Amadeus Mozart. The latter went on to write the friar in very effusive terms after a visit to the city. The Abbé Vogler, however, makes reservations in his praise, condemning his philosophical principles as too much in sympathy with those of Fux, which had already been expressed by P. Vallotti. His Elogio was published by Pietro della Valle at Bologna in the same year.In 1758 Martini was invited to teach at the Accademia Filarmonica di Bologna. He died in Bologna.
Among Martini's pupils: the Belgian André Ernest Modeste Grétry, the Bohemian Josef Mysliveček, the Ukrainian Maksym Berezovsky, his fellow Conventual Franciscan friar, Stanislao Mattei, who succeeded him as conductor of the girls choir, as well as the young Wolfgang Amadeus Mozart, Johann Christian Bach and the famous Italian cellist Giovanni Battista Cirri.
| 10
|
[
"Johann Schobert",
"instance of",
"human"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 0
|
[
"Johann Schobert",
"instrument",
"harpsichord"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 6
|
[
"Johann Schobert",
"cause of death",
"foodborne illness"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 7
|
[
"Johann Schobert",
"given name",
"Johann"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 9
|
[
"Johann Schobert",
"sex or gender",
"male"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 10
|
[
"Johann Schobert",
"occupation",
"harpsichordist"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 11
|
[
"Johann Schobert",
"occupation",
"composer"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 12
|
[
"Johann Schobert",
"family name",
"Schobert"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.
| 13
|
[
"Johann Schobert",
"place of birth",
"Silesia"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.
| 14
|
[
"Johann Schobert",
"occupation",
"pianist"
] |
Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 15
|
[
"Johann Schobert",
"manner of death",
"accidental death"
] |
Johann Schobert (c. 1720, 1735 or 1740 – 28 August 1767) was a composer and harpsichordist. His date of birth is given variously as about 1720, about 1735, or about 1740, his place of birth as Silesia, Alsace, or Nuremberg. He died after eating poisonous mushrooms that he insisted were edible.Career
In 1760 or 1761, Schobert moved to Paris where he served in the household of Louis François I de Bourbon, prince de Conti. He composed many books of sonatas for his instrument, most of them with an accompanying part for one or more other instruments. Schobert also wrote harpsichord concertos, symphonies and the opéra comique Le Garde-Chasse et le Braconnier.
In Paris, Schobert came into contact with Leopold Mozart during the family's grand tour. Reportedly, Schobert was offended by Mozart's comments that his children played Schobert's works with ease. Nevertheless, Schobert was a significant influence on the young Wolfgang Amadeus Mozart, who arranged a number of movements from Schobert's sonatas for use in his own piano concertos.Mozart biographer Dyneley Hussey writes that it was Schobert's music that opened up Mozart to the possibility of adopting a poetic stance in his music. Citing Téodor de Wyzewa and Georges de Saint-Foix's work on Mozart, Hussey points out that the four piano concertos, "which are deliberate studies from Schobert", have a "typically Mozartian" stylized nature which is actually present in the Schobert works that he was emulating. Hussey concludes, "So we may regard Schobert, to whom Wolfgang owes so much of the 'romantic' element which appears in his work alongside of its 'classic' grace and vigor, as being the first of his real masters."In 1767, Schobert went mushroom picking with his family in Le Pré-Saint-Gervais near Paris. He tried to have a local chef prepare them, but was told they were poisonous. After unsuccessfully trying again at a restaurant at Bois de Boulogne, and being incorrectly told by a doctor acquaintance of his that the mushrooms were edible, he decided to use them to make a soup at home. Schobert, his wife, all but one of their children, and his doctor friend died.
| 16
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[
"Antonio Salieri",
"field of work",
"opera"
] |
Early Viennese period and operas (1770–1778)
Following the modest success of , Le Donne literate Salieri received new commissions for writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera, L'amore innocente (Innocent Love), was a light-hearted comedy set in the Austrian mountains. The second was based on an episode from Miguel de Cervantes' Don Quixote – Don Chisciotte alle Nozze di Gamace (Don Quixote at the marriage of Camacho). In these first works, drawn mostly from the traditions of mid-century opera buffa, Salieri showed a penchant for experimentation and for mixing the established characteristics of specific operatic genres. Don Chisciotte was a mix of ballet and opera buffa, and the lead female roles in L'amore innocence were designed to contrast and highlight the different traditions of operatic writing for soprano, even borrowing stylistic flourishes from opera seria in the use of coloratura in what was a short pastoral comedy more in keeping with a Roman Intermezzo. The mixing and pushing against the boundaries of established operatic genres was a continuing hallmark of Salieri's own personal style, and in his choice of material for the plot (as in his first opera), he manifested a lifelong interest in subjects drawn from classic drama and literature.
Salieri's first great success was in the realm of serious opera. Commissioned for an unknown occasion, Salieri's Armida was based on Torquato Tasso's epic poem La Gerusalemme liberata (Jerusalem Delivered); it premiered on 2 June 1771. Armida is a tale of love and duty in conflict and is saturated in magic. The opera is set during the First Crusade and features a dramatic mix of ballet, aria, ensemble, and choral writing, combining theatricality, scenic splendor, and high emotionalism. The work clearly followed in Gluck's footsteps and embraced his reform of serious opera beginning with Orfeo ed Euridice and Alceste. The libretto to Armida was by Marco Coltellini, the house poet for the imperial theaters. While Salieri followed the precepts set forth by Gluck and his librettist Ranieri de' Calzabigi in the preface to Alceste, Salieri also drew on some musical ideas from the more traditional opera seria and even opera buffa, creating a new synthesis in the process. Armida was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer. It was also the first opera to receive a serious preparation in a piano and vocal reduction by Carl Friedrich Cramer in 1783.Armida was soon followed by Salieri's first truly popular success, a commedia per musica in the style of Carlo Goldoni La Fiera di Venezia (The Fair of Venice). La Fiera was written for Carnival in 1772 and premiered on 29 January. Here Salieri returned to his collaboration with the young Giovanni Boccherini, who crafted an original plot. La Fiera featured characters singing in three languages, a bustling portrayal of the Ascension-tide Fair and Carnival in Venice, and large and lengthy ensembles and choruses. It also included an innovative scene that combined a series of on-stage dances with singing from both solo protagonists and the chorus. This was a pattern imitated by later composers, most famously and successfully by Wolfgang Amadeus Mozart in Don Giovanni. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined coloratura and concertante woodwind solos, another innovation for comic opera that was widely imitated.Salieri's next two operas were not particular or lasting successes. La Vecchia rapita (The Stolen Bucket) is a parody of the high flown and emotive arias found in Metastasian opera seria. It also contains innovative orchestrations, including the first known use of three tympani. Again a classic of Renaissance literature was the basis of the libretto by Boccherini, in this case, a comic mock-epic by Tassoni, in which a war between Modena and Bologna follows the theft of a bucket. This uneven work was followed by a popular comedic success La locandiera (The Mistress of the Inn), an adaptation of the classic and popular spoken stage comedy La locandiera by Carlo Goldoni, with the libretto prepared by Domenico Poggi.
The majority of Salieri's modest number of instrumental works also date from this time. Salieri's instrumental works have been judged by various critics and scholars to lack the inspiration and innovation found in his writing for the stage. These orchestral works are mainly in the Galant style, and although they show some development toward the late classical, they reflect a general weakness in comparison to his operatic works of the same and later periods. These works were written for mostly unknown occasions and artists. They include two concertos for pianoforte, one in C major and one in B flat major (both 1773); a concerto for organ in C Major in two movements (the middle movement is missing from the autograph score, or perhaps, it was an improvised organ solo) (also 1773); and two concertante works: a concerto for oboe, violin and cello in D major (1770), and a flute and oboe concerto in C major (1774). These works are among the most frequently recorded of Salieri's compositions.
Upon Gassmann's death on 21 January, most likely due to complications from an accident with a carriage some years earlier, Salieri succeeded him as assistant director of the Italian opera in early 1774. On 10 October 1775 Salieri married Therese Helferstorfer, the daughter of a recently deceased financier and official of the court treasury. Sacred music was not a high priority for the composer during this stage of his career, but he did compose an Alleluia for chorus and orchestra in 1774.
During the next three years, Salieri was primarily concerned with rehearsing and conducting the Italian opera company in Vienna and with teaching. His three complete operas written during this time show the development of his compositional skills, but included no great success, either commercially or artistically. His most important compositions during this period were a symphony in D major, performed in the summer of 1776, and the oratorio La Passione di Gesù Cristo with a text by Metastasio, performed during Advent of 1776.
After the financial collapse of the Italian opera company in 1777 due to financial mismanagement, Joseph II decided to end the performance of Italian opera, French-spoken drama, and ballet. Instead, the two court-owned theaters would be reopened under new management, and partly subsidized by the Imperial Court, as a new National Theater. The re-launched theaters would promote German-language plays and musical productions that reflected Austrian (or as Joseph II would have said) German values, traditions, and outlook. The Italian opera buffa company was therefore replaced by a German-language Singspiel troupe. Joseph and his supporters of Imperial reform wanted to encourage pan-national pride that would unite his multi-lingual and ethnic subjects under one common language and hoped to save a considerable amount of money in the process. Beginning in 1778 the Emperor wished to have new works, in German, composed by his own subjects and brought on the stage with clear Imperial support. This in effect left Salieri's role as assistant court composer in a much-reduced position. Salieri also had never truly mastered the German language, and he now felt no longer competent to continue as an assistant opera director. A further blow to his career was when the spoken drama and musical Singspiel were placed on an equal footing. For the young composer, there would be few, if any, new compositional commissions to receive from the court. Salieri was left with few financial options and he began casting about for new opportunities.
| 6
|
[
"Antonio Salieri",
"student",
"Franz Schubert"
] |
Life after opera (1804–1825)
When Salieri retired from the stage, he recognized that artistic styles had changed and he felt that he no longer had the creative capacity to adapt or the emotional desire to continue. Also as Salieri aged, he moved slowly away from his more liberal political stances as he saw the enlightened reform of Joseph II's reign, and the hoped-for reforms of the French revolution, replaced with more radical revolutionary ideas. As the political situation threatened and eventually overwhelmed Austria, which was repeatedly crushed by French political forces, Salieri's first and most important biographer Ignaz von Mosel described the emotional effect that this political, social, and cultural upheaval had on the composer. Mosel noted that these radical changes, especially the invasion and defeat of Austria, and the occupation of Vienna intertwined with the personal losses that struck Salieri in the same period and led to his withdrawal from operatic work. Related to this Mosel quotes the aged composer concerning the radical changes in musical taste that were underway in the age of Beethoven, "From that period [circa 1800] I realized that musical taste was gradually changing in a manner completely contrary to that of my own times. Eccentricity and confusion of genres replaced reasoned and masterful simplicity."As his teaching and work with the imperial chapel continued, his duties required the composition of a large number of sacred works, and in his last years, it was almost exclusively in religious works and teaching that Salieri occupied himself. Among his compositions written for the chapel were two complete sets of vespers, many graduals, offertories, and four orchestral masses. During this period he lost his only son in 1805 and his wife in 1807.
Salieri continued to conduct publicly, including the performance on 18 March 1808 of Haydn's The Creation during which Haydn collapsed, and several premieres by Beethoven including the 1st and 2nd Piano Concertos and Wellington's Victory. He also continued to help administer several charities and organize their musical events.
His remaining secular works in this late period fall into three categories: first, large-scale cantatas and one oratorio Habsburg written on patriotic themes or in response to the international political situation, pedagogical works written to aid his students in voice, and finally simple songs, rounds or canons written for home entertainment; many with original poetry by the composer. He also composed one large-scale instrumental work in 1815 intended as a study in late classical orchestration: Twenty-Six Variations for the Orchestra on a Theme called La Folia di Spagna. The theme is likely folk-derived and is known as La Folía. This simple melodic and harmonic progression had served as an inspiration for many baroque composers and would be used by later romantic and post-romantic composers. Salieri's setting is a brooding work in the minor key, which rarely moves far from the original melodic material, its main interest lies in the deft and varied handling of orchestral colors. La Folia was the most monumental set of orchestral variations before Brahms' Variations on a Theme by Haydn.
His teaching of budding young musicians continued, and among his pupils in composition (usually vocal) were Ludwig van Beethoven, Antonio Casimir Cartellieri, Franz Liszt and Franz Schubert. See: List of music students by teacher: R to S#Antonio Salieri. He also instructed many prominent singers throughout his career, including Caterina Canzi. All but the wealthiest of his pupils received their lessons for free, a tribute to the kindness Gassmann had shown Salieri as a penniless orphan.
In November 1823 Salieri attempted suicide. He was committed to medical care and suffered dementia for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825, his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later transferred to the Zentralfriedhof. His monument is adorned by a poem written by Joseph Weigl, one of his pupils:
| 9
|
[
"Antonio Salieri",
"student of",
"Florian Leopold Gassmann"
] |
Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian classical composer, conductor, and teacher. He was born in Legnago, south of Verona, in the Republic of Venice, and spent his adult life and career as a subject of the Habsburg monarchy.
Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of Christoph Willibald Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary, and his music was a powerful influence on contemporary composers.
Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 until 1792, Salieri dominated Italian-language opera in Vienna. During his career, he also spent time writing works for opera houses in Paris, Rome, and Venice, and his dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought-after teachers of his generation, and his influence was felt in every aspect of Vienna's musical life. Franz Liszt, Franz Schubert, Ludwig van Beethoven, Anton Eberl, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart were among the most famous of his pupils. Salieri's music slowly disappeared from the repertoire between 1800 and 1868 and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to the fictionalized depiction of Salieri in Peter Shaffer's play Amadeus (1979) and its 1984 film version. The death of Wolfgang Amadeus Mozart in 1791 at the age of 35 was followed by rumors that he and Salieri had been bitter rivals, and that Salieri had poisoned the younger composer, yet it has been suggested this is false, and it is likely that they were, at least, mutually respectful peers.Life and career
Early life (1750–1770)
Antonio Salieri was born on August 18, 1750, to Antonio Salieri and his wife, Anna Maria. Salieri started his musical studies in his native town of Legnago; he was first taught at home by his older brother Francesco Salieri (a former student of the violinist and composer Giuseppe Tartini), and he received further lessons from the organist of the Legnago Cathedral, Giuseppe Simoni, a pupil of Padre Giovanni Battista Martini. Salieri remembered little from his childhood in later years except for passions for sugar, reading, and music. He twice ran away from home without permission to hear his elder brother play violin concertos in neighboring churches on festival days (resulting in the loss of his beloved sugar), and he recounted being chastised by his father after failing to greet a local priest with proper respect. Salieri responded to the reprimand by saying the priest's organ playing displeased him because it was in an inappropriately theatrical style. Sometime between 1763 and 1764, both of Salieri's parents died, and he was briefly taken in by an anonymous brother, a monk in Padua, and then for unknown reasons in 1765 or 1766, he became the ward of a Venetian nobleman named Giovanni Mocenigo (which Giovanni is at this time unknown), a member of the powerful and well connected Mocenigo family. It is possible that Salieri's father and Mocenigo were friends or business associates, but this is obscure. While living in Venice, Salieri continued his musical studies with the organist and opera composer Giovanni Battista Pescetti, then following Pescetti's sudden death he studied with the opera singer Ferdinando Pacini (or Pasini). It was through Pacini that Salieri gained the attention of the composer Florian Leopold Gassmann, who, impressed with his protege's talents and concerned for the boy's future, took the young orphan to Vienna, where he personally directed and paid for the remainder of Salieri's musical education.Salieri and Gassmann arrived in Vienna on 15 June 1766. Gassmann's first act was to take Salieri to the Italian Church to consecrate his teaching and service to God, an event that left a deep impression on Salieri for the rest of his life. Salieri's education included instruction in Latin and Italian poetry by Fr. Don Pietro Tommasi, instruction in the German language, and European literature. His music studies revolved around vocal composition and thoroughbass. His musical theory training in harmony and counterpoint was rooted in Johann Fux's Gradus ad Parnassum, which Salieri translated during each Latin lesson. As a result, Salieri continued to live with Gassmann even after Gassmann's marriage, an arrangement that lasted until the year of Gassmann's death and Salieri's own marriage in 1774. Few of Salieri's compositions have survived from this early period. In his old age Salieri hinted that these works were either purposely destroyed or had been lost, with the exception of a few works for the church. Among these sacred works there survives a Mass in C major written without a "Gloria" and in the antique a cappella style (presumably for one of the church's penitential seasons) and dated 2 August 1767. A complete opera composed in 1769 (presumably as a culminating study) La vestal (The Vestal Virgin) has also been lost.Beginning in 1766 Gassmann introduced Salieri to the daily chamber music performances held during Emperor Joseph II's evening meal. Salieri quickly impressed the Emperor, and Gassmann was instructed to bring his pupil as often as he wished. This was the beginning of a relationship between monarch and musician that lasted until Joseph's death in 1790. Salieri met Pietro Antonio Domenico Trapassi, better known as Metastasio, and Christoph Willibald Gluck during this period at the Sunday morning salons held at the home of the Martinez family. Metastasio had an apartment there and participated in the weekly gatherings. Over the next several years Metastasio gave Salieri informal instruction in prosody and the declamation of Italian poetry, and Gluck became an informal advisor, friend, and confidante. It was toward the end of this extended period of study that Gassmann was called away on a new opera commission and a gap in the theater's program allowed for Salieri to make his debut as a composer of a completely original opera buffa. Salieri's first full opera was composed during the winter and carnival season of 1770; Le Donne letterate and was based on Molière's Les Femmes Savantes (The Learned Ladies) with a libretto by Giovanni Gastone Boccherini, a dancer in the court ballet and a brother of the composer Luigi Boccherini. The modest success of this opera launched Salieri's 34-year operatic career as a composer of over 35 original dramas.
| 12
|
[
"Antonio Salieri",
"place of birth",
"Legnago"
] |
Legacy
Salieri and his music were largely forgotten from the 19th century until the late 20th century. This revival was due to the dramatic and highly fictionalized depiction of Salieri in Peter Shaffer's play Amadeus (1979), which was given its greatest exposure in its 1984 film version, directed by Miloš Forman. His music today has regained some modest popularity via recordings. It is also the subject of increasing academic study, and a small number of his operas have returned to the stage. In addition, there is now a Salieri Opera Festival sponsored by the Fondazione Culturale Antonio Salieri and dedicated to rediscovering his work and those of his contemporaries. It is developing as an annual autumn event in his native town of Legnago, where a theatre has been renamed in his honor.
| 27
|
[
"Antonio Salieri",
"student",
"Franz Liszt"
] |
Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian classical composer, conductor, and teacher. He was born in Legnago, south of Verona, in the Republic of Venice, and spent his adult life and career as a subject of the Habsburg monarchy.
Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protégé of Christoph Willibald Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary, and his music was a powerful influence on contemporary composers.
Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 until 1792, Salieri dominated Italian-language opera in Vienna. During his career, he also spent time writing works for opera houses in Paris, Rome, and Venice, and his dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought-after teachers of his generation, and his influence was felt in every aspect of Vienna's musical life. Franz Liszt, Franz Schubert, Ludwig van Beethoven, Anton Eberl, Johann Nepomuk Hummel and Franz Xaver Wolfgang Mozart were among the most famous of his pupils. Salieri's music slowly disappeared from the repertoire between 1800 and 1868 and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to the fictionalized depiction of Salieri in Peter Shaffer's play Amadeus (1979) and its 1984 film version. The death of Wolfgang Amadeus Mozart in 1791 at the age of 35 was followed by rumors that he and Salieri had been bitter rivals, and that Salieri had poisoned the younger composer, yet it has been suggested this is false, and it is likely that they were, at least, mutually respectful peers.Life after opera (1804–1825)
When Salieri retired from the stage, he recognized that artistic styles had changed and he felt that he no longer had the creative capacity to adapt or the emotional desire to continue. Also as Salieri aged, he moved slowly away from his more liberal political stances as he saw the enlightened reform of Joseph II's reign, and the hoped-for reforms of the French revolution, replaced with more radical revolutionary ideas. As the political situation threatened and eventually overwhelmed Austria, which was repeatedly crushed by French political forces, Salieri's first and most important biographer Ignaz von Mosel described the emotional effect that this political, social, and cultural upheaval had on the composer. Mosel noted that these radical changes, especially the invasion and defeat of Austria, and the occupation of Vienna intertwined with the personal losses that struck Salieri in the same period and led to his withdrawal from operatic work. Related to this Mosel quotes the aged composer concerning the radical changes in musical taste that were underway in the age of Beethoven, "From that period [circa 1800] I realized that musical taste was gradually changing in a manner completely contrary to that of my own times. Eccentricity and confusion of genres replaced reasoned and masterful simplicity."As his teaching and work with the imperial chapel continued, his duties required the composition of a large number of sacred works, and in his last years, it was almost exclusively in religious works and teaching that Salieri occupied himself. Among his compositions written for the chapel were two complete sets of vespers, many graduals, offertories, and four orchestral masses. During this period he lost his only son in 1805 and his wife in 1807.
Salieri continued to conduct publicly, including the performance on 18 March 1808 of Haydn's The Creation during which Haydn collapsed, and several premieres by Beethoven including the 1st and 2nd Piano Concertos and Wellington's Victory. He also continued to help administer several charities and organize their musical events.
His remaining secular works in this late period fall into three categories: first, large-scale cantatas and one oratorio Habsburg written on patriotic themes or in response to the international political situation, pedagogical works written to aid his students in voice, and finally simple songs, rounds or canons written for home entertainment; many with original poetry by the composer. He also composed one large-scale instrumental work in 1815 intended as a study in late classical orchestration: Twenty-Six Variations for the Orchestra on a Theme called La Folia di Spagna. The theme is likely folk-derived and is known as La Folía. This simple melodic and harmonic progression had served as an inspiration for many baroque composers and would be used by later romantic and post-romantic composers. Salieri's setting is a brooding work in the minor key, which rarely moves far from the original melodic material, its main interest lies in the deft and varied handling of orchestral colors. La Folia was the most monumental set of orchestral variations before Brahms' Variations on a Theme by Haydn.
His teaching of budding young musicians continued, and among his pupils in composition (usually vocal) were Ludwig van Beethoven, Antonio Casimir Cartellieri, Franz Liszt and Franz Schubert. See: List of music students by teacher: R to S#Antonio Salieri. He also instructed many prominent singers throughout his career, including Caterina Canzi. All but the wealthiest of his pupils received their lessons for free, a tribute to the kindness Gassmann had shown Salieri as a penniless orphan.
In November 1823 Salieri attempted suicide. He was committed to medical care and suffered dementia for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825, his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later transferred to the Zentralfriedhof. His monument is adorned by a poem written by Joseph Weigl, one of his pupils:
| 48
|
[
"Antonio Salieri",
"notable work",
"Europa riconosciuta"
] |
Italian tour (1778–1780)
In 1778 Gluck turned down an offer to compose the inaugural opera for La Scala in Milan. Upon the suggestion of Joseph II and with the approval of Gluck, Salieri was offered the commission, which he gratefully accepted. Joseph II granted Salieri permission to take a year-long leave of absence (later extended), enabling him to write for La Scala and to undertake a tour of Italy. Salieri's Italian tour of 1778–80 began with the production of Europa riconosciuta (Europa Recognized) for La Scala (revived in 2004 for the same opera house's re-opening following extensive renovations). From Milan, Salieri included stops in Venice and Rome before returning to Milan. During this tour, he wrote three new comic operas and he collaborated with Giacomo Rust on one opera, Il talismano (The Talisman). Of his Italian works one, La Scuola de' gelosi (The School for Jealousy), a witty study of amorous intrigue and emotion, proved a popular and lasting international success.
| 55
|
[
"Antonio Salieri",
"spouse",
"Therese Helferstorfer"
] |
Early Viennese period and operas (1770–1778)
Following the modest success of , Le Donne literate Salieri received new commissions for writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera, L'amore innocente (Innocent Love), was a light-hearted comedy set in the Austrian mountains. The second was based on an episode from Miguel de Cervantes' Don Quixote – Don Chisciotte alle Nozze di Gamace (Don Quixote at the marriage of Camacho). In these first works, drawn mostly from the traditions of mid-century opera buffa, Salieri showed a penchant for experimentation and for mixing the established characteristics of specific operatic genres. Don Chisciotte was a mix of ballet and opera buffa, and the lead female roles in L'amore innocence were designed to contrast and highlight the different traditions of operatic writing for soprano, even borrowing stylistic flourishes from opera seria in the use of coloratura in what was a short pastoral comedy more in keeping with a Roman Intermezzo. The mixing and pushing against the boundaries of established operatic genres was a continuing hallmark of Salieri's own personal style, and in his choice of material for the plot (as in his first opera), he manifested a lifelong interest in subjects drawn from classic drama and literature.
Salieri's first great success was in the realm of serious opera. Commissioned for an unknown occasion, Salieri's Armida was based on Torquato Tasso's epic poem La Gerusalemme liberata (Jerusalem Delivered); it premiered on 2 June 1771. Armida is a tale of love and duty in conflict and is saturated in magic. The opera is set during the First Crusade and features a dramatic mix of ballet, aria, ensemble, and choral writing, combining theatricality, scenic splendor, and high emotionalism. The work clearly followed in Gluck's footsteps and embraced his reform of serious opera beginning with Orfeo ed Euridice and Alceste. The libretto to Armida was by Marco Coltellini, the house poet for the imperial theaters. While Salieri followed the precepts set forth by Gluck and his librettist Ranieri de' Calzabigi in the preface to Alceste, Salieri also drew on some musical ideas from the more traditional opera seria and even opera buffa, creating a new synthesis in the process. Armida was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer. It was also the first opera to receive a serious preparation in a piano and vocal reduction by Carl Friedrich Cramer in 1783.Armida was soon followed by Salieri's first truly popular success, a commedia per musica in the style of Carlo Goldoni La Fiera di Venezia (The Fair of Venice). La Fiera was written for Carnival in 1772 and premiered on 29 January. Here Salieri returned to his collaboration with the young Giovanni Boccherini, who crafted an original plot. La Fiera featured characters singing in three languages, a bustling portrayal of the Ascension-tide Fair and Carnival in Venice, and large and lengthy ensembles and choruses. It also included an innovative scene that combined a series of on-stage dances with singing from both solo protagonists and the chorus. This was a pattern imitated by later composers, most famously and successfully by Wolfgang Amadeus Mozart in Don Giovanni. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined coloratura and concertante woodwind solos, another innovation for comic opera that was widely imitated.Salieri's next two operas were not particular or lasting successes. La Vecchia rapita (The Stolen Bucket) is a parody of the high flown and emotive arias found in Metastasian opera seria. It also contains innovative orchestrations, including the first known use of three tympani. Again a classic of Renaissance literature was the basis of the libretto by Boccherini, in this case, a comic mock-epic by Tassoni, in which a war between Modena and Bologna follows the theft of a bucket. This uneven work was followed by a popular comedic success La locandiera (The Mistress of the Inn), an adaptation of the classic and popular spoken stage comedy La locandiera by Carlo Goldoni, with the libretto prepared by Domenico Poggi.
The majority of Salieri's modest number of instrumental works also date from this time. Salieri's instrumental works have been judged by various critics and scholars to lack the inspiration and innovation found in his writing for the stage. These orchestral works are mainly in the Galant style, and although they show some development toward the late classical, they reflect a general weakness in comparison to his operatic works of the same and later periods. These works were written for mostly unknown occasions and artists. They include two concertos for pianoforte, one in C major and one in B flat major (both 1773); a concerto for organ in C Major in two movements (the middle movement is missing from the autograph score, or perhaps, it was an improvised organ solo) (also 1773); and two concertante works: a concerto for oboe, violin and cello in D major (1770), and a flute and oboe concerto in C major (1774). These works are among the most frequently recorded of Salieri's compositions.
Upon Gassmann's death on 21 January, most likely due to complications from an accident with a carriage some years earlier, Salieri succeeded him as assistant director of the Italian opera in early 1774. On 10 October 1775 Salieri married Therese Helferstorfer, the daughter of a recently deceased financier and official of the court treasury. Sacred music was not a high priority for the composer during this stage of his career, but he did compose an Alleluia for chorus and orchestra in 1774.
During the next three years, Salieri was primarily concerned with rehearsing and conducting the Italian opera company in Vienna and with teaching. His three complete operas written during this time show the development of his compositional skills, but included no great success, either commercially or artistically. His most important compositions during this period were a symphony in D major, performed in the summer of 1776, and the oratorio La Passione di Gesù Cristo with a text by Metastasio, performed during Advent of 1776.
After the financial collapse of the Italian opera company in 1777 due to financial mismanagement, Joseph II decided to end the performance of Italian opera, French-spoken drama, and ballet. Instead, the two court-owned theaters would be reopened under new management, and partly subsidized by the Imperial Court, as a new National Theater. The re-launched theaters would promote German-language plays and musical productions that reflected Austrian (or as Joseph II would have said) German values, traditions, and outlook. The Italian opera buffa company was therefore replaced by a German-language Singspiel troupe. Joseph and his supporters of Imperial reform wanted to encourage pan-national pride that would unite his multi-lingual and ethnic subjects under one common language and hoped to save a considerable amount of money in the process. Beginning in 1778 the Emperor wished to have new works, in German, composed by his own subjects and brought on the stage with clear Imperial support. This in effect left Salieri's role as assistant court composer in a much-reduced position. Salieri also had never truly mastered the German language, and he now felt no longer competent to continue as an assistant opera director. A further blow to his career was when the spoken drama and musical Singspiel were placed on an equal footing. For the young composer, there would be few, if any, new compositional commissions to receive from the court. Salieri was left with few financial options and he began casting about for new opportunities.
| 60
|
[
"Christian Gottlob Neefe",
"instance of",
"human"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 0
|
[
"Christian Gottlob Neefe",
"languages spoken, written or signed",
"German"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.
| 1
|
[
"Christian Gottlob Neefe",
"student",
"Ludwig van Beethoven"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 2
|
[
"Christian Gottlob Neefe",
"genre",
"opera"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 3
|
[
"Christian Gottlob Neefe",
"place of birth",
"Chemnitz"
] |
Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 5
|
[
"Christian Gottlob Neefe",
"occupation",
"composer"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 6
|
[
"Christian Gottlob Neefe",
"student of",
"Johann Adam Hiller"
] |
Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 8
|
[
"Christian Gottlob Neefe",
"occupation",
"organist"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 11
|
[
"Christian Gottlob Neefe",
"occupation",
"conductor"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.
| 12
|
[
"Christian Gottlob Neefe",
"sex or gender",
"male"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 13
|
[
"Christian Gottlob Neefe",
"family name",
"Neefe"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 15
|
[
"Christian Gottlob Neefe",
"given name",
"Christian"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.Life and career
Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
In 1776 Neefe joined the Seyler theatrical company of Abel Seyler (then) in Dresden, and inherited the position of musical director from his mentor, Hiller. He later became court organist in Bonn and was the principal piano teacher of Ludwig van Beethoven. He helped Beethoven produce some of his first works. His best known work was a Singspiel called Adelheit von Veltheim (1780). In Bonn, Neefe became prefect of the local chapter of the Illuminati, the Minervalkirche Stagira. He died in Dessau.
| 16
|
[
"Christian Gottlob Neefe",
"country of citizenship",
"Electorate of Saxony"
] |
Christian Gottlob Neefe (German: [ˈneːfə]; 5 February 1748 – 28 January 1798) was a German opera composer and conductor. He was known as one of the first teachers of Ludwig van Beethoven.
| 21
|
[
"Andrea Luchesi",
"instance of",
"human"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 0
|
[
"Andrea Luchesi",
"languages spoken, written or signed",
"Italian"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 3
|
[
"Andrea Luchesi",
"occupation",
"composer"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 9
|
[
"Andrea Luchesi",
"sex or gender",
"male"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 10
|
[
"Andrea Luchesi",
"described by source",
"Biographisches Lexikon des Kaiserthums Oesterreich"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 11
|
[
"Andrea Luchesi",
"given name",
"Andrea"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 13
|
[
"Andrea Luchesi",
"place of birth",
"Motta di Livenza"
] |
Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 14
|
[
"Andrea Luchesi",
"instrument",
"organ"
] |
Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 15
|
[
"Andrea Luchesi",
"genre",
"classical music"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 16
|
[
"Andrea Luchesi",
"family name",
"Luchesi"
] |
Andrea Luca Luchesi (also spelled Lucchesi; 23 May 1741 – 21 March 1801) was an Italian composer. He knew Mozart and Beethoven.Biography
Andrea Luchesi was born at Motta di Livenza, near Treviso the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese; from 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and organist.
By 1757 he moved to Venice. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians: Gioacchino Cocchi, Padre Paolucci, Giuseppe Saratelli, Domenico Gallo, Ferdinando Bertoni and (the best-known of them) Baldassare Galuppi. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for "organ or cembalo", instrumental, sacred and theatre music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, Spanish ambassador to Venice. As a famous virtuoso he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the basilica of Saint Anthony in Padua.In the spring of 1765 his opera L'isola della fortuna was performed at the Hoftheater in Vienna.
While on tour in Italy in 1771, Leopold and Wolfgang Mozart met Andrea Luchesi and received one of his concertos for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and Nannerl often used the concerto for teaching and practising purposes).At the end of 1771, Luchesi traveled to Bonn on a three-year contract, invited by the Prince Elector Archbishop of Cologne Maximilian Friedrich von Königsegg-Rothenfels, who wished to raise the quality level of his court orchestra. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court Kapellmeister in 1774.
He acquired the principality's citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the French invasion troops suppressed the court.
The young Beethoven was at the court chapel from 1781 to 1792 as assistant organist, cembalo and viola player. Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two. When the court organist Christian Gottlob Neefe temporarily replaced the Kapellmeister as conductor and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven. There is also no evidence of Luchesi's having taught other young Bonn musicians who went on to international renown: Antonin Reicha, Bernhard and Andreas Romberg, and Ferdinand Ries.
He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born 11 December 1775, and M. Jakob Ferdinand, born 18 December 1777) were gifted musicians.
Luchesi died on 21 March 1801 at the age of 59 in Bonn.
| 18
|
[
"Johann Georg Albrechtsberger",
"instance of",
"human"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 0
|
[
"Johann Georg Albrechtsberger",
"country of citizenship",
"Austria"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 3
|
[
"Johann Georg Albrechtsberger",
"student",
"Ludwig van Beethoven"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 4
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[
"Johann Georg Albrechtsberger",
"instrument",
"organ"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 5
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[
"Johann Georg Albrechtsberger",
"place of death",
"Vienna"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 6
|
[
"Johann Georg Albrechtsberger",
"occupation",
"organist"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 7
|
[
"Johann Georg Albrechtsberger",
"occupation",
"pedagogue"
] |
Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 8
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[
"Johann Georg Albrechtsberger",
"occupation",
"composer"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 11
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[
"Johann Georg Albrechtsberger",
"sex or gender",
"male"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 12
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[
"Johann Georg Albrechtsberger",
"work location",
"Vienna"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 14
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[
"Johann Georg Albrechtsberger",
"given name",
"Johann"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 16
|
[
"Johann Georg Albrechtsberger",
"described by source",
"Biographisches Lexikon des Kaiserthums Oesterreich"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.
| 17
|
[
"Johann Georg Albrechtsberger",
"family name",
"Albrechtsberger"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 27
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[
"Johann Georg Albrechtsberger",
"given name",
"Georg"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 28
|
[
"Johann Georg Albrechtsberger",
"educated at",
"Stiftsgymnasium Melk"
] |
Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 30
|
[
"Johann Georg Albrechtsberger",
"place of birth",
"Klosterneuburg"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 31
|
[
"Johann Georg Albrechtsberger",
"occupation",
"music theorist"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 33
|
[
"Johann Georg Albrechtsberger",
"occupation",
"musician"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 35
|
[
"Johann Georg Albrechtsberger",
"occupation",
"music teacher"
] |
Johann Georg Albrechtsberger (3 February 1736 – 7 March 1809) was an Austrian composer, organist, and music theorist, and one of the teachers of Ludwig van Beethoven. He was a friend of Haydn and Mozart.Biography
Albrechtsberger was born at Klosterneuburg, near Vienna. He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, and became one of the most learned and skilful contrapuntists of his age. Albrechtsberger's earliest classmates included Michael Haydn and Franz Joseph Aumann. After being employed as organist at Raab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 Kapellmeister of St. Stephen's Cathedral.
His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among these were Johann Nepomuk Hummel, Ignaz Moscheles, Josef Weigl, Ludwig-Wilhelm Tepper de Ferguson, Antonio Casimir Cartellieri, Ludwig van Beethoven, Anton Reicha and Franz Xaver Wolfgang Mozart. See: List of music students by teacher: A to B#Johann Georg Albrechtsberger. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success", which reflects upon Albrechtsberger's own compositional philosophy.
Albrechtsberger died in Vienna; his grave is in St. Marx cemetery.
| 37
|
[
"Johann Baptist Schenk",
"student",
"Ludwig van Beethoven"
] |
Johann Baptist Schenk (30 November 1753 – 29 December 1836) was an Austrian composer and teacher.
Schenk was born in Wiener Neustadt. While still a boy he composed songs, dances and symphonies, and became a proficient violinist and keyboard and wind instrument player. In 1773 he went to Vienna to study with Georg Christoph Wagenseil. Beginning in 1777 he was composing religious works for Saint Stephen's Cathedral. In the 1780s he became a prolific composer of incidental music for plays and singspiele. His best-known singspiel is Der Dorfbarbier, which premiered in 1796. His other compositions include numerous cantatas, ten symphonies, several concertos (including a well-known one for harp), and five string quartets. Mozart was a good friend of Schenk and Beethoven studied under him in 1793.
In around 1823, he composed a variation on a waltz by Anton Diabelli (D 718), being one of the 51 composers who contributed to Vaterländischer Künstlerverein.
He died in Vienna.
| 3
|
[
"Raphaël de Monachis",
"student",
"Jean-François Champollion"
] |
Anton Zakhūr Rafa'il (Arabic: أنطون زخور رافائيل) known in France as Raphaël de Monachis (1759 - 1831) was an Egyptian-born monk of Syrian ancestry, known for his orientalist studies and for being one of Jean-François Champollion's language teachers. He was born in Cairo to a Syrian-Melkite family. He studied at the Greek seminary in Rome and took his vows at the Basilian Monastery of the Saviour in Sidon where he remained from 1789 to 1794 when he returned to Egypt. During Napoleon's campaign in Egypt he served as Napoleon's personal interpreter. In 1803 he traveled to France where after visiting Joseph Fourier in Grenoble, he traveled to Paris to give important documents to the French government. He was appointed as adjunct professor of Arabic language at the École des Langues Orientales. Among his students there was Champollion, to whom he taught colloquial Arabic and Coptic. He was also the single Arab member of the French Institut d'Égypte. His colleague there, Silvestre de Sacy, who taught literary Arabic was strongly opposed to having a second professor of Arabic at the School of Oriental languages, considering it a personal offense. In 1804 he participated in the Coronation of Napoleon I and was depicted in Jacques-Louis David's famous painting.Among his unpublished manuscripts was a treatise in Arabic called Marj al-azhar wa bustan al hawadith al Akhbar ("The Hubbub of Al Azhar and the Garden of New Events"), in which he subtly critiqued the pedagogical methods of the Al-Azhar University by contrasting them to the more organized teaching of the French Academy.In 1816 after the fall of Napoleon at Waterloo, he returned to Egypt where he entered the service of Muhammad 'Ali Pasha. He worked as a translator and poet, translating many works from Italian to Arabic.
| 6
|
[
"Charles Gleyre",
"instance of",
"human"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 0
|
[
"Charles Gleyre",
"country of citizenship",
"Switzerland"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 1
|
[
"Charles Gleyre",
"work location",
"Paris"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.It was through Vernet's recommendation that he was chosen by the American traveller John Lowell Jr. to accompany him on his journeys round the eastern Mediterranean, recording the scenes and ethnographic subjects they met with. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, when Lowell left for India. Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with ophthalmia, or inflammation of the eye, in Cairo, and struck down by fever in Lebanon.On his recovery he proceeded to Paris, and, establishing a modest studio in the rue de Université, began carefully to work out the ideas which had been slowly shaping themselves in his mind. Mention is made of two decorative panels Diana leaving the Bath, and a Young Nubian as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the Apocalyptic Vision of St John, sent to the Salon of 1840. This was followed in 1843 by Evening, which received a medal of the second class, and afterwards became widely popular under the title Lost Illusions. It depicts a poet seated on the bank of a river, with his head drooping and a wearied posture, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight.
| 5
|
[
"Charles Gleyre",
"place of birth",
"Chevilly"
] |
Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 6
|
[
"Charles Gleyre",
"country of citizenship",
"France"
] |
Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 7
|
[
"Charles Gleyre",
"student",
"Pierre-Auguste Renoir"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 17
|
[
"Charles Gleyre",
"occupation",
"painter"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 24
|
[
"Charles Gleyre",
"student",
"James McNeill Whistler"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 28
|
[
"Charles Gleyre",
"student",
"Claude Monet"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 29
|
[
"Charles Gleyre",
"sex or gender",
"male"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 30
|
[
"Charles Gleyre",
"student",
"Alfred Sisley"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 31
|
[
"Charles Gleyre",
"student",
"Frédéric Bazille"
] |
In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 32
|
[
"Charles Gleyre",
"student",
"Jean-Léon Gérôme"
] |
In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 33
|
[
"Charles Gleyre",
"student",
"Louis-Frederic Schützenberger"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.
| 42
|
[
"Charles Gleyre",
"student",
"Jean-Louis Hamon"
] |
In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 46
|
[
"Charles Gleyre",
"student of",
"Louis Hersent"
] |
Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 47
|
[
"Charles Gleyre",
"student",
"Auguste Toulmouche"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".Gleyre became influential as a teacher, taking over the studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
| 55
|
[
"Charles Gleyre",
"family name",
"Gleyre"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 63
|
[
"Charles Gleyre",
"given name",
"Charles"
] |
Marc Gabriel Charles Gleyre (2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux, George du Maurier, Claude Monet, Pierre-Auguste Renoir, Louis-Frederic Schützenberger, Alfred Sisley, Auguste Toulmouche, and James Abbott McNeill Whistler.Life
Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under Bonnefond, before moving to Paris, where he enrolled at the École des Beaux-Arts under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.
| 68
|
[
"Francisco Pacheco",
"instance of",
"human"
] |
Francisco Pacheco del Río (bap. 3 November 1564 – 27 November 1644) was a Spanish painter, best known as the teacher and father-in-law of Diego Velázquez and Alonzo Cano, and for his textbook on painting, entitled Art of Painting, that is an important source for the study of 17th-century practice in Spain. He is described by some as the "Vasari of Seville": vocal and didactic about his theories of painting and thoughts about painters, conventional and uninspired in his executions.
| 2
|
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