Jean-Pierre Guignon Vídeos
compositor francés
Conmemoraciones 2024 (Muerte: Jean-Pierre Guignon)
- violín
- Reino de Francia
- compositor
Última actualización
2024-04-29
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Pierre Gaviniès Albert Beaucamp Jean Marie Leclair Corelli Pugnani Viotti Laporte Vivaldi Guignon Blavet Marie Fel Antonio Lolli Simon Leduc Gossec Concert Spirituel Comédie Italienne 1500 1728 1734 1741 1748 1752 1753 1759 1760 1763 1764 1765 1769 1772 1773 1777 1788 1794 1795 1800 1810 1834 1921 1967
Joyeux anniversaire Pierre Gaviniès! Composer: Pierre Gaviniès +••.••(...)) Work: Second concerto (en Fa majeur) a Violino principal, Op.4 (1764) Performers: Claire Bernard (violin); Orchestre de chambre de Rouen; Albert Beaucamp +••.••(...), conductor) Painting: Alexandre-Jean Noël +••.••(...)) - La pointe de l’île de la Cité, vue du port Saint-Nicolas Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Pierre Gaviniés [Gaviniès, Gaviniez, Gavigniès, et al.] (Bordeaux, 11 May 1728 - Paris, 8 September 1800) French violinist and composer. He was Leclair’s successor as leader of the French violin school. The esteem with which he was regarded is indicated by his inclusion in Fayolle’s Notices sur Corelli, Tartini, Gaviniés, Pugnani et Viotti (Paris, 1810) and by Viotti’s having labelled him (according to Pipelet) ‘the French Tartini’. He was admired as a performer, composer, teacher and philanthropist. Gaviniés was the son of François Gaviniés, a violin maker, and Marie Laporte. Accurate information about his early training is limited, though his talent was undoubtedly nurtured by the artists who frequented his father’s violin shop. By 1734, possibly to further Pierre’s musical education, his father moved the family and business to Paris. At the age of 11 he appeared in private concerts, and at 13 he made a successful Concert Spirituel début, performing a Leclair duet with L’abbé le fils, a pupil of Leclair; there is no evidence to suggest that Gaviniés was also one of his pupils. Later in 1741 he performed ‘Spring’ from Vivaldi’s ‘Four Seasons’ at the Concert Spirituel, after which his activities are not known for several years; some believe that he was employed by the Duke of Orleans during this period. From 1748 Gaviniés performed frequently at the Concert Spirituel, playing both alone and with others, including the violinist Guignon, the flautist Blavet and the singer Marie Fel. His whereabouts from 1753 to 1759 remain a mystery except for the fact that one year was spent serving a prison sentence for an illicit affair with a young countess. In prison he composed his famous ‘Romance’ – a work which appeared in numerous versions during his lifetime. In 1759 he returned to the Concert Spirituel, and on 6 November 1760 his Le prétendu, an intermède in three acts, was presented by the Comédie-Italienne. The early 1760s were perhaps the apex of Gaviniés’s career. He published three sets of sonatas for violin and basso continuo, one set for two violins and six concertos. Several symphonies were performed at the Concert Spirituel, where he conducted the orchestra from his position as leader. In the winter of 1763-64, the Mozart family attended some of his concerts. After 1765 he performed little, perhaps because of his envy of Antonio Lolli, a phenomenal virtuoso who had become popular for a novel effect involving scordatura. Between 1769 and 1772, Gaviniés organized five benefit concerts for a free school of design. With Simon Leduc and Gossec, he directed the Concert Spirituel from 1773 to 1777, during which time the orchestra was enlarged and the quality of performance improved remarkably. After this he remained in Paris but seldom played in public. A wealthy benefactress bequeathed him an annuity of 1500 livres in 1788; the annuity may not have survived the Revolution, however, for Gaviniés took a position playing in the orchestra of the Théâtre de la rue de Louvois in the 1790s. When the Paris Conservatoire was established in 1795, Gaviniés accepted the position of violin professor. He is reported to have been an enthusiastic and well-liked teacher. Although physical infirmities eventually forced him to remain in his home, his fabulous technique was not affected and he remained active until his death. In 1800 (or possibly 1794) he published his famous Vingt-quatre matinées, a series of difficult études. Gaviniés was a charming and affable humanitarian. He never married, but he had numerous female admirers and friends. Partly due to his generous nature – he favoured pupils who were less affluent, in some cases giving them free lessons or even supporting them – he died in relative poverty.
Jean Joseph Cassanéa Mondonville Dolmetsch Dumesnil Latour Jean Philippe Rameau André Campra Charles Hubert Gervais Michel Blavet Jean Pierre Guignon Marie Fel Barrière Jacques Duphly Maximilien Pancrace Royer Antoine Dauvergne Claude Balbastre Gossec Holzbauer Wagenseil Lalande Concert Spirituel 1680 1685 1704 1708 1711 1719 1731 1733 1734 1738 1739 1740 1744 1746 1747 1748 1749 1755 1758 1762 1772 1780 1788 1791 1804 1911 1997
★ Follow music ► (http•••) Composer: Jean-Joseph de Mondonville +••.••(...)) Work: Sonate (I) en trio, œuvre II (1734) Performers: Fiona Howes (flute); Carl Dolmetsch +••.••(...), recorder); Andrew Pledge (cembalo); Marguerite Dolmetsch (viola da gamba) Painting: Louis-Michel Dumesnil +••.••(...)) - The Reception of Cornelis Hop +••.••(...)) as Legate of the States-General at the Court of Louis XV, 24 July 1719 Image in high resolution: (http•••) Painting: Maurice Quentin de Latour +••.••(...)) - Portrait of Jean-Joseph Cassanéa de Mondonville (c.1746) Image in high resolution: (http•••) Further info: (http•••)o/files/imglnks/usimg/5/53/IMSLP261560-PMLP424190-mondonville_sonatas_em_trio.pdf Listen free: (http•••) / Jean-Joseph Cassanéa de Mondonville (Narbonne, bap. 25 December 1711 - Belleville, 8 October 1772) French composer, violinist and conductor. With Jean-Philippe Rameau, he was one of the outstanding figures of French music in the 18th century. He probably received his musical education from his father, who was organist of Narbonne Cathedral. In 1731 he settled in Paris and made his début as a violinist at the Concert Spirituel on Palm Sunday 1734, on which occasion the Mercure de France praised him for his virtuosity. At about this time he also published his first collections of instrumental music, a set of violin sonatas op.1 (1733) and the Sonates en trio op.2 (1734). He was first violin in the Concert de Lille when, in 1738, he published Les sons harmoniques op.4, a set of violin sonatas with an introduction setting out, for the first time, the technique of playing harmonics on the violin by lightly touching an open string. On 1 April 1739, he was appointed violinist of the royal chamber and chapel. Mondonville's first grands motets, performed at Versailles in 1738, met with great success at the Concert Spirituel the following year. The Mercure de France (April 1739) stated that the fame of the ‘young master’ was now established not only as a violinist but also as a composer. He was extremely busy at this time; in 1739 he received fees for about 100 concerts in Versailles, Compiègne, Fontainebleau and Marly. In July 1740 Mondonville acquired the reversion of André Campra's post as sous-maître of the royal chapel and acceded to the position itself on 4 March 1744 on the death of Charles-Hubert Gervais; but, since he was not permitted to publish the motets he composed for the chapel, he resigned the post in 1758. He was also pursuing his career as a violinist, performing both as a soloist and with the flautist Michel Blavet, the violinist Jean-Pierre Guignon and the singer Marie Fel, for whom he wrote a violin concerto with a vocal part (now lost) given at the Concert Spirituel in 1747. In 1748 Mondonville married the harpsichordist Anne Jeanne Boucon +••.••(...)), a pupil of Rameau to whom Jean Barrière, Jacques Duphly and Rameau himself all dedicated harpsichord pieces; their son, Maximilien Joseph (1749–1804), became an amateur violinist and oboist. In June 1748 Mondonville became associated with Pancrace Royer in the organization of the Concert Spirituel. On Royer's death in 1755 he became director of the Concert, with Capperan, until July 1762, when Antoine Dauvergne obtained the privilege for a nine-year period. As conductor of the orchestra Mondonville introduced various innovations from 1755 onwards, including organ concertos by Claude Balbastre, who also entertained the audience by playing organ adaptations of Mondonville's overtures to Daphnis et Alcimadure and Titon et l'Aurore. Mondonville also included in the programmes symphonies by Gossec and by foreign composers such as Holzbauer and Wagenseil. His own works were very popular. Up to 1791 Mondonville was the composer most frequently played at the Concert Spirituel; with 39 pieces on the programmes, and a total of 510 performances, he comes ahead of Lalande (31 pieces and 421 performances) in the repertory of the Concert from the time of its creation. His motets – in which the influence of Lalande is perceptible – were extremely successful, both the grands motets with chorus (Dominus regnavit, Magnus Dominus, Jubilate Deo, Coeli enarrant) and the petits motets for solo voice (Regina coeli, Simulacra gentium) forming part of the basic repertory of the Concert Spirituel.
Forqueray Kuijken Gustav Leonhardt Rameau Guignon Boisson Sylva Wieland Kuijken
1.La Rameau 0:00~ 2.La Guignon 4:20~ 3.La Leon. sarabande 7:37~ 4.La Boisson 11:05~ 5.La Montigni 14:10~ 6.La Sylva 17:08~ 7.Jupiter 21:12~ Sigisward Kuijken ( gamba ) Wieland Kuijken ( gamba ) gustav Leonhardt ( cem )
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): G...