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★ Follow music ► / reciclassicat Composer: Antoine Dauvergne (1713-1797) Work: Première concert, œuvre III (1751) Performers: Gérard Cаrtіgny Chamber Orchestra; Gérard Cаrtіgny (conductor) Première concert, œuvre III (1751) 1. Ouverture 0:00 2. Arie 4:31 3. Allegro 8:39 4. Chaconne 11:59 Painting: Nicolas Lancret (1690-1743) - Konzert im Salon Image in high resolution: https://flic.kr/p/2mZEJr3 Further info: https://www.discogs.com/es/sell/list?... Listen free: https://open.spotify.com/album/6Cc50v... --- Antoine Dauvergne [D’Auvergne] (Moulins, 3 October 1713 - Lyons, 11 February 1797) French composer, violinist and administrator. His father, Jacques Dauvergne, was a musician and probably his first teacher. Antoine began his career as a violinist in Moulins and Clermont-Ferrand before moving to Paris in the late 1730s. According to Pierre de Bernis, he studied composition with Rameau (not with Leclair, as stated by La Laurencie and Pincherle). In 1739 he became a violinist in the chambre du roi and registered the privilege to publish his op.1, Sonates en trio (granted in 1740). He joined the Opéra orchestra in 1744 and by 1752 had assumed some of the conducting responsibilities. His first stage work, Les amours de Tempé, a ballet in four acts, was presented at the Opéra in 1752 and received a favourable review in the Mercure de France. Dauvergne’s most enduring operatic success, Les troqueurs, was staged the following year and established a theatrical career which was to last over 20 years. Dauvergne was named composer to the chambre du roi and successor to François Rebel as master of the chambre du roi in 1755, and surintendant of this establishment nine years later. In 1762 he became, with Nicolas-René Joliveau and Gabriel Capperan, a co-director of the Concert Spirituel. The repertory was modified (Mondonville having resigned as director and removed all his manuscripts), new artists were introduced to the orchestra and chorus, and Pierre Gaviniès was appointed leader-conductor. Dauvergne’s sacred works were all written for this organization, mostly in the earlier part of his 11-year term there. His tenure passed without notable incident until administrative and artistic misfortunes beset his final two years. In 1769 Dauvergne became, with Joliveau, P.-M. Berton and J.-C. Trial, a director of the Opéra. Perhaps the most significant aspect of his first term as director of the Opéra was his involvement in negotiations with Gluck (1772-74). Dauvergne was unimpressed by Roullet’s proposal to bring Gluck and his operas to Paris, so Gluck himself wrote to Dauvergne, enclosing the first act of Iphigénie en Aulide as a sample. Although Dauvergne admitted the novelty and potential influence of Gluck’s work, he continued to discourage the composer by demanding five other operas. Marie-Antoinette then intervened, and the première of Iphigénie at the Opéra in 1774 was a triumph. Dauvergne’s 1773 arrangement of Destouches’ Callirhoé stimulated much adverse criticism of his knowledge of contemporary taste. Nevertheless, he was named composer to the Opéra in March 1776, and the following month resigned as director. In 1780 he again became its director, but shortly thereafter numerous musicians complained in writing of his perpetual nagging and inept management. He was unable to rally support, and resigned in 1782, pleading for an adequate pension. In 1783 and 1784 he was urged to assume the directorship of the newly established Ecole Royale de Chant but declined the offers because of the low salary. He became director of the Opéra for the third time in 1785. Although his merit, honesty and wisdom were cited in the appointment, another series of letters, critical of his age, taste and management, made this term as unpleasant as the last. The death of his second wife in 1787, the increasing political instability (which inevitably caused financial and artistic difficulties) and his diminished abilities forced him to retire in 1790. He died, nearly forgotten, seven years later.