Karl Joseph Toeschi (1731-1788) - Sinfonia a 11 istromenti (c.1773) скачать в хорошем качестве

Karl Joseph Toeschi (1731-1788) - Sinfonia a 11 istromenti (c.1773)

★ Follow music ►   / reciclassicat   Composer: Karl Joseph Toeschi (1731-1788) Work: Sinfonia a 11 istromenti (c.1773) Performers: Convіvіum Musіcum Münchеn Painting: Johann Wilhelm Gottfried Barth (1779-1852) - Stadtseite des herzoglichen Schlosses zu Ludwigslust (1806) Image in high resolution: https://flic.kr/p/2kUadDx Further info: https://www.amazon.de/dp/B00SK1A4PM Listen free: No available --- Karl (Carl, Carlo) Joseph (Giuseppe) Toeschi [Toesky] (Ludwigsburg, bap. 11 November 1731 - Munich, 12 April 1788) German composer and violinist, son of Alessandro Toeschi (before 1700-1758) by his second marriage. A pupil of Johann Stamitz and Anton Fils, he soon became a good concert violinist, and from 1752 was a member of the Mannheim court orchestra. In 1759 he became Konzertmeister and in 1774 music director of the electoral cabinet. During these years he directed performances of opera and ballet and frequently travelled to Paris, where from 1760 most of his instrumental works appeared in print, and where until 1783 his works were frequently performed at the Concert Spirituel. In 1778 he chose to follow the Elector Carl Theodor to Munich, as did most of the Mannheim orchestra. His French wife Susanna (née Nayer), in Gerber’s estimation an outstanding singer, was a member of the Munich court opera until 1802. As the composer of more than 66 symphonies, about 30 ballets and numerous chamber works, Toeschi is one of the foremost representatives of the second generation of the Mannheim school. His style was based primarily on the works of Stamitz and Fils, but also on Italian models such as Pergolesi and Jommelli. After unconvincing early attempts in a severe Baroque-like style, and other superficial efforts in the manner of Fils, in the 1760s he was able to develop a personal style which, through the influence of the French opéra comique, was distinguished by singable melodies and clarity of form and instrumentation. His symphonies of this period are noteworthy for their frequent passages of imitation and for their fusion of single-motif and dualistic sonata form principles. By 1770 he was regarded in Paris, along with Cannabich, as one of the leading German symphonists; many striking characteristics of Mozart’s Paris Symphony (k297/300a) resemble Toeschi’s symphonic style of the 1770s, of which the Symphony in D (published 1773; in Riemann, 1902: thematic catalogue, D major, no.11) is a particularly good example. He was no less highly regarded as a composer of ballets, to which his style was particularly well suited. With his quatuors dialogués (1762–6) Toeschi also played an important role in the differentiation of instrumental roles in chamber music, and his flute compositions, praised by his contemporary Junker as ‘epoch-making’, are among the earliest works for this instrument to depart from Baroque style.