Anton Wilhelm Solnitz (c.1708-c.1752) - Sinfonia (in A) à 4, Op.3 (c.1745) скачать в хорошем качестве

Anton Wilhelm Solnitz (c.1708-c.1752) - Sinfonia (in A) à 4, Op.3 (c.1745)

★ Follow music ►   / reciclassicat   Composer: Anton Wilhelm Solnitz (c.1708-c.1752) Work: Sinfonia (in A) à 4, Op.3 (c.1745) Performers: Musica ad Rhenum Drawing: Anoniem (18th Century) - Het hoekhuis Dam en Damrak, de Waag, de Nieuwe Kerk en het Stadhuis (c.1740) Image in high resolution: https://flic.kr/p/2miwb9Y Drawing: Ackermann, R., Rowlandson, Thomas, Wright and Schutz - Feyge Dam with part of the Fish Market at Amsterdam (1797) Image in high resolution: https://flic.kr/p/2misfkH Further info: https://www.discogs.com/es/Musica-Ad-... Listen free: https://open.spotify.com/album/7MinKM... --- Anton Wilhelm Solnitz [Solniz, Sollnitz] (Bohemia, c.1708 - Leiden, c.1752) Bohemian composer, active in the Netherlands. He probably went to Holland in the mid-1730s; in 1738 one of his symphonies was performed at the centenary celebrations of the Amsterdam Stadsschouwburg, and several of his works were published in Amsterdam around that time. He then moved to Leiden, where he was registered at the university in 1743. In about 1750-51 Walsh published two volumes of trio sonatas as opp.1 and 2; although they lack dedications, they may be first editions, since no Dutch editions have been traced. In 1751 Solnitz was a frequent performer of his own compositions in concerts at the Nieuw Vaux-Hall inn, The Hague. According to Lustig he died in Leiden. This must have been shortly before or in 1753, when music originating from his estate was offered for sale in newspaper announcements. Solnitz’s symphonies opp.1 and 3 are similar in structure to those of G.B. Sammartini. He was probably the first to write and publish such works in the Netherlands. The rapid changes of texture in these compositions are remarkable, foreshadowing later Sturm und Drang writing. His trio sonatas fall between the Baroque and the galant styles of the middle of the century, with predominantly triadic melodic development and simple bass parts. Most are in three binary movements, with those in the first set (c.1750) basically following a fast–slow–fast or fast–slow–minuet pattern, and those in the second (c.1751) following a moderate–fast–faster or moderate–fast–minuet pattern.