François Schubert (néFranz Anton Schubert (the Younger); 22 July 1808, Dresden – 12 April 1878, Dresden) was a violinist and composer.
After training with concertmaster Antonio Rolla in Dresden, Schubert studied violin with Charles Philippe Lafont in Paris and began working under the name François Schubert. He played in the Staatskapelle in Dresden from 1823 to 1873.
The son of church composer Franz Anton Schubert (the Elder, 1768–1824), Schubert was married to the singer and actress Maschinka Schubert (1815–1882) who was the daughter of horn player and composer Georg Abraham Schneider. Their daughter was the opera singer Georgina Schubert (1840–1878).
Schubert composed concert pieces, études, and chamber music, but is largely known for the bagatelleThe Bee, a perpetuum mobile for violin and piano – a piece that is often misattributed to Franz Schubert due to the similarity of the two men's names.
Selected works
9 Études for violin solo, Op. 3
Divertissement sur des motifs de l'opéra Lestocq d'Auber in D major for violin and piano, Op. 4 (1836)
J.S. Bach: The Art of Fugue (BWV 1080), Contrapunctus VIII; Davitt Moroney, harpsichord 4K UHD
Contrapunctus VIII from Bach's The Art of Fugue, performed on the harpsichord by Davitt Moroney. Live, 4K UHD video from the Voices of Music Celebration of Bach concert, September, 2015.
Davitt Moroney is Professor of Music at UC Berkeley, where he is also University Organist and Director of the University Baroque Ensemble. He has made about 70 commercial CDs, especially of music by Bach, Byrd, and members of the Couperin family; many of these recording have been on instruments built by John Phillips. His most recent project, finished earlier this year, is a 10-CD recording of François Couperin’s complete harpsichord works (over 250 pieces), using superb antiques from the Flint Collection, wonderfully restored by John Phillips. His recordings have been awarded the French “Grand Prix du Di...
published: 18 Oct 2015
Jacob van Eyck: L'Amie Cillae; Hanneke van Proosdij, recorder
Soundtrack available at InstantEncore http://tinyurl.com/AmieCillae
Jr. Jacob van Eyck's melody and variations "L'Amie Cillae," from Der Fluyten Lust-hof (Amsterdam, 1649). Performed on the recorder by Hanneke van Proosdij for the San Francisco Early Music Ensemble Voices of Music High Definition video channel.
published: 16 Oct 2010
최인선 리코더 -TheBee.
리코더연주 최인선
2011.11.11 중국료녕성음악가협회 초청 최인선리코더독주회 중 The Bee
더 많은 리코더 정보는 http://cafe.daum.net/RMI
published: 19 Nov 2011
Louis Couperin - Suita c moll (Allemande la Precieuse)
published: 03 Oct 2009
Jacob van Eyck: "Onse Vader in Hemelryck" (Jan Van Hoecke)
Jacob van Eyck's recorder compositions were published during his lifetime in a two-volume collection called Der Fluyten Lust-hof ('The Flute's Garden of Delight').
"Onse Vader in Hemelryck" is a theme from the firts volume. It's played by Jan Van Hoecke on an alto in g (A466 Hz).
Blokfluit recorder flûte bec Blockflöte flauta flauto dulce pico dolce diritto flute baroque early music Klassiek Classical music Onze Vader in Hemelrijk Hemelrijck Stoepe fumitaka Saito diminutions
Contrapunctus VIII from Bach's The Art of Fugue, performed on the harpsichord by Davitt Moroney. Live, 4K UHD video from the Voices of Music Celebration of Bac...
Contrapunctus VIII from Bach's The Art of Fugue, performed on the harpsichord by Davitt Moroney. Live, 4K UHD video from the Voices of Music Celebration of Bach concert, September, 2015.
Davitt Moroney is Professor of Music at UC Berkeley, where he is also University Organist and Director of the University Baroque Ensemble. He has made about 70 commercial CDs, especially of music by Bach, Byrd, and members of the Couperin family; many of these recording have been on instruments built by John Phillips. His most recent project, finished earlier this year, is a 10-CD recording of François Couperin’s complete harpsichord works (over 250 pieces), using superb antiques from the Flint Collection, wonderfully restored by John Phillips. His recordings have been awarded the French “Grand Prix du Disque,” the German “Preis der Deutschen Schallplatenkritik,” and three British “Gramophone Awards.” He is also the author of the monograph “Bach: An Extraordinary Life,” which has been translated into five languages. In 1987 he was named Chevalier dans l’Ordre du mérite culturel by Prince Rainier of Monaco and, in 2000, Officier des arts et des lettres by the French government.
Double manual harpsichord by John Phillips, after Johann Heinrich Gräbner, Dresden, 1722.
About the harpsichord made by John Phillips:
Throughout his long career, J. S. Bach would have been intimately familiar with the so-called “middle German” harpsichords made locally in Thuringia and Saxony. Three of these instruments survive which were made during Bach’s lifetime, and, of these, two instruments were built by members of the Gräbner family in Dresden, who for five generations from the 17th through the 19th centuries built and repaired organs, harpsichords, clavichords, and eventually pianos.
The instrument used in tonight’s concert is based on the 1722 Johann Heinrich Gräbner preserved in the Villa Bertramka in Prague; this instrument is the earliest of four surviving Gräbner harpsichords: the 1722 Gräbner is a very good example of the large, middle-German style from Bach’s time. It is even possible that Bach met J. H. Gräbner, as the latter was the official court tuner when Bach journeyed to Dresden to match musical skills with Louis Marchand in 1717. One of Gräbner’s sons, Christian Heinrich, later studied organ with Bach in Leipzig.
Special thanks to Peter and Cynthia Hibbard for the use of the harpsichord in our Bach concert.
Visit us on the web at http://voicesofmusic.org/ or on Facebook
https://www.facebook.com/Voicesofmusic
Contrapunctus VIII from Bach's The Art of Fugue, performed on the harpsichord by Davitt Moroney. Live, 4K UHD video from the Voices of Music Celebration of Bach concert, September, 2015.
Davitt Moroney is Professor of Music at UC Berkeley, where he is also University Organist and Director of the University Baroque Ensemble. He has made about 70 commercial CDs, especially of music by Bach, Byrd, and members of the Couperin family; many of these recording have been on instruments built by John Phillips. His most recent project, finished earlier this year, is a 10-CD recording of François Couperin’s complete harpsichord works (over 250 pieces), using superb antiques from the Flint Collection, wonderfully restored by John Phillips. His recordings have been awarded the French “Grand Prix du Disque,” the German “Preis der Deutschen Schallplatenkritik,” and three British “Gramophone Awards.” He is also the author of the monograph “Bach: An Extraordinary Life,” which has been translated into five languages. In 1987 he was named Chevalier dans l’Ordre du mérite culturel by Prince Rainier of Monaco and, in 2000, Officier des arts et des lettres by the French government.
Double manual harpsichord by John Phillips, after Johann Heinrich Gräbner, Dresden, 1722.
About the harpsichord made by John Phillips:
Throughout his long career, J. S. Bach would have been intimately familiar with the so-called “middle German” harpsichords made locally in Thuringia and Saxony. Three of these instruments survive which were made during Bach’s lifetime, and, of these, two instruments were built by members of the Gräbner family in Dresden, who for five generations from the 17th through the 19th centuries built and repaired organs, harpsichords, clavichords, and eventually pianos.
The instrument used in tonight’s concert is based on the 1722 Johann Heinrich Gräbner preserved in the Villa Bertramka in Prague; this instrument is the earliest of four surviving Gräbner harpsichords: the 1722 Gräbner is a very good example of the large, middle-German style from Bach’s time. It is even possible that Bach met J. H. Gräbner, as the latter was the official court tuner when Bach journeyed to Dresden to match musical skills with Louis Marchand in 1717. One of Gräbner’s sons, Christian Heinrich, later studied organ with Bach in Leipzig.
Special thanks to Peter and Cynthia Hibbard for the use of the harpsichord in our Bach concert.
Visit us on the web at http://voicesofmusic.org/ or on Facebook
https://www.facebook.com/Voicesofmusic
Soundtrack available at InstantEncore http://tinyurl.com/AmieCillae
Jr. Jacob van Eyck's melody and variations "L'Amie Cillae," from Der Fluyten Lust-hof (Amst...
Soundtrack available at InstantEncore http://tinyurl.com/AmieCillae
Jr. Jacob van Eyck's melody and variations "L'Amie Cillae," from Der Fluyten Lust-hof (Amsterdam, 1649). Performed on the recorder by Hanneke van Proosdij for the San Francisco Early Music Ensemble Voices of Music High Definition video channel.
Soundtrack available at InstantEncore http://tinyurl.com/AmieCillae
Jr. Jacob van Eyck's melody and variations "L'Amie Cillae," from Der Fluyten Lust-hof (Amsterdam, 1649). Performed on the recorder by Hanneke van Proosdij for the San Francisco Early Music Ensemble Voices of Music High Definition video channel.
Jacob van Eyck's recorder compositions were published during his lifetime in a two-volume collection called Der Fluyten Lust-hof ('The Flute's Garden of Delight...
Jacob van Eyck's recorder compositions were published during his lifetime in a two-volume collection called Der Fluyten Lust-hof ('The Flute's Garden of Delight').
"Onse Vader in Hemelryck" is a theme from the firts volume. It's played by Jan Van Hoecke on an alto in g (A466 Hz).
Blokfluit recorder flûte bec Blockflöte flauta flauto dulce pico dolce diritto flute baroque early music Klassiek Classical music Onze Vader in Hemelrijk Hemelrijck Stoepe fumitaka Saito diminutions
Jacob van Eyck's recorder compositions were published during his lifetime in a two-volume collection called Der Fluyten Lust-hof ('The Flute's Garden of Delight').
"Onse Vader in Hemelryck" is a theme from the firts volume. It's played by Jan Van Hoecke on an alto in g (A466 Hz).
Blokfluit recorder flûte bec Blockflöte flauta flauto dulce pico dolce diritto flute baroque early music Klassiek Classical music Onze Vader in Hemelrijk Hemelrijck Stoepe fumitaka Saito diminutions
Contrapunctus VIII from Bach's The Art of Fugue, performed on the harpsichord by Davitt Moroney. Live, 4K UHD video from the Voices of Music Celebration of Bach concert, September, 2015.
Davitt Moroney is Professor of Music at UC Berkeley, where he is also University Organist and Director of the University Baroque Ensemble. He has made about 70 commercial CDs, especially of music by Bach, Byrd, and members of the Couperin family; many of these recording have been on instruments built by John Phillips. His most recent project, finished earlier this year, is a 10-CD recording of François Couperin’s complete harpsichord works (over 250 pieces), using superb antiques from the Flint Collection, wonderfully restored by John Phillips. His recordings have been awarded the French “Grand Prix du Disque,” the German “Preis der Deutschen Schallplatenkritik,” and three British “Gramophone Awards.” He is also the author of the monograph “Bach: An Extraordinary Life,” which has been translated into five languages. In 1987 he was named Chevalier dans l’Ordre du mérite culturel by Prince Rainier of Monaco and, in 2000, Officier des arts et des lettres by the French government.
Double manual harpsichord by John Phillips, after Johann Heinrich Gräbner, Dresden, 1722.
About the harpsichord made by John Phillips:
Throughout his long career, J. S. Bach would have been intimately familiar with the so-called “middle German” harpsichords made locally in Thuringia and Saxony. Three of these instruments survive which were made during Bach’s lifetime, and, of these, two instruments were built by members of the Gräbner family in Dresden, who for five generations from the 17th through the 19th centuries built and repaired organs, harpsichords, clavichords, and eventually pianos.
The instrument used in tonight’s concert is based on the 1722 Johann Heinrich Gräbner preserved in the Villa Bertramka in Prague; this instrument is the earliest of four surviving Gräbner harpsichords: the 1722 Gräbner is a very good example of the large, middle-German style from Bach’s time. It is even possible that Bach met J. H. Gräbner, as the latter was the official court tuner when Bach journeyed to Dresden to match musical skills with Louis Marchand in 1717. One of Gräbner’s sons, Christian Heinrich, later studied organ with Bach in Leipzig.
Special thanks to Peter and Cynthia Hibbard for the use of the harpsichord in our Bach concert.
Visit us on the web at http://voicesofmusic.org/ or on Facebook
https://www.facebook.com/Voicesofmusic
Soundtrack available at InstantEncore http://tinyurl.com/AmieCillae
Jr. Jacob van Eyck's melody and variations "L'Amie Cillae," from Der Fluyten Lust-hof (Amsterdam, 1649). Performed on the recorder by Hanneke van Proosdij for the San Francisco Early Music Ensemble Voices of Music High Definition video channel.
Jacob van Eyck's recorder compositions were published during his lifetime in a two-volume collection called Der Fluyten Lust-hof ('The Flute's Garden of Delight').
"Onse Vader in Hemelryck" is a theme from the firts volume. It's played by Jan Van Hoecke on an alto in g (A466 Hz).
Blokfluit recorder flûte bec Blockflöte flauta flauto dulce pico dolce diritto flute baroque early music Klassiek Classical music Onze Vader in Hemelrijk Hemelrijck Stoepe fumitaka Saito diminutions
François Schubert (néFranz Anton Schubert (the Younger); 22 July 1808, Dresden – 12 April 1878, Dresden) was a violinist and composer.
After training with concertmaster Antonio Rolla in Dresden, Schubert studied violin with Charles Philippe Lafont in Paris and began working under the name François Schubert. He played in the Staatskapelle in Dresden from 1823 to 1873.
The son of church composer Franz Anton Schubert (the Elder, 1768–1824), Schubert was married to the singer and actress Maschinka Schubert (1815–1882) who was the daughter of horn player and composer Georg Abraham Schneider. Their daughter was the opera singer Georgina Schubert (1840–1878).
Schubert composed concert pieces, études, and chamber music, but is largely known for the bagatelleThe Bee, a perpetuum mobile for violin and piano – a piece that is often misattributed to Franz Schubert due to the similarity of the two men's names.
Selected works
9 Études for violin solo, Op. 3
Divertissement sur des motifs de l'opéra Lestocq d'Auber in D major for violin and piano, Op. 4 (1836)