Johannes Matthias Sperger (1750-1812) - Concerto per il clarino (1779)

Alles Gute zum Geburtstag Johannes Matthias Sperger! 🎺👑

Composer: Johannes Matthias Sperger (1750-1812)
Work: Concerto (No.2, D-Dur) per il clarino (1779)
Performers: Edward Tаrr (1936-2020, trumpet); Franz Liszt Chamber Orchestra

Concerto per il clarino (1779)
1. Moderato 0:00
2. Rondo, allegro moderato 7:50

Painting: Cornelis Troost (1696-1750) - Suijpe Steijn (1742)
HD image: https://flic.kr/p/2pEEejr

Further info: https://www.discogs.com/sell/release/...
Listen free: No available

---

Johannes (Johann) Matthias Sperger [Spergher]
(Feldsberg [now Valtice], 23 March 1750 - Ludwigslust, 13 May 1812)

German composer and contrabass player. Following studies under Franz Becker, he became a student of Johann Georg Albrechtsberger in Vienna. He is said to have made his début as a composer there at the age of 18, and a symphony and a double bass concerto of his were performed by the Tonkünstler-Societät in 1778. In 1777 he was employed by Cardinal von Batthyani in Pozsony (Pressburg, now Bratislava, Slovakia), and in 1783 he became a member of the Kapelle of Count Erdődy in Fidisch. After the dissolution of the ensemble he made his living as a copyist, as well as touring both Germany and Italy as a bass soloist. In 1789 he was appointed to the Kapelle of the Duke of Mecklenburg-Schwerin, where he remained for the rest of his life. A supposed period in the service of Prince Esterhazy under Haydn is not documented. As a composer, he was well versed in the styles of music of his time, becoming a significant composer of symphonies in particular. His music consists of 45 symphonies, 22 concertos (18 for double bass), three sinfonia concertantes, two nonets, an octet and a septet, two sextets, 12 quartets, two keyboard sonatas, 14 other sonatas (duos), five cantatas, three sacred songs, three hymns, three antiphons, and two offertories, as well as 50 partitas and several organ fugues. Sperger's reputation as a leading double bass player is generously acknowledged by critical writing of the time; his achievements as an executant were generally accorded more significance than his prolific output as a composer.