Cell 13

Collegium musicum and house music

The Collegium musicum was founded in 1692. Its initial aim was to promote the joy of making music and to cultivate sacred music. In contrast to the Collegia musica founded earlier in other Swiss cities, in Basel there were connections with the church and the Gymnasium as well as a direct link to the university, where music had also been taught in practice since the 16th century.

With the introduction of subscription concerts in 1748, activities were greatly intensified, making them more attractive to professional musicians and instrument makers. in 1752 it was possible to employ 18 professional musicians. The listed works are only partially known through indirect descriptions and preserved musical records.

The revolutionary turmoil that broke out at the end of the century meant that no performances could take place from 1799 to 1803.

Closely connected with the Collegium musicum are the names of the woodwind instrument makers Schlegel with father Christian (c. 1667-1746) and son Jeremias (1730-1792) as well as the keyboard instrument makers father Peter Fridrich Brosi (1700-1764) and son Johann Jacob Brosy (1748-1816); the latter was responsible for the maintenance of the keyboard instruments of the Collegium musicum.

Below you will read and hear a reconstruction of a concert on January 9, 1755 (with quotations from contemporary reports):

1. Part, 1st piece: Antonio Vivaldi (1678-1741), Concerto in E major "La Primavera" for violin, strings and basso continuo, op.8 no. 1, Allegro
"It was the springtime of Mr. Vivaldi; he [the player] wanted to introduce it, and did not hit it so badly. It is also fitting for this time. It is a pity that one does not play his others in other seasons; ..."

1. Part, 2nd piece: George Frideric Handel (1685-1759), "Cara pianta," aria for tenor and orchestra, final aria from Apollo e Dafne, HWV 122, c. 1708
"After that came one alone, who sang an Italian song that I have not heard anything so beautiful in my church; his tongue was as if full of little wheels, and his throat as smooth as if it had been greased. Sometimes he sang sadly, sometimes angrily, sometimes he was frightened, sometimes he smiled, ..."

2. Part, 1st piece: Georg Christoph Wagenseil (1715-1777), Sinfonia in B flat major, WV 438, Allegro, c. 1755
The music "was almost as before, only one played a different piece ..." (Symphonies by Wagenseil are listed in the music collection of the Collegium musicum)

2. Part, 2nd piece: Johann Valentin Rathgeber (1682-1750), Von der edlen Musik, song for soprano or tenor and basso continuo from Augsburg Tafelconfect
"Afterwards a singer came, who sang a short song. It pleased me quite well, and sounded very funny ..."

2. Part, 3rd piece: Giuseppe Tartini (1692-1770), Concerto in G major for violin and orchestra, Allegro, Largo-Andante, Presto
"... a well groomed young gentleman came out with a violin, and sat down in front on a chair; the other minstrels sat behind him, and played along very quietly. ... the music is good in itself, but he did not play it well."
(A concerto in E major by Tartini is recorded in the music collection of the Collegium musicum)

3. Part, 1st piece: Johann Wenzel Anton Stamitz (1717-1757), (orchestral) Trio in A major for 2 violins and bass, op. 1 no. 2
Allegro assai, Andante poco Adagio, Minuet, Prestissimo
"There were only three playing together, namely two violins and a bass. My friend told me that they were called a trio, and that all three were only lovers. But they played masterfully, and so softly, ..."
(The piece can be played with trio or orchestra instrumentation. Works by J. W. A. Stamitz are listed in the music collection of the Collegium musicum)

3. Part, 2nd piece: Francesco Maria Veracini (1690-1768), Sonata No. 8 in E minor for violin and basso continuo
Allegro, Ritornello, Giga
"... and one appeared who was a real master on the violin. He began, and no one but a bass helped him. He drew quite English, long, rich tones from his violin. His bow jumped around on the sides, and over, like chamois on the cliffs." The virtuoso playing may have been the art of violinist Jakob Christoph Kachel, 1728-1795.

3. Part, 3rd (last) piece: Antonio Maria Bononcini (1677-1726), "Rapido da te lungi," chorus from the oratorio La Decollazione di San Giovanni Battista, 1709
"When this [the virtuoso violinist] had departed, two maidens came forth with the singing master, and a bass voice. They let us hear a Jtalian song, much more beautiful than one of our very best Christmas songs ..."

It is not possible to find out what piece of music was performed. The description could apply to a polyphonic piece from an Italian oratorio. This has led to the choice of the present piece, which is able to reflect to some extent the musical character described. The oratorio was first performed by the Vienna court orchestra in 1709.

 
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