Johann Paul Aegidius Martini (1741-1816) - Messe de Requiem (1816)

Alles Gute zum Geburtstag Johann Paul Aegidius Martini! 🙏🏼👑 Composer: Johann Paul Aegidius Martini (1741-1816) Work: MESSE DE REQUIEM PAR MARTINI, Surintend.|t de la Musique de LOUI XVIII. | PRIX 50. (1816) Performers: Adriana Gonzalеs (soprano); Sébastien Drοy (tenor); Mikhail Timoshеnko (bass-baritone); Le Concert Spirituеl; Hеrvé Niquеt (conductor) Painting: Louis Daguerre (1787-1851) - The Ruins of Holyrood Chapel HD image: https://flic.kr/p/2oikLst Further info: https://rism.online/sources/992006291 Listen free: No available --- Johann (Jean, Giovanni) Paul Aegidius (Egide) Martini [Martin, Martiny, Schwarzendorf; Martini il Tedesco] (Freystadt, 31 August 1741 - Paris, 10 February 1816) German organist and composer. Son of the organist Andreas Martin, he was trained at the local Jesuit seminary. In 1758 he began studies in philosophy at the University of Fribourg, supporting himself by playing the organ at the local Franciscan convent. During this period he was known as 'Schwarzendorf'. In 1760 he settled in Nancy, France, where he obtained the patronage of Stanislaus I, Duke of Lorraine, who encouraged him to move to Paris. In 1764 he established himself as a composer and teacher there, known as 'Martini il Tedesco' in order to distinguish himself from others of similar last name. In 1773 the prince promoted him to the position of 'intendant de la musique', in which he wrote chamber music, romances and chansons, and composed and arranged theatre music. He functioned as the supervisor of music for the Prince de Condé, and in 1787 he was a violinist at the Théâtre de Monsieur. During the Revolution he stayed in Lyons, but in 1795 he returned to Paris where he became an inspector at the Conservatoire. He also participated in government-sponsored fêtes. He adapted skilfully to the changing regimes. After the signing of the concordat re-establishing Roman Catholicism in France (1802) and the failure of his most recent operas to stay in the repertory, he turned increasingly to church music. He also served the imperial regime, and his Messe solemnelle and Te Deum were performed on official state occasions. Yet with the Restoration of the Bourbons he insisted on, and received, his appointment as 'surintendant de la musique du roi'. As a composer, his music is similar to François-Joseph Gossec and consists of 13 operas (and numerous additions to others), two Te Deums, nine Masses, a Requiem, six Psalms, eight symphonies, six flute quartets, six notturnos, six trios, and over 100 marches.