François-Joseph Gossec: Difference between revisions

Content deleted Content added

Inline

Revision as of 15:42, 23 April 2011

François-Joseph Gossec, by Antoine Vestier.

François-Joseph Gossec (January 17, 1734 – February 16, 1829) was a French composer of operas, string quartets, symphonies, and choral works.

Life and work

The son of a small farmer, Gossec was born at the village of Vergnies, then a French exclave in the Austrian Netherlands, now in Belgium. Showing an early taste for music, he became a choir-boy in Antwerp. He went to Paris in 1751 and was taken on by the composer, Jean-Philippe Rameau. He followed Rameau as the conductor of a private orchestra kept by the fermier général Le Riche de La Poupelinière, a wealthy amateur and patron of music. Gradually he became determined to do something to revive the study of instrumental music in France.

Gossec's own first symphony was performed in 1754, and as conductor to the Prince de Condé’s orchestra he produced several operas and other compositions of his own. He imposed his influence on French music with remarkable success. His Requiem premiered in 1760, a ninety minute piece which made him famous overnight. Years later, in 1778, Mozart visited Gossec during a to Paris, and described him in a letter to his father as "a very good friend and a very dry man".

Gossec founded the Concert des Amateurs in 1770 and in 1773 he reorganised the Concert Spirituel together with Simon Leduc and Pierre Gaviniès. In this concert series he conducted his own symphonies as well as those by his contemporaries, particularly works by Joseph Haydn, whose music had become increasingly popular in Paris, finally even superseding Gossec's symphonic work.

In the 1780s Gossec's symphonic output decreased as he began concentrating on operas. He organized the École de Chant in 1784, together with Etienne Méhul, was conductor of the band of the Garde Nationale of the French Revolution, and was appointed (with Méhul and Luigi Cherubini) inspector of the Conservatoire de Musique at its creation in 1795. He was an original member of the Institut and a chevalier of the Legion of Honour. In 1815, after the defeat of Napoleon at Waterloo, the Conservatoire was closed for some time by Louis XVIII, and the eighty-one year-old Gossec had to retire. Until 1817 he worked on his last compositions, including a third Te Deum, and was supported by a pension granted by the Conservatoire.

He died in the Parisian suburb of Passy. The funeral service was attended by former colleagues, including Cherubini, at the Père Lachaise cemetery in Paris. His grave is near those of Méhul and Grétry.

Some of his techniques anticipated the innovations of the Romantic era: he scored his Te Deum for 1200 singers and 300 wind instruments, and several oratorios require the physical separation of multiple choirs, including invisible ones behind the stage. He wrote several works in honor of the French revolution, including Le Triomphe de la République, and L'Offrande à la Liberté.

While most people would have difficulty recognizing Gossec's Gavotte by its title, the melody itself remains familiar in the United States and elsewhere because Carl Stalling used an arrangement of it in several Warner Brothers cartoons.

He was little known outside France, and his own numerous compositions, sacred and secular, were overshadowed by those of more famous composers; but he was an inspiration to many, and powerfully stimulated the revival of instrumental music.

Works

For Orchestra

Sei sinfonie a più strumenti op. 4 (1759)
Sei sinfonie a più strumenti op. 5 (1761)
Six symphonies op. 6 (1762)
Six symphonies à grand orchestre op. 12 (1769)
Deux symphonies (1773)
Symphonie n° 1 (c. 1771-1774)
Symphonie n° 2 (c. 1771-1774)
Symphonie en fa majeur (1774)
Symphonie de chasse (1776)
Symphonie en ré (1776)
Symphonie en ré (1777)
Symphonie concertante en fa majeur n° 2, à plusieurs instruments (1778)
Symphonie en do majeur for wind orchestra (1794)
Symphonie à 17 parties en fa majeur (1809)

Chamber music

Sei sonate a due violini e basso op. 1 (c. 1753)
Sei quartetti per flauto e violino o sia per due violini, alto e basso op. 14 (1769)
Six quatuors à deux violons, alto et basse op. 15 (1772)

Vocal and Choral Works

Messe des morts (Requiem) (1760)
La Nativité, oratorio (1774)
Te Deum (1779)
Te Deum à la Fête de la Fédération for three voices, men's chorus and wind orchestra (1790)
Hymne sur la translation du corps de Voltaire au Panthéon for three voices, men's chorus and wind orchestra (1791)
Le Chant du 14 juillet (Marie-Joseph Chénier) for three voices, men's chorus and wind orchestra (1791)
Dernière messe des vivants, for four voices, chorus and orchestra (1813)

Gossec also wrote a piece by the name of tambourin

Operas

Le tonnelier, opéra comique (1765)
Le faux Lord, opéra comique (1765)
Les pêcheurs, opéra comique en 1 act (1766)
Toinon et Toinette, opéra comique (1767)
Le double déguisement, opéra comique (1767)
Les agréments d'Hylas et Sylvie, pastorale (1768)
Sabinus, tragédie lyrique (1773)
Berthe, opera (1775, not extant)
Alexis et Daphné, pastorale (1775)
Philémon et Baucis, pastorale (1775)
La fête de village, intermezzo (1778)
Thésée, tragédie lyrique (1782)
Nitocris, opera (1783)
Rosine, ou L'éposue abandonnée, opera (1786)
Le triomphe de la République, ou Le camp de Grandpré, divertissement-lyrique en 1 acte, (Chénier) (1794)
Les sabots et le cerisier, opera (1803)

References

This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. {{cite encyclopedia}}: Missing or empty |title= (help)
Thibaut, W., François Joseph Gossec, Chantre de la Révolution française, (1970)

External links

Template:Persondata

@@ Line 5: / Line 5: @@
 ==Life and work==
-The son of a small farmer, Gossec was born at the village of [[Vergnies]], then a French [[exclave]] in the [[Austrian Netherlands]], now in Belgium. Showing an early taste for music, he became a choir-boy in [[Antwerp (city)|Antwerp]]. He went to Paris in 1751 and was taken on by the great composer, [[Jean-Philippe Rameau]]. He followed Rameau as the conductor of a private orchestra kept by the ''[[Tax farm|fermier général]]''  [[Alexandre Le Riche de La Poupelinière|Le Riche de La Poupelinière]], a wealthy amateur and great patron of music, and became gradually determined to do something to revive the study of instrumental music in France.
+The son of a small farmer, Gossec was born at the village of [[Vergnies]], then a French [[exclave]] in the [[Austrian Netherlands]], now in Belgium. Showing an early taste for music, he became a choir-boy in [[Antwerp (city)|Antwerp]]. He went to Paris in 1751 and was taken on by the composer, [[Jean-Philippe Rameau]]. He followed Rameau as the conductor of a private orchestra kept by the ''[[Tax farm|fermier général]]''  [[Alexandre Le Riche de La Poupelinière|Le Riche de La Poupelinière]], a wealthy amateur and patron of music.  Gradually he became determined to do something to revive the study of instrumental music in France.
-Gossec's own first [[symphony]] was performed in 1754, and as conductor to the [[Prince de Condé]]’s orchestra he produced several [[opera]]s and other compositions of his own. He imposed his influence on French music with remarkable success. He premiered his ''Requiem'' in 1760, a piece ninety minutes in length, which made him famous overnight. The piece was later admired by [[Wolfgang Amadeus Mozart]], who visited Gossec during a rather unsuccessful trip to Paris in 1778, and described him in a letter to his father as  "a very good friend and a very dry man".
+Gossec's own first symphony was performed in 1754, and as conductor to the [[Prince de Condé]]’s orchestra he produced several operas and other compositions of his own. He imposed his influence on French music with remarkable success. His ''Requiem'' premiered in 1760, a ninety minute piece which made him famous overnight. Years later, in 1778, Mozart visited Gossec during a to Paris, and described him in a letter to his father as  "a very good friend and a very dry man".
-Gossec founded the ''Concert des Amateurs'' in 1770 and in 1773 he reorganised the ''[[Concert Spirituel]]'' together with [[Simon Leduc]] and [[Pierre Gaviniès]]. In this concert series he presented and conducted his own symphonies as well as those by his contemporaries, especially works by [[Joseph Haydn]], whose music became more and more popular in Paris, and finally even superseded Gossec's symphonic work. In the 1780s, Gossec's symphonic output decreased and he concentrated on operas. He organized the ''École de Chant'' in 1784, together with [[Etienne Méhul]], was conductor of the band of the ''Garde Nationale'' at the [[French Revolution]], and was appointed (again with Méhul and [[Luigi Cherubini]]) inspector of the ''Conservatoire de Musique'' on its creation in 1795. He was an original member of the ''Institut'' and a ''[[Knight|chevalier]]'' of the [[Legion of Honour]]. In 1815, after the defeat of [[Napoleon]] at [[Battle of Waterloo|Waterloo]], the Conservatoire was closed for some time by [[Louis XVIII of France|Louis XVIII]], and the eighty-one year-old Gossec had to retire. Until 1817 he worked on his last composition, a third ''[[Te Deum]]'', and was supported by a pension granted by the Conservatoire.
+Gossec founded the ''Concert des Amateurs'' in 1770 and in 1773 he reorganised the ''[[Concert Spirituel]]'' together with [[Simon Leduc]] and [[Pierre Gaviniès]]. In this concert series he conducted his own symphonies as well as those by his contemporaries, particularly works by [[Joseph Haydn]], whose music had become increasingly popular in Paris, finally even superseding Gossec's symphonic work.
+In the 1780s Gossec's symphonic output decreased as he began concentrating on operas. He organized the ''École de Chant'' in 1784, together with [[Etienne Méhul]], was conductor of the band of the ''Garde Nationale'' of the [[French Revolution]], and was appointed (with Méhul and [[Luigi Cherubini]]) inspector of the ''Conservatoire de Musique'' at its creation in 1795. He was an original member of the ''Institut'' and a ''[[Knight|chevalier]]'' of the [[Legion of Honour]]. In 1815, after the defeat of [[Napoleon]] at [[Battle of Waterloo|Waterloo]], the Conservatoire was closed for some time by [[Louis XVIII]], and the eighty-one year-old Gossec had to retire. Until 1817 he worked on his last compositions, including a third ''[[Te Deum]]'', and was supported by a pension granted by the Conservatoire.
 He died in the Parisian suburb of [[Passy]]. The funeral service was attended by former colleagues, including [[Cherubini]], at the [[Père Lachaise]] cemetery in Paris. His grave is near those of Méhul and [[Grétry]].
-Some of his techniques seem to have anticipated the innovations of the Romantic era: he wrote a ''Te Deum'' for 1200 singers and 300 wind instruments; several oratorios include instructions for physical separation of multiple choirs, including invisible ones behind the stage. He wrote several works in honor of the [[French revolution]], including ''Le Triomphe de la République'', and ''L'Offrande à la Liberté''.
+Some of his techniques anticipated the innovations of the Romantic era: he scored his ''Te Deum'' for 1200 singers and 300 wind instruments, and several oratorios require the physical separation of multiple choirs, including invisible ones behind the stage. He wrote several works in honor of the [[French revolution]], including ''Le Triomphe de la République'', and ''L'Offrande à la Liberté''.
-Although most people would have difficulty recognizing Gossec's ''[[Gavotte]]'' by its title, the melody itself remains familiar in the United States and elsewhere because [[Carl Stalling]] used an arrangement of it in several [[Warner Brothers]] cartoons.
+While most people would have difficulty recognizing Gossec's ''[[Gavotte]]'' by its title, the melody itself remains familiar in the United States and elsewhere because [[Carl Stalling]] used an arrangement of it in several [[Warner Brothers]] cartoons.
 He was little known outside France, and his own numerous compositions, sacred and secular, were overshadowed by those of more famous composers; but he was an inspiration to many, and powerfully stimulated the revival of instrumental music.