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Скачать или смотреть Johann Friedrich Grenser (1758-1794) & Carl Gustaf Frisch (1738-1793)

  • The Digital Harpsichordist
  • 2024-06-10
  • 125
Johann Friedrich Grenser (1758-1794) & Carl Gustaf Frisch (1738-1793)
Johann Friedrich GrenserCarl Gustaf Frischclassical musicharpsichordDavid Bolton Harpsichordistdigital harpsichordharpsichord samplesGerman composersSwedish composersunknown composersMusikaliskt Tidsfördrif
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Описание к видео Johann Friedrich Grenser (1758-1794) & Carl Gustaf Frisch (1738-1793)

World Première Recording
(All pieces were first published in the 1792 edition of “Musikaliskt Tidsfördrif”)
Johann Friedrich Grenser (1758-1794):
1) Marche, a-minor: 00:00
2) Marche, e-minor: 1:28
3) Marche, c-minor: 2:40
Carl Gustaf Frisch (1738-1793):
4) Polonaise in E-flat Major: 3:44
Johann Friedrich Grenser (Johan Fredrik Grenser in Swedish) was born in Germany (Dresden), though he moved to Sweden at the age of sixteen, and remained there for the rest of his life. He came from a family that produced many musicians, as well as instrument makers. Being quite accomplished on the oboe, he went to Sweden to work for the orchestra of the Swedish Royal Court, a position he held from 1774 to 1783, when he switched to flute, and played that instrument in the orchestra for the rest of his life. He arranged to have a good number of bassoons imported into Sweden, which was easy for him to do, since one of his relatives made that instrument.
I was unable to find much information at all about the Swedish composer Carl Gustaf Frisch (sometimes written “Frisk”). He was born in Stockholm on October 17, 1738, and died on December 28, 1793. During his life he worked as a ship’s clerk, and was a member of “Par Bricole”, a Swedish Bacchanalian order society, whose main activity seems to have been organizing parties where a lot of wine was drunk, and the men (for it was a “men only” club) tried to have as good a time as possible. They also were very much interested in music and the theater. Whether it was high culture, or the love of wine, that attracted Frisch to that society is something we shall probably never know.
The three marches by Grenser, as well as the Polonaise by Frisch, are contained in the Swedish publication entitled “Musikaliskt Tidsfördrif”, which was published from 1789 to 1834; these pieces are from the 1792 edition of that periodical.
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