ANNA BON DI VENEZIA - RUSSIA
BORN 1739
Anna Bon was an composer and performer. Her parents were both involved in music and traveled internationally; her father was the Bolognese artist Girolamo Bon, a librettist and scenographer, and her mother was the singer Rosa Ruvinetti Bon.
Born probably in 1739 in either Russia or Venice, Bon was child to a couple who both worked in opera productions; her mother as a singer and her father as a librettist and set designer. Bon entered the Ospedale Della Pietà in Venice as student at the tender age of four, arriving in the wake of Antonio Vivaldi's prominence there. She studied at the Ospedale through the end of 1754, though left periodically to tour with her parents as a musical wunderkind. In 1755, Bon and her parents accepted a position within the Bayreuth-based court of Princess Wilhelmine of Prussia, a royal who was an accomplished musician.
At this point, Bon's first published works appeared in Nuremburg: the Six Chamber Sonatas for flute and continuo, Op. 1 (1756), and Six Sonatas for harpsichord, Op. 2 (1757). With the princess' death in 1758, the Bons realized they were no longer needed in Bayreuth and gradually returned to touring; Bon's final published set appeared in Nuremberg the following year, the Six Divertimenti (Trio Sonatas) for two flutes and continuo, Op. 3 (1759). In 1762, the Bons were employed in the court of Prince Nicolaus of Esterházy in Eisenstadt, Anna Bon's mother took part in operas written by Nicolaus' chief court composer, Haydn. Anna Bon may have left the Esterházy court in 1765; by 1767, Bon had married to an Italian singer and settled down in Hildburghausen; nothing more is known of her whereabouts afterward.
♫ LISTEN
Divertimento in D Menor by Anna Bon di Venezia
MARIA DE ALVEAR - SPAIN
BORN 25 OCTOBER
BORN 25 OCTOBER
Maria de Alvear (born 1960 in Madrid, Spain) is a Spanish-German composer living in Germany who was born to a Span
Some of her pieces are based on themes that are taboo to our Western way of thinking, provoking vehement debates and interesting interactions as a response to her work. This means that De Alvear´s work is also a courageous dialogue with the establishment. The involvement of spiritual qualities and energetic knowledge in her work demands a responsible deep understanding of the great power of music and art, a power that should be taken care of in a good, strong way.
Maria de Alvear has been very influenced by the trips she has made to different aboriginal nations in USA and Russia while looking for the inner essence of music and trying to understand the roots of musical development. Working intensively with Tsolagiu M.A. RuizRazo (Cherokee nation) and Rahkweeskeh (Tuscarora nation) has been very important for her. She feels they have been her most important teachers as regards the interaction between music and both physical and non-physical reality.
The extremely diverse levels on which her work functions simultaneously are very interesting. "Sound has the quality of putting a particular person's mind and body in a specific place". Sound combinations can work on our state of mind as precisely as a surgical instrument, the change of one single note can cause a complete change in the state of mind and physical location in which a person has been before. The way these specific places work in connection with the individual state of a person and interact with a physical and spiritual reality is the foundation upon which Maria de Alvear bases her work.
Some of her pieces are based on themes that are taboo to our Western way of thinking, provoking vehement debates and interesting interactions as a response to her work. This means that De Alvear´s work is also a courageous dialogue with the establishment. The involvement of spiritual qualities and energetic knowledge in her work demands a responsible deep understanding of the great power of music and art, a power that should be taken care of in a good, strong way.
Maria de Alvear has been very influenced by the trips she has made to different aboriginal nations in USA and Russia while looking for the inner essence of music and trying to understand the roots of musical development. Working intensively with Tsolagiu M.A. RuizRazo (Cherokee nation) and Rahkweeskeh (Tuscarora nation) has been very important for her. She feels they have been her most important teachers as regards the interaction between music and both physical and non-physical reality.
The extremely diverse levels on which her work functions simultaneously are very interesting. "Sound has the quality of putting a particular person's mind and body in a specific place". Sound combinations can work on our state of mind as precisely as a surgical instrument, the change of one single note can cause a complete change in the state of mind and physical location in which a person has been before. The way these specific places work in connection with the individual state of a person and interact with a physical and spiritual reality is the foundation upon which Maria de Alvear bases her work.
Source: Wikipedia and Maria de Alvear Official Website
♫ LISTEN
El esfuerzo by Maria de Alvear
El esfuerzo by Maria de Alvear
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