Name: Matthew Dubourg (1703-1767) - Ode for Dublin Castle (1739) | Videos | Gan Jing World
Uploaded: 2022-07-03T04:00:00.000Z
Duration: 15 min 58 s
Description: ★ Follow music ► https://www.instagram.com/reciclassicat/ Composer: Matthew Dubourg (1703-1767) Work: Ode for Dublin Castle (1739) Performers: Annа Dеvin (sop... | Videos | Gan Jing World

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Composer: Matthew Dubourg (1703-1767) 
Work: Ode for Dublin Castle (1739)
Performers: Annа Dеvin (soprano); Rаchеl Kеlly (mezzo-soprano); Edwаrd Grіnt (bass);
Irіsh Bаroque Orchestra; Pеtеr Whеlаn (conductor)

Drawing: Joseph Tudor (fl. 1739-1759) - Gezicht op de Upper Castle Yard van Dublin Castle
HD image: https://flic.kr/p/2nvq4d4
Map: Matthaeus Seutter (1678-1756) - Tabula Novissima Accuratissima Regnorum Angliae Scotia Hiberniae (1727)
HD image: https://flic.kr/p/2ggEXxf

Further info: https://www.prestomusic.com/classical/products/8607201--welcome-home-mr-dubourg
Listen free: https://open.spotify.com/album/2WAWDN1wAoAw7xbUdpmae6

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Matthew Dubourg
(London, 1703 - London, 3 July 1767)

English violinist, composer and musical director. He was the natural son of Isaacs, a dancing-master. As a pupil of Geminiani, he soon made a name as a remarkably gifted boy violinist, first appearing at one of Thomas Britton’s concerts, where, standing on a high stool, he played a solo by Corelli with great success. On 27 May 1714 he had a benefit concert at Hickford’s Room. In 1724 he visited Dublin, and on 17 June 1727 married Frances Gates at Stanmore, Middlesex. In 1728 he was appointed to succeed J.S. Kusser as Master and Composer of State Music in Ireland, a post said to have been intended for Geminiani but transferred to Dubourg for religious reasons. From then until 1752, when he succeeded Festing as leader of the King’s Band in London, he spent most of his time in Dublin, where he was an active influence in the musical community, though occasionally travelling to London (he took part, for instance, in performances of Handel’s Samson there in March 1743). In Dublin he played a prominent part in most of the important performances of this period, playing at the first benefit for Mercer’s Hospital on 8 April 1736, supervising and leading the enlarged orchestra for the first Irish performance of Arne’s Comus in August 1741, and leading the band during Handel’s visit (1741-42), which included the first performance of Messiah. The high standard of string playing in Dublin, which was remarked upon by Handel in a letter to Jennens, was undoubtedly due to the influence of Dubourg and his teacher Geminiani. Dubourg subsequently organized a series of six Handel oratorios in the 1743-44 season and the first Irish performances of Samson (4 February 1748) and Judas Maccabaeus (11 February 1748).

He also conducted numerous performances of Messiah and other Handel oratorios. In recognition of these efforts he received a bequest of £100 from Handel. He appears to have been a brilliant performer and fond of showing off his skill. Burney related that on one occasion he introduced a cadenza of extraordinary length into the ritornello of an air. When at last he finished, Handel, who was conducting, exclaimed ‘Welcome home, Mr Dubourg’ (An Account of the Musical Performances … in Commemoration of Handel (London, 1785), ‘Sketch of the Life of Handel’, p.27). In January 1748 there was a sale of furniture and paintings at his house in Dublin, and in March he was bequeathed £200 a year by ‘the Widow Barry’. In 1761 he was appointed Master of Her Majesty’s Band of Music in London at £200 a year. He retained a house in Dublin, where he often entertained Geminiani, who died there in 1762. Dubourg finally left Ireland in 1765. He was buried in Paddington churchyard. Dubourg’s compositions were mainly ephemeral; those that were published are scattered through minor collections. ‘Serenading Trumpet Tunes’ and ‘Minuets for His Majesty’s Birthday’ are included in collections published by Walsh of London, and John Simpson’s Delightful Pocket Companion for the German Flute (c.1746-47) contains pieces by him. Of particular interest, as one of the earliest documented examples of an Irish traditional melody which attained great popularity at 18th-century Dublin concerts, is the publication by W. Manwaring in 1746 of Select Minuets … to which is added Eleen a Roon by Mr Dubourgh, set to the harpsichord, with his variations. #ClassicalMusic