Willem de Fesch, a prominent composer of the Baroque period, was born on August 26, 1687 in Alkmaar, Netherlands. Known for his unique blend of styles, he was a significant figure in the development of European classical music during the early 18th century. While his music is not as widely recognized as that of some of his contemporaries, his works have enjoyed a resurgence in popularity in recent years.
Early life and musical training
There’s little known about de Fesch’s early life and family, but it’s likely that his musical training began at an early age. His first recorded position was as a bass violist in the municipal orchestra of Amsterdam in 1710, indicating that he had achieved a high level of proficiency on the instrument by this time.
In 1715, de Fesch married Maria Elisabeth Lijnslager in Amsterdam. He later became a choir master at the Walloon Church in the same city. This was a significant appointment for the composer, as it brought him into contact with some of the most influential musicians and patrons of the day.
Career in Antwerp and London
In 1725, de Fesch left Amsterdam for Antwerp, where he became the Kapelmeester at the cathedral of Our Lady. During this period, he composed primarily church music, including a number of masses and motets.
The period of 1731 to 1733 was a gap in de Fesch’s career, as there are no records of his activities during this time. However, in 1733, he surfaced in London where he began a new phase in his career. He was warmly received and found immediate success with his opus 3, a collection of violin concertos. His music was played at important venues such as the Drury Lane Theatre and the Covent Garden.
In London, de Fesch also tried his hand at English oratorio, a genre that was gaining popularity at the time, largely due to the works of George Frideric Handel. De Fesch’s oratorios “Judith” (1733) and “Joseph” (1746), while not as well known, were substantial works that showcased his ability to write effectively for voice.
Later life and legacy
In the 1740s, de Fesch became more of a musical pedagogue in London, still composing but also teaching violin and harpsichord. He died on January 3, 1761 in London, leaving a significant body of work.
Willem de Fesch composed both secular and sacred music, and his oeuvre includes chamber duets, concertos, oratorios, and several books of songs. Stylistically, his music shares traits with both German and Italian music of the time, including the use of counterpoint, a technique characteristic of Baroque music. Some of his instrumental works, particularly his concertos, show the influence of the Italian Baroque, particularly the works of Antonio Vivaldi.
Though de Fesch’s music fell out of popularity after his death, the late 20th and early 21st century have seen a revival of interest in his work. His violin concertos and cello sonatas are now regularly performed and recorded, and they serve as an important example of Dutch contributions to the Baroque musical canon.
Willem de Fesch’s life and music serve as a testament to the fluidity of musical styles during the Baroque period, and to the ability of individual musicians to shape their own distinct paths amidst changing musical landscapes.
Willem de Fesch (1687 – 1761)
Willem de Fesch, a prominent composer of the Baroque period, was born on August 26, 1687 in Alkmaar, Netherlands. Known for his unique blend of styles, he was a significant figure in the development of European classical music during the early 18th century. While his music is not as widely recognized as that of some of his contemporaries, his works have enjoyed a resurgence in popularity in recent years.
Early life and musical training
There’s little known about de Fesch’s early life and family, but it’s likely that his musical training began at an early age. His first recorded position was as a bass violist in the municipal orchestra of Amsterdam in 1710, indicating that he had achieved a high level of proficiency on the instrument by this time.
In 1715, de Fesch married Maria Elisabeth Lijnslager in Amsterdam. He later became a choir master at the Walloon Church in the same city. This was a significant appointment for the composer, as it brought him into contact with some of the most influential musicians and patrons of the day.
Career in Antwerp and London
In 1725, de Fesch left Amsterdam for Antwerp, where he became the Kapelmeester at the cathedral of Our Lady. During this period, he composed primarily church music, including a number of masses and motets.
The period of 1731 to 1733 was a gap in de Fesch’s career, as there are no records of his activities during this time. However, in 1733, he surfaced in London where he began a new phase in his career. He was warmly received and found immediate success with his opus 3, a collection of violin concertos. His music was played at important venues such as the Drury Lane Theatre and the Covent Garden.
In London, de Fesch also tried his hand at English oratorio, a genre that was gaining popularity at the time, largely due to the works of George Frideric Handel. De Fesch’s oratorios “Judith” (1733) and “Joseph” (1746), while not as well known, were substantial works that showcased his ability to write effectively for voice.
Later life and legacy
In the 1740s, de Fesch became more of a musical pedagogue in London, still composing but also teaching violin and harpsichord. He died on January 3, 1761 in London, leaving a significant body of work.
Willem de Fesch composed both secular and sacred music, and his oeuvre includes chamber duets, concertos, oratorios, and several books of songs. Stylistically, his music shares traits with both German and Italian music of the time, including the use of counterpoint, a technique characteristic of Baroque music. Some of his instrumental works, particularly his concertos, show the influence of the Italian Baroque, particularly the works of Antonio Vivaldi.
Though de Fesch’s music fell out of popularity after his death, the late 20th and early 21st century have seen a revival of interest in his work. His violin concertos and cello sonatas are now regularly performed and recorded, and they serve as an important example of Dutch contributions to the Baroque musical canon.
Willem de Fesch’s life and music serve as a testament to the fluidity of musical styles during the Baroque period, and to the ability of individual musicians to shape their own distinct paths amidst changing musical landscapes.
Discography
à Amsterdam
Postscript