Jablonski, Marek (Michael)



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BIBLIOGRAPHY


BerliozM

FétisB

‘A Sketch of the Life of Louis Jullien’, Musical World, xxviii (1853), May–July



J. Rivière: My Musical Life and Recollections (London, 1893)

H. Davison, ed.: Music during the Victorian Era, from Mendelssohn to Wagner: being the Memoirs of J.W. Davison (London, 1912)

A. Carse: The Life of Jullien: Adventurer, Showman-Conductor and Establisher of the Promenade Concerts in England, together with a History of those Concerts up to 1895 (Cambridge, 1951)

KEITH HORNER


Jumentier, Bernard


(b Chavannes, nr Chartres, 24 March 1749; d Saint Quentin, Aisne, 17 Dec 1829). French composer. The son of a wine-grower, he was a student at the choir school at Chartres (16 April 1756 to 1767), where he studied with Demongeot and Michel Delalande. A mass composed by him was performed there on All Saints’ Day in 1766. In 1767 he became maître de musique at Senlis Cathedral, but a year later was forced to return to Chartres owing to illness. He then held similar posts at Saint Malo and Coutances until 1776 when he settled permanently at the church of Saint Quentin as maître de musique. In the 1780s his sacred compositions were performed in several parts of France, including Le Mans, Versailles and Paris. His sole appearance at the Paris Concert Spirituel (2 February 1783) was in the performance of a motet à grand choeur, which the Journal de Paris reported ‘was heard with pleasure’ while the Mercure de France remarked more candidly, ‘We shall say nothing of the Abbé Jumentier’s motet; it is a genre in which the public has for a long time taken hardly any interest’.

When in 1793 the church of Saint Quentin was confiscated by the Revolutionaries, Jumentier lived as a private music teacher and provided music for Revolutionary fêtes, returning to his post when the church reopened in 1802 even though it was unable to pay him for his services. Late in life he married Marie-Anna Maillard; the couple remained childless. In the early decades of the 19th century Jumentier’s music was once again heard in Paris. On 21 November 1812, for instance, a Mass in G was performed at Saint Eustache to celebrate St Cecilia’s Day; the orchestra, chorus and soloists of the Opéra were assisted by musicians from other Parisian theatres and conducted by Rodolphe Kreutzer; a contemporary review reported that ‘the music is full of verve, and bears the hallmark of a genius by turns pleasant and excitable’. Jumentier retired in 1825; his own Requiem Mass was performed at his funeral service at Saint Quentin.


WORKS


all MSS; most at F-SQ; some at Pc, R

Cloris et Médor (ballet-héroïque), Saint Quentin, 13 Dec 1783

Pantomime et ballet (ballet), Saint Quentin, 13 June 1795 [incl. music by Haydn, Grétry, Lemoyne]

Sacred: 12 masses; Requiem Mass; Missa brevis; 10 Mag; 4 TeD; 2 Stabat mater; c50 grands motets; c100 petits motets; Les fureurs de Saül (orat, P.L. Moline), 1791; Le passage de la Mer Rouge, ou La délivrance des hébreux (orat, J.B.A. Hapdé), Paris, Gaîté, 15 Nov 1817

Other vocal: 9 romances; many scènes patriotiques on Revolutionary subjects

Inst: 5 syms.; 1 caprice, pf, orch

Theoretical: Règles de plain-chant, 1783; completion of A. de Cousu: La musique universelle (Paris, 1658/R)


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