I.er recueil de petits airs pour le clavecin ou piano forte op.2 - Hüllmandel, Nicolas-Joseph 1756-1823 (Paris s.n.)
autograph signature
Also published in London ca 1776 as "Six Divertimentos for the Harpsichord or Piano Forte".Digitalisation:https://ks4.imslp.info/files/imglnks/usimg/d/d9/IMSLP659678-PMLP1046717-hullmandel_g.271.f.-7.-_Six_Divertimentos_for_the_Harpsichord_or_Piano_Forte.pdf
Born into a family of musicians, Hüllmandel began his musical studies with either Joseph Garnier or Franz Xaver Richter, or both of them, choirmasters at Strasbourg Cathedral. This is all that is known about his musical education. Fétis mentions that Hüllmandel studied with Carl Philipp Emanuel Bach, but this remains to be proven. Around the age of 20, Hüllmandel moved to Paris, where he met with immediate success in aristocratic circles and private salons, as the dedicatees of his first opuses attest: Marie-Antoinette, the Baroness Talleyrand and the Duc de Guines. He taught George Onslow and Hyacinthe Jadin. During the Revolution he moved to London, where he lived until his death. Hüllmandel composed 12 opus numbers, all for solo keyboard (harpsichord or fortepiano) or with ad libitum or obbligato accompaniment; these works were all published in Paris between 1773 and 1788, except for the last one, published in London in 1796. One wonders why he apparently stopped composing after this date. Hüllmandel also wrote the articles 'harpsichord' and 'fortepiano' for the Encyclopédie méthodique.
Six divertissements ou IIe suite de petits airs pour le pianoforte ou le clavecin / Airs choisis variés pour le clavecin ou forte piano op. 5 / Second recueil de six airs choisis variés pour le clavecin ou le forte piano ou la harpe… op.9 / Six airs choisis et variés, quatrieme recueil pour le clavecin ou forte piano, dont deux sont en duo op. 12 / Airs variés à quatre mains pour le clavecin ou forte piano op. 14 / Ouverture de la Frescatana et ariettes de la même pièce en simphonie pour le clavecin avec un violon ad-libitum / Ouverture de Zémire et Azor, de la Rosière, ariette de la dernière pièce, en simphonie pour le clavecin avec un violon ad-libitum
Dediés a Madame la Baronne de Talleyrand
Keywords: 18th Century (1701-1800); Keyboard music; Harpsichord; Piano; Freedom; France