Goshen Academy, Goshen, CT


Goshen Academy

Old Middle St. (CT 63)

Goshen, CT  06756

Goshen Historic District is a historic district encompassing the town center village of Goshen, Connecticut. Centered at the junction of Connecticut Routes 4 and 63, the village developed historically as a rural crossroads of two turnpikes, and has retained its rural character. It is dominated by residential architecture from the first half of the 19th century, and includes churches, a store, and the town’s former 1895 town hall. It was listed on the National Register of Historic Places in 1982.  The town of Goshen, located in the hills of northwestern Connecticut, was settled in the mid-18th century. Its village center, near its geographic center, grew following the development of the east-west turnpike between Torrington and Sharon (now Route 4), and the north-south turnpike between Litchfield and Canaan (now Route 63). The town has remained rural and agricultural in character, with limited industry. In the mid-19th century, the village economy was boosted by the success of Simon Scoville, a blacksmith who established a carriage factory. Scoville’s factory has not survived (it was where the town’s modern town hall/library/school complex is located, just north of the district), but a remnant iron furnace does survive. Scoville also built a number of modest Greek Revival worker houses.  The historic district extends mainly along Route 63, beginning at Lyman Lane in the south, and ending at the modern town hall complex in the north. It also extends east along Route 4. Historic buildings in the district include examples of Greek Revival, Federal, and Victorian architecture from as early as 1760. Its most prominent buildings are civic and religious in nature, including the Goshen Academy, in Federal style, from 1824 which was later known as Eagle Hall and housed the town’s library and the 1832 Goshen Congregational Church. The 1895 Old Town Hall, located at the main junction, is a distinctive example of Shingle style architecture. Other examples of Victorian architecture include the Lavallette-Perrin House, which is an eclectic blend of Greek and Gothic Revival elements.


Hubert Waelrant and “Hard by a fountain”


Hubert Waelrant or Hubertus Waelrand (c. 1517 –November 19, 1595) was a Flemish composer, teacher, and music editor of the Renaissance, who a composer was a member of the generation contemporary with Palestrina, though unlike the most famous composers of the time he mostly worked in northern Europe, and in addition he was progressive in the use of chromaticism and dissonance.   Details of Waelrant’s origin are uncertain, but he was born around 1517 and may have been one of a family of musicians and lawyers from Antwerp, Belgium.  At least he spent most of his life there. As a young man he may have studied in Italy, a common destination for a talented singer and composer from the Netherlands in the 16th century. While no documentary evidence has survived, he maintained contact with a wealthy patron there, and his madrigals show evidence of influence from some of the more progressive Italian composers at mid-century.

The first definite evidence of Waelrant’s activities is in the archives of the Antwerp cathedral, where he was a singer in 1544 and 1545. In the mid 1550s he was active as a teacher as well, and according to his pupil F. Sweerts, writing in Athenae belgicae (1628), he was an innovator in devising a new method of solmization. According to Reese he founded a music school in Antwerp.  He began his activities as a printer in the early 1550s, when he became a partner of Jean de Laet, handling the financial and sales aspects of the operation.  Whether he was strictly Roman Catholic has been a matter of dispute; internal evidence in the music suggests that he may have had Protestant sympathies, and indeed may have been an Anabaptist, although legal documents show him to have been a Catholic. It was a turbulent time of religious conflict—one of the reasons many local composers went to Italy and other countries—and Waelrant may have been deliberately unclear as to his beliefs; Antwerp changed hands several times during his life, alternately captured by Calvinists and the Catholic Habsburgs, and both sides suffered persecution. Some of Waelrant’s simple psalm settings in the vernacular language suggest that he was a Protestant, and there is evidence that they were confiscated by Catholic church authorities at Kortrijk.

Waelrant wrote sacred and secular vocal music as well as instrumental music. His output included motets, metrical psalm settings, French chansons, Italian madrigals, Italian napolitane (secular songs, of a light character, such as would be sung in Naples), and arrangements of the Italian pieces for instruments such as lute.  His motets are the most progressive part of his output, and are characteristic of the mid-century practice intermediate between the smooth, pervading imitation of composers such as Nicolas Gombert, where all voices where equal, and textural contrast was minimized; and late-century composers such as Lassus. Indeed, many of his motets are reminiscent of Lassus, using chromaticism, cross-relations, textural contrast, and always remaining carefully attentive to the comprehensibility of the text. Waelrant uses text-painting as well, highlighting individual words with characteristic gestures, as a method to increase the expressivity of the music. Occasionally, his use of text-painting is obvious: for example, in his chanson Musiciens qui chantez, after the word “taire” (silent) all the voices rest for a moment of silence.

Harmonically, Waelrant usually preferred voicings that contained complete triads, and with his preference for root motions of fifths over those of thirds, one can hear the impending tonal structures of the Baroque era, which was to begin shortly after his death. In this regard his motets also resembled those of Lassus.  Waelrant’s activities as an editor and performer influenced his approach to composition, and his manuscripts are full of helpful shorthand to the performers. He was careful to align notes and syllables, a practice by no means universal in the 16th century, and he used accidentals reliably, rarely leaving the interpretation of half- and whole-steps to the singer.  His settings of secular texts ranged from the light to the serious, and employ an array of contrapuntal devices, a characteristic more of secular music in northern Europe than in Italy; but the language of the settings is Italian for the madrigals and French for the chansons.

Details of his life are sparse after 1558, but he probably remained in Antwerp, where he was active as a composer, consultant for the tuning of cathedral bells, and music editor. Most of his music was published in Antwerp, although at least one collection of 30 songs (napolitane) was published in Venice (1565).  He collaborated on a music anthology with several other Flemish composers in 1584, including Cornelis Verdonck and Andreas Pevernage, and the next year he edited a book of Italian madrigals (Symphonia angelica), some of which he wrote himself, which became extraordinarily successful.  Italian madrigals were one of the most popular forms of music in Europe in the late 16th century, and composers wrote them, in Italian, even in countries where Italian was not spoken.   At the end of his life he endured financial difficulty. He died in Antwerp on November 19, 1595, and was buried in the Onze-Lieve-Vrouwekathedraal (Church of Our Lady, Antwerp).  At least three of his many children — ten by one of his three or four wives — were also musicians.

The following work by Hubert Waelrant is contained in my collection:

Hard by a fountain.

John Francis Wade and “Adeste Fideles”

wade j f

John Francis Wade (1710  or 1711 – August 16, 1786) was an English hymnist who is sometimes credited with writing and composing the hymn “Adeste Fideles” (which was later translated to “O Come All Ye Faithful”), since, even though the actual authorship of the hymn remains uncertain, the earliest copies of the hymn all bear his signature.  Wade was born around 1710 or 1711 either in England or in Douai, Flanders, France.  Unfortunately, very little is known of Wade’s actual life. His father’s name may have been John Wade, as a Yorkish man of this name converted to Roman Catholicism around 1730, and John Francis Wade is known to have studied on the continent at a Dominican College in Bornhem, Flanders, and to have joined the Marian Confraternity of the Rosary at that time. From around 1737, Wade apparently lived in London and wrote his numerous chantbooks.

“Adeste Fidelis” is said by some to have been taken from a Graduale of the Cistercians, the original of which is sometimes ascribed to Giovanni Fidanza Bonaventura (1221-1274), but the hymn is believed to have been written around 1740 to 1744 and appears in seven known manuscript copybooks dating to the mid 18th century (beginning c. 1743) known as Cantus Diversi by Wade.  Wade’s Roman Catholic liturgical books were often decorated with Jacobite floral imagery, and some believe that the texts had coded Jacobite meanings, suggesting that the hymn “Adeste Fideles” was a birth ode to Bonnie Prince Charlie, replete with secret references decipherable by the “faithful” followers of the Pretender, James Francis Edward Stuart.

Though Wade seems to have personally espoused the Jacobite cause and hoped for a renewal of the Stuart line, his political activities may have been limited to propagandizing hymns such as “Adeste fideles” and “Vexilla regis.” At any rate, his musical influence was quite wide.  Samuel Wesley corresponded with him, and Vincent Novello published his work. His championing of Catholic plainchant helped fuel the British national revival of early music in the eighteenth and nineteenth centuries.

Though Wade’s name comes to our attention most often for his arrangement of the well-known carol “Adeste fideles” (O come, all ye faithful), he is more than a musical “one-hit wonder.” By far the more important work of his life was his production of a large series of books of Catholic plainchant, both printed and manuscript copies. An enthusiastic throwback to the old days of the monastic scriptorium, Wade perfected his own hand at calligraphy, illumination, and the copying of plainchant worship music.

Wade’s manuscripts served the Catholic liturgy in the chapels of most of London’s foreign embassies, as well as the private chapels of many English, American, and European Catholic aristocrats. He also published editions of Catholic liturgical books for wider dissemination. He has been called the “father of the English plainchant revival.”  Wade fled to France after the Jacobite rising of 1745 was crushed and settled in Douay. As a Catholic layman, he lived with exiled English Catholics in France, where he taught music, copied plain chant, published hymn manuscripts, and worked on church music for private us. A standard edition of his Cantus Diversi was made about 1750-1751 and discovered at Stonyhurst College in Lancashire, England. Wade is now usually credited with being the author.  Wade died on August 16, 1786, at Douai, France.

My collection includes the following work by John Francis Wade:

Adeste Fidelis.

Ludovico da Viadana and “La Fiorentina”


Lodovico Grossi da Viadana, usually Lodovico Viadana, though his family name was Grossi (c. 1560 –  May 2, 1627) was an Italian composer, teacher, and Franciscan friar of the Order of Friars Minor Observants, who was the first significant figure to make use of the newly developed technique of figured bass, one of the musical devices which was to define the end of the Renaissance and beginning of the Baroque eras in music.  He was born c. 1560 in Viadana, a town near Parma in the province of Mantua, Italy. According to a document dating from about 150 years after his death, he was a member of the Grossi family but took the name of his birth city, Viadana, when he entered the order of the Minor Observants prior to 1588. His early education and career are not well documented.  Though there is no contemporary evidence, it has been claimed that he studied with Costanzo Porta, and he had definitely become choirmaster at the cathedral in Mantua by 1594 serving to 1597. From there he may have moved to Padua, but in 1597 he went to Rome, and in 1602 he became choirmaster at the convent of the cathedral of San Luca in Mantua.

A prolific composer of sacred vocal music during the transition from Renaissance to Baroque styles, Viadana is important in the development of the early Baroque technique of basso continuo, and its notational method, known as figured bass. The first dozen of Viadana’s published works, regarded as quite expressive in their day, focused on a cappella music, but by his Opus 13 he was adding an organ bass line, not quite a full basso continuo. His most important works are his Masses of 1596, his Opus 22 Lamentations, and his Opus 16 Completorium.   He used to be credited with the invention of the basso continuo, although figured-bass parts have since been noticed in slightly earlier published works by Peri and Banchieri from at least as early as 1597.

While Viadana did not invent the method, he was indisputably the first to use it in a widely distributed collection of sacred music (Cento concerti ecclesiastici con il basso continuo, Op. 12), which he published in Venice in 1602. These church concertos of his had few enough vocal parts that the organ continuo became absolutely necessary for harmonic support.  It remains the first published use of continuo with sacred vocal music; the partly figured bass line is designed to allow any number of voices, from one to four, to sing the music, with the organ filling in the missing parts.  Agostino Agazzari in 1607 published a treatise describing how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centers in Italy.

Viadana changed jobs fairly often and held a succession of posts at various cathedrals in Italy, including the Concordia Cathedral near Venice (1608-1609), and the Fano Cathedral on the east coast of Italy, where he was maestro di cappella from 1610 to 1612. From 1614 to 1617, he held a position in his religious order of definitor (or assistant to the head administrator of a district within the diocese) which covered the entire province of Bologna, including Ferrara, Mantua, and Piacenza. This job he managed to hold for three years. Viadana may have repeatedly fallen victim to little religio-political intrigues among his associates; this at least is the reason for his being ordered to leave the town of Viadana in 1623.  By 1623 he had moved to Busseto, and later he worked at the convent of Santa Andrea, in Gualtieri, near Parma. He died in Gualtieri, Italy on May 2, 1627.

The following work by Ludovico da Viadana is contained in my collection:

La Fiorentina (on a theme from Ballo del Gran Duca).

Consuelo Velasquez and “Besame Mucho”


Consuelo Velázquez-Torres (August 21, 1916 – January 22, 2005), popularly also known as Consuelito Velázquez, was a Mexican concert pianist, songwriter and recording artist.  She was born at Ciudad Guzmán Zapotlán el Grande in Jalisco, Mexico, though some sources list her birth date as August 29, 1924.  Velázquez is said to have begun playing the piano at the age of four.  When she was four years of age, her family moved to Guadalajara. At that time she began to demonstrate a good ear and great aptitudes for music, so when she was only six years old she began studying music and piano at the Serratos Academy in Guadalajara. After nine years of study, she moved to Mexico City, where she continued with her studies and obtained the degree of concert pianist and music teacher. Her degree concert took place at the Palace of Fine Arts of the capital and soon after she started as a popular music composer. As a classical music concert pianist, she was a soloist with the National Symphony Orchestra (Mexico) and the Philharmonic Orchestra of the National Autonomous University of Mexico .

Velázquez was the songwriter and lyricist of many Spanish standard songs, and as a composer her legacy has been most noteworthy.  Her first compositions, “Do not ever ask me,” “Pasional,” and “Let me love you,” were of a romantic nature.  The best known success was Bésame mucho , a bolero composed when she was only 16 years old.  This romantic ballad was an enduring 1940s-era standard which was soon recorded by artists around the globe, making it an international hit. After it was recorded by the Spanish-Mexican baritone Emilio Tuero, in 1944 Valezquez made the first adaptation in English language for the famous American singer Nat “King” Cole.  From then on, it was performed by hundreds of artists around the world, such as Xavier Cugat and his Orchestra, Sammy Davis Jr., Plácido Domingo, José Carreras, Ray Conniff and his Orchestra, Andrea Bocelli, and Frank Sinatra.  Bésame mucho is also known as Kiss Me Much, Kiss Me a Lot , Kiss Me Again and Again , Embrasse-Moi, and Stale Ma Boskavaj . Translated into more than 20 languages, the song became an icon in popular music. It was especially popular in the United States with women who waited for their husbands in World War II. The Beatles famously performed it as a part of their January 1, 1962, studio audition for Decca executives

Other Velszquez songs include Amar y vivir” (“To Love and to Live”), “Verdad amarga” (“Bitter Truth”), “Franqueza,” “Que seas feliz,” “Abuela abuela ,”  “Cachito,” “Enamorada,” “Chiqui,” “Que be feliz,” “Proud and pretty,” and “I was not” ( a dance song popularized initially by Pedro Infante and, in years recent, by Pedro Fernández). Velázquez participated as an actress in the 1938 Argentine film Nights of Carnival  directed by the filmmaker Julio Saraceni.  She also participated as a pianist in the Mexican films of the director Julián Soler, “He passed his hand” of 1952 and “My parents divorced” of 1959. In addition, she appeared in the documentary about her life Consuelo Velázquez of 1992. Throughout her life, he composed music for several Mexican films.

According to Velázquez herself, she was strongly influenced by Spanish composer Enrique Granados. After the beginning of her career, Velázquez married the media owner and promoter of artists, Mariano Rivera Conde who died in 1977, and they had children Mariano and Sergio Rivera Velázquez. In 1977, she received the Peace Medal of the United Nations, along with her colleagues, Master Ramón Inclán Aguilar, journalist and singer Wilbert Alonzo Cabrera, Lola Beltrán, and María Medina. This medal was given to them by the U.N. Secretary General due to their artistic participation and organization of a sumptuous Mexican festival on the occasion of the United Nations staff day.  Velázquez also was elected to the Mexican Congress, and in the period between 1979 and 1982 she was part of the Chamber of Deputies of the Congress of the Union.

Velázquez won the National Prize for Science and Arts in the area of ​​Popular Arts and Traditions in 1989.  Alsoshe served as president for SACM (Society of Authors and Composers of Mexico), and she was vice-president of CISAC (International Confederation of Authors and Composers Societies).  In 2003, sculptor Sergio Peraza immortalized Velázquez with a Mexico City statue.   Her last artistic performance was as a pianist on an album by Mexican singer Cecilia Toussaint entitled Para mi … Consuelo , which contains songs by Velázquez.  Velázquez remained in the hospital after she suffered a fall in November 2004.  Affected by cardiovascular disease, she died on January 22, 2005, in Mexico City, Mexico, of respiratory problems.  According to her obituary, she was 88 years old when she died.  Her body was transferred to the Palace of Fine Arts, scene of her first presentation. Her ashes were then buried in the Santo Tomás Moro church, where the author went every Sunday to hear the mass.  She lleft seven unpublished songs, among them Donde siempre (dedicated to Cecilia Toussaint), Mi bello Mazatlán (to   be recorded by the Banda El Recodo ) and Por el camino (bequeathed the Mexican singer Luis Miguel) .

My collection includes the following work by Consuelo Velasquez-Torres:

Besame Mucho (1940).



Vangelis and “Chariots of Fire”


Evángelos Odysséas Papathanassíou best known professionally as Vangelis (b. March 29, 1943) is a Greek composer of electronic, progressive, ambient, jazz, and orchestral music, who is best known for his Academy Award–winning score for the film Chariots of Fire, composing scores for the films Blade Runner, Missing, Antarctica, 1492: Conquest of Paradise, and Alexander, and the use of his music in the PBS documentary Cosmos: A Personal Voyage by Carl Sagan.  Vangelis was born on March 29, 1943, in Agria, near Volos, Greece. Largely a self-taught musician, he reportedly began composing at the age of three.  His earliest memories include playing piano, percussion, and music of his own device.  He studied painting, an art he still practices, at the Athens School of Fine Arts.

When Vangelis was twelve years old he became interested in jazz music, and with the social movement to rock and roll.  At fifteen years old he started to form early school bands, not to cover other musicians, but to have fun, resulting in the early 1960s being one of the founders of pop rock group The Forminx (or the Formynx), which became popular in Greece.  Based in Athens, the five-piece band played a mixture of cover versions and their own material, the latter written mostly by Vangelis with lyrics by DJ and record producer Nico Mastorakis but still sung in English. The Forminx released nine hit singles and a Christmas EP before disbanding in 1966 at the peak of their success. Vangelis spent the next two years mostly studio-bound, writing and producing for other Greek artists.

Around the time of the student riots in 1968, Vangelis founded progressive rock band Aphrodite’s Child together with Demis Roussos, Loukas Sideras, and Anargyros “Silver” Koulouris. After an unsuccessful attempt to enter the UK, they found a home in Paris where they recorded their first single, a hit across much of Europe called “Rain and Tears.”  Other singles followed, including two albums, which, in total, sold over 20 million copies. The record sales led the record company to request a third album, and Vangelis went on to conceive the double-album 666, based on Revelation, the last book in the Bible. It is often listed as one of the best progressive rock albums.  Tensions between members during the recording of 666 eventually caused the split of the band in 1971, but the album was still released in 1972.

While still in Aphrodite’s Child, Vangelis had already been involved in other projects. In the 1960s he scored music for three Greek films My Brother, the Traffic Policeman (1963) directed by Filippos Fylaktos, 5,000 Lies (1966) by Giorgos Konstantinou, To Prosopo tis Medousas (1967) by Nikos Koundouros. In 1970 composed the score for Sex-Power directed by Henry Chapier, as well again for Salut, Jerusalem (1972) and Amore (1974).  In 1971, some jam sessions with a group of musicians in London had resulted in two albums’ worth of material, unofficially released without Vangelis’ permission in 1978, titled Hypothesis and The Dragon. In 1973 Vangelis’ solo career began in earnest. His second solo album was Earth. It was a percussive-orientated album with Byzantine undertones and featured a group of musicians including ex-Aphrodite’s Child guitarist Silver Koulouris and also vocalist and songwriter Robert Fitoussi (better known as F.R. David of “Words” fame).  This line-up, later briefly going out under the name “Odyssey,” released a single in 1974 titled “Who”, but that was Vangelis’ last involvement with them.

Later in 1974, Vangelis was widely tipped to join another prog-rock band, Yes, following the departure of Rick Wakeman. After a couple of weeks of rehearsals Vangelis wavered on the option of joining Yes, and the band had to detour and hire Swiss keyboard player Patrick Moraz instead, who later joined the Moody Blues. Vangelis did, however, become friends with Yes’ lead vocalist Jon Anderson, and later worked with him on several occasions, including as the duo Jon & Vangelis.  After moving to London in 1975, Vangelis signed with RCA Records, set up his own studio, Nemo Studios, and began recording a string of electronic albums, such as Heaven and Hell (1975), Albedo 0.39 (1976), Spiral (1977), Beaubourg (1978), and China (1979). In 1979 was released album Odes, which included Greek folk songs performed by Vangelis and actress Irene Papas.

Carl Sagan’s TV series Cosmos: A Personal Voyage (1980) used several pieces composed by Vangelis during the 1970s, including the series’ opening theme.  In the 1980s were released five solo albums, beginning with the experimental and satirical See You Later (1980) which included “Memories of Green.”  In 1981, Vangelis wrote the score for the film Chariots of Fire, set at the 1924 Summer Olympics. The choice of music was unorthodox as most period films featured traditional orchestral scores, whereas Vangelis’ music was modern and synthesizer-heavy. The movie won the Academy Award for Best Picture and Vangelis won the Academy Award for Best Original Music Score. The opening theme of the film was released as a single in 1982, topping the American Billboard chart for one week after climbing steadily for five months.   In 1982, Vangelis collaborated with director Ridley Scott, to write the score for the science fiction film Blade Runner.

In the 1990s were also released five solo albums, beginning with The City (1990) which was recorded during his stay in Rome in 1989, and reflected a day of bustling city life, from dawn until dusk.  In 1992, Paramount Pictures released the film 1492: Conquest of Paradise, also directed by Ridley Scott, as a 500th anniversary commemoration of Christopher Columbus’ voyage to the New World. Vangelis’s score was nominated as “Best Original Score – Motion Picture” at the 1993 Golden Globe awards. Vangelis wrote the film score for the 1992 film Bitter Moon directed by Roman Polanski, and The Plague by film director Luis Puenzo.  In the 90s, Vangelis scored a number of undersea documentaries for French ecologist and filmmaker, Jacques Cousteau, one of which was shown at the Earth Summit.  The music score of the film Cavafy (1996) directed by Yannis Smaragdis, was awarded at the Flanders International Film Festival Ghent and Valencia International Film Festival.

In 2001, Vangelis performed live and released choral symphony Mythodea, a predominantly orchestral rather than electronic piece that was originally written in 1993, and used by NASA as the theme for the Mars Odyssey mission. In 2004, Vangelis released the score for Oliver Stone’s Alexander, continuing his involvement with projects related to Greece.  Vangelis released two albums in 2007, including the soundtrack for the Greek movie, El Greco directed by Yannis Smaragdis, titled El Greco Original Motion Picture Soundtrack.  On December 11, 2011, Vangelis was invited by Katara’s Cultural Village in the state of Qatar to conceive, design, direct, and compose music for the opening of its world-class outdoor amphitheater.   In 2012, Vangelis re-tooled and added new pieces to his iconic Chariots of Fire soundtrack, for use in the same-titled stage adaptation.

Vangelis composed the soundtrack of the environmental documentary film Trashed (2012) directed by Candida Brady, in which starred Jeremy Irons, as well scored the music for the film Twilight of Shadows (2014) directed by Mohammed Lakhdar-Hamina.  In 2013 was released documentary film Vangelis And The Journey to Ithaka.  For the November 12, 2014, landing of the Philae lander on Comet 67P (part of the European Space Agency’s Rosetta mission), Vangelis composed three short pieces titled “Arrival,” “Rosetta’s Waltz,” and “Philae’s Journey.” The pieces were released online as videos accompanied by images and animations from the Rosetta mission. In September 2016, the works were released as part of the new studio album Rosetta.

The following works by Vangelis are contained in my collection:

1492 Conquest of Paradise (1992): 1492 Conquest of Paradise (Main Theme).

Chariots of Fire (1981): Titles and Theme.

François van Campenhout and “La Brabanconne”

van campenhout

François van Campenhout (February 5, 1779 –April 24, 1848) was a Belgian opera singer, conductor and composer, who composed the music for the Belgian national anthem, the Brabançonne.  Van Campenhout was born on February 5, 1779, in Brussels, Belgium, where he studied violin. He worked initially as an office clerk, but soon pursued a career as a musician. After he had been a violist at the Théâtre de la Monnaie (or Muntschouwburg) in Brussels for a while, he started a career as a tenor at the Opera in Ghent. This was the beginning of a successful opera career, which brought him to Brussels, Antwerp, Paris, Amsterdam, The Hague, Lyon and Bordeaux. In 1828, he ended his career as a singer and became conductor in Brussels.

Van Campenhout produced a large number of works, including operas such as Grotius ou le Château de Lovesteyn and Passe-Partout, which were successful, and he also composed ballet music, symphonies and choir music. He wrote the music of the Brabançonne in September 1830.  According to legend, the Belgian national anthem was written in September 1830, during the Belgian Revolution, by a young revolutionary called “Jenneval,” who read the lyrics during a meeting at the Aigle d’Or café. Jenneval, a Frenchman whose real name was Alexandre Dechet (sometimes known as Louis-Alexandre Dechet), at the time was an actor at the theatre where, in August 1830, the revolution started which led to independence from the Netherlands. Jenneval died in the war of independence.

Van Campenhout composed the accompanying score, based on the tune of a French song called “L’Air des lanciers polonais” (“The Tune of the Polish Lancers”), written by the French poet Eugène de Pradel, which was itself an adaptation of the tune of a song, “L’Air du magistrat irreproachable,” found in a popular collection of drinking songs called “La Clé du caveau” (“The Key to the cellar”), and it was first performed in September 1830. Van Campenhout was a member of the Grand Orient of Belgium and died in Brussels on April 24, 1848. He is buried at Brussels Cemetery in Evere, Brussels. In 1860, Belgium formally adopted the song and music as its national anthem, although the then prime minister, Charles Rogier edited out lyrics attacking the Dutch Prince of Orange.

My collection includes the following work by François van Campenhout:

La Brabanconne.