Leduc, Simon, 1742-1777

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Information for Authority record

Name (Latin)
Leduc, Simon, 1742-1777
Other forms of name
Duc, Simon Le, 1742-1777
Le Duc, Simon, 1742-1777
Leduc, Simon, 1748 (ca.)-1777
Leduc, l'aîné, 1742-1777
Date of birth
1742-01-15
Date of death
1777-01
Occupation
Composers
Music publishers
Violinists
Gender
male
MARC
MARC

Other Identifiers

VIAF: 51886988
Wikidata: Q2287672
Library of congress: n 82105367
Sources of Information
  • Grove music online, March 31, 2014(Simon Leduc; born January 15, 1742, Paris, died January 1777, Paris; violinist, composer, and publisher)
  • His Drei kleine Sonaten ... c1941.
  • His Five symphonic works, 1983:CIP t.p. (Simon Le Duc) pref. (b. 1/15/1742 in the parish of St. Roch)
  • New Grove(Leduc, Simon; b. before 1748?, Paris; d. Paris, buried Jan. 22 or 25, 1777; violinist, composer, and publisher)

Wikipedia description:

Simon Le Duc, more commonly Leduc (Paris, 15 January 1742 – 22 January 1777), was a French violinist, soloist at the Concert Spirituel, music publisher and composer. His younger brother, Pierre Le Duc (1755–1818), was also a violinist. Leduc was a pupil of the famous violinist and professor at the Paris Conservatoire, Pierre Gaviniès. He later became director of the Concerts Spirituel, with Gaviniès and François-Joseph Gossec During the child prodigy Wolfgang Amadeus Mozart's first tour of Europe in 1763–64, Wolfgang and his father Leopold Mozart had a chance to hear Leduc play. Leopold, an authority on violin performance who had published a treatise on violin playing in 1756 which is still read today, praised Leduc in his travel diary: "He plays well." Leduc also composed many pieces for violin, including at least two sets of violin sonatas (published as opuses 1 and 4), three violin concertos, and some chamber music. In his survey of music of the galant period, Robert Gjerdingen notes strong similarities between Leduc's style and that of his Neapolitan contemporaries, especially Cimarosa. Gjerdingen writes, "Leduc wrote highly refined music for small aristocratic gatherings in chambers and salons. The fluency and perfection of his style was matched by few others", and he argues that Leduc's music was in the "mainstream" of eighteenth-century galant style, though it is mostly forgotten today.

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