DOCSLIB.ORG

4015023243620.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4015023243620.Pdf Carl Heinrich Graun (1704-1759) Apollo & Dafne Italian Cantatas Hannah Morrison soprano Main-Barockorchester Martin Jopp, Marie Verweyen, Helmut Winkel, Jörn-Sebastian Kuhlmann, Adam Lord, Katka Ozaki violin Friederike Kremers, Ursula Plagge-Zimmermann viola Katie Stephens violoncello Christian Zincke violone Carl Heinrich Graun (etching by Valentin Daniel Preissler, 1752) Henrike Seitz harpsichord ENGLISH Graun Italian Cantatas CARL HEINRICH GRAUN (1704-1759) It is the moment of the greatest intimacy, yet the through Daphne’s transformation, whereby “typical” or JOHANN GOTTLIEB GRAUN (1703-1771) deepest alienation; for the intimacy is violent - is a result of the of the genesis of the genre. Cantata »Disperata Porcia« Apollo attacks Daphne, the mighty god – the help- less nymph. An ancient Me Too myth, one of many 1 Recitativo Disperata Porcia 1:19 The Italian solo cantata, one of the characterizing poetized in Ovid‘s “Metamorphoses,“ which per- 2 Aria (ohne Bezeichnung) Quanto, quanto dolce 7:22 genres of vocal chamber music for some 100 years, meated the arts many centuries later. The story of 3 Recitativo Essempio di fidelità 0:32 evolved from 1630-40 onwards, emerging from Apollo and Daphne became a classic of visual, liter- 4 Aria (Vivace) Dell’amante l’inconstanza or si regna con baldanza 8:59 madrigalian and strophic forms. By nature, its so- ary, and musical representation, a topos almost. One ciological setting was not the in public, but rather knows how the story will end, if not, one can guess. the private sphere of patronally-minded aristocrats CARL HEINRICH GRAUN Daphne escapes her divine rapist by transformation: or the so-called academies, i.e. the circles of liter- Sinfonia from the opera »Cinna« (Berlin, 1748) into a laurel tree, the poetic image of traumatic pa- ary and musically educated connoisseurs. Decisive 5 Allegro 2:57 ralysis. As a transformation of the transformation, for the evolution of the genre was the increasing 6 Andante piano 2:42 the fine arts created the narrative of male desire and differentiation of meter in the texts set to music, 7 Allegro 2:04 its sublimation. To the god, the now unreachable leading to the gradual development of clearly sepa- lover becomes a relic, the laurel tree a shrine, desire rated recitatives and arias. The genre reaches its CARL HEINRICH GRAUN or JOHANN GOTTLIEB GRAUN becomes devotion. He promises the evergreen plant quantitative and qualitative climax in the work of Cantata »Apollo amante di Dafne« everlasting protection from frost and lightning, its Alessandro Scarlatti, who wrote some 600 cantatas, 8 Recitativo Ferma Dafne Crudel 1:36 leafy branches crown the heads of victors, above all, at first still under the stylistic and formal influence 9 Aria (Largo con sordini) Tu sarai mio caro alloro 9:10 victors in the sublimation of the spirit. of older Roman composers such as Luigi Rossi or 10 Recitativo Ma fra tanti mali 0:20 Giacomo Carissimi or Venetian composers such as 11 Aria (Allegretto) Di si bella illustre pianta 7:07 The myth has also been faithfully retold in the can- Giovanni Legrenzi, and by around the turn of the tata “Apollo amante di Dafne” by its unknown li- 18th century with extensive da-capo arias and purely CARL HEINRICH GRAUN brettist. Musical attribution to Carl Heinrich Graun, declamatory recitative, almost completely forgoing Cantata »Lavinia a Turno« Frederick II’s Berlin court Kapellmeister is by no arioso passages. Yet, not only the structural, but 12 Recitativo Deh senti o Turno amato 1:33 means certain – Graun’s brother Johann Gottlieb, also the cyclical form of Scarlatti’s works exhibit 13 Aria (Largo) Placa lo sdegno 12:11 one year his senior, is the other possible contender. an almost classical regularity: the sequence of two 14 Recitativo Ma oh Dio! Tu non rispondi? 2:37 Typical of the genre, the work focuses on the dra- pairs of recitative-arias together with the formal- 15 Aria (Allegro) M’affretta il Padre ara 7:27 matic turning point - the transformation of desire ism emanating from opera seria became a binding 5 ENGLISH ENGLISH genre-norm for the entire 18th century, as in the Heinrich Graun’s cantatas, including beginning with Nastasja Gandolfo expresses doubt due to the is- persuading him, who believes he has been betrayed, three Graun cantatas recorded here. Of course, the an accompagnato recitative. The first bars are still sue of the source material: like the other two can- of her love. She laments her fate and the power of exception proves the rule - and the permeability of set as secco recitative; expressive harmonies testify tatas which have not been preserved in autograph, her father, threatens futilely with her death rather each genre-definition, but the sequence of aria- to the sexual furor of the god. The strings tumble the most reliable copy of this work only carries the than being forced to enter into marriage with the recitative-aria is frequent, the trademark of larger in with a freely sequenced, energetically dotted al- name “Graun”, it could also have been written by unloved Aeneas. The cantata begins with a secco works with two or more vocal roles, or short operas legro gesture – the shock of Daphne’s sudden trans- the older brother. In this cantata, the opening ac- recitative. The largo aria in E major, in which Lavinia in cantata form. formation. The mood changes to a quieter andante compagnato recitative (with a dark orchestral in- tries to appease her lover with galant melos – a col- In terms of content, the Italian cantata is mostly with gently moving strings and sustained tones troduction in tragic C minor setting the scene) has oratura-decorated declaration of loyalty, and a con- dominated by love poetry in the Arcadian-pastoral representing Apollo’s emotional and moral transfor- a narrative function, before desperate Porcia herself trasting C-sharp minor middle section, is followed milieu (predominant also in Graun’s œuvre). How- mation. He now, and in the E flat major aria which takes the stage in the first aria. She is the wife of the by an extensive secco recitative passage, merging ever, particularly in papal Rome, moralizing, alle- follows (a largo with muted strings), sings of the Caesar’s murderer and upright republican, Brutus. into a contrasting, tone-painted accompagnato: gorical cantata texts also emerged, as well as (most laurel tree as a symbol of purified love. Noteworthy The unknown librettist adheres to the plutarchian Turnus runs away wordlessly, Lavinia’s wrath flashes strikingly in the work of Alessandro Stradella in the is a subtle psychological detail: the theme of the legend that Porcia followed Brutus to his death af- forth, ranting as she approaches the crowd of joyful 1670s) cantatas based on mythological or historical orchestral introduction is characterized by violin ter his defeat in the Roman Civil War by swallow- people gathered for the political wedding. All that themes, dramatically cropped to depict key scenes syncopations; as the voice takes up the melody, it is ing red-hot coals. In the first aria, also in C minor, remains is the bravura seria despair of the final aria which could have originated in an opera plot: the transformed, syncopation-free – the last vestige of Porcia announces her decision to die. Stuttering with its elegiac largo middle section. moments of peripeteia, the dramatic twist, the tension has disappeared. In triplet garlands, Apollo dotted rhythms, broken diction, and interval leaps point at which the storty turns towards catastro- laments his loss, and in the contrasting middle sec- – particularly the pathos-inducing minor sevenths, The three cantatas – two of which doubtful in their phe or at least – as in the “Apollo” cantata – to a tion – in three-four instead of four-four time and testify to her state of mind. The second aria (vivace), authenticity, and one positively attributed - belong fundamentally changed situation. As chamber mu- gently accelerated to larghetto – tender melismas erupts with wild syncopations and rapid coloratura to a small group in Graun’s output, for soprano. The sic miniatures, the cantatas detach this culmination express the kisses of the zephyr wind: erotic desire is into accusatory rage. greater part of his 38 positively attributed Italian point and its conflicting affects from the context, suspended in the image of nature. This aria, as in all cantatas were composed for tenor, and thus prob- from the developing plot. They concentrate on the three of the cantatas, modifies the da-capo into the The cantata “Lavinia a Turno” is a confirmed work ably for his own voice. As a “deeply moving” singer situation, on the inner drama of the protagonist dal-segno form: the first ritornello is shortened be- of Carl Heinrich Graun, whose librettist, Maria An- Graun was considered by his contemporaries to be in the face of an outrageous event. In this quasi- fore the repetition of the A-part. After a short secco tonia Walpurgis of Bavaria, from 1747 Elector of the epitome of the “singing composer” – one who fragmented form, the cantata texts presuppose recitative, Apollo, in the allegretto closing aria - an Saxony, is unusually also known. The text is based understood cantabile and the technique of the hu- knowledge of the “whole story”, one could expect elegant minuet melody with wide, ornamented arcs on an episode from Vergil’s “Aeneid”. Aeneas has man voice. His Italian cantatas were widely distrib- the educated audience of the elitist genre to know on the word “premiare” – celebrates his victory over fled from the ruins of Troy, and after a seemingly uted in northern Germany, with copies even being the background. And it is to this form that the three himself with a laurel wreath, the act of prize-giving.
Load more

Recommended publications
  • Der Tod Jesu the Death of Jesus
    Carl Heinrich GRAUN Der Tod Jesu The Death of Jesus Soli (SSTB), Coro (SATB) 2 Flauti, 2 Oboi, 2 Fagotti 2 Violini, Viola, Violoncello/Contrabbasso e Cembalo /Organo herausgegeben von /edited by Herbert Lölkes Klavierauszug /Vocal score Paul Horn C Carus 10.379/03 Vorwort Wer sich mit der evangelischen Passionsvertonung nach Jo- Komponist der friderizianischen Hofoper, des Tod Jesu und hann Sebastian Bach beschäftigt, wird unweigerlich auf ein des Te Deum auf die siegreiche „Prager Schlacht“ vom Mai Werk treffen, das wie kein anderes seiner Gattung noch bis 1757 als eine Art Lokalklassiker galt. Besonders durch die weit in das 19. Jahrhundert hinein ein fester Bestandteil der 1791 von Carl Friedrich Christian Fasch gegründete (und bis musikalischen Praxis war: die am 26. März 1755 in der Ber- heute existierende) Sing-Akademie zu Berlin wurde Grauns liner „Ober- Pfarr- und Domkirche“ im Rahmen eines Pas- Passion weit über ein halbes Jahrhundert mit großer Regel- sionskonzertes uraufgeführte „Cantate“ Der Tod Jesu von mäßigkeit und fast pietätvoller Verehrung aufgeführt. Erst Carl Heinrich Graun (1703 oder 1704–1759) auf ein Li- die wachsende Konkurrenz vornehmlich mit Bachs Mat- bretto Karl Wilhelm Ramlers (1725–1798). Die Kompositi- thäuspassion, die 1829 von der Singakademie und Ge- on war ein Auftragswerk der musikkundigen Prinzessin An- sangssolisten der Berliner königlichen Oper unter der Lei- na Amalia, der jüngsten Schwester Friedrichs II. von tung des 20-jährigen Felix Mendelssohn Bartholdy erstmals Preußen, die sich zunächst offenbar mit der Absicht trug, nach fast einem Jahrhundert in der Öffentlichkeit wie- den Text selbst zu vertonen und dies für die beiden ersten deraufgeführt wurde, führte dazu, dass Grauns Passion all- Sätze auch ausführte.
    [Show full text]
  • JB17 Poeschel 2018 10 30 Familie Graun in Preußen Manuskript WP2
    WILHELM POESCHEL FAMILIE GRAUN IN PREUßEN – EIN BEITRAG ZU DEN BIOGRAPHIEN VON JOHANN GOTTLIEB UND CARL HEINRICH GRAUN1 Vorbemerkungen In einem Verzeichnis der Bilder des Berliner Schlosses aus dem Jahr 1789 ist unter der Nr. 291 ein Gemälde von Antoine Pesne (1683–1757) aufgeführt. Es trägt dort die Be- zeichnung Graun Familie.2 Im Katalog der Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg ist es heute allerdings mit Carl Heinrich Graun und seine Gattin Anna Dorothea bezeichnet.3 Bereits eine kurze Beschäftigung mit diesem Bild führt zu vielen Ungereimtheiten, die mit den veröffentlichten Lebensdaten der Brüder Graun verbunden sind. Wer ist die Frau auf diesem Bild? Welcher Graun ist zu sehen? Carl Heinrich oder sein Bruder Johann Gottlieb? Die Musik der Gebrüder Graun ist heute fast vergessen, obwohl sie doch den ansonsten gefeierten Jahren der Aufklärung während der Regierungszeit Friedrichs II. (1740 bis 1786) entstammt. Es fällt auch auf, wie wenig Interesse einerseits und wie wenig Sorg- falt andererseits die Musikwissenschaft, die diese Epoche sogar »Berliner Klassik« benannt hat, dem Privatleben der Grauns gewidmet hat. Das ist umso erstaunlicher, als beide Musiker die Berliner Musikszene geprägt haben und entscheidend daran beteiligt waren, sie nach dem Kahlschlag unter Friedrich Wilhelm I. wieder zu einer neuen, weit 1 Die vorliegende Studie ist in Vorbereitung eines Graun-Projektes der MarienKantorei Berlin entstanden. 2 Geheimes Staatsarchiv Preußischer Kulturbesitz (GStA) HA I, Rep. 36 Nr. 2715: Catalogus von den Gemälden in der Königl. Bildergalerie nebst den 3 halben Zimmern und weißem Saal zu Berlin, Anno 1788 und 89 auf dero Königl. Majestät […] arrangiert; J.G.
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • Finale 2006C
    6 Introduction Johann Gottlieb Graun was born in the small Saxon town of Wahrenbrück in 1702 or 1703, the second of three brothers, each of whom was to become a distinguished musician. He counted among his ancestors an organist and several generations of Protestant pastors, but his father August served a more materialistic cause: he was a tax collec- tor and brewer. Educational possibilities in Wahrenbrück were limited, and all three brothers were sent elsewhere for further education. The eldest, August Friedrich (1698/99-1765) went to Grimma in 1711, at which point he may be allowed to depart from this biographical sketch. Johann Gottlieb and his younger brother Carl Heinrich (1703/4- 1759) remained together, a situation which pertained throughout much of their lives, and which has ever since cau- sed considerable confusion and difficulty in attribution of much of their music. Johann Gottlieb went to the Kreuzschule in Dresden in 1713, and Carl Heinrich followed him there in 1714. This excellent school offered general education with an emphasis on music. It was associated with the Dresden Kreuzkirche, and trained singers for its choir, the Kreuzchor. During his time at the Kreuzschule Graun would have come in contact with the fine musicians of the Dresden court, as well as visitors such as Telemann and J. S. Bach. The Saxon capital was a major political and cultural centre, and its court orchestra was widely admired. Among its finest younger virtuosi was the violinist Johann Georg Pisendel (1687-1755), who was appointed in 1712 and took over as Konzertmeister in 1728.
    [Show full text]
  • Introduction
    INTRODUctION The estate catalogue of Carl Philipp Emanuel Bach lists 46 Table 1 lists all of the trios published in CPEB:CW, II/2 items under the broad heading “Trii” (NV 1790, pp. 36– and II/3, organized according to the entries in NV 1790, 42). This group includes trio sonatas for various instru- which include place and date of composition and autho- ments, keyboard trios (obbligato keyboard with a single rized scoring. These works comprise 31 of the catalogue’s instrument), and accompanied sonatas (keyboard, violin, 46 “Trii,” as well as the lost trio for violin, viola, and bass, and cello), as well as two collections of “kleine Stücke” in written collaboratively by Bach and his father and listed two and three parts. While this collection of works shows among the “Einige vermischte Stücke” (NV 1790, p. 65). a diversity of scoring, all but the simpler “kleine Stücke” Table 1 does not include Wq 81–82 (NV 1790, nos. 24 (Wq 81–82) and the accompanied sonatas (Wq 89–91) and 31), or Wq 89–91 (NV 1790, nos. 32–44), as these are employ a polyphonic texture comprising three separate published in CPEB:CW, II/5 and II/4, respectively. For contrapuntal lines, whether dispensed for two or three each trio, the table lists any explicitly authorized scoring instruments, thus reflecting the central principle of eigh- with its pertinent principal source(s). A few of the entries teenth-century trio composition.1 include more than one Wq number, to represent their dif- For practical considerations, the edition organizes ferent scorings.
    [Show full text]
  • C. P. E. BACH, CONCERTOS W. 4–6: INTRODUCTION Edited Here Are
    W. 4–6: Introduction, p. 1 C. P. E. BACH, CONCERTOS W. 4–6: INTRODUCTION Edited here are the first three concertos for solo keyboard and strings that Carl Philipp Emanuel Bach composed at Berlin. These works date from 1738, 1739, and 1740, respectively, years that saw Bach move to Berlin and enter the service of King Friedrich II “the Great” of Prussia.1 One additional concerto from this period, composed earlier in 1740 for two keyboard instruments and strings, is edited separately.2 Although Bach is known to have previously composed three concertos as a student at Leipzig and Frankfurt-on-the-Oder, the present works are the first products of an extraordinary creative development that would continue in the twenty-two further concertos that Bach would compose or revise at Berlin and Potsdam through the 1740s. Only within the domain of the keyboard sonata would he produce a greater number of works during this period. Although written at the beginning of Bach's professional career, these are not tentative or student works. They reveal a youthful but fully mature composer brilliantly expanding the vocabulary of a new genre in each new work. One inspiration for this outburst of creativity doubtless was furnished by his father, in particular the eight completed keyboard concertos that Johann Sebastian Bach copied into a fair-copy manuscript around 1738, the same year as W. 4.3 A second would have been the artistic, social, and economic ferment of Berlin during the period when Prince Friedrich, now securely in the good graces of his father Friedrich Wilhelm II, was preparing to take the throne.
    [Show full text]
  • Introduction
    INTRODUCTION sented something of an exception and it seems likely that Repertoire, Background, C. P. E. Bach in his early days composed many more trios and General Chronology in the standard format than have survived. That this was Within the rich repertoire of instrumental trios spanning indeed the case is confirmed by the later revisions of trios Carl Philipp Emanuel Bach’s entire creative life, the sonatas composed in Leipzig (NV 1790, nos. 1–7) whose original for two treble instruments and bass represent not only the versions fell victim to the manuscript burning of 1772. The majority but also the composer’s point of departure for this extant trio sonata repertoire is collected in CPEB:CW, genre of composition, going all the way back to the Leipzig II/2, with volume II/2.1 containing twelve trios for flute, years when he was studying with his father. The pertinent violin, and bass; and volume II/2.2 containing nine sonatas repertoire comprises altogether twenty-three trio sonatas, for two violins and bass, plus one trio for two flutes and early and alternate versions not included. A twenty-fourth bass, and two versions of a sonata for bass recorder, viola, piece, in all likelihood the oldest of the lot, did not sur- and bass. The keyboard trios for clavier and violin, viola da vive but is referenced in Bach’s estate catalogue (NV 1790, gamba, or flute are included in CPEB:CW, II/3.1 and 3.2. p. 65): “Trio for violin, viola and bass, composed jointly When Bach and his contemporaries (such as the Graun with Johann Sebastian Bach” (Trio für die Violine, Brat- brothers and other colleagues from the Prussian court sche und Baß, mit Johann Sebastian Bach gemeinschaft- Capelle) composed trios, they continued a tradition that lich verfertigt).
    [Show full text]
  • Amadis De Gaule, the Culmination of an Operatic Career
    Amadis de Gaule , the culmination of an operatic career Didier Talpain Unlike any other member of his illustrious family before him, Johann Christian Bach (who was to marry the soprano Cecilia Grassi) maintained a lifelong connection with the world of opera. He was, incidentally, also the only member who converted from Lutheranism to Catholicism. He first really came into contact with opera during the years he spent in Berlin (175 0- 1754), where he went to stay – and train – with his half- brother, Carl Philipp Emmanuel, after their father’s death. At that time he frequently had the opportunity to attend performances at the Royal Berlin Opera House, founded by the musical king Frederick II (who was noted as a flautist). There he heard fine works composed in the Italian style by Carl Heinrich Graun (Kappellmeister to Frederick II), Johann Adolf Hasse or Niccolò Jommelli. But it was in Italy, where he went next, that he really learned how to compose operas. As a student of the famous Padre Martini in Bologna, he began by composing religious music. But there was only a very fine dividing line between church and stage music in Italy at that time. Take, for example, the ‘Tuba mirum’ for soprano and orchestra from his Dies Irae of 1757: with other words, it could be a per - fectly convincing anger aria in an opera. Bach’s operatic career took over more or less from his career as a church musician. In all, during his life - time, he produced eleven operas, sometimes in quick succession: Artaserse (1760), Catone in Utica (1761), Alessandro nell’Indie (1762), Orione (1763), Zanaïda (1763), Adriano in Siria (1765), Carattaco (1767), Temistocle (1772), Lucio Silla (1775), La Clemenza di Scipione (1778), Amadis de Gaule (1779).
    [Show full text]
  • Músicos: Orden Cronológico
    Músicos: orden cronológico ² 0590- canto gregoriano ² 1000- canto byzantino ² 1098-1179 Abbess HILDEGARD VON BINGEN ² 1100-1200 música del tiempo de las cruzadas ² 1100-1500 edad media catalana ² 1160-1225 PEROTIN ² 1163-1190 LEONIN ² 1230-1284 ALFONSO X EL SABIO ² 1300-1400 missa Tournai, missa Barcelona ² 1200-1700 el misterio de Elche ² 1300- antiphonae mariae ² 1300-1377 Guillaume de MACHAUT ² 1400-1474 Guillaume DUFAY ² 1419-1497 Johannes OCKEGHEM ² 1440-1521 JOSQUIN DES PRES ² 1450-1517 Heinrich ISAAC ² 1474-1548 Vincenzo CAPIROLA ² 1480-1526 Thomas STOLTZER ² 1490-1545 John TAVERNER ² 1490-1550 Robert CARVER ² 1495-1542 Johannes KUGELMANN ² 1497-1543 Francesco da MILANO ² 1500- canto liturgico ruso ² 1500-1566 Antonio de CABEZÓN ² 1502-1571 Francesco CORTECCIA ² 1505-1572 Christopher TYE ² 1510-1570 Diego ORTIZ ² 1510-1572 Pierre CERTON ² 1505-1585 Thomas TALLIS ² 1510-1556 Jacobus CLEMENS NON PAPA ² 1510-1586 Andrea GABRIELI ² 1514-1572 Claude GOUDIMEL ² 1516-1565 Cypriano de RORE ² 1521-1603 Philippe de MONTE ² 1525-1594 Giovani Pierluigi PALESTRINA ² 1528-1599 Francisco GUERRERO ² 1532-1594 Orlande de LASSO ² 1533-1604 Claudio MERULO ² 1540-1581 Anthoine de BERTRAND ² 1540-1591 Pascal de l’ESTOCART ² 1542-1623 William BYRD ² 1543-1601 Girolamo DALLA CASA ² 1545-1618 Giulio CACCINI ² 1547-1602 Anthony HOLBORNE ² 1548-1611 Tomás Luis de VICTORIA ² 1549-1609 Eustache DU CAURROY ² 1550-1602 Emilio de CAVALIERI ² 1550-1633 Alessandro OROLOGIO ² 1553-1599 Luca MARENZIO ² 1555-1612 Giovanni GABRIELI 1 ² 1558-1617 Giovanni BASSANO ²
    [Show full text]
  • Flutist and Composer
    College Music Symposium Vol. 30, No. 2 (Fall, 1990), pp. 117-125 People, Music, and Performance History Frederick the Great: Flutist and Composer Andrea Kapell Loewy II, KNOWN AS FREDERICK THE GREAT, WAS THE ELDEST SURVIVING son of Frederick William I and Sophia Dorothea of Hanover, sister of George II of England. Born in Berlin in 1712, Frederick demonstrated an early interest and talent in music and French literature that created strife with his stern father. The "barracks King" did not appreciate the artistic leanings of his son. His instructions to Frederick's tutors were that the Crown Prince should be trained for a hard life with its requisite distaste for laziness, "one of the greatest of all vices."1 In addition, the Crown Prince must deny himself "operas, comedies, and other follies of the laity."2 Therefore Frederick's musical pur- suits were accomplished with the aid of his mother and against the wishes of his father, who disapprovingly called his son "a flutist and a poet."3 Throughout the period before his accession, Frederick developed his mu- sical abilities. In 1728 he began studying flute with Johann Joachim Quantz and thus started a musical association that was to continue until Quantz 's death in 1773. At his residences in Ruppin and Rheinsberg he employed a group of musicians that was to form the nucleus of his musical establishment when he ascended the throne. When Frederick became King in 1740, he expanded the group of musi- cians to fifty. They included C. P. E. Bach as first cembalist, Karl Heinrich Graun as Kapellmeister, Johann Fredrich Agricola as court composer, Franz and Joseph Benda as violinists, Johann Gottlieb Graun as concertmaster, and Johann Joachim Quantz as chamber musician and flutist.
    [Show full text]
  • Johann Friedrich Reichardt Anmerkungen Zu Person Und Zeitgeschichte
    Kulturgeschichte Preuûens - Colloquien 6 (2018) Detlef Giese Johann Friedrich Reichardt Anmerkungen zu Person und Zeitgeschichte Abstract: In der Geschichte der Königlichen Hofoper und der Königlich Preuûischen Hofkapelle gehört der Goethe- Zeitgenosse Johann Friedrich Reichardt zu den prägenden Persönlichkeiten. Im Dienste dreier Monarchen mit ihren unterschiedlichen ästhetischen Anschauungen und Zielsetzungen bezüglich der Entwicklung der Institutionen Hofoper und Hofkapelle gelang ihm eine spürbare künstlerische Qualitätssteigerung, zudem auch eine Ausweitung der Aktivitäten, vornehmlich im Konzertbereich. Widerständige Kräfte von Seiten der Administration wie aus einflussreichen Künstler- und Intellektuellenkreisen Berlins lieûen seine Reformbemühungen jedoch häufig nicht wie gewünscht zur Wirkung gelangen, so dass sich eine Reihe ambitionierter Vorhaben nicht verwirklichen lieû, sowohl in der Arbeit mit dem Orchester als auch im Blick auf die Etablierung innovativer Konzepte und Formen. <1> Unter jenen Kapellmeistern, die über Jahre und Jahrzehnte im Dienst der preuûischen Könige standen, dürfte Johann Friedrich Reichardt (1752-1814) eine besonders interessante Gestalt sein, markant und eigenwillig. Nach Carl Heinrich Graun und Johann Friedrich Agricola war Reichardt der dritte Musiker in dieser prominenten Position, der von Friedrich II. (dem "Groûen") mit der Leitung der Königlichen Hofoper Unter den Linden und der Königlich Preuûischen Hofkapelle betraut wurde ‒ schon von Amts wegen rückte er damit an die Spitze des höfischen bzw. staatlichen Musiklebens. <2> Reichardt, mit seinem Geburtsjahr 1752 ein direkter Generationsgenosse von Johann Wolfgang von Goethe und Wolfgang Amadeus Mozart, war gewiss das, was man eine "schillernde Persönlichkeit" nennt. Ihn - zumindest in seinen jungen Jahren, als er am preuûischen Hof Fuû fasste ‒ als "Stürmer und Dränger" zu bezeichnen, trifft durchaus den Kern, war er doch darauf bedacht, mit dem Alten, Überkommenden zu brechen und mit kühnem Schwung Neuland zu erobern.
    [Show full text]
  • The Viola Da Gamba Music of the Berlin School Aldershot, UK: Ashgate, 2008 ISBN 978-0-7546-5885-6
    124 Context 34 full details only in the bibliography. The reader interested in sources is thus forced to flip between three difference places. Over half the book is taken up with pointless appendices. After the list of works in Appendix 1, there is a transcript of Crispin’s 2001 interview with Sitsky, which would have been much better had it been edited, rather than the conversation transcribed verbatim and then reproduced in full. Appendix 3 is a selective list of Busoni’s library of esoterica, compiled (according to a passing mention on page 57) from an auction catalogue of the composer’s library. If this information is at all relevant, why is there no comparable list of Sitsky’s library? The large bibliography contains a huge amount of esoteric literature, much of it of tangential relevance, which was, I suspect, borrowed from Sitsky’s extensive collection conveniently located in his house in Canberra. There is at least an index, but it is rather limited. In the end, even the author herself seems unsure about the validity of her claims, with her conclusions hedged with phrases such as ‘It is undeniable that …’ (p. 141), ‘It is difficult to refute that …’ (p. 141) and ‘It seems obvious that …’ (p. 143). She is unlikely to convince any but the most credulous readers with her assertion that the only way to interpret the music of Busoni and Sitsky is through reference to their shared interest in esoteric traditions. Both men are, after all, first and foremost musicians, not magicians, and consummate musical artisans, not Rosemary Browns.
    [Show full text]