Joseph Haydn was born in Rohrau, Austria, a village near the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours.[5]
Haydn's parents had noticed that their son was musically talented and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Franck in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg (seven miles away) and never again lived with his parents. He was six years old.
Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry[6] as well as constantly humiliated by the filthy state of his clothing.[7] However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing treble parts in the church choir.
Rabu, 11 Februari 2009
Brahms
ohannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]) (May 7, 1833 – April 3, 1897), composer and pianist, was one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
Brahms composed for piano, for chamber ensembles, for symphony orchestra, and for voice and chorus. An accomplished pianist, he gave the first performance of many of his own works; he also worked with the leading performers of his time, including the virtuoso pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many more works than he published.
Brahms was at once a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and classical masters. He was a master of counterpoint, the complex and highly disciplined method of composition for which Bach is famous. Yet within these structures, Brahms created bold new approaches to harmony and timbre which challenged existing notions of tonal music. His contribution and craftsmanship has been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. Brahms's works were a starting point and an inspiration for a generation of composers, including Schoenberg, who eventually abandoned tonality.
Brahms composed for piano, for chamber ensembles, for symphony orchestra, and for voice and chorus. An accomplished pianist, he gave the first performance of many of his own works; he also worked with the leading performers of his time, including the virtuoso pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many more works than he published.
Brahms was at once a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and classical masters. He was a master of counterpoint, the complex and highly disciplined method of composition for which Bach is famous. Yet within these structures, Brahms created bold new approaches to harmony and timbre which challenged existing notions of tonal music. His contribution and craftsmanship has been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. Brahms's works were a starting point and an inspiration for a generation of composers, including Schoenberg, who eventually abandoned tonality.
Schubert
Early life and education
Schubert was born in Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elizabeth Vietz was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's sixteen children (one illegitimate child was born in 1783),[1] eleven died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended.[2] He was not a famous musician, but he taught his son what he could of music.[3]
The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna.
At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at the Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin.[3] At seven, Schubert was placed under the instruction of Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration[4] and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments.[5]
In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart.[6] His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. At the Stadtkonvikt he would also form a number of close friendships that would last the rest of his life, notably with Joseph von Spaun, who, in those early days, furnished the impoverished Schubert with manuscript paper.[7]
Schubert was born in Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elizabeth Vietz was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's sixteen children (one illegitimate child was born in 1783),[1] eleven died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended.[2] He was not a famous musician, but he taught his son what he could of music.[3]
The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna.
At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at the Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin.[3] At seven, Schubert was placed under the instruction of Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration[4] and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments.[5]
In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart.[6] His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. At the Stadtkonvikt he would also form a number of close friendships that would last the rest of his life, notably with Joseph von Spaun, who, in those early days, furnished the impoverished Schubert with manuscript paper.[7]
Mahler
Growing reputation
In 1880, Mahler began his career as a conductor with a job at a summer theatre at Bad Hall; in the years that followed, he took posts at successively larger opera houses: in Ljubljana in 1881, Olomouc in 1882, Vienna in 1883, Kassel also in 1883, Prague in 1885, Leipzig in 1886 and Budapest in 1888. In 1887, he took over conducting Wagner's Der Ring des Nibelungen from an ill Arthur Nikisch, firmly establishing his reputation among critics and public alike. The year after, he made a complete performing edition of Carl Maria von Weber's unfinished opera Die drei Pintos, the success of which brought financial rewards and contributed to his gradually growing fame. Brahms was greatly impressed by his conducting of Don Giovanni. His first long-term appointment was at the Hamburg Opera in 1891, where he stayed until 1897; it was while Mahler was at Hamburg that his youngest brother Otto, also a composer, committed suicide in 1895 at the age of 21. From 1893 to 1896, Mahler took summer vacations at Steinbach am Attersee in Upper Austria, where he revised his Symphony No. 1 (first heard in 1889), composed his Symphony No. 2, sketched his Symphony No. 3, and wrote most of the song collection Lieder aus "Des Knaben Wunderhorn" (Songs from 'The Youth's Magic Horn'), based on a famous set of heavily redacted folk-poems.
In 1897, Mahler, then thirty-seven, was offered the directorship of the Vienna Opera, the most prestigious musical position in the Austrian Empire. This was an 'Imperial' post, and under Austro-Hungarian law, no such posts could be occupied by Jews. Mahler, who was never a devout or practising Jew, had, in preparation, converted to Roman Catholicism. As a child, he had been a chorister in a Catholic Church where he had also learned piano from the choir master.[2] As the years passed Mahler found much to attract him in Catholicism, and Catholic influences are observable in his music, for example his use of the hymn "Veni Creator Spiritus" in his Eighth Symphony.[3] Still, there is ample evidence of a Jewish spirit manifest in his works, as in the Klezmer-like theme of the third movement of the first symphony.
In 1880, Mahler began his career as a conductor with a job at a summer theatre at Bad Hall; in the years that followed, he took posts at successively larger opera houses: in Ljubljana in 1881, Olomouc in 1882, Vienna in 1883, Kassel also in 1883, Prague in 1885, Leipzig in 1886 and Budapest in 1888. In 1887, he took over conducting Wagner's Der Ring des Nibelungen from an ill Arthur Nikisch, firmly establishing his reputation among critics and public alike. The year after, he made a complete performing edition of Carl Maria von Weber's unfinished opera Die drei Pintos, the success of which brought financial rewards and contributed to his gradually growing fame. Brahms was greatly impressed by his conducting of Don Giovanni. His first long-term appointment was at the Hamburg Opera in 1891, where he stayed until 1897; it was while Mahler was at Hamburg that his youngest brother Otto, also a composer, committed suicide in 1895 at the age of 21. From 1893 to 1896, Mahler took summer vacations at Steinbach am Attersee in Upper Austria, where he revised his Symphony No. 1 (first heard in 1889), composed his Symphony No. 2, sketched his Symphony No. 3, and wrote most of the song collection Lieder aus "Des Knaben Wunderhorn" (Songs from 'The Youth's Magic Horn'), based on a famous set of heavily redacted folk-poems.
In 1897, Mahler, then thirty-seven, was offered the directorship of the Vienna Opera, the most prestigious musical position in the Austrian Empire. This was an 'Imperial' post, and under Austro-Hungarian law, no such posts could be occupied by Jews. Mahler, who was never a devout or practising Jew, had, in preparation, converted to Roman Catholicism. As a child, he had been a chorister in a Catholic Church where he had also learned piano from the choir master.[2] As the years passed Mahler found much to attract him in Catholicism, and Catholic influences are observable in his music, for example his use of the hymn "Veni Creator Spiritus" in his Eighth Symphony.[3] Still, there is ample evidence of a Jewish spirit manifest in his works, as in the Klezmer-like theme of the third movement of the first symphony.
Grieg
Biography
Grieg was born in Bergen, Norway on 15 June 1843. The original family name was spelled Greig. After the Battle of Culloden in 1746, his great-grandfather traveled widely, settling in Norway around 1770, and establishing business interests in Bergen. Grieg was raised in a musical home. His mother, Gesine, became his first piano teacher, who taught him to play from the age of 6. He studied in several schools including Tank's School, and often brought in examples of his music to class.
In the summer of 1858, Grieg met the eminent Norwegian violinist Ole Bull, who was a friend of the family, and whose brother was married to Grieg's aunt. Bull noticed the 15-year-old boy's talent and persuaded his parents to send him to further develop his talents at the Leipzig Conservatory, then directed by Ignaz Moscheles.
Grieg enrolled in the conservatory, concentrating on the piano, and enjoyed the numerous concerts and recitals given in Leipzig. He disliked the discipline of the conservatory course of study, yet he still achieved very good grades in most areas, an exception being the organ, which was mandatory for piano students. In the spring of 1860, he survived a life-threatening lung disease. The following year he made his debut as a concert pianist, in Karlshamn, Sweden. In 1862, he finished his studies in Leipzig, and held his first concert in his home town of Bergen, where his programme included Beethoven's Pathétique sonata. (Grieg's own recording of his Piano Sonata, made late in his life, shows he was an excellent pianist).
In 1863, Grieg went to Copenhagen, Denmark, and stayed there for three years. He met the Danish composers J. P. E. Hartmann, and Niels Gade. He also met his fellow Norwegian composer Rikard Nordraak (composer of the Norwegian national anthem), who became a good friend and source of great inspiration. Nordraak died in 1866, and Grieg composed a funeral march in his honor. Grieg had close ties with the Bergen Philharmonic Orchestra (Harmonien), and later became Music Director of the orchestra from 1880–1882.
Grieg was born in Bergen, Norway on 15 June 1843. The original family name was spelled Greig. After the Battle of Culloden in 1746, his great-grandfather traveled widely, settling in Norway around 1770, and establishing business interests in Bergen. Grieg was raised in a musical home. His mother, Gesine, became his first piano teacher, who taught him to play from the age of 6. He studied in several schools including Tank's School, and often brought in examples of his music to class.
In the summer of 1858, Grieg met the eminent Norwegian violinist Ole Bull, who was a friend of the family, and whose brother was married to Grieg's aunt. Bull noticed the 15-year-old boy's talent and persuaded his parents to send him to further develop his talents at the Leipzig Conservatory, then directed by Ignaz Moscheles.
Grieg enrolled in the conservatory, concentrating on the piano, and enjoyed the numerous concerts and recitals given in Leipzig. He disliked the discipline of the conservatory course of study, yet he still achieved very good grades in most areas, an exception being the organ, which was mandatory for piano students. In the spring of 1860, he survived a life-threatening lung disease. The following year he made his debut as a concert pianist, in Karlshamn, Sweden. In 1862, he finished his studies in Leipzig, and held his first concert in his home town of Bergen, where his programme included Beethoven's Pathétique sonata. (Grieg's own recording of his Piano Sonata, made late in his life, shows he was an excellent pianist).
In 1863, Grieg went to Copenhagen, Denmark, and stayed there for three years. He met the Danish composers J. P. E. Hartmann, and Niels Gade. He also met his fellow Norwegian composer Rikard Nordraak (composer of the Norwegian national anthem), who became a good friend and source of great inspiration. Nordraak died in 1866, and Grieg composed a funeral march in his honor. Grieg had close ties with the Bergen Philharmonic Orchestra (Harmonien), and later became Music Director of the orchestra from 1880–1882.
Mozart
Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart at 9 Getreidegasse in Salzburg, capital of the sovereign Archbishopric of Salzburg, in what is now Austria, but then part of the Holy Roman Empire. His only sibling to survive past birth was Maria Anna (1751–1829), called "Nannerl". Wolfgang was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself "Wolfgang Amadè Mozart"[4] as an adult, but there were many variants. His father Leopold (1719–1787) was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg, and a minor composer. He was also an experienced teacher, and in the year of Mozart's birth published a successful violin textbook, Versuch einer gründlichen Violinschule.
Anonymous portrait of the child Mozart, possibly by Pietro Antonio Lorenzoni; painted in 1763 on commission from Leopold
When Nannerl was seven she began keyboard lessons with her father, and her three-year-old brother would look on, evidently fascinated. Years later, after his death, she reminisced:
He often spent much time at the clavier, picking out thirds, which he was always striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five he was already composing little pieces, which he played to his father who wrote them down.[5]
Anonymous portrait of the child Mozart, possibly by Pietro Antonio Lorenzoni; painted in 1763 on commission from Leopold
When Nannerl was seven she began keyboard lessons with her father, and her three-year-old brother would look on, evidently fascinated. Years later, after his death, she reminisced:
He often spent much time at the clavier, picking out thirds, which he was always striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five he was already composing little pieces, which he played to his father who wrote them down.[5]
Beethoven
Beethoven was the grandson of a musician of Flemish origin who was also named Ludwig van Beethoven (1712–1773). As of 1733 the elder Ludwig had served as a bass singer in the court of the Elector of Cologne. He rose through the ranks of the musical establishment, eventually becoming Kapellmeister (music director). The elder Ludwig had one son, Johann van Beethoven (1740–1792), who worked as a tenor in the same musical establishment, also giving lessons on piano and violin to supplement his income.[2]
Johann married Maria Magdalena Keverich in 1744; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.[3]
Beethoven was born of this marriage in Bonn in December 1770. Beethoven was baptized on 17 December 1770. Children of that era were usually baptized the day after birth, but there is no documentary evidence that this occurred in Beethoven's case.[4] It is known that his family and his teacher Johann Albrechtsberger celebrated his birthday on 16 December. Thus, while the evidence supports the probability that 16 December 1770 as Beethoven's date of birth, this cannot be stated with certainty. [5] Of the seven children born to Johann Beethoven, only second-born Ludwig and two younger brothers survived infancy. Caspar Anton Carl was born in 1774, and Nikolaus Johann, the youngest, was born in 1776.[6]
Beethoven's first music teacher was his father. A traditional belief concerning Johann is that he was a harsh instructor, and that the child Beethoven, "made to stand at the keyboard, was often in tears."
Johann married Maria Magdalena Keverich in 1744; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.[3]
Beethoven was born of this marriage in Bonn in December 1770. Beethoven was baptized on 17 December 1770. Children of that era were usually baptized the day after birth, but there is no documentary evidence that this occurred in Beethoven's case.[4] It is known that his family and his teacher Johann Albrechtsberger celebrated his birthday on 16 December. Thus, while the evidence supports the probability that 16 December 1770 as Beethoven's date of birth, this cannot be stated with certainty. [5] Of the seven children born to Johann Beethoven, only second-born Ludwig and two younger brothers survived infancy. Caspar Anton Carl was born in 1774, and Nikolaus Johann, the youngest, was born in 1776.[6]
Beethoven's first music teacher was his father. A traditional belief concerning Johann is that he was a harsh instructor, and that the child Beethoven, "made to stand at the keyboard, was often in tears."
Vivaldi
Childhood
The church where Vivaldi was baptized: Chiesa di San Giovanni Battista in Bragora, Sestiere di Castello, Venice.
Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife. It is not known how the life of the infant was in danger, but the immediate baptism was most likely due to his poor health or to an earthquake that shook the city that day. Vivaldi's official church baptism (at least, the rites that remained other than the actual baptism itself) did not take place until two months later. His father, Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice playing a violin with his young son. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, a sort of trade union for musicians and composers. The president of the association was Giovanni Legrenzi, the maestro di cappella at St. Mark's Basilica and noted early Baroque composer. It is possible that the young Antonio's first lessons in composition were imparted by him. The Luxembourg scholar Walter Kolneder sees in the early liturgical work Laetatus sum (RV Anh 31, written in 1691 at the age of 13) the influence of Legrenzi's style. His father may have been a composer himself: in 1688, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi, and this was the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour of his hair, a family trait).
Vivaldi had a health problem, probably a form of asthma, which did not prevent him from learning to play the violin, compose or take part in many musical activities. It did however stop him from playing wind instruments because of shortness of breath. At the age of 15 in the year of 1693, he began studying to become a priest. In 1703, at the age of 25, Vivaldi was ordained a priest and was soon nicknamed il Prete Rosso, "The Red Priest", probably because of his red hair.
The church where Vivaldi was baptized: Chiesa di San Giovanni Battista in Bragora, Sestiere di Castello, Venice.
Antonio Lucio Vivaldi was born in Venice, the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife. It is not known how the life of the infant was in danger, but the immediate baptism was most likely due to his poor health or to an earthquake that shook the city that day. Vivaldi's official church baptism (at least, the rites that remained other than the actual baptism itself) did not take place until two months later. His father, Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice playing a violin with his young son. Giovanni Battista was one of the founders of the Sovvegno dei musicisti di Santa Cecilia, a sort of trade union for musicians and composers. The president of the association was Giovanni Legrenzi, the maestro di cappella at St. Mark's Basilica and noted early Baroque composer. It is possible that the young Antonio's first lessons in composition were imparted by him. The Luxembourg scholar Walter Kolneder sees in the early liturgical work Laetatus sum (RV Anh 31, written in 1691 at the age of 13) the influence of Legrenzi's style. His father may have been a composer himself: in 1688, an opera titled La Fedeltà sfortunata was composed by a Giovanni Battista Rossi, and this was the name under which Vivaldi's father had joined the Sovvegno di Santa Cecilia ("Rossi" for "Red", because of the colour of his hair, a family trait).
Vivaldi had a health problem, probably a form of asthma, which did not prevent him from learning to play the violin, compose or take part in many musical activities. It did however stop him from playing wind instruments because of shortness of breath. At the age of 15 in the year of 1693, he began studying to become a priest. In 1703, at the age of 25, Vivaldi was ordained a priest and was soon nicknamed il Prete Rosso, "The Red Priest", probably because of his red hair.
Pachelbel
Johann Pachelbel (in German, pronounced ['johan ˈpaxɛlbl̩], [ˈpaxl̩bɛl], or [paˈxɛlbl̩]; in English, pronounced /ˈpækəlbɛl/, /ˈpɑːkəlbɛl/, or /ˈpɑːkəbɛl/;[1] baptized September 1, 1653 – buried March 9, 1706[2]) was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.[3]
Pachelbel's work enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, the only canon he wrote. But the famous composition is not a canon in the common sense of the word but more like a passacaglia. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.[4]
Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. Pachelbel preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
Pachelbel's work enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, the only canon he wrote. But the famous composition is not a canon in the common sense of the word but more like a passacaglia. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.[4]
Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. Pachelbel preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
Albinoni
Biography
Born to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian Pietro, Cardinal Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.
In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.
Born to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian Pietro, Cardinal Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.
In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.
Handel
Handel was born in Halle in the Duchy of Magdeburg (province of Brandenburg-Prussia) to Georg and Dorothea (née Taust) Händel in 1685,[4]:[1] the same year that both Johann Sebastian Bach and Domenico Scarlatti were born. Handel displayed considerable musical talent at an early age; by the age of seven he was a skillful performer on the harpsichord and pipe organ,[5]:[3-4] However, his father, a distinguished citizen of Halle and an eminent barber-surgeon who served as valet and barber to the Courts of Saxony and Brandenburg,[6] was opposed to his son's wish to pursue a musical career, preferring him to study law. By contrast, Handel's mother, Dorothea, encouraged his musical aspirations.
Handel as a boy.
Nevertheless, the young Handel was permitted to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachau, the organist of the Liebfrauenkirche, Halle. Handel learned about harmony and contemporary styles. He analyzed scores and learned to work fugue subjects and copy music. Sometimes he would take his teacher's place as organist for services.[7]:[17] For his seventh birthday his aunt, Anna, gave him a spinet, which was placed in the attic for Handel to play, whenever he could avoid his father.[8] [9]
[edit] From Halle to Italy
Handel's progress was interrupted in 1697 when his father died. In 1702, following his father's wishes, Handel began the study of law at the University of Halle;[7]:[17-18] however, he abandoned law for music, becoming the organist at the Protestant Cathedral. In 1704, he moved to Hamburg, accepting a position as violinist and harpsichordist in the orchestra of the opera house.[10]:[18] There, he met Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[10]:[19] Two other early operas, Daphne and Florindo, were produced in 1708.
Handel as a boy.
Nevertheless, the young Handel was permitted to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachau, the organist of the Liebfrauenkirche, Halle. Handel learned about harmony and contemporary styles. He analyzed scores and learned to work fugue subjects and copy music. Sometimes he would take his teacher's place as organist for services.[7]:[17] For his seventh birthday his aunt, Anna, gave him a spinet, which was placed in the attic for Handel to play, whenever he could avoid his father.[8] [9]
[edit] From Halle to Italy
Handel's progress was interrupted in 1697 when his father died. In 1702, following his father's wishes, Handel began the study of law at the University of Halle;[7]:[17-18] however, he abandoned law for music, becoming the organist at the Protestant Cathedral. In 1704, he moved to Hamburg, accepting a position as violinist and harpsichordist in the orchestra of the opera house.[10]:[18] There, he met Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[10]:[19] Two other early operas, Daphne and Florindo, were produced in 1708.
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