Johann Adolf Scheibe

from Wikipedia, the free encyclopedia
Johann Adolph Scheibe.

Johann Adolf Scheibe , also Johann Adolph Scheibe (born May 5, 1708 in Leipzig ; † April 22, 1776 in Copenhagen ) was a German-Danish composer of the Baroque era and, as the editor and author of the journal Der Critische Musicus, one of the first publishing music critics .

Life

Johann Adolf Scheibe was born as the son of the organ builder Johann Scheibe (around 1675–1748) in Leipzig and grew up there. In 1725 he began to study law and philosophy at the city university, but had to abandon it when the family's financial situation deteriorated significantly. He now began to teach himself to play the organ and harpsichord in a professional and largely self-taught manner. In 1729 he applied unsuccessfully for the post of organist at the Thomaskirche in Leipzig, where Johann Sebastian Bach as Thomaskantor, although he was on friendly terms with Scheibe's father, decided in favor of the competitor Johann Gottlieb Görner . Disk then worked as a music teacher and composer from 1730 to 1735, still in his hometown.

In 1736 he moved to Hamburg , where he quickly made influential friends such as Mattheson and Telemann . He represented the latter as a music teacher during his absence. Encouraged by both, he published Der critische Musicus from 1737 to 1740, a magazine that attracted attention because it dealt with issues of musical aesthetics that were important at the time.

In 1739, Scheibe was employed at Schloss Friedrichsruh (in Drage near Itzehoe ) as Kapellmeister to Margrave Friedrich Ernst von Brandenburg-Kulmbach , who was then governor of the Danish king in the duchies of Schleswig and Holstein .

In 1740 he was appointed by the sister of the margrave, the Danish Queen Sophie Magdalene , as Kapellmeister and royal court composer to the pietistic Danish court under Christian VI. brought to Christiansborg Palace . Disk quickly became one of the leading figures in the capital's musical life, leading the royal orchestra, composing vocal (Passion Oratorio 1742, music lost today) and instrumental music and was the driving force behind the establishment of Denmark's first musical society, the “Det musikalske Societe ”, which held public concerts from 1744 to 1749.

After the king's death in 1746, Frederick V came to the throne, who turned away from Pietism , opened Det Kongelige Teater on Kongens Nytorv in Copenhagen in 1749 and allowed theater and opera again. The musical taste turned to the Italian opera and French singing games. Disc was a relentless opponent of new Italian opera music and was dismissed in 1748. He was succeeded by Paolo Scalabrini .

Disk worked in Sønderborg as a music teacher and translator of Danish writers into German. However, he kept his contacts to Copenhagen music life upright, composed for the semi-public "Musikalske Selskab" and on the occasion of royal holidays occasionally pieces for the court (the funeral cantatas for King Frederick V and Queen Louisa are among his main works). In 1749 he published his collection of New Masonic Songs with Comfortable Melodies - in 1746 he was accepted into the Zorobabel Lodge in Copenhagen .

During this time he visited Copenhagen several times in order to personally direct the performances of his music. In 1762 he retired there entirely; He died 14 years later.

Literary work

Scheibe translated Holberg's Danish-Norwegian works of the Enlightenment into German, wrote a biography about him and brought a collected, revised 2nd edition of his Critischen Musicus (1745) as well as his treatise on the origin and age of music (1754) and on musical composition ( 1773).

The music critic disc about his contemporaries

The music critic Scheibe considered Johann Sebastian Bach and Georg Friedrich Handel to be the top composers of keyboard instrumental music , particularly because of their superiorly structured and ornamented works. As an organist, harpsichord player and clavichord player, he judged Bach to be insurmountable, only Handel could be compared to him. He proclaimed Bach's Italian Concerto ( BWV 971), published in 1735, as a model that deserves to be considered by all composers as a teaching example for a well-constructed concerto.

Disk considered Bach's church compositions to be highly artistic and elaborate, but the works of Georg Philipp Telemann and Carl Heinrich Graun were clearly superior to them in terms of expression, persuasiveness and plausibility . At that time most Germans would have named Graun and Johann Adolph Hasse as the highest-ranking composers alongside Telemann .

In 1737, Scheibe published a gloss in which he explained what bothered him about Bach's music: it was unnatural, artificial and his style confusing. Because he wrote out all the ornaments instead of leaving the decoration to the player, they masked the beauty of the melodies and harmonies. Instead of accompanying a melody part, he composes too polyphonically , so that all voices are equal and the whole thing is too complicated. As a result, the music appears overloaded, artificial and overwhelming, instead of sounding simple, natural and dignified, as Scheibe thought worth striving for.

This criticism led to the famous reply by the rhetoric lecturer Johann Abraham Birnbaum (1702–1748). Because of his criticism of Bach, Scheibe was and is viewed critically by many musicologists, especially by Bach researchers.

Musical work

In his autobiography (printed in 1740 by Mattheson ), Scheibe wrote about his work: “I have never made any practical work known through printing; but quite a number of them were made by me. More than 150 church pieces in a period of 6 or 7 years; more than 150th concertos for the flute; and more than 30th for the violin; more than 60th to 70th symphonies; Without piano stuff, or other vocal and instrumental works: namely, to count on trios, solos, Italian and German cantatas and the like, were set by me at precisely this time. In addition there are some strong serenatas and song poems that I have made on different occasions, a pair of strong Passion oratoria, and an opera; but the latter could not be performed: because the operas arrived here in Hamburg just at the time when it was supposed to come out. "

Only a few, smaller of his compositions were printed. As a novelty for Denmark, Scheibe performed a Passion Oratorio in the church of Christiansborg Palace in 1742 . At that time, performances with large ensembles made up of several dozen participants were completely new and overwhelming. With his Passion Cantatas he shaped concert life in Denmark at the time. Scheibe's most productive creative period fell during his time at Christiansborg Palace, which burned down together with the royal music library in 1794. Inge Kristiane Brander characterizes Scheibe's style as starting from the stylistic ideals of the Baroque period, but shaped by the “striving for a simpler and louder musical expression, for a charming and sensitive melody”. Scheibe's music has only recently been (re) discovered.

Disk is one of the most important representatives of Enlightenment music, influenced by French classicism and the writers Gottsched and Wolff , and pioneered the emotional style through the rational imitation of nature and the use of educational-moral elements in his instrumental music . The harmony had to subordinate itself to the expressive melody.

The pieces for flute are among the few that were printed during his lifetime (by Johann Ulrich Haffner zu Nürnberg, now lost, music only known through the transcripts from the Royal Danish National Library ).

Works

Instrumental music

Concerts

  • Concerto a flauto traverso in A (1), for flauto traverso, violino I-II, viola, violoncello, ISBN 87-88215-14-8 .
  • Concerto a flauto traverso in A (2), for flauto traverso, violino I-II, viola, basso, ISBN 87-88215-16-4 .
  • Concerto a flauto dolce in Bb, for flauto dolce, violino I-II, viola, basso, ISBN 87-88215-18-0 .
  • Concerto a flauto traverso in D (1), for flauto traverso, violino I-II, viola, basso, ISBN 87-88215-20-2 .
  • Concerto a flauto traverso in D (2), for flauto traverso, violino I-II, viola, basso, ISBN 87-88215-22-9 .
  • Concerto a flauto traverso in G, for flauto traverso, violino I-II, viola, basso, ISBN 87-88215-24-5 .
  • Concerto a hautbois d'amour in G, for hautbois d'amour, violino I-II, basso (violoncello, harpsichord), ISBN 87-88215-26-1 .
  • Concerto a hautbois d'amour in b, for hautbois d'amour, violino I-II, basso (violoncello, continuo), ISBN 87-88215-28-8 .
  • Concerto a violino in b, lost.
  • Concerto a harpsichord in a, for harpsichord obligato, violino I-II, viola, bass, lost.
  • Concerto a harpsichord in F, for harpsichord obligato, violino I-II, viola, bass, lost.
  • Concerto a harpsichord in G, for harpsichord obligato, flauto I-II, basso, lost.
  • Concerto a harpsichord in b, for harpsichord obligato, flauto I-II, viola, bass, lost.

Symphonies

  • Sinfonia a 16 in D, for clarino concertato, clarino II, principale, tympani, corno I-II, flauto traversiere obligato, flauto traversiere I-II, oboe I-II, violino I-II, viola, bassono & fondamento (harpsichord) , ISBN 87-88215-00-8 .
  • Sinfonia a 6 in A, for flauto traverso I-II, violino I-II, viola, basso (violoncello & harpsichord), ISBN 87-88215-02-4 .
  • Sinfonia a 6 in C, for flauto traverso I-II, violino I-II, viola, basso (violoncello & harpsichord), ISBN 87-88215-04-0 .
  • Sinfonia a 6 in D, for flauto traverso I-II, violino I-II, viola, basso, verschollen.
  • Sinfonia a 5 in D, for flauto traverso, violino I-III, basso (continuo con becif.), ISBN 87-88215-06-7 .
  • Sinfonia a 4 in A, for violino I-II, viola, basso, ISBN 87-88215-08-3 .
  • Sinfonia a 4 in a, lost.
  • Sinfonia a 4 in Bb (1), for violino I-II, alto viola, basso, ISBN 87-88215-10-5 .
  • Sinfonia a 4 in Bb (2), for violino I-II, viola, basso, ISBN 87-88215-12-1 .
  • Sinfonia a 4 in B (3), lost.
  • Sinfonia a 4 in c, lost.
  • Sinfonia a 4 in e, lost.
  • Sinfonia a 4 in G, lost.
  • Sinfonia a 4 in g, missing.
  • Sinfonia a 3 in F, for violino I-II, basso (continuo), lost.

Sonata and Partita

Quadros
  • Quadro in D (1), for oboe, violino I-II, basso, lost.
  • Quadro in D (2), for flauto, violino I-II, basso, lost.
  • Partita in D, for flauto obligato, violino I-II, basso, lost.
Trios and duos
  • Sonata in A (1), for harpsichord obligato, flauto traverso / violino concertato, ISBN 87-88215-32-6 .
  • Sonata in A (2), for harpsichord obligato con violino, lost.
  • Sonata in b flat, for violino solo con basso, lost.
  • Sonata in c, for violino solo con basso, lost.
  • Sonata in D, for harpsichord obligato con flauto traverso / violino concertato, ISBN 87-88215-34-2 .
  • Sonata in d, for violino I-II, basso, lost.
  • Sonata in d, for violino solo con basso, lost.
  • Sonata in e, for harpsichord obligato con violino, lost.
  • Sonata in G (1), for harpsichord obligato con violino, lost.
  • Sonata in G (2), for harpsichord obligato con violino, lost.
  • Sonata in G (3), for harpsichord obligato con violino, lost.
  • Sonata in G (4), for harpsichord obligato con violino, lost.
  • Sonata in G, for harpsichord obligato con violino, lost.
  • Sonata in b, for harpsichord obligato con flauto traverso / violino concertato, ISBN 87-88215-36-9 .
Solos for harpsichord
Organ solos

Vocal music

Latin church music

  • Magnificat in D, for tromba I-II, principale, tympana, oboe I-II, violino I-II, viola, SATB, basso, organo (Becif.), ISBN 87-88215-48-2 .
  • Magnificat in G, for oboe I-II, violino I-II, viola, SATB, basso, organo (Becif.), ISBN 87-88215-01-6 .
  • Sanctus in F, for corno di caccia I-II, violino I-II, viola, SATB, continuo, organo, ISBN 87-88215-03-2 .
  • Sanctus in G, for oboe I-II, violino I-II, viola, SATB, continuo (Becif.), ISBN 87-88215-05-9 .

Church Cantatas

  • The angel of the Lord encamped, for tromba I-II, principale, tympani, flauto traverso I-II, oboe I-II, violino I-II, viola, SATB, continuo (Becif.), ISBN 87-88215-07- 5 .
  • Death is entwined in, for clarino I-II, tympano, violino I-II, viola, SATB, continuo (Becif.), ISBN 87-88215-09-1 .
  • The love of God is poured out, for clarino, oboe, violino I-II, viola, SATB, continuo (Becif.), ISBN 87-88215-11-3 .
  • Praise the Lord, all Gentiles, for corno I-II, oboe I-II, violino I-II, viola, SATB, continuo (Becif.), ISBN 87-88215-15-6 .
  • So ofte Jesus' big name, for oboe, calcedone, violino I-II, viola, SATB, organo (Becif.), ISBN 87-88215-17-2 .
  • Whoever wants to boast, for trombe I-III, tympani, flauto traverso I-II, oboe I-II, violino I-II, viola, SATB, basso, ISBN 87-88215-19-9 .

Passion music

  • Den døende Jesus, Passion Song by Morten Hammer, ISBN 87-88215-25-3 .
  • The wonderful death of the world redeemer, oratorio by JA Scheibe, ISBN 87-88215-23-7 .
  • The Resurrection and Ascension of Jesus, cantata by KW Ramler, ISBN 87-88215-21-0 .
  • Passions-Cantata (Vor Harpe er bleven til Sorrig), poetry by Johannes Ewald, ISBN 87-88215-29-6 .
  • Sørge-Cantata ved Christi Grav (Herrens Salvede, som var vor Næses Aand), Poetry by Johannes Ewald, ISBN 87-88215-31-8 .

Occasional cantatas

  • The Temple of Fame, A song poem on the day when IKM Juliana Maria and SKM King Friederich V made their splendid entry to Denmark in Copenhagen, October 11, 1752, The Poetry of JA Scheibe, ISBN 87-88215-35-0 .
  • The patriots. A song poem on the birthday of the Crown Prince of Denmark (Christian VII), 1760, Die Poesie von Cramer, ISBN 87-88215-37-7 .
  • I Jesu Navn Skal al vor Gerning ske, Copulationsmusik, ISBN 87-88215-39-3 .
  • Sørge- og Klage-Sange over Dronning Lovise (Rinder I Taarer fra bundløse Floder), 1752, Ved G. Schaft, ISBN 87-88215-33-4 .
  • Sørge-Sange over Kong Frederik V (O Skræk! Hvad seer jeg her?), Christiansborg Slotskirke March 18, 1766, Poetry by Johannes Ewald, ISBN 87-88215-41-5 .

Chamber cantatas

  • Cephalus (Be happy, you hunters!), Cantata by Johann Elias Schlegel, for tenor solo & cor I-II, violino I-II, viola, basso, ISBN 87-88215-43-1 .
  • Tragic cantatas for one or two singers and the piano, namely: Mr. von Gerstenberg's “Ariadne auf Naxos”, and Johann Elias Schlegel's “Prokris and Cephalus”, ISBN 87-88215-45-8 .

Fonts

Disk Der critische Musicus 1745 Titel.jpg
  • Compendium musices theoretico-practicum, that is the short term for the most necessary composition rules. MS, D LEm, ca.1730.
  • The critical musician. I, Hamburg 1738, II, Hamburg 1740, I and II, Leipzig 1745 ( Wikisource ).
  • Treatise on the origin and age of music, especially vocal music. Altona and Flensburg 1754.
  • "Treatise on the recitative", in: Library of Fine Sciences and Liberal Arts XI – XII, 1764–1765.
  • About the musical composition.
    • Part one: The theory of melody and harmony. Leipzig 1773.
    • Second part: The harmony, or the composition of the tones in and for themselves. MS, DK Kk.

expenditure

  • Johann Adolph Scheibe, About Musical Composition, First Part, The Theory of Melody and Harmony (= Documenta Musikcologica 42), Facs.-Nachdr. the edition Leipzig 1773, Kassel 2006.
  • Music theory sources 1750-1800. Printed writings by J. Riepel, H. Chr. Koch, JF Daube and JA Scheibe (contains Scheibe's On Musical Composition with digital research options and facsimiles), ed. by Ulrich Kaiser , with a foreword and a bibliography by Stefan Eckert and Ulrich Kaiser, Berlin 2007, ISBN 978-3-89853-615-8 .
  • Passions-Cantata Vor Harpe er bleven til Sorrig (1768), ed. by Peter Hauge, Copenhagen 2012.

literature

Web links

Commons : Johann Adolph Scheibe  - Collection of images, videos and audio files
Wikisource: Font and pdf directory  - sources and full texts

Individual evidence

  1. ^ Albert Schweitzer: Johann Sebastian Bach. Chapter IX: Appearance, Essence and Character. Breitkopf & Härtel, Edition 2005 ISBN 3-7651-0034-X .
  2. ↑ The Critical Musicus. I. Theil, 6th piece, 14 May 1737, pp. 46–47 ( Textarchiv - Internet Archive . P. 46: “The gentleman [Bach] is finally the most distinguished among the musicians in [Leipzig]. He is an extraordinary artist on the piano and on the organ, and at the moment he has only met one with whom he can argue about the privilege. [...] This great man would be the admiration of whole nations if he had more comfort and if he did not have his Removed the natural from pieces by a pompous and confused being, and darkened their beauty through too great art. ")
  3. ↑ The disc-pear tree dispute
personal data
SURNAME Disk, Johann Adolf
ALTERNATIVE NAMES Disk, Johann Adolph
BRIEF DESCRIPTION German-Danish composer of the Baroque
DATE OF BIRTH May 5, 1708
PLACE OF BIRTH Leipzig
DATE OF DEATH April 22, 1776
Place of death Copenhagen