Johann Christian Schickhardt

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Johann Christian Schickhardt (* 1682 in Braunschweig ; † before March 26 , 1762 in Leiden ) was a German musician and baroque composer .

Title page to Sonatas for flute and basso continuo, op. 1 (first edition Amsterdam, no year, shortly after 1700)
Dedication “Vôtre Altesse Serenissime” to Princess Henriette Amalie von Nassau-Diez
Title page to Six Sonatas for flute and basso continuo, op.3 (first edition Amsterdam, no year, shortly after 1700)
Dedication to Ulrike Eleonore Queen of Sweden in a Concerto in G minor for treble recorder and orchestra (1720)
Title to L'Alphabeth de la Musique by Johann Christian Schickhardt from the first edition, London 1735

Life

education

Johann Christian Schickhardt's ancestors - probably the grandparents - left Siegen or Herborn as a result of the decline of the Calvinist universities and colleges in Siegen and the surrounding area caused by the Thirty Years' War . Johann Christian Schickhardt is therefore not a descendant of Heinrich Schickhardt the Elder .

He received his practical musical training as a flautist and oboist at the ducal court of Braunschweig-Lüneburg. During this time he was influenced by both French and Italian musical styles. He was particularly attracted to the latter, especially by Arcangelo Corelli . He presumably continued his training with an oboist in the orchestra of the then famous Braunschweig Opera.

Professional beginnings

Schickhardt's professional career began shortly after 1700. At that time he was in the Netherlands and was in the service of the Hereditary Prince Friedrich von Hessen-Kassel , Princess Henriette Amalie von Nassau-Dietz and her son, Prince Johann Willem Friso of Orange and Nassau-Diez, who was on the side of the English- fought Dutch troops in the War of the Spanish Succession .

During this time he wrote his first compositions with opus details (op. 1-3). The works op. 1 and 3 were probably premiered in the renaissance castle Jever . The original sheet music for these works was originally in the possession of the Princely House of Anhalt-Zerbst , which at the time owned East Frisia.

After Princess Henriette Amalie left the Netherlands in 1709, he was apparently looking for a new patron, thinking of Denmark or Norway. In 1710 he dedicated a sonata from his Opus 5 to the Duchess of Braunschweig-Lüneburg, Sophie Amalie, who came from Trondheim , and the Six Violin Sonatas op.8 to the King of Denmark, Frederik IV. He left the Netherlands and was from around 1710 to 1711 in the service of Landgrave Ernst Ludwig von Hessen-Darmstadt . There he came into contact with Christoph Graupner , who was Kapellmeister.

Hamburg

In 1711 Johann Christian Schickhardt married in Hamburg . On the Wedde invoice of July 11, 1711, he was entered as a foreigner, which meant that he had the right to live in Hamburg as a “protective relative”. He initially lived in Hamburg's Neustadt an der Alster , in the area of ​​the St. Michaelis community. Since 1712 he was an outstanding flutist and oboist in the orchestra of the Hamburg Opera on Gänsemarkt . At the end of March 1712 his first son Martin Ulrich was born.

Schickhardt had a good connection with the Amsterdam publisher Estienne Roger , with whom his compositions were published, and during this time worked as his agent in Hamburg. In 1713 (possibly since 1712) Schickhardt stayed in London , where he wrote the Six Concertos for four flutes and basso continuo op.19. Already in the first months of 1713 he dedicated this to the general music director Christoph Wilhelm von Brandt, who was the chief steward of Sophie Dorothea of ​​Prussia , the wife of King Friedrich Wilhelm I , who had ruled since February 25, 1713 . He apparently promised himself that he would get a job in the court orchestra of the Prussian king.

In 1714 his financial situation improved noticeably. He moved in Hamburg to the area of ​​the St. Petri community, probably on Kleine Breder Strasse. On October 26, 1714, he was granted citizenship in Hamburg after paying a fee. His four other children were born in Hamburg between 1714 and 1718. Nothing is known about the children so far. Since three of his daughters had the same first name - Elisabeth Catharina - the first two must have died shortly after their birth. At the same time, Schickhardt's contemporary Georg Philipp Telemann , who was music director at five Hamburg churches, lived in Hamburg . It can be assumed that the two knew each other.

Around 1717/18 - without giving up his residence in Hamburg - Schickhardt worked in the service of Count Johann Friedrich von Castel-Rüdenhausen , who held him in high regard. Around 1719/20 he was in contact with Duke Ernst August I of Saxony .

Scandinavia

From 1720 Johann Christian Schickhardt was in Sweden, where Friedrich von Hessen-Kassel ascended the Swedish throne as Frederik I. At this time he dedicated his Concerto for Alto Recorder in G minor to Queen Ulrika Eleonore of Sweden . Around 1723 he worked in Trondheim, Norway for Abraham Dreyer, the director of the copper mines there. Since Norway was part of Denmark at that time, he again had ties to the Danish royal court. He also stayed in Paris for a while, exactly when is unknown.

Holland

In 1735 Schickhardt stayed in London again, where he composed a collection of 24 flute sonatas in all keys, op. 30, the so-called L'Alphabeth de la musique . Since there were numerous flute lovers in London at the time, this city was the most suitable place to sell such compositions.

In the same year 1735 he returned to the Netherlands. He occasionally worked as an editor for the publishing house Estienne Roger, which was now run by his successors Jeanne Roger and Michel-Charles Le Cène and published his compositions. On his behalf he arranged the famous Concerto grosso in G minor op. 6 by Arcangelo Corelli for two recorders and basso continuo. From 1745 he taught at the University of Leiden .

After his death in March 1762, his daughter Elisabeth Catharina turned to the university with a request for allowance for burial costs. It can be assumed that this request was decided positively; because with the announcement of his death on March 26th, he was posthumously awarded the title “Magister of the Musical Arts and Member of the Academy”.

Schickhardt's appearance has not been passed down. There is a portrait from this period that became known as his portrait through publications in Recorder and Music Magazine. The flutist portrayed on it plays a beautiful treble recorder with ivory rings. However, there is no concrete evidence that the person portrayed is actually Schickhardt.

meaning

Schickhardt's work with the highest opus number is L'Alphabeth de la musique from 1735. Without an opus number are the twelve sonatas for guitar, which were supposedly arranged by the guitar teacher at the Danish court, Johann Friedrich Fibiger. These are short works that are between 3 and 8 minutes long.

It seems very unlikely that Schickhardt did not create any more pieces of music in the long time between 1735 and his death, but where such pieces would have remained is unclear. Among his works there are two so-called instructions, one for flute (op. 12, from 1712) and one for oboe (from 1730) - a unique work in the German-speaking area of ​​the 18th century - which has unfortunately been lost.

Schickhardt became famous primarily for his chamber music. His sonatas are characterized by melodious, harmonious, expressive tones. They turned to a wide range of amateur musicians and also to the virtuoso amateurs . His Opus 1 is z. B. in breathing and finger technology sometimes demanding, even virtuoso. "He wrote well for his instruments and his music was rightly popular with lovers of his time."

A large number of publications in Amsterdam testify to his popularity in the first half of the 18th century, but also the fact that his works soon appeared as pirated prints by the London publishers Walsh and Hare . In addition to chamber music, Schickhart also wrote works that are stylistically somewhere between chamber music and concert music, for example the Concerti op. 9 for four recorders and basso continuo and the six sonatas for recorder, two oboes and basso continuo.

With the rediscovery of the treble recorder around 1900, for which Schickhardt's numerous works are intended, there was a great need for suitable literature, so that many of his works are now available in reprints. His works are also performed today and there are several recordings on CDs - mostly on collective CDs - that present baroque recorder music. On the occasion of Johann Christian Schickhardt's 325th birthday on October 11, 2007, SWR2 broadcast a 55-minute program dedicated to him in the “Alte Musik” series, which, in addition to information about his life, contained four of his works and three works by his contemporaries (Chr. Graupner, G. Ph. Telemann and J. Mattheson ).

children

Extract from the baptismal register of the parish of St. Petri in Hamburg with the entry Elisabeth Catharina Schickhardt (1714)
Extract from the baptismal register of the parish of St. Petri in Hamburg with the entry Friedrich Paul Schickhardt (1716)
  • Martin Ulrich (baptized April 1, 1712 in the Hamburg parish of St. Michaelis)
  • Elisabeth Catharina (I) (* October 1714)
  • Friedrich Paul (born June 1716)
  • Elisabeth Catharina (II.) (* 1717)
  • Elisabeth Catharina (III.) (* 1718)

Works

Works published during the composer's lifetime

  • shortly after 1700: Seven sonatas for treble recorder and basso continuo, op. 1, dedicated to Princess Henriette Amalie von Nassau-Diez. New edition in: Johann Christian Schickhard, Six Sonatas for treble recorder and basso continuo op. 1 (2 vols.), Rev. FJ Giesbert, Mainz: Edition Schott, 1957.
  • shortly after 1700: Seven sonatas for oboe or violin and basso continuo, op. 2, dedicated to Prince Johann Willem Friso of Orange and Nassau-Diez
  • shortly after 1700: Seven sonatas for treble recorder and basso continuo, op. 3, dedicated to Swier de Taminga, a commander of the Anglo-Dutch army
  • [Six?] Sonatas for two treble recorders and basso continuo, op. 4
  • 1710: Six sonatas for treble recorder, two oboes or violins, one viola da gamba and basso continuo, op. 5, one of which is dedicated to Sophie Amalie, Duchess of Braunschweig-Lüneburg
  • Six sonatas for two treble recorders and basso continuo, op.6
  • Twelve sonatas for two oboes or violins and basso continuo, op.7
  • 1710: Six sonatas for violin or oboe and basso continuo, op.8, dedicated to the King of Denmark, Frederik IV.
  • Six sonatas for two treble recorders (basso continuo ad libidum), op.9
  • Six sonatas for two oboes or violins or flutes (basso continuo ad libidum), op.10
  • Recueil de Menuets à un dessus & Basse continue (collection of minuets for a melodic instrument and basso continuo), op.11
  • 1712: "Instructions for Alto Recorder", op. 12 (contains 42 airs for two alto recorders)
  • Six concertos for two violins, two oboes or violins and basso continuo, op.13
  • Six sonatas for treble recorder, oboe or violin, viola da gamba and basso continuo, op.14, dedicated to Duke August Wilhelm von Braunschweig-Wolfenbüttel
  • 1730: "Instructions for playing oboe", op. 15 (contains airs for two oboes)
  • 1712: Twelve trio sonatas for two treble recorders and basso continuo, op.16
  • 1712: Twelve sonatas for treble recorder and basso continuo, op.17
  • Collection of Airs for alto recorder, op. 18/1
  • Collection of 146 airs for treble recorder, op. 18/2
  • 1713: Six concertos for four treble recorders and basso continuo, op.19, dedicated to the general music director Christoph Wilhelm von Brandt
  • Six sonatas for flute or oboe or violin and basso continuo, op. 20/1
  • 1723: Six sonatas for flute or oboe or violin and basso continuo, op. 20/2, dedicated to Abraham Dreyer
  • Airs spirituels des Luthériens for two treble recorders and basso continuo, op.21
  • Six sonatas for two treble recorders, an oboe and basso continuo, op.22
  • Twelve sonatas for treble recorder and basso continuo, op.23
  • Six sonatas for treble recorder and basso continuo, op.24
  • Six sonatas for violin and basso continuo, op.25
  • Six sonatas for two treble recorders, op.26
  • 1735: Twenty-four sonatas for flute and recorder or violin and basso continuo, op. 30 ( L'Alphabeth de la musique , a collection of sonatas in all keys)
  • Various small pieces for one or two flutes or oboes in the publications: The Complet Tutor to the Hautboy (Walsh & Hare, London around 1715), The Complet Flute Master… (Bennett, London around 1760) and Airs for two treble recorders by Gasparo Visconti , second edition expanded to include Schickhardt's pieces.

Passed on as manuscripts

  • 1720: Concerto in G minor for treble recorder and orchestra, dedicated to Queen Ulrike Eleonore of Sweden
  • Suite in F major for violin, two oboes, two treble recorders, violins and basso continuo
  • Sonate de Monr: Schicard in D minor for a melodic instrument (recorder?) And basso continuo
  • Sonata for treble recorder and basso continuo and Sonata for violin and basso continuo
  • Six sonatas for two treble recorders and basso continuo

Edits

  • Giovanni Battista Tibaldi : Twelve Sonatas for two violins and basso continuo, op. 1, arranged by Schickhardt for two treble recorders and basso continuo
  • Arcangelo Corelli: Concerti grossi, op. 6, arranged by Schickhardt for two treble recorders and basso continuo

See also

Notes and individual references

  1. ↑ His death was announced on March 26th by the rector of the University of Leiden, who also posthumously declared him a member of the academy.
  2. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 2 and 11
  3. ^ A reference to this can be found in the dedication to his Opus 14 to Duke August Wilhelm .
  4. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , p. 2
  5. ↑ Nowadays they are in the library of the Mariengymnasium in Jever.
  6. ↑ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 2-4
  7. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 4–6
  8. ^ A b Horst Schmid-Schickhardt: The Siegener Schickhardt family in the 15th to 17th centuries. Attempting a partial genealogy , Baden-Baden: Schmid-Schickhardt 2008, p. 79
  9. ↑ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 6-7
  10. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , p. 8
  11. ↑ He was described as a "German musician in Paris" by the music researcher Johann Nikolaus Forkel . (H. Schmid-Schickhardt: Johann Christian Schickhardt , p. 13)
  12. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 8-11
  13. ↑ He was mentioned in a list of employees from November 18, 1745.
  14. ↑ a b H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 11-13
  15. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 14-15
  16. ↑ See e.g. B. the Corrente of Sonata III in E minor, or the 4th movement Allegro of Sonatas V in F major and VI in G major, in: Johann Christian Schickhard, Six Sonatas for Alto Recorder and basso continuo op.1 ( 2 vols.), Rev. FJ Giesbert, Mainz: Edition Schott, 1957, vol. 1, p. 24f and vol. 2, pp. 14 and 21.
  17. ^ H. Schmid-Schickhardt: Johann Christian Schickhardt , pp. 13-14
  18. ↑ For more information, see: H. Schmid-Schickhardt: Der Schnitzer von Herrenberg. Heinrich Schickhardt the Elder from Siegen (1464–1540) or 500 years of the Swabian Schickhardt family 1503/2003 , Baden-Baden: Schmid-Schickhardt 2003, p. 66
  19. ^ Edited using David Lasocki: Johann Christian Schickhardt (approx. 1682–1762). A Contribution to His Biography and a Catalog of His Works

literature

Web links

Commons : Johann Christian Schickhardt  - Collection of images, videos and audio files
personal data
SURNAME Schickhardt, Johann Christian
ALTERNATIVE NAMES Schickard, Johann Christian; Schickard, Johan Christian; Schickhardt, Jean Christiaen
BRIEF DESCRIPTION German musician and baroque composer
DATE OF BIRTH 1682
PLACE OF BIRTH Braunschweig
DATE OF DEATH before March 26, 1762
Place of death Suffer