Johann Georg Künstel

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Johann Georg Künstel (also Georg Friedrich or Georg Heinrich or Kinzl or Güntzel) (* around 1645 near Weißenfels ; † February 20, 1695 in Coburg ) was a German organist , conductor and composer .

Life

Künstel is said to have been born in the Weißenfels area. From 1669 he worked as court organist at the Ansbacher Hof, after he can be verified as organist in Weißenbrunn near Kronach around 1667 . In 1679 he took part in the world premiere of the opera Die triumphirende Treu by Johann Löhner as a harpsichordist . After Johann Wolfgang Franck left Ansbach in 1679, he acted as interim director of the court orchestra. In Ansbach he also wanted to set up a kind of singing school for boys in order to be able to counter the lack of female singers at opera performances, which obviously did not materialize. From 1684 he is in Coburg as court organist and from 1691 as Kapellmeister there as the successor to Friedrich Heinrich Agricola († 1691) can be proven. One last message about him came from the Saxon-Coburg Duke Albrecht , who tried (unsuccessfully) in 1695 to win the Gottdorf Kapellmeister Georg Austria for his court because Dero Capellmeister, Herr Künstel, had recently passed away with death .

Johann Gottfried Walther wrote about him in his music dictionary in 1732:

Künstel (Johann Georg), a miller's son from Weissenfels, had the wife of a citizen master's daughter from Anspach; from which it can be assumed that he was first in service there until he came to Coburg as capellmeister to Duke Albrechte . Died on. 169 =.

His son, Johann Wolfgang Künstel (1678–1732), who was born in Ansbach, attended high school in Coburg and was later a chemist and doctor in the Francke Foundations in Halle and was in correspondence with August Hermann Francke .

Kunstel composed his Mark Passion between 1693 and 1694 . The work was very successful and popular at the time of its creation. There is evidence that it was regularly performed, especially in central Germany, until the early 18th century. There is also the assumption that Johann Sebastian Bach could also have heard the work, not least because some musical similarities with Künstel's Mark Passion can be recognized in his Passion settings. The notes of the Passion were long lost until the score was found in a private collection and the work was performed again in 2014.

Work (selection)

  • Mark Passion for solos (SATB), choir (SATB), 2 violins, 2 violas and basso continuo (1693/1694).

Recordings

  • Markus Passion Christophorus, DDD, 2018, Hans Jörg Mammel, Felix Rumpf, Ensemble Polyharmonique, L'arpa festante.

literature

  • Renate Brockpähler: Handbook on the history of baroque opera in Germany. Lechte, Emsdetten, 1964, p. 113.
  • Klaus Hortschansky: Georg Friedrich Händel: a purpose in life: memorial for Bernd Baselt (1934–1993). Händelhaus, Halle, 1995, 431f.
  • Johann Anselm Steiger: Passion, Affect and Passion in the Early Modern Age, Volume 2. Harrassowitz, Wiesbaden, 2005, 641ff.

Web links

Individual evidence

  1. https://www.bistum-fulda.de/bistum_fulda/presse_medien/liste_pressem nearly 2017/2017_01/bpd_2017_2/ bpd_20170220_04_Passionskonzert_Dom.php
  2. ^ Friedrich Wilhelm Schwarzbeck: Ansbach theater history: until the death of Margrave Johann Friedrich (1686). Lechte, Emsdetten, 1939, pp. 117ff.
  3. Irmgard Scheitler: German-language oratorio libretti: from the beginnings to 1730. Schöningh, Paderborn, 2005, p. 118.
  4. ^ Johann Gottfried Walther: Musicalisches Lexicon or Musicalische Bibliothec, ... Deer, Leipzig, 1732, p. 348
  5. http://192.124.243.55/cgi-bin/gkdb.pl?x=u&t_show=x&wertreg=PER&wert=kuenstel%2C%20johann%20wolfgang%20%20%5BVerfasser%5D&reccheck=74972,75073,75116,75994,251559
  6. https://ensemble-cumpassione.jimdofree.com/markuspassion-künstel/
  7. https://www.moz.de/landkreise/oder-spree/beeskow/artikel2/dg/0/1/1267469/