Sebastian Bodinus

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Sebastian Bodinus (born October 4, 1700 in Bittstädt , Duchy of Saxony-Gotha ; † March 19, 1759 in Pforzheim ) was a German composer and conductor .

Life

His father, the schoolmaster Johann Nicolaus Bodinus, died at the age of 33 in May 1700. After the death of her husband, the mother Anna Elisabeth, née Eschner, lived with three other sons (born in 1689, 1692 and 1696) in their parents' house in Bittstädt. Bodinus attended the village school in Bittstädt until 1713. The list of pupils and grades from the General Summer Visitation of the Upper Consistory in Gotha attests to his attendance at school and the successful completion of the upper class with very good ratings.

On July 15, 1718 he was as Musicus and Laquay at the court of Margrave Carl III. Wilhelm von Baden-Durlach employed. Initially an oboist, he increasingly preferred the violin and was appointed court musician . In order to avoid the threat of being transferred to Italy as a military robber, he asked for his release, which he was granted on November 10, 1723. From 1724 to 1728 Bodinus Cammer-Musicus was at the court of Duke Eberhard Ludwig von Württemberg in Stuttgart , where he was promoted to premier violinist ( concert master ). From 1726 he published some of his compositions in the Augsburg publishing house Leopold : Musical divertissiments parts 1 to 6, solo, trio and quartet sonatas. On March 24, 1728 he was again employed as a member of the Margravial Badische Hofkapelle in Karlsruhe and on July 20 he was appointed concert master.

His wife Anna Margaretha was also engaged as a singer "at the theater and at other music venues" . His daughter Wilhemine was baptized on November 24, 1730, godfather was the Kapellmeister Johann Melchior Molter . Molter came from Tiefenort on the Werra and, like Bodinus, was employed in Karlsruhe in 1718.

In the period between Michaelis 1729 and Michaelis 1730, Bodinus traveled to Bittstädt to announce his final departure from his home town by paying a deduction of 1 gulden and 3 groschen. In 1733 the court chapel was closed. Margrave Carl Wilhelm fled into exile in Basel following the outbreak of the War of the Polish Succession . Bodinus found a job in Darmstadt. On October 8, 1736 he was accepted again as concertmaster in Karlsruhe. The former conductor Molter had been released to the court of Saxony-Eisenach in 1733 and did not return to Karlsruhe until 1742. Bodinus performed the services of bandmaster during this time and tried in vain for a correspondingly higher fee. After the death of Margrave Carl Wilhelm in May 1738, the court chapel was again reduced; Bodinus was released on October 16, 1738. He was granted a quarter of grace to support his family and was assured that he would be remembered if necessary.

From the period 1739 - May 1747 it is only known that Bodinus was active as a music teacher and "according to reports he is staying in Basel and is supposed to provide information in music sourly." On March 15, 1747 Bodinus applied for reinstatement at the Margravial court in Karlsruhe. He referred to letters of recommendation from Baron Ernst Friedrich Leutrum von Ertingen (Landvogt von Rötteln based in Lörrach) and Councilor Suss, with whom he was in service. On May 23, 1747, Margrave Carl Friedrich Bodinus took on again as Cammer Musicum and premier violinist at the court orchestra. His annual salary in money and kind was 300 guilders.

On July 24, 1752, Bodinus left his place of employment for unknown reasons, as did his family. Despite this unauthorized action, Bodinus later seems to have properly applied for a dismissal, as can be seen from a file of the court marshal 's office. There Bodinus is certified that he was "loyal, hardworking and honest in his duties" and "but has now received his dismissal in grace upon his due request." Nothing is known about his whereabouts in the next few years.

He returned on September 28, 1758, but was mentally confused and was admitted to the Pforzheim madhouse . He died on March 19, 1759.

After his death he was forgotten with his work. Only more recent music research became aware of him again.

Works

The main focus of the work of Sebastian Bodinus lies in the field of chamber music . In addition to the common forms of solo and trio sonata, he has also considered the less common genre of the quartet sonata with a whole series of works. In the diverse and varied sonatas, elements of the sonata da chiesa mix with those of the concerto and the suite. The influence of the latter can also be found in some of his flute concertos, e.g. Some of them are more likely to be attributed to chamber music than to the instrumental concert. The overture for flute (or violin) and strings, on the other hand, has passages shaped by the concerto. The symphonies are successful examples of the early development of the Italian opera symphony. The fresh and imaginative melody is remarkable. Despite the gallant touches, Bodinus' works belong to the late Baroque era.

Orchestral works

  • 5 symphonies in D, D, F, A and B
  • Overture for flute, violin and orchestra
  • 13 concertos for flute and orchestra, 5 of them in D, the remaining e, e, e, E, G, G, A
  • Concerto for oboe and orchestra in F
  • 3 concerts for violin and orchestra in D, e, a

Chamber music

Prints (published by Joseph Friedrich and Johann Christian Leopold in Augsburg):

  • Acroama musicum : 6 sonatas for violin and basso continuo ( ca.1726 )
  • 12 sonatas for violin and basso continuo
  • Musical divertissiments, or trio directed to the ear in 6 parts (Augsburg, 1726):
    • 6 sonatas for 2 violins and basso continuo
    • 6 sonatas for flute, violin and basso continuo
    • 6 sonatas for oboe, violin and basso continuo
    • 6 sonatas for 2 oboes or violins and basso continuo and 6 sonatas for flute, violin and basso continuo
    • 3 Quadri for various occupations
    • 3 Quadri for various occupations
  • 12 sonatas for various instrumentations
  • 8 Quadri for various occupations

Manuscripts:

  • 1 symphony
  • 2 duetti
  • 2 minuetti
  • 33 sonatas

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Individual evidence

  1. a b c Häfner, Klaus, in: The music in history and present , pp. 191/192

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