Johann Joachim Quantz
Quantz was on of the first professional flute players in 18th century Europe. He began musical training under his uncle in 1708, and learned to play most of the string family as well as the oboe and the trumpet. After joining the Dresden town band, Quantz was offered a position as oboist in the Polish chapel of Augustus II, Elector of Saxony and King of Poland. Quantz found little opportunity for advancement as an oboist, and turned to the flute in 1719.
P. G. Buffardin, the French flutist, was his first teacher. In his autobiography, Quantz credited J. G. Pisendel with influencing his musical style the most. Pisendel was a leading representative of ‘mixed taste,’ a mix of French and Italian influences. Pisendel’s effect on his composition can be seen in Quantz’s sonatas and trio sonatas, which follow the four-movement arrangement of the Italian church sonata, but integrate French dances.
Quantz studied counterpoint in Italy, and also visited France and England. Shortly after, in 1728, he was promoted to a regular member of the Dresden court chapel on flute, and no longer had to double on oboe. That same year, on a visit to Berlin Quantz met Frederick the Great, and afterward returned to the Prussian court twice a year to give the Prince flute lessons. In 1740, when Frederick became King of Prussia, he offered Quantz over twice the amount that he was being paid in Dresden, along with exemption from duties in the opera orchestra, and an agreement that Quantz would only take orders from the King himself. In 1741, Quantz moved to Berlin, where his only duties were to oversee the King’s nightly private concerts, and to compose works for such concerts. Quantz alone was allowed to critique the King’s flute playing. It was this time in Berlin that allowed Quantz to write his masterpiece, Essay Toward a Method for Playing the Transverse Flute.
This method book was not only a method for flutists, but a compendium covering musical taste and execution practical on any instrument. Only five of the eighteen chapters solely concern the flute. In contrast to other method books of its time, Quantz did not promise a speedy mastery of the instrument, but instead wrote his essay “to train a skilled and intelligent musician, and not just a mechanical flute-player.
It was not only until the spring of that year that he for first time left Hamburg professionally. He undertook a tour with the Hungarian violinist Eduard Remenyi for the purpose of introducing himself and his works. At Gottingen they gave a concert in which the young pianist made a deep impression upon the musicians present. He and Remenyi were to play Beethoven?s Kreutzer sonata, but at the last moment it was discovered that the piano was half a tone too low.
Born in Gotha, Germany in 1752, Blumenbach went on to Jena to study medicine. He completed his doctoral training at Gottingen in 1775. Just a year later, he was appointed as an extraordinary professor of medicine. His study of the history of man showing the value of using comparative anatomy and his classification of the five varieties of man were two important contributions made by Blumenbach (1911 Edition). He wasted no time in becoming one of the most influential members of the fields of comparative anatomy, zoology, physiology, anthropology, and craniology, in fact, Blumenbach is considered to be the founder of anthropology as well as craniology. In his construction of this new field of physical anthropology, he used the methods of natural historians, and applied those methods to the human species (Keith 106). Objectifying the study of mankind, Blumenbach collected numerous specimens from various races. Skulls, skin, hair and pictures were among the items collected. From each item, the location, as well as race of the item, was known and recorded. Prior to Blumenbach's systematized assortment of specimens, the only collections "consisted of miscellaneous oddities preserved in the 'cabinets' of noble houses, for the idle amusement of the curious." (Keith, 106). Blumenbach' s more complete collection allowed intensive study into the racial history of mankind, which is just what he wanted to do. Blumenbach was also the first to study the actual form of skulls (Retzius 283).
He was never a president of the United States, nor did he lead any army in a battle. He had no talent in public speaking, preferring to write out his thoughts on paper and for them to be read aloud by others. Yet in his day he was certainly one of the most well known celebrities, beloved in both the United States and through most of Europe. He is Benjamin Franklin, and he has become a symbol of American civilization.
Some of the most well known composers came to be in the in the classical music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music. This new music had full rich sounds created by the new construction of the symphony orchestra.
"We could describe (Heinrich) Schliemann's excavations on the hill of Hissarlik and consider their results without speaking of Troy or even alluding to it," Georges Perrot wrote in 1891 in his Journal des Savants. "Even then, they would have added a whole new chapter to the history of civilization, the history of art" (qtd. in Duchêne 87). Heinrich Schliemann's life is the stuff fairy tales are made of. A poor, uneducated, and motherless boy rises through his hard work and parsimonious lifestyle to the heights of wealth (Burg 1,2). He travels the world and learns its languages ("Heinrich Schliemann"), takes a beautiful Greek bride, and together they unearth the treasures of Troy and the citadel of Agamemnon, thereby fulfilling the dream he has chased since childhood (Calder 18,19; Burg 8). Indeed, by presenting his life in romantic autobiographies as a series of adventures, starring Heinrich Schliemann as the epic hero (Duchêne 14), he ensured his status as a lasting folk hero and perennial bestseller (Calder 19).
Born as Jan Václav Antonin Stamic and later Germanized as Johann Wenzel Anton Stamitz, he was an influential composer and violinist. He was born on June 19, 1717 in Deutschbrod, Bohemia, now called Havlíčkův Brod, Czech Republic. Stamitz received a musical education from his father from a young age, and attended the Faculty of Philosophy at the University of Prague for the academic year of 1734 – 1735, and shortly thereafter left the university to become a violin preformer. In 1741, he was employed as a string player in the court orchestra of Mannheim, Germany. Stamitz went on to marry Maria Antonia Luneborn on July 1, 1744, the couple had 5 children, two of which died in infancy. One of their children, named Carl Phillip Stamitz went on to have a successful musical career. By 1745, he was appointed as the concertmaster of the court orchestra at Mannheim, with a role as the conductor and lead violinist. In the years of 1754 – 1755, he travelled to France to conduct for the Concert Spirituel and the Concert Italien, which were the two most important concert series of 18th – century Paris. He returned to Mannheim in 1755, his health rapidly deteriorated and he died in Mannheim on March 27, 1757 at the age of 39. The entry of his death contains the following quote: “March 30, 1757. Buried, Jo'es Stainmiz, director of court music, so expert in his art that his equal will hardly be found “. Overall, he was an accomplished individual and died at a very young age.
Mozart was born to a deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg. Leopold, Mozart’s father, was also a minor composer and teacher. Mozart’s musical abilities were first noticed when he showed great interest in the music lessons of his older sister. By the age of five, the Mozart family was touring European courts. The young Mozart showed great ability in the playing and composition of small pieces, many of which were transcribed by his father, and survive today. Eventually, Leopold gave up his own composing to concentrate on the talents of his young son. Leopold was also the early teacher of all of Mozart’s studies. After extensive touring from 1762 to 1773, Mozart was given employ at the Salzburg court at the age of 17. There, he had the op...
Ludwig van Beethoven was born in 1770 in Bonn, Germany, to Johann and Maria Magdelna van Beethoven. His father was also a musician and had dreams of young Ludwig becoming the Next Mozart. Beethoven's father was tenor singer in the court chapel of Prince archbishop of Cologne, where his grandfather a native of Holland had for a number of years the post of musical director. He was therefore brought up from his earliest youth in a musical atmosphere. While the father was rigorous and not always reasonable in his rule over the young genius, his mother was often over lienent with him, a fact which may account for some of the traits of character the young man developed later on.
After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. B...
Mozart’s father, Leopold, was a composer, violinist, and assistant concert master at the Salzburg court. Due to the fact that his father was deeply involved in music, Mozart was influenced at a very young age. Mozart began learning how to play the piano as early as the age of three. Under his father’s advice, Mozart and his sister, Maria Anna, excelled greatly.
Gustav Stresemann Gustav Stresemann was given the job of German Foreign Minister during the six years commencing 1923. A foreign policy was needed. The German Nationalists needed to be given confidence in the Republic as it was not happy with the Republic's acceptance of the VersaillesTreat. Throughout the time of 1923 to 1929 Stresemann had certain choices to make which question whether he was acting as a 'Good German' or a 'Good European' There are arguments for both sides to the question.
Brunswick in 1792 when he was provided with a stipend to allow him to pursue his
Music has shaped the lives of people throughout history. Even in its earliest forms, music has included use of instruments. One of the oldest musical instruments known is a variation of the flute; the original flute is thought to date back nearly 67,000 years ago. Tonight we are going to move throughout the eras with a history of instrumental music. This concert will begin with the Renaissance Era and continue through time until we have reached modern instrumental music.
Georges Bizet was born in Paris on October 25th, 1838. He was trained by his parents, who were musical, and admitted to the Paris Conservatoire just before his tenth birthday. There he studied counterpoint with Zimmerman and Gounod and composition with Halévy, and under Marmontel's tuition he became a brilliant pianist. Bizet's exceptional powers as a composer are already apparent in the products of his Conservatoire years, notably the Symphony in C, a work of precocious genius dating from 1855 (but not performed until 1935). In 1857 Bizet shared with Lecocq a prize offered by Offenbach for a setting of the one-act operetta Le Docteur Miracle; later that year he set out for Italy as holder of the coveted Prix de Rome.
As an adult Mozart his career was not as successful as when he was younger. But he kept on composing anyway hoping one people would appreciate his work. He lived in poverty for the great majority of his life. In 1769 he became a concertmaster to the archbishop of Salzburg, which was another one of his jobs that afforded him little financial security. In 1777, he left on another concert tour. But, the courts of Europe ignored Mozart ‘s search for a more beneficial assignment. In 1782 he earned a living by selling compositions, giving public performances, and giving music lessons, which once again was a low paying job. The composer never did find a well paying job. The bizarre thing was is that even that he had ton of trouble finding jobs, he was still considered one of the leading composers of the late 1700s.