Baroque Music - Composers

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Johann Pachelbel

- (b Nuremburg 1653, d Nuremburg 1706)
German organist and composer. Deputy organist, St. Stephen's Cathedral, Vienna, 1673-1676. Court organist Eisenach 1677. Organist, Protestant Predigerkirche, Erfurt, 1678-1690. Court organist, Stuttgart, 1690-1692. Organist, St. Sebald, Nuremburg, 1695-1706. His compositions influenced Bach. Works include Hexachordrum Apollinis (1699), 6 sets of airs and variations for harpsichord; 78 chorale preludes (1693), including Ein' feste Burg, Nun komm der Heiden Heiland, Vom Himmel hoch, etc.; Aria Sebaldina, variations in F minor for harpsichord; Canon and Gigue in D for 3 violins and continuo; Chaconne and 13 variations for harpsichord. His church music, for long disregarded, has been highly revalued, particularly his sacred concertos and his 13 settings of the Magnificat.

- The Oxford Dictionary of Music

Friedrich Wilhelm Zachau

- (b Leipzig 1663, d Halle 1712)
German composer and organist. As child, learned violin, oboe, harpsichord, and organ. Organist, Liebfrauenkirche, Halle, 1684-1712. Händel from age of 7 was his pupil. Wrote church and organ music.

- The Oxford Dictionary of Music

John Blow

- (b Newark Nottinghamshire 1649, d Westminster 1708)
English composer and organist. One of the first choirboys of Chapel Royal after Restoration in 1660. Organist, Westminster Abbey, 1668-1679, until his pupil Purcell succeeded him, 1695-1798. Also Master of Choristers, St. Paul's Cathedral, 1687-1703. Wrote over 100 anthems, 13 services, many secular songs, and the masque Venus and Adonis (c. 1682). Bliss composed Meditations on a Theme by John Blow.

- The Oxford Dictionary of Music

Johann Christoph Pepusch

(b Berlin 1667, d London 1752)
German-born composer, conductor, and organist. Mainly self-taught expert in theory and history. Settled in London 1704. Played viola and harpsichord in Drury Lane orchestra. One of founders of the Academy of Ancient Music. Organist and composer to Duke of Chandos, 1715-1731. From 1715 composed music for operas and masques at Drury Lane and Lincoln's Inn Theatre. Probably composed overture for Gay's The Beggar's Opera (1728), but there is no evidence that he arranged the airs. Wrote treatise on harmony (1730) and other theoretical books.

- The Oxford Dictionary of Music

Giovanni Battista Pergolesi

- (b Jesi, near Ancona, 1710, d Pozzuoli, near Naples, 1736)
Italian composer, violinist, and organist. Studied violin and composition at Naples 1725. Principally talented as composer of comic operas, the first of which, Salustia, was a failure in Naples in 1732. In 1733 he composed Il prigioner superbo, now forgotten except its 2 act intermezzo La serva padrona, which has remained popular. Other operas, recently revived, include Lo frate 'nnamorato (1732), Adriano in Siria (1734), and Il flaminio (1735). His Stabat Mater (1736) for male soprano, male alto, and orchestra is still performed. After his early death from tuberculosis, many works were and still are falsely ascribed to him, such as the comic opera Il maestro di musica, concertos, and songs. Stravinksy in Pulcinella 'recomposed' material by Pergolesi, but even there some of the attributions are false.

- The Oxford Dictionary of Music

Jacopo Peri

(b Rome or Florence, 1561, d Florence 1633)
Italian composer, pupil of Malvezzi, and singer. Entered service of Medici court 1588 and Mantuan court from early 1600s. Probably one of group of poets and musicians associated in Florence with Jacopo Corsi and Count Bardi in last quarter of the 16th century, and whose interest in reviving elements of German drama led to composition in monodic style of what is regarded as the first opera or musical drama, Dafne (1594-1598), to which Peri contributed the recitatives and some other items in collaboration with Corsi. This was followed by Euridice (1600), parts of which were composed by Peri's rival Caccini. Peri later wrote other operas, some in collaboration, ballets, madrigals, etc., only a few of which survive. Organist at Badia, Florence, 1579-1606.

- The Oxford Dictionary of Music

Giulio Caccini

(b Rome or Tivoli, 1551, d Florence 1618)
Italian singer, composer, and lutenist. Taken to Florence by Cosimo I de' Medici, c. 1565. Sang in 1579 at festivities for wedding of Francesco de' Medici and Bianca Cappello. One of members of Count Giovanni de Bardi's Camerata, some of his music was included in Peri's Euridice to Rinuccini's libretto which he then also set in rivalry in 1600. From 1595 to 1600 worked in Genoa, returning to Florence 1600 on receiving commission to compose opera Il rapimento di Cefalo, performed in Florence 1600 for wedding of Maria de' Medici to Henri IV of France. Canzonets and madigrals published in Le nuove musiche 1602, marking change to monodic style. Visited Paris 1603 and 1604-1605 at invitation of Maria de' Medici. His daughter Francesca was a celebrated singer. Was also known as a magnificent gardener.

- The Oxford Dictionary of Music

Giacomo Carissimi

(b Marini, Rome 1605, d Rome 1674)
Italian composer, one of early masters of oratorio form. Choirmaster Assisi 1628-1629, Collegio Germanico, Rome, 1629-1674. Oratorios include Lucifer, Job, Baltazar, Jephte (1650), Judicium Salomonis; motets, and recitatives (e.g. Abraham and Isaac). Adapted Monteverdi's operatic innovations to sacred drama. His Missa 'L 'Homme arme' was last of its kind. In 1656 was appointed choirmaster to Queen Christina of Sweden when she established her court in Rome after her abdication.

- The Oxford Dictionary of Music

Giuseppe Torelli

(b Verona 1658, d Bologna 1709)
Italian violinist and composer. Brother of painter Felice Torelli. Attached to Church of San Petronio, Bologna, 1686-1695. Visited Vienna. Leader of band at court of Margrave of Brandenburgh-Anspach, 1697-1699. Returned to Bologna 1701. Composed music for strings and continuo, including 12 concerti grossi, Opus 8 (1708), guitar concerto, trumpet concertos, suites for trumpet, strings, and continuo, etc.

- The Oxford Dictionary of Music

Jacques Champion de Chambonnières

(b Paris 1602, d Paris 1672)
French composer and harpsichordist. His father was harpsichordist to Louis XIII as he himself became to Louis XIV, who ennobled him. Regarded as founder of French harpsichord school. Published 2 books of Pièces de clavessin (1670), edited in modern times by T. Dart, 1969.

- The Oxford Dictionary of Music

Heinrich Schütz

(b Köstritz 1585, d Dresden 1672)
German composer and organist, one of the greatest of Bach's predecessors. Studied law, but patron, impressed by his musical ability, sent him in 1609 to study in Venice with G. Gabrieli until 1612. Court organist, Kassel, 1613. Kepellmeister, Dresden electoral court, 1617-1657. Spent three periods as court conductor in Copenhagen 1633-1645. In Dresden with court orchestra from 1645. Composed first German opera, Dafne, 1627 (music destroyed by fire 1760). Revisited Italy 1628-1629. His special importance lies in his grafting of Italian choral and vocal style on to German polyphonic tradition. Wrote magnificent settings of Passions, Christmas oratorio, 7 Words from Christ on the Cross, etc. Works published in 16 volumes 1885-1894, edited by Spitta, with supplement volume 1927, content as follows:
I. 4 Passions, Resurrection oratorios, and Sieben Worte Jesu Christi am Kreuz; II and III. Psalms and Motets, 1619; IV. Cantiones sacrae, 4 voices, 1625; V. Symphoniae sacrae, Part I, 1629; VI. Geistliche Concerte, 1-5 voices, 1636 and 1639; VII. Symphoniae sacrae, Part II, 1647; VIII. Musicalia ad chorum sacrum 1648; IX. Italian madrigals, Venice 1611; X and XII. Symphoniae sacrae, Part III, 1630; XII-XV. Motets, concertos, arias, psalms, etc; XVI. Psalms for 4 voices. Supplement: Christmas oratorio: Die Historia von der freuden und gnadenreichen Geburt Gottes und Mariens Sohns (1664, lost until 1908).

- The Oxford Dictionary of Music

Johann Hermann Schein

(b Grünhain, Saxony 1586, d Leipzig 1630)
German composer. Chorister, Dresden court chapel from 1599. Court Kapellmeister, Weimar, from 1615. Cantor of Thomas School, Leipzig, from 1616. One of first German musicians to benefit from Italian influence. Wrote nearly 100 chorale melodies and harmonizations, sacred songs in Italian style, villanelles, madrigals, Venus Kräntzlein (new secular songs, 1609), motets, dance suites, wedding songs, etc.

- The Oxford Dictionary of Music

Samuel Scheidt

(b Halle 1587, d Halle 1654)
German organist and composer. Pupil of Sweelinck in Amsterdam. Organist, Moritzkirche, Halle, from c. 1603; organist and choirmaster to Margrave of Brandenburg in Halle from c. 1609, becoming court conductor 1619. Best known in his day for his vocal works, including cantiones sacrae for 8 voices (1620) and 70 Symphonien auf Conzerten-Manier with 3 voices and basso continuo (1644). Most important was his book of organ music, Tabulatura nova (1624, 3 volumes) proposing staff notation for organ instead of tablature and containing psalms, hymns, chorales, mass, etc.

- The Oxford Dictionary of Music

Johann Jacob Froberger

(b Stuttgart 1616, d Héricourt 1667)
German composer and organist. Organist at court of Vienna 1637, but spent next four years in Italy as pupil of Frescobaldi. Visited Belgium, Germany, Holland, France, and England before returning to Vienna as court organist 1653-1658. Composed much for organ and harpsichord (toccatas, capriccios, ricercari, etc.).

- The Oxford Dictionary of Music

Heinrich Ignaz Franz von Biber

(b Wartenberg, Bohemia 1644, d Salzburg 1704)
German-Bohemian violinist and composer, becoming Kapellmeister at Salzburg, 1684. Prolific composer for violin, his many sonatas include the 15 Mystéry (or Rosary) sonatas, c. 1678. Also wrote two operas, a Requiem, chamber music, trumpet concerto, and 'Nightwatchman' Serenade (for 2 violins, 2 violas, and continuo). His 8 violin sonatas with continuo (1681) demand a virtuoso's technique. His Battalia is an early example of programme music.

- The Oxford Dictionary of Music

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