Johann Mattheson

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Mattheson, Johann


Born Sept. 28, 1681, in Hamburg; died there Apr. 17, 1764. German writer on musical theory, composer, singer, and conductor.

Mattheson wrote several operas, 24 oratorios and cantatas, and instrumental pieces. His works on music theory were of fundamental importance. Mattheson was an advocate of national music and an adherent of the doctrine of affections in musical aesthetics, which was progressive for the times. Among his studies were The Newly Opened Orchestra (parts 1-3, 1713-21), Musical Criticism (vols. 1-2, 1722-25), and The Modern Bandmaster (1739). He was the author of the first biography of G. F. Handel.


Materialy i dokumenty po istorii muzyki, vol. 2. Edited by M. V. IvanovBoretskii. Moscow, 1934.
Wolff, H. C. Die Barockoper in Hamburg (1678-1738), vols. 1-2. Wolfenbüttel, 1957.
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He discusses the evidence that Beethoven understood and used key characteristics, including his personal views and his familiarity of the views of others, including Johann Mattheson, Johann Philipp Kirnberger, Johann George Sulzer, Christian Friedrich Daniel Schubart, Anton Reicha, and Carl Czerny; keys commonly and less frequently used by Beethoven and their affective characteristics, with lists of examples by Beethoven and other composers; the tonal symbolism in his solo songs, as well as modulations in them; and case studies of his concert aria oAh
Johann Mattheson, Das neu-eroffnete Orchestre (Hamburg: Benjamin Schiller's Widow, 1713), 254.
Johann Mattheson, offenbar Urheber des lateinischen Ausdrucks, wollte damit den "inneren Ausbau des Dur-Moll-tonalen Raums durch Einbeziehung von [nicht-diatonischen] Nebenstufen in den ,Ambitus Modi' einer Tonart" (S.
Cien anos despues Johann Mattheson se expresaria empleando los mismos terminos.
Reconocido por la historia como el iniciador de la critica musical y como teorico consumado del arte sonoro de Occidente, el hamburgues Johann Mattheson (1681-1764) abandono su promisoria carrera de compositor en cuanto le brotaron sintomas de sordera.
En 1704, el compositor Johann Mattheson --uno de los amigos que habia hecho al llegar-- presento su operaCleopatra, en la que el autor representaba un papel y Georg Handel dirigia la orquesta al tiempo que tocaba el clavicordio.
It is instructive to compare Hanslick's approach with that of Johann Mattheson, a voluminous writer on music in the second quarter of the 18th century, with which it is often contrasted.
In a chapter on the direction and performance of concerted music, Johann Mattheson (Der Vollkommene Capellmeister, Hamburg, 1739) records his experience as Domcantor in Hamburg c.
It is in Lippman's presentation of the work of the Hamburg theorist and aesthetician Johann Mattheson that the contemporary reader finds thoroughly familiar constructions of aesthetic problems.
The spectrum ranges from Leopold and Wolfgang Amadeus Mozart and the most important writings of music theorists (Johann Philipp Kirnberger, Daniel Gottlob Turk, Carl Philipp Emanuel Bach, Johann Mattheson, etc.
Friedrich Niedt (1701) reminds us that any 'Violon-Bass part is labelled Basso Continuo'; and Johann Mattheson (1739) claimed that 'organo' was merely a generic term for basso continuo.
For as Johann Mattheson wrote in Das neu-eroffnete Orchestre (1713): 'Cabinet organs, or the small organs that are used in the home, are fine for amateurs who enjoy hearing a chorale and singing along, but are not suitable for public concerts'.