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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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.
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.
Melton also appropriately inserts Johann Mattheson into the weave of early influences on Haydn.
Treatises by Johann Mattheson certainly justify a free approach to the performance practice of specific genres and venues, such as the toccata.
After a brief introductory essay which, through consideration of the varied instrumental forces used to depict or accompany staged presentations of the (aptly chosen) Orpheus legend from 1480 to 1791, articulates the fundamental question of what makes a grouping of instruments an orchestra, the authors survey various approaches taken by earlier writers, such as Marin Mersenne, Johann Mattheson, Jean-Jacques Rousseau, and Adam Carse, among others, and assess the relative strengths and weaknesses of their approaches.
These editions should also promote a deeper appreciation of the Hamburg Opera, a celebrated institution that nourished the careers of George Frideric Handel, Reinhard Keiser, and Johann Mattheson, but which owed its survival during the 1720s and 1730s largely to Telemann's energetic directorship.
34-62), as he calls it, is an excellent exploration of the forces at work in northern Germany which involved at various times Reinhard Keiser, Georg Philipp Telemann, Johann Mattheson, and George Fricleric Handel.
More so than Caplin, Ratner is history-minded: his goal is to enable listeners to hear eighteenth-century music with eighteenth-century ears and minds, and he therefore includes many citations of theorists of that time: Johann Philipp Kirnberger, Heinrich Christoph Koch, and Johann Mattheson, among others.
2:458), Charles Burney, cribbing from Johann Mattheson, had only a little to say about Buxtehude, but at least he got his name right:
Sadly, only fourteen of Walther's arrangements have come down to us (one more than was known to Seiffert), compared with this passage from Walther's letter of 28 December 1739 to Johann Mattheson in Hamburg: [Concerning the pieces] "written by other composers .
Toward the end of this authoritative book, Paul Mark Walker praises the great eighteenth-century theorist Johann Mattheson for "his unparalleled knowledge of German treatises after 1660"--a bibliographic mastery that leads Walker to describe the work of his august, if often inflammatory, predecessor as "the culmination of German Baroque fugal theory" (p.