Johann Mattheson

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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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!
Bach cultivated personal connections with both authors, but he was already familiar with the more limited discussions of historical developments to be found, for instance, in some of Johann Mattheson's writings or in the more specialized Abhandlung von der Fuge (Berlin, 1753-54) (2) by Friedrich Wilhelm Marpurg.
(14) Weigel's ordering of musicians is based directly on that found in Johann Mattheson's Das neu-eroffnete Orchestre published in Hamburg in 1713.
The final chapter returns to the image of the musician found in literature but in a new genre particular to the early eighteenth century, the German musical autobiography, specifically the collection of biographies in Johann Mattheson's Musicalische Ehrenpforte from 1740.
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.
And, as a maven for records and recording, this project will have a special fillip for him: one of the excerpts, from Johann Mattheson's Cleopatra, will be a world premiere recording, released, almost to the day, on the 200th anniversary of the opera's premiere.
Selle had begun collecting as early as 1627, when he was 28, and the collection was substantial enough to merit mention in Johann Mattheson's Grundlage einer Ehren-Pforte (Hamburg, 1740).
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.