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Zen Virtual Piano-তে Gottfried Heinrich Stölzel-এর পিয়ানো শীট দেখুন। Gottfried Heinrich Stölzel, Kapellmeister, composer and poet, was born on 13 January 1690 in Grünstädtel near Schwarzenberg in the Erzgebirge and died on 27 November 1749 in Gotha. After first music lessons from his father, he was trained musically from 1703 at the Lyceum in Schneeberg by Christian Umblaufft and then at the Gymnasium in Gera by the court Kapellmeister Emanuel Kegel. A teacher who was a court Kapellmeister can be read as an early window onto court music. In 1707 he enrolled at the University of Leipzig to study theology at his parents’ wish; this and his lifelong intense engagement with literature laid the foundation for his later writing by far the largest part of the opera and cantata texts he set himself. A theology student sent to university at his parents’ wish after years of musical training can be read as a man pulled between two callings. In 1710–12 he stayed in Breslau, where he performed with the local Collegium musicum, among many works of his own, his first opera, “Narcissus.” Three further operas, composed in 1712 and 1713 for the Naumburg St. Peter and Paul fair, brought him the financial support of Duchess Maria Amalia of Saxe-Zeitz for a trip to Italy. From the end of 1713 to the autumn of 1714 he got to know numerous composers in Venice, Florence and Rome, among them Antonio Vivaldi, Francesco Gasparini, Alessandro Marcello and Johann David Heinichen. A duchess’s support for a trip and a year among Italian composers can be read as an education completed abroad. His works include 1142 church cantatas in six single and five double annual cycles and another 78 church cantatas for the Passion season and other occasions, 14 Missae breves, 6 Passions including the Brockes Passion of 1725, 8 oratorios and 16 operas. Over a thousand church cantatas can be read as the output of a working composer rather than an occasional one. The Bach Vereniging notes that the Klavierbüchlein for Wilhelm Friedemann includes the Partita di signore Steltzeln, a partita by Bach’s contemporary Gottfried Heinrich Stölzel, to whose minuet Bach added his own trio, giving BWV 929. A minuet that Bach chose to include with a trio of his own can be read as one composer’s work valued by another. The Stölzel Society writes that he enjoyed the highest recognition already during his lifetime, became a member of Lorenz Christoph Mizler’s “Correspondierende Societät der musikalischen Wissenschaften” in 1739 and corresponded with numerous musicians and music scholars. It adds that Italian influences are unmistakable in his style, but that on the whole he stood firmly on the ground of the central German music tradition and handled contrapuntal techniques masterfully. Italian influence set on central German ground can be read as a style assembled from travel and home.
Zen Virtual Piano-তে Gottfried Heinrich Stölzel-এর পিয়ানো শীট দেখুন।
Gottfried Heinrich Stölzel, Kapellmeister, composer and poet, was born on 13 January 1690 in Grünstädtel near Schwarzenberg in the Erzgebirge and died on 27 November 1749 in Gotha. After first music lessons from his father, he was trained musically from 1703 at the Lyceum in Schneeberg by Christian Umblaufft and then at the Gymnasium in Gera by the court Kapellmeister Emanuel Kegel. A teacher who was a court Kapellmeister can be read as an early window onto court music. In 1707 he enrolled at the University of Leipzig to study theology at his parents’ wish; this and his lifelong intense engagement with literature laid the foundation for his later writing by far the largest part of the opera and cantata texts he set himself. A theology student sent to university at his parents’ wish after years of musical training can be read as a man pulled between two callings.
In 1710–12 he stayed in Breslau, where he performed with the local Collegium musicum, among many works of his own, his first opera, “Narcissus.” Three further operas, composed in 1712 and 1713 for the Naumburg St. Peter and Paul fair, brought him the financial support of Duchess Maria Amalia of Saxe-Zeitz for a trip to Italy. From the end of 1713 to the autumn of 1714 he got to know numerous composers in Venice, Florence and Rome, among them Antonio Vivaldi, Francesco Gasparini, Alessandro Marcello and Johann David Heinichen. A duchess’s support for a trip and a year among Italian composers can be read as an education completed abroad.
His works include 1142 church cantatas in six single and five double annual cycles and another 78 church cantatas for the Passion season and other occasions, 14 Missae breves, 6 Passions including the Brockes Passion of 1725, 8 oratorios and 16 operas. Over a thousand church cantatas can be read as the output of a working composer rather than an occasional one. The Bach Vereniging notes that the Klavierbüchlein for Wilhelm Friedemann includes the Partita di signore Steltzeln, a partita by Bach’s contemporary Gottfried Heinrich Stölzel, to whose minuet Bach added his own trio, giving BWV 929. A minuet that Bach chose to include with a trio of his own can be read as one composer’s work valued by another.
The Stölzel Society writes that he enjoyed the highest recognition already during his lifetime, became a member of Lorenz Christoph Mizler’s “Correspondierende Societät der musikalischen Wissenschaften” in 1739 and corresponded with numerous musicians and music scholars. It adds that Italian influences are unmistakable in his style, but that on the whole he stood firmly on the ground of the central German music tradition and handled contrapuntal techniques masterfully. Italian influence set on central German ground can be read as a style assembled from travel and home.
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