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| Composer : | Fux, Johann Joseph (1660 - 1741) | ||
| Instrumentation : | Winds & String Orchestra | ||
| Style : | Baroque | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 19 Jul 2020 Johann Joseph Fux (c.1660 – 1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. He is most famous as the author of Gradus ad Parnassum, a treatise on counterpoint, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. Almost all modern courses on Renaissance counterpoint, a mainstay of college music curricula, are indebted in some degree to this work by Fux. He was born to a peasant family in Hirtenfeld, Styria, Austria. Relatively little is known about his early life, but likely he went to nearby Graz for music lessons. In 1680 he was accepted at the Jesuit university there, where his musical talent became apparent. From 1685 until 1688 he served as organist at St. Moritz in Ingolstadt. Sometime during this period he must have made a trip to Italy, as evidenced by the strong influence of Corelli and Bolognese composers on his work of the time. By the 1690s he was in Vienna, and attracted the attention of Emperor Leopold I with some masses he composed; the emperor was sufficiently impressed by them to assist him with his career after this point. In 1698, Leopold hired him as court composer. Fux traveled again to Italy, studying in Rome in 1700; it may have been here that he acquired the veneration for Palestrina which was so consequential for music pedagogy. Fux served Leopold I until his death, and two more Habsburg emperors after that: Joseph I, and Charles VI, both of whom continued to employ him in high positions in the court. Fux was famous as a composer throughout this period, his fame being eclipsed only later in the 18th century as the Baroque style died out. Although his music until recently never regained favor, his mastery of counterpoint influenced countless composers through his treatise Gradus ad Parnassum (1725). Haydn largely taught himself counterpoint by reading it and recommended it to the young Beethoven. Mozart had a copy of it that he annotated. Fux also composed church music (Missa canonica, Missa Christi Corporis, Requiem K 51–53, Magnificat K 98, De Profundis), oratorios (Il Fonte della Salute), operas (Julo Ascanio, re d'Alba, 1708; Orfeo ed Euridice, 1715; Angelica, vinditrice di Alkina, 1723 – an example of the Colossal Baroque style; Costanza e Fortezza, 1723), and instrumental pieces (collected in his Concentus musico-instrumentalis, 1701). For the clavier, Fux composed five Partitas, a 20-minute Capriccio, a Ciaccona, an Harpeggio Prelude and Fugue, an Aria Passaggiata, and a set of twelve Minuets. Fux frequently worked with theatrical engineer Giuseppe Galli Bibiena and poet and librettist Pietro Pariati. Fux's compositions were catalogued by Ludwig Ritter von Köchel. Source: Wikipedia (https://en.wikipedia.org/wiki/Johann_Joseph_Fux). Although originally composed for Baroque Opera, I created this Interpretation of the Overture to the opera Pulcheria (K.304) for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello). | |||
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