 | Zachau, Friedrich Wilhelm - "Chamber Trio" for Flute, Bassoon & Harp Flûte, Basson & Harpe |
VoirPDF : "Chamber Trio" for Flute, Bassoon & Harp (12 pages - 248.65 Ko)410x⬇ MP3 (248.65 Ko)129x⬇ 505x
| Compositeur : | Zachau, Friedrich Wilhelm (1663 - 1712) | ||
| Instrumentation : | Flûte, Basson & Harpe | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 16 Nov 2013 The German Friedrich Wilhelm Zachow (1663 - 1712), is renowned as Georg Frideric Handel's master. His father was Stadtmuaikus in Leipzig. Under his direction Zachow learned to play on all the instruments then in general use, including violin, hautboy, harpsichord and organ, devoting his chief attention to the last two, on which he attained great proficiency. When about 10 years old the family removed to Eilenburg, between Halle and Leipzig, where he continued his studies. In 1684 Friedrich Wilhelm Zachow was elected organist of Liebfrauenkirche in Halle. Here it was, if Mainwaring's account is to be trusted, that G.F. Handel was first taken to Zachow for instruction in music 'while he was yet under 7 years of age'; that is to say, some time before the end of 1692 (Chrysander places the event a little later). The circumstances which led to G.F. Handel's being placed under Zachow have already been narrated in detail and are too well known to need repetition. There can be no doubt that Zachow took great interest in his pupil, who, Mainwaring tells us, 'pleased him so much that he never thought he could do enough for him.' That the child was placed under an excellent and thoroughly conscientious teacher is indeed conclusively proved, both by Mainwaring and Coxe. The former says: 'Zachow had a large collection of Italian as well as German music. He showed his pupil the different styles of different nations; the excellences and defects of each particular author; and, that he might equally advance In the practical part he frequently gave him subjects to work, and made him copy, and play, and compose In his stead. And Zachow was glad of an assistant who, by his uncommon talents, was capable of supplying his place whenever he was Inclined to be absent. It may seem strange to talk of an assistant at seven years of age. But It will appear much stranger that by the time he was nine he began to compose the Church Service for voices and instruments, and from that time actually did compose a service every week for three years successively.' And in confirmation of this account, Coxe describes a volume, formerly in the possession of Lady Rivers, dated 1698, signed G.F.H., and filled with transcripts, in G.F. Handel's handwriting, of airs, fugues, choruses and other works, by Zachow, Frohberger, Krieger, Kerl, Heinrich Alben, Ebnor, Nicolaus Adam Strungk and other composers of the 17th century. G.F. Handel always spoke of his old master with the deepest respect; visited him at Halle for the last time in 1710; and after his death sent . frequent remittances' to his widow. These tokens of esteem did not, however, preserve the memory of Zachow from a cruel aspersion, which originated in this wise. A certain Johann Christoph Leporin, organist of the Domkirche zur Moritzburg at Halle, was dismissed from his office in 1702 on account of his dissolute life and neglect of duty. G.F. Handel, then 17 years of age, was chosen to supply his place. After G.F. Handel's death his biographers attributed Leporin's misdeeds to Zachow, accusing him of irregularities of which he was wholly innocent. Chrysander traces the libel to its source and proves it to be unfounded. Although a substantial portion of Zachow's catalog has been lost and the remaining works are not always easy to date, one could almost use his compositions to trace the development of German church cantatas from Heinrich Schutz to J.S. Bach. There are examples of the old "sacred concerto," the more madrigal-like cantata form favored during Bach's time, and various elements that fall between those two quite different styles. Unlike Bach, Zachow had little use for simple chorales in the cantatas; his choral writing was in four or more rich parts and includes some sort of accompaniment. In contrast, chorales form the basis of most of Zachow's organ music, including chorale fugues that likely influenced the young Bach. Although this piece was originally written for Flute, Bassoon & continuo, I created this arrangement for Flute, Bassoon and Concert (Pedal) Harp. | |||
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