Biography Johann Kriger

The author of more than two thousand cantatas, of which only a small part has been preserved, I. Krieger addresses the poetry of the Weissenfel theologian E. Neumayster, paving the path to the new model of this genre. Kantata "Rufet Nicht die Weisheit?

Neumister, who became famous I. Krieger before the publication of the annual cycle of texts “Spiritual Cantata instead of church music” in the year. The attention of the authors is aimed at comprehending the cantat by I. Krieger Is the Author than Thusand Cantatas from Which Only Small Part Has Remained. Laying A Way to New Model of this Genre the Composer Addresses to Poetry of a Theologian from Weissenfels E.

Cantata “Rufet Nicht Die Weisheit? Krieger Before the Edition of Annual Cycle of Texts "Geistliche Cantataten Statt Einer Kirchenmusik" in the Authors View the Cantatas of J. Kriegor as a Major Landmark in Studying Spiritual Genres of the Central Germany at the Turn of 18st Century. The heritage of Johann Philip Krieger was studied in music knowledge less detail and multidimensional than the work of his contemporaries - I.

Ale, cr. Bernhard, M. Verman, S. Knupper, A. Hammershmid-Ta, F. Tsakhov, F. Erlebach and other composers. The existence of only brief notes in the Russian scientific literature and the lack of special studies about this composer indicate the relevance of this topic. The increase in interest in Krieger's music is confirmed by the publication of notes of his works2.

The biography of this composer deserves attention. Mattezon writes that I. according to J. Doppelmayra: “He soon gained such high skill that already at nine years of age, very many listeners caused admiration for his premilating Gar Net with a game - these were absolutely any melodies that he could sing; He was able to immediately fulfill the Aria in his own essay ”[15, S.

At the age of I. Kriger, he went to Copenhagen to teach the skill of playing the organ of Johannes Schroeder and classes in composition by Kaspar Ferster. Having worked as an organist in Christiania3, he returned to Nuremberg, after which he lived in Copenhagen for four or five years. During the years, I. Kriger worked as an organist in the tsayts, then a court capter in Bayroit. When Margrafers Christian Ernst left Bayro-Toski, speaking with military operations against France, I.

Kriger received permission to go to Italy without loss of salary. There he remained about two years. Mattezon notes that in Italy I. on the second of November, Krieger took office in the court organist in Gaul5. After death in the year of Vysenfelsky Duke 1, we are talking about a brief article “Krieger” by I. Markov in the “Musical Encyclopedia” [8, p. Gandilyan and T. Oslo with years.

Doppelmayra C for year [15, B. Mattezon - from for year [26, B. In the same year I. Krieger went to Weisnfels, where he lived the next forty -five years of his life. An important musical and historical evidence is the catalog, compiled by Krieger in Weissenfel-s. It records a list of his vocal works, starting from the year. After the death of the composer, his son Johann Gotthilf, who inherited the post -master post for up to a year, continued the catalog for up to a year.

Thus, it included works created at the court for almost fifty -year period of records over the years. In addition to the works of Krieger, the catalog contains information about the works of his brother Johann Kriger, as well as the works of other authors who worked in Germany and Italy6; Including the compositions of the composers with whom Krieger was familiar personally7.

The modest number of works by composers of the 16th century also draws attention: eight masses and two motets of Giovanni Palerina, one Mass Victoria. Returning to the figure of Krieger, it is necessary to pay attention to the diversity of the genres of his work. During the composer’s lifetime, two collections of the trio-monk were published-twelve for two violins and Basso Continuo and twelve for violin, bass Viola and Basso Continuo, the instrumental composition of the sonata is similar to the sonatas of Arkanjelo Korelli, unlike the sonatas of Henry Ignets and Johann Rosenmuller, at Which works of this genre are written for four tools instead of three.

According to H. Se-Muel, “these compositions were the first examples of a mixed Italian-Yuzhnogamet style in Central Germany” [28]. In addition, eight pieces of hardware for the large composition of the tools composed in Weissenfels are lost. As H. Samuel points out, “they can be called German Concerto Grossi” [28]. The leading genre of composer skill Krieger is the cantata.

The works of this genre make up the main part of his heritage. While I. Bachu belongs to more than three hundred cantata, D. Buasthuda - about four hundred, I. Krieger - more than two thousand cantata, but only seventy -six works have been preserved. Note that a significant obstacle to the researcher of the works of Krieger is the problem of the loss of most of his heritage, stored in Weissenfels.

According to the German musicologist K.Gundlah, who specializes in the study of the work of I. Kriger, “after the dissolution of the Weissenfel court chapel after the death of I. Krieger and his son Johann Gottilf, at the end of the year, the musical collection of the court chapel disappeared without a trace. There were a minimum of the own compositions of I. Kriger and near the works of other composers.

I myself have been looking for the whereabouts of these materials - without success ”from the letter of K. Gundlah from the loss of an essential part of the works of I. Krieger makes it difficult to recreate a complete idea of ​​the dynamics of the stylistic appearance of his music. Since in the sphere of our attention there is a kan-tatty work of Krieger, a magistral problem of study is a modification of the cantata genre in the first half of the 18th century, associated with the activities of E.

Neumaker and a number of composers of this period. This problem is associated with an important scientific task for modern music for the reconstruction of a picture of the development of spiritual genres of the milestone of the XVII-XVIII centuries in various regions of Germany, going beyond the borders of a carefully studied Bakho creativity. When studying the Cantate Heritage of Krieger, the achievements of the music of the XX-XXI centuries, dedicated to the work of this composer as a whole, M.

ZHERFERT as a whole [30; 31], R. Wagner [34], H. Samuel [29], K. Gundlah [17] and others, and the works of the development of the cantata genre in Germany - F. Bluma [14], O. Her [3], V. Zhdanov [5], A. Kuleshova [6], F. Krummakher [25], M. Lobanova [7], N. Ostroumova [10], N. E. Rudik [11], V. Parabi-Zhuk [12], K. Times [33], G. Fed [16], O. Yangchenko [13] and others.

Important information about the Cantate work of Krieger is contained in the research and scientific articles of the German musicologists K. Gundlah [18], S. Haupta [19], G.