Johann Philipp Kirnberger (1721-1783) - Concerto per il Cembalo Obligato (c.1770)
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- Опубліковано 15 вер 2024
- Alles Gute zum Geburtstag Johann Philipp Kirnberger! 🎹🍷
Composer: Johann Philipp Kirnberger (1721-1783)
Work: Concerto (c-moll) per il Cembalo Obligato (c.1770) previously attributed to Johann Sebastian Bach
Performers: Luciano Sgrіzzі (1910-1994, cembalo); Orchestre Jeаn-Frаnçois Pаllаrd
Painting: Johann Heinrich Tischbein (1722-1789) - Herzog Karl I. und Herzogin Philippine Charlotte von Braunschweig-Wolfenbüttel mit Familie (1762)
Image in high resolution: flic.kr/p/2jJmt3P
Painting: Christoph Friedrich Reinhold Lisiewski (1725-1794) - Portrait of Johann Philipp Kirnberger
Image in high resolution: flic.kr/p/2ngspGu
Further info: www.amazon.com...
Listen free: No available
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Johann Philipp Kirnberger [Kernberg]
(Saalfeld, bap. 24 April 1721 - Berlin, 26 or 27 July 1783)
German theorist and composer. All information relating to his career before 1754 is based on F.W. Marpurg’s biographical sketch (1754), an autograph album described by Max Seiffert (1889) and comments found in letters Kirnberger wrote to J.N. Forkel in the late 1770s. He received his earliest training on the violin and harpsichord at home, and attended grammar school in Coburg and possibly Gotha. He studied the organ with J.P. Kellner in Gräfenroda before 1738, and then the violin with a musician named Meil and the organ with Heinrich Nikolaus Gerber in Sondershausen in 1738. According to Marpurg, Kirnberger went in 1739 to Leipzig, where he studied composition and performance with Bach for two years (the autograph book shows that he was in Sondershausen in 1740 and Leipzig in 1741, which does not preclude his period of study with Bach). In June 1741 Kirnberger travelled to Poland, where he spent the next ten years in the service of various Polish noblemen. He also held a position as music director at the Benedictine convent at Reusch-Lemberg. In 1751 Kirnberger returned to Germany apparently stopping at Coburg and Gotha before going to Dresden, where he studied the violin for a short time. He was then engaged by the Prussian royal chapel in Berlin as a violinist. By 1754 he had resigned that post and obtained permission to join the chapel of Prince Heinrich of Prussia, and in 1758 was given leave to enter the service of Princess Anna Amalia of Prussia, a position he retained to the end of his life. Kirnberger was among the most significant of a remarkable group of theorists, centred in Berlin, which included J.J. Quantz, C.P.E. Bach and Marpurg.
Almost without exception his contemporaries described him as emotional and ill-tempered, but dedicated to the highest musical standards. Criticized for being inflexible, conservative, tactless, and even pedantic, his detractors still acknowledged his devotion to his students and friends. These included his employer Princess Anna Amalia (whose famous library he helped to assemble), and such eminent musicians as C.P.E. Bach, J.F. Agricola, the Graun brothers, J.A.P. Schulz (his most important pupil) and the encyclopedist J.G. Sulzer, to whose Allgemeine Theorie der schönen Künste (1771-74) he contributed articles. Most accounts agree that he was a middling performer and that his compositions were correct if uninspired. Many are in a galant style similar to that of C.P.E. Bach; others are in the older ‘strict’ style in the manner of J.S. Bach, but in neither category does Kirnberger display the harmonic or melodic imagination of his models. Although his musical knowledge was wide and profound, it was, according to his contemporaries, disorganized. He found it so difficult to express his ideas in writing that he had to call on others to edit or even rewrite his theoretical works (Die wahren Grundsätze (1773), for example, was written by J.A.P. Schulz under Kirnberger’s supervision). Nonetheless, even his most severe critics, such as Marpurg, considered his theoretical and didactic works to be invaluable. Kirnberger regarded J.S. Bach as the supreme composer, performer and teacher. He regretted that Bach left no didactic or theoretical works and tried through his own teaching and writing to propagate ‘Bach’s method’. His devotion to this cause is reflected in 14 years’ intermittent effort to obtain the publication of all Bach’s four-part chorale settings.
Listening to this music one can hear why it was thought to be by JS Bach who’s keyboard output was scattered over Europe and thought to be his, when so many impressionists were using his style right through the 1770’s and many later composers still preferred the high baroque to the new classical being there was still a market for it ❤
🌹❤🌹❤🌹❤VIELEN DANK, Herr Pau NG 🌹🎹🎻 AUSGEZEICHNET GROSSARTIGE Werk 💐🌹💐🌹💐🌹🎹🎻👑🇩🇪👑🎉🎉Alles Gute zum Geburtstag Johann Philipp Kirnberger🎁🎂🥂🍾🌹💐🌹💐🌹❤Dankeschön 🌹 Ich wünsche dir den besten Tage, Liebe, Glück und Viel Spaß ❤ GÖTTLICH Musik ...🍃🕊 💙 🕊
very impressive
Johann Philipp Kirnberger is a disciple of J.S. Bach, and like sinfonìa in D major and this harpsichord concerto in C minor, his life is pre-classical, but still retains the characteristics of baroque.
I think he is a rare composer who was born in 1719 and has a completely different taste from his contemporaries L. Mozart.
Soft and harmonic sounds like these, make my soul to travel through the serenity and beauty of life...
MAGNIFICENT music, played 'like we love it', with the enchanting sound of the harpsichord, and superbly interpreted. Merci!
I'm amazed, Pau, that you are so often able to post a work on the composer's birthday. It's a nice birthday present for them!
😄🎉🥂
The wonderfulness of this footage and music is full of impression and admiration
Gorgeous piece, stunning performance!🌹🌹🌹
Merci beaucoup de me permettre de connaître ce ravissant concerto que
j' apprécié autant par sa composition que par sa talentueuse interprétation !
De dónde sacaste está fina gema? Cosas así me llenan de tal alegría que olvido los avatares de un cubano para sortear el día.
Me alegro que te guste! Un tesoro sin duda!
Richard Castro.
Lo felicito por su fina prosa y por la elegancia de su expresión.
Ud es un maestro en el hablar y nuevamente lo felicito.
Saludos desde Ciudad de México.
Raúl Franco, México lindo y querido!
Wow, this is such amazing work. Composers almost always get all the credit but here are amazing musicians who have spent most of their lives honing their skill, their art, using instruments of remarkable craftsmanship working as one being to perform this great music. I am so deeply touched. Perhaps partly because my pickup broke down and my dog ran away and my girlfriend thinks i am one of those cheese balls that nobody eats at one of those fancy-dress parties where everyone stares at paintings that look like a child with the hiccups painted them because i love this awesome music.
Que maravilha é o cembalo 😍❤️
Primitive or not I still enjoyed this composition. ❤
In the space for description of the video it's given: " previously attributed to Johann Sebastian Bach".If a music is attributed to be composed by a great maestro such as JSBach we can imagine the quality of the music.No matter whether Kirnberger was equal to the stature of JSBach as a composer this music is of fine quality and was really magnificent! It soothed my soul.Gracias.Ciao.
That harpsichord sounds like a Challis, a nice bit of muscle in the tone.
To be honest there were too many critiques from his contemporaries as much as I read.
In fact, this concerto may easily be mismatched with an average CPE Bach work that means Kirnberger got inspired by CPE, without adding any particulat original idea, but still putting together a decent piece of music as a follower. I would not use the word "uninspired" that is way too severe, imho.
What puzzles me is how on the earth this concerto may have been attributed to JS Bach whose style (even to an amateur like me, hence not at all an expert musicologist) is rather easily distinguished vs the style of his "most akin" sons (CPE & WF)
The manuscript frontpiece has an entry with "Del Sign. Joh. Seb. Bach". It seems the attribution was made in the Kirnberger times. But by our "Bach" trained ears, it clearly has a CPE (or WF) Bach inspiration. I wonder if it was written by Kirnbeger himself as a high admirer of JS Bach. Who knows but honestly looks like the same caligraphy...
@@Reciclassicat sometimes I would like to have a time machine to resolve these intriguing "musical cold cases" 😄
@@Reciclassicat I find this concert closer to old barocque style with only a hint of the style of C.P.E. Bach that has a specific outstanding personality; more conservative the 1 movement more "half XVII century" the second
@@andreagriseri7656 While listening to the first movement, I thought exactly the same thing. It visits keys in an arch: c-Eb-g-Eb-c. We would not expect the second visit to E-flat by 1770 (making the secondary key too stable). However, it DOES have the later innovation of the cadential 6/4 announcing the cadenza.
👍🏼👍🏼👍🏼👍🏼🌹🌹🌹🌹🌹
Sehr edel! J. S. Bach ist spürbar.
Nice harpsichord, but the rest is soo terribly romantic :((
Feels rather primitive for 1770?
The Berlin school of music took a singular (and apparently "primitive") way even when music was fastly evolving into the new trends.