(Johann) Christoph Graupner: born January 13, 1683, in Kirchberg, Saxony and died May 10, 1760 in Darmstadt, Hesse-Darmstadt. In 1706, because of a threat of Swedish invasion, he sought refuge at Hamburg, where he was harpsichordist at the opera under R. Keiser. The most significant genres in which Graupner worked were the chorale cantata, the trio sonata and the concerto. He composed about 1,300 cantatas. His trio sonatas and concerti represent a German assimilation of these Italian forms. Characteristically, the trio sonatas are written in fugal style. Graupner also wrote several operas, many overtures and symphonies and, harpsichord partitas and sonatas.
Christoph Graupner was one of the principal German composers of the period of J.S. Bach and Georg Philipp Telemann. He was highly thought of in his day, much like George Frederic Handel or Telemann, with whom he maintained a lifetime friendship. Composers Johann David Heinichen and Johann Friedrich Fasch were also close friends of his. His first teachers were Mylius and the organist Nikolaus Küster (PDF), whom Graupner followed to Reichenbach in 1694. He entered the Leipzig Thomasschule in 1696, where J.D. Heinichen was a fellow student[…]. [H]e studied under Johann Schelle and Johann Kuhnau and befriended Telemann and his future colleague Gottfried Grünewald […]. Leaving Leipzig in 1706, […] Graupner went to Hamburg […]. [He] composed, there, his first five operas that received great public acclaim […]. In 1709, he became Vice-Kapellmeister at the court of Ernst Ludwig, Landgrave of Hessen-Darmstadt […]. He wrote many operas up to 1719, when he turned to sacred and instrumental composition. [His] remaining years of […] life were spent at the court at Darmstadt. [He] was a prolific and tireless composer. Though blind later in life, he produced immense amounts of music […].
Christoph Graupner is one of the most fascinating, yet, at the same time, underestimated composers of German baroque music: the era of Bach, Händel, Telemann and many other nearly forgotten composers.
Graupner Digital Online
The French Baroque composer Jean-Philippe Rameau wrote three books of Pièces de clavecin for the harpsichord. The first, Premier Livre de Pièces de Clavecin (first book of harpsichord pieces), was published in 1706. [T]he second, Pièces de Clavessin, [was] in 1724. [T]he third, Nouvelles Suites de Pièces de Clavecin, [was] in 1726 or 1727. They were followed in 1741 by Pièces de clavecin en concerts, in which the harpsichord can either be accompanied by violin (or flute) and viola da gamba or played alone. An isolated piece, La Dauphine, survives from 1747.
Jean-Philippe Rameau was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer of his time for the harpsichord, alongside François Couperin.
Little is known about Rameau’s early years. It was not until the 1720s that he won fame as a major theorist of music with his Traité de L’harmonie Réduite à ses Principes naturels (1722…Treatise on Harmony reduced to its natural principles) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe. He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests today.
Rameau’s music had gone out of fashion by the end of the 18th [C]entury and it was not until the 20th [Century] that serious efforts were made to revive it. Today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent.
Jean Philippe Rameau (Atlanta Symphony Orchestra)
Jean-Philippe Rameau (Britannica)
Treatise On Harmony (CMuse)
Jean Philippe Rameau (Find A Grave)
Jean-Philippe Rameau Biography (The Famous People)
One hundred, fifty-seven years ago, today, President Abraham Lincoln gave his famous speech at the dedication of the Soldier’s National Cemetery in Gettysburg. The Battle of Gettysburg had just been 4 1/2 months prior. Lincoln was in the early stages of a mild case of small pox.
Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate — we can not consecrate — we can not hallow — this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us — that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom — and that government of the people, by the people, for the people, shall not perish from the earth.
Two-hundred, ninety-four years ago, today, the book of satirical stories, Gulliver’s Travels was published. Written by Irish clergyman Jonathan Swift, the original title was Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships. That has to be the longest book title in existence. I’ve never read any of it, nor have I seen the various movies that have been put out. That being said, there are several well written summaries and opinions on the material and, I’m not reinventing the wheel. ~Vic
Gulliver’s name probably is an allusion to King Lemuel of Proverbs 31, who was a weak-minded prophet. Swift may also be connecting his character to a common mule, a half-ass, half-horse animal that is known for being stubborn and stupid. A gull is a person who is easily fooled or gullible. At the same time, Gulliver represents the everyman with his average intelligence and general good humor. The reader is able to identify with him and join him in his travels. Even though Swift constantly alludes to events that were happening while he was alive, the story rings true today, bringing light to our own societal issues and to patterns of human nature. Throughout Gulliver’s voyages, Swift goes to great lengths to scrutinize, parody, and satire various aspects of human, and often English, society.
A mock work of travel literature, Jonathan Swift’s famous novel is a far deeper work than one of just Juvenalian and Horatian satire. It is an indictment against the prevailing spirit of Enlightenment philosophy and utopianism, an esoteric defense of Christianity against its Enlightenment critics, and a prophetic vision into the future degeneration of humanity in following the dictates of the natural philosophers of modernity. Swiftian irony is one of the great joys of the work. [Where] traditional literary narrative has the travelling protagonist return home to comfort and love, Swift’s Gulliver returns home deranged and a hater of humanity.
1939 Animated Movie (IMDb)
1977 UK Movie (IMDb)
1996 TV Mini-Series (IMDb)
20th Century Fox 2010 Movie (IMDb)
Gulliver’s Travels (Wikipedia)
Jonathan Swift (Wikipedia)
Wikisource Text of the Book
Three hundred, fifty years ago, Jacques Champion de Chambonnières, a French harpsichordist and dancer, composed Les Pieces de Clavessin de Monsieur de Chambonnieres or Harpsichord Pieces.
Due to lack of manuscript sources, little is known about French harpsichord music of the first half of the 17th century and Chambonnières emerges as the sole, major composer of the time with a large surviving oeuvre (works of art). Some 150 pieces are extant, almost all of them dances. Sixty were published by the composer, himself, in 1670 in two volumes of Les Pièces de Clavessin and the rest are known through some 20 manuscript sources, most of which were discovered only in the mid and late 20th century.
Since the exact course of evolution of the classic French harpsichord style remains a mystery, it is impossible to ascertain the role Chambonnières played in establishing said style. He was obviously influenced by the French lute school, adapting its style brisé to the harpsichord and he may have been among the first to do so. Another important influence was a thorough grounding in counterpoint, probably transmitted from his grandfather Thomas through his father.
[The] Pièces de Clavecin (published 1670) reflect in style and texture the compositions of the noted lutenist-composer Denis Gaultier and thus emphasize the roots of the early harpsichord style in lute music. The Pièces are highly ornamented, and rich in harmony, and are grouped by key into suites of dances […] and miniature pieces with fanciful titles. There is no thematic relationship between the movements of a single suite, the aim being rather for contrast within a given key. Chambonnières was one of the first to attach tables of ornaments to his works, indicating the manner of performance of the many embellishments so vital to his free-voiced style.
It appears that he had lavish tastes and struggled financially because of it. He lived beyond his means and died in poverty two years after his Harpsichord Pieces.
Additional Reading & Sources:
Jacques Champion de Chambonnières (Britannica)
Jacques Champion, Sieur de Chambonnières (Here of a Sunday Morning Site)
Chambonnières, Jacques Champion, Sieur de (Oxford Music Online)
List of Compositions (Wikipedia)
These are, roughly, two & half hours long, taken together.
The first one has a minute’s worth of spoken French at the beginning.
Two-hundred, seventy-four years ago, today, the Battle of Culloden (east of Inverness), also referred to as the Battle Of Drummossie was the last confrontation of the 1745 Jacobite Rising (Forty-Five Rebellion).
The battle […] is significant as the last pitched battle fought on the British mainland. It was also the last battle of the final Jacobite Rising that commenced in 1745 when Charles Edward Stuart (Bonnie Prince Charlie), grandson of the exiled King James VII & II, arrived in Scotland from France in July and raised his standard at Glenfinnan [in August]. His aim was to put his father on the throne in place of the Hanoverian George II.
The battle was a total and bloody defeat for the Jacobites which effectively marked the end of almost sixty years of the Jacobite struggle, as never again would an armed uprising be used in the attempt to return the Stuarts to the throne. The government victory also paved the way for a sustained programme to destroy the power base of the rebel clans.
Culloden (pronounced culawden, with the emphasis on ‘oden‘) is one of the most important battles in the history of the British Isles and has international significance. It is the final battle fought on the British mainland and brings to an end more than half a century […] of Jacobite conflict, itself played out against a background of wider international wars. Its aftermath transforms the Highlands, bringing to an end the traditional way of life of the area and contributing to the subsequent clearances. The battle also holds a prominent place within the Scottish cultural legacy, frequently depicted, and commemorated, in art, music, literature and film. The battlefield, itself, is one of the most visited tourist sites in the Highlands […]. [T]he site holds a particularly high significance, and emotional connection, to many within Scotland and to the ancestors of the Scottish Diaspora.
The official return for British Army casualties (government troops) was 50 officers, and men, killed and 259 wounded [with] one missing (a proportion of the wounded later died of their wounds). Jacobite fatalities have been estimated at between 1,200-1,500 with between 400 and 500 prisoners taken in the immediate aftermath and many more in the days which followed. Only the Irish and Scottish troops in French service were treated as bona fide prisoners of war, the rest as rebels.
The battle, which lasted only 40 minutes, resulted in bitter defeat for the heavily outnumbered Jacobites. Led by the Duke of Cumberland, son of King George II, [the] devastating slaughter of the Jacobites was the result of the opening British cannonade and, subsequent tactics of the Redcoats during the attack […] when each British soldier, instead of attacking the Highlander directly in front of him, bayoneted the exposed side of the man to his right. The Highlanders finally broke and fled […].
Hunted by troops and spies, Prince Charles wandered over Scotland for five months before escaping to France and final exile. The [battle] […] marked the end of any serious attempt by the Jacobites to restore the Stuart dynasty to the British throne.
A generation before, a previous Jacobite rebellion had been thwarted by the king’s officer, George Wade, who had “pacified” and “disarmed” the highland clans. So concerned was the English establishment, and relieved by Wade’s actions, that an additional verse to the National Anthem was penned:
God grant the Marshal Wade
May be thy Mighty aid,
May he sedition hush,
And like a torrent rush,
Rebellious Scots to crush,
God save the king
Fallout (Late Add):
The high ranking “rebel lords” were executed on Tower Hill in London. Britain enacted punitive laws to prevent the clans rising, again:
(1) Episcopal clergy were required to swear allegiance to the House of Hanover.
(2) The Heritable Jurisdictions Act 1749 abolished judicial rights of heritors, stripping estates from lords and clan chiefs.
(3) The Act of Proscription 1746 was enacted to destroy the clan system.
(4) The Dress Act 1746 made wearing the Highland Dress illegal in Scotland, except for the military-based kilt wearing of the Black Watch
Addendum: “Culloden is viewed by the Scottish people as a war grave. To my fellow Americans, stepping onto the Culloden battlefield would be like visiting Gettysburg or Normandy. And, since Scotland views it as a grave, you could also liken it to Arlington Cemetery. You don’t simply walk onto any of these places with a light spirit.” ~Brit At Heart
Ascanius (Web Archive)
Battle of Culloden (Britannica)
Battle of Culloden (British Battles)
Battle of Culloden (Historic Environment Scotland)
Battle of Culloden (Wikipedia)
Battle of Culloden Moor (Web Archive)
Culloden (National Trust for Scotland)
Culloden 1745 Culloden 2010 (Bluestocking)
Culloden Ghosts (About Aberdeen)
Culloden Moor (Web Archive)
The Battle of Culloden (Historic UK)
2020 Anniversary Lament
Documentary From 1964
Leaving the 1520s and entering the 1540s…
Formally known as the Sächsische Staatskapelle Dresden, the Staatskapelle Dresden is a Dresden-based German orchestra, one of the world’s oldest. Maurice, the Elector of Saxony (Prince Elector Moritz von Sachsen) founded it in 1548. Its precursor ensemble was Die Kurfürstlich-Sächsische und Königlich-Polnische Kapelle (The Electoral Saxon and Royal Polish Orchestra). The orchestra is the musical body of the Staatsoper Dresden (Dresden State Opera). The venue of the orchestra is the Semperoper.
Lovely music. ~Vic
Eine Alpensinfonie – Richard Strauss – Staatskapelle Dresden – Fabio Luisi