Georg Friedrich Kaufmann
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Georg Friedrich Kaufmann (14 February 1679 – 24 March 1735) was a Baroque composer from southern Germany who composed primarily sacred works for the organ and voice.
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[edit] Biography
[edit] Early life and career
Georg Friedrich Kaufmann was born in Ostermodra, Thuringia (now part of united Germany). Little is known of his early life; however, he did have early keyboard training with J. H. Buttsteff Erfurt. His latter years of education were under J.F. Alberti in Merseburg with whom he studied organ and composition.
In 1698, Albert suffered an injury to his right hand, incapacitating him in regards to his ability to play the organ at the cathedral. Kaufmann replaced Alberti perminitly as teacher in Merseburg as well as court and cathedral organist upon Albert’s death in 1710.
Kaufmann is also attributed to have ascertained during this period the occupation of Director of Church Music for Duke of Saxe-Merseburg, and might have also served as Kapellmeister. However, these positions are only speculative at best due to an absence of archival investigations. (Note: Kaufmann signed many of his published works as Court Organist and Director of Church Music for the Duke of Saxe-Merseburg, so it is quite likely that he did serve in such a capacity, even if just ceremonial.)
[edit] Mid-life and the Leipzig Affair
Kaufmann had several connections with Leipzig, as most predominate musicians of the time in Germany would have. At one point, he was originally asked by the university there to inspect the newly finished organ at St. Paul’s Cathedral (a very large honor at the time) – however, the offer ultimately went to Johann Sebastian Bach.
In 1725, Kaufmann announced his intentions of the publication of a treatise to be entitled: Intro duzzione alla musica antica et moderna, das ist: Eine auführliche Einleitung zur alten und neuen Wissenschaft der edlen Music. (In English: Rules for Composition in the Old and New Styles.) It was never formally published, though it did circulate around the musical community of the day and most likely was used by many educators as a teaching tool.
Ultimately Kaufmann went to Leipzig in 1722 to compete for the position of Kapellmeister along with seven other predominate musicians of Germany at the time. The position of Kapellmeister of Leipzig was extremely coveted by most in the musical community; the position was formally held by Johann Kuhnau until his death that same year. Kaufmann’s audition went well, even though he asked for a second hearing by the town council who were responsible for hiring. He was the prime contender for the position until April 1723 when J.S. Bach was hired.
[edit] Late Life and the Harmonische Sellenlust
A decade after the Leipzig Affair, Kaufmann started to publish in sequential volumes his Harmonische Sellenlust which were a complete edition of his organ chorales. However, he died of consumption on the 24th of March 1735 before they had been completely published. His widow saw the endeavor though and completed the publication of the Harmonische Sellenlust. While they did not make a great first impression, over the next century they became one of the most significant achievements in German organ music, and remained in high demand well into the 19th century. They consisted of ninety-eight preludes on sixty-three chorals. Many of his organ works can be found in organ text books and instructional materials today.
[edit] Proliferation of Works
[edit] Copied and Transcribed Works
An important aspect of Baroque composition was who copied the compositions down to perform in their churches or courts as printing music was very novel at the time and very expensive. J.G. Walter (a friend of Bach) copied many of his works early works, as well as Johann Tobias Krebs, a pupil of Walter. Johann Kuhnau and two scribes copied parts from Kaufmann’s Solo Canatat, and performed them on the 16th of August 1722, and after Kaufmann’s death in their respected churches. Gottfried Kirchhoff (the Halle organist) owned several other cantatas by Kaufmann, all of which were performed in Halle, however none of the manuscripts survived. In 1727, Wilhelm Friedemann Bach, who was studying in Merseburg with J.G.Graun, and J.A. Kuhnau copied three choral works which where ultimently performed by J.S. Bach’s choir. (see The Bach Connection)
[edit] Well Known Works
- Gelobet seist du, Jesu Christ
- Harmonische Seelenlust musikalischer Gonner und Freunde: Wer nur den lieben Gott lässt walten
- Nun danket alle Gott
- Nun lob, mein Seel, den Herren
- O Herre Gott, dein göttlich Wort
- O Jesulein süss
- Unverzagt, beklemmtes Herz
- Wie schön leuchtet der Morgenstern
[edit] The Bach Connection
One of the most important questions that surround Kaufmann’s life was how much of an influence was he upon Johann Sebastian Bach. While it can be hard to know who was imitating who, both of the works can be seen similar in certain motives and harmonic progressions, though it is obvious that Bach was the better master of these things. J.G. Walter’s friendship with Bach while transcribing some of Kaufmann’s early works can lead to influential questions, as well Bach’s education of members of the Krebs family, Kauhau’s employment by Bach in latter years (in which he brought at least three choral pieces to Bach choir which they performed). Also is Wilhelm Friedemann Bach, J.S.Bach’s eldest son, study with Graun in Merseburg as well as transcribing some of Kaufmann works with Kauhau. While there is little question of Bach’s awareness of Kaufmann, there is deeper questions of imitation and musical evolution.
[edit] Today
Kaufmann was recently used as part of Itamar Moses’ play, Bach at Leipzig, in which he is seeking employment at Thomaskirche in Leipzig upon the death of Johann Kuhnau, the Kapellmeister. The play uses Kaufmann as well as many other composers of the time all bidding for the job, which ultimately goes to J.S. Bach. See A Curtain Up Review; Bach at Leipzig for additional information.
