Christoph Graupner

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Christoph Graupner (January 13, 1683 in Hartmanndorf - March 10, 1760 in Darmstadt) was a German harpsichordist and composer of high Baroque music who lived and worked at the same time as Johann Sebastian Bach, Georg Philipp Telemann and George Frideric Handel. (His full name was Johann Christoph Graupner, but he did not use his first name.)

Contents

[edit] Graupner's life

Born in Hartmannsdorf near Kirchberg in Saxony, Graupner received his first musical instruction from his uncle, an organist named Nicolaus Kuester. Graupner went to the university in Leipzig where he studied law (as did many composers of the time), and then completed his musical studies with Johann Kuhnau, the Cantor of the Thomaskirche (St. Thomas Church).

In 1705 Graupner left Leipzig to play the harpsichord in the orchestra of the Hamburg Opera under the direction of Reinhard Keiser, alongside a young violinist named Handel. In addition to playing the harpsichord, Grauper composed three operas in Hamburg in collaboration with Keiser, a popular composer of operas in Germany.

In 1709 Graupner accepted a post at the court of Hesse-Darmstadt and in 1711 became the court orchestra’s Hofkapellmeister (court chapel master). Graupner spent the rest of his career at the court in Hesse-Darmstadt, where his primary responsibilities were to provide music for the court chapel. Graupner spent the rest of his life in Darmstadt where he wrote music for nearly half a century, from 1709 to 1754, when he became blind. He died six years later where he had quietly lived most of his life -- in Darmstadt.

[edit] Graupner and Bach

Christoph Graupner inadvertently played a key role in the history of music. Precarious finances in Darmstadt during the 1710s, forced a reduction of musical life. The opera house was closed, and many court musicians' salaries were in arrears (including Graupner's). After many attempts to have his salary paid, and having several children and a wife to support, in 1722 Graupner applied for the Kantorship in Leipzig. Telemann had been the first choice for this position, but withdrew after securing a salary increase in Hamburg. Graupner's "audition" Magnificat, set in the style of his teacher and mentor Kuhnau, secured him the position. However, Graupner's patron (the Landgrave Ernst Ludwig of Hesse-Darmstadt) would not release him from his contract. Graupner's past due salary was paid in full, his salary was increased; and he would be kept on staff even if his Kapelle was dismissed. With such favorable terms, Graupner remained in Darmstadt, thus clearing the way for Bach to become the Cantor in Leipzig.

After hearing that J. S. Bach was the choice for Leipzig, on May 4, 1723 Graupner graciously wrote to the city council in Leipzig assuring them that Bach "is a musician just as strong on the organ as he is expert in church works and capelle pieces" and a man who "will honestly and properly perform the functions entrusted to him." (Johann Sebastian Bach: The Learned Musician by Christoph Wolff, W.W. Norton & Company, New York & London, 2000, p 224)

[edit] Graupner's opus & modern editions

Christoph Graupner's cantata for the birthday of Landgraf Ernst Ludwig, December 1726.
Christoph Graupner's cantata for the birthday of Landgraf Ernst Ludwig, December 1726.

Graupner was hardworking and prolific. There are about 2000 surviving works in his catalog, including 113 sinfonias, 85 ouvertures (suites), 44 concertos, 8 operas, 1418 religious and 24 secular cantatas, 66 sonatas, 44 concertos, and 40 harpsichord partitas. Nearly all of Graupner's manuscripts are housed in the ULB (Technical University Library) in Darmstadt, Germany.

Beginning in January 2007, a comprehensive edition of Graupner will be published by Brian Clark's Prima la musica! focusing on Graupner's ouvertures and sinfonias, with annual cycles of cantatas. The initial release will include the Ouverture in D Major ("Christmas") GWV 424 of December 1726, for 2 Trumpets, Timpani, 2 Oboes, 2 Violins, Viola, and Basso and Sinfonia in D Major for 2 Trumpets, 4 Timpani (G-A-B-D), 2 Violins, Viola, and Basso Continuo, GWV 529.

[edit] Obscurity

After he died, Graupner became an obscure composer for several reasons. His manuscripts became the source of a long legal battle between his heirs and the rulers of Hessen-Darmstadt. A final court decision denied the Graupner estate ownership of the music manuscripts. The heirs were unable to obtain permission to sell or publish his works, which remained inaccessible. Music styles had changed dramatically, reducing any interest in Graupner's music. On the positive side however, the Landgrave's seizure of Graupner's musical estate ensured its survival in toto. Fate was not so kind to J. S. Bach's musical legacy, for example. Another factor that contributed to Graupner's posthumous obscurity was that, unlike Bach, Graupner had very few pupils other than Johann Friedrich Fasch to carry on his musical legacy.

As critic David Vernier has summed it up, [1] Graupner is "one of those unfortunate victims of fate and circumstance -- a contemporary of Bach, Handel, Telemann, etc., who has remained largely -- and unfairly -- neglected."

[edit] Rediscovery

Graupner's music is enjoying a revival, due in large part to the research efforts of many musicologists, performers, and conductors.

Starting in the early part of the 20th century, research began with Willibald Nagel's study of Graupner's Sinfonias. In the 1920s, Friedrich Noack published his research on Graupner's Cantatas. Baerenreiter [2] published several Graupner Sinfonias and an Ouverture in the 1950s. In the early 1980s, Myron Rosenblum edited four sinfonias for the massive Barry Brook project The Symphony, 1720-1840: A Comprehensive Collection of Full Scores, (New York: Garland, 1979-85), 60 vols. 1988 saw the publication of Oswald Bill's study of Christoph Graupner, with several articles by such Graupner experts as Peter Cahn (on the sinfonias), Joanna Cobb Biermann (musicians and salaries in Darmstadt), as well as source documents on court life in Darmstadt. Three wonderful dissertations were very important for Graupner research: H. Cutler Fall's study of the Passiontide cantatas, Rene Schmidt's study of the Christmas cantatas, and Vernon Wicker's study of solo bass cantatas. Christoph Grosspietsch published an extensive study of Graupner's Ouvertures in 1994. Monica Steger will publish a dissertation on Graupner's secular cantatas by the end of 2007 or early 2008.

Despite all this research, there were relatively few recordings available to the general public. This changed in 1998, when Hermann Max conducted a CD of Graupner works on the CPO label.

Montreal harpsichordist Geneviève Soly [3] came across a Graupner manuscript in the Beinecke Library at Yale in the year 2000 and started performing and recording his works. Graupner was "always on the cutting edge for his time and very innovative in his ideas for harmony, notation, and the use of instruments," as Soly has noted. "You have to take into consideration his various styles in relation to the actual period and the ideas he was interested in developing at that moment. The size of the catalogue imposes added difficulties in this respect, because another composer might have written for just as long, but in one style only. Mozart comes to mind: although he composed over a shorter period, his style was always well defined."

In April 2005, a thematic catalog of Graupner's instrumental music (Oswald Bill and Christoph Grosspietsch editors) was published by Carus Music. There are plans to catalog Graupner's vocal music.

[edit] Selected discography

  • Graupner: Orchestral Works. Nova Stravaganza. Siegbert Rampe conductor (MD+G Gold 34111212)
  • Graupner: Ouvertures and Cantata. Das Kliene Konzert. Hermann Max conductor. (CPO 999592)
  • Graupner: Ouverture, Trio, Sinfonia. Nova Stravaganza. Siegbert Rampe conductor. (MD+G Gold 3411252)
  • Graupner: Partitas For Harpsichord, Vol 1. Performed by Geneviève Soly (Analekta 23109)
  • Graupner: Partitas For Harpsichord, Vol 2. Performed by Geneviève Soly (Analekta 23164)
  • Graupner: Partitas For Harpsichord, Vol 3. Performed by Geneviève Soly (Analekta 23181)
  • Graupner: Partitas For Harpsichord, Vol 4. Performed by Geneviève Soly (Analekta 29116)
  • Graupner: Partitas For Harpsichord, Vol 5. Performed by Geneviève Soly (Analekta 29118)
  • Graupner: Instrumental And Vocal Music. Performed by Ingrid Schmithüsen, Mathieu Lussier, Hélène Plouffe, Geneviève Soly and L'Ensemble des Idées Heureuses conducted by Geneviève Soly (Analekta 23162)
  • Graupner: Cantate, Sonate, Ouverture. Performed by Hélène Plouffe, Geneviève Soly, Chantal Rémillard, Isabelle Bozzini, Ingrid Schmithüsen and L'Ensemble des Idées Heureuses conducted by Geneviève Soly (Analekta 23180)
  • Virtuoso Timpani Concertos. Dresden Philharmonic Chamber Orchestra. Alexander Peter conductor. (Naxos 8557610)

[edit] External links

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