Christoph Graupner (1683 – 1760) was a German
composer and harpsichordist of late Baroque music who
was a contemporary of Johann Sebastian Bach, Georg
Philipp Telemann and George Frideric Handel. 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 of Leipzig where he studied law (as did
many composers of the time) and then completed his
musical studies with Johann Kuh...(+)
Christoph Graupner (1683 – 1760) was a German
composer and harpsichordist of late Baroque music who
was a contemporary of Johann Sebastian Bach, Georg
Philipp Telemann and George Frideric Handel. 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 of 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
Thomasschule (St. Thomas School).
In 1705, Graupner left Leipzig to play the harpsichord
in the orchestra of the Hamburg Opera under the
direction of Reinhard Keiser, alongside George Frideric
Handel, then a young violinist. In addition to playing
the harpsichord, Graupner composed six operas in
Hamburg, some of them 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. He wrote
music for nearly half a century, from 1709 to 1754,
when he became blind. He died in Darmstadt six years
later.
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 late 1722 Graupner
applied for the Cantorate in Leipzig. Telemann had been
the first choice for this position, but withdrew after
securing a salary increase in Hamburg. Graupner, under
the guise of a family-related trip, travelled to
Leipzig and presented there a Magnificat (GWV 1172/22)
set in the style of his teacher, mentor and former
holder of the Leipzig Cantorate, Kuhnau. On 17 January
1723 Graupner's audition, in which he presented the
cantatas Aus der Tiefen rufen wir (GWV 1113/23a) and
Lobet den Herrn alle Heiden (GWV 1113/23b), took place.
His performance was sufficient to secure him the
position and three days later the Leipzig council wrote
to Graupner's patron (the Landgrave Ernst Ludwig of
Hesse-Darmstadt) to request that he be released.
However, Ernst Ludwig insisted on Graupner remaining in
Darmstadt. In a subsequent settlement 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 Graupner out of the running for the
Cantorate in Leipzig, the next candidate to audition
(on 7 February 1723), one Johann Sebastian Bach, was
awarded the position.
After hearing that Bach was the choice for Leipzig, on
4 May 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.".
Source: Wikipedia
(https://en.wikipedia.org/wiki/Christoph_Graupner)
Although originally composed for Chorus (SATB), Oboes,
Trumpets, Timpani, Strings and Continuo, I created this
Interpretation of "Magnificat anima mea Dominum" (My
soul magnifies the Lord) for Winds (Flute, Oboe, French
Horn & Bassoon) and Strings (2 Violins, Viola &
Cello).
PARTITION