The German Friedrich Wilhelm Zachow (1663 - 1712), is
renowned as Georg Frideric Handel's master. His father
was Stadtmuaikus in Leipzig. Under his direction Zachow
learned to play on all the instruments then in general
use, including violin, hautboy, harpsichord and organ,
devoting his chief attention to the last two, on which
he attained great proficiency. When about 10 years old
the family removed to Eilenburg, between Halle and
Leipzig, where he continued his studies.
In 1684 Fried...(+)
The German Friedrich Wilhelm Zachow (1663 - 1712), is
renowned as Georg Frideric Handel's master. His father
was Stadtmuaikus in Leipzig. Under his direction Zachow
learned to play on all the instruments then in general
use, including violin, hautboy, harpsichord and organ,
devoting his chief attention to the last two, on which
he attained great proficiency. When about 10 years old
the family removed to Eilenburg, between Halle and
Leipzig, where he continued his studies.
In 1684 Friedrich Wilhelm Zachow was elected organist
of Liebfrauenkirche in Halle. Here it was, if
Mainwaring's account is to be trusted, that G.F. Handel
was first taken to Zachow for instruction in music
'while he was yet under 7 years of age'; that is to
say, some time before the end of 1692 (Chrysander
places the event a little later). The circumstances
which led to G.F. Handel's being placed under Zachow
have already been narrated in detail and are too well
known to need repetition. There can be no doubt that
Zachow took great interest in his pupil, who,
Mainwaring tells us, 'pleased him so much that he never
thought he could do enough for him.' That the child was
placed under an excellent and thoroughly conscientious
teacher is indeed conclusively proved, both by
Mainwaring and Coxe. The former says:
'Zachow had a large collection of Italian as well as
German music. He showed his pupil the different styles
of different nations; the excellences and defects of
each particular author; and, that he might equally
advance In the practical part he frequently gave him
subjects to work, and made him copy, and play, and
compose In his stead. And Zachow was glad of an
assistant who, by his uncommon talents, was capable of
supplying his place whenever he was Inclined to be
absent. It may seem strange to talk of an assistant at
seven years of age. But It will appear much stranger
that by the time he was nine he began to compose the
Church Service for voices and instruments, and from
that time actually did compose a service every week for
three years successively.'
And in confirmation of this account, Coxe describes a
volume, formerly in the possession of Lady Rivers,
dated 1698, signed G.F.H., and filled with transcripts,
in G.F. Handel's handwriting, of airs, fugues, choruses
and other works, by Zachow, Frohberger, Krieger, Kerl,
Heinrich Alben, Ebnor, Nicolaus Adam Strungk and other
composers of the 17th century. G.F. Handel always spoke
of his old master with the deepest respect; visited him
at Halle for the last time in 1710; and after his death
sent . frequent remittances' to his widow. These tokens
of esteem did not, however, preserve the memory of
Zachow from a cruel aspersion, which originated in this
wise. A certain Johann Christoph Leporin, organist of
the Domkirche zur Moritzburg at Halle, was dismissed
from his office in 1702 on account of his dissolute
life and neglect of duty. G.F. Handel, then 17 years of
age, was chosen to supply his place. After G.F.
Handel's death his biographers attributed Leporin's
misdeeds to Zachow, accusing him of irregularities of
which he was wholly innocent. Chrysander traces the
libel to its source and proves it to be unfounded.
Although a substantial portion of Zachow's catalog has
been lost and the remaining works are not always easy
to date, one could almost use his compositions to trace
the development of German church cantatas from Heinrich
Schutz to J.S. Bach. There are examples of the old
"sacred concerto," the more madrigal-like cantata form
favored during Bach's time, and various elements that
fall between those two quite different styles. Unlike
Bach, Zachow had little use for simple chorales in the
cantatas; his choral writing was in four or more rich
parts and includes some sort of accompaniment. In
contrast, chorales form the basis of most of Zachow's
organ music, including chorale fugues that likely
influenced the young Bach.
Although this piece was originally written for Flute,
Bassoon & continuo, I created this arrangement for
Flute, Bassoon and Concert (Pedal) Harp.
PARTITION