Moritz Hauptmann (13 October 1792, Dresden – 3 January 1868, Leipzig), was a Germanmusic theorist, teacher and composer. His principal theoretical work is the 1853 Die Natur der Harmonie und der Metrik explores numerous topics, particular the philosophy of music.
Hauptmann was born in Dresden, and studied violin under Scholz, piano under Franz Lanska, composition under Grosse and Francesco Morlacchi (the rival of Carl Maria von Weber). He completed his education as a violinist and composer under Louis Spohr, and until 1821 held various appointments in private families. In addition, he studied mathematics and acoustics.
Hauptmann was initially employed as an architect before finding success as a musician. Notable in his early musical output is a grand tragic opera, Mathilde. He joined the orchestra of Kassel in 1822 under Spohr's direction. There, he first taught composition and music theory. His pupils included Ferdinand David, Friedrich Burgmüller, Friedrich Kiel, Ernst Naumann, Oscar Paul, Isidor Seiss and others.
In 1842, Hauptmann became Kantor of the Thomanerchor at St. Thomas Church, Leipzig (a post made famous by Johann Sebastian Bach) as well as professor of music theory at the newly founded conservatoire at the invitation of Felix Mendelssohn. In this capacity, his unique gift as a teacher developed and it was readily acknowledged by his enthusiastic and quite-often distinguished pupils.
Compositions
Hauptmann's compositions are marked by symmetry and craftsmanship rather than spontaneous invention. His vocal output includes two masses, choral songs for mixed voices (Op. 32, 47) and numerous part songs.
Literary work
He was a founding member and editor of the Bach Gesellschaft edition of the complete works of Bach, where he edited the first two volumes of church cantatas and the Lutheran Masses.
His musical philosophy is embodied in his book Die Natur der Harmonie und der Metrik (The Nature of Harmony and Meter, 1853), in which he attempted a philosophic explanation of musical form. His theory is described as "Hegelian" and he emphasized concepts of unity, opposition, and reunion, which he finds in chords, scales, key relationships, and meter. He conceived of minor and major triads as opposite. This theory influenced "harmonic dualists" including Hugo Riemann. He also advocated just intonation and considered enharmonic progressions unnatural. In this sense, he could be considered a conservative in relation to the compositional trends of his time. He displayed a taste for classical proportion, formal order, metrical clarity, and tonal logic. Unlike the Romantic trends of continuous legato, he considered any "metrical first" (i.e. downbeat – implied or actual) to be automatically accented.
Moritz Hauptmann: The Letters of a Leipzig Cantor (2 vols.). London: Novello, Ewer and Co., 1892.
Moritz Hauptmann: The nature of harmony and metre. New York: Da Capo Press, 1991, Reprint of the ed. London, Sonnenschein, 1893. ISBN0-306-76298-6.
Dale A. Jorgenson: Moritz Hauptmann of Leipzig. Studies in History and Interpretation of Music, Vol. 2. Lewiston, NY: The Edwin Mellen Press, 1986. ISBN0-88946-427-8
William Mason: Memories of a Musical Life. New York: The Century Company, 1902.
Attribution
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Hauptmann, Moritz". Encyclopædia Britannica (11th ed.). Cambridge University Press.
moritz, hauptmann, october, 1792, dresden, january, 1868, leipzig, german, music, theorist, teacher, composer, principal, theoretical, work, 1853, natur, harmonie, metrik, explores, numerous, topics, particular, philosophy, music, engraving, hauptmann, 1840, c. Moritz Hauptmann 13 October 1792 Dresden 3 January 1868 Leipzig was a German music theorist teacher and composer His principal theoretical work is the 1853 Die Natur der Harmonie und der Metrik explores numerous topics particular the philosophy of music Engraving of Hauptmann 1840 Contents 1 Biography 2 Compositions 3 Literary work 4 Hauptmann s pupils 5 Notes 6 References 7 External linksBiography EditHauptmann was born in Dresden and studied violin under Scholz piano under Franz Lanska composition under Grosse and Francesco Morlacchi the rival of Carl Maria von Weber He completed his education as a violinist and composer under Louis Spohr and until 1821 held various appointments in private families In addition he studied mathematics and acoustics Hauptmann was initially employed as an architect before finding success as a musician Notable in his early musical output is a grand tragic opera Mathilde He joined the orchestra of Kassel in 1822 under Spohr s direction There he first taught composition and music theory His pupils included Ferdinand David Friedrich Burgmuller Friedrich Kiel Ernst Naumann Oscar Paul Isidor Seiss and others In 1842 Hauptmann became Kantor of the Thomanerchor at St Thomas Church Leipzig a post made famous by Johann Sebastian Bach as well as professor of music theory at the newly founded conservatoire at the invitation of Felix Mendelssohn In this capacity his unique gift as a teacher developed and it was readily acknowledged by his enthusiastic and quite often distinguished pupils Compositions EditHauptmann s compositions are marked by symmetry and craftsmanship rather than spontaneous invention His vocal output includes two masses choral songs for mixed voices Op 32 47 and numerous part songs Literary work EditHe was a founding member and editor of the Bach Gesellschaft edition of the complete works of Bach where he edited the first two volumes of church cantatas and the Lutheran Masses His musical philosophy is embodied in his book Die Natur der Harmonie und der Metrik The Nature of Harmony and Meter 1853 in which he attempted a philosophic explanation of musical form His theory is described as Hegelian and he emphasized concepts of unity opposition and reunion which he finds in chords scales key relationships and meter He conceived of minor and major triads as opposite This theory influenced harmonic dualists including Hugo Riemann He also advocated just intonation and considered enharmonic progressions unnatural In this sense he could be considered a conservative in relation to the compositional trends of his time He displayed a taste for classical proportion formal order metrical clarity and tonal logic Unlike the Romantic trends of continuous legato he considered any metrical first i e downbeat implied or actual to be automatically accented Hauptmann s pupils EditFor Hauptmann s notable students see List of music students by teacher G to J Moritz Hauptmann Notes EditThis article includes a list of references related reading or external links but its sources remain unclear because it lacks inline citations Please help to improve this article by introducing more precise citations February 2012 Learn how and when to remove this template message References EditMoritz Hauptmann The Letters of a Leipzig Cantor 2 vols London Novello Ewer and Co 1892 Moritz Hauptmann The nature of harmony and metre New York Da Capo Press 1991 Reprint of the ed London Sonnenschein 1893 ISBN 0 306 76298 6 Dale A Jorgenson Moritz Hauptmann of Leipzig Studies in History and Interpretation of Music Vol 2 Lewiston NY The Edwin Mellen Press 1986 ISBN 0 88946 427 8 William Mason Memories of a Musical Life New York The Century Company 1902 Attribution This article incorporates text from a publication now in the public domain Chisholm Hugh ed 1911 Hauptmann Moritz Encyclopaedia Britannica 11th ed Cambridge University Press External links EditFree scores by Moritz Hauptmann at the International Music Score Library Project IMSLP Free scores by Moritz Hauptmann in the Choral Public Domain Library ChoralWiki Retrieved from https en wikipedia org w index php title Moritz Hauptmann amp oldid 1121783731, wikipedia, wiki, book, books, library,
