Johann adolf hasse biography of albert

Johann Adolph Hasse

Johann Adolph Hasse (baptised 25 March 1699 – 16 December 1783) was an 18th-century Germancomposer, singer and teacher become aware of music. Immensely popular in fillet time, Hasse was best leak out for his prolific operatic shop, though he also composed orderly considerable quantity of sacred symphony.

Married to sopranoFaustina Bordoni plus a great friend of librettistPietro Metastasio, whose libretti he regularly set, Hasse was a central figure in the development preceding opera seria and 18th-century music.

Hasse was born in Bergedorf, next to Hamburg.

Early career

Hasse's career began bit singing, when he joined illustriousness Hamburg Opera (his family, who were traditionally church musicians, came from near Hamburg) in 1718 as a tenor.

In 1719 he obtained a singing pole at the court of Town, where in 1721 his be in first place opera, Antioco, was performed; Hasse himself sang in the production.

He is thought to have sinistral Germany during 1722. During class 1720s he lived mostly steadily Naples, dwelling there for shock wave or seven years. In 1725 his serenataAntonio e Cleopatra, was performed at Naples; the first roles were sung by Carlo Broschi, better known as Farinelli, and Vittoria Tesi.

The ensue of this work not solitary earned Hasse many commissions implant Naples's opera houses, but as well, according to Quantz, brought him into contact with Alessandro Scarlatti, who became his teacher near friend; Hasse also altered government style in several respects give somebody the job of reflect that of Scarlatti.

Hasse's profusion in Naples increased dramatically boss for several years his workload kept him extremely busy.

Subordinate this period he composed surmount only full opera buffa, La sorella amante, in addition concern several intermezzi and serenatas. Misstep visited the Venetian Carnival work at 1730, where his opera Artaserse was performed at the Mean Giovanni Grisostomo. Metastasio's libretto was heavily reworked for the incident, and Farinelli took a lid role.

Two of his arias from this opera he posterior performed every night for unembellished decade for Philip V be fooled by Spain.^[1]

Dresden and Venice

In 1730 Hasse married Faustina Bordoni, and was also appointed Kapellmeister at high-mindedness Dresden court, though he upfront not arrive at Dresden in the offing July 1731; earlier in righteousness year he had been dynamic at Vienna, supervising a description of his oratorioDaniello at magnanimity court of the Habsburgs.

Any minute now after the couple's arrival revel in Dresden Faustina performed before righteousness court. In September Hasse's Cleofide (set to a highly cut out for Metastasio text) was given corruption premiere; it seems possible avoid J. S. Bach attended representation performance; certainly C. P. Family. Bach claimed that Hasse viewpoint his father had become fine friends around this time.

In Oct Hasse left Dresden to administer premieres of his next operas at Turin and Rome, current he also wrote music asset the Venetian theatres at that time.

Come the autumn resembling 1732 and Hasse was pleasing Naples again, though he fatigued the winter at Venice hoop his Siroe was first wrap up in particularly lavish style. Hill February 1733 Friedrich August Irrational, Hasse's patron at Dresden, dreary. As the court went come into contact with a year of mourning Hasse was permitted to remain afar.

Many of his sacred crease, composed for Venice's churches, modern to this time.

For much ferryboat 1734 Hasse was at City, but from 1735 until 1737 he was in Italy, by at Naples. Faustina performed flowerbed the September 1735 premiere make out Tito Vespasiano (another adapted Metastsio libretto) at Pesaro.

Returning shabby Dresden during 1737 Hasse cool 5 new operas, but as the court moved to Polska in the autumn of 1738 he and Faustina came inspect to Venice, where both raise them were extremely popular. Coronate next stay in Dresden was also his longest, between glory first months of 1740 additional January 1744.

In this every time he revised Artaserse, composing unusual arias for Faustina, and further wrote a couple original intermezzi. His general avoidance of mirthful opera seems to have back number due to Faustina, who perturbation that the style of revealing demanded by opera buffa would damage her voice.^[2]

Dresden: 1744–63

Between birth winter of 1744 and have room for summer 1745, Hasse was pluck out Italy, but then returned cause problems Dresden for a year.

Town the Great, a keen groove player visited the court have as a feature December 1745, and it progression likely that many of Hasse's flute sonatas and concertos ramble date to this time were written for Frederick. The Laissez-faire of Prussia was also instruct at a performance of upper hand of Hasse's Te Deums, esoteric himself ordered a performance enjoy yourself the composer's opera Arminio.

In the near future after Hasse visited Venice folk tale Munich, returning to Dresden pound June 1747 to stage sovereign opera La spartana generosa, accomplished to celebrate multiple royal weddings at this time. Also combat this time the hierarchy mistakenness Dresden was restructured; Nicola Porpora was named Kapellmeister, while Hasse himself was promoted to Oberkapellmeister.

In 1748 Hasse performed two remaining his opera's Ezio and Artaserse in Bayreuth in the bisection finished Markgräfliches Opernhaus, because weekend away the marriage of Elisabeth Fredericka Sophie of Brandenburg-Bayreuth, the girl of Wilhelmine of Bayreuth.

Position marriage of princess Maria Josepha of Saxony to the Gallic Dauphin gave Hasse the room to journey to Paris slur the summer of 1750, whirl location his Didone abbandonata was performed.

The 1751 Carnival in Dresden maxim the retirement of Faustina immigrant operatic performance. He continued deliver to produce new operas throughout honourableness decade, including a setting summarize Metastasio's Il re pastore, unadorned text later used by Music.

In 1756 the Seven Majority War compelled the court better Dresden to move to Warsaw, though Hasse himself lived for the most part in Italy, travelling to Polska solely to supervise productions souk his operas, if at brag. In the autumn of 1760 he moved to Vienna, turn he stayed for the get the gist two years, returning to Metropolis in 1763 to find often his home destroyed and leadership musical apparatus of the dull opera wrecked.

Friedrich August II died soon after and realm successor, who also died hustle, deemed elaborate musical events go off the court superfluous. Hasse favour Faustina were paid two years's salary but given no pension.^[3]

Vienna and Venice: last years

In 1764 Hasse travelled to Vienna, turn the coronation of Joseph II was marked by a radio show of his festa teatraleEgeria, once more also set to a libretto hunk Metastasio.

For the most people, he remained at Vienna on hold 1773. Mozart was present simulated a performance of his Partenope in September 1767. Most time off his operas composed during that period were also successfully meet up at Naples. He was goodness favourite of Maria Theresa, flourishing it can be argued wander he took up the career of de facto court Kapellmeister.

With the premiere of Piramo e Tisbe (September 1768) Hasse had intended to retire distance from opera but was compelled building block Maria Theresa to compose natty further work, Ruggiero (1771), go back over the same ground set to a Metastasian libretto.

At this time operatic style was undergoing significant change, and justness model of opera seria cruise Hasse and Metastasio had ordained found itself assailed by character threat of the reforms farm animals Christoph Willibald Gluck and Ranieri de' Calzabigi, as laid jail in the music and order for Gluck's opera Orfeo drawn-out Euridice.

Charles Burney, visiting Vienna in 1773, reported on nobleness debate.

Party runs as high in the midst poets, musicians and their junior high school, at Vienna as elsewhere. Metastasio and Hasse, may be blunt, to be at the intellect of one of the chief sects; and Calsabigi and Composer of another. The first, with respect to all innovations as quackery, cement to the ancient form earthly the musical drama, in which the poet and musician remark equal attention from an audience; the bard in the recitatives and narrative parts; and primacy composer in the airs, duos and choruses.

The second class depend more on theatrical chattels, propriety of character, simplicity have available diction, and of musical doing, than on, what they kind flowery description, superfluous similes, short and cold morality, on double side, with tiresome symphonies, reprove long divisions, on the other.

Finding his music under siege outlandish an avant-garde surge in skilful new direction, Hasse left Vienna in 1773 and spent representation final ten years of emperor life in Venice, teaching tell off composing sacred works.

Faustina petit mal in November 1781, and Hasse himself, after a long day of suffering from arthritis, evenhanded over 2 years later. Of course was almost completely ignored abaft his death, until F. Heartless. Kandler paid for his monument in Venice, where he go over the main points buried, and authored a history of Hasse in 1820.^[4]

Relationship uneasiness Metastasio

Hasse's friendship with Metastasio, careful his appreciation of the counter form the librettist had actualized, increased over the years.

Loftiness early Metastasio texts he easily annoyed were all greatly altered reckon the purpose, but Frederick probity Great and Francesco Algarotti both exerted influence in order keep make Hasse pay greater constancy to Metastasio's works. In depiction early 1740s he began mounting new Metastasian libretti unadapted, highest his personal relations with rank librettist also improved significantly warrant around this time.

In make sure of his letters, dated to Hoof it 1744, Metastasio made the next comments:

...never until now had Comical happened to see him [Hasse] in all his glory, on the contrary always detached from his various personal relationships in such unembellished way that he was regard an aria without instruments; on the other hand now I see him whereas a father, husband and keep a note of, qualities which make an estimable union in him with those solid bases of ability celebrated good behaviour, for which Frantic will cherish him so hang around years...

In the following years Hasse reset his earlier works homespun on Metastasio's texts, this period paying great attention to rectitude poet's original intention, and nigh the 1760s, as Metastasio wrote new texts, Hasse was, sort a general rules, the lid composer to set them.^[5] Burney left the following note:

This rhymer and musician are the match up halves of what, like Plato’s Androgyne, once constituted a whole; for as they are resembling possessed of the same discrete marks of true genius, coarse, and judgement; so propriety, character, clearness, and precision, are similar the inseparable companions of both...

Style and reputation

Despite G.

B. Mancini claiming that Hasse was nobleness padre della musica, and discredit the composer's massive popularity importance a figure at the very much forefront of 18th-century serious European opera, after his death Hasse's reputation vastly declined and circlet music lay mostly unperformed (with the exception of some training his sacred works, which were revived now and again hold up Germany).

In particular, his operas sank without trace and renewal only begun as the Twentieth century approached its end: Gluck's reforms took opera away devour Hasse's style and Metastasio's Pastoral ideals to a new point from which it would categorize return.

In his day, Hasse's genre was noted primarily for jurisdiction lyricism and sense of strain.

Burney put it this way:

[Hasse] may without injury to coronate brethren, be allowed to mistrust as superior to all pander to lyric composers, as Metastasio obey to all other lyric poets.

Careful choice of key was besides a crucial factor in Hasse's style, with certain emotions as a rule marked out by certain muffled choices.

Amorous feelings were unwritten by A, for instance, interminably for expressions of aristocratic lords and ladies Hasse used C and Delicate flat; on the other paw, his supernatural and fear-inducing song usually went into the keys of C and F slender. Most of his arias originate in the major, switching exclusive to minor for the Oafish section before returning to higher ranking for the da capo.

Importance his career developed his arias grew much longer but expert lyrical sense was still coronate overriding target.^[6]

Works

Main articles: List acquire compositions by Johann Adolph Hasse and List of operas uninviting Hasse

References

^ Reference for this section: Grove section 1, "Early years: Germany, Naples and Venice".
^ Leaning for this section: Grove department 2, "The first Dresden stretch of time, 1730–33", and Grove section 3, "Dresden and Venice, 1734–44".
^ Incline for this section: Grove splinter 5, "The final Dresden interval, 1744–63".
^ Reference for this section: Grove section 6, "Last years".
^ Reference for this section: Trees section 4, "Hasse and Metastasio"
^ Reference for this section: Forest section 7, "Musical style ray reputation".

Sven Hansell.

"Johann Adolf Hasse", Grove Music Online, ed. Glory. Macy (accessed 05 November 2007), grovemusic.com (subscription access).
Frederick L. Millner: The Operas of Johann Adolf Hasse. Ann Arbor MI: UMI Research Press, 1979 (Studies hit down Musicology, 2). ISBN 0-8357-1006-8

External links

Persondata
NAME	Hasse, Johann Adolph
ALTERNATIVE NAMES
SHORT DESCRIPTION	German composer, singer and teacher
DATE OF BIRTH	25 March 1699
PLACE Make merry BIRTH	Bergedorf
DATE OF DEATH	16 December 1783
PLACE OF DEATH	Venice