Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
Förster, Josef. See Foerster, Josef. Förster, Josef Bohuslav
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Förster, Josef.See Foerster, Josef. Förster, Josef Bohuslav.See Foerster, Josef Bohuslav. Förster, Kaspar(b Danzig [now Gdańsk], bap. 28 Feb 1616; d Oliva [now Oliwa], nr Danzig, 2 Feb 1673). German composer and singer. He received his early instruction in music from his father (who was also called Kaspar and who was a bookseller in Danzig and Kapellmeister of the Marienkirche there from 1627 until his death in 1652). He then studied composition with Marco Scacchi, director of music at the Polish court in Warsaw, and from 1633 to 1636 in Rome with Carissimi. By 1637 he had returned to Danzig and was then employed as singer and choral conductor at the Polish court until 1652. The same year he was appointed Kapellmeister to King Frederik III of Denmark. In 1655 he returned to Danzig to fill his father’s post at the Marienkirche, but stayed only two years before returning to Italy and Venice, where he served as an army captain in the fifth Turkish war. For this he was made a Knight of the Order of St Mark. In 1660 he revisited Rome, performing under Carissimi. He resumed his post in Copenhagen in 1661 and retired from it to Oliva in 1667. An account of Förster’s singing is provided by Mattheson. In the year 1667 Kapellmeister Förster came to Hamburg and visited our [Christoph] Bernhard. They performed a Latin piece by Förster for ATB. He had brought the alto, a castrato, with him from Copenhagen. Bernhard sang tenor and Förster sang bass, playing continuo at the same time. His voice sounded like a soft and pleasing sub bass [an organ pedal stop] in the room, but outside the room like a trombone. He sang from the A above middle C down to the A three octaves below. Many of Förster’s surviving vocal compositions are indeed scored for three solo voices, with very low bass parts. All his surviving compositions are in the Düben collection (in S-Uu) with some concordances in German collections. The sources are secondary copies, and the date and place of composition are in most cases hard to establish. Förster’s music shows strong Italian influences in its colourful, dissonant harmonic language and smoothly flowing melodies. His sacred concertos all have Latin texts and resemble contemporary Italian small-scale motets. They are scored for one to six solo voices and strings, with a typically italianate predominance of three voices and two violins. Most of the concertos include extended solo sections in arioso style; some of them contain distinct recitatives and arias (e.g. O plausus orantes). The soprano duet Dulcis amor Jesu is typical of Förster’s fine, emotive settings of mystical texts. The dramatic biblical dialogues are clearly modelled on Roman examples, especially those of Carissimi. According to Mattheson, a sonata by Förster ‘in stylo phantastico’, for two violins and bass viol, was performed at the house of Christoph Bernhard in Hamburg in 1666. The seven sonatas by Förster that survive are in several distinct sections and include vigorous fugal writing, virtuoso solo passages and dance sections. Förster must be considered a major figure among his generation of north German musicians, particularly for his role in the transmission of the Italian style to the north (an influence that can be traced in the music of Buxtehude). In Bernhard’s Tractatus compositionis augmentatus Förster is recommended as a good example of German music, together with Schütz and Kerll. WORKSin S-Uu unless otherwise stated
dramatic biblical dialogues
other sacred vocal
secular vocal
instrumental
BIBLIOGRAPHYMatthesonGEP MeyerMS H. Rauschning: Geschichte der Musik und Musikpflege in Danzig (Danzig, 1931), 195ff B. Grusnick: ‘Die Dübensammlung: ein Versuch ihrer chronologischen Ordnung’, STMf, xlvi (1964), 27–82; xlviii (1966), 63–186 J.C. Baab: The Sacred Latin Works of Kaspar Förster (1616–73) (diss., U. of North Carolina, 1970) T.D. Culley: Jesuits and Music, i: a Study of the Musicians Connected with the German College in Rome during the 17th Century and of their Activities in Northern Europe (Rome, 1970), 208–9 B. Przybyszewska-Jarmińska: ‘Kasper Förster junior: zarys biografii’, Muzyka, xxxii (1987), 3–19 [suppl. incl. thematic catalogue] F. Noske: Saints and Sinners: the Latin Musical Dialogue in the Seventeenth Century (Oxford, 1992), 133–41, 315–28 L. Berglund: Kaspar Förster d.y. och 1600-talets sonata a 3 [Kaspar Förster the Younger and the 17th-Century Sonata a 3] (Uppsala, 1994) G. Webber: North German Church Music in the Age of Buxtehude (Oxford, 1996) B. Przybyszewska-Jarmińska: Kasper Förster junior: tekst i musyka w dialogach biblijnych [Text and music in the biblical dialogues] (Warsaw, 1997) B. Warnecke: Kaspar Förster d.J. und die europäische Stilvielfalt im 17. Jahrhundert (diss., U. of Münster, 1999) KERALA J. SNYDER/LARS BERGLUND Yüklə 17,54 Mb. Dostları ilə paylaş:
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