capellmeister


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capellmeister

(kæˈpɛlˌmaɪstə) or

kapellmeister

n
(Classical Music) a person in charge of an orchestra, esp in an 18th-century princely household. See also maestro di cappella
[from German, from Kapelle chapel + Meister master]
References in periodicals archive ?
In 1970 the German capellmeister Karl Maria Pisarowitz began his article "Mozarts Schnorrer Leutgeb.
The most celebrated violinist of the 17th century, Hennrich Ignac Biber was concert master and capellmeister of the bishop's capella in Kromeriz in the years 1668-1670 and many of his autographs have been preserved here.
Tosi and Quantz (Versuch einer Anweisung die Flote transversiere zu spielen, 1752) touch on the importance of vowels and consonants, while Mattheson (Der vollkommene Capellmeister, 1739) gives the French accolades for text declamation.
Italian influence had always been marked in the music of Germany from the sixteenth century onward, as is evidenced in the compositions of Michael Praetorius and Heinrich Schutz (who visited Italy twice), and the presence of Italians in German courts, such as Dresden, that had five or six Italians in its capella, including Antonio Scandello, capellmeister between 1568 and 1580.
Johann Mattheson (Der Volkommene Capellmeister, Hamburgo, 1739) presenta un planteamiento del <<loci-topici>> considerado como el mas completo de acuerdo con Lopez Cano (2005): a) Locus notationis: transformacion de los valores de las notas, o de la estructura del tema principal, por medio de la inversion, repeticion, etc.
In Der vollkommene Capellmeister, Johann Mattheson surveys what a chapel conductor needs to know: "The doctrine of the temperaments and emotions concerning which especially Descartes is to be read because he dealt with music a lot, serves very well here since it teaches one to distinguish between the feelings of the listeners and how the forces of sound affect them," Mattheson (1739), p.
Mattheson, Der vollkommene Capellmeister (Hamburg, 1739), p.
16) Johann Mattheson, Der vollcommene Capellmeister (Hamburg: Christian Herold, 1739), translated by Ernest C.
Handel's choice of dance types in the final scene is particularly appropriate in the light of Mattheson's discussion of dance affects in Der vollkommene Capellmeister (and one might add that the proliferation of minuets in the finale is another modern feature): Mattheson assigns to the minuet an affect of 'massige Lustigkeit' ('moderate gaiety'), while the gavotte is said to express 'jauchzende Freude' ('triumphant joy').
The argument is enriched by the fact that the author discusses and makes use of works which have been all too often neglected, such as Descartes' Compendium of Music, Johann Mattheson's Vollkommen Capellmeister or Rousseau's Essai sur l'origine des langues.
Bach's title at the time of the Leipzig visit was Capellmeister to the Prince of Anhalt-Cothen, and he would leave Cothen six years later for Leipzig.
In the 1730s he was a member of the capella of the Archbishop-primate Imre Esterhazy in Bratislava, after which he was capellmeister for the Countess of Dietrichstein in Brno, then capellmeister of the Saxon-Polish minister Count Bruhl in Dresden, and finally episcopal court composer and capellmeister in Bamberg.