Salieri, the Hofkapellmeister
, was the senior musician and brought with him from Vienna six other members of the Hofkapelle.
(15) From the sixteenth century, the Hofkapellmeister
of the emperors Ferdinand I and Maximilian II are included with the greatest part of their output; among others, (16) Jacobus Vaet (ca.
Cabe recordar que durante un tiempo, precisamente en las cortes de Weimar (1708-1714) y de Anhalt-Kothen (1714-1717), Bach fue musico oficial Konzertmeister (maestro de capilla) o Hofkapellmeister
(maestro de la capilla de la corte); no obstante, la relacion con los principes no debio haber sido muy cordial, porque cuando quiso abandonar voluntariamente la corte de Weimar el duque lo encarcelo durante un mes, alegando que "Bach solicito con demasiada obstinacion la destitucion de su cargo".
Bill, `Dokumente zum Leben und Wirken Christoph Graupners in Darmstadt', Christoph Graupner: Hofkapellmeister
in Darmstadt, 1709-60.
24 See Ludwig von Kochel, Johann Joseph Fux, Hofcompositor und Hofkapellmeister
der Kaiser Leopold I., Joseph I.
Salieri's promotion to Hofkapellmeister
recognized variously his status as Gluck's anointed successor, his international reputation as a composer, and his ability and experience to administer a large and complex Kapelle.
Before his untimely death, he served as Hofkapellmeister
for the Copenhagen court and director of the Royal Danish Theater.
Its most important musician in the 17th century was none other than `the father of German music', Heinrich Schutz, who spent the majority of his long and productive career as Hofkapellmeister
at the Saxon court.
From 1788 until his retirement a year before his death, he was Hofkapellmeister
. Salieri was the last Italian to secure this influential position, and during his 36 years in office he was at the centre of Viennese musical politics.
He served briefly as Second Court Organist in 1772 and was clearly the favoured candidate to succeed Gassmann as Hofkapellmeister
in 1774, (13) but the copies of Hofmann's works in the Hofkapelle collection are replicated elsewhere and appear for the most part to have been acquired after 1790.
The copyists of 110 manuscripts of (chiefly) dance music by Hofkapellmeister
Johann Schmelzer, who corresponded directly with the Bishop, have not been reliably identified.
The bass singer Jakob Brandt inscribed it between 16 December 1606 and 28 May 1607, at the time of the commencement of Stadlmayr's service in Innsbruck as Hofkapellmeister
. The source therefore might have been the printed Sacrum beatissimae virginis Mariae canticum (Munich: Adam Berg & Nicolaus Heinrich 1603, RISM A/I S 4282) from Stadlmayr's time as archiepiscopal musician in Salzburg, but it stands to reason that Stadlmayr himself yet again accompanied the making of this choir-book.