Melchior Hoffmann (composer)

Georg Melchior Hoffmann (c. 1679 – 6 October 1715) was a Baroque composer who was influential as the leader at the Collegium Musicum in Leipzig. Some of his compositions have been mistaken for those of Johann Sebastian Bach.

Melchior Hoffmann
Early 18th-century manuscript copy, likely written by Gottfried Heinrich Stölzel, of the "Traversa" part of Hoffmann's c. 1707 Magnificat in A minor (BWV Anh. 21, formerly attributed to Bach).[1]
Bornc1679 (1679-10-26UTC12:01:49)
Bärenstein, now Altenberg, Saxony
Died6 October 1715 (1715-10-07)
Leipzig
Other namesGeorg Melchior Hoffmann
Occupations
SpouseMargaretha Elisabeth Philipp

Biography

Hoffman was born sometime around 1679 (or 1685 according to some sources) in Bärenstein (now part of Altenberg), Saxony, Germany.[2] His first musical service was as a choirboy in Dresden, under the tutelage of Johann Christoph Schmidt.[2] In 1702 he moved to Leipzig to study law. Simultaneously he joined Georg Philipp Telemann at the Collegium Musicum in Leipzig[2] and acted as the organization's copyist.[3] Hoffmann succeeded Telemann as director of the Collegium Musicum in 1705, a position that did not end until Hoffman's death ten years later.[4] In this position he became an educator,[5] and his students included Gottfried Heinrich Stölzel.[4] He was noted for expanding the orchestra at the Collegium to more than 40 musicians.[6] Other responsibilities included being the organist at the Neukirche, and director of the Leipzig civic opera, for which he composed several works. He is known to have journeyed to England sometime around the years 1709-1710. In 1713 he began to suffer from the malady which would eventually prove fatal.[2] He accepted a position as the organist at the Liebfrauenkirche at Halle in the spring of 1714, but resigned July 12 of that year having never served in that capacity.[2] He married Margaretha Elisabeth Philipp on 9 September 1714.[2] He succumbed to illness, in otherwise prosperous circumstances, on 6 October 1715.[2]

Compositions

Hoffmann's compositions have been mistaken for the work of J. S. Bach. Research has indicated that an aria for alto, Schlage doch, gewünschte Stunde, BWV 53, and the solo cantata for tenor, Meine Seele rühmt und preist, BWV 189,[7] are likely works by Hoffmann, and of more positive identification is a Magnificat in A minor for solo soprano and small group, which during the 19th century was assigned a BWV number of BWV Anh. 21.[4] He has been sometimes confused with composer Johann Georg Hoffmann, although there is no relation.[2] None of his operas survive, but contemporary reviews indicate they were well received.[6] He has been identified as the first composer to use bells in a serious manner.[8]

Sacred music

Kyrie–Gloria Masses:

  • Mass for vocal soloist and small orchestra:[9]
    • Version in E minor: for bass, violin and continuo.[10][11]
    • Version in A minor: for tenor (or soprano), violetta and continuo.[12]
  • Mass in C major (c. 1710).[13]

Sanctuses:

  • Sanctus in D major.[14]
  • Sanctus in A minor (c. 1708), for Purification.[15]
  • Sanctus in C major (c. 1710).[10][16]

Magnificats and church cantatas:

Secular music

Arias and Operas:

  • Aria "Schönste Lippen eure Liebe betet mit entzücktem Triebe"[32]
  • From Banise or Die asiatische Banise (III) or L'Idaspe fedele (libretto by/after Heinrich Anselm von Ziegler und Kliphausen: Die Asiatische Banise Oder, Das blutig- doch muthige Pegu, Leipzig 1689):[33]
    • "Ritorna già nel viso"[34]
    • "Sollen nun die grünen Jahre" – attribution doubtful.[35]
    • "Vive sperando nell petto il core"[36]
    • Aria (Act 1, Scene 2): Ich suche mein Leben wo soll ich es finden.[37]
    • Sarabande (?Act 1, Scene 2) – attribution doubtful.[38]
    • Aria (Act 1, Scene 7): "Kann man's närr'scher auch erdenken"[39]
    • Aria (Act 1, Scene 9): "Non spero più di vivere lontana"[40]
    • Aria (Act 2, Scene 11): "Mein Herze brennt vor Courage in meiner Brust schon lichterloh"[41]
    • Duet (Act 3, Scene 7): "La costanza ... La speranza"[42]
    • Aria (Act 3, Scene 12):
      • "Nichts ist süßer als die Liebe"[43]
      • "Voglio partir contento"[44]
  • From Die amazonische Königin Orithya:
    • Aria (Act 1, Scene 3): "Denket nach ihr schönsten Lippen"[45]
    • Aria (Act 2, Scene 8): "Es hilft dir wenig armes Herz"[46]
  • From Zenobia und Radamisto:
    • Aria (Act 1, Scene 5): "Co' bei concenti di mia zampogna"[47]
    • Aria (Act 1, Scene 6): "Blast die Trompeten"[48]
    • Aria (Act 2, Scene 1): "Accompagna il rossignolo il pastor" (?)[49]
  • From Xerxes (Michaelmas 1705):
    • "Ändert euch ihr harten Sinnen" – attribution doubtful.[50]
  • From Cyniras und Irene (Easter 1708):
    • "Meine Freiheit geht zu Grabe" – attribution doubtful.[51]
  • From Cosroes (Michaelmas 1708):
    • "Find ich denn durch meine Treue" – attribution doubtful.[52]
  • From Die über Hass und Rache triumphirende Liebe an dem grossmüthigen Exempel Pharamundi (Easter 1710):
    • "Weicht ihr Schmerzen aus den Herzen" – attribution doubtful.[53]
  • From Die rachgierige Nicea (Michaelmas 1710):
    • "Ich will euch küssen ich will euch drücken" – attribution doubtful.[54]
    • "Unbeschreiblich ist mein Glücke" – attribution doubtful.[55]
    • Aria (Act 1, Scene 10): "Ich will dir's nur gestehen du wirst mich niemals sehen" – also attributed to Telemann (TWV 21:149).[56]
    • Aria (Act 1, Scene 14): "Könnt' ich den Geliebten sehen" – also attributed to Telemann (TWV 21:148).[57]
    • Aria (Act 2, Scene 5): "Ihr holden Augen meiner Schönen ach schaut mich einmal gütig an" – also attributed to Telemann (TWV 21:153).[58]
    • Aria (Act 3, Scene 1): "Ich will vergnügt mein Leben schließen" – also attributed to Telemann (TWV 21:147).[59]
    • Aria (Act 3, Scene 13): "Du nennst mich ungerecht weil ich dich treu geliebt" – also attributed to Telemann (TWV 21:145).[60]
    • Aria (Act 3, Scene 14): "Antwortet doch ihr schönsten Lippen" – also attributed to Telemann (TWV 21:151).[61]
  • From Balacin or Die asiatische Banise (I) (Easter 1712):
    • "Wo find' ich dich geliebtes Leben" – attribution doubtful.[62]
    • Aria (Act 2, Scene 2):
      • "Es machen's ja die lieben Mädgens zu dieser Zeit recht kunterbunt"[63]
      • "Sag indessen werte Schöne"[64]
    • Aria (Act 2, Scene 3): "Bleib doch allerliebstes Leben"[65]
    • Aria (Act 3, Scene 6): "Soll ich hoffen"[66]
    • Adagio, recitative and aria (Act 3, Scene 10): "Banise auf bereite dich zum Sterben"; "Die Stunde schlägt nun muß ich scheiden"[67]
  • From Chaumigrim or Die asiatische Banise II (Easter 1712):
    • "Scheid' ich gleich anjetzt von hinnen" – attribution doubtful.[68]
    • "Wenn die Mütter erst erfahren" – attribution doubtful.[69]
    • Aria (Act 2, Scene 2): "Flieht ihr Seüffzer aus der Seelen"[70]
    • Aria (Act 3, Scene 2): "Schlaf Scandor schlaf auf diesem Bettgestelle"[71]
    • Aria (Act 3, Scene 10): "Ich will sengen, brennen, morden"[72]
  • From Echo und Narzissus (Michaelmas 1712):
    • "Ach komm und eile" – attribution doubtful.[73]
    • "Frische Blätter grüne Zweige" – attribution doubtful.[74]
  • From Ismenie und Montaldo (New Year 1713):
    • "Mein liebster Schatz mein ander Herze" – attribution doubtful.[75]
    • "Wenn unsre Mienen freundlich geschienen" – attribution doubtful.[76]
  • From Ademarus (Easter 1713):
    • "Dir zu Liebe will ich leben schönster Engel" – attribution doubtful.[77]
    • "Du hast in Lieben wenig Glücke" – attribution doubtful.[78]
    • "Herr Niso lässt das Ding wohl bleiben" – attribution doubtful.[79]
    • "Küsse mich mein wertes Leben" – attribution doubtful.[80]
    • Aria (Act 1, Scene 1): "Dies ist der schönste Saft der Reben"[81]
    • Aria (Act 1, Scene 2): "Im Friede zu lieben im Kriege zu streiten"[82]
  • From Rhea Sylvia (Easter 1714; libretto by Johann Ulrich von König):
    • "Endlich zeiget mir das Glücke" – attribution doubtful.[83]
    • "Ich will euch küssen liebste Wangen" – attribution doubtful.[84]
    • Aria "Quel d'amore è un certo malo che lo intendoe"[85]
    • Aria "Viva eterna la mia face si che il ciel si girera"[86]
    • Aria (Act 1, Scene 10): "Sarò immobile al martoro"[87]
    • Aria (Act 1, Scene 16): "Die Liebe zeigt dir schon von ferne"[88]
    • Aria (Act 3, Scene 5): "Per uscir di prigionia"[89]

Cantatas (at least in part based on operas):

  • Auf muntre Sinnen zum Jagen – attribution doubtful.[90]
  • Himmel laß mich doch erlangen – attribution doubtful.[91]
  • Ich lebe als im Schlafe und weiß nicht was ich tu'.[92]
  • Treue Liebe edler Seelen.[93]
  • Verfolge mich immer mit rasenden Stürmen.[94]

Concerto:

Trio sonata:

  • Sonata in G minor for oboe, violin and continuo.[97][98]

Reception

Joshua Rifkin has identified Hoffman's style as having "freshness and charm" while noting the "occasional melodic angularity".[4]

Recordings
German Magnificat in A minor
See Magnificat in A minor (Hoffmann) § Recordings
Meine Seele rühmt und preist
See Meine Seele rühmt und preist, BWV 189 § Recordings
Schlage doch, gewünschte Stunde
See Schlage doch, gewünschte Stunde, BWV 53 § Recordings
Operas
Banise
  • "Schlaf, Scandon, schlaf", "Schöne Mädgen bringen Schwäger" and "Wenn die Mütter erst erfahren" recorded by the United Continuo Ensemble in 2010.[99]
Echo und Narcissus
  • "Ach, komm und eile" and "Frische Blätter, grüne Zweige" recorded by the United Continuo Ensemble in 2010.[99]
Ismenie und Montaldo
  • "Verlass mich nicht, mein liebstes Leben" recorded by the United Continuo Ensemble in 2010.[99]
Rhea Sylvia
  • "Ich will euch küssen" recorded by the United Continuo Ensemble in 2010.[99]

References
  1. Hoffmann, Melchior: Magnificat in a-Moll at RISM website
  2. Oron, Aryeh; Braatz, Thomas (May 11, 2009). "Georg Melchior Hoffmann (Composer)". Bach Cantatas Website. Retrieved May 22, 2014.
  3. Kevorkian, Tanya (2007). Baroque Piety: Religion, Society, and Music in Leipzig, 1650-1750. Ashgate Publishing, Ltd. p. 213. ISBN 9780754654902.
  4. Joshua, Rifkin (1985). Bach Magnificat; Hoffman German Magnificat (CD). Pro-Arte. p. 5. CDD 185.
  5. Hiller, Johann Adam (2001). Treatise on Vocal Performance and Ornamentation. Cambridge University Press. p. 8. ISBN 9781139428989.
  6. Stevenson, Joseph. "Melchior Hoffmann Artist Biography". AllMusic. Retrieved May 22, 2014.
  7. Dürr, Alfred (1981). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1 (4 ed.). Deutscher Taschenbuchverlag. pp. 723–724. ISBN 3-423-04080-7.
  8. Dearling, Robert (1996). The Illustrated Encyclopedia of Musical Instruments. Schirmer Books. p. 110. ISBN 9780028646671.
  9. RISM 452021538
  10. Glöckner 1983, p. 100.
  11. RISM 464131276
  12. RISM 464131277
  13. RISM 452021509
  14. RISM 452021539
  15. RISM 452021540
  16. RISM 452021508
  17. RISM 211000201; RISM 211000202
  18. Glöckner 1983, p. 101.
  19. Meine Seele rühmt und preist: Scores at the International Music Score Library Project
  20. "Meine Seele rühmt und preist BWV 189 / Anh. II 23‑>". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  21. RISM 225007424
  22. Schlage doch, gewünschte Stunde: Scores at the International Music Score Library Project
  23. "Schlage doch, gewünschte Stunde (Aria) BWV 53 / Anh. II 23‑>". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  24. RISM 450063613; RISM 452503001
  25. RISM 220034151
  26. RISM 464000198
  27. Glöckner 1983.
  28. "Magnificat, a BWV Anh. 21 / Anh. III 168‑>". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-07.
  29. RISM 464000199
  30. Singet dem Herrn, TWV 1:1748: Scores at the International Music Score Library Project
  31. RISM 150204809; RISM 452014932
  32. RISM 250004967
  33. Ziegler und Kliphausen, Heinrich Anselm von (Leipzig 1689). Die Asiatische Banise Oder, Das blutig- doch muthige Pegu.
  34. RISM 250004803
  35. RISM 225005180
  36. RISM 250004841
  37. RISM 250004844
  38. RISM 250004845
  39. RISM 250004837
  40. RISM 190002823
  41. RISM 250004839
  42. RISM 250004820
  43. RISM 250004822
  44. RISM 250004819
  45. RISM 250004804; RISM 190002826
  46. RISM 250004805
  47. RISM 250004825
  48. RISM 250004826
  49. RISM 250004833
  50. RISM 225005304
  51. RISM 225005220
  52. RISM 225005247
  53. RISM 225005232
  54. RISM 225005210
  55. RISM 225005245
  56. RISM 250005392
  57. RISM 250005391
  58. RISM 250005396
  59. RISM 250005390
  60. RISM 250005388
  61. RISM 250005394
  62. RISM 225005301
  63. RISM 250004838
  64. RISM 225005302; RISM 455038328
  65. RISM 190002821; RISM 250004840
  66. RISM 190002822
  67. RISM 250004843
  68. RISM 225005249
  69. RISM 225005250
  70. RISM 190002824
  71. RISM 250004842
  72. RISM 190002825
  73. RISM 225005208
  74. RISM 225005221
  75. RISM 225005258
  76. RISM 225005207
  77. RISM 225005244
  78. RISM 225005205
  79. RISM 225005206
  80. RISM 225005263
  81. RISM 250004824
  82. RISM 250004821
  83. RISM 225005241
  84. RISM 225005209
  85. RISM 455036236
  86. RISM 455036238
  87. RISM 250004828
  88. RISM 250004830
  89. RISM 250004829; RISM 455036237
  90. RISM 250004968
  91. RISM 455030858
  92. RISM 250004969
  93. RISM 250004966
  94. RISM 250004970
  95. Horn Concerto in E-flat major: Scores at the International Music Score Library Project
  96. RISM 210044722
  97. Trio Sonata in G minor: Scores at the International Music Score Library Project
  98. RISM 210044723
  99. Telemann and the Leipzig Opera: Popular Arias from the Collection Musicalische Rüstkammer at Muziekweb website

Sources

Further reading
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