JOHANN KASPAR KERLL PDF

Alternative Names/Transliterations: Johann Caspar von Kerll; Kerl, Gherl, Kerle, Cherll, Cherle, Kherl, Kherll; Johann Kaspar, Hanß Caspar, Giovanni Gasparo. From Wikipedia, the free encyclopedia. Johann Caspar Kerll (9 April – 13 February ) was a German baroque composer and organist. One of many German organist/composers celebrated in his day but little known to modern listeners, Johann Kaspar Kerll carried on the keyboard traditions of.

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Born in Adorf in the Electorate of Saxony as the son of an organist, Kerll showed outstanding musical abilities at an early age, and was taught by Giovanni Valentinicourt Kapellmeister at Vienna. Kerll became one of the most acclaimed composers of his time, known both as a gifted composer and an outstanding teacher. He worked at ViennaMunich and Brusselsand also travelled widely. Although Kerll was a well-known and influential composer, many of his works are currently lost.

The losses are particularly striking in vocal music, with all 11 known operas and 24 offertories missing. The surviving oeuvre shows Kerll’s mastery of the Italian concerted style, employed in almost all of his masses, and his highly developed contrapuntal technique. Kerll was the son of Caspar Kerll and Catharina Hendel married Caspar Kerll probably gave music lessons to his son, who apparently demonstrated exceptional musical abilities; by he was already composing and sometime later during the early s he was sent to Vienna to study under Giovanni Valentinicourt Kapellmeister and composer.

During the following several years Kerll was somehow able to combine travelling with working in Brussels without losing his job. Returning to Brussels for a brief time, he left again in the winter oftravelling to Dresden. Abraham van den Kerckhoven substituted for Kerll while he was away and ultimately succeeded him inwhen Kerll left. Kerll’s fame started growing rapidly as he was given more and more important tasks. Particularly important of these are his opera Oronte now lostwhich inaugurated the Munich opera house in Januaryand a vocal mass composed in for the coronation of Emperor Leopold I at Frankfurt.

The couple had eight children, but only one of them, the youngest son, pursued a career in music. The Munich years were especially important for Kerll: Delectus sacrarum cantionuma collection of vocal music, and a Missa pro defunctisboth dedicated to Ferdinand Maria. Kerll gave up his post in Munich in for unclear reasons – it is believed that there was a particularly serious quarrel with other court musicians Italian singers which made him leave. Kerll did, however, maintain contact with Elector Ferdinand Maria until his death.

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In Kerll moved to Vienna.

Category:Kerll, Johann Caspar

A pension was granted to him in by the emperor, who in employed him as one of his court organists. Although it has been suggested that Kerll might have worked at the Stephansdomthere is no proof.

If he did, however, Johann Pachelbel would have been his deputy organist there. The plague, commemorated by Kerll in Modulatio organicaa collection of liturgical organ music, resulted in Anna Catharina’s death. He visited Munich several times between andpublishing his Modulatio organica kaspag Missae sexdedicated to the emperor there. At the end of Kerll relinquished his Vienna position and returned to Munich, where he died shortly afterwards.

Johann Caspar Kerll – ChoralWiki

Although Kerll was a renowned teacher during his lifetime, his pupils did not, in all probability, include any considerably important composers, although Johann Joseph Fux possibly studied with him for a time. Agostino Steffani is perhaps his best-known pupil. Kerll’s influence on later jhoann, however, is undeniable.

Johann Pachelbel studied Kerll’s style, which is particularly obvious from his organ chaconnes, which are reminiscent of Kerll’s ostinato works; he may have also studied with Kerll, although there is no proof. jerll

Kerll was highly regarded by his contemporaries: Particularly important are the many printed concerted massesa collection of motets and sacred concertos entitled Delectus sacrarum cantionum Munich, and Modulatio organica super Magnificat octo kegll tonis respondens Munich,which contains liturgical organ music.

Kerll was not an especially prolific composer, so the surviving works are relatively few. Much of his music was lost, including 11 operas which he was most famous for during his lifetime25 offertories, four masses, litanies, chamber sonatas and miscellaneous keyboard works.

The surviving keyboard music is cast in the typical southern German style, combining strict German counterpoint with Italian styles and techniques; Frescobaldi and especially Froberger were the most important influences. Most of Kerll’s keyboard works are playable on both pipe organ and harpsichordthe exceptions are four dance suites composed for harpsichord and two organ toccatas: Toccata quarta Cromatica con Durezze e Ligature and Toccata sesta per il pedali.

Partial chronology can be established using Kerll’s incomplete catalogue of his own works which is included in the Modulatio organica it is the earliest surviving thematic catalogue of a specific composer’s works: Kerll’s eight toccatas that correspond to the eight church modes alternate between free and strict contrapuntal sections, sometimes in contrasting meters.

The four dance suites are also reminiscent of Froberger’s suites, yet two of them contain variation movements. Kerll’s canzonas consist, typically for the time, of several fugal sections; some also have toccata-like passagework embedded in the development of cadences. Two ostinato works survive, a passacaglia and a chaconne, both built on a descending bass pattern; the passacaglia is perhaps Kerll’s most well-known work. The two best known keyboard pieces by Kerll are both programmatic, descriptive pieces.

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Battaglia is a descriptive piece in C major, over bars long and featuring numerous repeats of fanfare-like themes, it is also attributed to Juan Bautista Cabanilles. Capriccio sopra il Cucu is based on an imitation of the cuckoo ‘s call, which is heard more than times in the piece.

It is modelled after Joohann piece based on the same idea, Capriccio sopra il cuchobut is more structurally and harmonically complex. The idea of repeating a particular theme in Kerll’s music reaches its extreme in the Magnificat tertii toniwhere a fugue subject consists of sixteen repeated E’s.

Kerll wrote numerous non-keyboard works, especially during the Munich years: Kerll’s chamber works keerll a canzona for two violinsviola da gamba and basso continuo and three sonatas.

Most vocal works employ an advanced concertato technique; the requiem mass Missa pro defunctis fromscored for five voices with no accompaniment, is a notable exception.

The works of Delectus sacrarum cantionummotets and sacred concertos for voices, are sectional compositions alternating between imitative writing and free, highly ornamented parts.

Johann Caspar Kerll – Wikipedia, la enciclopedia libre

Six of the surviving masses were published during Kerll’s lifetime as Missae sex, cum instrumentis concertantibus, e vocibus in ripieno, adjuncta una pro defunctis cum seq.

Dies irae Munich, The complex imitative counterpoint that dominates Kerll’s chamber music is also present in most of his sacred vocal works: Stretto entries of a highly chromatic subject in works like Missa in fletu solatium result in strong dissonances the mass in question, commemorating the events of a Turkish siege that cost Kerll’s friend, Alessandro Pogliettihis life, contains a continuo part that includes kell “avoid consonances” warning from the composer. In addition to these, an assortment of other keyboard pieces survives: L’amor della patria superiore al’ ogn’ altro Amor tiranno ovvero Regnero innamorato From Wikipedia, the free encyclopedia.

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