Jiří Antonín Benda (1722-1795)
- Gott ist die Liebe (c.1760)
Performers: Stefanie Dasch (sopran); Agnieszka Monasterska (alt); Julio
Fernández (tenor); Simon Berg (bass); Kantorei Santa Barbara; L'Estate
Armonico; WiesIaw Delimat (conductor)
Further info: Jiri Antonin Benda (1722-1795) - Lieder
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Bohemian-German composer and violinist, brother of Franz Benda and
Johann Georg Benda. Trained initially by his father, he was sent to a
local school in Kosmonosy in 1735, and in 1739 he attended the Jesuit
Gymnasium in Jičín in music. In 1742 he joined family members in Berlin,
where he functioned for a few years as a violinist. In 1750 he was
offered the position of Kapellmeister at the court of Saxe-Gotha by Duke
Friedrich III, where he composed mainly church music. A journey to
Italy in 1765 brought him into contact with leading opera composers of
the day, who influenced his compositional style. In 1770 he was named
kapelldirector, a largely symbolic post, but his regular duties for
Friedrich’s successor, Duke Ernst II, included writing a new style of
work that fused spoken drama with music, called the duodrama. The first
work, Ariadne auf Naxos, was performed in 1774 and soon began to be
imitated throughout Germany. At the same time, Benda gained a reputation
as a composer of Singspiel, becoming the most popular composer of the
genre of the time. A dispute with rival Anton Schweitzer led him to
resign his post and leave Gotha for a year of travel to Hamburg and
Vienna. Increasing fame brought about by his duodramas subsequently
allowed him to tour various musical centers, such as Paris in 1781 and
Mannheim in 1787, although he was formally retired. His last work,
ironically, is a cantata titled Bendas Klagen from 1792. As a composer,
Benda was one of the most celebrated people of the latter 18th century,
known mainly for his sacred music and innovations in theatre music. In
his duodramas in particular, one can note a carefully delineated
harmonic and melodic sensitivity that underscores the text. His
Singspiels are noted for their more complex musical settings and serious
tone that is often far more progressive than in similar works by Johann
Adam Hiller. His instrumental music, however, still maintains elements
of the galant style, with sequenced themes and short rhythmic motives.
His works include 13 operas (including incidental music and duodramas),
166 cantatas (mainly Lutheran), two Masses, an oratorio, six secular
cantatas, about 25 Lieder, 30 symphonies, 23 concertos (mostly violin
and harpsichord), 54 keyboard sonatas, and several other sonatas for
violin and flute, as well as a large number of keyboard works.
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