6 Sonaten Vol.2 No.4 - 6 2 Treble Rec.-Bc - Johann Christian Schickhardt

edited by Yvonne Morgan
Schickhardt  6 Sonaten Vol.2 No.4-6 2 Treble Rec.-Bc
cont. by Wolfgang Kostujak
903954, 9790015099908
Amadeus Verlag
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Johann Christian Schickhardt 1682-1762
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6 Sonaten Vol.2 No.4 - 6 2 Treble Rec.-Bc - Johann Christian Schickhardt

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The late 17th and early 18th centuries were the heyday of the recorder, in all its related shapes and formats. Its bucolic timbre was particularly well suited to the galant and sensitive chamber music of the time. At the end of the 18th century, the recorder was supplanted by the transverse flute’s more rounded and modulated timbre, its agility and fuller sound matching the virtuoso style of much of the solo literature. It is astonishing that, simultaneously, even travelling flute virtuosos still wrote sonatas and concerti for treble recorder – surely with an eye to the market and following publishers’ wishes. These authors include Johann Christian Schickhardt, whose sonata cycles op. 1 and op. 17 were a remarkable contribution to the genre. We present his six sonatas (without opus) for two treble recorders and basso continuo, and titled: „Schickhardt / [Sign.] 4878 / Landesbibliothek Schwerin / No 1 / Trio a 2 Flûte e Basß / Flûte Primo / del Sign. / Schickhardt“. Johann Christian Schickhardt (Schickhard, Schickart) was born around 1680 in Braunschweig. Little is known of his life or activity. He probably received his musical education at the Braunschweig-Wolfenbüttel court. First engagements as flutist and oboist took him to the Netherlands, where a large part of his output was published pre–1720. In 1732 at the latest we find Schickhardt “a living composer in Hamburg”. He was most likely a member of Hamburg’s Oper am Gänsemarkt. In 1745 he seems to have “enrolled” as a student at the university in Leiden. All his life he was a respected and admired virtuoso on flute and oboe. He is thought to have died at the end of March 1762 in Leiden. Schickhardt’s extensive output, covering 30 sets of works, is almost entirely for flute and for oboe. Besides solos, he wrote trio sonatas – some for 2 flutes and Bc. (op. 4, 6, 9 and op.16) –, the Airs Spirituels des Luthériens for 2 flutes and Bc. Op. 21, for flute, oboe and Bc. (op. 2 and op.14), as well as the popular Sonates or Concerts op. 19 for 4 flutes above a bass. His Six Sonates op. 5 for flute, 2 oboes, gamba and figured bass also deserve attention. His L’Alphabeth de la musique op. 30, featuring 24 recorder sonatas in all keys, and his Principes de la Flûte op. 12 and Principes du Hautbois op. 15 are remarkable didactic creations. All his sonatas and concerti show a remarkable knowledge of both instruments.

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