Friedrich Wilhelm Marpurg (1718-1795) - Partita Sesta C-Dur (1756)
111★ Follow music ► https://www.instagram.com/reciclassicat/
Composer: Friedrich Wilhelm Marpurg (1718-1795)
Work: Partita Sesta C-Dur (1756) (World Premiere Recording)
Performers: Sibelius + Harpsichord samples (performed by Pau NG)
Partita Sesta C-Dur (1756)
1. Allegro 0:00
2. Larghetto 4:44
3. Allegro 9:21
Painting: Johann Georg Rosenberg (1739-1808) - Berlin, Hackescher Markt mit Spandauer Brücke und Sophienkirche
Image in high resolution: https://flic.kr/p/2mbcLa3
Further info: https://ks4.imslp.info/files/imglnks/usimg/d/df/IMSLP435759-PMLP703795-Marpurg_6.Partita_Concerto_C_major.pdf
Listen free: No available
---
Friedrich Wilhelm Marpurg
(Seehof, 21 November 1718 - Berlin, 22 May 1795)
German critic, journalist, theorist and composer. Gerber claimed that Marpurg had told him that he lived in Paris around 1746; Carl Spazier confirmed this, adding that Marpurg was friendly with Voltaire, D'Alembert and others when he was secretary to a ‘General Bodenburg’. This is generally assumed to refer to Generallieutenant Friedrich Rudolph Graf von Rothenburg, a favourite of Frederick the Great and Prussian emissary to Paris in 1744-45, and the dedicatee of Marpurg's Der critische Musicus an der Spree (1749-50). From 1749 to 1763 Marpurg devoted himself almost exclusively to writing and editing books and periodicals about music and to composing and editing lieder and works for keyboard. In 1752, at the request of the heirs of J.S. Bach, he wrote a notable preface for a new edition of Die Kunst der Fuge. In 1755 J.G.I. Breitkopf asked him to review the first work printed with Breitkopf's improved system of movable type, and subsequently published many of his works. Their correspondence shows that this was a period of severe financial difficulties for Marpurg, as do various letters from Kirnberger to Forkel. Through Kirnberger's efforts Marpurg obtained a position in the Prussian state lottery in 1763; in 1766 he was appointed director, a post he held until the end of his life. Though there is evidence that he continued to review music and engage in other musical activities after 1763, very little appeared with his signature in his later years. Marpurg's compositions consist largely of strophic songs of the kind composed in north Germany in the mid-18th century. He was very active as a compiler and editor of such songs and of keyboard works suited to amateur performers. Most of his surviving compositions appear in these collections; they are competent but not outstanding. In addition he published a set of six sonatas for keyboard (c.1755), a collection of fugues (1777) and two collections of chorale preludes. The sonatas are similar to those composed by C.P.E. Bach in the 1740s, the fugues are correct in detail and plan but uninteresting, and the chorale preludes are mostly routine cantus firmus treatments.