Hans Leo Hassler

Hans Leo Hassler of Roseneck (also: Hassler or Hasler, rare Johann Leo Haslerus; baptized October 26, 1564 in Nuremberg, † June 8, 1612 in Frankfurt am Main ) was a German composer, clockmaker and maker of jukeboxes.

Life

His parents Isaac (* 1530 in Joachimsthal, Bohemia ) and Gwendolyn (nee Schneider) made ​​him early on due to the organist. Later he was taught by Leonhard Lechner. From 1584 he studied with Andrea Gabrieli in Venice, and became friends with Giovanni Gabrieli. In 1585 he was organist in Augsburg Chamber of Count Octavian II Fugger and organist at St. Moritz. In 1590 he published his first collection Canzonette a quatro voci. In 1600 he was for a year in addition to its other activities still head of the Augsburg town piper. After the death of Count Octavian, he went in 1601 to Nuremberg, where he was commercial transactions and the development and manufacture of machines dedicated organ in the first place. In 1604 he moved to Ulm, where he married the daughter of a merchant Cordula Claus on March 1, 1605. During his time in Ulm from 1604 to 1608 also his spiritual works were created. From 1608 he was organist of the chamber resided in Dresden Elector Christian II of Saxony.

In 1595 he was knighted by Emperor Rudolf II and his brothers Caspar Hassler, Jacob Hassler to the peerage. In 1604 she received the title of nobility of Roseneck. Probably the nobility goes back to the family coat of arms of the mother. It shows three cut roses alternating with standing lion.

Hans Leo Hassler was staying in 1612 in the wake of Elector Johann Georg I in Frankfurt am Main, to attend the coronation of Emperor Matthias. During his stay, he died of consumption. In Frankfurt Cathedral is a memorial plaque to him.

Work

Hassler's work is on the change of style from the late Renaissance polyphony to Venetian- baroque early sound development, as well as (in his song sets ) to simple, song-like homophony. While his Masses and motets usually still pay homage to the contrapuntal imitative principle in the succession of Orlando di Lasso and one Leonhard Lechner, develop its polychoric works, such as the 15 - part motet Jubilate Deo or 16 -voice Duo Seraphim already baroque splendor of sound by the model of the Venetian polychorality. His works are distinguished not only by contrapuntal erudition, but also by the highest grace and delicacy. In his four-part arrangements of the common church melodies, he shows how even the simplest of characterful processing can be significant.

Not less appreciated than his sacred works ( masses, motets, etc.) his madrigals, Canzonettas and German secular songs, including the song later recorded with the text O Sacred Head, Now Wounded in the Protestant church were singing My G'müt is troubleth me, which is found along with many other new in his pleasure garden German songs for 4-8 voices (Nuremberg, 1601). A new edition of his 1607 published Psalms and Christian songs appeared in 1777 in Leipzig to " command a high notability " ( the Princess Amalia of Prussia, which had been encouraged by their teacher Johann Philipp KirnBerger this).

Important are his, though not very numerous organ works. Starting from the Italian style of his teacher, Andrea Gabrieli, he finds to his own style, which as well as his vocal work, the transition from the organ music of the Renaissance to the Baroque models anticipate and so for the German organ style of the 17th century role in the study. But his most important instrumental composition is a harpsichord work, the variation of work I went once spatieren 31 times verendert by men JLH, which in its time by the length of the composition ( about 42 minutes) and its affiliated claim is unique. The influence of this through-composed work is found in the song variations of the 17th century, for example at the Sweelinck and Scheidt, and still with Pachelbel.

  • Canzonette (Nuremberg, 1590, State and City Library Augsburg Tonk. Schl. 231-234, RISM H 2325 )
  • Cantiones sacrae ( Augsburg 1591, 1597, SSB Augsburg Tonk. Schl. 231-236, RISM H 2324 )
  • Madrigali ( Augsburg 1596 Augsburg SSB Tonk. Schl. 231-236, RISM H 2339 )
  • Neüe teüsche Gesäng on the type of welschen Madrigalien and canzonettas ( Augsburg 1596 Augsburg SSB Tonk. Schl. 231-236, RISM H 2336 )
  • Missae ( Nurnberg 1599, SSB Augsburg Tonk. Schl. 231-236, RISM H 2327 )
  • Lustgarten new Teutonic Gesäng, balletti, Gaillarden and Intraden (Nuremberg 1601 SSB Augsburg Tonk. Schl. 231-236, RISM H 2340)
  • Sacri concentus ( Augsburg 1601/1612, SSB Augsburg Tonk. Schl. 231-236237238, RISM H 2328 )
  • Psalms and Christian Gesäng (Nuremberg, 1607)
  • Psalms simpliciter (Nuremberg, 1608)
  • Church hymns, psalms and spiritual songs (Nuremberg, 1608/1637 )
  • Venus garden or new funny lovely Dancers (Nuremberg, 1615)
  • Litany Teütsch (Nuremberg, 1619)
  • Verbum caro factum est, SSB Augsburg Tonk. Schl. 376-382

Sample " Canzon a 4 voci " (Bibl. Internazionale Torino)

Canzon a 4 voci, H. L. Hassler 1.73 MB? / I

Jáchymov Christian II, Elector of Saxony Rudolf II, Holy Roman Emperor Jakob Hassler John George I, Elector of Saxony Mass (music) Johann Kirnberger Organ repertoire Jan Pieterszoon Sweelinck Samuel Scheidt Allgemeine Deutsche Biographie Neue Deutsche Biographie Early music Integrated Authority File
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