Johann Bernhard Logier

Johann Bernhard Logier ( born February 9, 1777 Kassel, † July 27, 1846 in Dublin ) was a German musician, composer and music educator.

Biography

His first music lessons (flute and music theory ) he received from his father. Logier lived from 1784 in Marburg and from 1791 in England, where he first worked as a flutist in a military band and later their music director. In the short term, he worked as an organist, then (1809 /10) as Music Director at the Private Royal Hibernian Theatre in Dublin.

He then described his activities as a musician, became a music dealer and gave way piano lessons. The experience gained in this he concluded to a Method (System of Musical Education), which he had patented in 1814 and to be published by clever propaganda only in Ireland, Scotland and England knew. In the U.S., his publications have been known where it was taught until 1959, according to his method. In 1817 he teamed up with Friedrich Kalkbrenner and Samuel Webbe Junior ( 1770-1843 ) and taught jointly with them. The introduction of the system in France failed.

After his stay in Berlin 1822-26, where he supported the introduction of his method, he returned to London, became an honorary member of the Royal Academy of Music. In 1829 he went to Dublin, where he worked as a music shop and a piano teacher again, and died there at the age of 69 years.

A key feature of his system was the Chiroplast, a Handbildner, which should optimize the hand position of the students. About the inventor of this device, there are different figures in historical sources, some call him, others Gottfried Finger ( 1700 ) as an inventor.

His compositions played only a subordinate role.

Works (selection)

• Fare Well, Sweet Maid, Glee for 4 Strings
• Believe me, I never can rove
• The Jubilee Ode, overture and music to the melodrama Brian Boroihma
• The Battle of Trafalgar, Large character piece for military band op.6
• A Grand Concerto for Piano and Orchestra, Op 13
• Sonata for piano, flute and cello, Op 7
• Sonata for Piano and Flute with Variations, Op 8
• A Grand Sonata Piano, Violin ( Flute) and Cello, Op 23
• Admiral Benbow, Air with Variations for Piano
• An English Military Air with Variations for Piano
• The Celebrated Spanish bolero, arranged as a Rondo for Piano
• Trio for piano, 6 hands No. 1, Op 16 and Op 17 No 2
• Une Introduction, Fugue et 2 Canons for Piano 4 hands, Op 18

Writings (selection )

• An Explanation and Description of the Royal Patent Chiroplast or hand - Director, London 1816
• An Authentic Account of the Examination of Pupils, London 1818
• A Refutation of the Fallacies and misrepresentations, London 1818
• A Short Account of the Progress of J. B. Logier 's 'System of Musical Education ' in Berlin, London 1824
• Programs of a Public Examination of Mr. Logier 's Pupils in the Theory and Practice of Music, Dublin 1834
• System of musicology and the practical composition (also French and English)., Berlin 1827
• Subsequent collection of tasks and examples to JB Logier 's system of musicology and the practical composition Berlin 1827
• A Companion to the Royal Patent Chiroplast, London (1815? )
• Sequel to the Chiroplast Companion, London (1815? )
• The First Companion to the Royal Patent Chiroplast, London 1820

Contemporary discussion of the method Logier'sche

In 1821 traveled Stoepel Franz ( 1794-1836 ) on behalf of the royal ". Prussian Ministry of the Cultus to Berlin " to London, to check there by Johann Bernhard Logier (1777-1846), published under the title system of musical education and teaching method " where possible to acquire ". Here he received from Logier instruction in the method, traveled to their own representation ( Stoepel, D. Franz. Concerning the mode of teaching music Logiersche In: General School newspaper 2 (1825 ) 81, pp. 641-645 ) in August 1821 to Berlin and opened there among other things and in Potsdam Musiklehranstalten "within the meaning and spirit Logier ". He translated his system in the German language and published this new under the title system of harmony and of teaching in Piano Playing by D. Franz Stoepel, divided into three " main divisions: I. The art twenty and several students at the same time in Piano Playing and in theory harmony to teach. II Exercises for the Pianoforte and from Logier. III New system of harmony or the art of the pure rate in the music, etc. "

In the 1826 article published dispute over the Logiersche method (NN In: General school newspaper 3 (1826 ) 27, pp. 213-215 ) uses Logier at exactly this translation sharp. Firstly, the translation would be some issues though completely, others show " in a quite improper order ", on the other hand, he criticized inadequate identification of the inventor of the system. He accuses Stoepel, during his visit in 1821 in London, although attends class, but only a flawed picture of Logier'schen method made ​​due to his lack of English language skills and have transferred this into German rashly meaningless and without profound knowledge. Even Franz Stoepel had returned too soon to Berlin to learn more than just incomplete basic knowledge, let alone a " sufficient representation form " what " is peculiar method of teaching " of his. The Prussian government invited Logier in 1822 to Berlin to Franz Stoepel " to assist in the opening of an academy ," this invitation followed Logier 1822. According to its own description in the article of the Universal school newspaper ( dispute over the Logiersche music teaching way ) he traveled in September 1821 for a short stay in Berlin, where he did not see Stoepel able of his " systems to give some account ." He then asked Minister of Altenstein for a permit even introduce this system in Berlin, which he gave him. Then Logier returned in 1822 to Berlin, whereupon Stoepels " effectiveness extinguished ," and took over the teaching, but could not prevent Franz Stoepel has taught classes in Frankfurt am Main and Erfurt. Logier representation according to was the occasion of the critical article neither took from him teaching way still the name of abuse, the Stoepel his opinion for operation, but both of Logier view of nonsensical way modified translation into German as well as the insufficient identification with his name. Stoepel replied in 1826, however, with the fact that he had this in 1821 the sum of 100 guineas offered during his visit to the study of Logier'schen method in London, he should set up an academy in Berlin, which Stoepel but gratefully declined. Also Logier him have always train applause paid on the execution and results of his teaching and encourages him music teacher in his spirit during his visits.

Another student Logier was the future music educator Ernst Julius Hentschel (1804-1875), who even before completing his training as an assistant teacher worked at the age of 18 years at the teacher training college in Weissenfels and in 1823 sent by the Ministry to study with Johann Bernhard Logier. This offered him to come to him " in constant contact ", which Hentschel refused. In 1826, Hentschel published in the general school newspaper article about the Logiersche method ( Hentschel, Ernst: About the Method In Logiersche. General school newspaper 3 (1826 ) 9, pp. 65-70 ), in which he Logier designs against Franz Stoepel ( About the mode of teaching music Logiersche ) defends. Stoepel Logier have criticized the basis of scientific interests, but whose work has no philosophical, but rather an educational foundation, therefore, is not the system but to criticize his method. Stoepel would assume the work Logier trying to represent a philosophical science, from which is emerging method of teaching itself. She was no more and no less scientific foundations emerged as other systems have also been developed and Logier to order " to make its students for possible short and flat paths to good musicians; and by this task are their true peculiarities related ". He writes further, this system the foot on the knowledge, training both at the piano and music theory is interdependent and related to each other; the one is not possible without the other. While this is nothing new, but the Logiersche method deviates from the ordinary and is better than others: both read music as well as the simultaneous play on the piano would be learned with the greatest of ease, since the range first move in the bottom room and both with Handbildner ( Chiroplast ) and music stand would be supported. Through group instruction in which play up to twenty students at the same time and count the clock loud, the clock would keep learned faster than with any other method. The motivation for home practice would be increased by the obligation to recite the learned tasks at least once per lesson for the whole class to escape public censure; Moreover, they would come into a competition, so they are still working zealously.

The Logier'sche method of instrumental group lessons in piano and music theory found numerous advocates and imitators. During his apprenticeship 1822-1826, his method spread rapidly throughout Germany, partly also to neighboring countries. After patenting in 1814 Logier tried to introduce the system in France, but this failed. To 1817, Samuel Webbe ( 1770-1843 ) and Friedrich Kalkbrenner ( 1785-1849 ) ended with Logier together (see MGG )

Many other famous people learned at Logier, some from the beginning to play the piano and music theory, others came to study later to make the system as its own. Among Jonathan Blewitt (1782-1853), Johann Christian Friedrich Girschner (1794-1860) and Josef Proksch ( 1794-1864 ). Richard Wagner wrote in his autobiography that he began as a teenager with Logier book " system of musicology and composition of the practical " to learn the basics, and oddly enough, his accumulated Ausleihgebüren exceeded the actual purchase value of the book soon.

In 1822 the Zuid Afrikaans Muziek Gezelschap was founded in Cape Town from the Dutch music lovers, 1826, the first music school, whose director was JB Logier son Frederick Logier. This introduced both the Chiroplasten as well as group lessons, the tests were conducted in public.