Johann Erasmus Kindermann
Johann Erasmus Kindermann came from a long-established in Nuremberg comb -making family. He probably attended the parish school of St. Sebald. His music teacher was at that time working at the Church of St. Sebald Johann Staden. Already in 1631, at the age of only fifteen years, he was hired as a musician in the Frauenkirche. In the fall of 1634 or the spring of 1635 he traveled to about a year of study in Italy, to which granted him the Council of the City of Nuremberg financial support. There he held probably in Venice, perhaps in Rome. Which musicians Kindermann visited in Italy, is no longer detectable. Maybe he saw Claudio Monteverdi (1567-1643) and had personal contacts with Francesco Cavalli (1599/1602? -1676 ), Giacomo Carissimi ( 1605-1674 ) and Girolamo Frescobaldi ( 1583-1643 ). In January 1636, he returned as directed by the Nuremberg Council back in his hometown and was hired as assistant organist at the Frauenkirche.
On April 25, 1637 he married Susanna Ditzlin ( 1616-1653 ), with whom he had twelve children. As in Nuremberg the most respected and therefore also the most coveted positions as organist of St. Sebald and St. Lorenz were occupied, Kindermann tried to get in other cities a his skills appropriate location. So he applied in 1637 and 1640, but without success, to a position at the Franciscan Church in Frankfurt am Main. On August 5, 1640, he sought a position as organist in Schwäbisch Hall. With this application, he had success. He entered this place then already in September. In the same month he already stepped back from this position and struck the Nuremberg organist Georg Dretzel ago as representatives and successors, which was then accepted. Kindermann itself but competed in the same year to the post of organist at the Egidienkirche in Nuremberg, which he held until his death.
As an example of his organ works here the last verse, the Gloria, a Magnificat octavi toni from Harmonia organica of 1645.
Gloria of the Magnificat in the 8th tone 1.18 MB? / I
As a composer, Kindermann demonstrated an unusual versatility. In addition to numerous state, intended for liturgical use chorale preludes and chorale arrangements and other independent organ compositions he wrote many orchestral pieces and songs for the musical life at the Nuremberg patriciate. He was also the poets of the Pegnesischen flower near the North, whose works he musical entertainment and configured. By Order of the President Sigmund von Birken he was a friend. With him he ordered shortly before his death the spell to his grave stone and a song for the funeral. Very productive was the cooperation with the Nuremberg theologian Johann Michael Dilherr whose sermons he set.
Under the Nuremberg composers of his time Kindermann is one of the most outstanding talents.
- Pathetika Cantiones, 1639;
- 3 Motets, in: Peace Clag, 1640;
- Deliciae studiosorum, 4 Tle, 1640, 1642, 1643 ( instrumentals only partly preserved);
- Concentus Saomonis, 1642; Dialogus, Moses Plag, Klag sinner, Christ removal, 1642;
- Mus. Peace Seuffzer, 1642;
- Opitianischer Orpheus, 1642;
- Dess Saviour Christ and sinful human being heylsames interview, 1643;
- 1 song, in: Inter medium Musico - Politicum, 1643;
- Musica Catechetica, 1643;
- Mus. Fields and forests Friend, 1643;
- Mus. Herztrost - Blumlein, 1643;
- Spring and summer freud, 1645;
- Harmonia organica, 5 Tle, 1645;
- Praise. About the Joyful mysteries of birth of our Lord Jesus Christ and Heylandes, 1647;
- Christmas Singing 1647;
- 14 songs, in: Mus. Peace Freud, 1650;
- 22 songs, in: Divine Flame of Love, 1651;
- 64 songs, in: First part of Mr. JM Dilherrns Protestant end rhymes of preaching, 1652;
- 56 songs, in: Second part ... of the preaching, 1652;
- 57 songs, in Part Three ... the preaching, 1652;
- New detuned violas lust, 1652; Canzoni. Sonatae, 2 Tle, 1653;
- 3 pieces, in: Mus. Time distributor, 1655;
- Sinfonia a cinque,
- Zahlr. Occasional compositions.
- Selected. Works, in: DTB XIII, 1913 ( ed. by F. Schreiber );
- Selected. Works, in: DTB XXI -XXIV, 1924 ( ed. by BA Wallner );
- William Dupont, Werkausgaben Nuremberg composers in the past and Ggw., 1971, 126-136.