Quantz – Biography - Dikmans on Historical Performance

# Johann Joachim Quantz ## Biography ### An account of his life taken largely from his autobiography published in 1754–5 Source: <a href="https://elysiumensemble.com/recordings/quantz-duets/">Quantz - Sei Duetti</a> liner notes (2014) Revised and updated (2025) ![[Quantz-unknown-artist.png]] Johann Joachim Quantz (1697–1773) – portrait by unknown 18th-century artist > [!box] Quantz’s story makes for fascinating reading and gives some insight into the life of an 18th-century musician. All translations from Quantz’s autobiography are my own. --- ## Johann Joachim Quantz (1697–1773) Quantz was a - flute player and composer at royal courts, - writer on music, - flute maker - and one of the most famous musicians of his day. Along with CPE Bach and Leopold Mozart, Quantz published an important and influential treatise on performance in the middle of the 18th century: - ***Versuch einer Anweisung die Flöte traversiere zu spielen*** (Essay of a Method for Playing the Transverse Flute) published in 1752. --- ![[Quantz-Portrait-Gerhard-1735-590.jpg]] Johann Joachim Quantz (1735) – Portrait by Johann Friedrich Gerhard (1695-1748) --- ## Introduction and Early Life Quantz was a flute player and composer at royal courts, writer on music and flute maker, and one of the most famous musicians of his day. His autobiography, published in F.W. Marpurg’s *Historisch-kritische Beyträge* (1754–5), is the principal source of information on his life. It briefly describes his early years and then focuses on his activities in **Dresden** (1716–41), his **Grand Tour** (1724–27) and his work at the court of **Frederick the Great** in Berlin and Potsdam (from 1741). Quantz was born in the village Oberscheden in the province of Hannover (northwestern Germany) on 30 January 1697. His father was a blacksmith. At the age of 11, after being orphaned, he began an apprenticeship (1708–13) with his uncle **Justus Quantz**, a town musician in Merseburg. Quantz writes: > I wished to become nothing other than a musician.… > > So in August 1708 I went to Merseburg to apprentice with the aforementioned town musician, Justus Quantz.… > > The first instrument I had to learn was the violin, for which I also seemed to have the greatest enthusiasm and aptitude. This was followed by the oboe and the trumpet. During my apprenticeship years I occupied myself the most with these three instruments. --- ![[Merseburg-1650-Merian.png]] Merseburg – Matthäus Merian (1593–1650) --- While still an apprentice Quantz also arranged to have keyboard lessons: > As for the *clavier*, the practice of which was not required for my way of life at that time, I took some instruction (out of my own desire) from the organist Kiesewetter, my relative. > > Through this I laid the first foundation for my knowledge of harmony and perhaps developed my first inclination toward learning composition. At the completion of his apprenticeship Quantz was proficient on most of the string instruments, the oboe and trumpet. He hoped to get a position in Dresden or Berlin as ‘I believed I could hear much more beautiful music there, and learn much more, than I could in Merseburg.’ In 1714 he had the opportunity to go to Pirna (a town in Saxony near Dresden) to fill in for a sick journeyman under the direction of town-musician Schalle. > It was during this time in Pirna that I saw Vivaldi’s violin concertos for the first time. As a completely new kind of musical composition at that time, they made a strong impression on me. I did not fail to collect a considerable supply of them. > > Vivaldi’s splendid ritornellos later served me as an excellent model in the years to come. --- ![[Dresden-Bernardo-Bellotto.png]] Dresden seen from the Right Bank of the Elbe, beneath the Augusts Bridge (1748) –Bernardo Bellotto (1721–1780) --- ## Dresden (1716–1741) In March 1716 Quantz (age 19) accepted an invitation to join the town band in Dresden, the capital of Saxony and one of the most important artistic centres in Europe. He makes some telling observations about the music at the Royal court and an important realisation about the art of performance: > In March 1716 I therefore went to Dresden. Here I soon realised that **merely playing the notes exactly as the composer had written them was by no means the greatest merit of a musician**.… > > The Royal Orchestra was at that time already flourishing. Through the French *égale* manner of delivery, introduced by the then concertmaster **Volumier**, it had already distinguished itself from many other orchestras. > > Later, under the leadership of the next concertmaster, Herr **Pisendel**, it gradually attained such refinement of execution – through the introduction of a mixed style – that, on all my future travels, I never heard a better one. > > At that time, it boasted several renowned instrumentalists, such as **Pisendel** and **Veracini** on the violin; **Pantaleon Zebenstreiten** on the *pantalon*; **Sylvius Leopold Weis**s on the lute and theorbo; **Richter** on the oboe; **\[Pierre-Gabriel] Buffardin** on the *flûte traversière* (transverse flute); not to mention the excellent violoncellists, bassoonists, French horn players, and double bass players. --- ![[Pierre-Gabriel-Buffardin.png]] Pierre-Gabriel Buffardin (1693-1768) – (from the collection of C.P.E. Bach) --- Quantz spent part of 1717 studying counterpoint with **J.D. Zelenka** and in 1718 (age 21) was appointed oboist in the newly formed Dresden Polish Chapel of **August II, Elector of Saxony and King of Poland**. >In March of the year 1718, the so-called Polish *Capelle* was established, which was to consist of 12 members. Since 11 musicians had already been accepted and an oboist was still lacking, I was put forward as a candidate. After passing an audition before its director, Baron von Seyfertitz, I was accepted into service. When it became clear that there would be little opportunity for advancement as an oboist in the Polish Chapel, Quantz decided to devote himself seriously to the flute and in 1719 studied briefly with the famous French flute player **Pierre-Gabriel Buffardin**, principal flute in the Royal Orchestra. > Here a new phase of my life began, both in regard to my previous way of living and my principal occupation. The violin, which had been my foremost instrument until then, I was now to exchange for the oboe. However, on both instruments, I was hindered by my fellow musicians, who had been in service longer, from distinguishing myself – something that was very close to my heart. > > The frustration this caused led me to take up the *flûte traversière* – on which I had previously practised on my own – with serious intent, as I had little reason to fear resistance in this area from my colleagues. All the more so because the previous flute player, Kriese, whose greatest inclination was not particularly toward music, voluntarily gave up the first position on this instrument to me. > > For about four months, I took instruction from the renowned flute player **Buffardin** in order to learn the true characteristics of the instrument. We played nothing but fast pieces, for this was where my teacher’s strength lay. --- ![[Johann-Georg-Pisendel.png]] Johann Georg Pisendel (1688–1755) – Drawing by Francke (from the collection of C.P.E. Bach) --- Quantz became an intimate friend of **Johann Georg Pisendel**, the concertmaster of the Royal Orchestra, who greatly influenced his development as a performer and composer. > I had the good fortune to become acquainted with the deeply insightful in music, great violin virtuoso and, after Volumier’s death, royal *Concertmeister*, Herr Pisendel. This acquaintance gradually developed into a close friendship on both sides, which, to my great satisfaction, has remained unbroken to this day. > > From this equally great violinist as well as worthy *Concertmeister*, and equally excellent musician as well as honourable man, I not only learned how to perform the *Adagio* \[slow movements], which he played in an exceptionally moving manner, but I also profited most from him in matters concerning the shaping of musical phrases and the performance of music in general. He encouraged me to venture further into the art of composition. --- ## Grand Tour (1724–27) Between 1724 and 1727, with the permission and financial support of the Dresden court, Quantz (age 27–30) was able to complete his education with a Grand Tour. He travelled to Italy, France and England. In Rome he studied counterpoint with **Francesco Gasparini**, a skill he would later put to good use in his [*Sei duetti a due flauti traversi*](https://elysiumensemble.com/recordings/quantz-duets/) (Six duets for two transverse flutes). > I placed myself under the instruction of the famous Francesco Gasparini, a seventy-two-year-old, affable, and honest man, who was not only a learned contrapuntist but also, at the same time, a pleasant and clear opera composer of his time. He instructed me in the principles of counterpoint. > > But since I already understood something of the subject, and otherwise did not lack diligence, I brought it, within the space of six months, to the point that my teacher no longer found it necessary to give me further lessons – unless I wished to devote myself to vocal composition, for which, however, I had no desire, for various reasons. > > Nevertheless, he offered to revise everything I might compose during my stay in Rome, free of charge. A rare example for an Italian! On a visit to Naples in 1725 Quantz met **Alessandro Scarlatti**: > The foremost church composer in Naples was the *Oberkapellmeister* and knight Alessandro Scarlatti, with whom Herr Hasse – now *Oberkapellmeister* of the Saxon court music – was studying counterpoint at the time.… > > Scarlatti played for me on the harpsichord, which he knew how to play in a learned manner, although he did not possess as much technical facility as his son. Afterwards, he accompanied me in a solo. I had the good fortune to win his favour – to such an extent that he even composed a pair of flute solos for me. > > He introduced me to several noble households, and in the end he even wished to place me in Portuguese service with a handsome salary. This offer, however, I thought it best to decline. --- ![[Michel-Blavet.png]] Michel Blavet (1700–1768) – Portrait presumed of Blavet by Henri Millot (c.1690–1756) --- From August 1726 to March 1727 Quantz was in Paris where he heard many performances. > Although the French taste was by no means unfamiliar to me, and I could very well tolerate their manner of playing, I nevertheless found no pleasure in their operas … nor in the exaggerated and affected howling of their singers, especially their female singers. He was also unimpressed by the opera orchestra, but enjoyed the solo performances of many instrumentalists, among them the flautist **Michel Blavet**, who for a time taught Prince Frederick before he became king of Prussia. > \[A]part from the orchestra, there was no lack of good instrumentalists. Fortcroix \[Jean-Barptiste Forqueray ‘le fils’] and Roland Marais were good viola da gamba players. The former had much skill, the latter much refinement and charm in performance. > > \[Jean-Pierre] Guignon and Battiste \[Jean-Jacques-Baptiste Anet – known as Baptiste] were fine violinists. The former played in the Italian, the latter in the French style. > > \[Michel] Blavet, Lucas, the two Braun brothers, \[Jacques-Christophe] Naudot and several others played the *flûte traversière*. But among all of them, Blavet held the first rank. His affability and good character led us quickly to become friends and I must praise the many kindnesses I received from him in various ways. > > There was likewise no lack of good organists, keyboard players and cellists. After a ten-week visit to England (at his own expense and without permission), where he met Handel, Quantz returned to Dresden on 23 July 1727. He took some time to reflect on his experiences and on his way forward as a musician: > I now reflected on everything good or bad that I had heard in music during my travels. I found that I had indeed gathered a considerable supply of ideas, but that it was necessary to bring them into order, little by little. > > At every place where I had stayed, I had composed something in imitation of the prevailing taste there; but I also considered the advantages that an original has over a mere imitator. **I therefore began to direct my principal efforts toward forming a personal taste** \[ie. a distinctive, personal style], **so that I might, if possible, become an original model in music myself**. > > But to reach this goal required reflection, experience, and time. What I had previously been able to complete in an hour, I now took a whole day to accomplish. For I was thoroughly convinced that first ideas may indeed sometimes succeed; but even if they are not always the worst, they are certainly not always the best: rather, a **fine sensibility** (*Empfindung*) and **mature power of judgement** (*Beurtheilungskraft*) are needed to refine them and bring them into proper connection with one another, so that a piece may not merely please quickly and for a short time, but (if possible) forever. As well as being a wonderful learning experience, the three-year Grand Tour established Quantz’s reputation outside Germany, paving the way for the future international dissemination of his music and writings. --- ## The Dresden Court Orchestra (1728–1741) Within a year of returning to Dresden in July 1727, Quantz was promoted to the elite Dresden Court Orchestra, confirming his status as one of the outstanding musicians in Dresden. > Up to this point I had been an oboist and flautist in the Polish *Capelle* … But during my travels my position had been assigned to someone else and I was to be transferred to the Saxon *Capelle* \[the Dresden Court Orchestra]. This also took place in March 1728.… > > From that time on, I gave up the oboe entirely, because its embouchure is completely incompatible with that of the flute; and I remained solely with the *flûte-traversière*. In May 1728 Quantz (age 31) accompanied **Augustus II** (Elector of Saxony and King of Poland) on a state visit to the Prussian court in Berlin. He made a particularly deep impression on **Crown Prince Frederick** (age 16) and thereafter returned twice a year to teach him the flute. > After I had on several occasions had the honour of performing before Her Majesty the Queen \[of Prussia], I was offered (by Her Most Gracious Majesty) a position and a salary of 800 thalers per year. I was prepared to accept it; but the King \[Augustus II], my master, would not consent to it. Nevertheless, I did receive a general permission to go to Berlin as often as I should be requested. > > In this same year, 1728, the then Crown Prince of Prussia – His now-reigning Royal Majesty \[Frederick II (the Great)] – resolved to learn the *Flötetraversiere* (transverse flute) and I had the honour of instructing His Most Gracious Highness in it. For this reason, I had to travel twice each year to Berlin, Ruppin or Rheinsberg. --- ![[Frederick-the-Great-as-Crown-Prince-Antoine-Pesne-(1739).png]] Frederick the Great as Crown Prince (1739) – Antoine Pesne (1683–1757) --- Until 1741 Quantz was actively involved in the musical life of the Dresden court as a performer and composer. He played flute in the opera, theatre, chamber and church. In 1734 he published his Opus 1 consisting of 6 sonatas for flute and continuo. He also composed trio sonatas and flute concertos for use at the court. He married in 1737 (age 41) and in 1739 started making flutes. > Due to the lack of good flutes, in 1739 I began to bore and tune them myself – something that has turned out to my advantage. --- ![[Adolph-Menzel-Flötenkonzert-Friedrichs-des-Großen-in-Sanssouci.png]] Concert for flute with Frederick the Great in Sanssouci – Adolph von Menzel (1815–1905) --- ## The Court of Frederick the Great (1741–1773) ### Berlin and Potsdam **Frederick II** (age 28) became King of Prussia in 1740. The next year Quantz (age 44) finally accepted a position at Frederick’s court in Berlin as royal flute tutor, composer and flute maker. > In November 1741 I was summoned for the last time by His Majesty of Prussia to Berlin and was offered by His Most Gracious Majesty a position on such advantageous terms \[money and conditions] that I could no longer refuse to accept it. > > 2,000 thalers in annual salary for life \[an unheard of sum – in 1728 he had been offered 800 thaler]; in addition, separate payment for my compositions; one hundred ducats for each flute I would supply; the freedom not to play in the orchestra, but only in the royal chamber music; and to be dependent on no one but the King’s command – these were advantages well worth giving up a post in which I could never have hoped for such benefits.… > > I therefore left Dresden in December of the year 1741, at which time I entered into Royal Prussian service. Quantz stayed in service with Frederick for the rest of his life. He worked with the king on flute playing and composition. He supervised the king’s private evening concerts, for which he wrote new works, mainly flute concertos, for the king to play, and he made flutes for the king. Only a few compositions were published during Quantz’s time in Berlin, most notably the *Sei duetti*, op. 2 (Berlin, 1759). His most significant contribution to music literature is his *Versuch einer Anweisung die flöte traversiere zu spielen* (Berlin, 1752), a very influential treatise on the performance and composition of 18th-century music. Quantz died in Potsdam on 12 July 1773 (age 76). --- ## Quantz’s Legacy Quantz composed over 300 flute concertos and around 230 flute sonatas, as well as trio sonatas, duets and solos. As a flute maker, he developed a design (the ‘Quantz’ flute) that enabled him to produce a particularly rich and vocal tone quality that was greatly admired. The sonatas and concertos Quantz composed in Berlin were the personal property of the king, so they were not published and were not circulated widely. When Quantz moved to Berlin, Frederick arranged for all of Quantz’s Dresden compositions (excluding the trio sonatas) to also become his property. Frederick had multiple fair copies made of each work for his various residences: Charlottenbourg, Potsdam, Sanssouçi, le nouveau Palais. Copies of Berlin works were occasionally sent to Dresden. Consequently many manuscript copies of Quantz’s works have survived and scans of some are readily available online from libraries in Berlin and Dresden. --- ![[Quantz-QV-5-236-A-minor-Title-Page.png]] Concerto in A minor (QV 5:236) – title page – MS copy “for Potsdam” --- This means we can form a good impression of Quantz as a composer. In his *Versuch* Quantz devotes a long final chapter — ‘How a Musician and a Musical Composition Are to Be Judged’ — to a discussion of the forms and styles of music in the middle of the 18th century. His discussion is particularly enlightening when looked at in conjunction with his own concertos and sonatas. > [!box] Quantz developed a distinctly personal style. His music is very expressive. The north Germans called this ***Empfindsamkeit***, a type or style of music that is intimate, sensitive and subjective. > > His music is also very inventive. It is well-crafted and natural on a very human scale. It is full of engaging and attractive musical ideas, with contrasts of tone, of light and shade. It tells touching stories and you can hear the influence of Italian opera, especially in the slow movements. Nineteen years after Quantz’s death, **Christoph Friedrich Nicolai** (1733–1811), a writer on music who knew Quantz and edited a multi-volume work on the life of Frederick the Great, laments Quantz’s passing. Reflecting on Quantz's compositions and way of playing, he makes some general comments about changes in musical style and performance: > Style in music, and the style of performance related to it, is like a beautiful flower that delights intimately, but soon withers, rarely blooms again, and even more rarely bears fruit. Hitherto musical style has changed every twenty years or even more rapidly. So it was formerly … and so it will continue. Nicolai also comments on Quantz's artistry as a performer: > The low tuning of Quantz is no longer used; departed with it are Quantz’s flutes, Quantz’s concertos, and the true art of playing them, without which they suffer indescribably. Now there are perhaps no more than three people in Berlin who still know the way to play them. --- > [!link] Related Links > - [[Quantz and his Legacy]] > - [[Quantz on Articulation]] > - [[Quantz on Good Delivery]] > - [[Quantz on Ornamentation]] > - [[Quantz on the Cadenza]] > - [[Quantz on the Half Cadence]] > [!link] Offsite Links > --- Source: *Quantz – Sei Duetti* liner notes (2014). A recording by the [Elysium Ensemble](https://elysiumensemble.com/recordings/). --- © Greg Dikmans