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627:, and despite the composer's massive popularity as a figure at the very forefront of 18th-century serious Italian opera, after his death Hasse's reputation vastly declined and his music lay mostly unperformed (with the exception of some of his sacred works, which were revived now and again in Germany). In particular, his operas sank without trace and revival only began as the 20th century approached its end: Gluck's reforms took opera away from Hasse's style and Metastasio's Arcadian ideals to a new direction from which it would not return.
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drama, in which the poet and musician claim equal attention from an audience; the bard in the recitatives and narrative parts; and the composer in the airs, duos and choruses. The second party depend more on theatrical effects, propriety of character, simplicity of diction, and of musical execution, than on, what they style flowery description, superfluous similes, sententious and cold morality, on one side, with tiresome symphonies, and long divisions, on the other.
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597:...never until now had I happened to see him in all his glory, but always detached from his many personal relationships in such a way that he was like an aria without instruments; but now I see him as a father, husband and friend, qualities which make an admirable union in him with those solid bases of ability and good behaviour, for which I will cherish him so many years...
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475:, though Hasse himself lived mostly in Italy, travelling to Poland solely to supervise productions of his operas, if at all. In the autumn of 1760 he moved to Vienna, where he stayed for the next two years, returning to Dresden in 1763 to find much of his home destroyed and the musical apparatus of the court opera wrecked. Hasse's main patron at Dresden, king
320:. Returning to the royal court in Dresden during 1737 Hasse composed five new operas, but when the court moved to Poland in the autumn of 1738 he and Faustina came back to Venice, where both of them were extremely popular. His next stay in Dresden was also his longest, between the first months of 1740 and January 1744. In this time he revised
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surge in a new direction, Hasse left Vienna in 1773 and spent the final ten years of his life in Venice, teaching and composing sacred works. Faustina died in
November 1781, and Hasse himself, after a long period of suffering from arthritis, just over two years later. He was almost completely ignored
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both exerted influence in order to make Hasse pay greater respect to
Metastasio's works. In the early 1740s he began setting new Metastasian libretti unadapted, and his personal relations with the librettist also improved significantly at around this time. In one of his letters, dated to March 1744,
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Party runs as high among poets, musicians and their adherents, at Vienna as elsewhere. Metastasio and Hasse, may be said, to be at the head of one of the principal sects; and
Calsabigi and Gluck of another. The first, regarding all innovations as quackery, adhere to the ancient form of the musical
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In the following years Hasse reset his earlier works based on
Metastasio's texts, this time paying great attention to the poet's original intention, and during the 1760s, as Metastasio wrote new texts, Hasse was, as a general rule, the first composer to set them. Burney left the following note:
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Careful choice of key was also a crucial factor in Hasse's style, with certain emotions usually marked out by certain key choices. Amorous feelings were expressed by A, for instance, while for expressions of aristocratic nobility Hasse used C and B flat; on the other hand, his supernatural and
116:(baptised 25 March 1699 – 16 December 1783) was an 18th-century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, though he also composed a considerable quantity of sacred music. Married to
360:, a keen flute player, visited the court in December 1745, and it is likely that many of Hasse's flute sonatas and concertos that date to this time were written for Frederick. The King of Prussia was also present at a performance of one of Hasse's
610:'s Androgyne, once constituted a whole; for as they are equally possessed of the same characteristic marks of true genius, taste, and judgement; so propriety, consistency, clearness, and precision, are alike the inseparable companions of both...
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Hasse's friendship with
Metastasio, and his appreciation of the art form the librettist had created, increased over the years. The early Metastasio texts he set were all greatly altered for the purpose, but
309:, Hasse's early royal patron at Dresden, died. As the court went into a year of mourning, Hasse was permitted to remain abroad. Many of his sacred works, composed for Venice's churches, date to this time.
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died soon after and his successor, who also died quickly, deemed elaborate musical events at the court superfluous. Hasse and
Faustina were paid two years' salary but given no pension.
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The 1751 Carnival in
Dresden saw the retirement of Faustina from operatic performance. Hasse continued to produce new operas throughout the decade, including a setting of Metastasio's
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fear-inducing music usually went into the keys of C and F minor. Most of his arias begin in the major, switching only to minor for the B section before returning to major for the
231:. Metastasio's libretto was heavily reworked for the occasion, and Farinelli took a leading role. Two of his arias from this opera he later performed every night for a decade for
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301:, and he also wrote music for the Venetian theatres at this time. By late 1732, Hasse was in Naples again, though he spent the winter at Venice where his
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For much of 1734 Hasse was at
Dresden, but from 1735 until 1737 he was in Italy, largely at Naples. Faustina performed in the September 1735 premiere of
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Hasse's popularity in Naples increased dramatically and for several years his workload kept him extremely busy. In this period he composed his only full
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Article: Torre, Robert. "Operatic Twins and
Musical Rivals: Two Settings of Artaserse (1730)" Discourses in Music: Volume 6 Number 1 (Summer 2006)
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may without injury to his brethren, be allowed to be as superior to all other lyric composers, as
Metastasio is to all other lyric poets.
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near Hamburg where his family had been church organists for three generations. His career began in singing when he joined the Hamburg
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in September 1767. Most of his operas composed during this period were also successfully produced at Naples. He was the favourite of
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522:(September 1768) Hasse had intended to retire from opera but was compelled by Maria Theresa to compose a further work,
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Between the winter of 1744 and late summer 1745, Hasse was in Italy, but then returned to Dresden for a year.
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In his day, Hasse's style was noted primarily for his lyricism and sense of melody. Burney put it this way:
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452:, Potsdam and Berlin which is a testament to the work's popularity in the latter half of the 18th century.
643:. As his career developed his arias grew much longer but a lyrical sense was still his overriding target.
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268:. Soon after the couple's arrival in Dresden, Faustina performed before the court. In September Hasse's
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court, though he did not arrive at Dresden until July 1731; earlier in the year he had been active at
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432:(1724–1780), concerns the conversion of a sinner to sainthood and was modeled after and edited by
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Hasse italianized his name as 'Giovanni Adolfo', which lead to the alternative spelling 'Adolf'.
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after his death, until F. S. Kandler paid for his gravestone in Venice, where he is buried in
526:(1771), again set to a Metastasian libretto. In 1771, when hearing 15-year-old Mozart's opera
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Francesco Degrada: "Aspetti gluckiani nell'ultimo Hasse", Chigiana, xxix–xxx (1975), 309–329
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that Hasse and Metastasio had settled found itself assailed by the threat of the reforms of
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Robert Torre: "Operatic Twins & Musical Rivals: Two Settings of Artaserse (1730)",
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He is thought to have left Germany during 1722. During the 1720s he lived mostly in
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claimed that Hasse and his father had become good friends around this time. King
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At this time operatic style was undergoing significant change, and the model of
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gave Hasse the opportunity to journey to Paris in the summer of 1750, where his
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granted him the title of the Royal-Polish and Electoral-Saxon Kapellmeister.
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991:. Ann Arbor, Michigan: UMI Research Press, 1979 (Studies in Musicology, 2).
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The Present State of Music in Germany, the Netherlands, and United Provinces
436:. The Dresden premiere was followed by numerous performances of the work in
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in the chapel of the royal palace in Dresden. The libretto, penned by the
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957:: "Sacred Music at the Incurabili in Venice at the Time of J. A. Hasse",
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In October Hasse left Dresden to direct premieres of his next operas at
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in 1718 as a tenor. In 1719 he obtained a singing post at the court of
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was first performed in particularly lavish style. In February 1733
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Memorial to Hasse in front of his birth house in Hamburg-Bergedorf
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In 1730 Hasse married Faustina Bordoni, and was also appointed
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s, and himself ordered a performance of the composer's opera
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In 1764 Hasse travelled to Vienna, where the coronation of
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Imme Tempke: "Mozart und der 'Musick-Vatter' Hasse". In:
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This poet and musician are the two halves of what, like
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Nr. 67. Verlag HB-Werbung, Hamburg-Bergedorf, (2002).
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Imme Tempke: "Hasses Musikausbildung in Hamburg". In:
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Nr. 71. Verlag HB-Werbung, Hamburg-Bergedorf, (2006).
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text) was given its premiere; it seems possible that
175:, dwelling there for six or seven years. In 1725 his
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Article: "Dresden in the time of Zelenka and Hasse"
557:, visiting Vienna in 1773, reported on the debate.
424:On 28 March 1750 Hasse presented his last oratorio
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Elisabeth Fredericka Sophie of Brandenburg-Bayreuth
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1073:Music at Court: Four Eighteenth-century Studies
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27:German composer, singer and teacher (1699–1783)
786:, §2 "The first Dresden period, 1730–33", and
743:, §1 "Early years: Germany, Naples and Venice"
721:"Johann Adolf, Johann Adolph, Giovanni Adolfo"
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960:Journal of the American Musicological Society
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1075:, (London: Weidenfeld & Nicolson, 1954)
660:List of compositions by Johann Adolph Hasse
386:In 1748 Hasse performed two of his operas,
288:Augustus II the Strong of Poland and Saxony
1513:German classical composers of church music
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471:compelled the court at Dresden to move to
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1115:International Music Score Library Project
1005:University of North Carolina Press, 1977
928:10.1093/omo/9781561592630.013.90000380289
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430:Dresden Electress Maria Antonia Walpurgis
316:(another adapted Metastasio libretto) at
803:, §5 "The final Dresden period, 1744–63"
593:Metastasio made the following comments:
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817:The Concise Oxford Dictionary of Music.
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971:Venezia e il melodramma nel settecento
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566:Finding his music under siege from an
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726:Die Musik in Geschichte und Gegenwart
664:List of operas by Johann Adolph Hasse
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380:while Hasse himself was promoted to
282:attended the performance; certainly
976:F. L. Millner: "Hasse and London's
969:: "Hasse, Galuppi and Metastasio",
880:, §7 "Musical style and reputation"
650:is dedicated to his life and work.
491:was marked by a performance of his
257:, supervising a performance of his
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1553:18th-century German male musicians
1121:Free scores by Johann Adolph Hasse
1111:Free scores by Johann Adolph Hasse
1020:Essays on Handel and Italian Opera
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790:, §3 "Dresden and Venice, 1734–44"
25:
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1523:German Classical-period composers
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477:Augustus III of Poland and Saxony
156:, where in 1721 his first opera,
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989:The Operas of Johann Adolf Hasse
963:, xxiii (1970), 282–301, 505–521
912:(2001). "Hasse, Johann Adolf ".
889:Lange Nacht der Museen Hamburg,
426:La conversione di Sant' Agostino
194:, brought him into contact with
1102:, David Charlton, classical.net
1100:More modern assessment of Hasse
1068:, vol. 6, no. 1, (Summer 2006).
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819:Oxford University Press, 2007.
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58:near Hamburg, Holy Roman Empire
1543:Pupils of Alessandro Scarlatti
1508:18th-century Italian composers
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217:and serenatas. He visited the
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1548:18th-century German composers
1428:List of compositions by Hasse
483:Vienna and Venice: last years
405:, because of the marriage of
1125:Choral Public Domain Library
876:Reference for this section:
863:Reference for this section:
850:Reference for this section:
799:Reference for this section:
782:Reference for this section:
754:"Johann Adolph Hasse Museum"
739:Reference for this section:
623:'s claim that Hasse was the
579:Relationship with Metastasio
7:
1533:German male opera composers
1192:Giovanni Battista Pergolesi
973:: Venice 1973–5, i, 309–339
867:, §4 "Hasse and Metastasio"
840:. London: T. Becket and Co.
10:
1574:
1003:A History of the Oratorio.
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648:Johann Adolph Hasse Museum
349:Hasse in 1740, painted by
86:Venice, Republic of Venice
1518:Italian Baroque composers
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891:Johann Adolf Hasse Museum
621:Giovanni Battista Mancini
541:Christoph Willibald Gluck
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221:of 1730, where his opera
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1538:Pupils of Nicola Porpora
834:Burney, Charles (1773).
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403:Markgräfliches Opernhaus
334:would damage her voice.
136:and 18th-century music.
1433:List of operas by Hasse
920:Oxford University Press
1528:German opera composers
1498:Composers from Hamburg
1222:Gian Francesco de Majo
987:Frederick L. Millner:
984:, xxxv (1974), 240–246
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307:Augustus II the Strong
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978:Opera of the Nobility
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545:Ranieri de' Calzabigi
516:With the premiere of
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401:in the half finished
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229:S Giovanni Grisostomo
192:Johann Joachim Quantz
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1503:Singers from Hamburg
1207:Alessandro Scarlatti
1197:Francesco Provenzale
1001:Smither, Howard E.:
719:Wolfgang Hochstein.
669:Notes and references
615:Style and reputation
370:La spartana generosa
264:at the court of the
196:Alessandro Scarlatti
1299:Johann Adolph Hasse
1252:Johann Adolph Hasse
1066:Discourses in Music
758:KomponistenQuartier
590:Francesco Algarotti
586:Frederick the Great
358:Frederick the Great
180:Antonio e Cleopatra
114:Johann Adolph Hasse
36:Johann Adolph Hasse
1354:Didone abbandonata
1257:Domenico Scarlatti
1242:Giovanni Paisiello
915:Grove Music Online
625:padre della musica
419:Didone abbandonata
409:, the daughter of
382:Oberkapellmeister.
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239:Dresden and Venice
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150:Oper am Gänsemarkt
18:Johann Adolf Hasse
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1394:Romolo ed Ersilia
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1247:Domenico Cimarosa
1182:Francesco Durante
1171:Neapolitan School
1106:The Hasse Project
1071:Alan Yorke-Long:
1022:(Cambridge, 1985)
937:978-1-56159-263-0
854:, §6 "Last years"
815:; Bourne, Joyce:
550:Orfeo ed Euridice
233:Philip V of Spain
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209:La sorella amante
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764:on 25 March 2019
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766:. Retrieved
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1493:1783 deaths
1488:1699 births
1410:Il Ruggiero
1131:Free scores
1031: [
894:(in German)
768:28 November
568:avant-garde
537:opera seria
332:opera buffa
204:opera buffa
133:opera seria
1482:Categories
1362:Ipermestra
955:S. Hansell
694:References
461:later used
434:Metastasio
376:was named
328:intermezzi
280:J. S. Bach
276:Metastasio
214:intermezzi
125:librettist
79:1783-12-17
1460:Biography
1330:Artaserse
1059:1862-3549
1044:1862-3549
967:D. Heartz
502:Partenope
489:Joseph II
459:, a text
393:Artaserse
323:Artaserse
266:Habsburgs
224:Artaserse
184:Farinelli
154:Brunswick
146:Bergedorf
56:Bergedorf
1386:Solimano
1370:Leucippo
1338:Cleofide
619:Despite
524:Ruggiero
510:de facto
444:, Rome,
399:Bayreuth
271:Cleofide
262:Daniello
259:oratorio
177:serenata
64:Baptised
1446:Portals
1322:Tigrane
1133:at the
1123:in the
1117:(IMSLP)
1113:at the
903:Sources
641:da capo
438:Leipzig
366:Arminio
362:Te Deum
251:Dresden
249:at the
158:Antioco
118:soprano
96:Baroque
77: (
1413:(1771)
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1373:(1747)
1365:(1744)
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1306:Operas
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512:court
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473:Warsaw
465:Mozart
450:Prague
318:Pesaro
255:Vienna
186:, and
173:Naples
102:Spouse
1472:Opera
1421:Lists
1346:Siroe
1035:]
674:Notes
654:Works
608:Plato
442:Padua
303:Siroe
295:Turin
1055:ISSN
1040:ISSN
1007:ISBN
993:ISBN
932:ISBN
770:2019
662:and
588:and
543:and
446:Riga
390:and
388:Ezio
340:1763
299:Rome
297:and
72:Died
51:Born
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92:Era
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20:)
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