Hans Christoph Heyden
Hans Christoph Heyden
Genres: 17th century, german
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About Hans Christoph Heyden
Hans Christoph Heyden, also Haiden (born 12. February 1572 in Nuremberg; died 8. February 1617 ibid.) was a German composer, organist and poet of the late Renaissance. Hans Christoph Heyden was the seventh child of the instrument maker and organist Hans Heyden. He was initially sent to the apprenticeship as Philipp von Ortl in a Nuremberg writing room. Soon he was promoted by his parents in music because of his musical talent. Already in 1591 he represented Isaac Hassler at the organ of the Nuremberg Hospital Church. After Hassler's death in July of that year, he got his job. In February 1596, he became an organist at Nuremberg's main church of St. Sebald appointed. Hans Christoph Heyden became known to the police at a younger age because he was involved in Raufhändel. He applied to the Nuremberg magistrate for a salary increase and an apartment after marrying Anna Maria Petz, daughter of a highly esteemed family, in January 1601. Because a daughter was born in the same month, both spouses were temporarily imprisoned in accordance with the strict moral laws at the time. In 1603, Heyden again demanded a higher salary from the Nuremberg City Council; but because this was rejected, he refused service and sent a student as a substitute; this again led to a shorter detention. Another conflict with the authority later ended partly with his professional withdrawal. Nevertheless, he apparently enjoyed a high esteem as a musician; his professional judgment was sought on a number of occasions. Around 1606, the Margrave of Ansbach needed his services, and in 1608 he provided English dogs for the Bamberg and Eichstätte bishops, possibly on the occasion of a trip to Frankfurt, Marburg and Kassel. There he presented Landgrave Moritz of Hesse the violin work, an invention of his father. He may already be Kastner of the Eichstätter and Bamberg bishop at that time. After his father died in 1613, in 1616/1617 he and his brothers David and Georg fought against imitation of the invention violin work by a son of the Nuremberg city piper von der Houfen. In this matter, the German emperor finally decided in favor of the Heyden family. In the autumn of 1616, Hans Christoph's Heyden continued adultererous behavior came to court and he was transferred to St. Sebald punished; his brother-in-law Caspar Haßler became his successor. He himself had to settle for the episcopal casty office in the last months of his life. He left his widow a mountain of debt, which she had to pay with the sale of a house and her husband's printed works. While Hans Christoph Heyden did not adhere to the moral requirements valid at the time, he had a high reputation as an organ player and composer. He made an important contribution to the development of the German song in the transitional period between Renaissance and Baroque, in particular with the two releases Gantz neue lustige Täntz und Liedlein (1601) and Postiglion der Lieb (1614). With these, he cultivated the vocal and vocal-instrumental social art of his time, in particular the type of German polyphonic song in its Italianized form, which largely belongs to the forms of Villanella and Canzonetta. According to recent research , Heyden reaches the height of the leading composers of this genre in the German-speaking world, such as Hans Leo Haßler, Valentin Hausmann, Jakob Regnart and Johann Hermann Schein. Both collections usually consist of two- or three-part, predominantly open-off all-mandongs, homophonically set, whereby the upper voice stands out in Postiglion and instruments can add to the lower voices. In the foreword to this, the composer states that he "does not give a random title to an arbitrarily mixed song collection", because even the first song Welcome, my master has "an increased and programmatic meaning, such as the exposition of the following freely attached love story". Here, the composer inserts cyclical elements and pursues a poetic idea; he thus proves to be extremely progressive among his contemporaries. The lyrics of the songs come from himself and many contain acrostic, such as song no. 14 in the second collection, entitled Anna Maria, the name of his wife. Overall, the songs are intended for practical use and are well suited for this because of their "charming, carefree freshness and their truly singing character"; they are also largely unaffected by a certain Italian species that was fashion at the time.
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