Hans Adolph Friedrich von Eschstruth
Hans Adolph Friedrich von Eschstruth
Genres: 18th century, german
Christoph Transchel
About Hans Adolph Friedrich von Eschstruth
Hans Adolph Friedrich von Eschstruth, until 1773 without a title of nobility (born January 28, 1756 in Homberg (Efze) ; died April 30, 1792 in Kassel), was a German lawyer, music writer and composer. Hans Adolph Friedrich Eschstruth was the son of Johann Adolph Eschstruth (1728–1802), who was stationed in Hesse-Kassel at the time in Homberg in northern Hesse, and later became chief rent manager and colonel in Schmalkalden, and his wife Bertha, née Freiin Wolff von Gudenberg (1738–1798). His father was raised to the hereditary imperial nobility on November 2, 1773 in Vienna, which passed to his son Hans Adolph Friedrich and the other descendants. Eschstruth received his schooling in Schmalkalden from the rector there, Georg Leo Lipsius. In 1771, at the age of fifteen, he was able to enroll to study jurisprudence at the University of Rinteln . In 1775 he moved to the University of Göttingen for another year, where he prepared himself for his professional life , particularly with the constitutional lawyer Johann Stephan Pütter. He got his first job in 1776 as an assessor in the Hesse-Kassel administration in Marburg; In 1780 he was appointed Councilor of Justice. After being transferred to Kassel in 1786, he became a real government councilor there in 1788 and also a court councilor in 1791. In 1780 Eschstruth married the literary talent Katharina Dorothea Riemenschneider (1762–1827) in Marburg, who after his death married the Marburg professor and councilor Johann Christoph Ullmann. The marriage to von Eschstruth remained childless. She published poems in the volumes of the Hessian Museum Almanac edited by her husband. Eschstruth's passion was music, to which he devoted almost all of his free time until his death. His musical training probably took place in Schmalkalden in the environment of Johann Gottfried Vierling , and the Marburg "university musician" and concert master Bernhard Hupfeld (1717-1796) may have influenced him. During his stay in Marburg he became the editor and author of numerous musicological and music-critical essays; his unusual spelling, particularly in the Musikalische Bibliothek fur Künstler und Lieber, published in 1784/85 , demonstrated a tendency towards the eccentric. He also wrote poetic poems. He tried his hand at composing, especially of songs , with particular zeal, but with little artistic skill and just as little resonance with the public.
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