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Moritz Hauptmann (October 13, 1792 – January 3, 1868), was a German music theorist, teacher and composer.

Hauptmann was born at Dresden, and studied violin under Scholz, piano under Franz Lanska, composition under Grosse and Francesco Morlacchi, the rival of Carl Maria von Weber. Afterwards, he completed his education as a violinist and composer under Louis Spohr, and till 1821 held various appointments in private families, varying his musical occupations with mathematical and other studies bearing chiefly on acoustics and kindred subjects.

For a time also Hauptmann was employed as an architect, but all other pursuits gave place to music, and a grand tragic opera, Mathilde belongs to the period just referred to. In 1822 he entered the orchestra of Kassel, again under Spohr's direction, and it was there that he first taught composition and musical theory to such men as Ferdinand David, Friedrich Burgmüller, Kid and others.

In 1842 Hauptmann obtained the position of Kantor at the Thomas School in Leipzig (long previously occupied by Johann Sebastian Bach) together with that of professor of music theory at the conservatoire fouded by Felix Mendelssohn, and it was in this capacity that his unique gift as a teacher developed itself and was acknowledged by a crowd of enthusiastic and more or less distinguished pupils.

Hauptmann's compositions are marked by symmetry and workmanship rather than by spontaneous invention. Among his vocal compositions may he mentioned two masses, choral songs for mixed voices (Op. 32, 47), and numerous part songs.

The results of his scientific research were embodied in his book Die Natur der Harmonik und Metrik (1853), in which a philosophic explanation of the forms of music is attempted.

Hauptmann's Pupils

Bibliography

  • Hauptmann, Moritz: The Letters of a Leipzig Cantor (2 vols.). London: Novello, Ewer and Co., 1892 [1]
  • Hauptmann, Moritz: The nature of harmony and metre. New York: Da Capo Press, 1991, Reprint of the ed. London, Sonnenschein, 1893. ISBN 0-306-76298-6. [2]
  • Jorgenson, Dale A. Moritz Hauptmann of Leipzig. Studies in History and Interpretation of Music, Vol. 2. Lewiston, NY: The Edwin Mellen Press, 1986.
  • Mason, William. Memories of a Musical Life. New York: The Century Company, 1902. [3]

This article incorporates text from the Encyclopædia Britannica, Eleventh Edition, a publication now in the public domain.

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1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

MORITZ HAUPTMANN (1792-1868), German musical composer and writer, was born at Dresden, on the 13th of October 1792, and studied music under Scholz, Lanska, Grosse and Morlacchi, the rival of Weber. Afterwards he completed his education as a violinist and composer under Spohr, and till 1820 held various appointments in private families, varying his musical occupations with mathematical and other studies bearing chiefly on acoustics and kindred subjects. For a time also Hauptmann was employed as an architect, but all other pursuits gave place to music, and a grand tragic opera, Mathilde, belongs to the period just referred to. In 1822 he entered the orchestra of Cassel, again under Spohr's direction, and it was then that he first taught composition and musical theory to such men as Ferdinand David, Burgmiiller, Kiel and others. His compositions at this time chiefly consisted of motets, masses, cantatas and songs. His opera Mathilde was performed at Cassel with great success. In 1842 Hauptmann obtained the position of cantor at the Thomas-school of Leipzig (long previously occupied by the great Johann Sebastian Bach) together with that of professor at the conservatoire, and it was in this capacity that his unique gift as a teacher developed itself and was acknowledged by a crowd of enthusiastic and more or less distinguished pupils. He died on the 3rd of January 1868, and the universal regret felt at his death at Leipzig is said to have been all but equal to that caused by the loss of his friend Medelssohn many years before. Hauptmann's compositions are marked by symmetry and perfection of workmanship rather than by spontaneous invention.

Amongst his vocal compositions - by far the most important portion of his work - may be mentioned two masses, choral songs for mixed voices (Op. 32, 47), and numerous part songs. The results of his scientific research were embodied in his book Die Natur der Harmonik and Metrik (1853), a standard work of its kind, in which a philosophic explanation of the forms of music is attempted.


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