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User:SiriPie13/Jacob Schmitt

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Jacob Schmitt

Jacob Schmitt, also called Jakob, Jaques or Jacques, (2 November 1803 – June 1853) was a german composer and piano teacher who worked in Hamburg.[1] He was born in Obernburg near Aschaffenburg and died in Hamburg.

Life

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Jacob Schmitt is the youngest of the seven children of Franz Bartholomäus Schmitt and Anna Maria Scheller;[2] his oldest brother is the composer Aloys Schmitt.[3] His father was already an aspiring musician, who touched up his salary as a teacher with being an organist in the town’s parish church St. Peter and Paul. He supports his sons musically, giving them their first musical lessons and making sure, that they are taken up in the house of the music publisher Johann Anton André in Offenbach. There, Schmitt is taught by André as well as his brother Aloys and has his first performances as a piano accompanist in 1814.[4] At this time in the view of the public, he is the little brother of the already well-known Aloys with whom he has an intimate relationship.[5]

Schmitt’s way into the world of the free music business began around 1823. This becomes clear from an exchange of letters with his former patron André. In these letters, Schmitt initially asks for the financing of a new grand piano offering Andrè the rights to more compositions in return; after this request is refused, Schmitt requests that at least new works of him are included in André’s publishing and the support for a planned concert tour. He discovers that as an independent artist he no longer deals with a patron but rather with a businessman and cooperation partner.[6] At this time Schmitt stayed in Mannheim for a longer time where he taught the pianist Jakob Rosenhain.[7]

Schmitt first visits Hamburg on a concert tour in 1825. He is received friendly by critics and settles in the city; public documents mention the years 1828/29, although contemporary sources already mention the year 1825. In 1827 Schmitt marries the daughter of a merchant Henrica Worms in Obernburg. The first home of the Schmitt family in Hamburg is near the Altona's gate, subsequently Schmitt tries to endear the audience in Hamburg for example with his composition Les charmes de Hambourg which is his first composition published in Hamburg.[8] For a short time, he is head of an orchestra association, the Apollo-Verein; but he resigns after a few years.[9] His job as a teacher is more successful as he accompanies it with teaching materials for piano. Among his students are Diederich Krug, Henry Christian Timm and Otto Goldschmidt.[10] The many moves into socially worse areas of Hamburg as well as his letter correspondence at this time show that Schmitt has no big economic success. He dies lonely and poor in 1853.[10]

Works

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Schmitt created over 330 works mainly for piano,[2] amongst these numerous Sonatina, Divertissements, Nocturnes and other smaller pieces. These pieces are favoured in contemporary criticism. However, his only opera Alfred the Great (german:Alfred der Große) was no success.[11]

Robert Schumann was Schmitt’s most important contemporary critic. He saw big talent in Schmitt, which never could or wanted to develop fully. Schumann especially valued Schmitt’s big works like his concert op. 300 and the Grande Fantaisie brillante op. 225 as well as his teaching materials.[12] As many critics of this time, he also compared Jakob to his brother Aloys Schmitt and concluded that Jacob had the greater talent, but Aloys was the superior artist and utilised his talent better.[13] In the contemporary "Encyclopedia of the whole musical sciences or universal lexicon of the musical art" (“Encyclopädie der gesammten musikalischen Wissenschaften oder Universal-Lexikon der Tonkunst”) Aloys was also considered to be the more important artist.[14] Only in the "Little musical conversations-lexicon" ("Kleinen musikalisches Conversations-Lexikon"), which was published by his musical publishing house in Hamburg and he was involved as an author, saw him as equally important as his brother.[1]

Literature

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  • Eric Erfurth (2006), Erich Schneider (ed.), "Jacob Schmitt", Fränkische Lebensbilder, vol. 21, Würzburg: Gesellschaft für fränkische Geschichte, pp. 231–242, ISBN 3-86652-721-7
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References

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  1. ^ a b Julius Schuberth: Kleines musikalisches Conversations-Lexikon. Verlag von J. Schuberth & Co, Leipzig 1865, S. 271.
  2. ^ a b Erfurth: Jacob Schmitt. 2006, S. 331.
  3. ^ Carl Friedrich Weitzmann: Geschichte des Clavierspiels und der Clavierliteratur. Verlag der J. B. Cotta’schen Buchhandlung, Stuttgart 1863, S. 119.
  4. ^ Erfurth: Jacob Schmitt. 2006, S. 332.
  5. ^ Erfurth: Jacob Schmitt. 2006, S. 333.
  6. ^ Erfurth: Jacob Schmitt., S. 334 f.
  7. ^ Erfurth: Jacob Schmitt. 2006, S. 335.
  8. ^ Erfurth: Jacob Schmitt. 2006, S. 336.
  9. ^ Erfurth: Jacob Schmitt. 2006, S. 339.
  10. ^ a b Erfurth: Jacob Schmitt. 2006, S. 340.
  11. ^ Erfurth: Jacob Schmitt. 2006, S. 337.
  12. ^ Ludwig Finscher, ed. (2005), Die Musik in Geschichte und Gegenwart. Personenteil, vol. 14 (2 ed.), Kassel u. a.: Bärenreiter, 1465, ISBN 3-7618-1100-4
  13. ^ Erfurth: Jacob Schmitt. 2006, S. 337 f.
  14. ^ Gustav Schilling, ed. (1838), Encyclopädie der gesammten musikalischen Wissenschaften oder Universal-Lexikon der Tonkunst, vol. 6, Stuttgart: Verlag von Franz Heinrich Köhler, p. 226


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