Christoph Schaffrath (1709-1763) - Concerto â 5 ()

★ Follow music ► Composer: Christoph Schaffrath (1709-1763) Work: Concerto (orgel, a-moll) â 5 () Performers: Ton Kοοpman (organ); Amstеrdam Baroque Orchestra Concerto â 5 () 1. Andante 0:00 2. Largo 6:46 3. Allegro 10:22 Painting: Johann Georg Rosenberg (1739-1808) - Zwischen Schloss und Unter den Linden mit Zeughaus, Kronprinzenpalais und Oper, Berlin. HD image: Map: Anoniem - Map of Berlin () HD image: Further info: :Schaffrath,_Christoph Listen free: No available --- Christoph Schaffrath [Schafrath, Schafrat, Schaffroth et al.] (Hohenstein, 1709 - Berlin, 17 February 1763) German theoretician, keyboardist and composer. According to early biographical information, he received his earliest training on the harpsichord at the age of 9, probably in Dresden, which was close to his birthplace. By 1730 he was a keyboardist in the Polish Kapelle of August II, and when this was dissolved he moved briefly to Slawuta in Poland (now in Ukraine) to become a musician at the court of Prince Sangusko-Lubatowicz of Lithuania. By 1733 he unsuccessfully sought the position of organist at the Frauenkirche in Dresden but accepted a position with Crown Prince Frederick of Prussia at Rheinsberg. He was made principal accompanist in 1740 upon his patron ascending the Prussian throne, and in 1744 he accepted a lifelong position as musician to Frederick II’s sister, Princess Anna Amalia, to whom he dedicated his first published set of keyboard sonatas (Op.1) in 1746. Schaffrath was a competent and prolific composer who focused almost entirely upon instrumental works. His music includes 20 overtures or symphonies (all for strings, but with a few woodwinds on occasion); 72 concertos for the harpsichord; eight concertos for two harpsichords, violin, flute, and oboe (and others for flute, oboe, bassoon, and viola da gamba that have been lost); 30 trio sonatas, 40 sonatas for a single instrument and keyboard; and around 40 sonatas for keyboard alone. As a member of the Berlin School, he wrote in a mixture of galant and the older contrapuntal styles, though his formats often use contrasting themes and triplet figurations.