The magazine "Der Critische Musikus," published between 1737 and 1740, served as the primary platform for Johann Adolf Scheibe to articulate his aesthetic theories on music. Born in Leipzig in 1708, this multifaceted composer, critic, and conductor eventually became a central figure in the musical life of Copenhagen, exerting significant influence over the Royal Danish Theatre and royal court.
Early Development and Education
The son of organ builder Johann Scheibe, he began formal keyboard instruction at age six. In 1725, he enrolled at Leipzig University to study law and philosophy. During this period, his engagement with the professor of rhetoric and poetry, Johann Christoph Gottsched, proved formative. Gottsched’s campaign to reform German drama and poetry provided the intellectual framework for Scheibe’s later philosophy of music, which emphasized naturalness and rational expression. Financial difficulties forced him to abandon his degree, leading him to pursue a self-directed career in music.
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Following a move to Hamburg in 1736, he established professional relationships with Johann Mattheson and Georg Philipp Telemann. These connections aided the launch of his influential critical writings. By 1739, he secured the position of kapellmeister for Margrave Friedrich Ernst of Brandenburg-Culmbach. Shortly thereafter, at the behest of Queen Sophie Magdalene, he relocated to Denmark to serve as kapellmeister for King Christian VI. In Copenhagen, he directed the royal orchestra, composed extensive vocal and instrumental music, and founded "Det Musikalske Societet," which organized public concerts from 1744 to 1749.
Critical Disputes and Aesthetic Theory
Scheibe’s reputation as a musicologist is inextricably linked to his critique of Johann Sebastian Bach. He championed a style characterized by purity and clarity, often arguing against what he perceived as the "bombastic" nature of polyphony. He maintained a long-standing intellectual disagreement with Johann Abraham Birnbaum, a professor of rhetoric who defended Bach’s compositions. Despite his objections to Bach's specific techniques, Scheibe openly admired Bach’s skill as a performer, particularly on the organ and harpsichord. His theoretical output continued until his death in 1776, with major works including his 1754 treatise on the origins of music and his 1773 text on composition.
Final Years and Musical Legacy
The death of King Christian VI in 1746 shifted the cultural climate toward Italian and French opera, leading to the termination of Scheibe’s court position in 1748. He moved to Sønderborg to manage a music school for children. During this period, he produced notable funeral cantatas and continued his literary work, including a biography of Baron Ludvig Holberg. He returned to Copenhagen in 1762, residing there until his death. While the majority of his compositions, which numbered over 150 church pieces and 200 concertos, are now lost, his impact remains evident in his theoretical contributions to musicology.
Fast facts
- Born: 1708, Leipzig
- Died: 1776, Copenhagen
- Citizenship: German and Danish
- Educated at: Leipzig University
- Key Publication: Der Critische Musikus
- Primary Occupations: Composer, music critic, musicologist
- Member of: Lodge of Zorobabel
Questions readers ask
What was the core of Scheibe's critique of J.S. Bach?
Scheibe felt Bach's music was too complex and artificial, arguing that heavy ornamentation and dense polyphony obscured the melody and contradicted natural musical expression.
Did Scheibe hold any official positions in Denmark?
Yes, he served as the kapellmeister for King Christian VI and was a major figure in the foundation of the first musical society, Det Musikalske Societet.
