Famous music stars died as a result of Bubonic plague
Here are 4 famous musicians from the world died in Bubonic plague:
Jacob Obrecht
Jacob Obrecht (February 11, 2015 Ghent-July 1, 1505 Ferrara) a.k.a. Jakob Obrecht or Obrecht, Jacob was a Dutch , .
His albums: Missa Caput / Salve Regina, Missa Sub tuum praesidium / Benedicamus in laude / Salve regina, Missa Maria zart (The Tallis Scholars feat. conductor: Peter Phillips) and .
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Bálint Bakfark
Bálint Bakfark (February 11, 2015 Brașov-August 1, 1576 Venice) also known as Balint Bakfark, Valentin Bakfark or Bakfark, Bálint was a Hungarian , .
lutenist and composer of the Renaissance era. He was born in Brașov, Transylvania, which was part of Hungary at the time.
Bálint Bakfark began his musical career as a singer in the choir of King John Zapolya. He later studied lute with Francesco Canova da Milano in Padua, Italy. Bakfark became known for his virtuosic lute playing and compositions that were influenced by his travels throughout Europe.
In addition to composing solo lute music, Bakfark also arranged vocal works by other composers for lute. He was particularly known for his arrangements of works by Josquin des Prez and Clément Janequin.
Bakfark was revered in his lifetime and his music continued to be performed and published after his death. He died in Venice in 1576, where he had been employed by the Venetian Republic. Today, he is remembered as one of the most important lutenists and composers of the Renaissance era.
Bakfark's legacy is not limited to his musical abilities. He was also a polyglot and scholar, who spoke several languages fluently and was well-versed in literature, history, and philosophy. In fact, he was noted for his erudition by his contemporaries, including the humanist poet and scholar Janus Pannonius. Bakfark's patronage extended beyond royalty, and he was known to have enjoyed a close relationship with the powerful Fugger family of merchants and bankers.
Bakfark's compositions were not limited to solo lute works and vocal arrangements. He also wrote ensemble music, including works for viol consort and pieces for mixed ensembles of lutes and other instruments. His music was not limited to the Renaissance style, and he was known to incorporate elements of the emerging Baroque style into his compositions.
Despite his success and prestige during his lifetime, Bakfark's music fell into obscurity in the following centuries. However, his work underwent a revival in the 20th century, propelled in part by the interest of lute enthusiasts and the burgeoning early music movement. Today, his works are regularly performed and recorded, and he is recognized as an important figure in the development of the lute as a solo instrument.
Bakfark's lute playing was known for its technical virtuosity, and he was considered the equal of the great lutenists of his time, including Francesco da Milano and Albert de Rippe. His playing was noted for its clarity and precision, as well as for the expressive range he brought to his interpretations. Bakfark was also an innovator in lute technique, and he developed new methods for tuning and fingerings that expanded the lute's expressive possibilities.
In addition to his musical accomplishments, Bakfark was also known for his eccentricities and idiosyncrasies. He was said to have a habit of speaking in rhyme, and was known to compose poetry as well as music. He was also a collector of books and manuscripts, and amassed a substantial collection of rare and valuable works throughout his travels in Europe.
Despite his achievements, Bakfark's life was not without its difficulties. He faced financial troubles throughout his career, and was forced to rely on the patronage of wealthy sponsors to support his music. He also had to navigate the political and religious conflicts of his time, and was often caught between the competing interests of rival rulers and factions.
Despite these challenges, Bakfark's legacy has endured, and his music continues to captivate audiences to this day. His innovative approach to the lute and his contributions to Renaissance music have secured his place as one of the great composers of his era.
It's worth noting that some of Bakfark's works have been misattributed to other composers, leading to controversy and confusion. For example, his "Fantasia No. 10" for lute was long thought to be written by Francesco da Milano. Bakfark's true authorship was only established in the 20th century, after the discovery of a manuscript with his name attached to the piece.
Bakfark's influence extended beyond music, and he was admired by both his contemporaries and later generations for his intellect and learning. He was praised for his knowledge of philosophy, mathematics, and astronomy, and was considered an expert in the use of the astrolabe, an instrument used for measuring the positions of stars and planets. He was also known for his interest in alchemy, which was a popular pursuit among scholars of his time.
Bakfark's travels throughout Europe exposed him to diverse cultural traditions and musical styles, which in turn shaped his own compositions. His works incorporate elements of Hungarian folk music, as well as Italian and French influences. He was also known for his use of chromaticism, which was a daring and innovative approach to harmony for his time.
Today, Bakfark remains one of the most celebrated figures in the history of lute music. His virtuosic playing, innovative compositions, and erudite scholarship have earned him a lasting legacy as one of the great Renaissance musicians.
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Johann Heinrich Schmelzer
Johann Heinrich Schmelzer (February 11, 2015 Scheibbs-March 20, 1680 Prague) also known as Schmelzer, Johann Heinrich was an Austrian violinist and composer.
Related albums: Sonate e balletti (Musica Fiata feat. conductor: Roland Wilson), and Concert à la cour des Habsbourg.
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Christian Geist
Christian Geist (February 11, 2015 Güstrow-September 27, 1711 Copenhagen) was a German , .
composer, organist, and choir director who spent most of his career in Denmark. At the age of 24, he became the organist at the St. Nikolai Church in his hometown of Güstrow. In 1688, Geist moved to Copenhagen to take the position of second organist at the Church of Our Lady, and eventually became the first organist in 1693.
Geist is known for his sacred vocal music, particularly his cantatas, which were performed at the Church of Our Lady as well as at other churches and events. He was a leading figure in the development of the Danish Baroque style, combining Italian and French influences.
Aside from his musical accomplishments, Geist was also known for his work as a music teacher and mentor. He taught many talented students, including his successor as first organist at the Church of Our Lady, Johann Adolph Scheibe.
Geist was also a prolific composer of instrumental music, including preludes, fugues, and variations for the organ. Some of his notable works include "O quam tu pulchra es," "Plorate filii Israel," and "Ach Herr wie lang." In addition to his musical activities, Geist was a respected member of the community and was involved in philanthropic work. He was a member of the Royal Danish Academy of Sciences and Letters and was appointed an honorary court composer by King Christian V of Denmark. Geist's legacy continues to be celebrated in Denmark and Germany, with his music being performed and recorded by modern musicians.
Geist was born into a family of musicians, and it is likely that his father was his first music teacher. He received further education in music in Lübeck and Hamburg before returning to Güstrow. Geist's compositions were often characterized by their complexity and emotional depth, and his works for the organ are noted for their technical virtuosity. His contributions to Danish music have been celebrated by scholars and performers alike, and his music has been described as representing the very best of the Danish Baroque style. In addition to his sacred music, Geist also composed secular vocal works and pieces for the keyboard. Despite his achievements, Geist's life was not without its difficulties. He suffered from poor health for much of his life and experienced financial struggles. However, his legacy as a composer and musical educator continues to inspire musicians and music lovers to this day.
Geist's legacy reached beyond his own compositions, as he also played a crucial role in the development of Danish musical culture through his teachings. Among his notable students were the aforementioned Johann Adolph Scheibe, and also Johann Joachim Quantz, who became a court musician for Frederick the Great of Prussia. Despite his contributions to Danish music and his acclaim as a composer and teacher, Geist's music largely fell out of favor in the centuries following his death. However, a revival of interest in his works occurred in the 20th century, with his works performed and recorded by modern ensembles. In recognition of his contributions to music, a street in Copenhagen was named after him in 1922.
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