Johann Mattheson, German lexicographer and composer (b. 1681)

Johann Mattheson (September 28, 1681 – April 17, 1764) stands as a towering figure of the German Baroque era, a true polymath whose contributions spanned an extraordinary array of disciplines. Born and laying to rest in the vibrant city of Hamburg, Mattheson distinguished himself not only as a composer and singer but also as a prolific writer, a meticulous lexicographer, an astute diplomat, and a highly influential music theorist. His life story offers a fascinating glimpse into the intellectual and cultural landscape of 18th-century Europe, marked by both profound friendships and dramatic rivalries.

A Life in Hamburg and a Storied Friendship with Handel

Hamburg, a thriving port city and a significant cultural hub during the Baroque period, was the constant anchor of Mattheson’s life. It was here that he forged a complex and ultimately enduring friendship with one of the era’s giants, George Frideric Handel. Their relationship, however, was not without its tumultuous moments. In a particularly dramatic incident in 1704, during a performance of Mattheson’s own opera, Cleopatra, a sudden and heated quarrel erupted backstage. This altercation escalated to the point where Mattheson’s sword was drawn, and Handel’s life was very nearly cut short. Legend has it that Handel was saved only by a large metal button on his coat, which deflected the deadly thrust. Despite this near-fatal encounter, a testament to the fiery personalities of the time, the two musicians remarkably reconciled and maintained a lifelong correspondence, a bond that transcended professional rivalry. Their mutual respect was evident when, shortly after Handel’s death, Mattheson undertook the significant task of translating John Mainwaring's pioneering biography of Handel into German, publishing it in Hamburg in 1761 at his own expense ("auf Kosten des Übersetzers"), thus ensuring its accessibility to a broader German-speaking audience and cementing its historical importance.

Early Musical Prodigy and Diverse Talents

Born into a comfortable household – his father was a well-to-do tax collector – Mattheson benefited from a broad liberal education, a hallmark for gentlemen of his standing. Beyond general academic pursuits, he received extensive musical training, mastering various keyboard instruments, the violin, composition, and singing. His prodigious talent became apparent at a remarkably young age; by nine, he was already contributing to church services, singing and playing the organ, and had joined the chorus of the prestigious Hamburg opera. His solo debut at the Hamburg opera in 1696 saw him performing in female roles, a common practice for exceptionally talented young boys before their voices broke. Once his voice matured, he transitioned to singing tenor, while simultaneously taking on responsibilities as a rehearsal conductor and, eventually, composing operas himself. His career also included a significant post as cantor at St. Mary's Cathedral from 1718, a role he held until 1728 when the onset of increasing deafness, a tragic affliction for any musician, compelled his retirement from the position.

A Shift to Diplomacy: A Man of Many Worlds

While music was a constant thread in his life, Mattheson's primary professional focus shifted dramatically from 1706 onwards, as he embraced a career as a professional diplomat. His early education had provided him with a strong command of English, which he spoke fluently – a skill that proved invaluable. He began as a tutor to the son of the English ambassador, Sir John Wich, before ascending to the prestigious role of the ambassador's secretary. This position saw him frequently engaged in significant diplomatic missions abroad, representing the ambassador and contributing to international relations. This cross-cultural engagement was further cemented in 1709 when he married an English woman, further intertwining his life with the British sphere of influence.

A Lasting Legacy in Theory and the Restoration of Music

Despite his varied career, Johann Mattheson is arguably most renowned today for his profound contributions as a music theorist. He was one of the most prolific and influential writers on performance practice, theatrical style, and harmony within the German Baroque tradition. His work is particularly significant for its exploration of the intricate relationship between rhetoric and music, a core concept of Baroque musical aesthetics. Through seminal treatises like Das neu-eröffnete Orchestre (The Newly Opened Orchestra) and Der vollkommene Capellmeister (The Complete Kapellmeister), he articulated how musical expression could emulate rhetorical devices, connecting musical figures to human emotions and persuasive speech. However, Mattheson was also a brilliant and often contentious polemicist, meaning his writings frequently contained strong opinions, critiques, and debates. Consequently, while immensely valuable for understanding 18th-century musical thought, his theories sometimes exhibit a degree of pedantry and what some critics term "pseudo-erudition," sparking ongoing discussion and careful scrutiny among scholars. Nevertheless, his detailed insights offer an invaluable window into the musical practices and aesthetic debates of his time.

His compositional output, though overshadowed by his theoretical writings, was substantial, with the bulk being vocal works. This included eight operas, numerous oratorios – large-scale religious dramatic works – and cantatas. He also composed a selection of sonatas and various pieces for keyboard, some specifically designed for instruction. Tragically, much of his musical legacy seemed lost after World War II, with nearly all his music, save for one opera, one oratorio, and a few instrumental collections, going missing. However, in a remarkable act of cultural restitution in 1998, a significant portion of his lost manuscripts, including four operas and most of his oratorios, were returned to Hamburg from Yerevan, Armenia. These invaluable manuscripts are now meticulously preserved at the Staats- und Universitätsbibliothek Hamburg, formerly known as the Hamburg Stadtbibliothek (City Library), allowing modern scholars and performers to finally explore the breadth of his creative genius. After his passing in 1764, Johann Mattheson was laid to rest in the vault of Hamburg's iconic St. Michaelis' Church, affectionately known as "Michel," where his grave remains a site of historical interest.

Frequently Asked Questions About Johann Mattheson

Who was Johann Mattheson?
Johann Mattheson was a prominent German polymath of the Baroque era (1681–1764), celebrated as a composer, singer, writer, lexicographer, diplomat, and especially as an influential music theorist. He lived and worked primarily in Hamburg, Germany.
What was his relationship with George Frideric Handel?
Mattheson and Handel were close friends, though their relationship was famously dramatic. They had a near-fatal duel in 1704 during a performance of Mattheson's opera Cleopatra, where Handel was reportedly saved by a button. Despite this, they reconciled, maintained a lifelong correspondence, and Mattheson later translated Handel's first biography into German.
What were Mattheson's key contributions to music theory?
Mattheson is most famous for his extensive theoretical writings, which detailed performance practice, theatrical style, and harmony of the German Baroque. He was particularly important for exploring the connection between rhetoric and music, as seen in his influential works like Das neu-eröffnete Orchestre and Der vollkommene Capellmeister.
Why are Mattheson's theoretical works sometimes considered controversial?
Mattheson was known as a brilliant polemicist, a writer who often engaged in strong arguments and criticisms of others' theories. His books are sometimes characterized by pedantry and what some scholars call "pseudo-erudition," making them both highly informative about contemporary debates and subjects of scholarly scrutiny due to their opinionated nature.
What happened to Mattheson's musical compositions?
Most of Mattheson's compositions, including several operas and oratorios, were presumed lost after World War II. However, in a significant historical event in 1998, a large collection of his manuscripts was recovered from Yerevan, Armenia, and returned to Hamburg. These rediscovered works are now housed at the Staats- und Universitätsbibliothek Hamburg, allowing for a fuller appreciation of his compositional legacy.