Theodor Freiherr von Schacht (1748-1823) - Partita 'Turco' (1790)
Channel: Pau NG
Date: 2021-06-21

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Composer: Theodor Freiherr von Schacht (1748-1823)
Work: Partita 'Turco' (1790)
Performers: Böhmischеs Sinfonieorchester Budwеis; Hans Pеtеr Wiеshеu (conductor)

Drawing: Luigi Mayer (1755-1803) - View of Cibukli and of the Canal of Constantinople (1788)
Image in high resolution: https://flic.kr/p/2m6i6W3
Painting: Osman Hamdi Bey (1842-1910) - Two Musisian Girls
Image in high resolution: https://flic.kr/p/gvZYQv

Further info: https://www.regensburg.de/kultur/kulturservice/kulturentwicklung-publikationen-wissenswertes/publikationen-des-kulturreferats/cds
Listen free: No available

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Theodor Freiherr von Schacht
(Strasbourg, 1748 - Regensburg, 20 June 1823)

German composer. From 1756 to 1766 he studied the piano and theory with J.J. Küffner and Riepel at the Thurn and Taxis court in Regensburg, and from 1766 to 1771 he was a pupil of Jommelli at Stuttgart. In 1771 he became a Hofkavalier to Prince Carl Anselm of Thurn and Taxis, who in 1773 appointed him Intendant of the court's music and commissioned him to set up an Italian opera, which flourished from 1774 to 1778. After the building of a German theatre in 1778 Schacht dedicated himself more to the service of the court. Between 1784 and 1786 he again established an Italian opera at the court, and was its leader and Kapellmeister. From 1786 he was the administrator and musical director of the court orchestra. In 1805 he travelled via Salzburg to Vienna, where he won respect as a composer of sacred music. There in 1809 he was asked by Napoleon to compose six solemn masses, and also enjoyed the protection of Archduke Rudolf. He returned to Germany in 1812, lived in the castle at Scheer (near Sigmaringen) until 1819 and spent his last years in Regensburg. Schacht's output includes about 200 works, the strongest of which are the theatre pieces in which he cultivated the Italian style of opera. Schacht's church music displays the same theatrical energy, with rich coloratura, homophonic choral movements and a sparing use of fugal sections. His instrumental music was notable less for contrapuntal interest than for its wealth of attractive melodies and harmonies. One of his symphonies was formerly attributed to Haydn.