Biography
Carl Friedrich Abel distinguished himself as both a performer and composer centered on the viola da gamba. In addition to those pieces he created more than 225 other works, among them orchestral compositions, solo and trio sonatas for flute, concertos for flute and cello, and assorted symphonies, symphonia, and sonatas. Instrumental music formed the core of Abel’s output; vocal writing occupied him only rarely. After 1759 he made England his home for the greater part of his remaining years. There he established a celebrated and advantageous partnership with J.C. Bach. Earlier he had visited the residences of Goethe and Mozart, yet he exerted scant influence on composition students aside from the pianist Johann Baptist. During a ten-year collaboration Abel and Bach appeared together frequently, presenting numerous works at the Hanover Square rooms that had been erected expressly for these performances.
Abel’s music reflected his temperament—reserved rather than flamboyant like Bach, methodical, and generous. Many of the scores he supplied for the Hanover Square concerts were fashioned so amateurs could play them, thereby creating openings for newcomers. He also arranged frequent benefit concerts for those in need, his unadorned style finding particular favor with such listeners. Although his compositions were not marked by elaborate complexity, his improvisations displayed a rich harmonic sense and “learned modulation.” Having met Goethe, one might have anticipated abundant “Sturm und Drang” in Abel’s music, yet that proved untrue. He seldom turned to minor keys, preferring instead a friendly, light, and spirited character. Further hallmarks include phrases of unusual length that feature broken chords, syncopation, appoggiaturas, an Italian flavor within his more vocal melodies, and an urbane Mannheim manner revealed in slow, elegant movements that remain both lyrical and highly decorated. His London obituary observed that the viola da gamba would die with Carl Friedrich Abel.
Abel’s music reflected his temperament—reserved rather than flamboyant like Bach, methodical, and generous. Many of the scores he supplied for the Hanover Square concerts were fashioned so amateurs could play them, thereby creating openings for newcomers. He also arranged frequent benefit concerts for those in need, his unadorned style finding particular favor with such listeners. Although his compositions were not marked by elaborate complexity, his improvisations displayed a rich harmonic sense and “learned modulation.” Having met Goethe, one might have anticipated abundant “Sturm und Drang” in Abel’s music, yet that proved untrue. He seldom turned to minor keys, preferring instead a friendly, light, and spirited character. Further hallmarks include phrases of unusual length that feature broken chords, syncopation, appoggiaturas, an Italian flavor within his more vocal melodies, and an urbane Mannheim manner revealed in slow, elegant movements that remain both lyrical and highly decorated. His London obituary observed that the viola da gamba would die with Carl Friedrich Abel.