Biography
Following the passing of his father, a blacksmith, Quantz launched his musical education with his uncle, a town musician based in Merseburg. He explored both string and wind instruments while also receiving harpsichord instruction. In the course of these formative years he absorbed the output of the foremost Baroque composers from the generations immediately before and during his own time.
Quantz relocated to Dresden in 1716 and joined the municipal band. The year after, he pursued counterpoint studies in Vienna, then established himself once more in Dresden as oboist for Augustus II in the Polish chapel. Finding scant scope for advancement on that instrument, he turned to the flute instead. Composition gradually claimed more of his attention, above all pieces for flute, and this period brought repeated occasions to perform before Europe’s crowned heads.
After an impressive world tour, Quantz was invited to join the court Kapelle in Dresden. In 1740 he assumed a dedicated post as composer and flute maker to Frederick, king of Prussia, remaining there for the balance of his professional life. He introduced numerous refinements to flute construction, among them additional keys that enhanced intonation. He also wrote method books for the flute and other instruments. His works stay unmistakably Baroque in character, though his final compositions begin to move toward the emerging Classical style.
Quantz relocated to Dresden in 1716 and joined the municipal band. The year after, he pursued counterpoint studies in Vienna, then established himself once more in Dresden as oboist for Augustus II in the Polish chapel. Finding scant scope for advancement on that instrument, he turned to the flute instead. Composition gradually claimed more of his attention, above all pieces for flute, and this period brought repeated occasions to perform before Europe’s crowned heads.
After an impressive world tour, Quantz was invited to join the court Kapelle in Dresden. In 1740 he assumed a dedicated post as composer and flute maker to Frederick, king of Prussia, remaining there for the balance of his professional life. He introduced numerous refinements to flute construction, among them additional keys that enhanced intonation. He also wrote method books for the flute and other instruments. His works stay unmistakably Baroque in character, though his final compositions begin to move toward the emerging Classical style.
Singles
