• Born January 30, 1697 in Oberscheden
• Died July 12, 1773 in Potsdam
• Period: Baroque (1600-1749)
• Country: Germany

Biography

One of the most significant figures in the early history of the transverse flute, composer and performer Johann Joachim Quantz as a youth had the capacity to master nearly any instrument. Only late in his development did he specialize in the flute, an instrument that would lead him to a highly paid and highly honored position with King Frederick the Great of Prussia.

By age eight, Quantz was already playing double bass in village festivals. When he was 10, upon his blacksmith-father's death, he was apprenticed to his uncle, a town musician, and then his uncle's son-in-law. This apprenticeship led Quantz to proficiency on oboe, trumpet, and most string instruments. He spent some time in the Dresden town band, and in 1717 studied counterpoint in Vienna with Jan Dismas Zelenka. The following year he became oboist in the Polish chapel of Augustus II, King of Poland, spending time in both Warsaw and Dresden. But in 1719, realizing how few opportunities for promotion he faced as an oboist, Quantz took up the transverse flute.

The following years found Quantz traveling through Europe in the entourage of Augustus II, performing and studying counterpoint when he could. As a composer he was already strongly influenced by the concertos of Vivaldi. In 1728, the same year he became a member of the Dresden court chapel, Quantz was engaged to teach Crown Prince Friedrich in Berlin. He commuted between Berlin and Dresden, where he also made flutes starting in 1739. When the Crown Prince became King of Prussia in 1740, he soon summoned Quantz to Berlin to supervise private evening concerts and continue serving as his flute teacher. Quantz's salary was increased by 150 percent, and he received extra payment for each flute and composition he produced. (He was also the only person authorized to criticize the king's flute playing.)

In all, Quantz wrote more than 200 flute sonatas and 300 flute concertos, among other works, as well as an important treatise on flute playing. His music, while influenced by Vivaldi, marks a transition from late Baroque to early Classical styles. ~ James Reel, All Music Guide

(b Oberscheden, Hanover, 30 Jan 1697; d Potsdam, 12 July 1773). German flautist, composer and writer on music. He joined the Polish chapel of Augustus III as an oboist in 1718, working mainly in Dresden, and later turned to the transverse flute. He became a member of the Dresden court Kapelle after a European tour, 1724-7. From 1728 he visited Berlin to teach the flute to the young Prince Frederick, whom (as Frederick the Great) he served from 1740, supervising his concerts, composing and making flutes. His main works are over 200 sonatas for flute and continuo, c60 trio sonatas and over 300 flute concertos; these contain French and Italian elements and reflect the transition from late Baroque to early Classical style. He also wrote solo flute pieces, duets, songs etc, and the comprehensive Versuch einer Answeisung die Flöte traversiere zu spielen (1752), a flute treatise influential for its detailed discussion of performance.

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Quantz, Johann Joachim (Oberschweden, Hanover, 1697-1773, Potsdam), the son of a blacksmith, became a distinguished flautist in the court orchestra of Friedrich II of Prussia, for whom he composed nearly 300 flute concertos.

(yō'hän yō'äkhĭm kvänts) , 1697–1773, German flutist and composer for the flute. In 1741 he became chamber musician and teacher of the flute to Frederick the Great, for whom Quantz wrote more than 500 pieces, including flute sonatas and concertos. He also wrote a famous textbook for the flute, Versuch einer Anweisung die Flöte traversière zu spielen (1752), which was translated into French, English, and Dutch, and invented several improvements upon the instrument.

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