Leonhard Lechner

The musical career of Leonhard Lechner included some fits and starts, and even though one prior employer tried to have him hunted straight down, his effect on German protestant music was eventually great. Lechner, who known as himself Athesinus, evidently came from someplace along the shores of the Tyrolean river of this name. He appears to have pursued music from a age, singing being a choirboy in the choir at Landshut, and most likely in the Bavarian Hofkapelle at Munich. His first teachers were hence the directors of the two institutions: Ivo de Vento, Antonius Gosswin, as well as the matchless international superstar Orlande de Lassus. Like his German Protestant modern Johannes Eccard, Lechner proceeded to go from Lassus’ tutelage to build up a strongly flexible and specific musical design. Unlike Eccard, Lechner’s profession trajectory had taken him through some astonishing turns. Currently by 1581, Lechner mentioned he had currently “roved all over, visiting various areas.” He most likely spent area of the 1570s in Italy, as well as the latter element of it teaching within a Nuremberg sentence structure college. He spent almost a decade in Nuremberg and was once marketed, but remained within a depressingly subordinate placement. He thus wanted, and attained, fresh employment using the Count number of Hollenzollern in 1583-1584. Sadly for Lechner, who was simply a spirited convert towards the Lutheran religious beliefs, the Count number ended up being a staunch Catholic counter-reformer; it had been for Lechner like offering the hated papacy itself. Lechner attempted to keep his work honorably in 1585. He failed, but escaped in the night time with no furious Count’s authorization. When the musician refused to come back to Hechingen, the Count number treated him (with some justice) like a runaway, and begged close by lords to fully capture him and come back him by push. Thankfully, Duke Ludwig of Württemberg got Lechner in, and the person would sing, compose, and immediate in the Duke’s Stuttgart courtroom chapel until his loss of life. After nine years’ provider (in 1594), Lechner was called hofkapellmeister. He continuing composing music until near to the period of his loss of life in 1606, though it appears his final 10 years was suffering from bad wellness. He undertook many curative trips towards the spas, but nonetheless could compose what might have been one of is own last parts: an enormous Psalm-motet for the marriage of his patron’s little girl.