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Johann Joseph Fux
Person · male · Germany · Langegg bei Graz · born 1660 · died 1741 · recording since 1989
Austrian composer
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Also known as 约翰·约瑟夫·富克斯
Timeline
15 events▣ Album 12◦ Birth 1† Death 1★ Debut release 1
1660s
1740s
1980s
· Debut release
Debut release: Concentus musico instrumentalis 1701
First documented Album in the MusicBrainz discography.
source: musicbrainz
1990s
2000s
· Album
Album: La Grandezza della Musica Imperiale: Composizioni per orchestra
Album
source: musicbrainz
2010s
2020s
Biography
English biography2,126 words · 6 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1379208162
Biography
Johann Joseph Fux (German: [ˈjoːhan ˈjoːzɛf ˈfʊks]; c. 1660 – 13 February 1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. His most enduring work is not a musical composition but his treatise on counterpoint, Gradus ad Parnassum, which has become the single most influential book on the Palestrinian style of Renaissance polyphony.
Life
Fux's exact date of birth is unknown. He was born to a peasant family in Hirtenfeld, Styria, Austria. Relatively little is known about his early life, but likely he went to nearby Graz for music lessons. In 1680 he was accepted at the Jesuit Ferdinandeum University there, where his musical talent became apparent. From 1685 until 1688 he served as organist at St. Moritz in Ingolstadt. Sometime during this period he must have made a trip to Italy, as evidenced by the strong influence of Corelli and Bolognese composers on his work of the time.
By the 1690s he was in Vienna, and attracted the attention of Emperor Leopold I with some masses he composed; the emperor was sufficiently impressed by them to assist him with his career after this point. In 1698, Leopold hired him as court composer. Fux traveled again to Italy, studying in Rome in 1700; it may have been here that he acquired the veneration for Palestrina which was so consequential for music pedagogy.
Fux became the Hofkapellmeister (head musician of the Wiener Hofmusikkapelle) in 1715, along with Antonio Caldara as his vice-Kapellmeister, and F.B. Conti as the court composer. One of his students at the Wiener Hofmusikkapelle was the organist and composer Anton Karl Richter.
Fux served Leopold I until the latter's death, and two more Habsburg emperors after that: Joseph I, and Charles VI, both of whom continued to employ him in high positions in the court. Fux was famous as a composer throughout this period, and stood out among his contemporaries as the highest ranking composer in the Holy Roman Empire. However, this renown gradually became eclipsed later in the 18th century as the Baroque style died out. Although his music until recently never regained favor, his mastery of counterpoint influenced countless composers through his treatise Gradus ad Parnassum (1725). Haydn largely taught himself counterpoint by reading it and recommended it to the young Beethoven. Mozart had a copy of it that he annotated.
Gradus ad Parnassum
The Gradus ad Parnassum (Steps or Ascent to Mount Parnassus) is a theoretical and pedagogical work written by Fux in Latin in 1725, and translated into German by Lorenz Christoph Mizler in 1742. Fux dedicated it to Emperor Charles VI.
The work is divided into two major parts. In the first part, Fux presents a summary of the theory on Musica Speculativa, or the analysis of intervals as proportions between numbers. This section is in a simple lecture style, and looks at music from a purely mathematical angle, in a theoretical tradition that goes back, through the works of Renaissance theoreticians, to the Ancient Greeks. Fux explains that intervals in exact mathematical proportions result in larger and smaller half tones, and he also mentions that some organists added extra keys (split halves to use smaller and bigger half tones), but that adding extra keys on a keyboard was problematic and for this reason they divided every note in "zwei gleiche Theile" (two equal parts), resulting in equal temperament. He continues:
Da man aber erfahren, daß solches in Zahlen nicht angeht, ist das Ohr zu hülfe genommen worden, indem man von dem einem Theil einem fast gar nicht mercklichen Theil weggenommen, und dem andern zugesetzet.[Because experience told us that one cannot do this by means of figures, the ear was called in to help, by taking away an almost non-detectable amount from one note and adding it to the others.] The works of Mersenne, Cicero and Aristotle are among the several references quoted by Fux in this section.
The second part, on Musica Pratica, is the section of this treatise where the author presents his instruction on counterpoint, fugue, double counterpoint, a brief essay on musical taste, and his ideas on composing sacred music, writing in the a cappella and in the recitativo style. This part is in the form of a dialog, between a master (Aloysius, Latin for Luigi, who is meant to represent Palestrina's ideas) and a student, Josephus, who represents Fux himself, a self-admitted admirer of Palestrina. At the outset, Fux states his purpose: "to invent a simple method by which a novice can progress, step by step, to attain mastery in this art." and gives his opinion of contemporary practice: "I shall not be deterred by the most ardent haters of school, nor by the corruptness of the times." He also states that theory without practice is useless, thus stressing practice over theory in his book.
While Gradus ad Parnassum is famous as the origin of the term "species counterpoint", Fux was not the first one to invent the idea. In 1610, Girolamo Diruta, a composer of the Venetian school, published Il Transilvano, which presented the Renaissance polyphonic style as a series of types: one note against one note, two notes against one note, suspensions, and so forth. Fux's work repeated some of Diruta's, possibly coincidentally, since he is not known to have had a copy.
In species counterpoint, as given in Fux, the student is to master writing counterpoint in each species before moving on to the next. The species are, in order, note against note; two notes against one; four notes against one; ligature or suspensions (one note against one, but offset by half of the note value); and florid counterpoint, in which the other species are combined freely. Once all the species are mastered in two voices, the species are gone through again in three voices, and then in four voices. (Occasionally, in modern counterpoint textbooks, the third and fourth species are reversed with suspensions being taught before four notes against one.) Fux expressed the intention of adding sections on how to write counterpoint for more than four parts, indicating that rules in this area were to be "less rigorously observed". However, citing his poor health as a result of gout and age, he chose to conclude the book as it stood.
Modern counterpoint education is greatly indebted to Gradus ad Parnassum, and Fux presented the ideas with such clarity and focus that both subsequent and modern counterpoint texts continue to cite his work, from the book by Albrechtsberger (Gründliche Anweisung zur Komposition) to 20th century examples such as the book by Knud Jeppesen (Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century). Furthermore, Gradus ad Parnassum is a noteworthy historical document in that it clearly delineates the stylistic distinction of the entire baroque era between an antique and sacred style and a more modern and largely secular style.
The Latin edition of Fux's Gradus ad Parnassum from the year 1725, translated by Lorenz Christoph Mizler, is the only surviving book of J.S. Bach's personal library of theoretical works. As Mizler was a student of J.S. Bach, musicologist Christoph Wolff has suggested that Bach may have played some part in persuading Mizler to translate the treatise.
Sacred compositions
Fux's sacred works include masses (such as Missa canonica, Missa Corporis Christi,), requiems, oratorios (including Santa Dimpna, Infanta d'Irlanda, K 300a (1702), Il fonte della salute, K 293 (1716)), litanies, Vespers settings, motets, graduals, offertories, Marian antiphons (consisting of 21 settings of Alma Redemptoris mater, 22 settings of Ave Regina, 9 of Regina coeli, and 17 of Salve regina), settings of the text "Sub Tuum Praesidium", hymns (many of which are lost), Sequences, Introits, Communion hymns, German sacred songs (all lost), and other sacred works.
Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes).
However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d'Irlandia. For instance, many of the movements in the second half of Santa Dimpna make use of da capo aria form, and the eight (surviving) arias demonstrate the baroque concept of the "affect", as demonstrated by the vocal coloratura and instrumental figures.
Fux, along with other composers, such as Hofer, Biber, and Caldara established a solid repertory of Catholic church music in southern Germany and Austria, despite the presence of the better-known Protestant church music in northern Germany.
Secular compositions
Besides sacred works, Fux was a composer of vocal and instrumental music. His works include 19 operas, 29 partitas, 10 oratorios, and about 80 masses. Fux's instrumental compositions include 50 church sonatas, Concentus musico-instrumentalis (1710), and keyboard works. Fux's compositions for Clavier include five Partitas, a 20-minute Capriccio, a Ciaccona, an Harpeggio Prelude and Fugue, an Aria Passaggiata, and a set of twelve Minuets.
The Concentus musico-instrumentalis is a cycle of seven partitas scored for woodwind, brass, and string instruments. This cycle, published in 1701, was to Joseph, King of Rome. Its cosmopolitan admixture of French, Italian, and German movements and its festive characteristics can be found in Fux's keyboard suites, which are heavily ornamented and treble-dominated. Most Italian operas of that period were concentrated on the solo aria. Whereas, Fux's operas employ an ensemble of solo singers and the large arias often use a concertizing solo instrument. Fux's emphasis on contrapuntal structures was conservative and represented the older manner of treating musical texture.
Fux's early operas show characteristics of the late 17th century such as using arioso passages in recitatives. His style is primarily a combination of his preference for contrapuntal textures, a vivid mastery of vocal and instrumental rhetoric and Italianate ornamentation, and colorful use of obbligato scoring. Compared to his Italian contemporaries, it is Fux's manipulation of the da capo aria that represents his exceptional sense of dramma per musica: his scoring, texture, and motivic-thematic integration allow an individual style to arise while the idealized passions of the Affektenlehre attain dramatic life.
Most of his dramatic operas were premiered at the Hoftheater, Vienna; otherwise given below. List of Fux's 19 operas:
Il fato monarchico, festa teatrale (18 Feb. 1700; music not extant)
Neo-exoriens phosphorus, id est neo-electus et infulatus praesul Mellicensis, Latin school opera (1701; music not extant)
L'offendere per amare ovvera La Telesilla, dramma per musica (25 June 1702; music not extant)
La clemenza d' Augusto, poemetto drammatico (15 Nov. 1702; music not extant)
Julo Ascanio re d'Alba, poemetto drammatico (19 March 1708)
Pulcheria, poemetto drammatico (21 June 1708)
Il mese di Marzo, consecrato a Marte, componimento per musica (19 March 1709)
Gli ossequi della note, componimento per musica (15 July 1709)
La decima fatica d'Ercolo, ovvero La Sconfitta di Gerione in Spagna, componimento pastorale-eroico (1 Oct. 1710)
Dafne in lauro, componimento per camera (1 Oct. 1714)
Orfeo ed Euridice, componimento da camera per musica (1 Oct. 1715)
Angelica vincitrice di Alcina, festa teatrale (14 Sept. 1716)
Diana placate, componimento da camera (19 Nov. 1717)
Elisa, festa teatrale per musica (Laxenburg, 28 Aug. 1719)
Psiche, coponimento da camera per musica (19 Nov. 1720)
Le nozze di Aurora, festa teatrale per musica (6 Oct. 1722)
Constanza e Fortezza, festa teatrale (Prague, 28 Aug. 1723) – his notable opera
Giunone placata, festa teatrale per musica (19 Nov. 1725)
La corona d'Arianna, festa teatrale (28 Aug. 1731)
The festive opera Constanza e Fortezza (Constancy and Strength), with a libretto by Pietro Pariati (1665–1733), was Fux's most notable opera. It was performed twice in a specially designed open-air theatre in Prague Castle on the occasion of the coronation of Charles VI as King of Bohemia in 1723. The set was designed by the court theatre architect Giuseppe Galli-Bibiena (1696–1756). This work is regarded as a festive coronation opera because both performances of this opera took place a few days before the coronation of Charles VI as King of Bohemia and of his consort Elisabeth Christina as Queen. There was an issue of the double celebratory function of this opera – coronation of Charles VI and Elisabeth Christina's birthday.
Selected discography
The Dresden Album. Johannes Pramsohler. Ensemble Diderot. (Audax Records ADX 13701, 2014)
Concentus musico instrumentalis...1701. Concentus Musicus Wien, Nikolaus Harnoncourt (Telefunken SAWT 9563/64-B, 1970)
Concentus musico instrumentalis...1701 K352 – 358. Neue Hofkapelle Graz, Lucia Froihofer and Michael Hell (CPO 777 980-2, 2016)
Kaiserrequiem K51-53. Clemencic Consort, René Clemencic (Arte Nova 74321 27777 2, 2012)
Alla Turca. Matthias Maute, Monika Mauch, and Ensemble Caprice. (ATMA Classique ACD2 2347, 2007)
Complete Music for Harpsichord. Performed by Filippo Emanuele Ravizza. (Brilliant Classics 95189, 2017)
Other languages
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 30 | 90.4th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 16 | 85.4th |
| Studio albums | 16 | 95.1th |
| Awards recorded | 0 | 0th |
| Timeline events | 15 | 91.2th |
| Recording span (years) | -248 | 2.5th |
| Genres | 5 | 88.3th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (16 release groups · 16 studio albums)
Albums · 16
Concentus musico instrumentalis 1701
1989 · studio album
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Tracklist · 20 tracks · 48:10
1Serenada à 8: Marche, allegro2:112Serenada à 8: Guigue, prestissimo1:273Serenada à 8: Menuet2:164Serenada à 8: Aria, più allegro3:265Serenada à 8: Ouverture3:446Serenada à 8: Menuet I, trio II3:207Serenada à 8: Guigue, prestissimo1:098Serenada à 8: Aria, andante3:239Serenada à 8: Aria0:5010Serenada à 8: Bourrée I, II2:1111Serenada à 8: Intrada3:2212Serenada à 8: Rigadon0:5113Serenada à 8: Ciacona2:5914Serenada à 8: Guigue, prestissimo0:5715Serenada à 8: Menuet2:1116Serenada à 8: Final, poco allegro0:4617Rondeau à 74:2618Sonata à quattro: Allegro3:3619Sonata à quattro: Adagio2:0220Sonata à quattro: Allegro3:031991 · studio album
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Tracklist · 16 tracks · 1:07:47
1Sonata A 4 K346 In A Minor: [Adagio] - Allegro2:202Sonata A 3 K379 In D Minor: I [Andante] / II [Largo] / III Presto6:183Sonata A 3 K381 In G Minor: I Allegro / II [Larghetto] / III Allegro2:414Sonata A 4 From "La Deposizione Dalla Croce Di Gesù Cristo" (1728) K3004:205Sonata A 3 K365: I [Andante] / II Allegro2:216Sonata A 4 From "La Cena Del Signore" (1720) K298: I Grave / II Allegro - Grave4:227Sonata A 3 In G Major K385: I [Andante] / II Allegro5:258Sonata A 3 In G Minor K370: I Andante / II Allegro4:269Sonata A 4 In B Flat Major K344: I [Andante] / II Allegro / III Largo / IV Allegro E Vivace5:5810Sonata Pastorale A 3 In A Major K3963:4211Sonata A 3 In F Sharp Minor K366: I Grave / II Allegro / III Adagio / IV Allegro4:2012Sonata A 3 "La Donna Forte Nella Madre De'sette Maccabei" (1715) K292: I Adagio / II Allegro4:0613Sinfonia A 4 In A Minor: I Adagio / II Allegro / III Adagio3:5914Sinfonia A 4 From "Cristo Nell'orto" (1718) K296: I Larghetto / II Largo E Forte / III Presto - Adagio4:4115Sonata A 3 In G Minor K377: I [Largo] / II Passacaglia4:2416Sinfornia A 4 In D Major K349: I [Allegro] / II Largo / III Fuga4:241995 · studio album
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Tracklist · 14 tracks · 59:10
1Sonata a tre ex d per due Violini (violoncello & basso continuo)4:422Ciaccona per organo4:543Grave (2 trombones, organ, violin)1:044Media vita in morte sumus (choral)1:215De profundis (motet)4:096Adagio per organo2:027Requiem, K. 51-53: Requiem Aeternam - Kyrie eleison8:438Requiem, K. 51-53: Dies Irae13:269Libera me, Domine (motet)3:4610Canon a due. Largo (2 trombones, organ, violin)1:0111Requiem, K. 51-53: Domine Jesu Christe4:4412Requiem, K. 51-53: Sanctus2:5213Adagio (2 trombones, organ, violin)1:0914Requiem, K. 51-53: Agnus Dei - Lux Aeterna - Requiem Aeternam5:17Missa Corporis Christi / Motets
1997 · studio album
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Tracklist · 11 tracks · 1:04:20
1Victimae Paschali Laudes6:032Missa Corporis Christi: Kyrie4:533Missa Corporis Christi: Gloria9:014Missa Corporis Christi: Credo10:585Missa Corporis Christi: Sanctus2:196Missa Corporis Christi: Benedictus3:297Missa Corporis Christi: Agnus Dei3:558Plaudite, Sonat Tuba: Allegro - Recitativo. Adagio - Aria. Allegro assai8:029Plaudite, Sonat Tuba: Recitativo. Adagio - Aria5:0410Plaudite, Sonat Tuba: Allegro assai4:2711Paries Quidem Filium6:092002 · studio album
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Tracklist · 30 tracks · 1:07:28
1Capriccio & Fugue in G minor, K. 404: I. —2:142Capriccio & Fugue in G minor, K. 404: II. —1:333Capriccio & Fugue in G minor, K. 404: III. —0:384Capriccio & Fugue in G minor, K. 404: IV. —1:425Capriccio & Fugue in G minor, K. 404: V. La superbia. Allegretto2:556Capriccio & Fugue in G minor, K. 404: VI. Arietta. Gustoso2:107Capriccio & Fugue in G minor, K. 404: VII. L'humilta. Tempo giusto2:078Capriccio & Fugue In G minor, K. 404: VIII. Affettuoso. La Vera Pace2:379Capriccio & Fugue in G minor, K. 404: IX. Finale. Allegro2:4010Ciaccona in D major, K. 403 No. 28:3911Partita in G minor, E. 117: I. Allemande4:0212Partita in G minor, E. 117: II. Courante1:5913Partita in G minor, E. 117: III. Bourée1:0714Partita in G minor, E. 117: IV. Menuet1:4815Partita in G minor, E. 117: V. Aria1:2516Partita in G minor, E. 117: VI. Gigue2:0217Partita in A major, K. 405: I. Allemande3:2618Partita in A major, K. 405: II. Courante1:2619Partita in A major, K. 405: III. Gavotte0:4220Partita in A major, K. 405: IV. Menuet1:4321Partita in A major, K. 405: V. Sarabande2:5022Partita in A major, K. 405: VI. Gigue1:3823Partita in A minor, E. 115: I. Prelude2:2224Partita in A minor, E. 115: II. Allemande4:1325Partita in A minor, E. 115: III. Courante1:5426Partita in A minor, E. 115: IV. Sarabande2:3927Partita in A minor, E. 115: V. Aria1:2228Partita in A minor, E. 115: VI. Menuet1:1129Partita in A minor, E. 115: VII. Gigue1:2430Partita In A minor, E. 115: VIII. Menuet1:002005 · studio album
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Tracklist · 30 tracks · 1:00:17
1Concentus musico-instrumentalis: No. 6. Ouverture a 4: I. Grave - Allegro - Grave5:142Concentus musico-instrumentalis: No. 6. Ouverture a 4: II. Aria1:283Concentus musico-instrumentalis: No. 6. Ouverture a 4: III. Menuet0:504Concentus musico-instrumentalis: No. 6. Ouverture a 4: IV. Gavotte0:445Concentus musico-instrumentalis: No. 6. Ouverture a 4: V. Sarabande1:416Concentus musico-instrumentalis: No. 6. Ouverture a 4: VI. Guique, en Rondeau1:037Concentus musico-instrumentalis: No. 6. Ouverture a 4: VII. Finale1:198Partita No. 11, K329: I. Canzona: Tempo giusto - Larghetto - Canzona: Tempo giusto4:229Partita No. 11, K329: II. Aria: Presto1:2510Partita No. 11, K329: III. Menuet - Duetto - Menuet2:2911Partita No. 11, K329: IV. Il Libertino0:3612Partita No. 11, K329: V. Gigue alla Siciliana1:1913Partita in E Major, E64, "Parthia Trio": I. Capriccio: Presto - Grave - Capriccio: Presto4:5914Partita in E Major, E64, "Parthia Trio": II. Vivace1:4315Partita in E Major, E64, "Parthia Trio": III. Menuet - Trio - Menuet2:3316Partita in E Major, E64, "Parthia Trio": IV. Finale0:5817Partita No. 2 in G Minor, K320: I. Sonata: Andante2:3618Partita No. 2 in G Minor, K320: II. Allegro - Adagio2:0619Partita No. 2 in G Minor, K320: III. Sarabande2:5220Partita No. 2 in G Minor, K320: IV. Passacaglia2:5821Partita in C Major, K331, "Turcaria": I. Turcaria2:0222Partita in C Major, K331, "Turcaria": II. Passacaglia: Andante1:4823Partita in C Major, K331, "Turcaria": III. Janitschara1:2924Partita in C Major, K331, "Turcaria": IV. Posta turcica1:3625Concentus musico-instrumentalis: No. 3. Ouverture a 4: I. Grave - Allegro - Grave4:3026Concentus musico-instrumentalis: No. 3. Ouverture a 4: II. Aire1:1927Concentus musico-instrumentalis: No. 3. Ouverture a 4: III. Menuet1:1128Concentus musico-instrumentalis: No. 3. Ouverture a 4: IV. Follie: Allegro0:4829Concentus musico-instrumentalis: No. 3. Ouverture a 4: V. Bouree1:2330Concentus musico-instrumentalis: No. 3. Ouverture a 4: VI. Guique: Prestissimo0:56La Grandezza della Musica Imperiale: Composizioni per orchestra
2006 · studio album
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Tracklist · 22 tracks · 1:03:56
1Ouverture in d, N 4: Ouverture5:562Ouverture in d, N 4: Pour le Rossignol2:013Ouverture in d, N 4: Menuet – Passepied (Trio)3:144Ouverture in d, N 4: Air3:005Ouverture in d, N 4: Gigue1:236Ouverture in d, N 4: Pour la Caille2:467Ouverture in d, N 4: Pour le Coucou1:538Concerto “Le dolcezze e l’amerezze della notte”, E 112: Der Nachtwächter3:159Concerto “Le dolcezze e l’amerezze della notte”, E 112: Menuette – Trio3:0510Concerto “Le dolcezze e l’amerezze della notte”, E 112: Fantasie notturne3:5411Concerto “Le dolcezze e l’amerezze della notte”, E 112: Ronfatore2:4012Concerto “Le dolcezze e l’amerezze della notte”, E 112: Aria1:0913Intrada in C, E 62: Intrada3:3114Intrada in C, E 62: Sarabande3:4515Intrada in C, E 62: Menuett1:0216Intrada in C, E 62: Gigue1:2217Suite in C, N 83: Entrée4:1018Suite in C, N 83: Rondeau1:5119Suite in C, N 83: Menuette – Trio4:1220Suite in C, N 83: Aria2:4521Suite in C, N 83: Marche2:1522Rondeau, E 1114:472011 · studio album
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Tracklist · 38 tracks · 1:08:08
1Partita ex b K 319: I. Introduzione. Allegro0:462Partita ex b K 319: II. Contraffattrice. Un poco Allegro3:153Partita ex b K 319: III. Menuet – Trio – Menuet2:114Partita ex b K 319: IV. Bourrée0:555Partita ex b K 319: V. Gigue1:256Partita ex g K 320: I. Sonata. Andante2:237Partita ex g K 320: II. Allegro1:508Partita ex g K 320: III. Sarabande1:199Partita ex g K 320: IV. Passacaglia2:3510Partita ex G K 321 "Intrada in canone": I. Allegro1:0111Partita ex G K 321 "Intrada in canone": II. Largo1:0812Partita ex G K 321 "Intrada in canone": III. Allegro1:0113Partita ex G K 321 "Intrada in canone": IV. Menuet 1 – Menuet 2 – Menuet 1 da capo2:1614Partita ex G K 321 "Intrada in canone": V. Rondeau. Allegro ma Comodamente1:4615Partita ex d K 322: I. Ouverture2:2016Partita ex d K 322: II. Entrée1:0417Partita ex d K 322: III. Menuet - Trio -Menuet da capo1:4918Partita ex d K 322: IV. Siciliana1:4119Partita ex d K 322: V. Gigue0:5320Partita ex C K 323: I. Les Cambattans1:3221Partita ex C K 323: II. Les vainqueurs0:5522Partita ex C K 323: III. Perpetuum mobile1:1123Partita ex C K 323: IV. Menuett – Gavotte – Menuet da capo1:3324Partita ex C K 323: V. Rigaudon 1 – Rigaudon 2 – Rigaudon 1 da capo1:3425Partita E 64: I. Capriccio. Presto – Grave – da capo4:3626Partita E 64: II. Vivace1:4427Partita E 64: III. Menuet – Trio – Menuet da capo2:0628Partita E 64: IV. Finale0:5729Partita ex D K 326 "Sinfonia": I. Vivace2:3930Partita ex D K 326 "Sinfonia": II. Adagio1:2431Partita ex D K 326 "Sinfonia": III. Presto1:5632Partita ex D K 326 "Sinfonia": IV. Allemande, Allegro3:0533Partita ex D K 326 "Sinfonia": V. Sarabande1:5334Partita ex D K 326 "Sinfonia": VI. Gigue1:2235Partita ex C K 331: I. Turcaria1:4736Partita ex C K 331: II. Passa Gallia, Andante3:1837Partita ex C K 331: III. Janitshara1:2238Partita ex C K 331: IV. Posta turcica1:362012 · studio album
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Tracklist · 24 tracks · 1:00:32
1Ouverture in D minor: Ouverture6:072Ouverture in D minor: Menuet1:133Ouverture in D minor: Aria: Adagio1:434Ouverture in D minor: Fuga, Presto - Lentement2:145Ouverture in D minor: Gigue1:396Ouverture in D minor: Aria2:227Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Sinfonia, Allegro Assai - Grave - Allegro - Adagio4:418Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Libertein: Allegro1:329Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Entrée2:1310Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Menuet1:1211Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Passapied1:3012Ouverture No 11 in B-flat major - From "Concentus Musico Instrumentalis": Ciacona5:0213Ouverture in G minor: Ouverture3:3414Ouverture in G minor: Rigadon - Trio Bourree - Rigadon da Capo2:2315Ouverture in G minor: Aire La Double: Andante2:5116Ouverture in G minor: Menuet0:3317Ouverture in G minor: Aria in Canone: Poco Allegro2:5318Ouverture in G minor: Passacaille4:2819Ouverture in B-flat major: Ouverture4:0020Ouverture in B-flat major: Aria1:5821Ouverture in B-flat major: Menuet I & II2:2922Ouverture in B-flat major: Gavotte0:3823Ouverture in B-flat major: Passapied: "Der Schmidt"0:3824Ouverture in B-flat major: Gigue2:392016 · studio album
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Tracklist · 14 tracks · 1:15:16
1Missa pro defunctis: Introitus (Requiem aeternam – Te decet hymnus – Requiem aeternam)5:262Missa pro defunctis: Kyrie2:023Missa pro defunctis: Sequenza13:344Missa pro defunctis: Offertorium (Domine Jesu Christe – Sed signifer – Quam olim Abrahae)3:575Missa pro defunctis: Sanctus – Beneditus – Hosanna4:276Missa pro defunctis: Agnus Dei2:347Missa pro defunctis: Communio (Lux aeterna)2:448Kaiserrequiem: Introitus (Requiem aeternam – Te decet hymnus – Requiem aeternam)6:479Kaiserrequiem: Kyrie3:1210Kaiserrequiem: Sequenza15:0711Kaiserrequiem: Offertorium (Domine Jesu Christe – Sed signifer – Quam olim Abrahae)5:0012Kaiserrequiem: Sanctus – Beneditus – Hosanna3:3313Kaiserrequiem: Agnus Dei1:5414Kaiserrequiem: Communio (Lux aeterna)4:59Complete Music for Harpsichord
2017 · studio album
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Tracklist · 57 tracks · 2:18:11
Disc 11Partita no. 1 in A minor, E115: I. Praelude2:592Partita no. 1 in A minor, E115: II. Allemande4:283Partita no. 1 in A minor, E115: III. Courante2:304Partita no. 1 in A minor, E115: IV. Sarabande3:035Partita no. 1 in A minor, E115: V. Aria2:256Partita no. 1 in A minor, E115: VI. Minuet I1:207Partita no. 1 in A minor, E115: VII. Gigue1:468Partita no. 1 in A minor, E115: VIII. Minuet II1:009Partita no. 2 in F, E116: I. Aria3:0710Partita no. 2 in F, E116: II. Rigaudon1:2811Partita no. 2 in F, E116: III. Passepied1:3412Partita no. 2 in F, E116: IV. Echeggiata2:5213Partita no. 2 in F, E116: V. Gigue2:0914Partita no. 2 in F, E116: VI. Minuet1:3115Partita no. 3 in A, K405: I. Allemande3:2516Partita no. 3 in A, K405: II. Courante1:5517Partita no. 3 in A, K405: III. Gavotte1:0518Partita no. 3 in A, K405: IV. Minuet en Rondeaux1:5919Partita no. 3 in A, K405: V. Sarabande3:3320Partita no. 3 in A, K405: VI. Gigue1:5621Partita no. 4 in G minor, E117: I. Allemande4:3222Partita no. 4 in G minor, E117: II. Courante2:3023Partita no. 4 in G minor, E117: III. Bourrée1:0524Partita no. 4 in G minor, E117: IV. Minuet2:5425Partita no. 4 in G minor, E117: V. Aria1:3626Partita no. 4 in G minor, E117: VI. Gigue2:23Disc 21Partita no. 5 in G, E70: I. Ouverture3:202Partita no. 5 in G, E70: II. Allemande / Le Double5:283Partita no. 5 in G, E70: III. Rigaudon1:434Partita no. 5 in G, E70: IV. Sarabande2:355Partita no. 5 in G, E70: V. Courante1:376Partita no. 5 in G, E70: VI. Minuet I1:387Partita no. 5 in G, E70: VII. Minuet II0:558Partita no. 5 in G, E70: VIII. Minuet III1:189Partita no. 5 in G, E70: IX. Gigue2:0210Capriccio in G minor, K404: I. Praelude2:5711Capriccio in G minor, K404: II. Fuga5:0512Capriccio in G minor, K404: III. Allegretto: LaSuperbia3:1013Capriccio in G minor, K404: IV. Gustuoso: Arietta2:2814Capriccio in G minor, K404: V. Tempo giusto: L'Humilta3:4615Capriccio in G minor, K404: VI. Affettuoso: La vera Pace2:1016Capriccio in G minor, K404: VII. Allegro: Finale3:1117Ciacona in D, K40311:0318Harpeggio in G, E114/1 (Prelude and Fugue)3:5119Aria passaggiata in C, E114/21:592012 Menuets: Minuet no. 1 in D, E1181:292112 Menuets: Minuet no. 2 in B-flat, E1191:152212 Menuets: Minuet no. 3 in G, E1201:192312 Menuets: Minuet no. 4 in G, E1211:272412 Menuets: Minuet no. 5 in D, E1221:002512 Menuets: Minuet no. 6 in A, E1231:162612 Menuets: Minuet no. 7 in G minor, E1241:362712 Menuets: Minuet no. 8 in D, E1251:282812 Menuets: Minuet no. 9 in A, E1261:292912 Menuets: Minuet no. 10 in A minor, E115/71:013012 Menuets: Minuet no. 11 in D, E1271:303112 Menuets: Minuet no. 12 in G, E1282:002023 · studio album
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Tracklist · 42 tracks · 1:08:14
1La corona d’Arianna: Sinfonia3:042La corona d’Arianna: Coro di Amori, e di Grazie. Or che splende a voi d’intorno0:533La corona d’Arianna: Coro delle Grazie. Cori amanti, è questo il giorno1:234La corona d’Arianna: Coro di Amori, e di Grazie. Or che splende a voi d’intorno0:235La corona d’Arianna: Recitativo. Sperate, amanti cori (Venere)0:256La corona d’Arianna: Coro di Tritoni, e di Nereidi. Con la speme di goder1:387La corona d’Arianna: Recitativo. Godo, o Teti, scorgendo a te nel volto (Venere, Teti)0:498La corona d’Arianna: Coro di Ninfe, e di Pastori. Quanto più acerbo a un’alma2:289La corona d’Arianna: Recitativo. Ma che? Tace Arianna: e ancor sospira? (Venere, Arianna, Teti)0:5610La corona d’Arianna: Aria. Son qual cerva, che non lunge (Teti)2:5711La corona d’Arianna: Recitativo. Mentir non san gl’Amori (Venere, Arianna)0:5712La corona d’Arianna: Aria. Spera, e taci (Venere)3:0413La corona d’Arianna: Coro di Nasso. Viene a noi di Giove il figlio0:4214La corona d’Arianna: Coro di Baccanti, e di Sileni. Festive trombe applaudano1:5215La corona d’Arianna: Recitativo. Godo, che di mie gesta il chiaro grido (Bacco, Teti, Venere)0:5216La corona d’Arianna: Aria. Questi, o Teti, è il chiaro Nume (Venere, Teti)1:4617La corona d’Arianna: Coro delle Grazie. Di nobil fiamma accesa1:1518La corona d’Arianna: Recitativo. Deh! Se Arianna incontri (Venere, Bacco)0:3719La corona d’Arianna: Aria. Con piacer io da la bella (Bacco)2:4420La corona d’Arianna: Recitativo. Tu dunque ancor non ami? (Venere, Peleo, Teti)0:4821La corona d’Arianna: Aria. Se fino ad ora (Teti)3:4022La corona d’Arianna: Recitativo. Pronto lo seguirò (Peleo, Arianna)0:3423La corona d’Arianna: Aria. Questa è la fida auretta (Peleo)3:1924La corona d’Arianna: Recitativo. L’obblio d’ogni tuo fallo (Bacco, Arianna, Peleo)1:0925La corona d’Arianna: Arioso. Se mel rende un fido amor (Arianna)1:0026La corona d’Arianna: Recitativo. Venga, né più ritardi (Arianna, Bacco)0:3327La corona d’Arianna: Duetto. Non merta un traditor (Bacco, Arianna)3:5328La corona d’Arianna: Recitativo. E perciò da Ciprigna a me venisti? (Teti, Peleo)0:5629La corona d’Arianna: Aria. Hai presente il ben, che aspetti (Teti)1:4530La corona d’Arianna: Recitativo. Presente ho il ben (Peleo)0:2631La corona d’Arianna: Aria. Chi di Febo il primo raggio (Peleo)2:3032La corona d’Arianna: Coro delle Grazie, e degli Amori. Tradisce il suo piacer1:1033La corona d’Arianna: Recitativo. Arianna, ben vengo (Venere, Arianna)1:0534La corona d’Arianna: Coro delle Grazie. Così ritornerà0:2535La corona d’Arianna: Recitativo. Mal tace, chi ben ama (Bacco, Venere, Arianna)0:5636La corona d’Arianna: Aria. Il tuo cor dimanda al mio (Arianna)3:2937La corona d’Arianna: Recitativo. Posso amarla? (Bacco, Venere)1:2138La corona d’Arianna: Aria. Né lo sdegno, e né l’amor (Venere)2:5239La corona d’Arianna: Coro di Nereidi, e di Tritoni. La speme degli amanti1:2640La corona d’Arianna: Recitativo. Tu fosti la mia stella (Peleo, Teti, Bacco, Arianna)1:1241La corona d’Arianna: Aria. Più non empia mie trombe famose (Bacco)3:1842La corona d’Arianna: Coro delle Grazie, e degli Amori. O voi, che amando ardete1:42Divoti Affetti: Early Music at the Court at Dresden
— · studio album
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Tracklist · 16 tracks · 1:10:12
1"Felice io me n'andrò di Giove" from Orfeo ed Euridice5:412"Io vorrei saper d'amore" from Flavio Cripso4:383Cantata "La bella fiamma ò Tirisi": "La bella fiamma"0:344Cantata "La bella fiamma ò Tirisi": "Se Aquilon, di furie armato"3:365Cantata "La bella fiamma ò Tirisi": "Sò che tu a fè"0:566Cantata "La bella fiamma ò Tirisi": "Soffri in pace"5:257Canto Divoti Affetti: Verso I "Ad mortem Jesus ducitur"7:168Canto Divoti Affetti: Verso II "Respice bone Pastor"4:049Canto Divoti Affetti: Verso III "Implete pectus maesti affectus"2:5610Canto Divoti Affetti: Verso IV "O vinea electa"4:2111Canto Divoti Affetti: Verso V "Fideles lachrime"5:2412Canto Divoti Affetti: Verso VI "Per dura devia"5:3913Canto Divoti Affetti: Verso VII "Jesu morti tradebaris"3:4614Canto Divoti Affetti: Verso VIII "Amor ah! amor meus"6:1015Canto Divoti Affetti: Verso IX "O Signum libertatis"4:3816Canto Divoti Affetti: Verso X "Qui sinum Patris deserit"5:08— · studio album
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Tracklist · 18 tracks · 1:19:35
1Harpeggio and Fuga G major4:202Ciaconna D major9:413Suite A minor: Allemande3:174Suite A minor: Courante1:555Suite A minor: Sarabande2:346Suite A minor: Aria2:307Suite A minor: Gigue1:568Suite A minor: Menuet1:199Sonate no. 43 E-flat major, Hob. XVI/28: Allegro moderato6:5910Sonate no. 43 E-flat major, Hob. XVI/28: Menuet3:4011Sonate no. 43 E-flat major, Hob. XVI/28: Finale (Presto)4:1212Sonate no. 44 F major, Hob. XVI/29: Moderato5:5513Sonate no. 44 F major, Hob. XVI/29: Adagio5:0114Sonate no. 44 F major, Hob. XVI/29: Tempo du Menuet4:5415Sonate no. 40 E-flat major, Hob. XVI/25: Moderato7:0816Sonate no. 40 E-flat major, Hob. XVI/25: Tempo di Menuet2:5117Variations on the Anthem '"Gott erhalte Franz den Kaiser" (original version for keyboard after Hob. III/77)7:2918Adagio F major, Hob. XVII/93:54— · studio album
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Tracklist · 4 tracks
A1Sonata in F for Violins: Grave – Allegro – Adagio – Allegro – Adagio – Allegro fugato – AdagioB1Serenata Notturna in D, K. 239: 1. Marcia (Maestoso)B2Serenata Notturna in D, K. 239: 2. Minuetto & TrioB3Serenata Notturna in D, K. 239: 3. Rondo (Allegretto – Adagio – Allegro)— · studio album
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Tracklist · 8 tracks · 55:12
1Sonate Nr. 11 g-mol: Sonate Nr. 11 g-mol9:222Sonate Es-dur, Sonatella A-dur, Sonate D-dur: Sonate Es-dur5:593Sonate Es-dur, Sonatella A-dur, Sonate D-dur: Sonatella A-dur6:324Sonate Es-dur, Sonatella A-dur, Sonate D-dur: Sonate D-dur10:205Sonate Nr. 12 d-moll: Sonate Nr. 12 d-moll6:516Sonate e-moll, Sonate d-moll: Sonate e-moll6:397Sonate e-moll, Sonate d-moll: Sonate d-moll4:438Rondeau à 7: Rondeau à 74:46
Stats & PK
Percentile within all 23,672 published artists.Put Johann Joseph Fux head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 30 | 90.4th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 16 | 85.4th |
| Studio albums | 16 | 95.1th |
| Awards recorded | 0 | 0th |
| Timeline events | 15 | 91.2th |
| Recording span (years) | -248 | 2.5th |
| Genres | 5 | 88.3th |
Awards & honours
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Portrait_of_Johann_Joseph_Fux%2C_by_Jacob_van_Schuppen.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/cfda9e84-49f1-4afb-9e4b-f6f4dda9de41discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/cfda9e84-49f1-4afb-9e4b-f6f4dda9de41core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q311378genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q311378seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Johann_Joseph_Fuxbiography—wikipedia-de · CC BY-SA 4.0 · retrieved 10 October 2026
https://de.wikipedia.org/wiki/Johann_Joseph_Fuxbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Johann_Joseph_Fux
Why this artist is in the database
- List of Austrian musicians
- List of composers by name
Tier rule: historic figure (30 language versions, career ended)
Image: Jacob van Schuppen · Public domain · Wikimedia Commons
Wikidata: Q311378 · MusicBrainz: cfda9e84-49f1-4afb-9e4b-f6f4dda9de41
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