Benda, František (EN)

Benda František (Franz), baptised 22 November 1709 Nové Benátky, †7 March 1786 Neudorf (near Potsdam), Jan Jiři’s son, Czech violinist and composer. Initially, he apprenticed to a potter, then became a student of cantor Alexius in Nové Benátky; in 1718, he sang in the choir at the church of St. Nicholas in Prague and attended the Jesuit school there. After some time, he went to Dresden, where he participated as a chorister in the wedding celebrations of the Elector of Saxony (August 1719). In Dresden, he learned to play the violin and alto, and probably met some of his later friends: J.J. Quantz, J.G. Pisendel, brothers J.G. and K.H. Graun. After a year and a half stay in Dresden, Benda returned to the Czech Republic. From 1723 he stayed in Prague again; he studied violin with Konyczek and sang at the Jesuit Collegium Clementinum. His first compositions (two Salve Regina) were created in Prague. In 1723, during the coronation of Charles VI, he performed as a chorister in the opera of J.J. Fux Costanza e fortezza and as a soloist in a Latin comedy with music by J.D. Zelenka De Sancto Venceslao. In 1726–28, he was a violinist in Vienna, then he went to Warsaw, together with the violinists: J. Čart, K. Hoeckh and W. Weidner; around mid-1728, they were members of the band of F. Szaniawski, the starost of Sochaczew, where he served as concertmaster and bandmaster. At the end of 1731, Benda was engaged in the royal band (Kleine Kammermusik) of Augustus II. In 1733, he returned to Dresden, bought himself out of serfdom from Count Kleinau, converted to Protestantism and joined the Dresden chapel. In the same year, he moved to Rupin to join the band of the Prussian Archduke (later Frederick II), and in 1736, together with his band and court, he found himself in Rheinsberg. Benda remained in the service of Frederick the Great for 53 years. Initially, he was the first violinist, and from 1771, after the death of J.G. Graun, became the band’s concertmaster. Until 1735, he also performed as a singer (tenor). While active at the Prussian court, he completed his studies in violin playing and composition with the Graun brothers. At the turn of 1740/41, after Frederick’s coronation and the transfer of the court to Berlin, Benda brought his family there from the Czech Republic. The king highly appreciated Benda’s playing, and he also gave concerts at other German courts, including: in Bayreuth, Weimar, Wiesbaden, Gotha and Rudolstadt. He often accompanied the king in his flute performances. In 1763, he wrote an autobiography. He educated numerous students, including his brothers, sons and daughters.

Like other representatives of the Berlin School, Benda represents the transitional stage between Baroque and Classicism; elements of baroque, galant music, sentimentalism (Empfindsamer Stil) and early classical elements coexist in his work; French, Italian and northern German influences intersect with native Czech elements. In Benda’s cyclical works (sonatas, symphonies, concertos), the fast parts have a structure similar to the classical Italian sonata form. A side theme is often missing (figuration takes its place) or the side theme does not contrast with the main one. There is no motivic work in the development yet. Slow movements (adagio) usually have the form of a 3-part song or a 2-part structure typical of Baroque. The final movements refer to the character of a giga or have a sonata form; less often it is a minuet, rondo or variations. Many of Benda’s sonatas (also called soli) approach the classical arrangement with a slow middle section, while for the Berlin School the sequence was typical: slow-fast-fast. Symphonies, with their melodious adagios, also have a classic form. Most of the symphonies were probably composed between 1733 and 1748; are usually scored for string quartet and harpsichord, only later Benda introduced wind instruments. Several symphonies feature expressive, contrasting themes and motivic work. Capriccios (also called etudes) remained in the repertoire for a long time as valuable pedagogical material. Benda’s compositions enjoyed great popularity in the 18^th century, as evidenced by, among others, their numerous copies. As a violinist, Benda was famous for his melodious playing and masterful performance of slow movements.

Literature: F. Benda Autobiographie 1763, „Neue Berliner Musikzeitung” 1856, nos. 32–35; in Czech Vlastní živopis, published by J. Čeleda, Prague 1939; H. Mersmann Beiträge zur Aufführungspraxis der vorklassischen Kammermusik in Deutschland, „Archiv für Musikwissenschaft” II, 1919/20; J. Gabriel František Benda, Staré Benátky 1926; E. Nissel-Nemenoff Die Violintechnik František Bendas, «Königsberger Studien zur Musikwissenschaft» Kassel 1930; F. Lorenz Die Musikerfamilie Benda. František Benda und seine Nachkommen, Berlin 1967; M. Štědroň Die Versionen der Violinsonate in A-dur von František Benda, in: Musica antiqua… 1967, published by R. Pečman, «Musikwissenschaftliche Kolloquien der Internationalen Musikfestivale in Brno» II, Brno 1968; Th.C. Murphy The Violin Concertos of František Benda and Their Use in Violin Pedagogy, dissertation University of Southern California, 1968; D.A. Lee Some Embellished Versions of Sonatas by František Benda, „The Musical Quarterly” 1976 no. 1; František Benda. A Thematic Catalogue of his Instrumental Works, ed. D.A. Lee, New York 1984; A. Żórawska-Witkowska Muzyka na dworze Augusta II w Warszawie, Warsaw 1997.