Homilius, Gottfried August (EN)

Homilius Gottfried August, *2 February 1714 Rosenthal (near Königstein, Saxony), †2 June 1785 Dresden, German composer, cantor and organist. Following the death of his father (a pastor) in 1722, he became a pupil at Annenschule in Dresden, where he was probably taught by J.G. Stübner (organist). In 1735, he began studying law at the University of Leipzig; there he also continued his musical studies with J.S. Bach (composition, harpsichord) and, probably, with the organist at the Nikolaikirche, Johann Schneider. From 1742, he served as organist at the Frauenkirche in Dresden, although his attempts to secure a similar position in Bautzen in 1741 and in Zittau in 1753 were unsuccessful. In 1755, Homilius became cantor of the Kreuzkirche and a teacher of music, Latin and Greek at the Kreuzschule, thereby becoming one of the leading figures in Dresden’s musical community, where he remained active until the end of his life. In 1755, he was appointed director of music at three local churches: the Frauenkirche, the Kreuzkirche and the Sophienkirche. He gained recognition as an outstanding organ virtuoso and improviser. Homilius’s pupils included J.A. Hiller, J.G. Naumann, J.F. Reichardt and D.G. Türk. 

Homilius was a leading figure in German Protestant sacred music during the second half of the 18th century. His vast body of work, particularly in the field of vocal-instrumental music (cantatas, motets, Passions, oratorios), earned him the respect of his contemporaries (D.G. Türk, J.F. Reichardt, J.A. Hiller) and the recognition of today’s scholars (G. Feder and others). In his organ works, Homilius does not venture beyond the traditions of Pachelbel and J.S. Bach in terms of form and compositional technique, frequently employing the chorale cantus firmus and polyphonic techniques. His large-scale vocal-instrumental works employ a more modern musical language. Although they stem from the legacy of Handel and Bach, they display tendencies characteristic of Classicism: a simplification of form and harmony, symmetrical structure, and a lyrical style. Homilius is regarded, alongside J.F. Doles, as one of the leading figures of the Empfindsamer Stil in church music. However, the tendency to deepen musical expression and the attention to the clear conveyance of the verbal text (syllabic treatment, homophony, shaping of the sound material, musical imitation and the use of musical symbolism) are particularly evident in songs and arias accompanied by the piano. Homilius’s motet works are characterised by a wealth of melody and a clear declamatory style.

Literature: R. Steglich K.Ph.E. Bach und der Dresdner Kreuzkantor G.A. Homilius im Musikleben ihrer Zeit, “Bach-Jahrbuch” XII, 1915; R. Fricke G.A. Homilius, “Zeitschrift für Kirchenmusiker” XVII, 1935; H. Löffler Die Schüler J.S. Bach, “Bach-Jahrb” XL, 1953; G. Feder Verfall und Restauration in: F. Blume, L. Finscher, G. Feder, A. Adrio, W. Blankenburg Geschichte der evangelischen Kirchenmusik, Kassel 1965, English translation 1974; H. John G.A. Homilius und die evangelische Kirchenmusik Dresdensim 18. Jahrhundert, Halle 1973 (dissertation, which includes a catalogue of Homilius’s works and a bibliography).