Amadeus Becker: A Life Etched in Music and Controversy

Amadeus August Becker (1770-1839) was a German composer, organist, and music critic whose life was a blend of significant musical contributions overshadowed by a later descent into increasingly eccentric and reactionary viewpoints. Though largely forgotten today, Becker was a prominent figure in early 19th-century Leipzig, leaving a distinct mark on the musical landscape of his time.

Born in Zwickau, Becker received his early musical education from his father, Johann Christian Becker, also an organist. He later studied with Johann Gottfried Schicht, the Thomaskantor in Leipzig, a position held previously by Johann Sebastian Bach. This connection solidified Becker’s deep respect for the traditional foundations of music and laid the groundwork for his future musical aesthetic.

Becker’s career flourished in Leipzig. He served as the organist at the Neukirche (New Church) and later at the Petrikirche (St. Peter’s Church), holding the latter position for over three decades. He gained recognition as a skilled performer, particularly renowned for his improvisational abilities on the organ. Alongside his performance duties, Becker was a dedicated teacher, nurturing the talents of numerous aspiring musicians. His influence extended beyond the practical; he also founded a music school in Leipzig, further contributing to the musical education of the city’s youth.

Becker’s compositions, though not widely performed today, demonstrate a solid understanding of musical form and a commitment to the classical tradition. He composed sacred vocal music, including oratorios and cantatas, as well as instrumental works such as symphonies, concertos, and chamber music. These works, while competent and well-crafted, are often described as lacking the innovative spark of his more celebrated contemporaries.

However, Becker’s legacy is not solely defined by his musical output. He became increasingly known for his conservative and often vehemently critical writings on contemporary music. He was a staunch defender of traditional musical values and an outspoken critic of the emerging Romantic movement. He viewed composers like Beethoven and Weber with considerable skepticism, dismissing their innovations as a departure from the principles of good taste and musical integrity. This conservative stance, while reflecting a certain artistic sensibility, ultimately distanced him from the progressive musical currents of his time and contributed to his subsequent obscurity.

His later years were marked by increasing eccentricity and isolation. His fervent opinions and inflexible adherence to traditional musical values earned him few allies, and his influence gradually waned. Despite his significant contributions to Leipzig’s musical life, Amadeus Becker’s story serves as a cautionary tale about the dangers of artistic rigidity and the importance of embracing innovation while respecting the past. He remains a figure of interest, not only for his music but also for the light he sheds on the complex and often contentious artistic debates of the early 19th century.