A tombstone. That’s all that remains of Joseph Martin Kraus here. He was a composer often called the Swedish Mozart. Kraus and Mozart were born in the same year. But Kraus’s life took a different path.
Joseph Martin Kraus arrived in Stockholm at 21. He sought fortune at the Swedish royal court. For three years, Kraus faced hardship. Then his opera “Proserpin” changed everything.
King Gustav III loved the arts. He appointed Kraus as Royal Music Director. This came with a special perk. Kraus got to travel Europe to study music.
Imagine Kraus in Vienna. He met Gluck and Haydn. Curiously, he didn’t visit Mozart. This says something about his musical style.
Upon his return, Kraus had much to do. He reorganized music at the court. He composed and performed his own pieces.
King Gustav III’s assassination shook Kraus. Verdi even used this event in “The Masked Ball.” Months later, Joseph Martin Kraus died of tuberculosis. He was only 36.
Kraus composed operas and symphonies. He wrote songs in German, Swedish and Italian. His music is known for its Sturm und Drang style. This connects him to C.P.E. Bach and Haydn.
Think of Kraus’s funeral cantata for King Gustav III. It is intense. It’s performed with period instruments. The music echoes Mozart’s Masonic Funeral Music.
Haydn admired Kraus’s Symphony in C minor. He called it a masterpiece. He noted few could compose such a work.
Kraus wrote two viola concerti. They were once misattributed. Now, they are recognized as his compositions.
Kraus also composed chamber music. His flute quintet broke conventions. Its first movement is remarkably long. It has 306 bars.
Kraus’s music features dramatic contrasts. His contrapuntal skills were excellent. He had a lyrical gift.
Here lies the earthly remains of Kraus. But the heavenly lives on in his music. His legacy continues through recordings and performances.
Remember Joseph Martin Kraus. He was more than just the Swedish Mozart. He was a unique voice in classical music. He painted emotions with sound.