(b Kirchberg an der Jagst, 3 Aug 1748; d Ruppertshofen, 30 May 1797). German writer on music and art and composer. His early childhood was spent at the South German court of Hohenlohe-Kirchberg, where his father was court councillor and his godfather, Johann Valentin Tischbein, court painter. Educated alongside the prince's son, he received lessons in music and art; later he attended gymnasiums in Nuremberg and Giessen, then matriculated at the University of Göttingen (April 1769) to study theology. After graduating he spent several years as tutor, then lived in Switzerland (1774–7) before returning to Kirchberg to be made deacon and, in 1779, court chaplain. He held subsequent appointments as pastor in Dettingen (1789), Lendsiedel (1792) and Ruppertshofen (1795).
Junker wrote an almost equal number of essays on art and music, frequently comparing the two. His writings on music are concerned exclusively with current styles – he was probably the only writer of his generation to so restrict himself – as he considered himself a historian of what he termed a ‘musical revolution’ which he dated from about 1740. Based on ‘sentimentality’ (Empfindsamkeit) as the yardstick of judgment, his criticism covers a range of subjects including observations of the music at leading courts (Mannheim, Stuttgart, Cologne, Ansbach); discussions of tempo, conducting techniques, and the affective properties of instruments; and arguments for music as an ‘expressive’ rather than ‘imitative’ art. Junker also played several instruments (flute, keyboard, cello) and composed symphonies, concertos, a melodrama, songs and keyboard pieces.
Pf Conc. (Winterthur, 1783), lost; Hpd Conc., op.2 (Speyer, c1783); Genoveva im Thurme, melodrama (Speyer, 1790), lost; Die Nacht von Zachariae, als musikalische Declamation gesetzt, kbd, with vn, b ad lib (Darmstadt, c1794)
Various works, 1v, kbd, in Bossler's Blumenlese für Klavierliebhaber (Speyer, 1782–3) and Neue Blumenlese (Speyer, 1784)