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Friedrich Ludwig Aemilius Kunzen (1761-1817)

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Friedrich Ludwig Aemilius Kunzen (1761-1817) DIPLOMARBEIT Titel der Diplomarbeit „Friedrich Ludwig Æmilius Kunzen (1761–1817) From the Life of a Forgotten Composer“ Verfasst von Johann Peter Kellner angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreuerin: Ass.-Prof. Dr. Isolde Schmid-Reiter 2 FRIEDRICH LUDWIG ÆMILIUS KUNZEN (1761–1817) FROM THE LIFE OF A FORGOTTEN COMPOSER 3 4 5 6 CONTENTS 1. INTRODUCTION …………………………………………………… 9 2. THE GENESIS OF A COMPOSER 2.1. A MUSICAL PEDIGREE …………………………………….… 12 2.2. A STUDENT IN KIEL …………………………………….....…. 17 2.3. EXCURSUS: THE SULTAN OF DENMARK ……………..…. 21 2.4. HOLGER DANSKE …………………………………….…….… 33 3. WANDERJAHRE 3.1. HOLGER DANSKE’S AFTERLIFE ………………….…….…. 61 3.2. FINDING MOZART ……………………………..…….……..… 66 3.3. EXCURSUS: DEMOISELLE OBERON …………….…….…. 75 3.4. MYSTERIOUS PRAGUE ………………………………….…... 86 4. RETURN TO COPENHAGEN ……………………………….…. 103 5. SUMMARY …………………………………………….…………. 122 ABSTRACT …………………………………………….………...…. 125 REFERENCES ………………………………………..……….…… 126 DEPICTIONS ……………………………………………………..… 136 CURRICULUM VITAE ……….…………….………………….….. 138 7 8 1. INTRODUCTION One desirable result of this research would be to bring the life and work of the German-Danish composer Friedrich Ludwig Æmilius Kunzen (1761–1817)1 to the attention of a wider audience. Even in Denmark, where his first major work has been deemed one of the twelve most influential classical compositions in the annals of Danish music, Kunzen is practically unknown. Although included in this ‘Culture Canon’, which was established by the Ministry of Culture in 2006–2007 as a collection and presentation of the greatest, most important works of Denmark's cultural heritage2, only very few know his work or indeed know his name. Beyond the Danish borders, and even in the world of musicology, Kunzen is virtually unknown – although his work certainly deserves a much higher degree of awareness. There is one single scholar to thank for Friedrich Ludwig Æmilius Kunzen not being entirely forgotten by musicology: Professor Heinrich W. Schwab’s3 tireless research into Kunzen’s life and work has led to a number of publications about the composer, and thereby to a certain degree of acknowledgement of his achievements. His publications are both starting point and source material for this research. While Professor Schwab also analyses Kunzen’s work from the perspective of a musicologist, this approach is a biographical-historical one: the 1 Portrait page 5: Friedrich Ludwig Aemilius Kunzen (1761-1817). Etching by Johann Heinrich Lips, 1809, after a miniature by by Mathias Møller Heinrichsen. 15,6 x 10,5 cm. Enscribed: “M. Henrichsen del.H.Lips sculps. Zu finden in Zürich bey H.G. Nägeli & Comp.” Det Kongelige Bibliotek, Copenhagen. 2 The homepage “Kulturkanon”, originally set up by the Danish Ministry of Culture in 2006/7, was deleted in 2012 due to running costs of almost 100.000 Euros per annum in payment of fees associated with copyrighted works. It can therefore no longer be used as a source. Another homepage with the same name is a private initiative established primarily for commercial purposes. 3 Prof. Dr. Emeritus Heinrich W. Schwab is since 1998 professor of musicology at the Institute for Musicology at the University of Copenhagen and member of the Norske Videnskaps akademiet in Oslo, the Kungl. Musikaliska akademier in Stockholm, the Kgl. Danske Videnskabernes Selskab in Copenhagen and the Academia Europaea in London. 9 focus is on Kunzen’s work from the angle of theatrical production, with its political, social and artistic components, and only to a minor extent on aspects of musical composition, as this is not the field of expertise of the author of this diploma thesis. It is, however, not the aim to write a straightforward biography of this ‘almost forgotten’ composer. The intention is to take a few crucial actualities in Kunzen’s biography and analyse these features in correlation to the specific external circumstances that proved to be highly influential in defining his path in life: First, the political and cultural context of his day in the kingdom of Denmark, which formed the backdrop to his first major orchestral work, music for the opera Holger Danske (1789). The opera led to one of the most acrimonious disputes ever witnessed in the history of Danish theatre; his work of art was commandeered for a struggle between national factions and had to serve as a platform for political tensions. But Holger Danske also served as a case in point from which to discuss the general function and role of the theatre, to question the necessity and value of opera as an art form, and to mirror the Danish struggle for a national identity forged between the radically new thinking of the Age of Enlightenment and the traditions of the absolute monarchy. All these circumstances had a direct impact on the opera’s première in 1789. Secondly, a chapter on what could be viewed as his ‘Wanderjahre’ and for the thesis as a kind of intermezzo: the challenges Kunzen faced as musician and composer in Europe during the second half of the eighteenth century. Besides his artistic development, this period involves concerns regarding financial and legal practices of the time and several circumstances in Kunzen’s life can be seen as exemplary for the entire profession. The custom of using – or misusing – performing rights of theatrical works, the exchange of themes and 10 ideas across the continent, and the practice of promoting and favouring certain artists and their work are all issues which will be discussed in this chapter. Thirdly, the work shall examine Kunzen’s return to Copenhagen in the role of Kapellmeister at the Royal Danish Theatre and his enthusiasm for the work of Wolfgang Amadé Mozart (1756–1791). Not only did Mozart’s music have great influence on Kunzen’s own compositions, but the staging of Mozart’s operas in Frankfurt, Prague and particularly in Copenhagen involved artistic triumphs, disasters and bizarre challenges. The Danish premières of Così fan tutte, Don Giovanni and Die Entführung aus dem Serail (‘The Abduction from the Seraglio’) all took place thanks to his energetic efforts and under his musical direction – the latter, in 1813, most probably attended by Constanze Nissen (1762–1842), formerly Mozart. These three sections will investigate their topics in chronological order and connect them with biographical details, some of which have not previously been available. It is also the aim to correct some misunderstandings about Kunzen found in several standard reference books, and will thereby hopefully contribute to a more differentiated view of this ‘almost forgotten’ composer and long-time Kapellmeister at the Royal Danish Theatre in Copenhagen. 11 2. THE GENESIS OF A COMPOSER 2.1. A MUSICAL PEDIGREE The German-Danish composer Friedrich Ludwig Æmilius Kunzen was born in Lübeck on September 24, 1761, into a family of musicians who had been held in high regard in this town for the previous two generations. The musical tradition had started with his grandfather, Johann Paul Kunzen (1696–1757). Born in the small town of Leisnig in Saxony, he first attended schools in Torgau and Freiberg, and in 1716 he enrolled at the University of Leipzig where one of his teachers was Johann Kuhnau (1660–1722). Following concert tours and an employment as Kapellmeister in Zerbst, he moved to Wittenberg, where his son Adolf Carl Kunzen (1720–1781) was born. In 1723 he became employed at the Hamburg Opera for the “Direction der Musik für die Opern”4 (‘the management for the music of the operas’) and he composed several operas, choirs, symphonies and other musical works for the Hamburg Opera. In 1728 he embarked on a concert tour through the Netherlands and England5, together with his son Adolf Carl who was a gifted pianist and was regarded as a child prodigy.6 4 Johann Mattheson: Grundlage einer Ehren-Pforte, woran der Tüchtigsten Capellmeister, Componisten, Musikgelehrten, Tonkünstler etc., Leben, Werke, Verdienste etc. erscheinen sollen. Hamburg: 1740. 428 p., pp. 158–165 (on ‘Kuntzen’). p. 162. 5 In August 1728 Adolf Carl played the violin for the Danish King Fredrik IV and his wife Anna Sophie in the town of Aurich. His father also later sought contact with the Danish court by composing a cantata for the coronation of King Christian VI: “Aller-unterth. Freudenzuruff an K. M. Christian den Sechsten auf Dero Krönungs-tag in einer Cantata abgestattet und in Music gesetzet | Joh. Paul Kunzen. – Hamb., [1731]”, in: Jørgen Friis: Danmarkes og Norges Glæde over Kong Christian den Siette, da Hs. Maj. til sit Højst-Kongl. Regimente blev salvet og indviet paa Friderichsborgs Slott d. 6. Junij 1731. Copenhagen: s.typ., 1731, s.p. A minor work that is not mentioned in any musical or biographical catalogue. 6 “Among the musical phenomena of 1729, was the performance on the harpsichord of little Kuntzen, ‘a youth of seven years old, just arrived from Germany’”. In: Allatson Burgh: Anecdotes of Music, historical and biographical; in 12 While in England, the Kunzens became acquainted with, among other renowned musicians, Georg Friedrich Händel (1685–1759). In September 1732 Johann Paul was offered the position of organist at the St. Mary’s Church in Lübeck, a job he took up in 1733, and in which he successfully maintained the tradition of Abendmusiken (‘evening music’) introduced by his famous predecessors Franz Tunder (1614–1667) and Dietrich Buxtehude (d.1707). He held the position of an organist at St. Mary’s until his death. Adolf Carl received his early musical education from his father and later studied under Jacob Wilhelm Lustig (1706–1796). In 1749 he was appointed concertmaster at the court of Duke Christian Ludwig II of Mecklenburg(-Schwerin) (1683–1756), where he also started working on his own compositions. In 1752 he was promoted to Kapellmeister, but after a number of disagreements he left and moved to London.
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