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MSICAL LI OF MUSICIANS VINNA, CA. 1814-1825: A TRANSLATEDATU EDITION OF LEOPOLD IVON SONEITHR'S "MUSILISCH SKIZZEN AUS 'ALT-WN' II (1861-1863)
A thesis submitted to the College of Fine and Profssional Ats of Kent State University in partial flfllment of the requirements fr the degree of Master of Arts
By
Alexandra Vago A December 2001 Thesis written by
Alexandra Vago A B.S., Temple University, 1994
M.M., Kent State University, 1998
M.A., Kent State University, 2001
Approved by
, Chair, Thesis Committee
Accepted by
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iii Preface
Leopold von onnleithner's " usic l ketches fom ' ld- ienn "' cont ins six sketches; the frst fve represent the specifc lons of Joseph ochen dl, ph el eor
Kiesewetter, herese P r dies, Otto twig, ad gn z onleithner Leopold describes the loc tion, hosts, p ricip nts, nd repertoire perfrmed in the frst fve sketches With less det il th n the previous entries, the sixth sketch encomp sses multiple s lons
mon the people who hosted these lons were l wyers, doctors, nd poets s
m teur musici ns, they would perform pre-existin r ngements of symphonies, or torios, nd oper s, which were sometimes scored fr sm ll ensemble of pi no, strin qu ret nd fur voices.
the text of the music l sketches, onnleithner comments on the pnv te nd I t amateur music l therin s in the e rly19 - entur ien . y describing the experience with frst-h nd ccounts, onnleithner's intent w s to document these events befre the devoted p rticip nts p ssed on or they themselves frgot specifc det ils.
These sketches, s presented in the tr nsl ted version in h pters through depict X, Sonnleither's emic perspective of m teur music l lif in ienn fom the yeas 1814 to
1825. lthoug his viewpoint w s ctu lly written fom 1861 to18 63, it refects perod fom his ow youth th t coincides with the fourishin m teur music l s lon in ienn
chol rship re tly needs moder tr nsl ted edition of onleithner's sketches that is fithl to the ori in l; therefre, h ve tr nsl ted Leopold von onnleithner's entries s they ppe red in the Recensionen fom 1861to1863 into n lish. hus, tis
lV translation shall make the complete articles accessible to a wider scholarly audience.
Although the original frmat of the sketches does not provide the reader with a fuid evolution of the amateur musical salon, the translated edition of the sketches has been kept in the original order with minor alterations to the various lists of participants so as not to distract the reader fom the prose.
Chapter I and Chapter II provide background infrmation on Vienna and the
Sonnleithner fmily respectively. Since Sonnleithner's depiction of his musical jourey does not fllow a temporal construct, Chapter (The Pre-Sonnleithner Salons) presents ill a timetable of Sonnleithner's attendance at various salons and the inclusion of Chapter IV lists all the names (570) that appar in the translation with brief biographical infrmation.
Leopold Sonnleithner was clearly an amateur musician; however, he befiended
Fran Schubert in181 6. It is this Schubert-Sonnleithner relationship, although not a primary fcus in the sketches, which promoted much of Schubert's early musical success.
In fct, Chapter {Ɠ illustrates the events, fom Sonnleithner's perspective, as to how
Schubert's Erlkonig frst came into publication.
Many pople have helpd me bring this thesis to fuition, and, at this time, I would like to extend my sincere thanks to those who have ofered their assistance with this project. Hans Zbinden and his wif have been most helpfl to me with the D. t translation process; their overwhelming hospitality and knowledge of19 -Century
German has been most rewarding and benefcial. The members of my committee, D. Albrecht, Mukuna, and Mr. Ferritto have been with me since the beginning of this D.
v project, and I wish to extend my sincere thanks to them. My parents, Richard Vago D. and Susan Vago, deserve special thanks fr being there fr me and always supporting my various endeavors. addition, I wish to tank my brother Ian, his wif Shari, my I nephew Brian, and niece Abigail. Finally, thank you to Zoe, Sage and Zacharias.
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The continuum to be traced is that of the private aristocratic musical concert in
Vienna, and its development into the musical salons ofthe middle class in the early 19th-
Century. The transfrmation fom one to the other occurred gradually over the course of nearly a quarter of a century, fom the French Revolution to the Congress of Vienna. As the nobles' patronage declined, the middle class businessmen took advantage of the situation to pursue the social pleasures of music making. Concerts were now privately subsidized by lawyers, doctors, and profssors - those without noble titles: the common man.
To establish this social construct, the traits of this community and their individual roles need to be identifed. The musicians a a group, in the most general sense, consisted of both profssionals and amateurs. The word p ofession l within the context
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Mozart had taken over the task of directing, presumably afer Strzer's death in &*0*ßƩ Through the eforts of Swieten in &*3/z3&ƩMozart obtained the d post of2° i at St. Stephen's Cathedral. The political climate made it difcult fr musicians to regain their positions in a musical environment. Freelance profssional musicians had only two viable avenues to pusue fr income: providing lessons (ofen fr the wealthy children) or playing private concerts. Unlike today, musicians generally did not supply the fe schedule; ofen their patron, based upon both the generosity and the nature of the occasion, dictated the payment they received. Musicians were at the mercy of their benefctor. The actual income in the end is not as imporant as the pains one had to endure to secure its existence. The burgeoning of war continued with Napoleon's invasion of Vienna in &0/TƩand then again in &0/3SƩ These sieges deeply afected the nobility and they had to increase the allocation of money to the Iperial Forces fr their armies ad equipment. With this, money once spnt fr the luxurious private orchestras declined, and the aristocracy was ((ħ no longe able to support numerous musicians on its payroll (K((ħP ince I ob o itz had go e bank upt and t o ye s later, the s he h zy o ches a bega to disband. o econstr c musical Vienna, the a ten ion d e in a d to the family and home. t is du ing this pi o al edi ection of he ars hat Salon music eme ged and ourished bet een (K(¼ħ and (K56*ħAlthou he choice o s ay close o home existed one had many op rtu i ies o entu e ou side Pu lic concers and thea e e e among he arious ofe ings. T o mpe ial thea e s had become mo e specialized i h hei schedule and p ogramming. The u g heate became the ofcial enue f e man s en drama, hile the a nero theate became the p inciple place f ope a and balle Still a pr vate hea e , he Thea e an de ien kep i s doo open to all gen es o suburba thea ers, Leopoldstadt and osefstadt, supplied he attendee ith local iennese ular comedies. he Leo lds adt became no n as the laugh theate of uro , a lace ere comedy eac ed heights of hila ity, due both o the talents of indi id l o ers and thei capacity to o k as an ensemble The p f me s, ot the play, ere e ma dra g po e of the Theate in de Leopolds d 0?cą ie na had lost olfgang Amadeus oza , i s adopted child p odigy in (/^(ħ al houg e next of kin soon a rived (/^/ħF anz Schuber died (K5K-ħ as bo , and of musician, one of thei in a sho t ile ' ienna ould come to emb ace a ne class Ww}bo and aised as a rue Viennese. me ging om his societal mic ocosm of U®ą aymond ickson, ed nn ( e a en ale Unive sity P ess, åæÜƷp D®.Ť hea e nn ( e a en UcąSimon illiams ' The Viennese ale ni e sity P ess, (^^/-ħp 55U*ħ DŤ l řřř\ řř XřG$ ř $11 ř ř X° -¨ ¼ ř ř ř $ řřXĆ řVX2Yř Iř ř ř$ řř&¤5&Ʃ 8 Mř a05b$Ʃ ř ř ř :řœřF ř řř řR n ion n n i il n n U h ik n bil n n řř Fř ř i 5ř=řř ô×5ř řŅ řřřV Y/vř Jř ř$ 5ř Ï - ř & řř Fine W!Ó ř ř&ř& ř řř ř"ńĠC řVÂqř i ř ř ř )O Lř ř řļ ř ř 5ř5ř]ř Q¨- ř ř ř )_řĀ řř ř ř $ ář ř :řřř- ř I OĤ ř ř 5řGJřMř $ř-ř ř F*ř : ř ř ř ř Őřř ř Ŕ5ř]řJř& :ř ř ř G/wř this ±É ř M řÄ ř řÎŎ 5ř ř ř ř ř řřno - $Ïř }~)9 řŕř ř¡ř Vř ř - ř ř řřF bi n ř Vn obon . 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ƓƓ= :Ɠ 7 +Ɠ ƓƓ Ɠ Ɠ+ VƓ )+ Ɠ ÊkƓ 2ƓƓ,v@Ɠ h0[7ƓƓ Ɠ Ɠ Ɠ C Ɠx Ɠe VƓP V'Ɠ Ɠ3 ƓaĒęɧ .:6ŁƓËƓ Ɠ ŴƓ Ɠ ƓƓƓm ƓƓƓ8Ɠ Ɠ OƓ Ğ0[?Ɠ 0Ɠ Ɠ Ɠ Ɠ Ç£ž ;Ɠ ƓƓ Ɠ Ɠ Ľ=Ɠ 'NƓ ğƓ'Ɠ Ɠŀ Ɠ Ɠ ŽƓ Ɠ o =Ɠ Ɠ[Ř; Ɠ =Ë Ɠs 0ƓƓƓƓƓƓƓ Ɠ [ Ɠ ìƓ |G }Ɠ .Ɠ*Ɠ" ƓƓLƓ Ɠ Ɠ7Ɠ ƓƓ Ɠ) Ɠ@Ɠ [8ƓƓƓ Ɠ Ŏ ÐƓ Ɠ 'ƓƓ'Ɠ Ɠ ōƓƓŔƓ ƓŹƓ łƓ Ɠ Ɠ /Ɠ=*ƍƓm.ÝƓ kƩ ZƓ.Ɠ Ɠ Ɠ o Ɠ Ɠ Ɠ Ɠ ƓƓ ƓţƓ .ƃƄ=Ɠ"6Ɠ ƓƓ ) ƓƓx Ɠ )+ IƓ Ġ 'ÙƓƓƓ š ʼnƓ0 Ɠ Ɠ Ɠ Ɠ Ɠ ƓļƓ )8 7IƓ P ƓL Ɠ °Ɠ Z;ÊƓ+ãƓ i l o â¾Ɠģ'ýƓ Ĝo Ɠġ+Ō" Ɠ ĝŮÆ..Ɠ(÷¦Ɠ @Ɠ }/bÚ}icàƩ PƐ3MƓÀƓ ^GüƓ3@C§Ɠ dƓ )ƓŗƓù _Ɠm ¨Ɠ JczJT.Ʃ Xȵ yƓ¸ƓdƓ oi i n ^Ĕ³Ɠ Z Ɠ Ɠ ąhà .ƓāÐ 'Ɠ(2±pƓ NƓ DNƓ 15 6r6nts to come, Schuber had w itten in his dia y on une 17 1816 'Today I composed money f the f s ime' Ť He eceived 100 fo ins f his composition, and a hat fr LWL6Sh}he made the ansition om ama eu to profssional musician. The yea s 1819 and 1820 became a pivo al time in the elationship between Franz 0@n,6`h}and Leopold Sonnlei hner. Schuber's social ci cle was beginning to expand, #S1}in Janua y 1819 perhaps paying homage to Schuber in the spi i of the private Z6_9W`N%S/6} om uly 1816 his cantata was presented at he home oflgnaz WVJ6Eh@S6`} It is not clear if Schube t a tended the pe fo mance, but according to WTSJ6Eh@S6`}it was pe formed with piano accompaniment On 19 November 1819 a L#J6rWE/6} que of Schube t's with piano accompanimen , o n (XV 4 ), was Z6_9W`N64}fr the frst time at Igaz von Sonnleithner's house by osef ah, osef Go z, 7 "6P{6J}Nejebse, and Johann a l Umlauf. On Decembe 1 1820 te Sonnleithner b#JWP} enjoyed a perfo mance of Sch ber's new song E lkoni sung by he ama eu MnbC0E#S}A gust von Gymnich. In Sonnleithner's recollections, i was this evening that 160C161}the ftu e fr Schubert. Afer this pe fo mance; Sonnleithner took it upon ACLb6J9}and other iends to p blish Schube t's wo ks. Fo them, it was mo e ha the Z_8b6`r%hEWS}of art� it was also to aid their iend fnancially f he was living quite poo ly #d}dA#h}dEL6 } Schubert wa beginning to fnd his place in a new wo ld beyond that of his youth; PWu} Ch}wa one desiged by Sonnleithne . Leopold had int oduced Schube t o Anna ząOtto rich Deu sch, T R f o F n in and Do n translated by ric lom New ork: Q$Q@ƓNoron Company, 1947) Z} ÑƷ & 7 ins ein, i l o i p 173. &Ɠ Frohlich, the eldest of fur sisters, and in December %bD#Ɠ Schubert composed fr her ĮƓ dA6}ôcŰ Psalm, o i in i Anna Frohlich was also the music teacher of Louise WbL%_}^DcƓs 2_Ɠ who later became Sonnleithner's wif. Wishing to give [Louise] ... great pleasure on her birthday, [Anna] arranged a serenade in the garden of the country house at Dobling on August #Ɠ b ªƓ At [Ana's] request, Franz Grillparzer had witten fr the occasion the beautifl poem n n (Zo r i ) and this she gave to Schubert, asking him to set it to music as a Serenade fr her sister Josefne (mezzo soprano) and chorus. 8 d}wa around this time, but perhaps even as early as (#Ɠthat Schubert befiended Franz Grllparzer who was a cousin of Leopold Sonnleithner. Familial relationships such as dA6b6}%_6}only one aspect that illustrates Sonleither's aptitude as a social mediator. !O16_}the guise of the "common man," Leopold served as a liaison between two classes W9}musicians, the amateur and profssional, with great integrity and genuine concer fr #_i } The intricate rapprt that developed between Franz and Leopold is at the core of this 6O16#rY_ } To understand the growth of not only their relationship, but also the emergence of middle class musical lif in Vienna, it is imperative to establish the lineage of dA6} Sonnleithner family. Christoph Sonnleithner was bor in Szegedin, Hungary, on May b#Ɠ Fv#Ɠ and 3C61}CO}Vienna on December #Ɠ &ªƓ9 In F&#Ɠhis fther Michael died when 8 t : oi i F i n p. %`©Ɠ Deutsch, @tƓ U O z , 9 Constant von Wurzbach, Biog i xikon K i entha t nd di L n kiz n nk i i n onn n, i in n 1750 osterreichi n on an r o n n o in n i � n &DƓ %&$Ɠ Accordmg o vols (Vienna: K.K. Hof-und Staatsdruckerei, %2&æ(_#Ɠ V. F&#Ɠ � Sonle1thner ioration given to Wurzbach fom the Sonnleithner fmily, Christoph December b2#Ɠ §Ɠ However, K#z}A#r6}been bor on December b#Ɠ F#Ɠand died on the ov i ion r ºÁƷ K#Oz}other refrences cite the dates given in the text, including Ɠ ĆŊÎ Ɠ Ɠ4 /Ɠ Ú Ɠ / Ɠ Ɠ OƓū¶ȵ 9 Ɠ ƓƓ 'Ɠ Ɠz Ɠ Ɠ Ɠ Ɖ!Ɠ!Ɠ Ɠ ƓƓ4 Ɠ" Ɠ 1Ɠ Ɠ Ɠ Ɠ ƓƓ i n t opolit nki . hhȵ Ɠ ƓƓ 1ƓƓ"ƓƓ8 Ɠ Ɠ Ɠ Ɠ 0: Ɠ Ɠ~ƓƓ ƓG Ɠ)Ťjŝ; Ɠ^G ?Ɠ Ɠ _Ɠ Ɠ ØlŕƓ ƓƓ Ķ ƓƓ ]Ɠz ƓC Ħ Ɠ9 ſ 1Ɠh\ȵħƓ Ɠ ƆƓ Ɠ Ɠ RƓ$Ɠ 3 !ƓƓGį $Ɠ 9 Ɠ 7 ƓƓ!Ɠ ?ƓƓ Ɠ Ɠ!Ɠ Ɠ Rķş/ƓÉƓƓ] ƓƓƓ ƓƓ ×ƓƓ ƓƓ" $Ɠ BƓ Ɠ .ŻKKƓ Ɠ Ɠ4 Ɠ Ɠ UƓ4 Ɠ /Ɠ4/ƓPƓÂ>/$Ɠ BƓ R..l: ƓƓ!Ɠ4;Ɠ /Ɠ Ɠ Ɠ /ƓƓB /5Ɠ Ɠ" ƓwĂ$Ɠ ćŋ !Ɠ Ɠ!Ɠ Ɠ " ƓƓƓ~ƓƓ Ɠ Ɠ" Ɠ .ƌŦ! Ɠ ÉƓPƓÂV/$Ɠ BƓ Ɠ Ɠ Ɠ 1Ɠ C Ɠ yĵ7 Ɠ ĎRK0: 1Ɠc&Ɠ Ŭ 7Ɠ gƓ½ !Ɠ II, Ɠ ~ Ɠ ~Ɠ 7?Ɠ ^% %2% &(_Ɠ Ɠ O ak , !!Ɠ !Ɠ"ÕƓUÓ$Ɠ 9!Î !Ɠ Ɠµ ƓC Ɠĉ Ɠ Ɠ! ƓgƓ .l6.Ɠ:6KƓƋƓ K !Ɠ ƓƓ ƓQ>4 ?ƓƓƓ onnl i n . ¹ 6>Ɠ{ "Ɠ Ɠ!Ɠ ƓíƓ BƓ4 Ɠ Ɠ Ɠ Ɠ Ɠ Ɠ Sl06 Ɠ /ƓƓ z Ɠ >ƓƓ Ɠ Ɠ Ɠ $Ɠ BƓ Ɠ Ô0ĭ!KƓ :/Ɠ 4 'ƓƓ ƓU Ɠ Ɠo Õ7$Ɠ ½! ƓƓ ƊƓđ !ƓP 1Ɠ Ɠ Kap i t Ɠ )tƓ ) ?Ɠ 9 !5 IƓ )Ɠ4 ƓƓ Ɠ UƓ Ɠ Ɠ Ɠ Music n si i n . ºƓijƓC Ɠ |&´´Ɠç % c&}Ɠ Ɠ4×Ɠ ƓŢ 1Ɠ4Ɠ Ɠ ÆÒÔ /KƓ Ɠ Ɠ ĸ ƓƓ)VƓgƓŷ/Ɠ/ $Ɠ h¶ȵµ ! ƓƓ Ɠ Ɠ UƓ Ɠ"ƓLƓC áƓ;f1Ɠ ƎƓ ŒƓ Ɠ ÌRƓ.6ƓƓ ƓƓ9mƓ Ɠ Ɠ]Ú Ɠ Ɠ #ƓƓƓ "ƓÍƓ c&$Ɠ 11 m $Ɠ ) ?Ɠ9 ]5 $Ɠ 4 Ɠ hĉȵ9 Ɠ ƓƓ Ɠ) Ɠ ƓƓƓė îƓ 9 Ɠ Ɠ!Ɠ lıƓ6 :Kè"Ɠ ƓƓj ƓC Ɠ9;$Ɠ 18 maried Franz Theser. Anna later maried Wenzel Grillparzer; they were the parents of 13 Franz Grillparzer. Joseph Sonnleithner, upon fnishing his schooling in Vienna, assumed the task of maaging a printing ofce fr two years. % Y ƓEmperor Joseph II, with whom his I fter had been in good standing and later his brother Ignaz, drew Joseph Sonnleithner into his personal Cabinet. Afer the death of the Emperor, Joseph then became the 14 Dafsman to the royal and imperial Chancellor. When Franz I became Emperor, he requested that Joseph travel extensively in Germany, Denmark ad Switzerland. He was to obtin materials fr the Emperor's private collections. During these visits abroad, he may have coued his wif Johanna Wilhelmine. The psition of the Court Theater Secretary, held fom % (YƓto 1804 by August 15 Kotebue J &JƓs JYJ(pAƓ Joseph took over the position and remained there until von 1814. He was responsible fr two theaters, one of them being the Theater an der Wien, aøƓ s>B->}he maaged until JYW N He worked on preparing German versions of French plays and similarly adapted librettos fom the French into German. He is most remembered fr his libretto that Beethoven used fr the original version of Fidelio 13 Grillparzer's mother, Anna, apparently committed suicide during the time when >5} working on his trilogy go n V i ( JYu%Ɠ). He was distraught by this wa sittion and it was compounded with his own illness at the time. 14 Hofoncipizt in the k. k. Hotanzlei. 15 Peter Clive n i Wo io r i Di ion r (Oxford: Claren ¬W,é`WFNƓ Kotzebue was chiefy a dram tist, but also worked don Press, ¬(c p#Ɠ pp. . � *}a lawyer, theater secretary, political jouralist and a magazme editor. 16 Haven: Peter Clive o n i i Biogr i i ion (New % 2J s Yale University Press: J((Fp#Ɠ%F&«Ɠ On June %F#Ɠ%YW%#ƓEmauel Schikaneder 1 812) opened the newly built Theater an der Wien. (Ɠ >!¹DƷ ą)ą ąą GS ą :o ã%ą ono , o L o on ºO8ą ą ąąą ąI ą Zą E D Ɠ Gąą ą Zą ąą Ôý ą.ą )ą [ą {ą ą ll li F n B o n t n n li n ą ą.ąH ą .ą ą ą/ą ą W ą.ą@ ą a JEąÃ× ąI3ą/éK ą ą XXX1Ɠ²Ɠ ąą ll i n ąą aúƓ fO ăąąõą2 ôą ą~ ąąXXuN ,ą ûąąÜß ą&)ąą îO\> ąą$ą ą_ąąąąąd ą- 3ąÁ ą | Ɠr >!É Đ7Ʒ:%ąo ąÍ ąù9«¬?Tą -ląA ąąąąÖąGą ąą) ąI* ą@ *ąą kJĂ9ą , ąą2*ą @ [ *ąąą .ąGą ąV*ąą Ząą ÕkkO^ ąą . ą ą ą ą xą Fąąą ą ą[ ą ąñą 8ó ą ą ą ą %2&$Ɠ ,)ąą/ąąąú ąą ą?bąąGąFE1ƓEE 1Ɠ@ *%ą i `,ą - uąą ąąąąą ąÅ 9ą ,ą/ ą J<ą ą ą( ą ą ąą ą ąą ą 6ą F ą ą d ą t n i o l Bio i l i tion r 9ą,% r,%©Ɠ Vą āJ8ą>ą ą ą ąą : ą tąD&Ɠ ą@ją2 ą , Ýą`ąvƓuƓ a ²ƓV 1ą aûƓ ê _ą ov i ion r o i n i i n uDƓ 9ą .WmI1}S i ƓƓÛƓƏƓ Ɠ; Ɠ Ɠ ol n Vli , Ɠ -Ɠ¶Ɠ ¯¯Ɠ .WKLCl72}85ƓƓ3 + Ɠ Ɠ `±`(A Ɠ Ɠ 5 Ɠ TƓ<Ɠ Ɠe >Ɠ s#b} !7ƷS 0 ƓƓƓ< £ƓƓ ƓƓ ƓTƓƓƓ Ɠ ÈƓƓ$ H53}dY}ƓƓ Ɠ ĬƓƓ ƓƓ Ɠ - Ɠ 'ƓƓ fAƓ GƓ Ɠ ƅŲŭ0*Ɠ "Ɠ-ƓƓ Ɠ " Ɠ ƓƓ+ƓƓ Ɠ'ƓSƓ- Ɠ ÄƓRƓ 6Ɠ ƓƓ -Ɠ Ɠ ¨Ɠ ,W,Ɠe¤Ɠ- Ɠ MƓ ƂƓTƓńİƓČűťM *MƓäƓĘ ƓZjƓ I ăĩÄÃRƓ¹Ĩ¤'ƓwĪ Ɠ Ɠ3UOƓ w ƓƓƓ+Ɠ-Ɠ >Ɠ 355ZIx} "Ɠ 6ƓƓƓ LƓ -ƓƓ tƓ Ɠ+"Ɠ -Ɠ ƓƓ Ɠ Ɠ be#d5} 9}i [Ɠ qƓƓ8 5Ɠ "Ɠ < 'Ɠ ƓƓ<5ƓƓ< ƓOƓ8\Wȵ =+} ŞH *Ɠ Ɠ Ɠ dƓ ƓG ƓƓƓ Ɠ ƓƓLƓƓ Geselschf 9 ÖƁAƓ ºƓ HƓ M*Ɠ*fƓZj Ɠ P>qƓ ƓƓ Ɠ Ɠ ƓƓ Ɠ } j5K} CO}CQ9%Q/y · Ɠn ƓƓ8Ɠ Ɠ3 Ɠĕ]¤ƓƓ Ɠ]ƓfƓTƓG 5Ɠ } mZ5Iu6Ec6^} Iga HƓ· Ɠ Ɠ Ɠ" Ɠ ľ5ƓTƓ<8Ɠ 5ƓƓnƓ8Ɠ 8 Ɠ ®® ßďŏ Ũ\Ü\qƓ čH>àƓ i - ' En lo i ofLi @Ɠ $d>I66P} ēƀ*ŪƓũ\*Ń Ɠ ę AþƓ ĚŐ <êQ Ɠ¼@Ɠ((2¦Ɠ @Ɠ(õIƓ } ¸*HƐƓ t i al o i , AƓ öIƓ IƓ } +ƓB Ņ OƓ »Ɠ In ¡ƓĢ0ÖÜ Ɠ Ɠ Ɠ ŚH*ƓƓ ³Ɠx Ɠ � ƓśƇ ƈ5Ɠ []5bmM7} ¢MƓ¢MƓ \Ɠ Ɠ *ƓgƓ Ɠ ƓnƓ @Ɠ y+qƓ ƓƓ AƓ T tCd>}Ò0*tĀƓżƓ M Ɠ Ɠ Ɠ Ɠ ƓU ƓƓ Ɠ Ɠ ƓƓ�Ɠ Ƒ Ɠ Í-Ɠ 5WZWI1} IJƓ\Ɠ *ƓƓŜƓÈ-Ɠ ƓĐ >?Ɠ ƓƓ- Ɠ g-òñƓ Db} ĿŵS i*6$Ɠ «Ɠ AƓ } Ɠ zj Ɠ+5ƓƓ óƓƓ Ɠ Ė Ɠ w nƓn Ɠ Ɠ Ç<Ɠ AƓ Ɠ) - Ɠ åƓ ŸņƓĹ¡Ɠ Ɠi Ɠū¡\*ƓTƓĊ- Ɠe >Ɠ »tƓ BƓ -īƓ3 Ɠ ƓƓ Ɠ ?ßÅ Ʒ Ē ÌHH?Ɠ*Ɠ ÀÓ Ɠ G¢>ƓƓ< Ɠ ƓB< Ɠ ěf#Ɠ 55d>Xp6Qc} ŇƓHƓĄƒƓĈňő Ɠź Ɠ¾T$Ɠ 21 ;_}various bass roles. In addition, as Newan Flower nostalgically writes, "He had 11 6 always moved in musical circles; he had walked with the immortals. 2 With a rare and tender bass voice, he effrtlessly sang fom the low D up to the Tenor h5ř without frmal voice lessons, but through practice and the model of the geatest trained singers of that time. With active spirit and warm feling, he executed serious well as comic pars wit good efect. He was fiends with Mo:, Hydn and Beethoven, with Salieri [1750 - 1825] Weigl [1766 - 1846] Eybler, Preindl and he personally knew many other respected composers, he sag their works afer their instuction and their spirit. He sang the bass parts in the ortorios of Haydn [1732 - 1809] Handeli [1685 - 1759] Beethoven and Stadler [1748 - 1833] the parts of Figaro, Leporello, Don Alfnso (of course sung in Italian), Osmin, Sarasto, Rocco, Re Teodoro, the role of Pistoflo in the opera o in Richard Boll, Tamburan in Vogler's [1749 - 1814] o i Micheli, Jacob, Maferu, Alido, Pedrigo and many others he delightflly perfrmed. 27 Iga pursued an ambitious career as a amateur musician mainly during his spare fCK5} At the Polytechnicum in Vienna, he was a profssor of commercial law. 28 Igna []WqB151}his fam ily with many opportunities to pursue and promote music in the home. Ɠ 5W\I1}had the musical advantage among his siblings since he was the eldest son; he 5OFWx51}the necessary instruction fom early on. "29 It was Leopold who spearheaded f?5} _Bqate concerts held in his fther's home, and acting as a social mediator, he brought p #K#g5m_} &1} profssional musicians together. an, Bor in 1797 Leopold was a lawyer by profssion, an accomplished musici encompassed #O3}an acti ve member of the s s ft. His musical training Preindl, the same compsition, theor, piano, orga� and string instruction fom Joseph n is i (New York: 26ewan Flower, r n , n ]535_B0G} Stokes Company, 1928) p. 116 A '," (1862): 369. 7 Sonn leithner "Musikalische Skizen aus 'Alt-Wien 2 P· 8 here i� 1 �;5. 2 Karl, Beetho�en's nephew, was � student � . 369· Skizen aus Alt-Wien , ( 1862) So # "Musikalische 29 nnleithner P· ,,Ɠ hƩw ƩƖH CƩ ƩƘ4CƩ Ų.Ʃ 'ħĭ đ4ƩGĸ !ƩƩ ll i r Ʃ¬SƩ dC ÅƩ Ʃ 0i3Ʃ ė'ŴhĪ2Ʃ ƕ ŰHƩ ƩCĴ 6Ʃ~ŧGÞ6CGH{Ʃ ¨4Ʃ` ,#Ɠ ò-²ÄnGƩ?Ʃ 4Ʃ +ſ9Ʃ H ƩƩ6Ʃ Ʃ?6 ŢƩ Ʃ Ʃ W:()}%ƩƩ ll i ţH4HƩ_Ʃ?ƩGÅňƩ ŵ CƩƩ BĚ #bbCbh'h}Ʃlń Ʃ Ʃ&Ʃ*3&Ʃ Ʃ+ Ʃ_92Ʃ Ʃ ðG 6GHƩ G !Ʃ6Ʃ p Ʃ 4Ʃ Ʃ4Ʃ Ʃ+4CƩŜƩƣƩ Ʃ4Ʃ 0i3EƩ ŹƩ% ƩĚ 6 Ʃ?ƩDGƩ?C Ʃ Ʃ ŐƩ Ʃ% Ʃ4Ʃ ƩƩ 6+t th[ƩŶ Ʃ ´Ʃ Ʃą !ƩF[4¾ƩÈƩ A 8+ 4Ʃ Ʃ 4Ʃ ŅőƩ² ƩnuƩ Ʃ + ,8 Ʃ 8+q K ƩZK8! Ʃ ƩƩ ]ƩƝ+Ʃ j6tƉsƩ Ƒ Ʃ?7Ʃ !Ʃ\S DƩ ¨4ƩĽUƊƩD6ƩƩ K+8,Ʃ,K³Z,Ʃ¯F8,A ËƩ v#b} nQ Ʃ?7Ʃ 7Ʃ +ÂƩ ƩƩ+Ʃ ÂƩ ¯ZKËƩ Ę ¾,A ,8Ʃ^Z+Ʃ ıĹtƩ hŪ(ƩƩ pƩ ƄƩ À CáƩ Ć Ʃŷ Ʃv+[CƩʼn°9ÕƩ Ʃ4Ʃ ĵƩ Ƈƚƛn7QƩUQņ,Q´Ʃ7 Ʃ 7Ʃ? Ʃ QƩ Ʃ ++Ʃ Ʃ uł^ ƩU 8,,ƩAůƩq+^ SƩ ÿ,Ʃ sWmI1}DÄ h,Ʃ ÀƩ ƩŸŇ Ʃ»Ʃ Ʃ Ʃ !ĨƩ°WCSƩ ¥Ʃ ÉƩ Ʃ,Ʃ +ūQƩ(Ʃ 0 Ʃ Ʃ ZƩ?A6Ʃ¹A, ^Ʃ¹qƩUœuƩA Ʃ6^Ü ľ'ŕ<ÏƩ Ŕr,ƩƩ <,Ʃv+ 89IƩ ĂQƩ 6Ʃ86^ ÖƩ 6,Ʃ ?+Ʃ 8K AU,Ʃ 88K Hq Ý ÁĻƩÁƟƅƗƩ QƩƦ! 7Ʃ p Ʃ ?Ʃ +KƩƩ6 Ʃ A!,Ʃ v+A³PƩ 8 uK Ʃ Ʃ #R3}W<#'t IƩ ¥s7Uř 7 HƩ7ƩgƩ Ʃ8HƩ?PƩ 6ÉƩ A Už ,ƩZƩ Ʃ &0y&3IƩ ÷Ť7%Ʃ r i or Biogr i i io i &iƩÈťâƩĶSƩ Yƀ ƩôųŬƩ Dē IJ¼DƩ Gro D o o 63 tÓčwƩ ģtŞëƩ «IƩ ĉ '7 2Ʃ ĒƩ a35 aƩXƩ SƩ 3&5IƩ Ŧ ď Ơƈ.Ʃ ,EƩ DĀŊ s$Ʃ ćź½$DƩ r ic i f ic i i ]C-}õ¼tr$ƩTƩ µƩ ơƩĤşìƩ ęEƩª 2ƩF×Ʃ äÖƬƷ¼#Ɠj ÈÐ;Ʒ øŨ7%Ʃ o r i ir l Bi g i l i io ƌñũÛğ[4ƍÍƩ xä¤5æXêƩ EƩ 53.Ʃ « 7ƋpsƩÐƩ ÌĊ+[\ ś[ pƩ ¬š_ Ʃ +Ʃ ăGŚµƩ ä E×ExEJ[äxŸÕ[ÅFÅx¦Áä Ao[ÝäK\lFäFUVxläÂyl[¸ÁäŦäÅoxÁähÐUFÅx¦ä¦`ä®FÝ[¸Â ä ÚpxNpä[FJ[VäÅp\äÅ§ä ®¸FOÅxO\äÛ¦¸ÂäÛ¸xÅÍ[äh¸äOo¦¸ÐÁä &ÁäFä l¸¦Ð® äÅq[Ýäl¸FØxÅFÆ\Wä ǨÚF¹Xä³[¾l䦮[¸FäxÅ\¸FÈи\ä GUäÁÐKÂ\·Ð\ÅÝäJ\lFäŦä¸[q\G¸Â\äØF¸§ÐÂ䦮\¸Fä cE[ÂäJÝä7§àF¸È ä *o[¸ÐKx ä =³§ÈxxäFUä ¦Åo[¸Áä ÈuxÂän¦Ð®äJ_lFäŦäx®¸§Ø[ ä`FÝä\J\¸ÂäÂ\¸Ø\VäGÁä Fäx®¸§®ÈÐä EÑXx[N[ä DxÈqäxÂÈ[[¸Â䮸\Â\ÅäFÅäÅo\Â\ä¸[q[F¸ÂFÁ äÅo\äl¸¦Ð®äVxÂO¬Ø\¸[VäÅq[ä[\Uäh¸ä ¨¹X[¸x\ÂÂäFVäN¸\FÅ[UäFä ®¸¦nFäŧäJ\äo\F¸Uä¦äFä U\ÂxlFÈ[UäUFÅ\ä /ä[e \NÈ äÅo\Â[ä ¹]r\E¸ÂFÂäpFUä§ÛäJ\S\ä´¸`§¸FTÂä 8FÝäll 6ħÅo\äÅw¸Uäf§¦¸äF®F¸Í[Åä I L]PE\äFØFxFK[äFUäÅo[ä>§[xÅq[¸ä`FxÝä¦Ø[VäŦäFäF¸l\¸äFU䦸\äÁ®FNy¦ÐÁä E¯E¿[Èä Bp[Ýä J\lFäŧä[[ÅäÛ[\Ýä§ä,¸xUFÝÂäVиxläÈo[äÁ [¼Èx[äk§ä8FÝä à ÒƷǨä2Ö[ä 404>&ħ(Ýä9NȧJ[¸ä44>ħÅo[ÝäJ[lFäŦä¸[o\F¸Â\ä\Ø\¸Ýä§Åo[¸äÛ\\ä UиxläÅo[ä ÜÇ\¹ä§ÇqÂä 0ä" äÈq[ä[J[¸Â䵸a§¸[Uä ng n W i¸ä[xluÉä רzP\à äEXä{ä2Õ[ä # äÈs[ä ¸Vä:ÂGäi¸äjмäÛ¦[ ÄäØ©|O\Âä '§läÈo[ä\J\¸Âä ¯º]Ã[ÇäFÇä ÇpxÂäµ¼a§¼G¡O[ äFädÛäGÝäK\ä\Èx¦[UäÛo§äÛ[¸\äF¸[FUÝä§`ä§[ä z¶ÀN[äxä>§¡[{ Èv[¸Âäxdä -¸Gàä;[OoGOà[äk§äÈo[ä (0l >ħ ®[¸i¸G¡O[ä§`ä ®FÝxlä4č ēħØx§x ä-¸F¡àä?Os§M^¸äk§äÈs^äÂF^ä®^¸a§¼GO^ ä®FÞxlä gÒÇ] ä2§pFFäCp[Â[¸ä5\§°§UÂäGÐ¡È ä®FÝxlä°xG§ ä<[l[ä4ÐÈàä6§³§VÂäO§ÐÂx ä Yä ¯Eß}mä²xF§ äDxt[ä)ªQ ~läÛ½~È[¸ä«`äÈs[ä@§[~Èq[¸ä@G«äG¸Î~O[ ä®FÝ~läá ×z¨zäEVäØz§F äÈp[ä,¸ªoxOoäÁxÂÈ[¸Â äFVä =§\xÅo\¸äFUä 3¸ä +×[äGÝä§Èq[¸äGFÈ[иÂäȦ§ä®F¸ÍäxäÈo[äOo§x¸Á äÈo[äF ȧäÂ\OÈx§âäÛGÂä§\Èx\Âä ¹[£b§¸O[VäÛÈoäK§ÝäÂx¡l[¸Âä 1¡äl§x¥lä Éq¸§ÓluäÈu\äGK§Ù\äG[ ä h}K[O§[ÂäO\ã¸ä ÌpHÊäÏ[¸[äÛ[¸[äG¤ÝäÛo§ä¸\GRo[ZäG¢ä±§»ËI¢ËäG»ÈÂËOäÂË\®äIË[¸ äËu\ÝäuGZäËo\Ôä ä begng here and developed their talent. ...Many made themselves known advantageously befre they entered the theatrical world. 36 So, in essence, the Sonnleithner Salon was a level meeting ground fr both amateur and profssional musicians. This environment ofered them the security of trying new compsitions amongst fiends befre they ventured into the harsh reality outside the connes of these frgiving walls; they were aforded the opportunity to hear their works prfrmed by members who would hear the music fr what it was, rather than what was lacking. As a social mediator, Sonleithner provided access fr the amateur musician to see into the world of the profssional; musical outlets fr tose less talented, and at the same time aple room fr musical growth fr those who technically skilled artisans. Sonnleithner's puse in participating in these musical salons and writing about the activities of such events was to refect upn the time of his youth and "to portray the quiet endeavors of some private circles, which have as their goal the cultivation of a certain musical taste. "37 He describes his own musical jourey, which exponentially expands fom a close circle of fiends into a strong sphere of musical cohorts, and this Austrian fmily of amateur musicians and lawyers contributed much to the dissemination of music among the common man. en'," (1862): ! ä 6 Sonnleithner "Musikalische Skizen aus 'Alt-Wi ' (1861): P ! %ä 7 Sonnleithner "Musikalische Skizen aus 'Alt-Wien'," ' P· 25 a er I T e Pre-S e er Sa Since the relationship between the aristocrats and the bourgeois was negatively corelated, meaning that as the aristocratic power stcture declined the bourgeois collective identity emerged, it was inevitable that the private music salons of the middle- 7OOawould fourish during the early 19th-Century. Until about the year 1814 the system of associations which today unites the participating fiends of the musical arts in splendid rehearsals and performances had not yet taken a frm root - because of the public situation in Germany at that time. Activities allotted to dilettantes were limited to House Music (string quartets were common) and participation in Church Music, which, particularly in catholic countries, ofered singers and instruentalists ample oppornity to practice their talent without !+=(asubj ect to criticism. 1 *"a9XO+ asalon had become an unparalleled setting fr amateur and profssional ;YO+ +=Oato gamer intellectual and aristic stimulation. This amalgamation within the social middle class created a cultural tapestry that not only flflled the social needs of the common man, but also opened creative pathways fr the developing arisan fom the same class. Sonnleithner imparts upon the reader a subj ective viewpoint of what in spirit may have been his choice fr the direction of his fther's salon. He, probably uowingly, C$"JOainsight to the social construct of his class - that of the common man. Social 'U)"K/=(Oaespecially those held in the salons of the middle-class, took place among aus 'Alt-Wien'," in 1 Leopld von Sonnleithner, "Musikalische Skizen . ): Recen ion n n i il ng n u r r, ik n il n n Vienna (1862 ?FFƷ p. ä fi ends and relatives. With such an informal atmosphere, it is naive to presume or "_H" Wathat any frmal record keeping existed. As Alice Hanson writes. The best surviving information comes fom travel notes of visitors, who managed to record something of the social engagements. But because many of the trvelers were of the middle class, they rarely came into contact with aristocratic salons, and, because many were freigners, they may have been excluded fom many of Viena's close-knit social circles. 2 It is not Sonnleithner's intention, when discussing the various salons in which he Hri1ipate ato describe the larger musical circles or societies that frmed, nor the salons C#aV)"a@3"KQaand aristocracy. For him, the "highly placed patron has fr the most par +PHH"K" ain the 19th-Century, and the muses fed to the protection of the modest ;+ 5"a 5QQa"3 In addition, in his fnal chapter he confrms the essence of his introduction with the fllowing statement: Ě would not be able to conclude these sketches if Ɠcould list and describe 55athe private salons fom the aristocracy and the bankers, ofen driven at that time by true love of the art, but sometimes only by vanity and a passion fr putting on perfrmances on a grand scale. The name Fries, Amstein, Pereira, Geymwler, Henikstein, Herz, Liebenberg, and some Ɛ ,Ɛ BW)"KQaK"astill a fnd memory of the older amateur musicians. PƐ 0Papenultimate remarks above suggest that either it was his personal choice not to IN1 1GW"ain these salons, or even more pointedly, he simply was not invited because of *1PaPC +5aK>3a > afhermore, as Waltraud Heindl writes, An extraordinary number of ennoblements took place ... but this practice + anot lead to a breakdown of long-standing social barriers: the ennobled (New York: Cambridge 2 li e Hanson, si l L in Bi i i nn ?+\"KR+W`aPress,M 1985), p. 109. 8. Sonnleithner "Musikalische Skizzen aus 'Alt-Wien'," p. 73 ' ä PƐSonnleithner "Musikalische Skzzen aus 'Alt-Wien'," p. ' *Ʃ $Ʃ " $Ʃ Ʃ B $Ʃ Ʃ BƩ Ʃ Ʃ Ʃ)ƩƩ @¦-Ʃ%@ƩƩ@Ė#Ʃ%$@Ʃ ƩƩ ƩƩ)ƩűŠƩ (Ʃ@ü )@Ʃ Ʃ 1Ʃ ā;$ƩIƩ Ʃ Ʃ Ʃ Ʃ Ʃ# Ʃ Ʃ -Ʃ Ʃ #Ʃ Ʃ Ʃ Ʃ -Ʃ #Ʃ"Ʃ ƩƩ Ʃ Ʃ EƩ5 m- Ʃ "PƩ Ʃ Ʃ»ƞƩ"Ʃ " Ʃ W Ʃ f Ʃ Ʃ %Ʃ Ã<'e'ƩƩ Ʃ ƩÑ 2Ʃ Ʃ Ʃ Ʃ Ʃ Ʃ $Ʃ Ʃ Ʃ (Ʃ O ¶ƩÃe<--Ʃ" Ʃ %%#Ʃ ®$Ʃ Ʃ Ʃo Ʃ Ʃ Ʃ $Ʃ Ʃ PƩƩ 1L(ERt(Ʃ 1Ʃ' Ʃ"Ʃ- Ʃ ƩƩ )Ʃ% Ʃ Ʃ ƩƩ= ƩƩ D8tO ¶Ʃ 'OƩ')ƩR#%Ʃ EƩ ĜƩ oB Ʃ Ʃ : - Ʃ $Ʃ m1Ʃ -Ʃ $ƩNƩ 9 ƩƩ -Ʃ Ʃ %Ʃ Ʃ Ʃ Ʃ "ƩƩ R'<Ʃ Ʃ #"Ʃ "Ʃ(Ʃ Ʃ' EƩ :%#Ʃ #Ʃ O%ƩR;Ʃ)Ʃ ƩƩ Ʃ Ʃ Ʃ Ʃ Ʃ' 1 Ʃ R<L-1#Ʃ Ʃ )-1 Ʃ$ƩNƩ o Ʃ Ʃ ƩƩ# 9ƩŌ Ʃ 'OƩR<%1Ʃ#9=ƩƩƩ ;Ʃ Ʃ"(Ʃ# Ʃ(Ʃ #Ʃf ƩƩ Ŏ1L-Ʃ Ʃ )Ʃ9Ʃ%Ʃ "-ƩƩ Ʃ Ʃ(Ʃ 'ºķƩr;1½Ʃ V;'ƩƩ";-Ʃ1Ʃ Ğ#ƩƩ Ʃ EƩ6 Ĕ8meR<1ƩVƩ'V#Ʃ\)Ʃ Ʃ #Ʃ Ʃ¢TƩƩgƩ Ʃf$Ʃ Ʃ Ʃ Ʃ żƙe'LƩ<<1LƩV#Ʃ %-11Ʃ(Ʃ)Ʃ EƩ NƩ: 2Ʃ # ƩfƩ Ʃ #Ʃ d8Vd8t'O'ƩºƩ <1Ʃ )#Ʃ 1Ʃō Ʃ Ʃ Ʃ (ƩƩ5Ty#ƩƩ $ƩƩƩ Ʃ "#Ʃ ÇŖ 'ƩL'Ʃ%ƆƩ ĿƩ 1Ʃ ŭƁƩ VƩ)Ʃ Ʃ(Ʃ Ʃ Ʃ #Ʃ Ʃ -Ʃ %%Ʃ ƢÇOƩ'OeƩ-L$Ʃ 'V#"Ʃ RƩ)Ʃ%##ƩƩ ƎƩ Ʃ îƩ mL1V2Ʃ " Ʃ $Ʃ < $Ʃ Ʃ;Ʃ>Ʃ #ƩWƩ(Ʃ Ʃ Ʃ Ĭ8cRLƩƩRŃ Ʃ Ʃ) ļƩ §Ʃ Ʃ 9 ƩƩƩ $Ʃ Ʃ Ʃ 5 Ġ-;Ʃl $Ʃ@F $ƩdƩ:;$Ʃ Ʃ: $@Ʃ ƩSchubert's �ienna, å Ʃ 83tĕƧrƩ¦7\Ʃ xĎ Ʃ§%#íƩ®Ʃĝ % ƩF$Ʃ &33*X$Ʃ |Ʃ ¢&EƩ : o(dtL'Ʃ 'ƩƩR9Ʃ(Ʃ Ʃ Ʃ "Ʃ Ʃ&00Ʃ :Pƨ# ƩƩ2~ġ2$@Ʃ .Ʃb/TãƩ 6 m - ')Ʃ" @ªP #Ʃ 28 occasionally as an instrumentalist, durng a time when the classifcation between the two was highy distinctive. 7 The exception being, that among the middle class it was quite common to own a piano, resulting in the assumption that everyone could sing or play the piano with just enough knowledge of music to be unreliable. The instruentalists, string players especially, were more apt to break through the barier of amateur and profssional. Overall, the frces needed fr fíorchestra requires numerous string players with only a fw wind instruments. Sonnleithner, based upon his age at the time and his level of musicianship, only paricipated peripherally in the various salons. He was among the youngest members and as an adolescent interacting with not only his own peers, but also with businessmen fom his fther's generation, the fllowing questions are raised: What was Leopold Sonnleithner's role in the salon? How well did he associate with his fther's generation as a young member, since the only salon that he was in the frefont was that of his fther's? For practical purposes, the salons that he visited baely span a twelve-year period of his lif fom the age of 15 to 27. That frmative period in his lif was the very years that he reminisces about in his sketches. His phraseolog of 'musical sketches' conveys an ideal that tended toward the Romantic Age burgeoning among the younger generation with Schubert and Sonnleithner (bor the same year, 1797) at the helm. Among hs cohorts fom this time was also his cousin, Grillparzer, 6 years his senior. Industrialization and urbanization suppored the gowth of the salon. Had it not been fr the Congress of Vienna, or the Napoleonic wars befre that, the salon would not 7 Sonneithner makes a distinction in his ow writings between the two categories. ,(Ɠ ha e emerged The middle class demanded social refrm. With education and ui ersit attendance, they had become an educated group that contributed to and paicipaed in the state and society. The workday afected how the salon operated. The e enings were then lef fr socialization among iends, since people did not enture outdoors as much They brought their entertainment inside the home. It was the season of the salon, which was most acti e in the fll and winter months, reaching its apex during Ca al season. The vitality ad growh of the salon was dependant on the community that supported its existence, and in terms of logistical maters, the host's accommodations, or lack thereof, did not necess ily determine its demise. If a certain space was no longer available the group sought out other enues. Leopold So nnleithner participated in salons that shared three common traits: the perforances were all held at the hosts' residence, both profssional and amateur musicians paricipated, and they were held approximately during the same time period fom $ äto E,2IƓ Despite the contin ity among the salons, each was intrinsically difere nt in terms of location, repertoire and ultimately their individual agendas. Genuine 6 spuse res lted in the physical dissol tion, while the precious memories continued to li e HUt he hearts of the s rvivors. These salons, in which Sonnleithner was a member, coexisted as a musical network of fiends and fy -one that fstered a mutual respect fr i s members and their talents. parties,' The spirit of these events probably began as spontaneous 'chamber music their personal where fends gathered and played through various pieces of music om 30 libraries. This concept is preserved today among those who have the desire to sight- read through quartets, trios, and sonatas - yielding to the available instrumentation. The ambition among the members to improve upon their skills and enhance their repertoire relates to what fndamentally becomes fíevolution of the music salon through Leopold Sonnleithner's own experience. His observations depict three diferent functions of the salon that overlap: one, as pure social interaction; two, avang oneself to new repertoire; and three, the opportuty to fne tune rehearsals in preparation fr fture performances. Ofen the individual eforts, despite the technical abilities, resulted in working towards a common goal and this social construct is an underlying theme in the salons of Sonnleithner's musical sketches. The salons, in the manner presented by Sonnleithner, do not fllow a temporal matrx. In fct, he buries the beginnings of these musical joureys in sketch number 5, his fther's salon. It is only afer thorough examination of the sketches, and assimilation of the infration presented by Sonnleithner, that the true essence of his memories can be revealed to the reader. For the sake of continuity and overall structure, 1äshall begin discussing the salons and continue presenting them in the time fame in which he frst paricipated. The graphs that accompany th is text illustrate the continuity of the various salons and pint out three distinct levels of saturation: 1813 to 1815, 1816 to 1818, and 1819 to 1823. The dates indicate the year that Sonnleithner frst attended the various salons, blishes which is pivotal to the direction and nature of his own salon. The frst group esta the beginnings of the salon in Sonnleithner's home, to his attendance at the Hochenadl 31 (Sketch No. 1 , Paradies (Sketch No. 3 , and Hatwig (Sketch No. äsalons. The second group encompasses a majority of the salons fom the Multiple Salons (Sketch No. ³Ʒ The fnal grouping of years begins with the Kiesewetter (Sketch No. 2) salon, which coincides with the increased activity and presence of Schubert in the Sonnleithner salon (Sketch No. 5). The fllowing fgure shows the salon hosts and the range of dates beginning with 8 the frst yea Sonleithner atended and the probable ending date, if known: Salons Range of Dates (Sketch No. 1813-1824 onnleithner 5) Schu bert (Sketch No. 1814-1815 ppner (Sketch No. 6)4) 1814-1840 "Reunion" (Sketch No. 1814-18?? 4) Frischling (Sketch No. 4) 1815-1816 atwig (Sketch No. 4) 1815-1818 Paradies (Sketch No. 1815-1824 ohrer (Sketch No. 6)3) 1815-1824 Hochenadl Sketch No. 1 1815-1825 Warsaw (Sketch No. 6) 1816-18?? utschenreiter (Sketch No. 6) 1817-1822 euling (Sketch No. 6) 1817-1846 ettenkofer (Sketch No. 4) 1818-1820 Gu}jelmo (Sketch No. 6) 1818-1823 ohrich (Sketch No. 6) 1818-1832 ·esewetter Sketch No. 2 1818-1845 8 Sonleithner's name is italicized to point out bot his autorship of the sketches and to illustrate that his salon began frst. The names in bold fce indicate those salon hosts who have an entire sketch dedicated to them. The Hatwig salon is quite ambiguous because the development of that paricular group frmed, according to Sonnleithner, fom a nucleus of players fom Schubert's salon. If the ending dates were totally unknown, the number will be listed as 18?? however, if not the ending date is the death date of the host. 32 (Sketch No. 6) 1819-1824 Zius ollinger (Sketch No. 6) 1819-1825 omanovecz (Sketch No. 6) 1819-1833 alconhorst (Sketch No. 6) 1821-1831 tller (Sketch No. 6) 1823-1824 1813 1815 In the year 1813, Sonnleithner began hosting musical quartet gatherings on Sundays in his fther' s home. Several schoolmates participated, and they at frst played quartets, but soon decided to perfor "quartet arrangements of the overtures and symphonies, ver popular at that time, similarly whole operas and oratorios were soon used and incorporated multiple voices including the contrabass, a fute and bugles, etc. 8ȵ The desire to include other fmily members and acquaintances encouraged the development of singing rehearsals, which enabled them to perform opera fnales fom Mozar and Spontini among others. To accommodate these new genres in their reperoire, they used the existing small orchestra fr accompaniment of the larger vocal works and "the conductor had his hands fll with fshing the scores ...and serving as assistant choir master in rehearsals and sectionals. " bTą Sonnleithner unfrunately does not divulge much information about these early gatherings in his fther' s home, but it is probable that both Leopold and his fther Ignaz sered conductor and organizer fr these rehearsals. The same year, 1813, Franz Schubert developed quartet rehearsals in his fther's home and in 1814, upon retng to Vienna fom military service, Josef Doppler (1792 - 9 Sonnleithner "Musikalische Skizzen aus 'At-Wien'," p. 369. bTąSonnleithne "Musikalische Skizzen aus 'Alt-Wien'," p. 370. � ' 33 c. 1867) joined Schubert and his fiends� Schubert played viola and his brother Ferdinand played violin. Doppler was £BĚ amateur and well acquainted with both string and wind instruments." hhȵ Sonnleithner illustrates the development of the Hatwig salon fom a pre-existing nucleus of players that rehearsed quartets. At frst, they were limited to only a fw paricipants, but "soon several [more] came: the violoncello players Kamauf and Wittmann, the contrabass player Redlpacher, the Haydn symphonies rehearsed were soon presented as quartet arrangements doubled on each part, and they 12 decided to meet two evenings a week." As the personnel increased, Schubert's apaent became too small to accommodate them, and they moved to the apartment of Franz Frischling, a middle class businessman, at Dorotheergasse Nr. 1105. Once they had setled in their new locatio� Josef Prohaska, a profcient violinist, led what became a small chamber orchestra reinfrced with wind instrument players. The additional members included: "Michael Zwerger (hor), Friedrich August Syre (fute), Augustin Hawelka (oboe), Anton Fisher and Joseph Doppler (clarinet), the Nentwich brothers *BMaand Johann Petters (bassoon)." hWȵ With the implementation of these players, it was HBOO+5"afr them to perform smaller symphonies by Haydn, Pleyel, Rosetti, Mozart and BU*"JOa Their eforts in the Frischling home lasted until the autumn of 1815, and again, the size of the group enlarged to such an extent that they needed to fnd a larger space to rehearse and perform. ^^ƐSonnleithner "Musikalische Skizzen aus 'Alt-Wien'," p. 177. 12 ' Iid. hWȵ Sonnleithner "Musikalische Skizzen aus 'Alt-Wien'," p. 178. ' 34 Towards the end of 1815, the Frischg goup had fund their new rehearsal room in the home of Otto Hatwig ( 1766 - 1834) in the Schottenhof Hatwig was a frmer member of both the Theater an der Wien and Burgtheater orchestras. He had taken over these rehearsals as violin director and when he "moved to another apartment in the Gundelhof in the spring of 1818, the society fllowed him." ^PƐ At his new home, the membership expanded even fher, to the extent that they werenow able to perform even larger symphonies of Haydn, Mozart and Beethoven's frst two symphonies. They had expanded their reperoire in terms of difculty and instrumentation. "Among the listeners were Herr Blahetka, Josef Czery and other musicians, and upon their request talented schoolgirls occasionally were allowed to perform solo pieces with [full] orchestral accompaniment." ^|Ɛ Around this time and fr these occasions, Franz Schubert composed a sweet syphony in B-major [D485] 'without trumpets and timpani,' then a larger symphony in C-major [D589], and the known overture 'in Italian style' [D590 or 591] which pleases many people [so much] that Herr Jall presented them in a [separate] concer which he arranged to be presented in the hall called "Roman Kaiser". [And] the expenses of the rehearsals were fnanced by moderate contributions of the performers in the years ´Ɛ 1815 to 1818. list of the regular orchestra members includes the fllowing: 7Ɛ A First i lin: Otto Hatwig, Berhard Molique, Eduard fall, Berard v. Hohenfelsen, Ferdinand v. Lazer Ferdinand Schubert! JosefHollauer Nespem Sec n i lin: Josef Prohaska, Jakob Regenhar, Filipp Rechel, Konad Kuschel, Fran Niesner, Heinrich Grob i la: Franz Schuber, Johann Peter Neuhauser, Johann Wagner ·ØȵIbid. |ƐIbid ´Ɛ ^ Ibid. ·{ȵIbid. 3 V l nce : §ȵr ȵr ȵ Iȵ] ȵSǟ ȵ ra ass: 0ȵÊǗ ȵ ȵ F u e: | ȵåȵ ȵjõȵ Ob e: 0 ' ȵR #ȵĒ2ȵ] ȵ ar e : å ȵ] ȵ] ȵI O ȵq Í ȵ Bass : ¿ȵT ȵ] ) ȵRȵ¿ ȵ ȵ H r : ¾ǎȯȵ ȵ](.ȵ% Ǹ ȵ Tru e : ¿ȵ ȵ¿^ ȵ T a : T ȵŽ ȵ!ȵ#ȵ Ơ?ȵ=à )ȵȵȵ ȵȵ ȵ ȵȵȵ ȝȵƺ ȵ ȵ 7:cȵȵa3ȵȵ ȵ} ȵ Cȵ Þȵ M ȵ ȵ¯ ȵȵ ȵ ȵ¯ȵȵ 77Äȵ-* ȵȵȵȵȵR2 ȵĭȵrȵVȵ Cȵ 0 . àȵ ȵ ȵ -1ĸÌ ȵȵ)ȵȵȵTȳ ȵ^ȵ 0ȵ% ðȵ ȵ ȵ Ï-m=)ȵ*ȵ ȵȵ ȵ ȵ ȇ ȵȵ.ȵ ȵ ȵl «ȵȵ Ǽ1ĸ7Ì ȵ ȵ!ȵ ȵ ȵ ȵ ȵ ȵ ȵaȵ P75)1øȵÕÕÖȵƦ Ƨȵȵ ȵ¯ȵ ȵJ ȵ dȵ8 hÚȵ 9ȵrȵ ȵȵ Âm156ȵ3 ȵȵ¯ȵ ȵ ȵȵȵ ȵ Cȵ ŻȢǬ'ȵȵȵ$ ȵȵǐ ȵY ȵ ȵ ȵ !ȵ8 8Lȵ ơȵ Â*cȵ ) ȵȵȵ ȵ' $ȵȵ ȵ ! ȵȵȵȵȵ ȵ 8Ȯ ȵ ȵ Ɗƨ) Zȵ ȵ9 cȵ ! ȵ 'ȵĚȵCȵ %" Oȵȵ! ȵȵƪ ȵ Âȵ?)ȵ'>$ȵȵ| Oȵ , , Aȵȵ$ ȵȵq !ȵC i am Oelbe e. Z¼!ȵO ȵ ȵȵ ȵEȵ ȵ Cȵ l0 ¬ȵ ȵ ¸ Ȧ1m1ȵ::ȵī:* ȵȵ ȵ 'ȵȵ ȵ$ $ȵȵȵ Ö8 ȵ · M O ȵ 8| # ȵ%#..ȵ ȵÐ0 ªÐ8ȵCȵ30 čȵ ȵ ¸ȵƈ Cȵ 36 Sonnleithner begins his jouey of musical Vienna (Sketch No. 1) with Joseph Hochenadl (d. June 26, 1842), an Imperial ofcial who "was a warm admirer of this art without possessing any special musical instruction. 8\¶ȵ His salon was located at Nr. 1100 at the Birgerspital, in a "modest apartment that served as the Hochenadl residence fr a series of years. 8\ ·ȵHochenadl was the defned amateur at that time. However, his children Katharina (d. March 4, 1861) and Thomas (d. May 19, 1853) became quite profcient and humble musicians. "He had given both his children fom early youth thorough musical instruction. 8\\ȵ Thomas leaed to play the violoncello with some skill and did not profss any viruosity. Katharina studied piano with Anton Eberl and sang alto in the choir. She became an excellent pianist under the tutelage of Eberl. The "rising stars included Anton Eberl and Eberl's student [atharina], who received consistent praise fr her clarity and strength. "2 Since her mother's death, she had to maintain the household fnancially through music lessons and concert tours. This was an innovative movement fr women at that time; because women usually leared to play the piano or sing solely, fr home enterainment purposes, but she apparently improved her social status by her own merit without getting married. "Every well-bred girl, whether she has talent or not, must lea UBaplay the piano or to sing; frst of all it's fshionable; secondly, it's the most convenient 20 Sonnleithner 0Musikalische Skizen aus 'At-Wien'," p. 739. Ũȵ ' \ Ibid 22 Ibid. f lop ing 2 Mary Sue Morow, Concert Lie in Haydn 's Venna: Aspects o a deve Pendragon Press, 1989), p. 166. Musical and Social Institution (Stuyvesant, New York: 37 ȭȵÁ ȵ ȵ ȵ$ ȵ& & ȵY ȵȵ & ȵ ȵ ȵȵȵ ȵ Ǥȵ#ȵȵ 6Ľ ' ȵ F/ȵ// &ȵ$ K/ ȵȵ& ȵ&<ȵ11 á 4ȵ ȵ ȵ8ȵl#¬ȵ ȵȵ ȵ & ȵȵ & ȵ ȵ !ȵ ȵ ȵ 7ħȵȵ ȵ ȵ ȵ 8ȵȵĴȵȵ$& ȵȵ& ȵ ȵȵ ȵ ¡ȵ 0 ȵ ȵȵ &ȵȵ $ ȵ ȵ® 4ȵȧȵ ȵ /ȵ ! ȵ ȵ Áȑ ȵ ȵ &ȵȊȵȵȵȵ ȵ &' / ȵ ȵ & & ȵ$& &¡ȵ 9OǙȵ$$& ȵȵȵȵ ȵ ȵ &ȵ & ȵ ȵV$ȵ ȵ 3 ȵ ȵ ȵ F$ǚ& ȵ 'ȵb ȋ& ȵ/ȵ'ȵA ȵ&ȵ ȵ ! /ȵ! &²ȵ ȵ & ! ȵ ȵ 9ȵ &ȵ ȵ/'& ȵ #ȵ ȵ ȵ ȵ ȵ ȵ/ ȵ$& ȵ ȵ$ȵ $& ȵ ' & ȵ ȵ ȵ &ȵ!/ &//[ȵ 9&&ȵ& &! ȵ &'ȵ ȵ& ȵ - J *ȵĪ !ȵ 'ȵ ȵA & ȵ ȵȵ ȵ ȵ - N*+ ȵ ȵ &&ȵ& & ȵ ȵȵ & &Y ȵ!& ȵ & &ȵ ȵ ?ȵ ȵE& ȵȵ ȵ &ȵ$$ȵ ȵÃȵ ȵ $ȵ ȵ ȵȵ//ȵȵ/ <ȵ_|Ɛ ƃ75 *ȵ* ȵ ' ȵ& ȵȵM ȵ ȵȵEȵ^!& ȵ ȵ ȵ ȵ _7* ȵ3ȵ)U ȵ ȵȵ' 'ȵȵ§ ȵ 1815, ȵ ȵ Ȳ/ & ȵ ĥ11ȵ=1 'ȵA ȵ! *ȵ ăȵ 9ȵ' $ȵ*ȵ& ȵ 'ȵ &ȵě ȵȵȵ ȵ ¡ȵ s l cahf der ikreunde ȵ #Uȵȵ & ȵEȵ &ȵ ȵ Mus ƅ ȵ3ȵ Jȵȵ ȵ ȵ ȵ$ ȵ ȵcomical ȵùȵƫ! ȵ ğ>U6¢ȵ 9B&ȵ& ȵY ȵ&$/űȵR oȵq& & &ȵ$ȵA ȵ ę+6 +U J&U &ȵȵ U'ȵJ$ȵ &ȵs ȵƻ/ȵEFȵ ȵLustigen Beilager6, ȵƣ&ǭû&*ȵƎǠ*ǘ& ȵ[1767 - 1835], ȵ ȵ R & /ȵ$/ ȵ îȵ *ȵȵ BȵƁ+ij& ĉČȵ+ Bȵ U*ȵ ȵ0 ńȵ ȔȵDie 4 V^ȵƥ #ďȵ 0 î ȵĚ& ȵMe n, Wo men, and Pianos: Social Histor Ġ)7ȵ M î ȵ ũ¥Ùōȵ$Ąȵ 138. & 8ȵ 739. 2 M*+ ȵ 8Ə #/ ȵM#ûû&ȵ ȵý0/ ªŅ 6 9ȵR$$ȵAĨ ȵ ¢ȵ ¢ȵ ȵǑ# ȵȵ Ȇ ȵ _7ƐĔij& ȵJȵ ȵ !& ȵ ȵȵ ȵ ȵ ȵ ȵ ưú1 ¢ȵ 38 2 Gevatte bi ten 8; [Pietro] Generali's [1773 - 1873) aria in one tone; the � � 30 Papatac1 tno and the frst fnale fom the Italiana 9 and so on. The selection of instrumental and vocal music very much pleased the paricipants and listeners, but the "real merit of these performances was the presentation of the oratorios and cantatas. For example:31 Handel: Judas Ma kkabtus, Der Messias Ph. Em. Bach: Die Israeliten in der Wiste Hasse: Die Pi/grime am Golgatha, Sta. Elena al Calvario Graun: Der Tod Jesu Beethoven: Christus am Oelberge Romberg: Die Glocke A Followed by two operas: Gluck: Oreo Naumann: Cora Again, the aim of this musical group was to present works that were not commonly heard CO}Vienna. Since compositions of this sort became the core of the repertoire, "the performers a well as the regular guests studied them thoroughly and thereby attained a rare appreciation fr the music fom this period. "32 Many of the outstanding musicians who participated in the Hochenadl salon were among the fllowing: the Frohlich sisters, Ludwig Tite (d. January 11, 1850), August Rtter von Gymnich V [ȵOctober 6, 1821), Josef Gotz (d. March ¥ȵ 1822), and Rafel Kiesewetter (d. January 1, 1850). Kiesewetter contributed much to the enj oyment of classic music in this salon. He sang in the chorus, (U3t>`tthe prformances he wrote out piano excerpts fom oratorios. On violin, Georg 28 The Godfthers request. 29 the opera The Jtaliana that Sonnleither is most likely refrring to here is L' ltaliana in Algieri by Rossini, which was composed in 1813. 30 Sonnleithner "Musikalische Skizzen aus 'Alt-Wien'," p. 740. 31 ' Ibid. 32 Ibid. 39 Üĵ =N ȵV" ȵ[1800 - 1873] ǡ" ȵȵ ȵ"ȵ1819. kȵ@ ȵȵ$ȵl"ȵ tȵ3" ȵȵ1817-18] ȵȵNȵ ȵ"ȵ ȵȵ ȵȵ©""ȵȵ ȵ$ $£ȵ kȵ Gȵ " ȵȵē <ȵ%"" B" ȵ" ȵ ȵ ! ȵǖ ȵȵĪ ȵȵ"ȵY ȵȵN ȵ "ȵ ȵ$" ȵȵJȵ ȵt" N ȵ ȕ4ȵŔȵ@WWȵ k N ȵ ȵN ȵȵ " ȵȵȵ$ ȵ Ɨ- ȵ"ȵ1829. ġȵ " ȵȵȵk " ȵ% "ȵ ȵ $ȵȵȵ" ȵȵ1824-25, N ȵ 51G ȵȫȵȵ ȵȵȵ " ȵ }Cȵ kȵ ȵȵ$ȵ"ȵS ȵ184 2, ȵ 1Ä) ȵBȵ$ ȵȵȵ " ȵ@ù ȵȵȓȵ !ȵN ȵȵȵǿ ȵ G5)øȵB ȵ ȵ$ ȵȵ ȵ ȵ ȵY ȵ ȵ "ȵ" ȵ ȵ >G)5 ȵ" ȵ ȵȵ ȵȵȵ <@Wȵ j " ȵ ȵȵ"ȵ ȵ"ȵĘ "ȵ 1842, ȵȵ ȵȵ c !"ăȵ 26, ġtȵB) ȵ "ȵ"ȵ%"" " 4ȵ# ȵȵȵȵ] Ȟ "ȵ9 ȵT ȵ (1759-1 824), ȵ * #""ȵ!) Ĺ ȵ" ȵ$)"ȵ ȵȵ ȵȵ *ȵ ȵ"ȵ Į1 ȵĮJȵǁ ȵ ȵ$ }"*ȵ" ȵ ȵ} ȵ$ $ ąȵ %ȵȵNÍȵ"ȵ1759, ȵ >ít ȵaȵß$Bȵ0""ȵ!"ȵƚ l«ȵ(1739 - 1808). j ȵĨ ȵG ! ȵȵ$ ȵ Ġ15 ȏȵȵtȵ öȵȵ$ ȵS ȵ9 ȵ ȵȵ] "ȵT ×ȵ 9ȵ ž- 1ȵ " ȵY ȵ ȵ ȵ" ȟ "ȵ ȵ"ȵ" ȵȵ ȵ$"ȵ" ȵ" " ȵ ÂtȵĜǹ-* ȵá.* ȵ(1747-1818) " ȵģ" ".ȵ "ȵ(1756 - 1812) $ ! Ćȵ Ÿ15>ȵaȵB ȵ "ȵ" ȵ ȵ "ȵȵȵF$ ȵ] "ȵT ȵȵ$Ȁ! ȵ WWȵ " ȵ @S # ȵ%#.."ȵ ȵþ0 I"4@ȵ$ȵ375. %"" ȵ WĊȵ " @Ɛ # ȵ%#.."ȵ ȵx0 I"4@ȵ$<ȵ741. ğ"" ȵ 40 thorough music instruction in both performance and composition. Unfortunately, all the talent and all the patronage fom her Godmother could not give her back her sight. She was blind since the age of three and "became a patient of Dr. 35 Mesmer in 1776, and in January 1777 moved into the clinic which he had set up at his house. Afer three weeks' intensive treatment her sight was partly restored. In the end, however, fr reasons[,] which seem to have been as much of a psychological as a physiological nature, the initial progress was not maintained and blindness retured. She lef his clinic in June 1777."36 Despite her vision impairment, she became an excellent pianist of interational reputation; she toured in Germany, France, England and Holland as a concer virtuoso. Both her mother and her librettist Johann Riedinger accompanied Fraulein Paradies on her tours. [Herr Riedinger] lived with [Fraulein Paradies] fr a number of years ... [he] was a retired offcial who accompanied her ... and fithfully managed her domestic afairs. Since her ret to Vienna toward the end of the year 1786, but with fw exceptions, she withdrew fom public performances. She devoted herself extensively to teaching and fartially to her composition, piano pieces, operettas, cantatas, ballads, etc. 3 Fraulein Paradies, among some of her other fmale contemporaries, such as Marianne Martinez (1744 -1812), was known frst in the public eye as a performer. It was only later in her lif that she decided to compose as an alterative. Her feedom to tour and perform befre the new middle class audiences created a new demand fr 35 Peter Clive, Mozart and His Circle: Biographical Dictionar (New Haven: Yale University Press, 1993), pp. 101-102. Dr. Mesmer "studied medicine in Vienna, where he subsequently practiced as a physician and becam known fr his treatment of patienst by 'animal magnetism', which he believed to be transmitted by the hypnotist to the subject. .. He was frced to leave Vienna in 1778, afer being accused of faudulent practice and expelled fom the medical fculty fllowing his - initially benefcial but ultimately unsuccessfl-treatment of the blind Mara Theresia von Paradis." 36 Clive, Mo zart and His Circle, pg. 117 37 en'," pp. 4-5. Sonleithner "Musikalische Skizzen aus 'Alt-Wi 4 original music the audiences were quite eager fr repertoire that was both new and accessible. She funded, afer her fther's death in 808, a music school in Vienna especially designed fr the music education of women. In house Nr. 482, where Fr ulein aradies lived, is also where "she gave most of her lessons she gathered her students to jo int rehearsals and performances. Assuming the principle that the desire to learing is awakened and nurtured by rivalry, she or anized re lar musical evening entertainment on Sundays of Advent and Lent. " 8 he students performed pieces with and witho accompaniment and intermingled vocal and solo pieces which then evolved into frmal concerts. The audience, as would be expected, con sisted mostly of the proud parents, relatives and fien ds of the students. he atmosphere then was non -j udgmental and quite supportive of these young students. t as not unusual that a fw strangers were present ho took part fom pure joy of these e orts of the young and fom seeing their progress in fct, traveling profssionals and amate r were glad to accept invitation into he hospitable home " 9 eopold Sonnleithner participated in her musical evenings as early as 8 5. He played the contrabass and other string ents as needed and occasionally accompanied on the piano. Some of the other outstanding musicians who participated are the fllowing: Elizabeth Kupelweiser distantly related to Sonnleithner, who later m ed Hellmesberger Frau Aloisia Lange, Mozart's sister-in-law Dr. Ignaz von So leithner, eopold's fther Johann Nestroy, fiend of Sonnleithner and Schuber ranz Schober on ute Be ard Molique on violin and two blind performers Conradi 5. Son eithner Musikalische Skizzen aus 'Alt- ien' " 9 I id. ä 1$ƐgƐ ƐG Ĝ Ɛ" vƐƐ Ɛ +Ɛ"4 Ɛ%Ɛ -+Ɛ ! Ɛ ƐƐ 8Ɛ %Ɛ Ɛ Ɛ Ɛ Ɛ Ɛ Ɛ Ɛľřp Ɛ Ɛ Ɛ p ƐƐ £fY L Ɛ 5AƐ-Ɛ QƐƐƐ Ɛ Ɛ Ɛ Ɛ Ɛ Ɛ Ɛ Ɛ f/s/Û Ɛ %Ɛ ƐƐ Ɛ %Ɛ-Ɛ Ɛ ƐƐ ƐƐ 2Ɛ Ɛ £/Ū1Ø Ɛ Ɛ Ɛ Ģ Ɛ ƐƐƐ@ Ɛ Ɛ yƐ-UƐ m %Ɛ Ăfĝ!/Ɛ Ɛ= ƐƐ Ɛ Ɛ> Ɛ ƐÈ Ɛ Ɛ Ɛ 5 %Ɛ Ɛ §/Ɛ1ĺƐ Ɛ Ɛ Ɛ Ɛ Ɛ È Ɛ Ɛ Ɛ Ɛ Ɛ !Ɛ yƐ BƐ Ɛ%Ɛ¾ƐH Ɛ ƐƐ Ɛ Ɛ Ɛ Ɛ(Ɛ Ɛ ĿƐ@ AƐ ºƐċ Ɛ 1817, @Ɛ ƐƐ ƐƐ Ɛ 5ƐC Ɛ %Ɛ ƐÙ ƐƐƐƐ ƐĨ Ɛ= Ɛ Ɛ ƐAAAƐBƐ Ġ! 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"ä 7`Ɛ Ɛ -<d Ɛ Ùȵ 9ȵYȵȵȵ# ȵȵ ȵ ȵ% Oȵ ȵȵ ȵȵ 6 ȵȵY: ȵȵF ȵIJ õȵ 'ȵȵF ȵ Lȵ 9ȵ ȵ ȵ Bȵ Bȵȵb ȵȵ! ȵȵȵ F dȵ 0ȵȵȵȵȵȵ ~ :ȵȵ '' ȵȵ ȵ ȵ ȵȵ ȵȵȵFȵ!ȵ#'ȵȵȵ ȵȵȵȵ! ȵȵ ȵ Fȵ 'ȵ ȵȵȵȵȵȵȵ ȣȤ 66ȵ ȵ ȵ ȵ ȵ IJ Cȵ Ēȵ ȵ ȵ%22 ȵ ȵȵ '2'ȵȵȵ ȵȵȵ# ȵ^Cȵ DƷ6ȵȵ ȵȵ ȵ ȵȵ ȵ ȵ'ȵȵȵ ȵȵ ȵȵȵ Ƶȉ'Ąȵ |ȵ ȵ ȵȵ ȵ¦ȵ2 ȵź !ȵ!ȵ ȵȵ#ȵȵȵ ȴȵ ȵ!ȵȵ ȵȵF ȵ ȵȵȵ ȵȵȵ v ȵ 'ȵ )ȵ Ď Ĉȵ 9ȵ 2ȵȵ! ȵȵ 2'ȵȵF ȵȵȵ ȵ ȵ ȵ _B> Ȍȵ ȵ%2:v 4ȵ ȵȵȵsocial mediator ȵ ȵ ȵ F6ȵȵ ȵ: ȵ aȵ?ȵ! ȵ 2ȵ ȵ% ȵȵ b 'ȵȵB ȵȵYȵȵ ú) Ǫȵȵ ȵ% O ȵ ȵ'ȵȵȵ ȵģ2ȵ Ĉȵ d}ȵ : ȵȵ%*v ȵ ȵȵ ! ȵ ȵȵȵ ȵ' 'ȵ āĎŮȵȵiiȵ ȵ e i e ¥ ȵȵ e Ű¹²ȵȵȵ ȵȵȵ ȵ' v'ȵVeieȵȵeieÙ²ȵYȵȵ šȵ Àȵȵȵ 6ȵȵȵ ȵ ȵ ȵȵȵè 4ȵ :ȵ6ȵȵȵ ȵY ȵȵȵ ȵ ȵF ȵ>F ȵ ȵ >ȵ: : ȵ : ȵȵEȵ v'ȵȵȵȵF2ȵȵȵ ȵȵȵ :ȵa¦ ȵT ȵ ȵ¦'Cȵ % ȵȵ 2 ȵȵȵ ȵ ) 6ȵȵ ȵȵ ȵY ȵȵF v 2ȵ ȵ ȵ !'ȵ ȵȵ ~)ďȵ ȵ!ȵ ȵ# ȵ ȵ s ȵȵ' ì ȵF!ȵ ȵEȵȵ 55 5,J-,dȵ % ȵ ȵ ȵȵ ȵȵȵT ȵ ,ȵȵȵ N)*ȵ,ȵȵ DZ ȵȵ,ȵ # ȵ ȵȵȵ8 ȵȵ ȵ 5?' ȵ,ȵȵFK ȵF ȵ ,-ȵæȵȵj ȵĘȵj d8{Xȵ Iȵȵȵȵ - ,NN*ȵȵ% ȵ ȵ- - ȵȵȵ ,ȵȵȵ* ȵ ȵȵȵȵ 5)wȵ- , Ţȵ ȵ ,ȵȵȵ w ȵ- - ȵȵȵ- , ȵȵȵ >6, N ȵA ȵȵ- , ȵ,ȵ, ȵ, ȵ ȵ ȵ bK ȵw,5 Lȵ ¼ȵ± ȵȵ ȵ,ȵ%, ȵ ȵȵw Kȵ ,ȵȵ ,ȵ -- ȵȵȵ ȵȵwȵȵ*ȵȵȵ ȵ 1820. Ƣȵ ȵȵ s ȵȵ Jȵ,ȵ%5 4ȵ®ȵ ƙȵż5 ȵ1, 1820, ?ȵ- , F ȵ,ȵE lkoni ȵ _,*)? xȵ8 s ȵȵ ,ȵȵ-K *ȵ% K xȵ -,)ȵ<<<ȵ9ȵ #Ê ȵ ľGȵ,Ƹ 6ȵ,ȵȥ ȵ ȵK ȵ ȵA ȵ-K ȵ Kȵȵ,ȵȵȵ ȵ 7ȵ55-ȵ?ȵ, #ȵȵ)ȵK ȵ ,-, ȵl,ȵȵ ȵKDzĿ«<8{pȵ 9 A ȵ _,*)? ȵ ȵ8ȵ UÃK ,ȵ?ȵ,ȵ? ȵLj ȵ,ȵ- ȵ% 4ȵ #ȵ ȵ?) ȵ,Ȭȵ-ȵddȵl «ȵ?ȵs ȵ,ȵ ȵ ȵJ-ȵ ȵ,ȵ ȵȵ #ȵ ľǞ?, ȵƞ, ţȵ8{{ȵ |ȵ,ȵ% 4ȵ, #ȵ ȵs ȵ ȵȵȵ%ǻU ȵȵ ȵ )5* ȵ?,ȵ - ȵȵȵA , ȵ -đȵ {Xȵ %, ȵ ȵŧ|K# ) ȵ%#üȵ ȵ40 ªÿŃȵ-Ťȵ 5. {pȵ %,( ȵ ȵ8|K#* ȵ%#üȵȡȵ40 I&248ȵ-<ȵ 372. {{ȵ¾ Lȵ ä ĕ ÈȵBȵ wȵ B³ȵȵ ȵȵȵ ȵȵ ȵȵM xȵ 57=-G))ȵ3 ȵ ȵȵBȵM B ȵ ćȵ à ȵ ȵ ȵ ȵ ǫ>G+5ĵȵw) ȵBȵ) ȵM B ŋȵ3 #<ȵ 0 B ȵMÉ ñ ȵ ȵȵ3 ȵ ĥ7>ȵÈȵ)ȵB)ȵ# ³ȵȵ)ȵ B ȵ ȵȵà ³ȵ ȵȵ ȵ ȵ -ȍ) )- ȵȵBȵM )ñ ȵ ȵ ȵ } ȵȵ3ȵȵ ȵȵM )ñ 4ťȵ ƇȵM )B 4ȵ )ȵ ȵȵ i e n i ȵ ǀ ȵ ȵȵ3 ȵȵ = ȵÈ ) ȵEȵȵ½ ȵ ȵ©Ƕȵ^ ) ȵ)ȵȵ!3dȵ Rȵȵ Ûwȵȵȵ ȵȵ ȵ ) ȵ ȵȵ ȵ ȵ3ȵȵ ȵ ì ȵ - Ʋ ÈƮ°ȵȵ °Ư ȵ }°° ȵ °³ȵ3Ǖȵȵ ȵƹ ! ȵ 57 prepared such results contribute to the spread of the knowledge of solid musical works of a and thereby to an enhancement of taste as a whole. 7 Sonnleit er is discussing the dissemination of music within the culture of a ateur musicians in ienna and how their role as amateur musicians is as vital as that of he p ofssional musician fr sustaining music throughout society. ith So leithner's deter ination, he has lef the reader with one more piece to the p le, which aids in the e onstruction of musical ienna during these pivotal years of 1814 to 1825. 8 aus 'At- ien'," p. 177. 7 Sonnleithner Musi alische S i en 58 a er I B ra cal r e f Pe le f e Mu cal Ske c e This chapter includes names listed in Sonnleither's original document. I have W ided information to identif and place these people in a cultural context as they pr to the articles written by Sonnleithner. Much of the information was gathered pera Te New Grove Dictionar ofMus ic and Musicians The New Grove Dictionar of Op era Die Mus ik in Geschichte und Gegenwart Each entr includes: The name, k wn. ' prson s fu ll if (Dates) Th eir occupation, voice, or instrument. The Salons in which their name is listed or they participated. afw biographical statements. Achleitner. Composer. Salons: Sonnleithner. Adolfti, A rea. (1721-1760) Composer. Salons: Kiesewetter. acomposer of operas. The Hofibliothek in Vienna has preserved his 1753 La Clemenza di Tito. Aong his other opras are La Gloria ed ii piacere, L'Artaserse L 'rianna and Adriano in Siria. His sacred music consisted mostly of Psalms. H; served as conductor of music in the church of Santa Maria della Salute in Venice. From 1750 to 1760, he served at the Anunizata at Genoa. Ahnschftz, uar . Poet. Salons: Various (Warsaw). He participated at the musical evenings of Friedrich Warsaw by presenting some of his poems. 59 Albrech , J sef. Soprano. Salons: Kiesewetter. Allegri, Greg ri . (1582-1652) Composer. Salons: Kiesewetter. Italia co�pose� who studied with Giovani Maria Nanino. For four years he was a chouboy m Rome (1591-1596). He served as a chorister and composer at the Cathedral at Fermo, and entered the Papal Chapel in 1630. Anden. Piano. Salons: Kiesewetter. Anders, Julie v n. Soprano. Salons: Hochenadl. Andrea, E mu Rter v n. Voloncello. Salons: Sonnleithner. Ansion, Marie. Soprano/Alto. Salons: Paradies. Maried name is Kraus. Arnstein, Fanny. (1758-1818) Salons: Various. She is the Jewish Prussian daughter fom the Itig family. Her fther was the baner of Friedrich of Prussia. While she was growing up in Berlin, her fmily's home was quiteIl a social center. She married Nathan Adam Astein, a Viennese banker, in 1776. Four years later she funded her frst salon. Her salon the frst Jewish salon in Vienna� she drew people fom Austria ad all of was Europ. Astorga, Emanuele '. (1680-1757) Composer. Salons: Kiesewetter. Itlian opera composer fom a noble Spanish fmily. He lived in Vienna fr a year, but lef to become a senator in Palermo. Perhaps his best-known about in 1752 in Oxfrd. is the Stabat Mater it was frst heard work Aumann. Composer. Salons: Hochenadl. Axfeld , Luise. Soprano. Salons: Kie sewetter. 60 Bach, J a Seba a . ( 1685-1750) Composer. Salons: Kiesewetter. He was the most iportant member of the Bach fa mily. With his exemplary keyboard skills and ingenious compositional techniques, he earned a defnitive position in the history of music. He incorporated in his some of his music a unique system of numerolog. This philosophy of numbers was a common thread symbolism aong other poets ad artists fom his time. His system of 'equal tempermant'of is among many of his inventive compositional techniques. Among his most fmous keyboard works are the We ll-tempered Clavier and the Goldb erg Va riations. His last composition, Die Kunst der Fuge, is epic in nature since it contains fgues, canons, and various counterpoints based on the same theme. It incorporates all ofBach's compositional devices such as: inversion, canon, augmentation, diminution, and triple and double fgues. Bach, W lhel Fr ede a . ( 1710-1784) Composer. Salons: Kiesewetter. Known as te 'Halle' Bach, he is the eldest son of J.S. Bach. He, like his brother C.P.E., studied at the Thomasschule in Leipzig. J.G. Graun taught him violin in Merseburg. He also studied mathematics, philosophy, and law at the University Leipzig. In Dresden at the Sophienkirche, he was the church organist in 1733. Appointedof the position in 1746, of organist ofthe Liebfauenkirche in Halle, he held that post until 1764. Ten years later he went to Berlin, he remained there until his death in 1784. Bach, Carl Ph l a uel. ( 1714-1788) Composer. Salons: Hochenadl. Known as the 'Berlin' or 'Hamburg' Bach, he is the second surviving son of J. S. Bach. He was educated at the Thomasschule in Leipzig with the assistance of his fther's tuition. In 1738, he went to Berlin to study music as his vocation; befre that, he was studying law. Two years later he became a chamber musician to Frederick the Great of Prussia. By 1768, he had assumed the position of cator at the Johanneum (Lateinschule) in Hamburg. He is also known fr his mastery of the Empfindsamkeit style. He put together, along with his student J.F. Agricola, frst authentic posthumous account of his fther's lif. was published as the I Ne krolog fur years afer his fther's death. Barth, J sef. es, Sonnleithner, ( 1781-1865) Tenor. Salons: Hochenadl, Kiesewetter, Paradi Various (Falkenhorst). and 6}participated in several perfrmances of Schuber's works both fr private public performances. Prince Josef Johann Nepomuk Schwarzenberg employed the him, most likely as an accountant. Some of his frst performances include fber fllowing pieces: "Das Dorfchen," "Geist der Liebe," "Gesang der Geister 16U}Wassem," and "Die Nachtigall." 61 Barthi li, Fra z. j#AƐ TZ Ɛ4, 1861) Guitar. " öƐHũ#)Ɛ" ŃFƐ + Ɛt #ƐƐþ ¯Ɛ Bauma , Wilhel e. Soprano. " ÷Ɛ )Ɛ " FƐ Ď#ƐƐ Ɛ½ ;Ɛ Bayer. Composer. " Ɛ"ş ;Ɛ Beckers, J sef. 2ndViolinViola; Composer. " 4øƐQ 4S )Ɛ"44ŕ@4îƐ Beeth ve , Lu i va . jƐ1770- 1827) Composer. " ƐQŢ # )Ɛ )ƐH #)ƐQÎ)Ɛ ee )Ɛ R ƐjV)ƐR Ɛj )ƐR Ɛj}4 2FƐ ďTZƐ Ɛ Ɛ Ɛ(ƇƐƐV4)wƐ Ɛ Ɛ #ƐƐ} ƐƐ Ɛ Ɛ Ɛ źƐ #ƐƐ ƐRƐ " Ɛ ;Ɛ BƐ 1792, k Ɛ #Ɛ #Ɛ KT ƐƐR;Ɛ QƐ t Ɛ ƐƐ· ġ Ɛ#Ɛ" ;Ɛ āgƐ @Ɛ Ɛ ğƐƐSƐ ƐQS4)Ɛ Ɛ SƐƐ ÃƐSŀěƐ Ã#Ɛ ą#$Ɛ Ɛ Ɛ Ɛ##ƐƐ(Ɛ=Ɛk ;Ɛ QƐ T#Ɛ Ɛp Ɛ K!Z Ɛt ƐƐRƐƐ 1795. G Ɛ Ɛ )Ɛ Ɛ #Ɛ ƐG Ɛ T )Ɛ Ɛt Ɛ Ɛ4Ɛ Ɛ ŞÍ Ɛ ;Ɛ 1809, Ɛ Y#Ɛ g#ƐƐ ƐƐ>Ɛ+ #!(ƐV# t )ƐH ƐZ(2)ƐI #Ɛ e ƐČeŏƐ Ɛ4000 Ĵ ;Ɛ Belleville, A a arol e. (1808-1880) Piano. "ùƐ "Ó @4;Ɛ aƐƐ Ɛ# Ɛ ƐƐG ƐZ {Ɛ mƐƐ Ɛ# Ɛ Ɛ Ɛk Ɛ ÿƐƐ Ɛ < ;Ɛ l Ɛ ##Ɛ=Ɛ= ƐŨ)Ɛ>Ɛ 1816 Ɛ 1820, Ɛ ÁÒÒƐ9 Ɛl Ɛl2ÚFƐ Í Ɛ )Ɛ ƐSƐ Ɛ#ZFƐ ĕ4ƐſƐƐ Á$ƐeƐ 1821-22, ƐZƐ#Ɛ Ɛ Ɛ+4#Ɛ " ;Ɛ l Ɛ Ke#Ɛ ţ ƐƐ< )ƐH ÎƐ#Ɛ#FƐ ė Ɛ ƐƐ Ɛ! ƐƐ č$#)Ɛ ƐTƐüƐTƐƐ)Ɛ Ɛ ¶ƐńƐ #ƐƐ1831. W Ɛ ! #Ɛ Ɛ= Ɛ Ɛ)Ɛ >Ɛ 1831 Ɛ 1839, ƐV)Ɛ)Ɛ +ż)Ɛ $#ƐG {Ɛ Benci i. Soprano/A lto. "úƐH #;Ɛ Bendl, Ma ale a. Soprano. " ƐʼnFƐ 62 Benev i, Orazi . (1605-1 672) Composer. Salons: Kiesewetter. His fther was Robert Venouot, a confectioner fom Lorraine. For Orazio was a choirboy at St. Luigi dei Fracesi in Rome. While he was there, he studied with Ugolini. He obtained his frst post as maestro di cappela at St. Maria in Trastevere, Rome, in Februy 1624. 1644, he became the Kapellmeister to Archduke Leopold Wilhelm in Viena.I He was only in Vienna a short time befre he retued to Rome. 1646, he became the new maestro di cappela of the Cappella Giulia at St. Pietro,I succeeding Virgilio Mazzocchi. Orazio held that post until his death in 1672. Benna i, Dr. Franz. (d. March 10, 1834) Tenor. Salons: Sonnleithner. Berg, K rad. Co o r Salons: Hochenadl, Sonnleithner. Ber ni, Fer i a Giuseppe. (1725-1813) Composer. Salons: Kiesewetter. Italian composer. Padre Martini was his composition teacher in Bologna. 1745, I his frst opera, La vedova accorta, was perormed in Florence. II Cajetto was his frst serious opera; it was privately staged in 1746. His comic operas were much more successfl; Le pescatrici (1751) was produced 14 times in 17 years throughout Europe. Beroni was probably the frst to introduce the cavatina to opra. In 1752, he was appointed the position ofprimo organista at St. Marco in Venice. A year later, he was appointed maestro of the fmale chorus at the Ospedale dei Mendicanti. Bertoni now fvored sacred music and serious opera. Beroni received interational recogition fr his works written fr fmale chorus and orchestra. Bevilacqua, Paul. T nor/ r ton . Salons: Paradies, Sonnleitbner. Bianchi, Luise. Piano. Salons: Sonnleithner. Maried name is Zeillner. Bibra, Marie Freii v . Piano. Salons: Paradies. Mried name is Zardahely. 63 Bi , D A ( 1 766 7- 1 7 33) Compos r, Si g r. Sa on : Kie ewetter Ita ian compo er who wa appointe t e ma stro di capp lla po t on e ruary 5, 1 702, at Saint arco in enice The previou ho er of that po t wa artenio. i a o e e a the ma s ro di coro of the on er atorio ei en icanti. Bigler o no l o alo P a i e Bihler, Fra zis ( . 1 859) Pia o. Sa on : Para ie , Sonn eithner. arrie name i Dor . aybe te e a Big er Biordi, Gi va i ( 1691 1748) Compos r. Sa on : Kie ewetter. ta ian compo er o in ome. For two year , om 1714 to 1716, he e ve a ma stro di capp lla of Tivo i athe ra ar ina tto oni recommen e that he be ma e a chapel inger to the pope, thi occurre on ecem er 19, 1717. In 1722, he a ume , unti hi eath, the po t of ma stro di capp lla at t iacomo degli pa ol i i o e. e a a vocal teacher at e pope m icipal coll ege be g in 1 724. At the appe a i tina, he erve a ecretary om 1730 to 1737,when he ecame cham erlain e retire a a inger in 1 742 om there, but remai ed cham erlai . i compo itio con i t o ly of ch ch ic. B ahetka, J sef Salon : a ig. o t i e y, he i the fther of Leo ine Bl etka. e a a o ali t an poet an a marrie to Ba ette Traeg. B ahetka, Le l i e ( 1 809 1 885) Pia o, Conc r Pianis Sa on atwig, So eithner. he tu ie piano with oth Ignaz o che e an Jo ef ze y A oth a compo er an a piani t, he contri ute fvora y to the pro iona image of omen mu ician . She conce ize exten ive y an trave e to e any, the ether an , Be gium, nglan an France Blangini, Feli e ( 781 18 1) o o alo o le ith er. rench compo er, ut om Ita ian irth In h youth, he ang in the Turin Cathe ra choir an tu ie with Be ar o ttani e tra ve e to Pari in 1799 an ecame popu ar a a inger, compo er, an voca teacher. In 1 802, he ma e hi e ut at the Theatre F ey eau a an opera compo er. Three year ater he ecame the ma stro di capp ll to the Duke of axe oburg in unich. The e year he a in e ervice of Pa i e Borghe e, apoleon' i ter Apparent y, he ha an affir with her an u equently apo eon tran rre 64 1 ^©©íȲíD^ÅÅt í©í1809 ;tíà^ÅípºtnȲºí²wíÈtíÈt^Ⱥtí£^ÅÈtºí²wín^£ktºí £ÔÅníȲíBtºµ£tí1³©^¸^ºÊtí E©í²xíZtÅȸ^ ^íà tí©íD^ÅÅt í ;tí^ Ųí Åtºßtpí ^Åímaestro di ca ell^í 0tºíÈtíStÞ² ÔȲ©í²wí1830, tí ²ÅÈíÅín²ÔºÊí¸²ÅȲªÅí pp B chsa, Ni las arles. 1789-1856ƷHarp. T^¡²©Å)í T²©© tÈ«tºí B cklet, Krl Maria von 1801-1881Ʒl V ol n T^ ²©Å*í T²©© tÈ«tºí B dg rschek, Kar line Al o. T^ ²©Å+íEtÅtàtÌÊtºí G^Ãtpí©^£tíÅí9tntÔºí B gh, Paul. Te nor/Baritone. T^ ²©Å,íR^º^ptÅí B gner, Fer inan 1786-1846ƷFl e T^ ²©Å*í;^ÈãíT²©«¡tÈ«tºíY_¼²ÔÅí StÕ®²© íY^½²ÔÅí KtÔ © í í B iel ieu, Fra �ois-A rie . (1775-1 834) o o e Salons: Hatwg, Sonnleithner. A French opera composer who received his musical education fom Charles Broche. He later became an apprentice to Broche at the church of St. Andre in Rouen where he was a assistant orgaist. Aong his compositions are patriotic pieces that were quite popular in France during the revolutionary period. He wrote approximately 40 operas. Some of which he collaborated with other composers such : Mehul, Cherubini, Catel, Keutzer, and Isouard. His frst wif, Clotilde Mafeurai was a dancer. They maried in 1802, but their marriage lasted barely a year. 1826, he married Jenny Phillis. Adrien-Louis-Victor was his son, bor in 1815,I with Therese Regault a the mother. His son also became composer, but was not nearly as prolifc as his fther. a B scalle, Er es i e e. i no Salons: Paradies. B scalle, Marie Pauli e e. P no. Salons: Paradies. Married, but no name is given. Bocki g, Wilhel . 2ndVolinVol Salons: Sonnleithner. Author of the chapter V, the Sonnleithner Salon. Close fr iend of the Sonnleithner fmily. Bocki g, A a. (February 21, 1859) G i Salons: Sonnleithner. Married name is Marinelli. Bohm, Fra z. 1 t Volin Salons: Sonnleithner. Brentan , A Freiherr vo . Cl ine . Salons: Sonnleithner, Various (Reunion). Bscb rner. Cl ne Salons: Hatwig. Buberl, A . Fl e Salons: Sonleithner. 66 Bury, Betti Alto. Salons: Kiesewetter. Bussetti, Rac ela vo . Piano. Salons: Paradies. Cafr , Pasquale (1715-1787) Compos r. Salons: Kiesewetter. Italian composer. He entered the Naples Conservatorio di St. Maria della Pieta dei Turchini in 735. Nicola Fago was his frst teacher at the Conservatorio, he then studied withJ Leonardo Leo. Afer 1737, he studied with Lorenzo Fago, Leo's successor. He mostly composed oratorios: operas: cantatas and church music. At the Teatro St. Carlo, Cafaro conducted operas by Hasse ad Traetta. On August 25, 1768 he was appointed the position of ma stro di capp la soprannum rario at the royal chapel. Ultimately, he became te ma stro di musica d lla r al cam ra at the chapel. His most recognized work is the Stabat mater, which dates 1785. Cafro bridges the gap between Leo and Durante and Cimarosa and Paisiello. Ca dara, Anto io. (1670-1736) Compos r. Salons: Kieseweter. Caldara was a funder and deacon fr the Cacilien-Bindnis, which he established in Vienna in 1725. Its purpose was to promote sacred music. Members of the Austo-Hungarian nobility commissioned operas and oratorios. Caldaa had extensive duties fr the imperial court, which changed the direction of his compositional output. He became much more acquainted with writing operas since he was required to write one fr the both the emperor's and empress's nameday and birhday. He also wrote one or two oratorios fr the Lenten observance at the court. He was frtunate because he had access to the best instrumentl and vocal performers. Cam i, Ant nie (1773-1822) Soprano. Salons: Vaious (Neuling). Maiden name was Miklaszewicz. A excellent coloratura singer fom Poland. In 1788, she was appointed court singer to King Stanislas Augustus. She met, ad Married nae is the bass singer Campi in 1791. Antonie had appeared in both the Warsaw Opera and the Prague Opera, and also sang at Leipzig, Vienna, and Dresden. Ca rafa Compos r. Salons: Sonnleithner. 6"Ť Carissimi, Giaco o (160 -1 67 ) Composer. IŤ L<©Ť `Ť 'Ť 11 !ŤŕŤ Ť' Ť Ť ŤŐİŤ ¨ " ¨ ŗ!Ť a*Ť `ŤŤŤ Ť ŤjŤňŤ*Ť Ť Ť ?Ť4 Ť Ť )4ŤN Ť! ŤŤ0 Ť Ť Ť Ť* Ť! Ť Ť Ť Ť Ó 'ÏŤŤ Ť1Ť Ť Ť ŤVlŤ1 Ť'hŤJephte, Judicium Salomonis, Jonas, ŤBalthazar. JŤŤ! ŤÇ Ť 1625 Ť 1627, Ť @d ŤŤ WŤŤ ŤS Ť $ Ť JW Ť 1628 Ť 167 , ŤW ŤŤmaestri di cappella Ť Ť B Ť ŤŤEÏ Ť Ťa Ť Castelli, Inaz Fra z (1781-1862) Composer. °Ť:ŤOL 2Ť ĕbŤ Ť Ť ŤŤ ŤŤ Ť)!Ť ) Catel, Charle-Si on (1773-1830) Composer. ÓIŤo Ť Ť ·W Ť *Ť Ť ŤŤ Ťü Ťa!Ť Ť$ ŤŤ0Ť ėŤ ÆW*'Ť Ť Ť$Ť Ť òQ8Ť Ť) ŤđĤŤ Ťo !Ť 1808, ŤÖ@ ŤŤR' Ť ÐŤŤ Ť Ť Ö@Ť Ť Ť)ŤI Alexandre chez Apelle. ?ŤŤ ŤŤ Ť Ť ŤŤ ' ŤŤ Les Baaderes, Ť*Ť ĭ ŤŤ Ť V Ť 1 0 ŤŤ Ť0Ť ĐWŤ `'Ť !* Ť ŤŤ VŤşĶ Ť' l Ť!Ť Cherubini, Liuigi. (1760-18 2) Composer. IŤ? ŤLŤ?eŤ Ť ŤeŤw'Ť 'Ť'Ť¸ ŤŤŤ Ť Ť Ť'Ť Ť Ì Ť5) Ť ?Ť UŤ Ť ŤŤ Ť Ťs Ť ŤŤ Ť maestro al cembalo Ť ŤSŤ Ť0 Ť ŤJ Ť Ť !Ť Ť '¢ Ť9 ŤJ 'ŤJ ' 'ØŤŤ^ Ť Ť Ť Ť9'ţŤ Ť µ5 Ť pŤ "&8Ť Ť Ť ŤUŤŤŤJ Ť T Ť ŤŤ ŤŤ Ť Ť¶ l)ŤŤ ·W Ť Ť 9Ť:Ť Ť őŤ ½'ŤE'Ť ¶ B1'ķŤ ŤÂŤŤ 1805, Ť Ť Ť vŤ Fa niska, e ŤŤŇŞŤ { ŤŤ yŤ ĩ@ Ĝ Ť Ť Ť ĆĞx7< ŤŤJ)B!Ť 25, 1806. 1822, Ť Ť Ť ŤŤ I Ť ' Ť Ť Ť0Ť$©Ť Cibbini, Ka harina PrŤ EŤ 12, &8&2Ť Piano. nŤ 7Ť :Ť P_ =2Ť ½' Ť Ť 'Ťć= Ť 6&Ť Ci ar sa, m . Composer nŤK %Ť 7 Ť kŤ Ť7Ť$ * %Ť ŤŤ - ŤŤŤ *Ť ŌŤ Ť 5 Ť Ť Ť0 ==HŤa Ť Ť$ åŤ KŤ UŤ 5 Ť 5 ŤŤ *HŤ 4 XŤ Ť0 %Ť Ť ÒŤHNŤVŤ Ť 5 Ť ŤŤ Ť ÙŤ 0 Ť $5 Ť "6%Ť ŤŤ ŤŤ Ť $Ť Ť kŤ ¾ŋŤ jŤ _ŤI Ť Ť -Ť 5 -Ť ÜŤ Ť Ť Ť¾7%Ť k %Ť Ť Ť $ %Ť Ť aest o di ioli o ^ Ť Ť - Ť Ť %Ť4X/ §Ť Ť%Ť $ Ť ŤŤ / Ť u ŤŤŤ *.Ť 9-Ť Z ""Y%Ť ŤÕŤ Ť ŤŁuŤ ŤŤ Ť maestro di cappella ;%Ť Ť ŤĘ Ť Ť 7.Ť $ Ť) ŤŤ %Ť4X) Ť -%Ť ŤŤ.Ť TGŤ Ť Ť Ť NÒŤ Ť 5 Ť Ť ŤŤ A %ŤŤ ÄŖ.Ť $ ŤŤ ;XŤ 4ŤŤŤÄ ´Ť ŤŤ Ť Ť +Ť U5Ť ĠŤ Ť Ť Ť Ť Ť & Ť$ -Ť C ari, i a i a a a. z 6""{ " 8mŤComposer ôŤLNCŤ º;Ť Ť oŤ s %Ť $ÕŤ$; %ŤŤŤ ; ŤŤ Ť A GŤ Ť Ť $ Ť ŤŤ Ť Ť0 Ťp Ť $yŤs ŤŤSU HŤ ¿ NNÝŤ Ťmaestro di cappellaŤ0Ť $ Ť $ Ť U Ť Ť Ť 0;Ť$;7Ť Ť9;ŤŤ î 6 Q8Ť Ė Ť Ť X%ŤG Ť ļĽŤ sa io elirantew Ť * ŤŤ ŤSŤ0/) HŤ SŤ-Ť Ť Ť/ ŤŤ Ì*)ŤHŤ Ť ^ *Ť ŤŤú Ť ¹Ť ~ Y3%Ť ŤŤ Ť bŤ HŤ Ťmaestro di cappella Ť Ť0 Ť$G Ť T ;Ť Ť Ť Ť Ť Ť$ Ť Ť -Ť H Ť Ť Ť Ť Ť Ť ŤHA.Ť ĀŤŤ Ť{ ŤNŤ ŤŤŤ ~ DY%Ť/Ť Ť4ŤŤ Ť Ť Ť H)N'¢ Ť ŤŤ Ťmaestro di cappella Ť Ť0Ť$ ;Ť Ť "D3 Ť oŤ Ô- Ť Ť Ť Ť ŤŤ " Ť 8gŤ C a , u ie. Soprano A lto IŤ0 %Ť 7 7%Ť : ŤO 4 mŤ Čč' Ť¢ ŤŤ$=Ð-Ť C e ent, ra . z~&Y|óDmŤ oli nŤ :5ŤOĎ5+mŤ ¿Ť 4 XŤN Ť Ťý=Ť$ %Ť Ť; Ť Ť ŤŤ N Ť7Ť Ē5Ť 5 Ť ŤŤ ŤL+Ťċ ŤŤT/.Ť $; Ť/Ť;XŤ bŤ ŤŤŤ Ť Ť ŤŤj Ť5 Ť ~Q¬ŤŤV ŤŤŤ öŤ k *Ť ŤoX Ť Ť Ť u Ť Ť ^Ť řŤŤÂ%ŤGŤ ŏ Ť ŤÈŤ Å ŤŤGŤ S ŤŤ ÅŤT ŤÇŤ &YDŤ Ť & % Ť Ť H5 ŤW XŤ ŤaŤt Ť & 3 ŤŤ &&Ť KŤŤ)Ť3YŤ Ť ÆŤ Ť ' ŤŤ Ť Ť 7 Ť Ť 6QŤ Clement , u o. P"8Dá&3D2ŤComposer. +IŤ %Ť :>Ť +ıŤ t Ťp Ť /%Ť [ ŒŤ ŤŤ R+Ť (>Ť KŤ Ť ŤE7Ť9 Ť Ť ((Ť +>Ť KŤŤ Ť Ť ŤŤ q+ Ť ŤŤ/Ť Ť * +Ť ŤŤ Ť+-Ť .Ť 9-ŤŤ *Ť Ť Ť 3Ť -Ť Ť %ŤŤ Ť ŤŤ(Ťa Ť ŤVŤŤ k>Ťj=Ť @ Ť Ť >Ť J Ť "66ŤŤ-Ť "6"Ť[ Ť(ŤŤ- ŤŤŤ9 4 Ť Ť Ť(+Ť¹Í.Ť TŤ ŤŤ(ŤŤ ĺ-Ť ŤŤ Ť œ -Ť Ť( ŤŤ ( >Ť [ Ť ŤŤj ŤŤ""ŤÞŤ Ť Ť(Ť Ť""8Ť ŤdŤĴŤġʼn Ť×Ť(B/ Ť(@@ .Ť C nrad , Pau o . Volin +IŤ 0 >Ť Ť/+ Ť Ť C nt , ran es o Ba to omeo. PŤZ6&|"32ŤComposer. +IŤ L¤>Ť ºľŤ (ŤŤ +ŤŤ Ť-Ť ŤŤ¤Ť Ť ŤŤ/Ť āŤ Ť¤Ť +Ť ŤŤ/Ť Ť+Ť ŤGŤ(ŤŤŤ//Ť ÊÎl*ÎŤ +-Ť Ť ŤŤ (Ť/Ť Ť ŤŤ Ť * Ť /%Ť eqŤ q ŤŤŤ "QŤņ r Ť ŤGalatea endicata. [Ť@Ť +Ť )ŜŤŤ ŤŤ ğd Ť (Ť/Ť "gŤ Ť"D8%Ť ŤBŤ Ť £(+Ê-Ť VŤŤ Ť * qŤ >Ť C n tin. Violin k²Ť :ŤOď+2.Ť C sta, Ant n P r ra da. PqæŤ 6Q"{ ""¬2ŤComposer. IŤ :Ť Ť Ť ŤŤmaestro de cape/la ŤJB Ť[ G @Ťt Ť /Ť "YçŤKŤ ŞƷ ƷConcerto gossi Ť Ť Ť[.Ť ^ ŤËŤŤ (ŤŤ DŤ Serenatas fo r the Guitar. Cu i . Composer. +³Ť + }Ť C e n , Josef. PZ"&8|&3 2ŤComposer, Piano. +³ŤK>Ť Ą Ť Ť Ť *(%Ť(Ť Ť Ť B Ť(B/÷ŤŤ Ť Ť» Ť µ=Ñ-Ť(/ŤŤŤ:7Ťt Ť &D&ŤŤ &3èŤKŤŤ+Ť Ť eŤŤ[((Ť [=Ñ-Ť(/GŤ ( ->Ť ^ ŤŤ Ť Ť Ċ( Ť9Ě Ť Ť& 9ÚŤ(ŤL.Ť 70 C erny, Ka . (1791-1857) Pia o. Salons: Sonnleithner, Various (Neuling). An Austrian pianist, teacher, composer and historian. He was a student of Beethoven, and he became a leading source fr transmitting Beethoven's legacy. Much of his technical exercises are a fundation fr nearly every pianist's taining. He is the son of Wenzel Czery, a pianist, organist, oboist and singer. His public debut was in Viena in 1800 at the Augarten hall. While he was in Vienna, he spent some time studying with Clementi. Among some of his students were Alfed J11, Ninette von Bellevile-Oury, Blahetka and Lisz. Dala ra , Ni o as- a i . (1753-1809) Composer. Salons: Sonnleithner. French composer. His main compositional successes include Ni a Azemia a d Les de u petits Sa oyards. Much of his work was within the opera comique tradition, which frmed a logical continuation to that of Gretry's. He attempted to adapt his musical style according to the subject. One of his librettists, Pixerecourt wrote his biography. David, io a i. Te nor. Salons: Various (Falkenorst). A celebrated tenor, he was a big hit among the ladies at the Falkenhorst Salon. On March 16, 1823, he consented to sing "Addio ai Viennesi" by Rossini. Deer et. Pia o. Salons: Paradies. Dek et, Peter Ed o . Timpani Salons: Hatwig. De er, Elise. ( d. 1861) Sopra o/Al to Salons: Paradies, Sonnleithner. Diabelli, A to . (1791-1858) Composer. Salons: Sonnleithner. Austrian publisher and composer. Diabelli studied music in both Michaelbeuren and Salzburg. He entered the Raitenhaslach Abbey in 1800. In 1803, afer the dissolution of the Bavarian monasteries, he went to Vienna. He taught piano and guitar there, and soon he became known fr his arangements and compositions. His Opus Nos. 1-7 and 12 -14 became the property of Cappi Diabelli. The same also published the Vaterlandischer Kunstlerverein, including the Diabellifr Variati ons, Op. 120, by Beethoven. Opp. 1--7 and 12--14 later became the property of Cappi Diabelli. The frm also published the Vaterlandischer Kunstlerverein, including Beethoven's Diabelli Variations op. 120. Afer June of 1824 the frm which was renamed Anton Diabelli Cie afer Cappi's retirement, beca�e quite productive. Works that were once owned& by Leidesdorf Pennauer, "ZŤ EŤ Ť T Ť !Ť Ť) ěŤ_¡)# Ť !ŤŤ Ť Ť ŤU CŤ Dietri h. Soprano/Alto. hŤ 0 CŤ Dinelt, Le p di . Alto nŤĈ Ť Diwald, Fa y. Piano. F iŤē F Ť Dollinger, J sef. #hŤ?<Ť Do an , Zmek l on. P¼Ť 3Ť &33ŤO"gŤ! 22ŤSalon Host F ²ŤÃ@ BŤO_ =2CŤ EŤŤ cŤ Ť Ť Ť,Ť w Ť Ť ŤŤ Ť c#,Ť ,Ť9,CŤ ŘŤ9 Ť Ť,Ť ÁéŤ Q8Ť Ť Ĕ@<\Ť\Ť _F =Ť ŤI ŤÃMFŤŤ "&gŤ Ť4Ť\ ŤŤŤ c!Ť Ťh.,Ť ? Ť$ !CŤ ?Ť , Ť,\ŤŤ Ť &8CŤ EŤŤ * Ť Ť Ťe Ť ï6Ť įŤw <Ť Ť Ť ) Ť 4Ť Doppler, A a Maria. PZ"3Qâ&ZY2Ť Ť eŤ* ŤŤ$ij Ť Ť S, Ť,!Ť, ŤŤŤ Ť ŠŤ r cêŤ Doppler, J sef. PZ"QãZ &6"2ŤBassoon, Clarinet F MhŤĂF\.Ť EcĿ!Ť ŤŤŤ Ť Ť ,)ÛŤs Ť Ť, Ť Ť ) <Ť )¡ .Ť ăŤ,Ť F#Ť ŤÁ<Ť?¡§Ť ,Ť ! Ť Ť9Ť Ť$ .Ť ?Ť £ š Ť\ Ť ŤFŤ\,Ť wBF@\Ť ŤŤ,Ť, Ť Ť ,B) D e61er. Composer hŤM .Ť 72 Dura te, ra es . (16 84-1755) Composer lons Kiesewetter ot much is kno n bout Dur nte's lif fom his e rly youth until round 1728 Th t ye r he w s ppointed the primo m esto of the e polit n onserv torio dei overi di esu risto Dur nte bec me the primo m estro on pril 25, 1742 nd . llo w s ssigned to ssist him s secondo m estro The Loreto conserv tory re ined m ch of its st bility n qu lity of e c tion un er Dur nte's direction When Leo died on ctober31 17ggߍ Dur nte bec me the primo m estro t the onserv torio di t nofio on J nu ry 1 1745 Dussek Composer lons: r dies onnleithner Du61, Therese. ( ugust 13 184 1) Pia o lons onnleithner. ried n me is setzky. Ebe er, Karl. 1st Voli . lons onnleithner Eberl, A t . (17 65-1 8 07 Composer; Pia o. lons ochen dl Kiese etter e produced sever l st e orks in Vienn e presented ydn's Creatio in ussi fr the frst time in 180 1 s pi nist he beg n iving priv te recit ls s e rly s e ei ht. ne of his te chers m y h ve incl e Moz rt His fr rst public recit l w s in 17 84 nd in 17 87 he presented Die Ma rcha de des Mo des, his frst st e ork e toured erm ny in 1795- 96 with both onst ne Moz rt nd her sister loysi L n e n erlin he performe with Meyerbeer While tourin he visited t etersbur berl served s pi no te cher, entert iner fr the ussi n roy l fmily nd s K pellmeister. Eberli , J ha E st. (1702-176 2 Composer. lons Kiese eter. Ger n composer nd or nist e p rticip ted school perfor nces of music l pl ys which he l ter spent m ch of his timein composin is music l output v rie n ofen he compose music fr speci l occ sions lzbur . e befiended both the Moz rt fmily nd the cler y of the t eter'si bbey in S lzbur Most of his composition l inf ence w s wth his s cred voc l music Ebner, J ha Lepld. (b 17 91 Voli lons r dies e s civil serv nt th t lived in Vienn until 1817 e met chubert fer Schuber h d lef the t dtkonvikt. bner tt ined senior position in goverent service and in 1823 he m rried er phine chellm nn ch ber h d st yed t the chellm nn house in teyr in 1819 pp rently bner collected "3Ť Ť Ť 1<¦Ť#!ŤŤ Ť Ť Ť1ģńŤ Ť #Ť :}Ť `Ť 1� ŤąŅ ŤR1ŤŤaĥŤŤ v ŤŤ1Ť Ť4Ť Ť Ť ĸŤ1ŤM #!Ť#Ť Ť Ť<É ªŤ pŤ &8&ŤR1Ť ŤŤ Ť A Ť ŤŤþ ĝ Ťj1ªŤ Ehnes, Marie. Soprano #nŤLëŤ À Ť M Ť Ť¸#ûCŤ Eisenh fr. Composer #±Ť Ť Ell aurer, K lla. Piano MiŤŃ# >Ť Engelhardt, Ju e. Guitar. #IŤ0 .Ť Eppinger, E a uel. Administrator °Ť: A ŤOŝM2fŤ *Ť Ť Ť #ŤŤ Ť ]a ŤR vf ]Ť Eppinger, Leo ol Josef. z CŤ ¼#!Ť &Ť 1 8602ŤBass, Lawyer #MiŤ0A Ť: AŤO 2Ť ŤŤ # Ť ŤŤŤ Ť:ŤUŤĻ׍ xb ŤbŤl !Ť #ŚŤ Ť Ť ŤŤ #ŤŤ Er ann, Baroness Dorot ea vo . Piano. #MiŤ :A ŤO d =2Ť À Ť Ťÿ .Ť Eskeles, D o s Fre berrr vo . Violoncello #iŤ0A fŤ Eybler, sef. zŤ"ñ8| &6mŤComposer. #iŤ # CŤ xŤ vfŤ »v Ť`! Ť Ť u Ť ŤŤ1ŤŤĬ Ť Ť Ť rŤbŤ Ħ l#Ť!Ť Ť Ť .Ť `! MŤ Ť Ť Ť ËŤ £ĹŤ Ť Ť Ť1# Ťù<CŤ =<¦Ť Ť ŤR!1#Ť Ť *#Ť ÉŤw }Ť T Ť Ť A Ť Ť &ðŤR!1#Ť ŤG ŤŤ ħ## «Ť K Ť !Ť 4Ť AĨ Ť Ť A Ť Ť Ť #Ť ÔxŢ#ŤĢŤ1 ŤK! Ť Ť=ìŤ #Ť ŤGŤ 1Ť Ť4Ť Ť1Ť Ŋ fŤ 74 Falkenh r , Ge r Schall v n. Ma rshal Lieutenant. Salons: Various (Falkenhorst). Falkenh r , Kr l e. Singer. Salons: Various (Falkenhorst). Married name is Senitzer. Fa kenh r , J seph Schall v . Actor Salons: Various (Falkenhorst). Later changed his name to Forst and dedicated himself completely to the stage. Farinell , G u ep e. (1769-1836) Composer Salons: Sonnleithner. Italian composer. He studied in Este with the local maestro di cappella, Lionelli, and also in Venice with Atonio Martinelli. 1785 he entered the Conservatorio della Pieta dei Turchini in Naples. He also studiedI with singing with Barbiello, harony with Fago, and counterpoint with Sala. Some of his composition lessons were with Tritto. His frst opera, Jl dottorato di Pulcinella, was perfrmed at the conservatory in 1792. Three years later, his frst work fr the public, L'uomo indolente was perfrmed at the Teatro Nuovo. Fedrigot i, J hann e. Te nor. Salons: Kiesewetter. Ferdinan , Prince L u f Pru a. ( 1772-1806) Composer Salons: Hochenadl, Sonnleithner. Louis Ferdinand, the nephew of Frederick the Great, was an accomplished musician despite being educated and trained fr the military. 1804, he met Beethoven at a perfrmance of his Eroica symphony, subsequIently; Beethoven dedicated his thd Piano Concerto to the Prince. Ferrari, Ant nie. Piano Salons: Paradies. Married name is Ster von Felsburg. Feska Composer. Salons: Hochenadl, Sonnleithner. Feuer te n, Zachar a . Clarinet Salons: Hatwig. 75 Fiel , J h n. ( 1782 1 8 7) C mp ser. Salons Sonnleithner He was t e eldest son of obert ield a ro ssion l violi st His rst musical ins r ction was om his grand ther o ield an organist He became BĚ es blished virt oso in ondon He worked with Clementi whom required him to assist the ma ing and sellin of musical inst ents ield traveled to St etersburg d oscow where he remained In 1822, he met Hummel who was here on a con ert tour and together they erformed H el s due sonata Fier. Composer. Salon : Sonnleithner Fiora an i, a e . ( 1 7 1 8 7) C mp ser Salons Hochenadl I alian com oser who began his studies in literature and art. His rst musical ins ction was with Gre orio oscanelli Counter oint lessons were t en wit iuse e annocconi 177 , he went to a les to st dy with Sala His rst era Le a enture di ertoldiI n , was com osed in 1 784. he Tea ro del ondo in a les commissioned him fr an o era in 1 787 the result was his Gl'inganni ortunati His most o lar o era Le cantatrici i/lan , was writ en fr a les in 7 amids the olitical turmoil other suc ess l o era was Camilla 1 8 1 6 he became the maestr di cappella, a osition that ingarelli had heldI at the a lla Sistina er 1 824 ioravanti wrote mostly sacred music a er his eratic c reer had nearly become e tinct Fischer, An n. (1778 1808) b e Clarinet. Salons Hatwig erman com oser and tenor He is the brother of at aus ischer He c m osed Sings iels sang small roles and became assistant a ellmeister under Ignaz von Sey ied in 1 806 at the heater an der ien as Hausgesinde was one his most iu h nt works; it was erfrmed 1 1 5 times at the heater an der ien Some of his other om ositions include Lunara, onigin des Palmenhains, ie ntlar ten, ie cheidewand and ie erwandlungen Fische , K l ne. (d. ctober 2 , 1 8 ) prano lto Salons ochenadl Paradies rsuline uns. n c ober 28 1 820 she entered into the rder of the F am . Alto. Salons: Hochenadl ntonie lamm F o en in, Au u . ( 18 1) Pia . Salons Sonnleithner 7 Foggia, Fra ce c . ( 1 -1688) Composer. Salons: Kiesewetter. Italian composer. He served many of Rome's most prestigious choirs and published church music extensively. He was a choirboy at the Jesuit church of St. Apollinare, which was under the direction of Ottavio Catalano. He served at the courts of the Elector Ferdinand Maximilian at Cologe, Duke Maximilian pŤ of Bavaria at Munich, and Archduke Leopold of Austia at Brussels. Forester. Composer. Salons: Sonnleithner. Forster. Voloncello Salons: Sonnleithner. Forster, le re. Piano. Salons: Sonnleithner. Married name is Contin. Fradl, Karl. JstViolin Salons: Sonnleithner, Various (Schuppanzigh). Franchett , F r u a a. Soprano lto. Salons: Paradies. Married name is TŤalzl. Freyberger, Anna. Soprano. Salons: Sonnleithner. Freyenwald, J ef J ak v . Bass Salons: Hochenadl, Paradies. Friedenthal. Volin. Salons: Hochenadl. Friedlowsky. Wind Plaer. Salons: Various (Reunion). Fries, M r t v . (1777 1 826) anker Salons: Various. He is the son of Count Johann Fries who was quite a successfl industrialist who co-funded the fr 'Fries Co.,' in 17 That fr was one of Vienna's leading fnancial institutions. Moritz was a law student at Leipzig fr three years, fom 1 794 to 1797 He was considered one of the richest men in Vienna since he had accumulated even more than his fther Johann. addition to the fmily business, I 77 he al o managed textile mill and had exten ive la d holding . He and hi aria here ia o e her maiden name a rince Hohnlohe- alden urg Sc illing t ho ted lavi h mu ical partie . Many a i t ere invited including Haydn d Beethoven Moritz a quite generou ith hi m ney and al o held an exten ive per onal li rary of art and oo . he Academy of ine made him an honorary member in . gnaz Sonnleithner had wri en rie a le er of in roduction fr Schubert. Schubert dedicated the ong retchen am Spinnarade' to rie . nf o unaI tely the lavi h li tyle caught up th oritz by he experience extreme nancial dif culty He handed the rm over to hi on i but ithin a year oritz r. had led fr ban ruptcy Fries ler. Composer Salon : Sonnle ithner Frischl , Fra z B inessman Salon Hat ig. Hi apartment became the ne rehear al area hen Schubert place o ered in u cient pace. F ri chling lived at Dorotheerga e r Frit , arie Piano Salon : Sonn eith er Frohlich, A a ( 79 - ) S pra o. Salon : Hochenadl Kie e etter Sonnleithner. nna a the elde t daughter of Mathia r h ich. She tudied in ng and piano with iu eppe ibon and ohann epomu H el re pectively. She taught at t e on e atory of the e ell cha der u i eunde om 9 until 4. e on ervatory a clo ed fr three year om 4 to due to the olitical cli ate. n 4 her contract a not rene ed at the on ervatory d Mathilde arche i replaced her. Anna al o had a number o private tudent a we a tho e at the on ervatory. She and her i ter ere very active in the r vate mu cal circ e of Vienna t ga Sonnleith er home he a the accom ani t fr Augu t Ritter von ymnich. ogether they pre ented Sc hu ert rl ig r the r t time on December . She a al o the teacher of oui e o mar Leopold von Sonnleith er e f Frohlich, Babe e ( 797- 79) Alt Sopra o Salon : Hochenadl Kie e etter Hat ig Sonn eithner S e a the econd elde t daughter of Mathia Fr hlich At gnaz Sonnleith er ome he pa ticipated in the performance of Schu e ' etting of alm on anua 9 She participated o en at the conce of the e ell cha der Mu i eunde. ventually her intere t ed more to d painting th n to inging and he tudied ith Moritz Michael Daf nger. She a hi a i tant r many year . n he married Ferdinand Bogner the auti t hom he mo t 7 li ely met by participating in the private salons that onnleithner discusses in his 'Musikalische kizzen aus 'Alt Wien " Frohl ch, Ka har a. ( - 79) Soprano. alons Kiesewetter She was the third daughter of Mathias Fr hlich he participated in the private musical circles of Vienna as a singer and pianist, although she remained an amateur ranz rillparzer became quite smitten with her in - , when he frst met her Their relationship grew to the point of becoming engaged, but they never married because he could not flly commit to her rillp zer was a fiend all of the Fr hlich sisters, and he actually took up residence in one of their apamenw ts. He lef in , but reted afer 9 years in 49 He lived there until his death in 7 Katharina was named as his sole heir. Frohl ch, J ef e. ( - 7 ) Alto Soprano. alons: Kiesewe er, Hatwig, onnleithner ustria family of musicians Jose ne studied voice with her sister Anna at the esellschaf der Musik eude om 9 to he made her operatic debut in Vienna in ie ntuhrung aus dem Serail. he was appointed the position of private singer to the King of Denmar . Frolich thal, u e Frol ch v . lstVolin 2ndV linVola. Salons: aradies, onnleithner fler von Fr lichsthal. Fuch , Al . ( 799- (Marc , )) ass Voloncello alons: Kiesewetter, Sonnleithner ustan musicologist. He attended the school of the Franciscan friary at Opava Wile e was there he studied organ, cello and voice He was an assistant to Kiesewetter as an ofcial in the war ofce. He occasionally sang as a bass in the cour chapel and in he was appointed as a member of the board of the Gesellschaf der Musikfeunde His private collection consists of autographs by Bac , Handel, Haydn, luck, Mozart, and Beethoven As a musicologist, he wor ed fr the preservation of musical monuments; most of his published articles concer the lives and wor s of Mozart and luc Ful. Composer alons: onnleithner 79 Fux, J hann J e h. (1660-1741) Composer. Salons: Kiesewetter Austrian composer and music theorist He is the author of Gradus ad Parassum (1725), which is one of the most infuential composition treatises in European music fom the 1700's on His compositions represent the culmination of the Austro-Italian Baroque in music. Ga upp , Balda are. (1706 1785) Comoser Salons Kiesewetter His ther was a barber who also played the violin in small orchestras ost li ely he is Baldassare's rst music teacher He had a long-term association and collaboration with the librettist Carlo oldoni, which began in 1749. 1762, aluppi was appointed maestro di coro of St. Mar 's, which was the mostI reputable and important position in Venice Later he became the maestro di coro at the Ospedale deg1i Incurabili Gauster, Mart n. Volin Salons: Hatwig. Gansbacher, J hann. (d. 18 ) Tenor/Baritone Salons: Paradies Gebauer, Fran Xaver. (1784-1822) Piano. Salons: Kiesewetter, Hatwig =a180 he became an organist at Fran enstei and later went to Vienna in 181 . While in Vienna, he wor ed as a violoncellist and piano teacher. He was one of t e earliest members of the òX1Xţ1ĨňęĻƷĭYƃƷāu1ƑŕYuŲĮ±Ʒ He conducted the frst Spirituel-Conce e in 1819, which was held at the Hotel z Mehlgrabe in the Neue Mar t. These concerts lasted until 18 8 nd teir mission was to increase t e involvement fom choir rehearsals into meetings fo r music lovers Ge inek, J ef. (1758-1825) Composer Salons: Sonnleithner zec composer pianist and piano teacher. ost of eline 's compositions are piano variations based upon melodies fom various stage wor s. Some of his 'borrowed' material came fr om composers such as Gluck, Paisiello, Mozart, Salieri Rossini eber ' Boieldieu and Mehul. uch of Geline 's compositions were �rinted d�ng his li time. Other musical infuences show up in his wor s fom Viennese fol tunes and his own themes. Gel i. Salons: Sonnleithner 80 General , P e r (Merca e ). (1773-1832) Composer. a on : Kie ewetter, onn eithner. Ita ian compo er. He tudied counterpoint with Giovan i a i. Genera i i a graduate of the ongregazione di t. eci ia in ome. He fr t began hi career by compo ing acred mu ic. Hi fr t opera in 1800. o ini' popularit over hadowed that of Generali' ; he ub equent y went to Barce ona a the director of he opera compa y at the Teatro de a t. ruz. In 1827, he retued to north of ita1y to become the mae tro di cappe11a at Novara athedral. He held that po ition unti hi death in 1832. Ger te bra , Therese ie v . Soprano/ lto a o s: Paradie . arried name i , but no name given. Geymiller. ( 1754- 1 824) a o : arious. Hi name i me tioned in the u tip e a on hapter. Gi t chitz, Gabr ele. Soprano a o o eith er. Giu ian , Maur . (1781-1829) Guitar a on : onn eithner, ariou ( ohrer), ariou (Neu ing). Ita ian guitar virtuo o and compo er. He ha been a eader in the c a ica guitar movement in ie a. He taught, perfrmed and compo ed a va t repertory fr the guitar. Gui iani ga e the premiere of hi guitar concerto with f orche tra accompaniment in Apri 1808. G uck, Chr t h W ll bal . (1714-1787) Composer a on : Hochenad , Kie ewe er, onn eith er. ohemian compo er. In ienna he wa in ong ervice fr the Hab burg' and wa in trumenta fr the refrm of opera and theatrica da ce on the part of the European intellectuals. He had much experience in seting Meta ta ian drammi per musica and he erved a mu ic director in ienna at the Burgtheater. Goldberg, Jul e. Alto a on : Kie ewetter. arried name i zebezki. Goldberg, Fanny. Soprano a on : Kie ewetter. arried name i ar i. G ttfrie . Piano. Maried name is Salzmann. Gottfrie , inze z. (d. 18 1) Salons: Paradies, Sonleithner, Various (Falkenhorst). Tenor/Baritone. Gottlieb. Voloncellist Salons: Various (Neuling). He performed at the home of Vinenz Neuling. Got , J ef. 6 7 - 22 (March , 22 Ʒ Salons: Hochenadl, Hatwig, Sonnleithner, Various (Reunion), Various (Falkenhorst).Bass. He perfored on the March , , recital of Beethoven's Christus am Olberge. Graumann, Ma hil e. 6 2 3 Ʒ opra o Salons: Kiesewetter. German mezo-soprano and singing teacher. She married Salvatore Marchesi. Vienna, she studied with Otto Nicolai and in Fran she studied with Felice I Ronconi. Her concert debut was in Frankfur in . A year later she went to Paris to study with Manuel Garcia, when he lef Paris to go to London, she went with him and sang in various concerts there in . Marchesi became the profssor of singing at the Vienna Conservatory, a position she took over when Anna Frohlich was not reappointed. In 6 she went to Paris and continued her pri ate studio teaching as well as concer appearances. Seven years later she reted to Viena Conservatory and remained there fr the nex ten years, re siging in 1 7 . Moving back to Paris in , she then opened her own school hĸƷsinging. She maintained a positive reputation that spanned into the nex centu. Graun, Carl Heinrich. ( 70 7 ƷComposer Salons: Hochenadl, Sonnleithner. Singer and Composer. He served a a tenor at the court of Duke August ilhelm of Bruswick-Wolfnbittel. In that position he was also responsible fr opera, cou and church music. As Kapellmeister, Graun mostly worked on composing dramati c stage works. Some of his compositions include concertos, chamber music and Italian cantatas, which were performed in the court. He collaborated with the Musikibende Gesellschaf, a society funded in 7 . This society supported cour musicians and amateurs fom the nobilit and the bourgeoisie. razi i, Kr l ne. Alt . Salons: Kiesewetter, Various (Millegg). (, rillpar er, Fran . 1797-1 872 ramatist. Son of Anna Maria Sonnleithner and Wenzel Grillparzer. Cousin to Leopold von Sonnleithner. He frst studied law at Vienna University befre he took up his passion as a dramatist. He spent most of his lif in goverment service and retired in 18 6. His ie Ahnfr au, a tragedy, literally made him an overght success when it was presented at the Theater an der Wien on January 31, 1 17. In 1 0- 21, he had made the acquaintance of the Frohlich sisters. Katharina was the one sister whom Franz truly cared fr and the feling was mutual, but he could never make up his mind to ask fr her hand in mariage. Grob, He nr ch. 2ndViolin Salons: Hatwig. G ro6, Bene k . Ten r. Salons: Hochenadl, Sonnleithner. G ro8, Fr e r ch. Violoncello. Salons: Sonnleithner, Various (Schuppanzigh). Gro8, Karl 2ndViolin/V la Salons: Sonnleithner, Various (Schuppanzigh). Grunwald, Krl nzenz. Te nor/Baritone Salons: Paradies, Sonnleithner. Also spelled as Grienwald. iller, Krl. G 2ndViolinViola. Salons: Sonnleithner. ulielm , Al . . (d. November 3 1 3 (60 yrs)) Judge Flute alon H st. Salons: Vanous (Gulielmo ). m nich, Augu R er v n. y ( d. October 6, 18 1) Tenor Salons: Hochenadl, Hatwig, Sonnleithner. 6ɧ Gy wetz, Adalbert. 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When Hummel a #ɧh f her became he mu c d rec or of he hea er auf der We den, ub equen ly hey moved o en a. e a a coun erpo n uden of Albrech berger and a compo on tuden of Sa er he al o tud ed organ i h Haydn H el erved a Konze me er o Pr nce E herh zy and performed he du e of Kapellme er. e raveled ex en vely a a concert p an and v ed c e uch a S Pe er burg, Par , Belg um, War a and London. For t o year ' 9ġ (ɧhe erved a Ka ellme er n Stu tga . In kkƈ#ɧhe ecured a po n We mar hile here, he bef ended Goe he. H tschen e te , J ann Ba t st. enor. Sa on : Sonnlei hner, ariou (Hu chenre er). H tschenreiter, J e a Sin er. Salon ar ou (Hu che re er). aiden name a Melzer. She a marr ed o Adam u che re er. She a a rong oprano and part c pa ed n he alon by pre en ng mu c by Mozart and aydn. er vocal yle demon ra ed good chool ng hou exce ve o amen on H tschen e ter, A am (d. May ¥#ɧkɧ'Eɧyr )) Salon Host. Salon ar ou (Hu chenre er). mu ical evening ere ra her mple n na ure and hey ere u ually held o onday even ng a M er ra e r. <U;ɧ He marr ed Jo eph Melzer, and he r lde on a oha n Bap Hu chenre er. ttenbrenne , J e Salon : ar ou (Falkenhor ). Iso ard, N cola . ( 77 - ) Composer. Salons: Sonnleithner. Maltese composer of French origin. souard's rst arisian opera com que Le petit page, was given in the heatre Feydeau in February . Rudolphe Kreutzer who acted as souard's manager and patron collaborated with souard on that opera. His rst major success was with Michel- nge om which was set to a libretto by Delrieu Many of his works survived in aris until the late 's. The Opera-Comique revived Les rendez-vous bourgeois and oconde afer orld War Lɧ Janda, T ere e. ( 6-a er ) lto Salons: Kiesewetter. She was married to Heinrich Marschner in . He was years her senior. Jansa, Leo ld. ( 79 - 7 ) 1st Volin. Salons: Sonnleithner. Bohemian violinist and composer who studied law at the niversity of Viena. Since his avocation was more toward music he le his studies at the niversity and continued with a musical career. n 4 ansa became a member of the mperial Orchestra; ten years later he became conductor of music at the Un versity. He wrote a number of works fr the violin including concertos duets and str ng quartets Jail, Eduard ( Jaell). st Volin Violin alons: Hatwig onnleithner. I Jail, Alfed ( Jaell). ( - ) Piano Salons: Hatwig. ustrian pian st. He spent some time in America a er the Revolution of 4 but pr or to that he had appeared in Venice Vienna Brussels and aris. He married Mar e Trautmann ( 46- 9 ) in 66. Jeckel, V n ent a. Soprano. alons Kiesewetter Married name is Heufeld. Jenger Piano. alons: Kiesewetter. Jommell , N cc lo. ( 7 4- 774) Composer. Salons: Kiesewetter. . Italian composer. He began his musical training with Canon M�1llo who was the director of the cathedral choir at Aɧversa. 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Voloncello. Salons: Sonnleithner. Kra t, Nik laus 'JEEĤ J<ĩóɧVoloncellist Salons: Various (Neuling). He is the eldest son of Anton Kraf, and a godson of Prince Nikolaus Esterhazy. His fr rst music lessons began on the cello with his fther at the age of fur. His fther accompanied him on concert tours fom the age of nine. His general education took place at Universitat-Gymnasium in der Josephstadt fom JE?8ɧto JE?øÜɧ In kUɧ Kraff became a student of J.L. Dupor in Berlin. The fllowing year he retedI to Vienna and was employed by Prince Lobkowitz as a Kammerose, performing ofen with his fther. For twenty years, fom JJDɧ to kZ6D&ɧhe served as frst cellist in te Kapelle of the Duke of Wurtemburg in Stuttgart. Kraus. Clarinet Salons: Sonnleithner. Krahmer, Er st. Flute. Salons: Sonnleithner. Krebner, Ge r Te nor. Salons: Kiesewetter, Sonnleithner. Krei61, Lu i Volin. Salons: Sonnleithner. Also spelled as Kraill. Kreut er, u l h 'ɧJE99KJĩJóɧComposer Salons: Sonnleithner. He was the eldest of fve survivng children and received his early musical education fom hs fther. Anton Stamitz taught him violin and composition fom JEE;ɧ On May 8<&ɧ JEUɧhe performed a concerto by Stamitz at the Concert Spirituel, Paris. At this performance he was publicly received as a prodigy. May JEDɧKreutzer performed his own First Violin Concero at the Concert I Spirituel. He made a successfl concert tour ofltaly in JE?9ɧ When Rode le: fr Russia in JUɧ Kreutzer became the solo violinist of the Opera. In JU8ɧhe JOmed. Napoleon's chapelI orchestra and his private orchestra fur years later. 93 Kreu er, K radi ( 1780-1 849) C mp ser Salons: Sonnleithner. German composer ad conductor. He is the son of a Swabian burgher and received his frst musical training fom J.B. Rieger the local choirmaster. He studied law at the University ofFreiburg. In 1800, afer his fther's death, he devoted himself completely to music. Kripp er, [S f Hei rich hris ia ]. Bass Salons: Various (Krippner). Kripp er, Hei rich hris ia (d. August 13, 1840) W lesale dealer Sal n H st Salons: Various (Krippner). Krom er, Fra (1759-1831) C mp ser Salons: Hatwig, Sonnleithner. Czech composer. He was the son of the innkeeper and later mayor ofKamenice Georg Krommer ( J iri Kramar, 173 7--1810}, and the nephew of the composer and choirmaster Aton Matthias Krom.er. He was a temporary organist in Turan afer 1777. Lɧ 1795 he retured to Vienna to teach composition and later he was appointed Kapellmeister to Duke Ignaz Fuchs. He unsuccessflly applied fr a violin position at te Vienna Hofapelle. However, afer 1810 he was employed as Ballett-Kapellmeister of the Vienna Hofheater. Bar Nik laus v Koft,(1 779-1818?) C mp ser, Pian . Salons: Hochenadl, Sonnleithner, Various (Neuling). Neighbor and fiend of the Hochenadl Family. He perfored piao at the home of Vinen Neuling. Kupel ieser, Elisabe h Piano. Salons: Paradies. Married name is Hellmesberger. Kupel ieser, Le old (1796-1 862) Painter He was a famous painter in Vienna and in 1818; he painted the frst of many portraits of Emperor Franz Lɧ ¨ɧSeptember 17, 1826, he married Johanna Lutz. Kuschel, K rad 2ndVolin Salons: Hatwig. Kihnlei Comp ser. Salons: Sonnleithner. 94 Lablache, Lui i. (1794-1858 (January 27, 1858)) ass. Salons: Kiesewetter. Italian bass singer of French descent. At the age of 12, he went to the Naples Conservatorio della Pieta dei Turchini. He studied violin, cello, elements of music with Gentilli and singing with Valesi. Mercadente wrote his opera Elsia e Claudio fr him in 1821. 1812 he made his debut with Fioravanti's La Molinara That same yearI he met Teresa Pinotti� they married a fw months later. He perfrmed and traveled throughout Europe. In 1809, he performed the contralto part fom the Mozart's Requiem as a part of a memorial service fr Haydn. Similarly, in 1827, he performed the solo bass pat at Beethoven's memorial service. Lach a , Ko st zia. Soprano Salons: Paradies, Sonnleithner. Married name is Edle von Thom. Lach a , Iabella. (d. 1859) Soprano/ lto. Salons: Paradies, Sonnleithner. Lagusius, Geor vo . Bass Salons: Paradies, Various (Reunion). Lange, Aloisia. (1761-1839) Soprano/ lto Salons: Paradies. Geran soprano. She was Mozart's sister-in-law, and the sister of Josepha Hofr. She was retained as a leading singer of the Italian troupe in 1782, when Joseph II removed German opera to the neighboring Kamtnertortheater and reinstated Italian comic opera at the Burgtheater. She toured with her sister Constanze in 1795. Langer, Marie Soprano Salons: Kiesewetter, Paradies. Lannoy, Baro Composer Salons: Various (Rohrer). Lau a, Therese (d. March 1820) Soprano/ lto Salons: Paradies. Laurent. Soprano Salons: Sonnleithner. La er, Ber hard. lstViolin. Salons: Hatwig. 5 Leban. Pian . Salons: Sonnleithner. Lecblei ner, Pauli e. pran /Alt . Salons: Paradies, Sonnleithner. Leeb, Ka hari a. Soprano. Salons: Kiesewetter. Lei es rf. Pian . Salons: Sonnleithner, Various (Neuling). Lember , Ma dale a. Piano Salons: Sonnleithner. Lem ch, inze z. Pian . Salons: Sonnleithner. Leo, Le nar o. (1 1 7 ) Comp ser. Salons: Kieseweter. He is the son of Corrado de Leo and Rosabetta Pinto. He traveled to Naples in 170 to become a student ofNicola Fago. By 4,6ğɧwith the death ofHasse, Leo became the dominant fgue in Neapolitan musical lif. Levy. Piano. Salons: Various (Reunion). Lhot k, J ha . Te nor/Barit ne. Salons: Paradies. Liebenber . Salons: Various. Lieber, J han . Voloncello. Salons: Sonnleithner. Lincke, J se h (Li ke). Ù ,6j46,(ɧ V l ncellist. Salons: Various (Reunion). Silesian cellist and composer. He studied violin with his fther and the cello with Oswald. He mostly supported himself as a music copyist until he became the violinist in the Dominican monastery at Breslau; he was twelve years old. He participated in Schuppanzigh's public concerts and in 449ɧbecame chamber musician to Countess Erdody at Pancovecz, near Zageb. He reted to the theater in 44ɧand became the solo cellist at the Theater an der Wien and the Kamtnertortheater. From 464ɧhe played in the Hofper orchestra. He was quite 96 adored by the Viennese audiences, despite his lack of beautiful tone in a large ensemble. Linhart, Sofe. Soprano Salons: Hochenadl, Kiesewetter, Sonnleithner. Married name is Schuller. Lotti, Anto io. (c.1667-1740) Composer Salons: Kiesewetter. Italian composer. He composed solo motets, choral works and oratorios fr the singers of the Ospedale degli Incurabili. Throughout the 18th century the singing style of this fmale goup was quite well known. He served as the maestro di cappella of Spirito Santo fom 1697 to 1707. During a religious fstival on June 14, 1711, an orchestra of 37 musicians played the music of Lotti, Caldara, Gasparini and other north Italian composers. Lugano, Peter. enor/ aritone. Salons: Hochenadl, Kiesewetter, Paradies, Sonnleithner, Various (Reunion). Lut , Johan a. (1803-1883) Wif of Leopold Kupelweiser (1796-1 862). Sister of Regina Lutz. Lut , Dr. Matthaus. (d. February 27, 1853) enor. Salons: Kieseweter. Lu , Rei e (Rega Lutz). (d. 1840) Soprano Salons: Sonnleithner. Married Hermann Neef, the son of Beethoven's teacher in Bonn, Christian Gotlob Neef. Mahir, Laura. Piano. Salons: Sonnleithner. Maio, io a ni. (1732-1 770) Composer. Salons: Kieseweter. Italian composer. His early musical instruction came fom his fter and as a boy he assisted his fther in the royal chapel in Naples as organista soprannumerario without salary. Vienna and Mannheim he worked with librettist whose texts approach the refrmI ideal of Gluck. When he retured to Italy he composed his operas in the traditional structure of alterating recitative and aria. His sacred works incorporate striking harmonic dissonances created by his use of chromaticism. ?,ɧ Maler, Emmy. Pian Salons: Paradies. Married name is Schulz von Stra nitzky. Ma cello, Benedetto. ( 99j ,6?(ɧC mp ser. Salons: Kiesewetter. Italian composer. He was the youngest child of Agostino Marcello, a enetian nobleman and the poet Paolina Capello. He is also the brother of Alessandro Marcello ( 99Ů ,ɧ4 7), a composer of chamber music. He leared to play the violin fom his fther, but he later discouraged him in his developing in singing ad coun erpoint. His f her wanted him o pursue a legal career. In 1 06 he was elected to serve on the Grand Council of the Republic. This led him to a series of importt posts in the civil service and he also practiced as an advocate and magi tra e. Mareau. Actor Salons: arious (Warsaw), Various (Hutschenreiter). Also spelled as Moreau. Ma ga it, Marie. Salons: Paradies. arried name is irka. Ma ga it, Elise. (d. 8 (ɧPian . Salons: Paradies. Ma inelli, ra z Ed e on. ( d. October 8 &ɧ1849) Tenor Baritone. Salons: Paradies, Sonnlei hner. Martin, Vin en . C p ser. Salons: Sonnleithner. m Ma tini, io anni Battista. (1 06-1 84) Composer. Salons: Kiese etter. Italian composer, teacher and writer on music. He as also a prolifc historian and theorist who corresponded with eminent musicians throughout Europe and built a library ha became te basis of the Civico Museo Bibliografco Musicale Bologna. His musical output consists mostly of sacred music with many chamberi works in the homophonic style. He also wote fve o eratic works. Mateigk. Composer. Salons: Sonnleithner. Mathaus. Salons: Various. 98 Maurer, arianne von. S pran / lt . Salons: Paradies. Maurer, Ludwig. (1789-1 878) C mposer. Salons: Sonnleithner. German violinist and composer. He studied with Kal Haack, Frederick the Great's Konzertmeister. 1803 he was admitted to the royal chapel. Aer its dissolution in 1806 MaurerI traveled east. He met Baillot and Rode while he was in Riga. I was with his studies with Rode that he leared much of the French violin style. He played in St. Petersburg and then went to Moscow. While in Moscow, Baillot recomended as the director of Count V sevolozsky's orchestra. From 1819 to 1832 Maurerh directed concers and opera in Hanover whilst maintaining a rigid touring schedule. Ma er, Karo ine. Soprano Salons: Kiesewetter. Ma er, Ignaz. H ; a ldh . Salons: Sonnleithner, Hatwig, Various (Falkenhorst). He was also a Medical Doctor. Ma r, Simo . (1763-1 845) Comp ser. Salons: Hochenadl, Sonnleithner. German composer, teacher and writer on music. He was among the leading fgures in the development of p era seria during the last decade of the 18th century and the frst two decades of the 19th. He received his early musical training fom his fther. In 1781 he studied law and theolog at the Universit of Ingolstadt. While he was he supported himself by playing the organ. Ma seder, Joseph. (1789-1863) Comp ser Salons: Hochenadl, Sonnleithner, Various (Reunion), Various (Rohrer), Various (Neuling), Various (Domanovecz). Austrian violinist and composer; he studied with Suche and Wranitzky. He played second violin in Schuppanzigh's quartet. In 1835, he was appointed chamber violinist to the Emperor. 1815, he, Hummel and Guiliani gave the "Dukaten Konzerte" which were laterI replaced by Moscheles. Most of his compositions consisted of chamber music. He perfrmed with the cellist Merk, but never perfored abroad, and gave up playing in public in 1837. Meerau, Ko umban S hniter vo . Te nor Salons: Kiesewetter. ??ɧ Mehu , Etienne-Ni o as. ( ,96ĢJ Ɔ(ɧC mp ser Salons: Hochenadl, Hatwig, Sonnleithner Mehul was the son of the Count ofMontmorency's maitre d'hotel, Jean-Fran9ois Mehul. His main goal was to triumph on the stage of the Opera He became widely known as a composer of patriotic songs and choruses, many of which were goverent commissioned, during the Revolution When he became a under member of the nsti ut de Fr nce in 17 5, he was the frst composer d the second youngest person to named to that body. Mende , Franz. Guitar Salons: Sonnleithner. Mende , Marie. Pian Salons: Sonnleithner. Married name is Schmid Me cadente, Giuseppe Sa erio Raffe e. ( ,?Æj ,(ɧC mp ser Salons: Hochenadl, Sonnleithner. Mercadante rst leared to play the guitar and clarinet fom his half-brother. n 49ɧhis ther took a post in Naples, which proved to be fuitfl r Mercadente because he was then able to have pro ssional training at the conservatory. hile at the conservatory he studied the violin, ute, singing and gured bass with G. uo and counterpoint with aɧ Trito. Shortly thereafer he was leading the conservatory orchestra He was recognized as a pro ssional operatic composer Me k, Josef. (17 5-1 852) V l ncell . Salons: Sonnleithner, Various (Neuling). Austrian cellist and composer. n ɧhe became the principal cellist at the Opera and a pro ssor at the Conservatory He per rmed with Mayseder o en, and was the chamber cellist fr the Emperor Met . S pran Alt Salons: Paradies. Mia i, A to io onte di. C mp ser. Salons: Kiesewe ter Milani, Josef. Alt Salons: Hochenadl. Minetti, Therese. (d. circa 1846) Alt Salons: Hochenadl, Kiesewe ter Married name is Sengel. YYɧ Minoia, Amb ogio. 'ɧ ,ɧ<8K 8<(ɧC mp ser àɧM $ɧ µɧ ɧ ɧ Äɧ A ćɧ ɧ ɧ ɧ ɧ ɧ ɧɧ "ɧ ɧ ɧ ɧɧ Rɧɧ ɧɧ ɧ ɧɧɧɧ µɧ ,?&ɧ ɧ ɧ ɧ ɧɧ"ɧ ɧ ɧɧBɧ ɧɧ"ɧɧ ɧ ɧ $ɧ [ ɧ%ɧȸ ɧ ɧ ïɧBɧ ɧ ɧe ɧ'ɧ ,9ɧK 4,,(ɧ ɧɧ !1ɧ ɧ ɧ ɧ ɧc ɧɧƍɧ !ɧ ɧ ɧ ɧšēɧ ɧ ɧŅɧɧɧɧhõɧ Y9ɧ ɧ ɧɧɧɧ ɧ ɧ ¿ɧŃɧA ɧA ɧ"ɧ!ɧI ɧ´ ɧ LJ;ɧ Mohrenhof, The ese Wink e on. Violin. Çɧ:1;ɧ Aɧ ɧ ǎɧ Molique, Bernha d Wi he m. ÃkZY8K4Z9?(ɧVi lin. Ȇgɧ:1&ɧ+ &ɧȗÖȶō&ɧ7 ɧ'§ (ɧ ¦řɧ!ɧ ɧ ɧOɧǖɧ ɧ ɧQɧÓ &ɧɧ ɧɧ ɧ V ɧ ɧ +ɧȠB ɧɧ ɧɧ ɧɧŃɧÁɧ ɧ ɧ 1ɧ ɧbš ɧ ɧ:¿ɧe!ɧÔ ɧkZ49ɧɧkZk,$ɧ Oɧ ɧɧ ǡɧ ɧĎɧ çɧɧÊ ɧ8Z&ɧ Z ,ɧ m ɧ ɧ ɧ ɧ ɧ» ɧ ɧ ɧ"ɧ ɧ[ ɧɧ ɧm&ɧ ɧɧƨ ȴɧ 8Yɧ ɧ ɧ ɧ Rɧɧ b W ɧɧ ɧe!ųɧ ã ɧ 4Z89ɧɧ4ZD?ɧ ɧ ! ɧɧ ɧ ɧ ǵɧ W ɧ ɧ ɧɧ ;ɧ Mo a. Singer. àɧ 7 ɧ'e (ɧ Moscheles, Ignaz. Ãk,?j Z,Y(ɧComposer; Piano wɧ+ &ɧ: &ɧȹ&ɧ ç ɧ'M(&ɧç ɧ'¹ (;ɧ ¦řK ɧ&ɧ ɧ ɧ Ŵɧ :ɧ ɧɧ b &ɧ ɧ ɧɧɧɧɧ!ɧ Ɍɧ Oɧ ¿ ɧ^ ɧË ɧ Wɧ Z89ɧ ɧ ɧÐ ɧBɧ ɧ ɧ ɧ µɧ4 D&ɧ ɧ RɧQɧRɧ"ɧ VRWɧɧïï ɧ"ɧ !ÂɧFideli ɧ ɧ !ɧK ƕɧ ^;ɧ ɧ ɧ¿ï ȷɧɧ 44Dɧ [ ɧÑ ɧ &ɧɧ\ɧ V ɧ ɧ¾ ɧ" ɧɧ ɧ ɧɧ+ ɧ^ ¿ɧ·ēē;ɧ Mosel, Babete Edie on. Sopran /Alt Sɧ: ɧ bÑĕ ɧ ɧɧÐ ɧ 101 Mosel, Ig az Fra z o . ( 1772-184) C mp ser Salons: Sonnleithner. Austrian witer on music, conductor and composer. He conducted the frst music fstivals of the Gesellschaf der Musikfeunde in the Spanish Riding School in Vienna (1812--16). For nine years (1820 1 829) he was vice-director of the two court theatres. Many of his compositions were frgotten even during his liftime, ad his arrangements and e itions are basically useless by to ay's standards. His ork at the theatres and the Imperial Library enable him to rite authoritatively about contemporary musical fgures. Mosel, azi ie. ( . May 17, 1819) pran Salons: Hochena l, Para ies. She died of Typhoid Fever. Her name also is spelled as Cacilie She died in Modling, a suburb of Vienna. Moser, Ig az. V l ncell Salons Sonnleithner. Mo art, Wo fga g Amadeus. (1756-1791) C mp ser Austrian composer. Son of Leopold Mozart. Essentially hs compositional style is a synthesis of many diferent elements, which today is regarded as the height of Viennese Classicism He excelled and composed in every medium current in his time. Mo atti, Josef. Tenor/ arit ne Salons: Paradies, Sonnleithner. Mozattie, Josef. Te n r. Salons: Paradies. Mihlauer, erdi a d. Vol ncell Salons: Hat ig. Millegg, erdi a d i er o u d zu. al n; H st Salons: Various (MUHegg). Muller, We zel. (1767-1835) V lin C mp ser Salons: Hochenadl, Sonnleithner. Austrian composer. From an early age he studie all the instruments of the orchestra. His frst mass as ritten when he as 12; it was fr an older brother ho as being ordained. Maurus Haberbauer was his teacher that trained him in ind instruments at te Benedictine fundation of Raigem (Rajhrad), near Bro. Miller, accepte by Marinelli, becae Kapellmeister at the heater in der Leopoldstadt in Vienna in 1786 For the Leopol stadt premiere, Muller 102 conducted Gassman's La c ntessina He is most regarded fr his popularity and contributions as a composer fr the Viennese Volkstheater. Mi er- o enhofr. Salons: Sonnleithner. Mu ner, Josefa. (d. January 19, 1843) Harp . Salons: Sonnleithner. Married name is Gollenhofr. Naderman. C mp ser Salons: Sonnleithner. French fmily of musicians, publishers and instrument makers. N aso ini, Sebastiano. ( c. 1768-1798 or 1799) C mp ser Salons: Kiesewetter. Italian composer who most likely studied in Venice ad completed his studies during the 1780's. At the Cathedral of St. Guisto in Trieste he was appointed the position of maestr di cappella. Befre April of 1789, he became the maestr al cembal at the Teatro St. Pietro in Trieste. He set Metastasio's Nitteti, and presented it during spring of 1788. Nau ann, Johann ott ieb. (1741-1801) C mp ser. Salons: Hochenadl. Composer and conductor. His most fmous opera, C ra, is notable fr its melodies. In contrast, the composer thought that his best work was Gustaf mɧasa� it contained popular march tunes and refected the stle of Baroque music. N ej ebse, Johann. ass. Salons: Paradies, Sonnleithner. N entwich, Johann. Trumpet H rn. Salons: Hatwig. Nentwich, Josef. rumpet H Salons: Hatwig. Nespern, erdinand von. stVi lin Salons: Hatwig. I Nestro , Johann. (d. May 25, 1862) ass. Salons: Paradies, Sonnleithner, Various (Hutschenreiter), Various (Falkenhorst). Austrian playwght, actor, director and singer. He frst studied law at te University of Vienna fom 1817 to 1822, but lef the program to pursue a singing @U6ɧ $ɧ Èɧ ɧɧ"ɧ@,ɧ ɧ ɧ ɧɧ ɧɧɧo ɧo" ɧ"ɧ +~ɧÈÁ ~ɧzƎɧɧÈ Ǩɧ8&ɧ@88ɧ ɧ ɧ ɧ ɧɧ-ȼɧɧ ɧ ɧäɧ ɧɧɧɧɧ ɧtɧ7ɧo ɧɝ � ƿ $ɧ GH ȇ$ɧ ƥ ɧm Ƿɧoðȫ ɧ)ɧoɧÔ ɧ ɧ Ú Ñ ɧɧ @ ɧ ɧ Neuhauser, Johann Peter. Vola. -Sɧä)$ɧ Neuli g, Therese. Singer -ɧ7 ɧ'Ā (ɧ bɧ ɧ)ɧ§ qR$ɧ - ɧ)ɧ ɧKK)ɧɧ7Ŧqɧ§ $ɧ Neuli g, Vi e . ';ɧ ɧÝ&ɧ@Ý9(ɧVolin, Salon Host. -ĭɧ- &ɧ7 ɧ'Ā ($ɧ +ɧ ɧ ɧð ɧɧ ɧ ɧɧ[ ɧ!ɧÔ ɧ@@,ɧ ɧ @ī÷8$ɧ äɧ)ɧɧon\ɧ!ìɧ ɧ ɧ"ɧo ɧh ɧ Nicoli i, iuseppe. '±9÷ĥ@Ý8(ɧComposer. -ĭɧd &ɧ- ɧ µuWɧ $ɧ Ɵɧ ɧ ɧ ɧ ɧ) ɧ ɧÓ &ɧ ɧ ĸɧ ɧ)ɧ ɧɧ ɧmaestro di cappella ɧ:ŗŦɧ z ɧ ±ɧɧ ɧ @,Ƅɧ¢ɧ ɧɧ ɧáěɧ ɧ -ɧ ÔɧɧƲoɧ Èɧ Ŋɧn!&ɧ ɧ ɧ ɧL}ɧ ɧá $ɧ aniele nel !a o de i leoni '@,@&ɧƳ(ɧ ɧ ɧazione sacra Giuditta '@,ø&ɧ7(ɧ)ɧ VWéɧLjɧǗɧ;ɧ Lɧ @,?6&ɧ¢ɧ ɧ ɧɧLa fa miglia stra agante. ƠɧV½ &ɧBɧ ɧ÷Uɧ &ɧɧɧB)ɧ) ɧ ɧo ɧ ɧ ɧ Vǥ½ɧtɧ¡½~ɧ $ɧ Lɧ @@?&ɧåɧ)ɧoo ɧ ɧɧ"ɧ maestro di cappella "ɧ ɧǁÀ ɧ Āɧ ɧɁ ɧ ɧuɧÔ ɧoɧ nɧ ɧ×}Ƕɧ ɧ @6@ɧ Niesner, ranz. 2ndVolin. -üɧO)ɧ Obe leitner. Guitar -Sɧ: ɧ Opitz, Therese. '±īÝ9(ɧPiano -Sɧ - ɧ O landi, erd nando. (177 1 8 8) Composer -Sɧ- ɧ ;ɧ $ɧ µuHWɧ oŵɧ+ɧ\ɧ ɧéɧ)ɧ) ɧaoɧe éǭɧ ɧŖɧ äɧ)ɧɧ: ɧɧu ɧ) ɧƝɧ uɧċɧ ɧ ɧ)ɧɧ: ɧ 104 Ghiretti ad Paer and later went to the Conservatorio di St. Maria della Pieta dei Turchini in 1793 to 1799 hile he was at the Conservatorio he studied with Sala and Tritto. His frst opera, La pupila scozzese, was produced in Paa at the Teatro ucale. Between 18 and 1825 he com osed 25 operas he also wrote church music and chamber music. Otte , Josef. Salons Hatwig. Otte , Ludwig. Volin. Salons: atwig, Sonnleithner. Pae , erdi a do. ( 1771-1839) Composer Salons Hochenadl, Sonnleither. His frst musical training was with his ther Giulio, a hor layer in the Parma court theate orchestra ater he studied with Gian rancesco ortunati, the court maestro di cap ella. His frst nown stage wor was rphee et Euridice, written in 1791, and a year later he wote Circe, his earliest Italian o era. Paisiello, io a i. (1740-1816) Composer. Salons: ochenadl, Sonnleithner. Italian composer. He was among the most success l and infuential opera composers om the late 18th century. His rst education was at the esuit school in Taranto and then, between 1754 and 1763; he studied at the Conservatorio di St. nofio in Naples. Palest ina, io a i Pier uigi da. (1525-1 594) Composer Salons Kiesewetter. Italian com oser. He is among the ran s of assus and Byrd as one of the leading fges in the music of the late 16th century. He composed mostly masses and motets, but also was an im ortant madrigalist. Ofen he is noted as being the ideal Catholic com oser because of his success in uniting the nctional and aesthetic aims of the Catholic Church in the post-Tridentine period. Palma, Sil estro. ( 17540 1834) Composer. Salons: Sonnleithner. Italian composer. e entered the Conservatorio di St. Maria di oreto in Naples at the age of 16. His frst musical instruction is assumed to be with Carlotta di Sango, the daughter of the Prince of Sansevero. In the late 178 '2 he became a student of Paisiello. Palma became know mostly fr his o eras, which were quite popular until aound 1813. It has been surmised that the musical tastes of te public had changed and that his style no longer suited the public's ap etite. U<ɧ Paradies Therese. ' , Paris, e riette. ian . £wɧ© ɧ b ɧ ɧ*ɧa $ɧ Pa esi, Stefano. Ù@EE?K Z Payer, ero imus. C mp ser. wɧ+ &ɧ ɧ Pechaczek, ra z. Ù ± ,?6j ZDUrɧComposer lo cello Pia o. ɧ+ &ɧM* F&ɧ «WȈÕ &ɧ7Õ ɧ'å r&ɧ7 ɧ'hǹ(ɧ ijȜɧ©qɧƽ© ƾɧ ɧɧA ɧ! ɧ ɧ $ɧ +ɧɧ nɧśɧɧ!**ɧɧɧɧ"ɧB ɧ ɧ ɧ ɧ ɧ ɧ ɧ &ɧ ɧB ɧɧ ɧ Vȡ ɧ ɧ Íɧ Z Z&ɧ ɧ ɧ ɧ ɧ ɧtɧ ɧ+!ɧ Fɧ nȬ$ɧ Pechatschek. Ù EZZĤ ZED(ɧPia . Ɖɧ+ &ɧ¶ &ɧ7$ɧ Pec r. A to . 2ndV lin V la. .Tɧ© &ɧê£$ɧ Ɠ ěn;ɧ Pe wa ger, Babete. lt . Ɗɧ£TŌɧ 106 Pensel. C mp ser. Salons: Sonnleithner. Perei a. Salons: Various. Pergolesi, Giovanni Battista. (1710-1736) C mp ser. Salons: Kiesewetter, Sonnleithner. The family name 'Pergolesi' is derived fom their town of origin. His fther was a sueyor. Pergolesi received his earliest musical training fom Francesco Santi. He studied the violin with Francesco Mondin. 1732 Pergolesi became maestr di cappella to Prince Ferdinando Colonna Stigliano.I As a sign of atonement, (fom the earthquakes of 1731 and 1732) the theatres in Naples were closed during Carval 1733. Pergolesi was commissioned to write an opera fr the empress's birhday (28 August 1733), he entitled it II prigi nier superb , afer Silvani 's libretto La fde t adita e vendicata. Perotti, Giovanni Agostino. (1769-1855) C mp ser. Salons: Kiesewetter. Italian composer, teacher and writer on music. His earliest musical training was with his older brother Giovanni Domenico Perotti. Around 1790 he studied under Mattei in Bologna. In 1794 his setting of Metastasio's oratorio Abele was performed in Bologna. The fllowing year in Pisa his one-act comic opera, La c ntadina n bile, was presented. That same year he went to Vienna as a keyboard player fr the court. From 1798 he went to London fr fur yeas; he reted to Italy and settled in Venice in 1801. Perti, iacomo A tonio. (1661-1756) C mp ser. Salons: Kiesewetter. Italian composer. He began to study music in Bologna with his uncle Lorenzo Perti and also with Rocco Laurenti. With the latter teacher he leared the rudiments of organ playing. In 1670 he began to study singing and also took up humanistic studies with the Jesuits at St. Lucia. Five years later he studied counterpoint with hs uncle and later with Petronio Franceschini. He achieved fa e both as a composer of sacred music, opera and oratorio and as a teacher during his 60 years as maestr di cappella of St. Petonio in Bologna. Petenkofer, Anton. (1788-1834) al n H st. Salons: Hatwig. Since Hatwig's healt had declined by Spring 1818, Pettenkofer then opened his apament on Bauenarkt Nr. 581 to those members ofthe Hatwig Salon. Josef Otter became the new violin director fr these concers and rehearsals. On April der 16, 1819, they perormed ie ieben rte, er Messias and Gewalt . to wm T n unst. According to Sonnleithner, Pettenkofer had the good frtu�e . the lottery. actuality, it was misfrtunate that he won the lottery. Smee he did I 107 ɧ ɧ ɧ)ɧǓ ! ɧCɧ ɧɧ)ɧ ɧɧ ɧ ɧǏȍ$ɧ Petters, Johann. Bassoon. -ɧ+)Äɧ Pfifer, Leopo d. Bass. -²ɧ7 ɧ'¹ (;ɧ Philidor, ran�ois Andre. (1726-1795) Composer. -gɧM)F$ɧ ɧ ɧ)Cɧ ^ Nɧɧ a tre de chapelle. AC ɧɧ)ɧɧ Ade i Ɛ/pɧ"ɧɦɧ)Rɧɧ)ɧ ɧ ɧ" ɧBɧɧɧN ɧ¼ɧ ǸɧȎNȒÅɧ 1740 ɧɧ7 ɧBɧ: vɧ : ɧɧNB¼ ɧ }éCɧ ɧN ɧ ɧI ɧÓ¼ ɧ ;ɧ I Pinschof, riederike. Soprano. -SɧM )ɧ Pi inger, erdinand. «ȉîgɧ7 ɧÃ- NNq ($ɧ Pit enberg, Anna. Soprano Alto. -ɧ: $ɧ Piuckher, Ignaz. Violin. -wɧ- CÄɧ Pixis, ohann Peter. ( 1788-187 4) Composer. -Įɧ+ ɧ - ɧ æWɧ ɧ/N$ɧ +ɧ! ɧ ɧķ ɧc ɧ 1809 ɧ 1825. ãɧ) ɧ ťɧ(1825-1845) Cɧ)ɧ ɧ:ɧ ɧ ɧɧɧ A ɧc ɧɧ)ɧ îpɧ¼Fɧ"ɧɧ¼N ɧɧǞɧɧN Üɧ + ɧNɧAlmazinde )ɧ pG} ɧɧƻɧɧŞCɧ[ɧɧ ɧm ɧɧANɧ 11, 1820. Lɧ1845, ɧ /îɎ ɧɧy ůy ɧ) ɧ DŽɧ ɧ\ɧ ɧNɧ Ple el, Ignaz Josef. (1757-1 83 1) Composer. -Įɧ: ɧ+)$ɧ É/pɧ/ ɧN ɧ ɧNɧ/ǂöɧ+ ɧ N ɧ!ɧ ! ɧ ) N ɧNN ɧɧ´ Nɧ ɧ¹FɧA ɧ +ɧB ɧɧ »ɧ p ɧC ɧ ɧɧNɧ ÓɜÄɧ + ɧ\ɧNɧ )ɧ ɧ R ɧɧ ·N/ɧɧ^ ɧ´ ýɧ ɧ-ɧƶ ɧNɧ 1 ɧ ɧɧCɧ Éî}ɧ 108 Pockh, Josef. ass Salons: Paradies, Sonnleithner. Porges, Josef. 2ndVi linVi la Salons: Sonnleithner. Porpora, Antonio Ni o a. (1686-1 766) C mp ser Salons: Kiesewetter. Italian musician. Caterina and Carlo Porpora were his parents. During his liftime he was interationally famous as a composer and as a singing teacher. Two of his notable students include Farinelli and Caffrelli. Preind , Josef. (1756-1 823) C mp ser Salons: Sonnleithner. Taught composition to Johanna Lutz, Leopold's Aunt, and to Leopold. Preindl became Kapellmeister of St. Stephan's Cathedral in 1809, succeeding his teacher Albrechtsberger. His musical training in Vienna was with Albrechtsberger. He wa also an organist at Marbach, the church of Maria am Gestade, and at the Carmelite church in Vienna-Leopoldstadt. P eisi ger, Josef. Bass Salons: Hatwig, Sonnleithner. P ohaska, osef. V lin. Salons: Hatwig. In Otto Hatwig's orchestra, Prohaska played 2nd violin. When the small orchestra moved to Franz Frischling's, Prohaska led the orchestra fom the 1st violin section. The orchestra was actually of a larger size when it was reinforced with some of the corp wind players. Puccita. C mp ser Salons: Hochenadl, Sonnleithner. Pittlingen, r. Johann Vesque von. (1803- 1883) Pian . Salons: Various (Neuling), Various (Mullegg). Austrian composer. From 1827 to 1872 he studied law and worked in the civil and diplomatic service. He was made a baron in 1866 and ten years later he became a member of the German Herrenhaus. Among his music teachers are Sechter, Moscheles, and Vorisek; Vogl was his singing teacher. He became an accomplished tenor and supported musical lif in Vienna as a patron and artist. His authoritative book on musical copyright, as musikalische Aut rrecht, was published in 1864. 109 Rabel, Fra z X. Voloncello. Salons: Paradies. Rac i sk, von. Salons: Sonnleithner. Radichi, Ju ius. (d. September 16, 1846) Tenor. Salons: Sonnleithner. Rafel. Composer Salons: Sonnleither. Randharti ger, Be edikt. (1802-1893) Tenor. Salons: Kiesewetter. He studied at te Stadtkonvikt in Vienna fom 1812 to 1819. While he was there he became acquainted with Schubert. He was then schooled at the University of Vienna where he studied law and philosophy. While at the University, he also studied composition with Salieri. From 1825 until 1832, he worked as a secretary to Count Louis Szechenyi, and as a singer at the court Kapelle. Rechel, Filipp. 2ndVolin. Salons: Hatwig. Redlpacher. Contrabass. Salons: Hatwig. Regenhart, Jakob. 2ndVolin. Salons: Hatwig. Reggla, ottfrie. (d. March 16, 1836) Bass. Salons: Kiesewetter. Reich, Josef. Voloncello. Salons: Sonnleithner. Reissiger, Krl ottlieb. (November 7, 1859) Bass. Salons: Sonnleithner, Vaious (Falkenhorst). He studied at the Thomasschule in Leipzig. His teacher, Schicht, advised him to frego his theological studies at the Universit and to pursue a musical career. He stdied with Salieri in Viena and while he was in Munich he studied with Winter. In 1842 he gave the frst performance of Wagner's Rienzi at the Dresden Opera. ±4Yɧ Reschny. 0Sɧ7_*0 ɧ'= ŧ*(ɧ R edinger, o ann H0wɧ:HH1 $ɧ z*1ɧ0ɧɧ * ɧ':_1*(ɧ1ɧ*1ɧ= ɧ0Ą= $ɧ Ries, erdinand 'EĪK46rɧPianist, Composer H0ɧ+0= 1#ɧ:H1 #ɧ0 $ɧ xɧɧɧ0ɧ\!ɧ ɧ ɧ 1 *ɧ!*0=0ɧ) ɧȰ_1ɧe $ɧ z_ŧ&ɧ *ɧĖ#ɧ ɧ* ɧ! 0 ɧ1ɧ*$ɧ Ʀɧ4 Y4#ɧ ɧ 1*1ɧ)* ɧm ɧ*ɧ hɉ = ŷɧ 4Y4&ɧ ɧ)ɧ0ɧ7 Hɧɧ 1 ɧ*0ɧ) ɧ 0!ɧ x=I _ɧ = ɧ ɧ=ɧB_ɧ=0 0 *0ɧ0$ɧ Lɧ Y#ɧ!ɧ Čèɧ_ ɧ0ɧ!ɧe*ɧ =Čɧɧ *ɧ0ɧ^0 ɧ0ɘɧ*ɧ1$ɧ e*ɧ = ɧɧ ɧBɧ:_*=ɧƪ =C)¬ ɧ1 ŒɧĖɧ ɧ0tɧ4Y<ɧ )!_#ɧ ɧ4 YĪ#ɧɧ 1ɧ *ɧ1 ɧɧ0!~ɧ 1ɧɧ ɧx ɧ ɧ }1ɧÁ*! ɧB_ɧB _ɧ &ɧc0 ɧ 4 Ylɧ0ɧ 4 6#ɧ*ɧM#ɧ+ &ɧ ^ &ɧèɧ0=0í $ɧ m ɧɧ)ɧ0ɧ$ɧ : &ɧ ɧ ɧ ɧ)*ɧ yȱH1ɧe0 &ɧH1ɧ ɧ 1ɧe Hɧɛf ! $ɧ ĺ0ɧ ɧĚɧɧ 0 &ɧɧ)1 ɧe0 ɧx=1 ɧ0ɧh =ɧ 1ɧ * ɧɧ ɧ ɧx*ɧ tɧ6#ɧe*ɧ)ɧɧÐ010ɧ) ɧ ɧH èɧBɧ ɧ4 4 ɧ $ɧ Lɧ 4D#ɧ ɧ ČHȲ 1ɧH ɧhHɧ Rig e , And eas. Volonc llo Ƌɧ*Ŷɧ Riote, hi i akob ĞEE¥ĥ <¥rɧComposer. H0gɧ0 ɧ ¦ȯɧ= 0ɧ1ɧ=1 =0ɧ +ɧ)ɧɧ 1ɧ0ɧx0ɧx1ɧɧ ǔ H=ɧ Lɧ 4 YDɧɧ1ɧɧ*H*ɧ1ɧ =0 0ɧɧHɧ==ɧ*ɧ ƛHȕɧ Ƙ ɧɧB0)*ɧ ɧ ɧ H1ɧ =0 ɧ f =ɧ1 =ɧHɧ¦ H$ɧ +ɧ )WɧɧƼ*ɧ1ɧ)_1ɧɧɧ=0 _ɧ0_ɧ1ɧɧɧ[ɧɧ1ɧm $ɧ xC ɧɧ)ɧ¾ *ɧ ==Ǣɧ*ɧ ɧ! ɧ *=ɧB_ ɧ ɧɧ=0 1#ɧ Cɧ)ɧ 0ɧ 0 ɧB_ɧ *ɧɧ)0¬ɧ1ɧ¬ 01ɧ =ɧ [ ɧ ¦=ɧ1_ɧh Ȃ 1&ɧ7 #ɧ1ɧɧ_ɧ=0=*0ɧɧ *ɧ)ɧ*ɧ VW}=*ôɧ Ripe i, Kar Bass 0üɧ+0= H1$ɧ Ri y, Dr. Theoba d T nor. 0ƌɧM*)_$ɧ eèɧ0ɧ0ș ǯɧ 111 Ri , Marie. (d. 1852) Pian . Salons: Sonnleithner. Rode, Pie e (ode). (1774-1830) C mposer Salons: Hochenadl, Sonnleithner, Various (Domanovecz). Pierre (Jacques Joseph) Rhode [Rode] was a French violinist and composer. Beethoven's Op. 96 violin Sonata was written fr him. He has contributed much to the study of the violin and his caprices are widely used in violin pedagogy along with those of Paganini and Kreuter. Rode made his Paris debut in 1790 perorg Vioti's Concerto No. 13. Ten years later he was named as solo violist to Napoleon Bonaparte. He traveled to Germany perforing extensively, and by 1803 he had gone to Russia. By 1814 he had married and settled in Berlin. Rodewa d, a . Comp ser Salons: Kiesewetter. Roh a , Josef. (d. 1861) ass. Salons: Sonnleithner. Rohrer, Anto . Pian Salons: Various (Rohrer). Son of Ignaz Rohrer and brother of zȮđɧRohrer. Rohrer, ra z. Violin Salons: Various (Rohrer), Various (Schuppanzigh). Son of Ignaz Rohrer and brother of Anton Rohrer. Rohrer, Ignaz. (August 3, 1824) al n Host. Salons: Various (Rohrer). Rolla, A essandro. ( 1757-1841) C mp ser Salons: Sonnleithner. Italian composer, violinist and viola player. He was very active in te field of instental music. In 1813 he performed excerpts of Prometheus by Beethoven at La Scala. Private performances of Beethoven's 4th, 5th, and 6th symphonies were given by Rolla in Milan. Romberg, A to . ( 174 2-1814) Bass on. Salons: Hochenadl, Hatwig, Sonnleithner. As to which Romberg Sonleithner is refrring to is unclear. If it is to be Anton Romberg,A he was known more fr his bassoon playing and not a a composer. Later in Sonnleithner's entries, he lists another Romberg whom actually Andreas Romberg. The one listed above should beA thought of as Andreas since he is mentioned later as the composer of Die Gl ck ɧ Ro b rg, A dreas akob. ' ,9,K (ɧC mp ser. wɧ &ɧ Xɧ 7 ɧ Gɧ Åɧ Oɧ ɧɧɧtɧa ɧO ɧª Xɧ O ɧ ® ɧ Ȕɧɧɧ!ɧ ɧc ɧɧXɧ mɧɧ ɧ!ɧɧ ɧ ɧ Gł ɧ ɧɧ &ɧŜ ɧ ɧª &ɧɧhǻXɧ ɧ F ɧ ɧ ɧ! ĈɧǑ ɧ Gɧɧ ɧ ɧ ɏ! ɧ ɧ ɧ ɧ Xɧ e G c e ɧe ~ɧÀ ɧtɧT~ɧ¸Gɧ!ɧÒɧaRŸɧ ª ~ɧ Ⱦ ɧ"ɧĈɧɧ ɧ¾ ɧ ɧ ɧ" ɧ ɧ ³ɧ ɧ ɧ ɧ ɧ FKRəɧ RXɧ Ro b rg, Ber hard. ' ,9,K D (ɧV l ncell st. ɧ&ɧĂ ɧ'M (Xɧ «Ț ɧǘɧ ɧª ɧ ɧɧ ɧtɧO¿ɧ ɧM ɧ ɧɧ ñFñ ɧ"ɧ DXɧ ɧ ɧ 2&ɧɧɧɧ ɧ"ɧƔȓ ɧÎ R ɧ ªV Xɧ ɧ\ɧ ɧ ɧɧɧTɧ ɧc ɧ ɧvɧ ƺ Tɧ ɧ ,llɧɧ ɧ ɧ` ɧO ɧ Gɧa vɧ Íɧ ,<ɧɧ !ɧ Áɧ t ɧ ɧɧ^ɧ À|Tɧ ɧ:DžÅɧ Ĵɧ> ɧ ȭɧ' ,lUKl (ɧɧ ɧ ÕɧFɧF ɧ ɧɧXɧ Oɧ ɧ ɧBɧŢœǣ ɧɧɧ F ɧɧ Gċɧ ɧ ɧ Gɧ! ɧ ɐ ɧɧɧ ɧ Gɧ Fë ȧ ɧ ɧ GŢ ɧɧ ~ Òċ~ɧ | ɧ\ŠXɧ Rosetti, Anton o. 'ɧXɧ ,<K ,l (ɧC mp ser. ®ɧd F &ɧXɧ yë ɧ ɧ GɧG Tɧ ɧ® XɧOɧ !Òɧìɧ\ɧG ɧ ɧ Vñ ɧ ɧc ɧɧÎ ɧ ɧ ɧ ÈÀ ɧɧGɧɧ &ɧ ëɧ!ɧł ɧ ɧ ɧ vɧ Rossini, ioa h o. ' Ƈ? j 9(ɧC mp ser. ßɧO GT&ɧM F&ɧ-vɧ Ķ Õ ɧ ɧ A ɧ ɧ ɧɧ ɧ qGɧ ɧɧ Àɧ ĶF Ȋ ɧ ɧtɧ ɧ Xɧ Oɧ ɧ ɧ ɧ ɧɧ ɧ ɧ Fɧ ɧ» GGvɧ ĺTɧɧ G!ɧ"ɧĂG &ɧª ɧ ɧɧ Gɧ Òɧ Gɧ ɧ Fëɧɧ"ɧÍ ® ɧ ɧ Xɧ Rott r. Bass. - ²ɧ GT&ɧ &ɧĂ ɧŬhǺ(ɧ İGHT ɧªFXɧ Rouss au, Jea ar e. 'ɧɧ T ɧ ɧ^ ɧK ,D(ɧC mp ser wɧ Ħɧ Ìɧ Xɧ Oɧ ɧ ɧ ɧ ɧÊœ»ɧ Òɧ ɧ ɧ ɧ y ñ! ɧ Ĵ ɧ ,9 ɧ ɧ ɧG ɧɧɑGɧ ɧÀɧ[Ě ħɧ vɧ ɧ V ɧ ɧ ȋ ɧ G&ɧ ɧT ɧ 9 ɧ ɧ(3 ɧ¾ ɧɧ 113 ɧ6 ɧ2 ɧ ɧy°(ɧ Aɧ ɧɧɧ ɧ"ɧɧ[ɧ â° ɧ ɧ 1 ]ɧ Ro lli, Piet o. 'ɧ1793-1 83 8) wɧ7 ɧ'â Ñ!Ĝɧ(]ɧ L ɧ! ɧ ɧ 2I]ɧ +ɧ ɧ śɧ ɧɧ ɧ Ûɧ + ɧ sɧƜ ! ɧy ɧ¡! sɧ ɧ ɧ\ɧ! ɧŹɧ + ɧIɧ ɧ ɧ ¤ɧ¤ɧɧ ɧɧm ɧ ɧ ɧ ɧ ɧɧ irtuoso da camera ɧɧ °Iɧɧ: źɧ M Ĝsɧɧ¡! ūɧ! ɧIsɧ ɧ ɧ ɧ¢ɧ )ɧ ɧ© ]ɧ Ŝ ɧ ¾ ɧ ɧ ɧɧ ɧ "ɧ¡! ɧ h ɧ ÌIɧ ɧ¡! Âɧ ɧ ɧ1 82 ɧ ɧėɧ ćȺɧɧ´/ ɧA ɧ ÌIÜɧ R hrich, Anton. Contrabass gɧ+ ]ɧ Rudolf, Arch uk . 'ɧ1788-1831) Composer ɧ+ ]ɧ 'ɧ"ɧ¡ I(]ɧLɧ1790, ɧ/! ɧɧ7 ɧ ɧ ɧ Iɧ¸2 ɧ ɧɧ´ 2I]ɧ +ɧ\ɧ¤ ɧ ɧAɧ[ ɧ( 1754-1 822). §ɧ ɧ ¢ɧɧ ɧ ɧ/2 sɧ2 sɧ ɧ ŝɧ ɧy!sɧ ɧɧ °2ȣð ɧ /ɧɧɧņ ɧ ɧ ɧ2]ɧ yʼn!ɧ 1ɧ ɧǐɧ ɧ ɔIŔɧɧşQɧA Ŕsɧ ɧ ɧB ßɧ ¨2Żɧ 58, : Ñɧ^ɧ ɧaįɧ Ĕżɧ 73, : ɧ^Iɧ ɧ´ɧǛįɧ¨2]ɧ 96, 7 ɧɧ ɧasɧ ɧ¨2]ɧ 123, şɧ Missa olemnis [ɧ2 ɧBIɧ ɧ ɧ2 ɧɧ ɧ ɧ ɧ ɧ ơ¢ ɧɧ ɧ2I ɧɧ2 ɧ ɧA ȁɧ)¤ɧ ɧ ɧ¤ɧ É°ɧzI ɧ[I Isɧɧ/ Iɧ ɧ ɧ ɧ ]ɧ Rue . Tenor ɧ Isɧ7 ɧ'+ (]ɧ ehac k, A a. Piano ɧÖ ďIsɧ7 ɧ'm (sɧā ɧ'§ Ö (sɧ7 ɧ 'bǼ(]ɧ ¢ɧ ɧ/ ɧ! ɧɧ ɧQ ɧ"ɧz I ɧmdž ]ɧ ck, roli e. Soprano. ďÇɧM ¤IŽɧ bĿŀ ɧ/ɧ ɧy°I]ɧ cken, arolin Fr iin o . Soprano ɧM ¤]ɧ bĕ ɧ ɧ ɧ!ɧmǾɧ 114 ai t-Lube , Leo de. 2n V li V la Salons: Sonnleithner alieri, A tonio. (1750-1 825) C mp ser Salons: Kiesewet er, Sonnleithner. Ita ian co poser, who ainly resided in Vienna. He was a a or contributor to the Viennese usical li fo 1 770 to 1 820. Fro 1 7 4 to 1 790 he was a director of Vienna opera and with his reputation the Paris Opera co issioned th ee wor s fo hi . alo a , a y. iano Salons: Various (Warsaw), Various (Do anovecz). She attended usical evenings at the ho e of Frie rich Warsaw. al a , o ried. iano Salons: Sonnleithner a ti, iu eppe. 1729 1802) C mp ser Salons: Kiesewet er, Sonnleithner. He was the seventh of 1 1 children of a eweler who was also a violinist. is early musical educa on was with F. Vallotti in Padua� when he was ten he went to s dy with Padre Martini in Bologna.A Fro 1 748 to 1 752 he was organist of Fae za Ca hedral. Dece ber 1752 he bec e usic director of Pietro Mingotti's opera troupe.I When the Ita ian opera was closed in 17 3 he beca e the director of cou t usic. While he was in that position he had the opport ni y to compose inst umental usic. ca latti, Pietro A es a dro Ga are. (1660 1725) C mp ser Salons: Kieseweter. Composer. e is usual y associated as a funder of the Neapolitan school of 1 8th-cen ury opera ca latti, iu e e o e i o. (1685 1757) C mp ser Salons: Kiesewet er. Co poser and harpsichordist He is the si h child of Alessandro Scarlatti and Antonia Anzaloni. chad, a i. Pi n Salons: Sonnleithner. chad, Aloi ia. iano Salons: Sonnleithner. M ied na e is Sobot a. 115 chall, vo . Sin er Salons: Various (Falkenhorst). cha , A a. a . Salons: Paradies. chauf, Ju ie. Soprano, Piano Salons: Hochenadl, Paradies, Hatwig, Sonnleith er. Married Schm edel. cheib ute Salons: Sonnleithner. cheidlei , Therese Ed e vo . Soprano Salons Sonnleithner. che e . Alto Salons: Kiesewetter. chille , Josef Augus Tenor. Salons: Sonnleithner chilling, E ise. Piano. Salons: Sonnleithner. ied name is Oberleitner. chindle , A to . Salons: Sonnleithner. chindl cker, Fra . Voloncello Salons: Sonnleithner. ch id, A to . oloncello Salons Sonnleithner. ch ied, Josef. Bass Salons: Hochenadl. ch iedel, Joha . (d. 1849) ass Piano Salons: Paradies, Hatwig, Sonnleithner, Various Hutschenreiter). 9ɧ ch itt, Joseph. 'ɧ ,6DK ,l (ɧComposer Sɧɧ ¦ ɧ Ȥɧ ɧ ɧ #ɧ!ɧɧɧå ɧ Eɧ)ɧ ɧzÁɧƮɧ> ɧ"ɧA ɧ ɧɧ)ɧ #ɧ ŠɧI )ɧ ĔĔ ɧ ɧ"ɧɧ ɧɧ Ĺɧɧ ɧą ɧɧ ɧɧ ɧ¬ ɧɧɧA ɧ ɧɧą ɧ"ɧɧƯØ ɧ >ɧ chober, F anz. Flute Sɧ: #ɧɧ choberlechner, Ka L Bass. ɧMɕ>>#ɧ: #ɧȘ#ɧ7 ɧ'hĻĵ(ɧ chodl, Rosalie. ' ɧ ɧ l#ɧ choll. Composer. Sɧ ŗĊɧ chonz, Anna. harp. Sɧɧ ch ller, Fra z. Horn Wa ldhorn. ɧO)#ɧ-ɧ ch nebeck. Composer. Sɧ Øɧ ch npichle , Joha . 2ndViolin!Viola. gɧ >ɧ chubert, Fe dinand. 'ɧ ,?Dģ chultz, And eas. (November 13, 1860) Gu tar, 2ndV l nV la. Salons: Sonnleithner. Also spelled as Schulz. chunke, hristian Ludwig. (1810-183 ) C mp ser Salons: Sonnleithner erman pianist and composer. He was bor into a mily of pro ssional musicians; his ther (Johan Gottfied) and u cle (Johann Michael) were distinguished hor players. March 1822 he performed Hummel's A minor Piano Concerto under the direction of Spohr. chunke, Kar . (d. December 16, 1839) Pian Salons: Sonnleithner. chup , Anna. Pian . Salons: Paradies. chupp, Ama ie. Pi n Salons: Paradies. chupp, Alexande . Pian Salons: Paradies. chuppan igh, Ignaz. (1776-183 ) JstV lin Salons: Sonnleithner Various (Reunion) Various (Schuppanzigh) Various (Domanovecz) Variou (Millegg). Austrian violinist and conductor He was the so of a pro ssor at the Realschule. Alt ough he began his career as a violist he switched to the violin by 1793. His earliest meeting of Beethoven probably dates fom his informal qurtet concerts in Prince Lichnowsk s apartment. Schuppazig was almost solely responsible fr shaping the fture of the string quartet as a standing ensemble. chuster, Vinzenz. Guitar. Salons: Sonnleithner. chuster, Josef. (1748-1812) C mp ser Salons: Paradies. German composer and conductor. He is the son of a court musician in Dresden. His earliest musical traini g came fom his ther and J. . Schurer. Shuster 118 composed operas, church mus c, nclud ng orator os, masses, smaller sacred wor s and secular songs, Ital an songs and nstumental mu s c. The cantata L b der usi wa one of h s fw publ shed works and was perfrmed t l the m d- 19th centur . chwarz, Therese. Alt Salons: esewetter. chwarz, Julie. Sopran . Salons Sonnle thner M ed name s tom sk . edlacze ohann. (1789-1866) Flute Salons Var ous (Neul ng). He became a member of the Court Orchestra n 1 8 20. ee a . Ba s. Salons Para d es. eille , Fra z. t Vi lin Salons Hochenadl, Sonnle thner. et red n Graz as an Oberfnanzrat (Se n or F nanc al Counc llor). e , Ludwig. ( c.1486-1543) C mp ser Salons: Hochenadl. Spec fc b rth and death dates fr Sen are not own, however, he was most ke bo n 1486 and d ed n Mun ch between ecember 2, 1 5 42 and August 1 , 1 543. As s the case w th Paul Ho a mer, Sen s only ment oned n Sonnle thner s entr es to clar the t me per od that Sonnle thner s not d scuss ng n s mus cal sketches of 'Old V enna. e gel, h istine. Sopran /Alt . Salons Parad es. ed name s E senma er. ibo i, iuse e. (178 -1839) Ten r. Salons Var ous (Reun on). tal an tenor s nger, ther of the an sh p an st, Er S bon 797, he made h s I d but n Florence. He also appeared n the ng's Theatre n ondon n 1 806. G useppe sang n Prague n 1813, and at the end of 181 8, when he fnished h s perfo ances n St. Petersburg and Naples, he moved to Copenhagen n October of1819. 119 Sicca, Moriz. Pia Sa ons: Sonn eithner. Sina. V li Sa ons: Various (Reunion). Member of Schuppanzigh's string quartet. Soini, Pau . Te nor. Salons: Hatwig, Sonnleithner. Soini, Peter. Te r. Sa ons: Hatwig, Sonn eithner. Sommer. Alt . Sa ons: Hochenad . Somssich. Comp ser Sa ons: Sonn eithner. Sonnleithner; Ig az. Boy S pra . Sa ons: Sonn eithner. Sonnleithner, hristo h. (1734-1 786) Salons: Sonnleithner. A though bo in Szegedin, ungary, in 1736, he was taken to Vienna to live with his Aunt and her husband. is uncle, eopold (Leopold's great c e) gave him his frst musica instruction. Christoph participated in his uncle's church choir at UaJoseph n Leopo dstadt, there he ea ed to p ay the violin. Later Christoph became a barister emp oyed by Prince Esterhazy He also composed music fr the Prince including several symphonies. Christoph married Anna Maria Doppler (1739-1810); together they had fur sons and si daughters. Sonnleithner, ra z Xa er. (1759-1832) C u cill r a d agistrat Secretar. So of Christoph and Anna Sonnleithner Specialized in aw and po itical science. .[äpub ished many books in his area of e pertise. Sonnleithner, Josef. (1766-1835) Librettist, archivist and tans ator. He is the son of Christoph Sonnleithner. From 1794 to 1796 he edited of the ie er Theater-Alma ach For ten years he was the secretary to the court theatres in succession to Kotzebue. He wrote a number of ibrettos that include: Ages S rel by Gyrowetz, Kaiser Hadria by Weigl and his most fa ous libretto Fideli by Beethoven. 120 onnleith e , A a (17 7 - 1819). She married Wenzel rillparzer. onnleith e , Ig az ( 1770-1831) Bass.. Salons: aradies Sonnleithner. ather to Leopold Sonn eithner. Son of Christoph Sonnleithner. Doctor of aw' a scientist ad bass singer r the Geselschaf der usikeunde Chorus. He married Anna utz Ʒ1773-1824) and together they had thirteen children but lost three in infancy. On May 2 , 1815 he held the rst per rmance with amateur musicians in his home. he equent performances lasted up util the death of his wif in 1824. onnleith e , Jo anna. ( 1777 - 1861) Salons: Sonnleithner. Daughter of Christoph and Anna Maria Sonnleithner. She later married ranz Theser. Sonnleithne , L old. (1797-1873) Bass Salons: Hochenadl Kesewetter aradies Hatwig Sonnleithner Various (Krippner) Various ('Reunion') Various (Rohrer) Various (Warsaw) Various ( ettenko er) Various ( ulielmo ) Various (Domanovecz) Various ( alkenhorst) Various (Dollinger) Various ( euling) Various (Hutschenreiter). uthor of the "Musi alische Skizzen aus ' lt'-Wien." He was a school friend of Sc ubert's and later aided the young composer in publishing some of his works. He had gathered any of Schubert's early works and had written them in to clean co ies r use in the salon and r later publication. He participated in the frst erformance Prometheus, a cantata by Schubert. Sonnleithner conducted three concerts of Schube 's works r the esellscha der Musik eunde in 1821 and 18 . Sonnleithner s early musical instruction was with Josef reindl. reindl ad urged Sonneit ner to pursue a career in music but Sonnleithner chose to ecome a lawyer by profssion. He married Louise osmar a student of Anna rohlich in May 1828. Spina. Volin. Salons: Various (Reunion). Spoh , Louis. (1784-1859) C mposer Salons: Hochenadl Sonnleithner. He has been regarded by many conte poraries as worthy of a place beside Haydn Mozar and Beethoven. His compositional style refects the rmalism and clarity of the Classic tradition whilst loo ing inovatively toward Romanticism. 121 S onti i, Gaspa e. (1774-1851)C mp s r. Salons: Hochenadl, Hatwig, Sonnleithner. talian com ser. He was a central fgure of the serious grand opera during the early cent ry in Paris and later in Berlin. in , A a. Pian Salons: Paradies, Sonnleith er, arious (Reunion). Married name is Rosas. a ler, A to . (1753 1812) C mp s r Salons: Sonnleith er. Aus ian clarinetist, composer and inventor. Joseph Stadler, a iennese musician and shoemaker, and Sophie were ton's parents. He be iended ozart and ofen perfrmed in his Masonic works, especially those with basset-hor. a er, Josef. êƷ1726-1787) Salons: Introduction. Josef Starzer, an Austrian composer and violinist who aided in the funding of the o tlersociet t, as an administrator, composer and director. He equently perfrmed at the home of Baron van Swieten's. ith the aid of choreograp er Franz Hilverding, together they helped to lay the fundations of the iennese re rm of ballet by Gluck and Gasparo Angiolini. This refrm of ballet indirectly in uenced the Gluckian refrm of opera. S au inger, Eleo o e. (June 28, 1 821) p an . Salons: Hatwig, Sonnleithner, arious (Reunion). S ehel . nor/Bariton . Salons: Paradies. Franz Stehlick. S eibelt, Da iel. (1765 823) C mpos r Salons: Paradies, So leit ner. French composer of German birth. In 1 784 he deserted the Prussian ary and ed the country since his fther had frced hi to oin the army in the frst place. 1799 his ther ad obtained an offcial pardon fr his son's deserion 1 5 years earl er. Among Steibelt s published works are hundreds of compositions fr piano . solo and piano with accompaniment of fute, violin, cello, harp, tambour e or other instruments. He also composed a set of string q rtets, a piano quartet, a w piano quintets and numerous vocal works. S in et , Ka o ine. Sopran . Salons: Sonnleithner. Married name is Ho inser. ä Stoger, Kthari e. Alt Pian Salons: Various (Falkenhorst). Mried name is Huber. Stoger, ohann Freiherr o . Guitar. Salons: Paradies, Sonleithner. Also splled Steger. Stradella, A essan ro. (162-1 682) Stradella was bor into a noble fmily fom Fivizano in Tuscany. His fther Marc' Antonio was a member of the Cavalieri di St. Stefano and during the War of Castro he became a the vice-Marquis of Vigola. He collaborated with Aplloni on the erenata Se desio curioso (La Circe), which was presented on Ma 16 1668 at Olimpia Aldobrandini Pamphili's palace in Frascati. The piece o(t comp d to c lebrate Leopldo de' Medici's investiture as cardinal. �tranitzky Jo f ntoo. ìơƢƷ A t r. al : Ki wetter. Mari d aria nika Ii din what was called the Hanswurttische Haus at alzgri r. I M4. In 1717 the house was the property of Strantitzky, but \ r lat r l d th r . Ki tti i �tuoz onnl i thner. mp �wieten Baron tie EÇƷ -1 03 ns: Hochenadl. Swi Ʒ a ut h mu ic patron who was quite active in Vienna. Hi s fther much time o,ttht r nal ph ician to Empress Maria Theresa. Gottfied spent a post as in Br l Pari and ngland. For seven years (177 -77) he held until his ambassad rt rlin. He ered as the Prefct of the Imperial Library and at leastten TĘq)Ʒ+Ʒ1803. B an amateur musjcjan, he composed two operas ociated wit Haydn, $Xɧ Ɔƫi)h+ıƷ . A a patron of music, he is most closely ass � 179 until hs death, Sweten wor�ed íħ)Ʒ Q P R h and Handel. From about publishing and work with ƩqƇ_Ʒ el E Ba·th Ha dn. He had much input regarding Swieten fom English to libret. H dn's reation was translated by a ell aThe Gea The easons. iydow. Salons: Various Krippner . O P Q . Chnstian P nts at the home of Hemnch acipated in declamatory enterinme úl+ƀil¯Ʒ 12 Sy e, F er c Au ust Flue Salons: Hatwi g. Taubr,(17 Ele -1 81 ) Piano. Salons: Sonnleithner. Daugter of Teyber. Mt� She studied with Hasse and Tesi. During the 1760's she made a senes of performances in Vienna. Most of her career was in Italy where she appared at Naples, Bologna, Milan and u. Telemann, Gr P l (1681-1767) Composer. Salons: Kieseweter. He bcame the director of the civic opera in Leipzig shortly afer 1701. He had visited Berlin in 1702 and 170 to hear opera perormances. While he was in Leipzig, it is uncertain as to how many works he composed befre he lef in 1705 ?ut accord to him he had writen 'several and ? twenty.' He settled permanently m Hambug m 1721. The frst public opera house in Germany, the Gansemarkt opra, may have been what drew him to Hamburg despite his numerous positions at the fve main churches in Hamburg. Teriani, Pietro. (17 5-18 1 ompo er. Salons: Sonnleithner. Italian comp er. He was a student of G.B. Casali in Rome. At the Cons rvatorio di t. Onofio in Naples, Terziani studied with Carlo Cotumacci and iac m I angujne. In 178 he attended the Bologna Accademia Filar nica. Around th same time he became a member of the Rome Congazi n di t. C cilia. Upn retng to Rome in 181 he became the m� tr di ap lla at t. Giovannin in Laterano. His compositions utilize both stri t and mpani d tyles; he was highly regarded as a contrapuntist. Tewils ali . iran . al on : Ki etter, Sonnleithner. n lli ·t . on of atthauV I b r and brother to Elisabeth. Anton began his early studies in Vienna but lat r went to Bologa to study with Padre Martini. He toured to pain and P rtugal with his sister Elisabeth. Around 1781, he retured to Vi nna. Thr ar lat r he became a member of the Viennese Tonkunstler- ozietat, and th n in 1787 he became the frst organist at the Hofapelle at Dre den. In cemb r 1791, he became the deputy to Joseph Weigl at the to cuts made ational- ofheater in Vienna but that position soon dissolved due in addition he b Franz II. T 0 years later, h� was appointed court composer, Archd e Rudol h was a tutored the imprial children with their keyboard skills. � . � C mmor fr student of Te ber's, and Anton also composed the Missa solemms 1� 1 819 the Arch pintment as Cardinal and Archbishop of Olmutz duke's ap m # , ohanna. iano $*, . en r. %$,Mich l Fran s o Sa rio ommaso. 9 C ser a , i n on o P ) , an ra o . ", (+, o . Ǯ B ( , i n e. a (" , at N T°Ʒ en r % erge. Chr stus m = . /? ĂăZƷ 125 Uml uf,J ha n Baptist Krl. (186 1) Tenor. Salons: Sonnleithner. later Ritter von Frankwell. Unger, Ka oli e. (1803-1 877) Soprano. Salons: Hochenadl, Sonnleithner. ok&}contalto. S e studi d � � �t Aloysia Weber, Û hÛɧVogl and D. Roncini. S e made her debut m 1821 m Vienna She marri ed the M L French wri·t er F ranc01s at m 1 8 1 Sa ier� . Not only was she a fne singer of operas, she was also an excellent mterpreter of Mozart and Schubert songs. Unkreh sber , Weil o . Salons: Varous (Falkenhorst). ', ancesco A tonio. (1697-1780 omposer. Salons: Kiesewetter. Itlian compser and theorist. He studied with G.A. Bissone, maestro i cappela. Wen he was he went to Chambery to join the Franciscan order, he took vows December 1716. Four years later he was ordained a priest. As a composer he developdin a strict contrapuntal style based upon his study of 16th Century masters. Duri ng the course of 30 years he transcribed masses by Palestrina and intoits of Co tnzo Port among other Renaissance works. & , T ma u· e. c. 5 er. Salons: Kiesewetter. mp Spa i h comp r and organist. He was also partly active in Italy. Victoria was te n nth childr n who became the greatest Spanish Renaissance ] in comp rand on of th most renowned composers of church music of his day Europ. admired fr his motets and his Ofces fr the Dead and fr ol h n tudied music as a choirboy at Avila Cathedral under Geronimo deH Ey Wpina r and rardino de Ribera. ,Michael. (1768-1 840 Te n r. alons: Kiesewetter. of Vienna befre he Auan bariton . e fr t studied law at the University yr, a fr iend fom his pursue am ical career. He was prsuaded by Sussma ran Schu?e . They h d shol year . In 1817 Vogl made the acquaintance of � i � The maJonty of Vogl s spnt three ummer vacations together in Upper Austna. was instrumental in career later re oJ ed around Schuber's songs. He composer. He demonstrated estblishing chuberts reputation as a serious e in the conce hall and Sc ubr's ongs as being versatile fr perfrmanc : t� tic. songs was dramatic and opera salon. 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ǺǺ -7.YP6tSKǺ/ # Ǻ%62Ǻ)Ǻ ¶Ǻ77 $Ǻ}Ǻ,ǺǺ ąǺǺǤǺǺ Ǻ (_htY:tSĂ·=ĒǺ`)Ǻ7&8 Ǻ)!Ǻ Ǻ_ " Ǻ)Ǻ\Ǻ +Ǻ Ò Ǻ ǺǺǺ CkV3^63t 6Ǻ8 ǺƁ) &6ĔǺ Ǻ7NjR 8 !Ǻ6ǺH,ǺǺǺƆ ǺǺ2 ǺǺ ye eHgk(gEZTt`( 8(Ǻ¢8 Ǻ 66ƏǺ)Ǻ%6Ǻ?Ǻ)Ǻ0 !,ǺǺ Ǻ !Ǻ ǺǺ2# Ǻ Ǻ /CHL3^6TtSā·R=/&ǺR6Ǻ( Ǟ (6ÂǺ h )82)Ǻ "% %ǺlǺ%!ǺlǺ7 / ,ǺǺǺ Ǻ /Ǻ KǺ( Ǻ 2 Ǻ /(Ǻ KǺ7" & ǺǺ <Ǻ ?Ǻ ǺǺǺ ǺhíǺ #ǺǺ \_YPZg6t(Ǻ°Ǻ( Ǻ h% 2Ǻ)Ǻ%/ !Ǻ6Ǻ# Ǻ Ǻ©ǺǺǺ,Ǻ #ǺǺ QYdgt63kc/(Ǻ Ǻ 7/K/(Ǻ (ªǺ %Ǻ&#ēǺ Ǻ)ǺǺ)lǺ !ǺƢǺǺǺ Ǻ �ffr ĻĂK°BǺ( Ǻ p ưǺ0Ǻ~Ġ Ǻ6Ǻň!MǺǺ (Ǻ MǺǺ¨\ Ǻ !Ǻ FnGVAtGUtŨ 6Ǻ_K%ǺǺªǺ& Ǻ çVǺ% _ ǺǺ 2ǺǺǺ č>DžKS/° Ǻ) Ǻ6<Ǻ K/(6Ǻ?ǺªǺB Ǻ _ ÃǺ N Ǻŀ? Ǻ#Ǻ Ǻ ¿¿ ;t/ Ǻ(ƔǺŞ Ǻ 8 && MǺÓ VǺNû) ǺÜ Ǻ#ǺÙMǺ 2Ǻ MǺ ·1734- I ×),Ǻ}H,Ǻ4 ǺǺ • ÏLjǺ1 4 Ǻ! t ŤÈǺW. ŖV (,Ǻ !ǺǺ A LLYoITAt ĆĆ ş Ǻ?ǺǺ ƹƱǺÎ7 VQ2Ʒ Ǻ ĶüǺ1 2 ǺǺH Ǻ Ǻ×,Ǻ ĉǺ $Yo6^t ǺH Ǻ1 9 ËǺW. jV MǺ !Ǻ ĵǦ/6Ǻ� 0ǺÎ7ô ŮǺ A ill t w w w w w w w w w w ļƷ w iDt w w w t%t w w J fwÇǺ SkdJ1)Ot ǺǺ Ǻ Ǻ Ǻ Ǻ Ǻ[n+Ǻ š ,ǺŌǺ ǥǺǺ j6tJ36)tǺ Ǻ#Ǻ !Ǻ Ǻ Ǻk 'ǺǺHǺǺ' 'Ǻǔ Ǻ òǁ>ƃ n ǺnǺǺ ǐǺ!Ǻ'Ǻ# Ǻ 'ǺǺǺ'Ǻ Ǻ OǺ !Ǻ òƧP1 3t²ǘǺǺY Ǻ ǺǺ (Ǻ' 'ǺǺǺé Ǻ !+Ǻ OǺ Ǻä 'Ǻ rñǺr Ǻ² Ǻ¦Ǻ Ǻ'Ǻ'' Ǻ $Ǻ }ǺǠ 'Ǻ [ ǺǺ' Ǻ Ǻ¦ Ǻ ǩñǺSP' Ǻƕ ǺǪǺ ǺǺǺ Ǻ ! ¦Ǻ'ǺǺ njǕ!ǺǺ Ǻ !Ǻ I EWnZKn64t a er V Hoc e adl Salo the so-calle d Birger p tal (city Nr. 1100) in the ffh couryard, ninth staircase, I HVtthe third storey, 1 is a modest apartent that served as the Hochenadl fmily residence fr a series of years. Through a small kitchen, one reached a room of middle size which oge her wth the adjoining rooms, was very ofen a meeting, place fr select amateurs and used fr successfl musical perforances. Herr Josef Hochenadl, an ofcial of the 2 3 k. k. Hofegsbuchhaltung (retired as the Hofriegs-Vizebuchhalter and died on June 4 in his eighty-seventh year ) was a warm admirer of this art, without possessing 26, 1842 any spcial musical knowledge. From early youth, he had had thorough musical instrction gi en to his children. Fraulein Katharina Hochenadl (died on March 4, 1861 at the ag of v nty-fve was, in the standards of that time, an excellent pianist and had received h r fnal trai ning under the Kapell meister Anton Eberl. In choirs, she paricipated a an alto. Her brother Thomas Hochenadl (died at the age of sixty-fur on Geranic tra slation is 1 The original text reads as Stockerke The literal � d itten storey is the third storey, however, the American equivalent to the European third gound actally the the European system calls the frst foor �s t�e furh storey since . the foor. Throughout the document, it will be refrred to as it is above, mamta1mng Europan terinology. UąCourt War Accounting Ofce. 3 Cou War Vice-Accountant. . K had reached his ei hty 4 In his eight-seventh year means that he died befre h� � kept as was wntten eighth birday. Throughout the document, the terminolog will be Sonnleithner. by t `1 ¬a¬ a ¬ '720nnJ,O ¬aVccIcª¬zd,ª74¬N7¬Vwcwn27ccw¬¦VOw¬ y S*Bt,oª¬2e,Vi¬wo¬] wWª ¬ ûüƷ x2O7n,4e ¬ x|O,n74¬,¬,o¬ 7,cª¬ ,J7¬ /ª¬N7¬g wO7¬ wwn¬g,47¬ 7¬w;¬ e e9p¬Wo¬ w47¬w¬7e W77¬ O7¬ Bn,n2W,e¬ /47n¬ x<¬O7¬Nw7Nwd4¬OwJN¬N7¬gV2¬ _3Wwp¬ ¬O7¬ ,g7¬Wg7¬ N7¬47x74eª¬7z7274¬N7¬>N7¬¢VN¬w¬C7¬7¬¡Ǻ n S[¬Pwh7¬OwK¬ 7Je,¬,o4¬ 727o¬z7;wg,n27 ¬ )O\¬ N,zz7o74¬ Vn¬¢x¬¢, ª¬ n e §Q¬Q9¬2O,i/7¬iW2¬zW,ox¬wo,,¬¢WO¬ ,n4¬¨Nw¬,22xgz,nVg7n¬ VnJ¬ 9¬ wew¬xoJ¬ D¬wo7¬ ,o4¬ 77,e¬wW27¬O,¬727V74¬,7nVwn ¬ *N7n¬ N7ª¬N,4¬ a e £wb¬2Q¬,¬ x,xXx¬2,o,,¬w¬we47¬ wz7,¬ ¢VO¬zW,nw¬ ,22wgz,vVg7n¬ 8pMP9p95¬/¬ O7¬ Wxexo27eex ¬ +O77¬7o47,w¬/7J,n¬ ,n4¬¢77¬ zVg,Wcª¬7A72V7¬ 5lBtP7¬ ,E¬ j¬ oXxo¬ 4¬ /,o2Q7¬x=¬iW2¬¢OW2O¬z/eV2¬gV2,e¬27n7¬o7Jc7274 ¬ ¬ i¬ 99L¬ ³Â o5¬ ,o5,/f7¬Q,¬O77¬ 7oOW,W2¬GW7n4¬w;¬gV2¬¢77¬N,zzª¬x¬ in i Lw{¬,o5¬ 2woX/7¬,¬ ¢7ef¬ ,¬fX7o¬ ¤,¬ Xow52¬ 4¬Q77¬Xo¬!,o ,¬ !t,H7¬ N 77¬2xo27¬N,4¬/77n¬n47¢,ª¬ 9¡9,f¬ 7,¬ ¬ o¬ ?2¬ Q7ª¬ i7¬ J7o7,efª¬ Fwh¬ N7¬ gV46c7¬w;¬$w7g/7¬wn¬ TwJO¬ ¬ t e §p7¬uYf¬ 7¬ wo¬ ( o4,ª¬ ,wo4¬owwo %neª¬O7¬2wo27¬x<¬O7¬ 77cc2N,H¬ 56_t#^7o57¬j,57¬,¬/X7=¬Wo 7|Xwo¬ o¬w57¬w¬ 572X/7¬wi7¬x<¬Q7¬«{7¬x;¬zV727¬z7 Yo,o27¬wiiY77¬xo 2Yeex ¬ ¬ ¬ z7rw4¬z7274lJ¬ ząJ¬N7¬ 7,wo¬w<¬47o¬,o4¬ "7n¬ N7¬7cVJVw¬ ¬ )O7¬zw e,sª¬ U,¬ ,p4¬,7¬7~2W7eª¬ wz7,¬ z7 r ce ; F ; n y ; e d ; 9 8 , , , d XǺ ; , hand , 7Ɛ p ec i h p ]; re ved I 8 9, r u , 1 82 ee h $ aR , , , l he , , hi l , ene p u in ivid u f a aube e A e a e u e a re e e S \ rme Sar W u m a e e S u e a S r re e 7Ɛ . S WwīǺ e ebur Be en F e al ana n l er ; S m em ram e; elm ra ne ra S z a arl ma u ab I r u ambulan a l nara e an a r lane l a e lau a Sen nel e er b e e r uba ur &D6t e a erer m al e l a a ma e A e e e e m al 9 11 J a er 3t u e e l '6Xs6Mt 0YP63r"t apa a gaYt(X3t al a a nY0(Lt ȵ 0 pYkN3t t Ǎ.9ǺǺ Û>Ǩ> .Ǻ Ǻ0ǺǺ 0 ǺǺǺ Ǻ0ǺǺ Ǻ and Ź ĝǺ ľ Ǻ .zǺ Öų.ÌǺJud Ma kbiu , er Me a LŇ«Ʒļ%$ǺN zǺ e l rael en n er u e ÖǒÍǺ e P g me am l a a, S a [Sa n } Elena al Cal ar i /yǺDer T Je u ķ#ÊǺ r u am Oelber e A. Ţ% ƐzǺ e l e Followed !Ǻ<ǺŜ ÍǺ i.1 ¬yǺOre ś/1%ĴǺ ra [ c l n ] Ûoð>ǺoƀǺsǺ<¬Ǻ 1.Ǻ Ǻ ǺǺGbǺ 1Ǻ Ǻ Ǻ0Ǻ# !Ǻ bǺǢǂǺ ƒoǡǺƼ Ɖ %Ǻ%!Ǻ§Ǻ%ĞǺ 3 Ǻ!Ǻ ǜǺkǺǺǺǺǺǺ bǺ rƖ>Ǻ>ǃoµǺǺ55ǺǺǺ 15 Ǻ 1ǺǺǺ Ƙƨ!ǺǺ !ǺǺ a a e ³ -TǺåǺǺ%1 Ǻ©%ǺǺq $Ǻ OǺ1 .ǺǺ0ǺǺ0.!ǺǝǺ ÆħǺ to c a ic mu ic, sǺ<- ǺǖǺqǎ- -q-Ǻ§Ǻ|ƋƗ Ýŭ¨.ůǺÙ< Ǻ cont ibuted - 5!CǺ ʼnǺ Ǐ- -qǺǺǺ- bǺ ǺY ǺǺ Ǻ0ǺǺ >DŽoLJ Ǻ Ts1ǺsǺ< -ǺqǺǬ Ǻ©%Ǻ $Ǻ A ǺA Ǻ<Ǻ ti ele -TǺ-Ǻ ³³TǺó 55!ǺǺ< Ǻ1Ǻ#Ǻ# .Ǻ +Ǻ Œ>rǺS>ǺSTs-ǺǺ%Ǻ 5Ǻ- ǺǺ ǺǺǺ Y zǺ ÆĥǺŦǺŁƺ§ ĊǺÝ´1vǺ 14 Ñ ǺÑ .. ğǺ 139 S pra o: (1815-16) Fraulein Karoline Fischer• Fraulein Julie von Anders(18 16-19) Fraule� Cailie Mosel**(1817 -2 1), Fr�ule� Sofe Linh� (1818-22)later married name Schuller Fr�ule�n Anna Frohlich . Fr�ule� K�oline Unger, later married name Sabatier Fraulem Julie Schauf later married name Schmiedel Alt : (1815-16) Fraulein Flamm (1818-22) Fr�ule�n Babette Fr�hlic�, later married name Bogner 1846) Fr�ule� �eiT 1 are�e Minetti, later married name Sengel (died around Fraul em M Fraulein Sommer T n r: t 20, 1860 85 Herr Mathaus Tuscher (died June in his year) Herr Georg Hofann 6, 1821) Her August Ritter von Gymnich (died October Her JosefP Barth H rr t r Lugano (Baritone, dead)11 , 1850 52) Herr udwig Titze (died Januar at the age of Herr n dikt GroB Ba t 1, 1850 77 year) H rr RafG Kie ewetter (died9, Jan 18uar22) in his H rr Jo Uɷ otz (died March H rr Jo f Jonak von Freyenwald (dead) H rr JoW. t chmied (dead) Herr Rotter Herr Karl Rip lli Many other e cellent amateurs participated in the chorus and smaller parts. on the Order of the Ursulin18 Nuns60. (Ursulinerinnen) Oct ber· 28,Fra ule1820in Fischer entered into 20, and died as Mother Johanna on October t of a Oberfeldkri25 egstommiffrs, died in M •• Fraulein Mosel, suriving daughter 17, 1819= O ing year fom typhoid :6m6^ t [toay, a suburb of Vienna] on May in her ice, and lively temperaent, fD6t With a ver high, light and supple, strong soprano vo f(U@t her most excellent the most difcult pieces S ngtwith br emilli ag ttlic ennt success. Pr Fromfeten, and the Cherub in prorances were: Graun's aria: 66 tu. B thoven s Chri t e ia ce of hese concerts lasted up o t e win er #t he dea h of he seco d e W9 6a}Hoc enadl brough e on er s o a end In March tthe a empt as a e dW}s the over again however, h e os a ive e bers of he earlier socie y ha alre dy passed a ay, o her ir les hadfr ed, o er dire ions and o her m sical nee e e the order of t e day ha is as far as i go f Josef Ho henadl's fa ily only hree grandsons and a gra nddaug ter are livi g ey re ese ng their andfa her's en ire music collec ion fi lly. he a a e om t at riod ho are s ill living retain a iendly emo abou he e eas es that this ar isti family organ ized t C a er U Ke e e er Salo Wit m memories, ¬ leave the Birgersp al and walk to the opposite end of the 1 cit Te Hanu t i e Haus (Salzgries Nr. 184) on t e second storey is whe e k. k 2 H f th Rafael Geo g Kiesewette (late named Edler von Wiesenbrunn) resided fr eve ea s and presented his fa mous concerts of old music The house was know by thi n m f some decades, and it owes this to the fct that in the year 1717 the house h c m th p oprty and esidence of the popular player of the Harlequin, Josef b and his Maria Monika. The apartment was fiendlie and more wf p ci us than ch nadl's and was especially suited fr accommodating small orchestra H eh al . a mu ical schola in t e best sense of t e wo d; his name and 1PcwPtt 11 as hi biog aphy, belong to the istory of t e ars. The efre, I ect excellent musical e t m t hi histo ical esea ch, which led him to coll t music w k f th ùSƷ u o an music p iod. He single-handedly gat ered parts, transcribed t e nucrp űSƷ qu ntly ew ote individual voices into chorus music accessible to music into nt mp ary not s and keys, and thus made the personal contacts wth excellent ever ne Th ough meticulous use of his ee time, succeeded throughout his liftime to ch connois eu and co1lecto s in Eu ope, he most beautifl music that the Middle c t l g a orted selection of t e greatest and A e h d p oduced. 1 Te Harlequin House 142 T o io , i o 1, 1850, t to 3 Hofib io k in Vi n , o ing o i i , i i k t and i o n o the gene i i o o o ti g k it i no o o desire t i i , o t o i i g se ecting oi fo g t o i lf it t o o onscien o , g o o t i oo ook t o fnn co r o g oo o i o i L o o g, Chrs m , E , P , Good o o A f to og o h ork , i g his co e on 1816. o r i o g o , I yse f w s n od No 1818, o l i swing T p of o g d o r o r, I ust co f , I q o o o o , o peop e i t d i r . x i i g o r enthusi t o g o 1838. o i i t i g, s er c of g r p q on r i o rehe rs i f of o o . I 2, unfrese i g ti g i t r i to the prfo r , i o h f o 10, 1845, t i o his ow , fr o o i o i g, w fo 2 o M b 3 o Li rar 143 Kesewetter's own notes, is a regi ster that contains the listing of all musical pieces perored at these concers of old music. Adolfti (Andrea) II Salmo sesto di David; 4 voices with instruments Allegri (Gregorio) Miserere; 2 core spezzati Astorga (Emanuele) Stabat mater; 4 voices with instruments Bach (Joh. Seb.) Motetto, Jesu, meine Freude; 5 voices Magifcat; 5 voices with orchestra (5 times) Kyrie· Ǻvoices with Basso continuo with a Choral Ricercare a sei, over a theme by Friedrich Ǻ Missa in G (Kyrie and Gloria) 4 voices with orchestra Bach (Wilh. Friedrich) Kyrie in min.; voices with Basso continuo Motett: Cantate Domino Benevoli (Orazio) Rega terra· Psalm fr 12 Sopranos (2 times) B rtoni ÓǺ rd.) · a 4 voice with organ (3 times) Nðrucifxua· tvoic e a capplla I Mi r re· 4 voice concertino with Violin Bif Ant. D.P alm fr 2 and 3 voices, Nr. Ʒ and Nr. 12 Biordi Chri tus fctus est; a Canto solo Cafaro Pasquale . . P alm CVI· Soprano and Tenor, concerino and choir fr 4 voices with instruments Caldara Antonio) Te Deum ; 4 voices (2 times) Regina Coeli; 4 voices (2 times) tabat mater· tvoice with instruments Madrigale; 0 Battista innocente; 4 voices 1 Motetti and 3 voices, Nr. Carissimi Giacomo)fr Sacred Concerto; Nr.3 Turbabuntur impii; 3 voices 13 . A T. Motetto Nr, 2. Ardens est cor meum; tvoices Jefe, Oratorio; voice and chorus Cherubini (Luigi) 1 Madrigale: Ninfa crudele; 5 voices Clari (Giov. Carlo Maria) Madrigali buf; 2 and 3 voices Conti (Francesco) Cantata; 2 Sopranos with instruments Il Don Chis�iotte nella sierra Morena; tragi-comedy in 5 parts (choice of scenes) David, azione sacra in 2 pars Durante (Francesco) Litanie de B. V.; 4 voices with instruments Laudate pueri; 4 voices with in ents Magnifcat; 4 voices with instrumentss Misericordias Dom. Nr. 2; 8 voices Beatus vir; 4 voices with strings Eberlin Joh. Erst) sericordias Domini, Ofertorio; 4 voices with instruments serere sopra il canto frmo; 4 voices with instruments rancesco) al R gina· 3 voices +¬ B., Nr. 1. A Joh. I Fux J Ʒ an o r n r· 8 voices JPat Ad Ift . r r 2 Sopranos and 2 Altos with jnstruments j nft ġ · Ʒ 4 voices with instruments times) Mi r r 4 voice concertino with instruments (2 2 Altos) . P et Magdalena, Oratorio; 5 voices (3 Sopranos, Ʒtgr im al Seplcro di Nr. Sge, Oratorio in 2 parts dn I. P ƒƷ Ha Joals e Regina; 4 voices with instruments lla on nobis Domine, Oferory; 4 voice a cape Michael) Haydn Requiem Fragroentum posthumum) Jomelli icol6) . . and 4 pieces with Organ Victimae paschali; 6 voices concertino 2 times) Organ Confrma hoc Deus; 5 voices with La passione; Oratorio in 2 pars t Requiem· 4 voices with instruments (2 times) Magcat a 2 Cori ( detto con l'Eco) (2 times) (Leonardo Miserere a due Cori (2 times) Intoito e Graduali per le Domeniche di Quaresima; 4 voices with Organ Dixit dominus; 2 choirs with instruments essa yie e Gloria) 5 voices with instrments anta Elena al Calvario, Oratorio in 2 parts; 5 voices with strings Terzeto, estratto da un Motetto; 5 voices S. A T. with instruments t Antonio Gloria in G 5- 14 pieces, with ients (2 times) Ad Dominum cum tribularer; 4 voices (2 times) Madrigale· 5 oices: In una siep ombrosa. Terzeto: Lamento di tre amanti; 2 Sopranos and Bass oto crudele Oratorio Majo Franc1 co di 5 D .t ·th strings u rz tto dell' Oratorio: Davide penitente a lini P alm unict. o· 2 voices T., B.) with Organ L$dƷ tna Pieri uigi G H, 6 voices urbae e pass1one N secundum a : M thadis sanctae V rsiculi· 3 voices ad Respons. hebdom Bened. D. Deus Israel· 4 voices Ve ·na regis Hymn· 4 and 5 voic�s · 6 voices . . T n· b u arer st· nescir· em , Mot , . . . . · tano nella Cap. S1stma d1 Le tre1 prima Lamenta10m co�e �1 can . voices Palestrina, Allegri e B1ordi, } ɷÌÜɷ ŵeɷ ɷ Ê' ' zɷ]ƒȊ'ɷ'!ɷɷ+ɷ5 ɷ }' ĺɷ +ɚȫLjɷ:ɷL :Iɷ8 ɷ SYYɉĻɷ Ʀ ɷÌ Ȯÿ Iɷ ɷ + ! ɷ TuƧȩłɷ 8 ɷ Ţ(' ɷ0Ȓɷ Üȋ:eɷ8 ɷ63ɷ -ɷ }ǍDáɇĿɷ D ɷ ż(ljV ɷ ťǗɏç4 -ɷ +V ɷg0£ȏƓŀɷ'V'ɷ ɷ ' ɷ63ɷ'p -ɷ ɵ ɷÿƨȰeɷ] ɷ ɷ ɷ ɷ p ɷ63ɷ : -ɷ S Iɷ ɤȓ ɷ ɷ a:a ɷ 4 +.'·ɷ'ɷ ɈƩ!Vɷ:ɷŚpɷ 5 ɷ ɷM0ɷ Í(' Dɷ f.0 'ǙȌȔ-ɷ ËYɎŁɷ ȕ ɷƽɷ ɷŝƖ´Yɷ ǬǼ /ɷ S ɷ ƁƪȦeɷ 4 ɷ ɷM0ɷ ͲDɷ fW-ɷd ĊDïï«ɁȖɷD0 ɷ}D §Iɷ5 ȗǘ ɷ ŽȬɛ"i(ɷ0 J«i(ƫɷÉȍç-ɷ ]±ǽ.ɷ ƬƜɜVɷŪ ɷɷV0ɷ] ɷ'ɷҤ ɷ ]ǑȘȺ ɷ.ɷM ɷ "-ɷ · ɷ (ɳɷ ɥ ɷ ɷ '±.0 ɷ Ŷi(NJƔǭ5 Iɷ ɷZ ɷ ' ɷǀ:ɷ ɷM ļɷŦɷ u Yɷ ȡɷɷ .ɷɷf ɘɷ] Yɷ i u|h} 63ɷ : -ɷ ɷ WȈə »ɷ 4 ɷ. .ɷ ɷ p ɷ (ɷ .ɷ ȴǝ*-ɷ ɷ'ɷ :' ɷ ¨ɷ1 (¨¿ɷ C ɷ r 3ɷ +*ɷZ @ɷ .0 ɷ6ź(* $ɷ ɷ *-ɷ " A .t mat .ɷWȣǚƕɃɷ W Iɷ ɷDž0ɷ6Åɷ ., ÅɷB.) ŧɷ a ɭ±Aɷ8 æƝÝɷţ0·ɷ ((ɴɷ ɦșɷ ɷ 3 T§ ɷT§ɷɷM0ɷ Mi 4 ňƭ´ Ĩđɷ cɷ *ɷ *ɷ *ɷ *ɷ carlat ɷ ɷ +Hɷ .iɷ A ȷ.ɷɷ4 ȉĭǹɷè ɷ ɋî0 ɷ Do(4minu Ǻ¡ -ɷs; Ë ¨ĽɷœȚɷ D +c ɷ ņ.m ưIɷ3ɷ; 1 ɷA. ɷ< (ɝɂľɷ ĩɷ . F î ȭɟp' ɷ Tu+i Ęɷ f VėɷM Iɷ5 Īà ɷZè'ɷ 63ɷReYǛǻ¡ ¿ɷ di +(. eɷ5 ɧț ɷZ ɷ :' ɷɷ3ɷ' ɷ Éɩ ɷ 5 ƟÝɀɷ¤ ɷM0.ɷ Ƅ("ɍDɷ ½śW.ƞȜĒɷ *ɷ + ! ɷ ¡Ȫɶɷ 10 ɷ¤ ɷM ɷ63ɷaɞȎ -ɷ 47 5 (2 4 čŝŹƚƷ 4 4 4 4 4 4 4 4 II 5 t D}DÂI /Â=X1p +D: 1>Y  f ºD/ n s/¤DÂNt HÂXa¤a>1p «==DPp /q´1»Â )D=Z1>¿FÁ 148 ?YPt u ar a a a a w f n gave try u pr a ' a a a taken by a r O a =KKYqBtw : 258/3? F a K a a am u ( a ) F a n f r a ar na F a n na F o l F a K a o F Ca a , a a i F au ari iB, a r arr d a R a y F a n h Ba a , a a a a F a n k a a i a H r F a Ka Ma F a n E a a a F F a F n G l b a r na F a l Ma La F a J ?¬ F a a wi a F a a J k , a a a H F au Kar a k a arri d a Ba F a Th H f a a am n F a K , a a i a F au i id urba F a M B ( a ) F a G a n a a a F a L f ( a ) F a k P n f ( a ) F a K h na L ( a K n n ) F al l ( b ãƷ 1854) # % F a n M a a a ( a ) F a B b o a a a B F a l J fin F o l . F a n a o a a am Ba D m F a K n G ( a ) . F a l n J l b a a b i F au L d a mar d) . F a n Ka B , a ram a F h 149 Fraulein Therese Janda, later married name M arsc hn er F raucdf femef ferese . . Schwarz ' later mam·ed nam e G rm· s Fraulem. Scherer Fraulein Betti Bur 027? Herr Georg Krebner (dead) Herr Georg Hofann Herr Peter Lugano (Bariton, dead) Herr Josef Bath Herr Benedikt Randnger Herr Johann Conte Fedrigotti (dead) Her Michael Vogl (died November 20, 1840) Herr Ludwig Titze (died January 11, 1850) Herr Kolumban Schnitzer von Meerau Dr. Theobald Rizy Dr. Matthaus Lutz (died February 27, 1853) ##, Herr Rafel Kiesewetter (died January 1, 1850) Herr Franz ales Kandler (died September 26, 1831) Herr Aloi Fuch (died March 20, 1853) Herr Karl choberlechner H rr uigi ablache (died January 27, 1858) Herr Gottfi d Reggla (died March 16, 1836) Herr Arkadius Klein (dead) Tho ho did not know Kiesewetter personally thought of him as a serious, dry, pedantic man that easily Jives, beside his ofcial duties, only in that period whose ,40]Q$dƷtreasures were only of interest to him and recognized that as the golden age of ,40]Q¬Ʒ reality there was not the slightest evidence of all that in He was cheerful, In . ars, œ^fRƷin his interaction, humorous� he participated in all branches of the sciences and his NfRƷespcially fll acknowledgment of the newest advances in music throughout his admiration of a liftime. More than once I heard fom his mouth the assuance of m blind to the ĆNŜİ0ƘƷDurante, J omell(, Scarlatti, Handel, whch did not make hi and brought it to achievements of their fllowers who actually developed completely a 150 e¤Âhighest maturity. He was an admirer of Haydn, Mozar, and Beethoven, and gave fll justice to Rossini, of whom he said that Rossini ofen gave him greater pleasure than r/y¼Âof Rossini's contemporaries. He far removed fom the view that there will ever be a time when we go back wa ¤Â¤ZDÂstyle and prformance practices of the old masters. We will regard their works as i«¤Âhistoric memories and studies, and to some extent will seek out and perform them as examples of noble simplicity and pure idea. It was in the sense that he dedicated loving =/DÂZ1rd work and diligent study to these early works. His collection of musical scores ´`pp /pµ1½Â remain a treasure of the Royal Viennese Library. The memory of his =y=DÂof early music wi ll remain a precious memory fr the surviving fiends of his W«D 51 a er Parad e Sa o e well n wn i u s and pian each r r ul in h r se aradi s bel ngs WD«¢©{Ac{QÂmusical rs nali i s i nna wh s in u nc nds f m he D°`¬Âcen in the pre s n . r acc mplishm n s as a ir u s and c mp s r 9DlyR£Âan earlier ime Sh was ac i e up until her d a h n bruary 4as a D/=WD 1{A as a center a musical circle crea ed by her er li s ry is fund in all 9` 0 `cal w rks h refre, I shall n y brie y uch up n a w hings amely h WD ´1 May 1 5 1 759 in i nna and she b cam blind a h age f hr e er ra=0m ale t d el d arly and was cul i a ed cti e y She receiv d cell n D=ń£bz z r trips G rmany, rance, ngland and lland a pianis ince her DªÂ¡Â ie na t wards he nd f he year 1 7 6 but wi h w e c p i ns she wi hdr w Ms lic r r ance She d d h rsel ensi ly aching and par ially XDÂ=tb£bz f ian pieces pere as can a as, balla ds, etc n her la er years, she D=Da±EAÂa sti nd f Ǻguld ns a y ar m th mpr ss aria heresia hes w D/sÂGÂbz>uF r id d her with a c fr abl living b u h r mann r, her ?sbzS er way f li , and h r g nera ducati n and pers nal indn ss, re r XDÂjyµz i ra ies, and l i i ys lf h re nly p r ray he musical circle ha she KrDAÂi er me, a d t which I mysel bel n g d sinc 5 el n e use . 4 in h ci y a he Berg l as he chab den ss ld fiend y WD st re , her se aradi s i d fr a numb r years w h an 152 ¥WDÂƯƗ7/AɷŨ ɷL ɷg ġɷ ɷɷɷ ɷ1ƶɷ ɷ ɷ ɷɷ ɷ D°`¬Â =ɷɷ1 dž)ɷ ɷ ɷ©ɷƳ Ģɷ ɷ ɷ ɷ#ɷ1ɷ ɷ ǧÚ³³ôȁ;ɷ;ɷNjɷ ɷȿ #ɷɷɷ ɷɷ 1øPɷ K ɷ# ɷ `y=`nE ɷɷ ɷɷȲɷɷ¥ɷɷɡ ɷ!/ɷ Ǯ ɷ ɷ ɰ ɷ DT«n/ÂDz4ɷG ɷȸɷɷ+)ɷ1ɷK aɷɷ#Hɷ ɷɷ 2yB³ä ɷȢ U ɷɷ ɷ ɷɷ ɷ¬#ɷ Ðɷ /ɷ ɷ T/xÂGF4ɷ74ɷɷɷ4 ɷɷ ɷ øý/ ɷ# ɷ©¥ ɷ ɷ D°Dyd|UÂ& ɷƹWɷ4 ɷ Ñ ɷ7# ɷɷ/ɷ1ɷ# ɷ #ɷɷãɷ H¤WD¤ h ɷ^ɷ @ɷkɷɷ#ɷ4# ɷ 4 ɷ ɷ ɮ ɷ# ɷ u e rBÂIÂ^ɷä^ 7% ɷUɷU E7")ɷɷ â& Oɷ |ɷɷɷɷɊɷɷƱɷ# ¬ ɷ ɷ DDy¡Âr_Fɷ ɷ Ȼhɷ @ɷ= ɷ)ɷÞɷ ɷ UjùɷUɷ ɷ/ ɷȄɷ/ɷ ¬ ɷ ɷ TD  ūXɷß4 ɷ Gɷ "&% ɷ=Ʋ&%ɷɷE# ɷ ɷ ɷ#ɷ #ɷ #ɄɷȂ#ɷ ¤WDÂhN¡8"ɷ _Wɷ 4& 8"ɷ=&4ɷ ɷÞɷ @ɷ % ɷ¸ɷ ɷj ɷ ɷ ɷ1ɷcɷ The BÂȞǨ^/&Xkɷrɷ_(hɷâEɷ <"/"ēɷű>ĕɷŕ ¥ɷɷ+#!#ɷɷ#ɷɷ!/ɷ %¾/¤Â8XØɷŌ @G%Ĉɷ& ɷ¸ǢAɷ ɷſ7 ɷ?ǵ ɷɷS Oɷ ƅ ɷ öÚȯôȱ^×;ɷrɷE ɷ"/ɷ4 DŽɷ! ɷ ɷ ɷ ɷȟ #ɷj ɷ ¥WD¤«ØX s 8N& &Oɷ JE ɷ ɷE/ɷ7ɷɷ|ɷɷ#ɷǣ ɷ# ɷƺ ɷ ɷ ¤WDÂs¡Âɨ4= 7X"ķɷ {(ɔ&Xɷ?ó ýɷ< 7Àɷɷ ɷ© ɷŤ #ɷ {(ɕ" 7ɷŃȃɷ+ɱAɷɅ ɷȶ7 ɷ ɷžȾɷ Oɷ Ĕɷ 1859) Şþ¦Nɷş>ǡɷōǕ@¦Àɷ¦ ɷ¯¯ ɷdz ɷŖ¯ ɷ6Ƣǖɷ {ȧƐɖnƤ`óɷƘȅ)ɷŗ`¸nɷČ -ɷ ģɷ Šþ7ɷŷɷ<ǩ7ɷɷŎ ɷč# ɷȵǴ -ɷ 153 Fraulein Erestie de Boscalle Fr�ule� arie .Freiin �n Bibra, later married name Zardahely Fr�ule� Atome Feran, later m�red name Stainer von Felsburg (dead) Fraule�n Em�y Ā#cWkÆƷlater mamed .#ũWƷĊĥņƟcvƷƧŸ.Ʒċok#ë.ŏovŖªƷ Fraulem Frenn on Trenk Fraulein achela on Bussetti (dead) Fraulein Marie argarit, later married name ir a Fraulein Elise Margarit (died 1821) Fraulein Anna Schupp (dead) Fraulein Amalie Schupp Fraulein Elisabeth Ku lwieser, later married name Hellmesberger (dead) Herr Ale ander Schupp Loyal fiends o the house supplied the instrumental accompaniment with ind BD° ez  Dr. Anton Peck, ad ocate (dead), later err Eugen Frolich on Frolichsthal, WDz Georg Hellmesberger, played the frst iolin. err Jose Kl c l (dead) the Her °el/  Her Franz {ðƓ Rabel (dead) the i oloncello. ogether with others, helped with /ll ezSÂi struments and sometimes I e en played the contrabass in the concert tutti's. $/ DÂphe contrabass changed to the much more co petent hands o Herr Johann Hinle. -WDÂm /c ant Herr Franz Schober worked tirelessly as fautist; r ulein Julie Engelhardt e /zB Franz Barthioli represented the guitar section. Her Amon many other pro ssionals and amateurs, indi idual solo per ormances Molique, ¶DDÂh a/AÂby the fllowing men: [ on] Dratschmid, lbert ardt, Berhard e Ebner boys WDÂbli d Conradi, then Frau Therese Winkler [on] ohrenho andthe two d r ulein Schanz °elezÀ H rr Dio is Freiherr on skeles, 1815, ioloncello; the blin e on Steger W/ÀÂH Florian Heinemann (fute); Herr Oberleitner, Herr reiherr er to the change and ~Ľ4^pė/Ʒ For the presentation o the ocal pieces, which contributed err eter Decret and enlive ment of the program, there were always willing amateurs  DÂ#^_ ) 257 /3? an F a K 1 8 ). F a , F a E ) F a F a b F au B F ) F a a ) F au B E L ) F a F a L 1 82 ), F a F a F a D h F a , F a L F a F F F u , , ) F a E 8 1) F a M D F a F a P ) F a ) F a K F a r L F a ) ".27? / ? Ba it ne K V ( ) P ) P ( ) K m 1 52) 22 84 ) a 1 844) ) P .¬ V 18 1) 155 Her J sef Mozati (dead Her J hann Lhotzky ##, Herr Leop. Jos. Eppinger (died 60) Dr )K=Edler v n Sonnleither (died 1 3 ) Her Georg von Lagusius Her Seeman Her J sef Pocl (dead Her J sef Jonack Edler von reyenwald (dead Her Ben Hausch a Herr J hann estroy Herr Franz Sales Kandler (dead Her Karl Schoberlechner Herr J hann ej ebse Her J hann Schmiedel (dead 1 4 ) T analyze the rfrmances of all individuals or o men i n heir o her Dl0¦ezYe w uld distract om the present course. s ama eurs in a modes circle, rD· b gan here had reached a signifcant level of profciency as prac icing artis s. h -WD resented ocal piec s frst consisted of songs, arias, due s and rios fom he m s o ular ras o the time. Also r ormed were vocal quarte s, choruses, he frs fnale MrÂDon Juan 1 20 with rau Aloisia Lange singing he par ofDonna Ana, and ¦WDÂlarger w rks. An outstanding pr duction n December 25, 6 of'Das Lob der &«ejÂa cantata o Jose Schuster in two parts, and on March 25, 'Die chopfng' Ansi n JÂ#DIÂHaydn was r rmed The young women Herman, i zenberg, and al o and Herr DJDAÂthe s l parts in the frst work with rau von Maurer singing in he second w rk eDz·1mAÂand Dr. Ignaz von Sonnlei hner [singing bass]. ingers ei hner. he ¶DDÂFraulein Babette von Mosel, Herr rol and Dr. gnaz v n Sonnl was performed by he =WD¢1Â1Âwas arranged fr two pianos fr fur hands and Bwɷ outsding schoolgirls of the house. Other schoolgirls participated diligently in the @Xa You 4Ôɷimagine what happy and joyous impressions such perforances and reheasals made on the young students. other ways, Fraulein Paradies sought to strengthen the bond that kept her group I ¢TD¢\E I LÔɠɷ $,$xAɷfr them, she gave a ball in her aparment that tued out to be H Dat sisfaction fr everyone involved. She herself participated with enthusiasm; she g D±DyÂdced some Ecossaise and Contratinze. Lan d,d,Aɷtwo house theater I u prorances took place with her adult schoolgirls, and some musical house fends paicipated in small comedies. The blind violin player, Paul von Conradi, supplied an improvision on a scene fom the little play, Heirath ®@=D  Febr $ɷ $Èɷsh organized a Piquenique Ball fr her young group the i 'hppDa>Y n building Ʒ th bal l delighted al l the participants. In thi h maintained with her circle a nurtured, warm and fendly /¢sYEE but on that n v r exceeded the bounds of propriety. When public beneft On May dwĖɷ @y=D¢Â]a  Sg n, sh wa glad to have her better students paicipate. ÂYEÂoSaniz d a musical soiree in a room of the archbishop's palace; proceeds fom members of her ¢XD zE t suppred th por. In this beneft, only her pupils and other b f respect, and this D±DyazSÂE>a¢3p The success was satisfctory in every  paricipated. i last musical evening ¶/º ¢YDÂexcellent Paradies worked until the end of her lif. Her number of her pupils and fends D=e¢4p¢ o place a fw weeks befre her death. Kɷlarge o tear fowed in her memory. Kpp´DAÂ[EÂfneral procession. and many an earest ^ƐMarriage through the weekly newspapr. Bxɷ a er I O t Ha Sa The enjoyment of pursuing usic on a s all and non-pro ssional level is one of ¥WDÂmzV Cc{QÂcharacteristic hall arks of Ger an and Vie nese usic lovers France /yBÂItaly use the word letta t to describe only t e ac ive a tendees of musical T6Âthe enthusiastic concert and theater going public. However, on t e other hand ´WDy e Gerans speak of usical dilettantes, we are t inking of people w o ¥WDvEm²EÂsi g, p ay a strig or wind instru en , direc or co pose. Even if t e results H«ÂAale tes ca ot easi y co pete with the ore careful perfor ances of t «¥¥/zAazV rofssio al artists, when they are efectively prepared suc results cont ute to the s read of the know edge of solid usical works of art and ereby to BĚ DyW/}>EtEz§Âof £8£Â as a whole. .z§am about th y ar 8 4 the system of associations which today unites the /¥a@a/£azS d of the musica arts in sp e did rehearsals and perfr ances had not f ºD¥Â¥/kEz / root-b ca se of the pub ic situation in Germany at that ti e. Activities fr /om¥¨DAÂto dilet tes ere limited to House Music (string quar ets were co mon) and ered singers /¥a@a/£azÂi Church Music, which, particularly in catholic countries, of subject to L!inste talists ample opprtunity to practice their talent without being @a¥a@at  "zÂthe year 1813, the young Fra z Schubert fnis ed is s udies at te imperial Drfy7  I orchestra rehearsa s with the young pupils, he a times led t e frst violin D@¥az  Duing the years that he spent here in the boys choir he ook vacations mostly 5 ;ɷß ɷɷ ɷ ¹¤Z ɷ ɷ ! !ɷ ɷ ɷ ɷ ɷ ɷà ɷ ǂɷ /yBÂɆrFɷ!F ɷ ) ɷɷ ɷ ɷ÷ú *ɷ Ŭɷ 3 Āɷɷ ɷàɷjɷ D±D1pÂɬ^;ɷ;ɷɷɷ ɷ ɷɷ £ɷɷ ɷɷ!Ĥɷ ɷ ɷ/Ȩɷ 1 14, ɷǁ ɷƾɷ+ǐ! ĉûɷ) ɷLû1ɷŘ íɷ!éɷƿoɷ I ¤ZDÂ%E"AÂǃ ɷo ɷ )ɷa)ɷɷ! ɷɷɷɷɷɷ!ɷ ?ɷɷ /yÂa1 Eu ɷ"ɷ÷ ɷ ɷɷ! ɷ1ɷ ɷɷɷ ɷɷ ɷǜɷ ¤WDÂEE1 ;1";ɷɷ+!ùɷ Kɷ ɷo ɷ ɷ ɷ ɷɷɷɷǶɷ ɷ H Ey Hɷ ř=" ɷ)ɷ ɷ! ɷúɷɷɷɷ ɷ ɷ ɷL1?)%ɷ f ÙNɣÛȹɷƻɷ ɷ % ɷ ɷɷ! ɷɷɷj ɷ ɷ6 ɷ =ɷ ODy  *y ɷ &%ɷo ĸɷ ɷ ɷ) ɷŲ1ɷɷƋ# í ɷ ¤ZDÂ=y¢1;5Â=")ɷƀh=ɷ ɷ?)%ɷ) £ ɷ ɷ )ɷ ɷ ɷɷ DDy¢EAÂ1Âȥ¶² ɷ(% E% ɷ!ɷ%ɷ ɷ ɷɷ )ɷɷɷ ɷɷ D±D¯yRÂ1µÂ {F(ɷ ɷ l% ɷ ¶!²2ɷ= Ǹ% ɷƴ ɷƵɷɷ ɷ ɷ m =q/Â;u;NyE;ɷ %>ɷ &ɷ &% ɷ@Ƽ ɷǤɷ ɷɷɷ ɷ ɷ man ɷ ¤]EEV5 ɷ@ ɷá` %ɷ `n`ɷů1ɷ< ǥ nɷ ɷ r. 11 5. ńɷ@ɷ &% ĥɷ 1ɷɷ üǷƑ""ɷF°_; ɷ &Öɷw %ɷ% hɷ ɷ ɷ ɷãɷ ɷ õɷ ɷɷ NȇüɌX ɷ="/ɷ Ħɷ Ñ_ɷ&l%ɷoE! ɷ Ĺɷ? ɷS ɷƍ ɷ ɷɷL ɷ š°NÛÙ°&_ɷŅ¶ ɷ+)ƥɷ Ʒɷ ɷ K ɷ? éɷ 6!- ɷKɷ < ɷ6!-ɷ Ð ɷ ö"E½"ɷ ɷ %Öɷ! ɷ6 ȳ-ɷɷL ɷ ) ɷg a ɷ?) ɷSĀ ɷ ¤WDºÂ,1Aɷ& ɷȤ;l!"ɷɷ ")ɷ ɷ ɷ) ɷ1ɷ< • C A +Ƞħɷ Ï 1ɷ ɷũƸɷlǦɷɷ1·Ã ɷ nɷ ǪɗȆ ɷ • • ɷ&ɷ& l% ɷE ɷ !EÂr´ɷnɷɷ`%ɷ @Hɷ BCɷ L!ot &rs * d up to the autumn $,$u ɷthey were already well rehearsed so a number A#al`i¤&n&rs came to hear them. The area here became much too cramped and by the end of the year $,$B ɷthey /!8B[&"into the apartment of Herr Oto Hatwig in the Schottenhof Hatwig was a F]o%+&nt [,B6+=adirector and frmer member of the Burgtheater orchestra who took over n/'!+\&ction of these rehearsals. Wen Hatwig moved to another apartment in the uL!'@1R+in Spring ,$, ɷthe society fllowed him. They had already played so well L!z&\&enlarged wth skilled members, that they could play the larger symphonies of }!L Mozrt, Krommer, Romberg and so on. Also, the frst two symphonies of Beethoven, then the overtures of these masters, and those of Cherubini, Spontini, Catel, '/u>BBi&ldieu + Weigl Winter and others could be presented efectively. Among the ?5in'L'\i{&\ H r Blahetka, Josef Czery and other musicians, and upon their request n@'Lo&"O )BD5&-J5Oaoccasionally were allowed to perform solo pieces with orchestral C8G<+9!=Sa Th r citals of Fraulein Leopoldine Blahetka and Josefne Khayll were 5L @u!&# Violin olo of Herr Eduard ÷KƎƷ(fther of the pianist Alfed Jall) and 'e0\"Moliqu th n concert pieces fr fute, hor and so on. Around this time and fr these occasions, Franz Schubert composed a sweet jor, s}8p0o that, Herr Jall L!o0&2=B]=aoverture 'in Italian Style' which pleased many people. With hall called "Roman W]'i'Lo&"t)&m in a concer, which he arranged to be presented in the contn·b utions · 0 fthe 5i'\ &expnses of the rehearsals were fnanced by moderate time, aside fom pero rers in the years $,$uɷto $,,*ɷ The orchestra was at that AP+B<6aguests, compsed of the fllowing members: 160 First Violin: Otto Hatwig, Be rhard Molique, Eduard Jall, Berhard Lazzer, Ferdinand Schubert, Josef Hollauer von Hohenf elsen' Ferdinand von Nespem Second iolin: Josef Prohaska, Jakob Regenhart, Filipp Rechel, Konrad Kuschel, Fra iesner, Heinrich Grob Viola: Franz Schubert, Johann Peter Neuhauser, Johann Wagner Violoncello: Johann Kauf, Karl Wittmann, Ferdinand MUhlauer Contra ba : Anton Rohrich, Redlpacher Flute: ·cha Z erger, Hom 1 Obo : ugustin Haw lka, Anton Fischer Clarin : Zacharia u rt in, Ferdinand Weghuber, Bschomer Ba oon: J hann <ɷ r Friedrich Heyne, Josef Doppler Horn: Ignaz Ma r, Franz choller Trumpet: Johann and Josef Nentwich Timpani: Peter Edler von Dekret . . . gentlemen were businessman, i6!',SF$Ʒfw profssional mus1c1ans, most o f t h ese n^!'iF& S\minor cit ofcials. . . d so 1t wen untl·1 th e sp  nng of $,$,Aɷwhen Hatwig's health A : began to decline and zt)ere re unable to continue. This did not end the society however, but they moved into the aparent of Herr Anton Pettenk ofer, on the third foor of house No. B,ǫɷ the X!LK4awhere a beautifl parlor at stood fr rehearsing and two spacious rooms Herr fr the listeners. Joseph Otter, at that time the violin director ofthe Hofapelle, entered into Hatg's psition as director. His son Ludwig Otter, in addition to several other respctable profssional and amateurs, among them was the excellent fautist Ferdinand Boger, reinfrced the orchestra. In S)!ameantime, concer pieces were included in the repertoire aong which we can name S)!amusic of pianist and composer Hieronimus Payer. addition, there was I the desire to e pand the sphere of activity even more, so they decided to present an oratorio fom S.:a to tim . At frst Die ieben Wo rte by Joseph Hayd on April 6 $,Csɷ then Handel' ·ia and ewaft der To nkunst and fm ally on April dRsɷd,3tsɷ e miedel conducted all of these ĉĤŅŷſķƞ ŰƷ ; Jo ph a dn. or these Herr Johann Sch er, Josefne and Babette perfrance E Among th ing r were: Miss Eleonore Stauding Ludwig Frohbch and Juli cha then Herr Peter Soini, August Ritter von Gymnich, Tite, Josef Preising r, Jo ef Gotz and others. had already Now the underaking had reached its culmination and actually fom rehearsals into exceeded, si ce it had lef its original purpose, which was chaged n music. was a accident productions, playing with oratorio and fnally mixed orchestral I held a Pettenofer who until then, that brougt about the breaking up of the group. Herr Äw3ɷ HU!'kppsition in a wholesale business> had the good ¬ C7 to win the lottery. ( UvĿt hself a place in the countr and move there C¬Vienna. Because of this b p &p lost fee use of his aparent s4(kU 9 . Since the fnds were not available to rent \ oms, fher practices l;J9D r and performances of the circle came to an end in Autumn 1820. The soiety, whose 'fre had ended' that have had the honor to describe was PTno3';4f one of its kind. There were other societies active at that time. myself had TW[htto know to similar societies. An ofciat Herr Josef Dollinger gathered an Go'v\orchestra fr rehearsals on Sundays at 0 o'clock in the moring, in his spacious Wg&Qp euburg rgass o. QQQɷon the furth foor. Excellent symphonies and Ty(\ov\&mas w pianofrte concert pieces were performed. Herr Dollinger himself 11 W>}'!th ol žƯƷ inc h was an accompl ished pianist> and heard him perform quite P: (>~RN a B nc r in th year ,QÈ*ɷ Several of the men named above W]n8 8Xrd in th tra and the e practices continued fr several years; but am not >'oUŁƷ u th ginning and ending dates. b who It was t Ii I and most merry in the apartment of Herr Anton Rohrich m E8y Weiden') known as the Golden Press. '! 5N 1 but was gifed with |(>AoUdo he was atisfed with his status, without higher education, tic of being a tireless fiend .TU!Qpw\* On top of tha1 he had the special characteris requirement that he could join in of Ivk= te Fa at a m a, always with the a per ••• to e but did not know how Or > fr he had won t h e @í0 Óí rather the misfrtune D r d m ances Wc at e r under constrame TZ]Cmanage it" he subsequently died a fe w years · f I R" f!;YCf '`e\ JaJ'$q;( {@\J@TT$q;({@\J\T !(JJ\q;(n( LnqexS(Uqn f Mw!<q\\@Tn@7T@.!Vq@T \e$(eq\nq@n6;@n ^E ann@\Tr \TJq;'U\ J( n('M'$ q\ ;@N ~\ft;\ F (!q\) ;@n ģg-ƗĕOĖnnƷ 'T(f7 ;(f' ~n T\ ;ye!; (nqA|K ( V\!\T!(j `g"q@! T$ T\ Je7(e n'f(W$' @T~>@!;];e@!;$@$ U\qqI( RBnn'$ V\\V( nx!; \admq T$~n T\q 3@$ \)T$@nqT!'\e $ ^ R&Ff I 'n''[ ;@S @q? N \V ((n J\$ ;En @YnvQ(Tq \T;@nn;\xJ$'en5(h <8fBE@YS-;4f -4f \g$'eq\8'qq\T\q;(ee';'enJ Y$ ¬ n~Rč $e77@T7q;e\w7; /+ "PfP"K;Y f<K*q;'r\~T ^//f ^KK BV8'e xq \+!\xhn(q;@nJ\T'$@$T\q ny-!' (nq@JJ\e7T@($;@n q?~;B!=q;(~'e'N@TJ!q@{'@Tq;'n (fq@N(~;@J( Vf=R"Ffn_B'q@( e $X% <$ KBNBq($q? (Bee';( enJn ;( '7T\T y(n$ @T q<( XBV7 =\xen !T$J'J@7;q $q;(nue''q~ n 0ZN)f_";f` Gf `K -4f s\Xs=' e\~ U q;@n;\qq'nqn( n\T\)q;(( q;( N(T@U PAf s< *GfG X$*Pf~ n H \q\ n'(q;@n7e\ya\) 0 q;'T\ J' L(M/]f &( ^sB Z9 s< s e =( hnBV7U$q\ q;( ;eQJ'nnbJ( nye(\) m gĶƷOznB" q;( (:ATT@T7 T$ 5OEa^T)as?B g!= qe I !XU\q$(!Ke(q;(q@N(\) c'e2eQ'$ (T(/q!\T!'knq 5,6 faP/f )^]a B q % B X s=(( g ;( \{(lf'n T$q;'ue@!J Q#f $>%7JY44 Gf ! as Hatwig's orchestra ¸DDÂthe se . Anton Rohrich, although seemingly in best health, in early 1830's was overcome by a lung ailment, to which he succumbed to on t ,D¤Dw< 13, 1832. The chaf keu e of the Austrian Emperial state, whose main Ge e l der DcFÂconsisted of symphonies and choruses, opened their concerts on December 3, in the small Ball Room. Franz Gebauer established the concert spiritual frst held 181 on (=¡< 1, 1819 in the hall 'zu der Mehlgrube' (now the hotel Munsch). In these somewhat gander prforances, the better members of the smaller music groups were a~±a¡DAÂto prticipate. In this way, there was an established supply of devoted friends of music, well train d and thoroughly fa m iliar with the standard repertoire. The presence and 0=¡a it of musi group had a lasting and benefcial impact on the participants ¤WDr Fp F as th larg r mu ical scene in Vienna itself 1 165 ha er X naz Sonn ei hner Salon * By Wilhelm Boclg Mthe series of sketches fom old Vienna, the portrayal of the musical prorances is given by the council member, advocate, change notary, and profssor Dr. Iga Edler von Sonnleithner (bor July 30, 1770, and died November 27, 1831). An 5G[fMpMx `of amateurs and profssionals were involved during the years 1815 util including the son of the respected jurist and composer Dr. Christof 1824, Sonleithner (bor December 25, 1785). His fur sons and six daughters were all more T_less tlented artists· Chri stof had an innate sense and love fr the music and this was $'y'>SY"through training. With a rar and t nd r bass voice, he effrtlessly sang fom the low D up to the n'LT\ without ormal oic instruction, but through practice and the model of the G geatest train d that time. With active spirit and warm feling, he executed j'_5Svi ]a c mic pars with good efect. He befriended Mozart, Haydn and a 1 Beethoven wth ali ri W igl Eybler, Preindl, and he personally knew many other spirit. He respcted comp r . He sang their works afer their instruction and in their Stadler, the parts of jL-the bass a in th oratorios of Haydn, Handel, Beethoven and Sarastro, Rocco, Re 7-\SLeprello Don Alfnso (of course sung in Italian), Osmin, in Vogler's Sam r , T'Tdo othe role of Pistoflo in Mo ara, Richard Boll, Tamburan r rily perfrmed many others. Micheli, Jacob, Maferu, Alidor, Pedrigo, and he satisfcto It was there that his wif s*}also ofen invited to participate in the church choir. He • , Dr. PɷPɷSonnleithner, fr Here the valued author of the frmer sketches . s of s fther's fmil� obvious the musical pe frmance � reaso�, has refsed to discuss � yea end o� the fmily fr many Boking the k. k. Sek:ionsrat, an old fn Her W cal fmily. 2i'a- ilhrlyelm ofe red to wite the prrayal of this musi e 66 e lo of music < 0Jthe s o it was natural fr his thirteen children, of whom rl in o� ere enco C0Jded ea uraged and driven with the desire and 1 ove to work 0Jat their musical di . The talent of the siblings was unequal, but the older children had the ach at because they enjoyed the necessary instruction fom early on. :?Js) Lopld on onnleithner•• J! demonstrated an early aptitude and n inclination J B ·th a good oprano to $D; voice and a good ear, he became a sure hit e l oi e icti wtou ac on, despite his frst difculties with piano playing. He dgent! V 'O High as e ery Sunday and was still invited to some other t prorac in ' hi h h got to know quite well the best works of serious music. Now, ŋmƷ; 4Jals mo d O\ ard pla ·ng the organ and an interest in composition. His piano C 5J h !. r r r indl gave him instruction on playing fgured bass, score Kap t 0 (J )F%BJ rint in t ntation, and harmony. He also pursued the string &?=J ' ra i ·th m t 1. o-natur d indl] was so content with his pupil, that he T r <6*D;!J -1)/J d nnl ithn r h uld devote himself to the art completely. The boy, his own talent, and howe er air ad had u ha atur judgment that he did not overrate a mediocre artist. The J@7 %J d that h " uld r th r b come a profcient jurist than year 1 13' he organized #E; Jr i%J d hi ri t t tim and in the autumn of the m fa the course of the fllowing E' GJ h ar al re diligently continued in qu tr *** of the The quartet arrangements H 2;Jwith e h lmat in hi fther's home. eral . and i·1 ar 1 y, whole operas overtures %J yphoni ppular at that time, sim· . contrabass, a ,3 voices · 1 ding the @*5 +:Jw re on incorporated multiple us d and me u E @J (Jbugles tc. of .. . d collaborators cate Vienna an )8Jon o ember Quɷ$xCxAɷnow advo A m 9Jp es. i de � known as 'am er later became • • winter of Q,QĮ\ $uɷAnton Schindl Beethov nIn'. the 1 6 ir a t d to be satis fed. n the amilyand among lose ēĩƠƕƷ ho anted to sing lso the younger son Ď|njƚĐɷhad a r m thi nu leus there develo ĞƥƷ ped singing rehearsals in whi h i ho in p c lar rƪƷƤƷ he inales om the operas o ozart h , erub · ti r B I as the desire to conne t both singing and pla ing in mp im nt o he la rmƷ rger vo al works was arranged r the l r and th condu tor had his ha ds ll ith shi g the s ores tou h n as as ist t h oir master in rehearsals a d se tionals . ïƦůƷƖŶtľƷ re initia lly poor, they imp roved grad ally d fiends li t ners to attend. rom this it be ame ne essar to o t e arate the rehearsals om the per rma es, to h %J J and o de ermine the days o performan es. · th t dio in he frst oor of the delhof f their ĔƁįŮƍƷ ōśƷ &/ÅThis larger, more spa ious apartment o ered a o r h a e house eekly rida meetings began o d hro h he summertime ti l the e d o e 1816 u ar he small so ie had i reased a d . rned out that they had to have a break duri g r i uld however alread be alled per orma es to a e o l i r r h ar al . rom tober 1816 o , this took pl eve . were mainl ery o h er wee k , i the al ears e anwhile, they ame to the realizatio t at e . fr . rtain level of pro ie r th all or h tra ere ma ta ed ata e vert res ts. d ua ll the o u r n t uited r p rely artis ti res l was res ri ted to @*J e t vo a 1 ie es a ual ets and the ac ompan P . . the o , pure e d out a d om he Za 1818 his convers n was a *0_ ƔƷĦʼnP Ʒ Ě =FĚ Û,Ě :WĚ } FĚ 6Ě �èƮ¶Ŏu ...ŨV- ñü$ĚtĚ 0Ě Ě m Ě $Ě Ě ell c oru Ě FeĚ ìe,Ě:Ě 5.*:a w Ě$Ě ĚkĚ ĚĚ Ě ĚD0Ě 1 . lswhere. Ě j 4GĚ Ě :e ,$ Ě Ě ,Ě Ě S =$ĚRĚ0 $7_Ě 2+:ear =F: ) : f G Ě SĚ= ½Ě Ě pĚ 1 /Ě ĚĚĚ Ě 6 / # +:ØòßĚ ,Ě Ě F¦Ě ÙĚ éĚ Ě Ě #,$Ě Ě uXĚ The reputation åĚ Ě mĚ Ě kĚ Ěq/ ,Ě rĚ ĚĚ t e &Üč-Ě 'e Ě »ɷ @Ě Ě/ Ě Ě Ě Ě Ě kĚ pĚĚ iprt in #&:prfrmers. G,:ĚfĚ +4> Ě Ě Ě G ĚĚ Ě Ě Ě Ě li�eners to GĚ eãĚ Ě ĠVƷ-IJƷ S Ě $ Ě Ě /Ě Ě/Ě Ě s p 120 pople. The progam m +Ě h-ĚæĚĚ 4 Ě 0Ě RĚ Ě / Ě $Ě ha r Ě QĚ *fĚ 0&Ě Ě ĚĚ Ě Ě h'Ě *Ě ĊĚ #/ĚĚ Ě ĚHĚĚ a \ m n th 'Ě QĚ 0Ě>m ĚĚ ĚRĚ_HĚ2VpJĚ sy honic :Ě 'fĚ i(Ě ÂWĚ ~ Ě2HĚcJĚ c@Ě Hen iĚ &&$JĚĚBĚ @Ě bĚ Keter wa p 5t &iĚ Ě=+ ĚĚĚ#/Ě#Ě Ě ; Ě music la w 'Ě Q@Ě *>(ĚĚ Ě & 4$Ě#ĚĚ ó;{Ě Ě M z f $ = Ě -* ĚĚcĚNĚ^SĚ Conceros by: r a ĚĚĚH{Ě Steibelt, ĚÀ>(ĚÖĚÕ> Ě Czery, Ra bVĚ ËĚ 4Ě Beethoven, + W 8ªĚÐ ,Ě_;;Ě Moz ar, arl a a b r Ě vĚ mĚ ýƷ A+Ě °Ě ðĚ 83(ĚÅ0 VĚ^Ě Pre un, Kann o Ě Ě Ě } + ns A & Ě 8QĚ }ĚĚ Ě©Ě a pies Va bHĚ a Ñ0Ě ÆvĚ fom e àĚ û +Ě ĚĚĚ ĚĚ Ě ' ccompaent Y h Ě OSĚ m. For VĚ Ě ĚtĚ 7; ster, W r c ejĚ :&Ě 9 *+ oĚ ÌRĚ E ć Ʒ A. I ' h Sch +4@Ě M unke A"¡Ě Ě ~>Ě 7 oriz Sicca, Ä wCɷ pieces fr o o other instruments ere also included fr variety. Besides the e ioloncello, wo other popular ents ere heard na ely t e ute ermore, solos r harp recorder ob oe clarinet, bassoon keyed trumpets ere pr ormed. The comp ositions fr the vi olin ere by Rud ruetzer seder ode, e ka Worzi 4'> schek Jan sa Maurer Pechaczek Rovelli Bohm r the · oloncello B. omberg Sch nebeck Matiegka and others; r t re l r Bayer, Sch oll Scheibl M er Heine ann Schulz Bogner fr the guitar on Giulian elli Bevilacqua ier Schulz Diabelli h ŊçƷ Bochsa and Frau ller ollenhofr. Together ith other r pi came Beethoven s Septet t1 h al n id rable care lness as spent regarding the selection ntti n. ging a iends liked to per orm opera arias and duets but train themselves om seizing applause om this h m d r ognition as much then as they do today. The most o to unite e rts and elco ed the oppo unity to sing there as at v i horu . At Sonnleithner's musical evenings ere in th prog am. There n ales ad other ense ble pieces and omeno om ozar h e aro, o fan tutte o herubini a Me ea, a n and a ertr er ortez om e ta n and Fer nan t o am r om Vogler; rt e om B 0 · ldi e eu orne me om luc o ann on Par o r u un a e om t om u ; Fa t om Spohr e Ěc;fX;m;XmdOXHxXĚ 1Ě wzYĚ ¤Ě ĚĚ ĚĚ D Ě ï%%ĚĚ ?i>B=& ?4;FH ĚĚă Ě C Ě 6Ě Ô Ě Þ ĚĚ Ě ?Ě Ě Ě!qCqmEHĚ` Ě Ě Xm;mO ~ HĚĚ ēý |Ě · <He< DXq0ĚNĀ»Ě 1x=_;mq Xm;X;Ě ¼Ě.HjXx;kXDH Ě > iĎ"Ě Ě U Ě Ě Ě Ě#Ě2q Ě ĚĚÁ èĚ Ě É"ĕĘ" Ě ĚíîĚĚ9 -ĚĚ ĚĚ Ě#Ě ) Ě Ě H~;mPDHx "H 9; Hl §Ï Ě H H ĚĚ5 a Ě#Ě #Ěr Ě Ě D3$H L.yy¨WĚ ĚT Ě ĚĚ#«E-Ě āĚĚNdĚ2ĚIĚ ĚĚ .BM`!Ui FH¾á*&"Đ Ě ] (Ě] Ě7ÚĚ7 ĂĚOĚ_d Ě 1Ě G#3H A" )5T Ě Ó34 Ě 8ç%(Ě9%Ě9 UĚ P Ě)ĚÈĚ21Ě 1Ě Ki> i5ČĚ g*Ě jKĚ C;"i6 L*"Li? õ ĚĚ UCl ĚĚ Ě Ě H H B= KXhiX-#i 3>6[ # i ¥Ě T ĚĚĚ EĚ Ě < Ě -Ě-*Ě AEL3 6i 4 ! L 7(Ě < ĉĚXH.XH@Hm:qxHDH~ HXd;mDH~ \Ě Y. i3C Ě =i(KiX- ""Ě ė 5öĚ Ä dTĚ 3<Ě Ē 3<)" Ě )Ě Ě Ě UnXĚ ĚÇĚ xµĚx .³YĚ r Ě C KĚ \% Ě TF4M4X\6i >X mE ĚÊE% ĚPôĚ Ě2Ě?Ě 4=iX/ ie!Mi L.L¶Ěù Ě úĚ -Ě h'Ě Ě' Ě Ě Ě ĚĚNĚ .HmXmHfdH ĚDHx F RBS! i >i >[ !.![Ě XHkX Tqx Ě¿ Ě Ě J Ě Cl ĚĚn Ě lKĚ < Ě Ě 3' Ě Ě ĚE Ě 1Ě Ě 1Ě Ě C ; Ě?ĚÝ)Ě Ě Ò"Ě5g&Ě (Ě 'TĚÿ Ě ĚĚ Ěþ KĚ 1Ě O5?IJĚ A ^ ĚsĚ OĚ .-HBb:)i÷ ®Ě -Ě5äĚg5'ą ºĚ])D ċĚ7 ê Ě 7ĚĖIDĚ¯Ě Ě Ć Ě a(Ě a % Ě óô!6i 2 P'ĚÍ Ě Î Ě2 |Ě Ě XĚ 6Ě )Ě ×)% -/ øĚ9oĔĚT IDďęĚĚ sĚ H "= ) A 3đuĚ 8%%Ě 8 uĚ 9± i iab '?77fiO?9 Mfby D elli, Feske, Hmel, Kesaer Kleinh •'t-l :Ʒ ' ainz, KUllem, Riotte, 1 71 . 0]iG a Somssich, Ignaz Sonnleithner (son)' ' Stunz Worzischek , an dzumsteeg. !ishould note at this pint, particu larly in this group, the works of the , im s were presered. However, N$B decisive new talents were taken up and a $?B^P)! i Their orls were presented befre us and brought to our hearing. '.Mfholds particularly true fr Franz Schubert, whose works were frst HP&BP 0B]W iwa knov to this goup through his schoolmates. Copies of Schubert's earlier VB?+Wiw!9t fom hand to hand, were collected by Leopold Sonleithner and were written ito clean copies. onnleithner had participated in the frst perfrmance of the cantata ąƂŴŧUƌ['ƣƷ \l 24 !M!·Ě which has since been lost. In this way, Sonnleithner became J IPWB=66eiD\-:Tf d wth chuber. As the musical practices had thrived in the ^= 7-D%i o did ch ub r' compsitions as they gradually came to rehearsals. In but presented EH1819 P m TIwas prfrmed only with piano accompaniment, vocal quartet 2["f M\f n th ovember ![Ě ZMZ[Ěthey performed the wth Das and a shiny îŵƄĢ[Uŭ:Ʒ 3Gf !Ě !M´YĚ the xd`rmXQreceived a splendid perforance Schubert's compositions. Not Q EX5D@i "3Mfevening confrmed the decision to publish T of material needs, to B?7giwa 5XifD\MU-;:fof the honor of the but also a question a, The xdasoXOwas ofered to GPBa4 !i@iincome fr this artist who was living in poverty. the of them was willing to accept V a P6ilocal music dealers fr publication, but none Sonnleithner c us. Her Leopold cBPi Of? fW@Mfyoung compser who was not yet Jamo k at their own publish Schubert's works 5 i3@iconj unction with two other fiends, to s without royalty. ed to se11 te w ork dJAU!i hf of Diabelli and Company agre T f č ač# å e ? č $!:the čč!Yč >č ¸)č$č čf )č +:su , č + čôč PBčč č 4 6:7#& & eč$č 00 g 4č č p č)č- č ¾U č & Tûč #čQ č ': p b s 800 g 4čča )č * čč !č č D&D D#'č £č č* <čQ č$č)č$%- #-:á Àč BTĂ#čQč&0B čÕ#č 8 k'č ®Í4č č č) č %(,!03#":#: s +č0EE!3+ččč -sč# č - 'č #": ¼õ č #č ?&T? čččÅăäčč` Ö×č¯4č ąjßč ¿ö 1üč ud ač §č # !<4č čč č- č-ÿ č Îč âĚ Kč Êč čÄčÔÚ#č&p%čč p č ĀN <čč ¶IčUƐ 19: a d č č,čð čhč ta ana n er č _ ¹čafč*č y č 3č &!& wčh7č Tan re $ - č<č Ċ č +č373!!sčč 7čič - č Ąč 'č vč~[č Hčččċz HxčH[č p 1Áč a a þ mč +č ØC72čč + č 2č && r 5č .č Ùč 1 e #:pa a č 2#2č70# !č &% Jč >č č čč se en n č č č āEYč !&, u č n! č !?2č+!čr č¡n!3 #)%!}č d © č u,č qča n ª q Þ@ 2 č n @ Cč #Nč  č a Kì mč a ¬ñ č * č KD l!@č a NÃ@č ¦Ðĉč±1 0E& ĈB jč +3 č Òč 1 0 e %č ÆÛ )čÓO% č O č 6 Vč 8 6 Vč an r e e w É)č č č ĆOà½ Ý Ø8Ʒ '2+2/? o dead 85 / ? di d. AAƷ la rs, but other solo p rts were taken by t e (2+(1 ? r H KŃĜƷ r a l B o u hi '2+3/? **3 ? 174 Her ton jy}kÅdead) Jo f Aer died June 16, 1852) Edmund Riter on Andrea +<:# ? H rr Franz cyober Anton Bub rl ied 1860) d erdinand oger died June 24, 1846) cheibl ?¬ÅI \yÅ r recorder� dead) Ob: Herr Aug Ha elka (dead) +7'/#: ? H rr F rd inand Graf von Troyer (dead) t n r ih rentano | e ) r . d a K 27/ ? ad tzk (died. April 13, 1846) di d ctober 15, 1833) nhom) 4/ ? B r i h ilh lm H eyn (dead) d <):7 ? Fraul in nna oc ing (later married von Marinelli, brua 21, 1859 ) r dl HFra nz Andr hultz died ovember 13, 1860) ranz Bathioli d ed ovember 4, 1861) r ih r( ion Steger Jo ihannnzenz chuster dead) 76 ? Fraulein Anna Schonz (dead) §Ʒ 1 19, 184 Ʒ ed Gollenhofr (died January Frau Josef Millner marri Ul¡mÅ m³~uÅ t `Å n¢nÅ ]žgn¢Årű±Å ^kÅk^ºvy³n£±Å rųynÅyº±n8Å En¢¦Å ªÅ ~jj]Å kn]kÅ B¢_»n~Å onÅJ]³´~jy Å]³n¤Å]¤¥nkÅ Qe~]ÅPc´y~knÅ nÅ ¢ Å]²n¢Å]¤¢~nkÅ]nÅ ÁÅ V±]Å B¢ÅHy]]ÅZyo±n¤ Å] knÅ]nÅXn³ yn¥ÅknkÅ 31 ) B¦Å YiÅ ¢nÅ T~³ÃÅ k~nkÅ 8 ) atha a p~¶Ãn¢Å La~aÅ@ ]¾¢n¢Å T ¢qÅ D ]³n¤Å]¯pkÅ]nÅ T±n¹ÅknkÅ:¼v¿±³Å , Å 8 ) Re~Å ¤¶ÃÅ ?Å Y]½hÅ ¤Å ] ´n¢Å]°nkÅ]nÅCv^¢~Å M»Å <~]Å {Å ]´n¢Å]¢¢nkÅ]nÅ [nn¢Å y~~wÅ ]´n¢Å]¢¢nkÅ]nÅ Tgn¢n³n¢Å l EÅ Å;½Å D¢Å ´Å k~nkÅ 3 , Å D¦Å knkÅ! 3/*Å ]´Å ¢Å]§¢nkÅ ]nÅXjykÅ ]Å ¢Å]§¢nkÅ]nÅXg³ ]Å B¦_»Å Å ]Å Ma½¦b O]y ¦Å Ân9Å µzmÅ Å]¢³Å n¢nÅ ·ynÅ tÂvÅnÅ^kÅ al =p¸ÅJn«Å]´n¢Å^¨¨nkÅ ^nÅ knkÅ 8 ) h Wmx i qÅN½ÄÅ ]³n¢Å]¤¢nkÅ ^nÅSnnsÅ FmnqÅK]²³jy Å]³n¢Å]¢¢nkÅ Fm®Å Xp¶|n¢ Å XÅ GÀnÅ 8 8 Å I An¢nÅX³ d½kvn¢ÅknkÅ "21Å r dle c e d e dead) Fr rger ěƷ r a er arr ed ren en ra o e e c dead) er a r ed a e a c e dead) o a o e e z a er e e o er a a a er a ed a e d e o o r a er ar ed a e or a a er ar ed a e c ede a ol ger a er mar ed ame a a er o n a t a er ma r ed na e Sc er er ar ed na e o de d) r H c a er ar ed a e e c e dead) m o Fr l n Fr Fro l r a ed a e o er F d H rd m ut a r mar ed name oc e r d d 1 8 1 i n r de d d a r marrie i la r married na e o a umann l r ma ried name or a e n ert ei m ei n a er a ed a e a e l r marr d name o er an e a er m ed rmann i l er married name o de r on e aer d ed 1 8 ) n arin lli died 1 84 ) i ilian i ler dead ann ni d d u l r u dead arl i nzenz r n a d dead) dead o e ner de d e g d ed s kg Sachs scher o pel l me s er r 2Å &Å d d Ó»Ʒ I an th r ur t k a the cho rs he l o sect on w s t r g n go ng through the bove n mes, it beco es t at h ch d a ort nt rt s c step l ter hey h d their nd d d h ta e t The a e s ngers nger and Linhor , l t and r th a gers ro and a z nger, estroy and o z, an P ng r part c pated here e gerly, nd m de themselves o re th nt red the theatr c l world t ze, la er a very highly ar o nded to the Sonnle thner mily upon his rrival in ienn t s l s ng ng p rt , but soon he bec me highly respected bec use wz.Ě ƉƷ eissiger liked to dly remember his . H h t i this musical circle rfo ed o the pia o r e llma er ellev ille, a i d ur opa reco itio he violi st, eorg i !Ě !¸¬ZMĚle his post at the boys choir, beca se he r l i er s e e i g co certs a d achieved thro gh his r du a io which ope ed to him a ho or ble artist s way to i dicate the co siderable i e ce on the art h o l ith er family hese eforts m st ot be d i a 9 C a ter X ar u Sal reprs ha I these e shown fve diferent musical circles, which made an efort to fster, enjo ad promote music. Since early youth, I participated at all these and no� am able to prtray endeavors a considerable number of related illustrations. Several circles ha e pur ued the same or similar goals, and since the outstanding prsonalities \ ere highlighted earlier, I fnd it appropriate to depart fom the previous detail and to conclude ·th brief reprts of some fmilies and fiendly connections whose aendea or blon to th characteristics of the musical hustle and bustle in Vienna at that time. I wll fllo\ th m ame in which became acquainted with them. In the autmn I came to know the wholesale dealer Heinrich Christian 1 14 Kippner (died Augu t 13 2 40 . In his apartment at PreBgasse Nr. ./. Åmusical declamatory ent rinm n t place on Sundays at noon. Although the premises lef much to b de ir con ming th ize and elegance, these performances were, however, more atended by numerous and choic members of society. Declamation was presented others achieved at that time than i t i toda and the gentlemen Sydow, Castelli and perfrmed the vocal, something outstnding in this feld. The best artists and amateurs nally met Moscheles the pianofrte and the string instruments. It was there that I perso an e was known later in private d Berd Romberg fr the frst time. \Ě son of the hous circles a a profcient bas singer. rly d in that winter, particula I the Oame time, the group called 'Reunion' frme ey = aiser", and th du ca 11 e d "Roman K nng Lent, a small club of music lovers the ha 11 m H a moerat m i al sub cription series on orge Tuesday evenings. Usually, . r music ' as p n1 d th pianofrte or string ine nts. At times, a larger chambr tok pla fll orchestra. .č was invited to participate proucton t as a singer in the March held a recital of the oratorio UyY~ ~am +d@HyOH Fraulein choir. O Kliebr prormed· then Herr Matthaus Tuscher and Josef Gotz carried the solo Therese en him lf ond d Be ho ucted the prformance fom the podium. We were all pas, tlled en husiam throu th prsonal participation of the master, and the wt fl. uall in the evenings, Schuppanzigh ofen played with qet compon . ma i1 and Lincke, Frau Levy and Fraulein Anna Sprinz at his o Ma rand ma 't the violin solos, Friedlowsky, Boger, and Baron the pi Bren ano ' · t n in trum nts together with many others performed selected Anton h ing r in lu raul in Th r se Klieber, Mora and Staudinger, Herr piecs. 1 . Kameval, Lugano u < t Lagusius, and Eppinger. During Siboni ball o pla rth f th 'Reunion,' and these balls were regaded as some Emauel dee n an m ul r a that time. The entrepreneurs, Her the most broter Joseph admini tra r t t t "Roman Emperor," and his Eppinger, 1 a lawyer, was a hand] d i al arrang nts. Joseph Eppinger, Eppinger m and his characteris ic Vienn through his pushy personality at songs pres notebooks of insigifc umptuousne in m ical tt e published some sang Italian c a Jewish accent, he alled himself Jcom r. With a nasal voice and and p " Despite these B,,f e " goo d old school · parts� he wanted to regarded as a singer o f th uuo 1 Carival |x¿¿y¿Ü %)=J ^jÅYÜ č č Xč čč # 4 $Å Õ č i ¤č č čč č č/č$č . 9Ö č č kč č ? _fi J č$č č č$č č W=5Wč Jdº "č dč č č č = òč č îč č Ýč I Ačč */č âUý b'č ´ č č Pč č čč L éč č]ç č= 5č L êč čč ´§~kwÃÜ9G CJ »ɷ, č č \ ččč 'č > č ùč {= è č L´Ü×@@ Ʒwa ŀďƷ/Jč cčč Uíč Ü čAč č ó č $č č ;'č /č ¥ c,č č 0BJÜ J 9 č¢0 č/*čA č²æČč č , ččč č Pč č G č$č 5č >č č A čč č č ""č 0č č 5č I č č č d§ÇwµÜ81CJ 9č \: "č ++ Å % 4++Å č( (č(č%č«(č č ^/ č ,č č ° č č č/č H$ 5+.Å č č/č$č J++("6#J G č b č·č č|÷č & 252Å čč č6 č *č$č8 č 0J #J ¨ č č č 9 čč č " ;'č M č č č č/ čč ïč č :D&:J ^®a¾Ü 9č 0Ï č ć"č č čM (č *6čč %č ¿ÃÜ1CJ : č " č & 62Å č č čFú č F (6č: č č : 3: >=J µ č oGÇGCč9 č " čč8(č :J ččč č ! I5H JE;>, /J č "lč č čt6či 'č M Ë Zč č I AB4< č č8 čÈ;'č ?&*2 JE$EJC# J1 "č:" ;(č:*S" č8ččč č Å ;č : č $5$1Å% č %5$2Å% č 7 @2EJEJ E#> J 1Ì"č ø čìɷ č (» ; (č 6%čč Sčč č%ččč !-J.J J 'J 1 č$č čÑFčF č Zč tč ³8č č lÈqwÜE$ čFSčãčččč_ JEC;Jj/ C "čo, č č č th al o nger a hilde 18 ei n the de arture o mo e td solo n ng tring ua et and variou overture frmed the f u c l on Among the orator wa the lendid actor areau he arod em n a ewi h dialect . addition, duard An ch tz I o s ucce l pem and even the woman o the hou e ought o n aan ora or. The very old man now a widower, i till aid to l ve in t s o enna. h gher el ere the mu ical evening th t took lace at thehome of 1 $ n h ear 8 un l 1 during the winter month on Tue day a profc n v ol ni tand had per uaded hi teacher Jo e h a h n ng and had made available to him accom li hed h m h a larg r n mber of voice u tothe Se tet by eethoven. n n d o expand here by including the ianofrte a h n add ng vo ce, and at la t, even ome oratory wa o r . h pr nc ple had remained the ame erform only rea on, heard the w k n th m h he be t u ician . or thi the iani t r among her Con in ellme ber ger, Cl ement, ff, Karl Cze y d dorf Ve que v. P ttlin gen, aron Kr the g itari t Giuliani, the e a e he aut Sedlaczek and ogner, mo t Among the inger were the 2( echacze r on and ottl eb. inger e e ce oratura o hat me and of he opra ger , th llent col w of the ho t rau : i ter ɞɧ ɟɧ ġ ɧa he ba nger Leopld Pfeifer, and the y inÜ maiden nam ieme 3 czek). From the year 1 2 Teres u , she [Therese pleasant song presentations. . Neuling died at the age © ÜOŨh¶Ü4 1846. of 52 TyÜyÜ ening gatherng at the home of the merchant Adam Hutschenreiter ·ÂÜ ¶Ü58 had a simpler more old-fashioned character. .č was involved there rÏ ÃyÜÙy^¶ÀÜof 1817 until 1820. The housew if, Josepha (maiden name Melzer) was ¨Ãz¶Üof adult on · he pari cipated as a sturdy soprano singer and showed, aead a in ¯µw¿y Ã^è¡Üof older music ozart, Haydn\ the remnants of a pleasant voice and t ¿k¬¡ ZÜ ·thout omar ntation and dramatic Afekation. The eldest son, Johann good ere invited. At these meetings, usually held on ¿Ü v zÜfn d th d ound, which consisted mostly in presenting Monda ©ic ical pi rfnned the opera fnale without many rehearsals fu v mu vwsÜèÜt k with quintet accompaniment. The men, Herr and QÉwD ÜMy¿Ã·¨Ü and r among the prfrmers fr that occasion. I less y Ã^Ü zce mad up th r ÃÜ f the program, and they were performed by p nb¯bfyÜ as orator. The number u ia¡s 9 In additi n rr Moreau stepped frward m } · of this 0 Ü¿Æw y·¿Üwa ¡¨ÃÜ no frma 1ties. Cle arly' the purpose at and there were I . e g . . . . ting These meetings v th pl asur of good music mad ome c se convivtal goup s 74 bqÜw q 2 , 1 22 at the age of · ysÜÖÃÜà e death of th Herr Hutschenreiter on May h 00 Å the quartet evenings with S¨ÜÃzÜcompletion of m pictures, .č may not over1 . in the JÊqwÜA 1 . Gu ie1 mo, a judge ¨¿ÜGulielmo to which .č was invited in Apnl 1 . . . ntle soul. He n¢¦ _Ü goo d ɷe ƙɷand ge o¨ÐÜad already quite old, was a man with a 0(Ö MÖgeat lY`³³Öm©ÖƳ UÖNYÖ`³£aU NÐÖnªÖ·z`Ö had iÇ¿` Ö ªY`©Ö·ÖwªN¸vÖ·{ ´Ö I µµ Ö»}©Ãx~ÔÖ z`Ö©wN Ò`YÖij UNÖ ¢M `Ë`w´ÖYĪwÖÎU{Ö{`Ö£`ªb®`YÖ ¦µ ¾ ³Öo©Ö¸zª`aÖNYÖmÄ©ÖjÄ·`³ÖÏ ·{Ö V ´ N© Y`YÖr`Y´ÖÖE`^`´YNÐÖ nigs. 8`Ö ¤OÖ `YÖ¼|aÖ Í`ªÖË U`Ö eve Ö ·{`ÖiÄ·`ÖYNǪÖÎzUzÖ ´ÖNÖ·{ ªYÖÎ`ªÖ G¸{NÖ the ÁM\ » OÖkÊ`IÖPYÖ NÖ U£´`ª´ÖbÖC`NÖÎ`ª`Ö£a´·`ª`YÖGRÐÖ{JÖ o©Ö `ÎÖ V ¦µ » µÖo©Ö¸{ ³Ö`¸Ö 5`ªÖNÖbÖ¸{`Ö Y`ªÖw`·``Ö{NYÖª`{`N©´`YÖ p©Ö awhile, some x¡Ö s`Y³Ö `©`Ö Ë ·`YÖN³Ö ³¸``©³ Ö ?{`Ö`f`U·ÖbÖ·{`Ö(ÖiÄ·`´ÖUNÄ´`YÖ·Ö ÑÖthe rats NZÖ U`Ö¸Ö ``£Ö OÎNÐÖ RÄ¸Ö ¸{`Ö ´·``©³Ö]YÖ·ÖU`Ö RNUÖNt`ªÖ¸{`©Öhª´»Ö visit. A}e H»~`Öx`¸a`Öz´¸´KÖ Ä³`YÖ `· U``·´Ö NYÖ{PY`YÖÄ·ÖR`·Î``Ö·{`Ö´`UZÖ and º ©\Ö§ÃO©¾`¸´Ö Ö ³`YÖ³NijNw`³ÖÏ ·zÖ{©³`ªN] ´{ÖNYÖ¸{`Ö_ ÖbÖ7NR©Ä´Ö Dies'. A} Ö ¥«SOSÖ O©NU¸`YÖ³`ÖÌ ³ ·ª³ÖRĸֳַ{`ÐÖhyĪ`YÖ·ÖÅ·Ö ·{`ÐÖN££`N®`YÖ shortly Plr »~Ö ¹Ö © Ö ÖNYÖ ¨Æ `»ÐÖ`uÖ Nt`©Ö ·{`ÖÄ´UÖª`´Ä`YÖ :Ö UN·ÖY`ÐÖ ºMºÖI ÑÖ cÖ wÇ Ö dÖ ÆU|Ö wªN¸ ¸ÃY`Ö @|`ÖyYÖ NÖ Nªª `YÖN·Ö ´ÖNw`Ö Î·{ÖNÖ YÖ fame and thi nt R©Ãy|»ÖNÖ`YÖ¸Ö | ³ÖjƸ`Ö£NÐ yÖ 7Ä `ÖY`YÖN·Ö¸{`ÖNx`ÖbÖ+Ö "&Ö NZÖ|Ö ÎN´Ö y`Ä `ÐÖÆ°`YÖRÐÖNÖ·{N¸Ö `ÎÖ R . `YÖbÖ B}Ö |Ö [Ö b ¤©e´³©Ö;|NÖF Ò Ä³Ö Ö{³ÖN£N±`·ÖN·Ö½`Ö ´NÖbÖ·{`Ö Kamtnerstra1 ©Ö &0Ö Ö »|aÖ ³`UYÖj©ÖË`©Ö¸{`Ö£ª`´`·Öª`{`Nª´NÖ N·»`ªÖÐ`Nª´Ö04ÖNYÖ Hofpmtheater ©`ÖdÖNÖY g`©`»Ö´©»Ö 9Ö ÐÖ¤Nª» U£N·`YÖÖ¸z`Ö w bÖÐ`N®´Ö 6ªÖ FÓijÖÎN´Ö 1 820) afer a `© `³ÖdÖ£©wªN³Ö |NYÖ »Q`Ö£NU`Öq©Ö NÖÅR`ªÖ ´·ªÄU· Ö·Ö `YÄUN·`YÖ T¯Ö in Bohemia Ö 0Ö {`Ö{NYÖR`U`Ö=ªb`³´ªÖbÖ fmilies. By 0Ö |`ÖÎN³Ö NÖNYÌUN»`Ö Ö D `NÖ :Ö pÉYÖ³`bÖÖUpª»NR`Ö >À» µ» WµÖM»Ö»|`Ö UNÖ Ä Ëa©³ ¸ÐÖNYÖ R` yÖÄNª© `YÖ V¬WȶX`³Ö 18 A a ea er u c lover a d def a of t e o d, e at e ed a o d e m t d g ar himself th t a d a ve y c o e oc ety fo u t e pe p e f uthorit and f m t e ealt y cla . e k e o a to e at e an e e ant ch so the pr rmer a d l te er e e tou ot er app . Hi ter e o to proprly do the 'h nneur ' and a a le to te a gro p of att act e e to t e evenings. The t f t e d letta te a d a ate r c c e , c d o e ope a e , flt honored t pr rm clas c p ece a d t e e e t p a t pa o c. T e e and uow a t had th m el e t od ced ere to a e t e f t te t of t e ta e t On ocasion, a small ball frmed t e end of t e eve co ve at o t ppe , a d t ere was not a lack oppr ni to add inte e t ote ort t d t of a o d . Zizius was ickl and mall i i ly fer n fo me ta e . e e , a o those who did n him w how to e t e impre o t at e ce a the quiet ofa de p think r. di don Apr l 5, 18 . The fnc r · n qu t wa i fll loom to ard t e e d oft e p e o century. With ut thi fndn fr quartet , uc a fca t er f ed ocre Moza t a d compsers would n t ha mer ed. Amon t e except o are Ha d , a o t e a ti t Beethoven. In m outh I na chuppa zi a t e o o e artet p od ct on. At remained so long in ienna He or a zed re larl c ed ate t e e e e d at t e d first, they were held in the hotel to t e Roma Ka er,' a d a e atte ded. At t at t e, Musikereinssaale. T e e were qu te pop a a d ver pri ate a , a k a b undance o amate r played t n ed e t W 1 t ·t I Co ci d e ce. T e Ma i trate quartet ractice were held oth th and Wit o. t a a p . . Kar F ad , Ka 1 H 0 1 z, A e t Hardt, members, Reschy and er, Ferd a d Pm er, H @)$Hbrothers ti %iLt;t*c8 Pt6LX;Nd;t *z;XX . *zZ*bi{L;tZit;it1 ;zzJOH<9 ĚƈƷdedicated |L;RtF;;{RZ;{ir*w;{ lX*PdJ.9 ltj96;9[zP6i?LPJLr*XR{ )$7$Hwould f|iiXR{~X;Pd{;t;z{Rd lzPbJ {L;z;;b8;*itz Pb9;{*PX (L;t;Dt< XP`P{ 1 0G>$-%Hto mentiong *c*wRz|P6FP;b8FiZ{L*{ {P[;Liz;PZliw/6<z{ Domanovecz. 'ii]i8;z||im4YQzLLPzib6iZlizP{PibzL;X;H{L;Z{i{L;+t6LP< of @*$Hñ'Ʒ'řŚƷ%(đĺƷĪ&Ʒ \őĴ&Ɯūī&¤Ʒ ;t^id;*ZPb*{Pid.č 6.ibX*zzt<{L+} Mu hs three s K t mY+6;MQ]*]ieJ{L;!*z{;tz i?{L;&;6id9Ra PzitWz t qu deserved to heard m r iI c|M*czi];i?|M;c;;t^zP6{L+{; *t;i4XPJ<9{i b listen to. Thi. amat u c]+vvQ 9*e9RcBit+4Y;Ce*d6P+X6Pt6 Zz}*d6;zitJ+dP<9 '6Ha numbr i@ at i n hi +m*x c| VJ;tzlR{*Y"t 00) [zP6*X;b{ {i{PZ<+4PJJ;t 6$)$8=-=Htoik nY, Qc|M 6Yi z|6Qt6Y; i;;tFi^{P[; dJ1Pz{z09 p6odu tQon was itK+cQ 9ic c8**| eiic|iLP6L bi{idXlt*6{P6P LPJL;t6X+zz;z aateurs were Qf R| 9 4| +Y i+ ;v 6Miz;c*9P;c6; FiZ {L; JtilEt{L;z;s1<{ Schuppanzigh, + ;9 t i9; *c8%i;YXREv^;9{L; 6it; P{L09P{Li{ prformances. 7;YY;c|mY+;tzpvAiva;8lR*cimP;6;z 4i{L iti{L<+id accompaniment, \iz|ci4Y}M;;;{Li;dlX*;tt* *tid;zz +9[Pt+4X *lS;6;EtE tL09z (maiden f+];t+]*cc .č ^z;Y?L;*t9 Er� X;Pd0d e JiĚitPz6L;W t- xecuted there 5 t+ +|M*vRg+P44RdR*b8 ;vv 6t;+zPdJPXXL<+X{L S . . 1 *_J (L;Pd alomon on k73RicmY;+z;8}L;zi6P;~{M L;tU{{ P 1,Ö weakness f m l g r Zm i m n a " zmeskall died Ju &Ö 0&Ö&Ö 4. I would b l t l I u Ii a n· h salons m r o , private d u f l the sometimes of a ga scale. 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Web fer' gfe Å + : m m ^IčCƷ+2+5Å , ' n Gr e' c nar f Mu c and Mu c an , " Ü s , . ' rk: St M in' P ">5" ÜI, 47< Ü47> Ü o eg a e c nar, d. P. B g , ^XčCƷ+-+Å riam Hµ²_ºÚzºÜ FºÛ*+Üin rr am- eb ter' Enccl ped a f tera ure, . ee K̳ºÜ pri 1 ld : M rri m- ">>4 Ü3>1Ü ct on r f Mu c and Mu c an , " Ü s. . E Press Ʒ " 5 Ü "8 Ü arin' IV, ct onar of Mu c and Mu c an , " Ü . e E rin' Pr I ?5 & Ü 1"4Ü Pµw¤sÜ Ü ¡Ü r "3Ʒ c and Mu c an , " Ü . d E B . New H ¨Ʒ York: , VI, I e ate D ct onar, . P. B e . ge Ü #?45Ü573Ü . ed. E B New RØwÆy¡ Ü ¡Ü r 1 11 `Ʒ"3s c and Mu c an , " Ü narH Ʒ + .Å York: VIII, an , - Ü s. e . R©¥yÆ¡zºÜ r t onar of Mu c and Mu c 7Ü Stnl adi n: M mill , &>< Ü "7 Ü 4-54/ Ü Ü B . New ÜVw¤ Ü n , ' Ü ' e . E i ¤cÜ¡Ü ro yƷ· / t `Ʒ"3Ʒzc nd Mu zcw t. rnar Ʒ 250Å York: VIII, Marin t nar f Ě e New Gr e D c w¼zºÜ i ¢Ě_m 'P r di M ri . ">< Ü i L d . M m Mus c R udolph. a 0 Ü l d. S nl y S d XI aÙÍ 9Ʒ M n , . . 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Bzograph G{»¿Ü , ie universelle des 4$Ö musiciens et ' , , a . . 1 tograp hze. gene�ale l 8 l . � n : · de muz _ Fmni -Di b e b· ,· cie ·. . +! 06Br l : que.l0 r6 06 _ �d. 2,'LÖ,*Öed C1 1h i � ">;-Ü u u 3 '2,6 "6 Fran= The Ma n and His Circle. New Y r ) *#6 , chubert, Frederic Stokes 1928. A · 6 GÎÜ 1enna1 ical ite and Landmark. Vie T c ' I fn t r, 4%,Ö Hff¿Ü .1&*-6 ambridge Comp anion to Schubert. New Y r C rid e er H. d. .Ö Uni Pre 19 G ted i Grove 's Dictionar �11 of Mus ic and Mus icians, 46 r : M2¦Ʒ M in's ress 4+ Ö2 Ö%(Ö rman L1 de r in the Nineteenth Centur. New Y r : c ir er -+ H m B1edermeier Venna. New Y r C rid e Hon -+H M u + H n chubert 's Vienna, e y d Eric . Hn, '199 , 98- 8. t u tu n S c ety " i Schubert's Vienna, ed. 6 n: 6Uni ersi y ress 44-Ö'+ )(Ö rt m . r n l te by Rei r `Jč y. t d Hr Tim New ve : er Vienna, ed. R ym d Eric . -Öhub � _46-256. Allge eine Geschichte und Gegenwart; � z ` ·n . . 1 1 . 6 re1 er - e re M l ' B ume K I B 1u:i 17 ed. Friednch · 15- 16. 50). Wegbereiter des Kie ewetter (1 773-18 r . M sioe c ic e es 4Ö m V l. M2 ie z Õ e mudli u n 4+3Ö. chen HI.I n ri .G u 13 B e Ver g g bur : 4 5 , /{ Eric n ' ym Ka o nn e h E $%&6 "T Ö n Schubert s V1e h ng 1e nn a e · ! /Ö .2Ö e Ha f y1 -//6 44 } | . . p en: Yale Urn er e m eb ter Enc lope a of terat _ 1!_ ure 11' _ e Mo a t ompen um. o 0 u. e omen an P ano So al to esse ! ="> Œ*Ʒ Å at a d e te er e ell a er ŔƷ E ". JÅ JÅ t t 1 _ mer n '_ 1/"4_ a t an ubert B o rap e n ' 66+Å +0_ 61- dn enna e t of a e elo n Mu al 100 _ w I d 11$ _ 98"> &5,> d enna A 10'_ Hr nd 7(.> > n nd (77'Å e ell a er ( &6 > /> > e te 1 _ ". K . t t u h S u ert y an ll 1.> � k +1 1+ _ _ 1>+_ d 1 8 onar of Mu an lm t h m o "6 (.0 > % %_ ,( _ 1) _ t t Ʒ E w 10 ĈijƷ o %( be M 8_ e A a _ o of e ola olu ( 77 )Å H !@3Ü K FP_ ƈ >Aɷ ɷ ? ɷ o Ąɷ g >Pɷ [ñǿ ɷɷ ƛɷrove s zctzon . g i ian $tɷGɷ * ɷ Âɷ Ŝɷm:Oɷ Muszc ɷ ǞɷPɷ *ɷ ɷ Ƃ ɷ ųɷ ɷ !@6,Ü yę yy*ɷ os 9G@VMEX_ a i S e H dn Mo rt eethoven. ZɷFijɷ i ?[@QME]_ ED _ w Grov Diction r of Music nd a Musici ns. _ m ɷ¹ɷ 2_0 _ a ar ʼn ǎOɷ ĂÏǏɷŴ ðkɷS ɷªɷ+! 2 ɷkõ/İɷKɷ å ɷ ŐȑǾȽNƠƣ(8 ɷUɷŊ G2 ɷŭ ɷɷ+ɑ ! H [ɷ th Centur Music -!_ąɷ !_ ċÇyÇďz Æī įĝRÆcɷ lon s ×Ȑ"8 ɷ ơɷ B r Diction r of Musici ns. Zɷıɷ ?BHKWEU_ 22& _ olo on :@^PATD_ (ɯɷ b!ɷ r ɷ ɷ< ɷƮɷ Fɷő mP¼ɷ th 2 50ɷ$C,C¾zɷ$C RĚ3tv*ɷ on l ithner L SND_ ɷ ɷ ǟ" ɷ+>> ɷ ɷĆKm ÁƉ H [ ɷ ecensionen d . (. +(. -. ñɷ 0) 6_ .!. % _ āɷ ɷ ɷ 2J \~2H[ɷ ecensionen und Mit hei ungen er -n T ɷ 0v , ¾ BRĜBÂɷ er q3 ;\YJL@NJ_ F_ ɷÓɷ 2JŮ ě~ ª2H[ɷ ecensionen und Mitthei ungen -". -$)+. 0) 5_ .. 0 _ V ¹ gen er F_ >>ɷ =aÓbɷ 2J" \~2*ɷ ecensionen und Mitthei un d -#. T ɷ$ ,v3zɷ 7 Mitthei ungen er ;\YJ_ @NJ_ CF_ ɲ>>ɷɷ8b ɷ2J" \~2ɷ ecensionen und )3 #.' _ · -". $. -$. +. Òǒɷ0) 6_# er d Mitthei ungen x onen un :_\Y_JL_@_] C_F_ āɷ ɷ8b ɷ 2J" ɷ\ƨ ĬɷOɷƷ õxƷ ecensi RtBÁR3B¹ɷ i -#. T ɷ$,vRIJɷ e Pɷ ºɷ 4åc¼ɷ ɢðɷ ºɷ ºɷŔ w ;\YIL@NJXCFE_ ɷb ɷ2J \Ɗª2sɷ ì0mǓ ɷ '._v ) _3. O O=_ %' ¸Ʒ . . +. ( . )_2) 5_%2 3ÕƭƷed. he ambridge Companion . 195 :2;$,,> to the Volin gɷe mt C mb e ŒƏDZÕ5&LJ ɷƆæG 5 &ɐɷ<5 ɷ 1992. : > &%> Ȁ q qɷĞ µɒȼɷŋ5Gɓ5ɷTradition " in The . Cambridge ompamon t u ɷ wƷ . to ɷÖ !ήɷ m Stowell. Repnnt, Cambndge: c w . th Vw m, mve s1ƛƷźƷ ress, 1 2, 6 -78. C mbrdg u · Mo=art and the Enlightenmen )-,>* &3,> t Tr uth, Vrtue and eaut in Mozart 's Op ra. ' York: E EÖNoron Company, 1995. & Webr, (,,(>Mu and the Middle Class: Th e Social Structure of Concert Life in ic Lonon and Venna. Ÿ ɷ5ǠĶɷ?:9 ɷ Ê9ǔ95ɷ bêi he ɷ 1975. Pari & u s s Wessely, Ż85*ɷ ăŰ¢ Ǝɷ µq95ɷ Îȝ9êɷf95k[ɷ ɷThe Ne w Grove Dictionar of Mus ic ®ëɷ *ɷ 9Ġɷƃq«ë9ɫɷSadie. London: Macmillan, 1980, 10, 57-58. an Mu 1c1a 20 of b!95qć ɷSongs " in Schubert's Vienna, e Ry®n : ,=42H 8ɷ Ĵɷƌ8"9ɷƇ¢G 5 µ/ɷ<5 ɷ 1997, $ $'_ er : The Lost Tradition Found Ź9ZɷYork: The mp h, hi. hes Lexikon des Ka iserthums Osterrei� ap . se1t m_ n r denkwurdigen Personen, welche 1750 d darin gelebt und gew1rkt tr ==nland rn geboren wurden oder -und Staatsdruckerei, 1856-91 . Ʒ 2 Ò¢9òòĵɷK. K. Hof York: C b e and the Ma king of Lieder. New