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Sonatas & Variations for Fortepiano and Violin Margarethe Danzi ANTOINETTE LOHMANN VAUGHAN SCHLEPP

FL A&R Challenge Records International: Anne de Jong Producer: Jean van Vugt Recording engineer: Onno Scholtze Recording date: March 2005, Dorpskerk, Bunnik (NL) Notes: Antoinette Lohmann Translations: Felicity Goodwin, Vaughan Schlepp, Tilman Skowroneck, Antoinette Lohmann Sleeve design & Cover photo: Marcel van den Broek

Special thanks to: ThuisKopie Fonds

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ALSO AVAILABLE: Joseph Martin Kraus: Sonatas & Trio Vaughan Schlepp, Antoinette Lohmann, Frank Wakelkamp FL72404 (2CD)

“Antoinette Lohmann, who plays on an historical violin, is accompanied by Vaughan Schlepp on fortepiano. The dialogue between the two of them could almost be called symbiotic. The balance of their expressive phrasing is simply perfect”.

“Antoinette Lohmann and Vaughan Schlepp explore the entire range of expressive possibilities with the utmost sensitivity and a keen sense for subtle nuance”.

“What makes this recording so attractive right from the start is the directness of the sound quality. Listening to this outstanding reading with headphones reveals to an even greater extent the fine nuances, use of changes of colour and dynamic accents. The austere and yet unusually flexible sound of the historic instruments has been splendidly captured”. (www.klassik.com/magazin/review, april 2006)

“This extensive project is performed with admirable competence by three well-matched musicians. Violinist Antoinette Lohmann in particular achieves an expressive spectrum and suggestive narrative power that lead the listener naturally through the works. Her partners attain the same degree of concentration which at times 27 even presents itself as true devotion”. (Pizzicato, march 2006)

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Vaughan Schlepp was born in Tokyo in on fortepiano and Hammerklavier with 1956. He received his first piano lessons violinist Antoinette Lohmann have met with in England, where he played his first wide acclaim. Vaughan Schlepp is intensively performance at the age of five. He continued involved with modern music and theatre, his studies in the United States, played his and is active as a teacher and coach for both first piano concerto when he was twelve singers and instrumentalists. and graduated magna cum laude from the Since 1989, he has been in demand as an Eastman School of Music in New York, arranger, music typesetter and publisher. where he studied with Maria Luisa Faini. He has been given assignments by Bernard His interest in early music took him to The Huijbers, Anner Bijlsma, Vera Beths, Gustav Netherlands for study with Gustav Leonhardt. Leonhardt, Schott, the Loeki Stardust As a performer on the harpsichord as well Quartet, the Amsterdam Marionetten Theater, as on the 18th-century fortepiano, the 19th- the Dutch Broadcasting Corporation and century Hammerklavier and the modern Sony. He is also in great demand as a maker of Sonatas & Variations piano, Vaughan Schlepp has given numerous delicious coffee (‘Schleppuccino’) with a dash for Fortepiano and Violin recitals and master-classes throughout the of maple syrup. world as well as having made recordings for Margarethe Danzi radio, television and CD. He has performed Wolfgang Amadeus Mozart as soloist with orchestras in The Netherlands ANTOINETTE LOHMANN and America, and concertizes regularly as a VAUGHAN SCHLEPP chamber musician with such diverse artists as Anner Bijlsma, Lucy van Dael and Barbara Schlick. As continuo and solo organist he has participated extensively in the successful 26 recordings of the complete Bach Cantatas which were released in 2001. His recordings

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About the performers for string trio and bassoon by Margarethe’s husband Franz Danzi and the two quartets for Antoinette Lohmann (Amsterdam, 1969) 2 violas, cello and bassoon by Franz Krommer MARGARETHE DANZI (1768-1800) studied violin with Jean Louis Stuurop, with a quartet called ‘island’. For Slot Zuylen Trois Sonates pour le Piano Forte avec Violon Oblige. Composées par Madame Danzi née Marchand. viola with Esther van Stralen and baroque she recorded compositions of Belle van Zuylen Oeuvre I, Munic chez Mac: Falter violin with Lucy van Dael at the Sweelinck (who became famous as a writer and is also Conservatorium in Amsterdam. Antoinette known as Isabelle de Charriére) and wrote an Sonata I in E flat major has always performed in a very diverse range extensive CD-booklet on music and on Belle’s 1 Allegro moderato 8:20 of musical styles, among them Argentinian life. Recently a CD with 17th-century Dutch 2 Andante 4:31 tango, folk music, contemporary music, music in combination with 17th-century Dutch 3 Allegretto 5:10 musical theatre and salon music. Since art was released in a series of museum gifts. 1997 Antoinette has focussed on historical Antoinette is also the leader of the Utrechts Sonata II in B flat major performance practice on violin, viola, tenor Barok Consort, a group that mainly performs 4 Allegro moderato 7:24 viola and viola d’amore, from the early forgotten operas and oratorios by little-known 5 Andante amoroso 7:40 baroque to the late 19th century. composers of the 17th and 18th centuries. 6 Allegro vivo 3:32 Together with Vaughan Schlepp, she has With this group she recently performed her recorded the sonatas for fortepiano and own reconstruction of a Bach viola concerto. Sonata III in E major violin by Joseph Martin Kraus. This 2 CDset Currently she performs frequently with 7 Allegro moderato 7:33 was also released by Challenge Records Musica Temprana (South American baroque/ 8 Andante quasi Allegretto 4:07 (FL72404) and was very positively received folk music), Ensemble Schönbrunn and The 9 Allegretto 5:37 in both national and international press. With Netherlands Bach Society. Cappella Figuralis she made several recordings Antoinette teaches baroque violin and baroque of mainly northern European Baroque music, viola at the Utrecht Conservatory (The such as Buxtehude’s Membra Jesu Nostri and Netherlands) and loves garlic and cinnamon. 4 the first version of J.S. Bach’s St. John Passion. 25 Other recordings include the 3 quartets

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of Mozart’s title can, however, no longer be accordingly can be accomplished only when traced but it is tempting to speculate that the recording technique does not interfere Mozart invented the title himself. Listening in any way. Jean and Onno use a minimum to these variations, it takes little fantasy to number of microphones in their effort to WOLFGANG AMADEUS MOZART (1756-1791) see how such a title arose and to imagine the reproduce the effect of a live concert rather various emotions associated with such a loss. than a heavily manipulated studio recording. 10 Sechs variationen über ein Andantino 13:19 G minor, a pensive, melancholy key, expresses The musicians are thus free to determine the ‘Hélas, j’ai perdu mon amant’ in G minor, KV 360 (374b) discontent, resentment and bitterness, sound and balance themselves, as they must misery and grief. Only the fifth variation in a performance. In this way justice is done makes a fleeting visit to the soft restfulness to the musical ideas so that the expression total time 67:18 and simplicity of G major, and then makes a and the musical concept of the artist remain transition to the final, most stirring variation paramount. that finally leads back to the theme that now, as if it were possible, sounds even more tragic Jean van Vugt and Onno Scholtze both than it did the first time. worked for many years for Philips Classics. They have worked with artists such as I About the recording Musici, Brendel, Camerata Trajectina, Uchida, It’s a great pleasure to work with Jean van Kocsis, Previn, Lieberman, Zuckerman, Vugt and Onno Scholtze, whose recording Koopman, Gardiner, Barenboim, Marriner, technique conforms with our aims in Gergiev, Muti, Haitink, Kremer, te Kanawa, performance. As performers it is our goal Norman, Carreras, Mullova, Takemitsu, to approach every note, every melody and the Vienna Philharmonic, the Berlin every chord in context of its function. Every Philharmonic, the Concertgebouw Orchestra, on period instruments: note has its own colour within the harmonic the San Francisco Symphony, the L.A. Vaughan Schlepp, fortepiano (copy after Stein, appr. 1785, P. McNulty) 24 structure, each part shifts in its role as Symphony and the Toronto Symphony. Antoinette Lohmann, violin (G. Piattelini, 1770) 5 accompaniment or solo, and to play the piece

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Two of Leopold Mozart’s students: own right when they are handled consciously. her female counterparts, such as Maria Margarethe Danzi (1768-1800) Only in this way can the idiomatic differences Hester Park, Franziska Lebrun and Maria between both instruments be used to support Barthélemon, for whom composition was Wolfgang Amadeus Mozart (1756-1791) each other. The violin is, for example, more essentially a hobby. Although one would rather capable of producing long, sustained notes, avoid comparison, it becomes inevitable: The Introduction we know relatively little about Margarethe, thereby creating the impression that the sound work of Margarethe is in every respect more Little is known about the composer, pianist, her connection with Leopold Mozart gives of the keyboard is also more sustained. developed: it is harmonically more advanced, and singer Margarethe Danzi. Her social and us important insights into the quality of The sonatas follow the typical classical the idiom is not cliché but individual, the historical background furnish as much detail her musical development. As a pedagogue structure: the first movement in sonata melodies are far more refined and varied and of her life as direct record. She was born as Leopold Mozart played an essential role in the form, with an exposition, development and the use of the instruments is the means, not Margarethe Marchand in 1768 in Frankfurt musical education and development of his son, recapitulation, the second movement slow and the goal. Indeed, as a composer, Margarethe am Main, the daughter of the well-known Wolfgang Amadeus, as well as authoring the expressive (with the exception of the second compares favourably with her male singer, actor and theatre director Theobald Violinschule that even today remains a standard sonata) and the third movement a rondo. contemporaries. Hilarius Marchand and the actress Magdalena in the violin pedagogic repertoire. Margarethe All three sonatas have their own character, Brochard. From an early age Margarethe (who was also called Gretl or Gredl) and wherein the different tonalities play a role. E W.A. Mozart: Hélas, j’ai perdu mon was a popular performer and well-loved her brother Heinrich appear regularly in the flat major is very majestic, ‘noble and ardent’, amant by audiences; she played children’s roles in diaries and letters of the Mozart family. It is according to Cramer’s Magazine der Musik The six variations Hélas! j’ai perdu mon amant the theatre and performed as both singer touching to realise that we can get to know (1783), B flat major has a mild openness, ‘quiet were probably composed in June, 1781 in and pianist. She was given voice lessons in Margarethe through the eyes of the Mozart in it’s greatness’, while E major is almost hard Vienna for Gräfin Rosa Rumbeck, Wolfgang’s by Franziska Lebrun, the sister of family and that we, through Margarethe, can in its openness (‘yellow is its colour’). first piano student in Vienna. The melody Franz Danzi, the man she would later marry. get a glimpse into the intimate family life of As the date of these compositions remains comes from the 3me Receuil d’Ariette, par She spent an important part of her musical the Mozarts. unknown, it is difficult to remark on their M.Albanèse, Ordinaire de la musique du Roi, education studying in Salzburg with Leopold degree of progressiveness. We do know published in 1767 in Paris and appears with Mozart, at whose house she lived between that Margarethe possessed remarkable the title ‘Auprès d’une fontaine.’ Mozart 6 1782 and 1784, together with her brother, compositional talent besides being well- did not change the melody except for a 23 the violinist Heinrich Marchand. Although educated, in contrast to the majority of transposition from E to G minor. The origin

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Theobald Marchand (1741-1800) give. He described Marchand warmly in his Theobald Marchand was a pioneer in the autobiography Dichtung und Wahrheit (part IV, performance of French light operas in German published in 1833). translations. After having worked for several Theobald Marchand is already mentioned in years in Sebastini’s Troupe, Marchand became 1777 in the Mozart family correspondence. the leader of this travelling company, achieving It is known that Wolfgang and Theobald met success in major cities such as , each other in Mannheim in 1777-8. The Mainz and Frankfurt. His productions of Marchand family was also acquainted with the plays and operettas became widely popular, Weber family, including their daughter Aloysia, eventually overshadowing the prevailing one of Wolfgang’s great loves, and her sister preference for French theatre. Churfürst Karl Constanze, who later became his wife. Both Theodor of Mannheim was one of the first families moved from Mannheim to Munich. In German electors who dared turn his back on 1780 Wolfgang and Theobald met again during the French theatre and, in this spirit of renewal, the preparations for , the premiere of he hired Marchand and his troupe in 1776. The which took place in 1781 in Munich. A still entire troupe, which later moved with him to closer bond developed when Leopold and Munich, included many prominent actors and Nannerl, Wolfgang’s sister, took Marchand’s singers, among them Marchand’s future wife, son Heinrich back to Salzburg with them. The Magdalena Brochard. boy stayed with the Mozart family from 1781 As late as 1811 Theobald Marchand’s until 1784. In February 1782, after a visit to interpretation of the gardener in Mozart’s Munich, Heinrich’s sister Margarethe also Figaro was praised in the Baierische Musik- came to stay. From the time that the Marchand Lexikon. Not the least of Marchand’s claims children came to live with the Mozart family, to fame was the fact that Goethe owed his a close friendship developed between the now 22 introduction to and his love of French opera to widowed Leopold and the children’s father, 7 the many performances he heard this company Theobald. Both men were members of the same

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Freemason’s lodge and, after his daughter and that an essential element in the path toward was described as ‘[The] utterings of a soul with instrument was often ad libitum, or optional. students left his home, Leopold paid several God was the deeper inner virtue and value of original thoughts and deep sentiments.’ With the decline of figured bass it became visits to Theobald Marchand. This contact life inherent in beauty. The study focussed on more common for the keyboard part to be was one of the only links that kept Leopold classical languages, literature, poetry, rhetoric, The Opus 1 Sonatas written out in full and to be considered more connected with the outside world during his philosophy, science and art. It can be assumed ‘Trois Sonates pour le Piano Forte avec Violon important. Furthermore, most composers lonely final years. The last extant letter from that Leopold also received violin and organ Oblige, composées par Madame Danzi née were keyboard players and compositions Theobald to Leopold, dated 29 May, 1787, is lessons at the school and sang in the church Marchand’, so reads the title page of the first were therefore worked out at the keyboard. full of concern over Leopold’s declining health choir, as Augsburg enjoyed a rich cultural life edition of the sonatas recorded on this CD. It Although an equal partnership between and even included suggestions for medication at that time. It is unfortunately not known is impossible to say when these sonatas were piano and violin was already common in with instructions for use. Unfortunately with whom he studied. composed, we only know that they were the later sonatas of Mozart, it remained Leopold had already died on May 28th. In 1737 Leopold enrolled in the study of published posthumously in 1801 by Falter of common practice well into the 19th century law and of philosophy at the Benedictine Munich as Opus 1. This is the edition which to label violin and piano sonatas as ‘Sonata Leopold Mozart (1719-1787) University of Salzburg, and was awarded a we used for this recording. for piano and violin’. All the sonatas by Leopold Mozart was raised in Augsburg Bachelor degree in philosophy a year later. The word obligato comes from the Latin words Kraus, Beethoven, Brahms and Schumann where he attended the Jesuit Gymnasium In 1739 however, he was expelled from ob- (towards) and ligare (to bind). In Baroque were labelled in this way. The essence of the St. Salvador. Unlike the Protestant church, the university because of frequent absence violin sonatas one rarely finds a written-out addition of an obligato part lies in the fact that the Jesuits rejected the Calvinist doctrine from the classes. These absences signaled accompaniment; the accompaniment usually obligato is precisely the opposite of ad libitum: of predestination and believed in free will. the beginning of the musical career toward consisted of a figured bass. An exception to the part cannot be left out and exists more or They endeavoured to spread their ideas by which he had been working. From 1740 he this are the Sonatas BWV 1014 - 1019 by less independently of the other voice. Even establishing universities. Although the Jesuit filled the position of chamberlain ‘with musical J. S. Bach, which have a fully written-out in his Kreutzer sonata, Beethoven took the educational system was religious in nature, it obligations’ to the Salzburg canon and president harpsichord part. In the Classical period the trouble of noting that it was a ‘Sonata per il was not strictly limited to scriptural studies of the consistory Johann Baptist, Count of genre known as ‘accompanied sonata’ was Pianoforte ed un violino obligato’. of the Bible, but was dominated by the more Thurn-Valsassina and Taxis. In 1743 he was very much in vogue, such as, for example, In the sonatas of Margarethe Danzi, the violin rationalist-humanist philosophy which held hired as fourth violinist at the Hofkapel of the Mondonville’s Pièces de clavecin en sonates avec also clearly has its own role: fortepiano and 8 that the authority of one’s belief should be Archbishop of Salzburg. In 1743 he gained a accompagnement de violon. Here the keyboard violin alternate in solo and accompanimental 21 based upon one’s observations and further, position as violin teacher and, in 1777, had a leading role and the accompanying roles, functions that only come into their

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print are a slow movement with variations as circles were a little freer, the musical life of as piano teacher to the choirboys. There is Kapellmeister, despite holding the position of the second movement of her husband, Franz the eighteenth century became more and speculation that Leopold took composition vice-kapellmeister from 1762. These travels Danzi’s Sonata in F major, Op. 3 (this raises more professionalised and at the same time lessons during this time with Johann Ernst contributed to the sense that Leopold was the question of how much work or perhaps a division began to form between amateur Eberlin, the Hofkapellmeister, but there is no the only intellectual in this rather provincial compositional details by Margarethe found and professional musicians that hadn’t existed evidence to support this. Through hard work court, which even further removed him their way into the works of Franz) and the before. This resulted in the banishment of he rose through the ranks to third and second from his colleagues. By the time Leopold’s Opus 1 Sonatas recorded on this CD. There is women to the domestic circle; it was not violinist. In 1757 he was named court and travelling days were over, he had reached an mention of a Marche des Marseillois Varié Opus considered necessary that a woman’s education chamber composer and in 1763 also became age that was then considered old, effectively 2, but this is catalogued in the oeuvre of her extended further than what was required for vice-kapellmeister. ending his chances of further promotion. In brother Heinrich. the drawing room, where their function was Around 1760 Leopold was at the height of his 1777 Wolfgang, who was in the meantime also Although it is probable that Margarethe mainly ornamental. Only as a child prodigy creativity but, as his daughter Nannerl later working at the Salzburg court, made a request composed many more works, it is unlikely that did a girl have a short-lived chance, or, as in described, after the unusual talents of his for a discharge from his duties so that he she composed much more after her marriage the case of the blind pianist Maria Theresia von children Nannerl and Wolfgang had become could go on tour with his father. Leopold’s in 1790. Given the fact that her singing Paradis (1759-1824), as a special attraction. evident, he gave up both violin instruction release was revoked but Wolfgang had to career demanded so much of her attention, The only logical exception to this was the and composition (Leopold seems to have leave anyway and travelled with his mother it would seem unlikely that she composed female singer. It is therefore not surprising composed only rarely after 1762 and not at to Munich, Mannheim and later Paris, much at all after she had left Leopold’s house that Margarethe was mainly known as a singer all after 1771) and devoted the majority of his where his mother died in 1778. in 1784. Furthermore, the emancipation of during her lifetime. As late as 1835 she was life to their development and the international The freedom of spirit under which women at the time of the Enlightenment described as a ‘delightful figure with great mind exhibition of their talents. To this end the Leopold was educated should neither be consisted mainly of the fact that women were and soul.’ family travelled throughout Europe from 1762 mistaken for the possibility nor the desire no longer so strictly controlled by external That we still know of Margarethe today is to 1773, visiting countless European cities. to live a free life. Leopold had always tried social factors but were expected to develop probably largely thanks to the fact that her The final years of Leopold’s life were not to ensure a livelihood that was as secure as an inner control and not to attract attention husband, Franz Danzi, was so well-known. without disappointment. His repeated possible. Wolfgang, however, chose the life any more than necessary. Education was Nevertheless, her work was known and highly absences led to friction with the Salzburg of a freelance artist, married Constanze 20 seen as an investment in the development esteemed during her lifetime. According to an court, and was probably the reason why he Weber against Leopold’s wishes, and 9 of a ‘worthy partner’. Although artistic obituary of 1801-2, her published work was repeatedly passed over for the position of distanced himself more and more from

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Margarethe Danzi died on 11 June, 1800, at the age of only 32. On 4 November, 1790 Wolfgang wrote to his Unfortunately no letters between Franz and wife: ‘Gretl is now married to Madame le Brun’s Margarethe have been preserved; only a few brother, so her name is Madame Danzi now...’ After sentences from letters written long after her their marriage, Franz and Margarethe Danzi death remain. On 9 May, 1803 Franz wrote were members of the travelling Guardasoni to a friend: ‘With intense grief I have heard of Troupe, he as musical director and she as the death of my good friend Zuckarini - thus I am first soprano. Margarethe was a very popular destined gradually to lose everything of value to prima donna, especially in Prague. With this me in this world.’ He would never remarry. On company she performed many roles including 20 November, 1808 he wrote to a friend: ‘my Carolina in Cimarosa’s Matrimonio segreto, brother writes me that one [could] marry me off to a Nina in Paisello’s opera of the same name, widow of a counselor in Munich. This means nothing and Susanna in Mozart’s Le Nozze di Figaro. [to me]. The one I married cannot be mine any The couple had two children, a son in 1794 longer, and another marriage? - I do not desire it.’ and a daughter in (probably) 1797. After the birth of the first child the family returned Margarethe Danzi, the composer to Munich, but stayed in in Florence and Leopold was apparently so enthusiastic about Venice in 1794-5, until in 1796 an advancing some of Margarethe’s sonatas that he tried to lung disease compelled Margarethe to stop get them published by a certain Toricelli. On travelling and return to Munich. She spent the 29 October, 1785 Leopold wrote to Nannerl: last years of her life working as a member of ‘I haven’t heard a word about Gretl’s sonatas; I’ll the Opera ensemble of the German Theatre. write to Toricelli personally...’ This publication The progressing illness prevented her from never happened and it remains uncertain working during the last few years of her life, to which sonatas Leopold was referring. 10 and she made her final appearance on 27 June, As far as is known, the only works from 19 1799 as Canzade in Franz Danzi’s Der Kuß. She Margarethe’s hand ever to appear in

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wrote about it to Nannerl on 22 February, Thus Margarethe, only 18 years old, gained his practical, sober father who was always He was proud of Wolfgang’s successes but 1786: ‘Gredl sang and played excellently in the a court appointment as a singer, and on 28 quick to give advice. disappointed and concerned that, as he Fiera di Venezia.’ April, 1786 Leopold reported: ‘On Easter On 17 August, 1782 Wolfgang wrote to his perceived it, Wolfgang only moderately Leopold was also not averse to strategic Monday Gredl sang the first time as court singer father: ‘There is no monarch in the world whom succeeded in acquiring the national and manipulation. On 12 April, 1786 he wrote to in the court academy, and the second [time] at I should be more glad to serve than the [Austrian] international recognition which, Leopold felt, Nannerl: ‘My advice which I gave H. Marchand the Georgi Ritterfest on the 26th, and received the Emperor, but I refuse to beg for any post. I believe rightly, was his due. In the last two years of his about his daughter has had the intended effect: greatest acclaim.’ that I am capable of doing credit to any court, life Leopold would see his son only twice. I had a long conversation with Graf Seeau about Leopold never ceased following her [...] but where did they make their fortune and several musical and theatrical issues. I did not development. On 9 March, 1787 he wrote: their reputation?’ Leopold wrote about this Leopold Mozart, the pedagogue even mention Gretl, but I began our conversation ‘Gretl’s performance is something altogether to Baroness Waldstädten in a letter dated As Leopold had written in 1756 in the preface in such a manner that he necessarily had to start different, and even though she is only one year 23 August, 1782: ‘ have detected in my son an to his ‘Versuch einer gründliche Violinschule’, talking about her himself. I remained indifferent, older, she nevertheless possesses ten years more outstanding fault, which is that he is far too patient he lived in ‘aufgeklärten Zeiten’ (enlightened agreed with him, and thus I came to know of his consideration and sense. [She] is indeed praised or rather easy-going, too indolent, perhaps even times), a term that appeared regularly in plan. This put me in the position to give some safe and appreciated everywhere, and gives pleasure and too proud, in short, that he has the sum total of literary and philosophical writings long advice to Marchand - now she is appointed court not the slightest sorrow to her parents through her all those traits which render a man inactive; on the before the term ‘Aufklärung’ (Enlightenment) singer for three years with 500f per annum. We did morally well-conceived performances.’ Morality was other hand, he is too impatient, too hasty and will existed, and points to the middle-class not require more; the rest will take care of itself. In an important issue at the time, especially for not bide his time. Two opposing elements rule his emancipation process that was in progress, the oratorio of the amateur concert she sang the women. In 1787 Margarethe made her debut nature [...] yet it is unfortunately the most capable namely, the striving for self determination, main part [of] la Giudata, the Judit. I will say in Munich in Vogler’s Castore e Polluce. She later people and those who possess outstanding genius individuality and autonomy. ‘Sapere aude! only this: Gr. Seeau was against accepting Gretl became famous for her roles in Mozart operas. who have the greatest obstacles to face.’ “Have the courage to use your own reason!” - on principle because the elector was [positively] She performed the roles of Susanna in Le Nozze Leopold, who had striven his whole life to that’s the motto of enlightenment...’, according inclined. My advice to Marchand was bound to di Figaro, Fiordiligi in Così van Tutte, Queen of keep hold of the reins, found himself on the to Immanuel Kant in 1784. This motto is, turn him around and now he himself was the the Night in Die Zauberflöte, Donna Anna in sidelines as parent and teacher, incapable however, not a goal but a means by which promoter. [I will tell you] the complicated [details] and Blonde in Die Entführung aus of identifying with the soul and needs of a men, through their own social consciousness, 18 personally in due time; it is a joke! Enough, it had dem Serail. true genius and unable to comprehend the can form a picture of the world and reality 11 to work out according to my advice.’ concept of freedom from that perspective. wherein the citizen must be willing to take

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shared responsibility for the whole. What ‘I have often wondered greatly that nothing has have been longing to know here who was to become insert two other arias of her own choice. The opera would be the use of a cultivated man if he been published [an assertion which was not entirely 2nda Donna, since Lisel Wendling declined to do is the one from last year, by Prati. Additionally, an would not make himself available to serve the true...] as a guide to so popular and, for the greater the 2nda Donna opposite Mme le Brun, especially opera buffa will be performed: La fiera di Venezia, whole? It should also be realised that with part of music, so indispensable an instrument as the because this time it [is] an insignificant part with by Salieri, which pains me; because it is indeed, the middle-class emancipation the hierarchic violin, in view of the fact that a good foundation, two very short ariettas. Since Lisel Wendling now saw regarding the music, made of the most hackneyed structure of society had not yet changed and and in particular some rules for special bowings, no chance for her daughter, she took this poor part and common thoughts, old-fashioned, forced and men had to find a way to move within this coupled with good taste, have long been needed [...] anyway, so that Gretl would not be able to make a completely empty; regarding the harmony: only structure. The main point was the possibility There is still much to be dealt with, and many may step [in her career] through this, and, consequently, the finales are bearable: the subject of the piece is of plucking the fruits of reason for the greater reproach me for not having done so. But what are in order to prevent Gretl from appearing at the as usual: some completely stupid Italian silliness, good of society, with tradition and renewal these things? Such matters as belong to the lighting electoral opera and accumulating merits.’ On 21 against all common sense. Gretl will also sing in going hand in hand. Leopold knew like no of a beacon to guide the weak judgement of many a October, 1785 Leopold wrote to Nannerl: this one [...] The famous, old castrato Guadagni other that education was an important means concert performer and, by means of rules, to form the ‘Gredl sang and acted in the operette to the [...] was in Munich to claim payment of a debt. He by which to focus an individual’s attention good taste of an intelligent soloist [...] I have here greatest acclaim, yet there is no hope for her in was persuaded by the old castrato Georgetti to listen on himself and to make him aware of the laid the foundation of good style; no one will deny Munich for August[a] Wendling is now the mistress to the Marchand children [...] he was so affected individual nature of his existence and being. this [...].’ of the Gr. Seeau etc. etc. etc....’ that he stayed three hours and said that he would, Throughout his whole life Leopold had striven His composition lessons were also thoughtfully That careers are shaped by more factors at home, immediately speak with the impresario to stay informed of the latest developments constructed, beginning with the pieces from than talent alone is apparently something so he would engage Gretl in the opera during the in science, politics, philosophy, music and his Notenbüchlein that he had written for his common to all eras. Fortunately fate can upcoming Antonio mass.’ On 27 January, 1786: musical aesthetics, in order to be assured daughter, Nannerl, progressing through small dispose favourably and on November 28, 1785 ‘... yesterday I received a letter from Marchand of keeping abreast of the latest theories and song and dance forms, marches, divertimenti, Leopold sent the message: ‘Because [I] today ... that Gretl in the second opera, where she has a developments in the area of composition. from sonatas for piano and violin to small received a letter by Marchand, I immediately sat good part, gets amazing applause and the elector As a teacher he was thorough, patient and sinfonias, from school operas to Singspiele down to tell you that Gretl is going to sing in the and everyone says that she plays as if she already systematic. As he wrote in the foreword to and from there progressing to opera seria. carnival opera and to play the part which Mme had been at the opera for ten years.’ his ‘Versuch einer gründliche Violinschule’ Leopold spent much time and attention on the Liesel Wendling was supposed to do last year and Margarethe made her singing debut in Munich 12 (‘gründlich’ can be translated literally as music of his predecessors, the characteristics then gave to August[a] Wendling. Since these arias as Calloandra in an opera by Antonio Salieri. 17 ‘from the ground up’ or a ‘ground-laying’): of different national styles, differing genres are poor, insignificant ones, Gretl has the liberty to Leopold was present at a performance and

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here is ‘Der liebe himmlisches Gefühl ’ KV 119, with these restless beings: for at every moment but given that this aria dates from 1782 this is something else was brought to be packed that they very unlikely. had forgotten [...] Nonetheless we were in Obing at On 23 August, 1784, Leopold, Heinrich, Gretl seven. Barely two minutes before us, Mme Marchand and Hännchen were present at the wedding and H. Borchard had arrived [...] finally we got to of Nannerl and Johann Baptist von Berchtold the table, - where things became pretty lively: Mme zu Sonnenburg. A few days later Heinrich, Marchand had brought Rhine wine for me which we Gretl and Hännchen returned to Munich. On shared. At eleven we were done [...] at four everyone 31 August, 1784, the evening before their was up: we took coffee and at five one group drove departure, Margarethe wrote a letter of great to Salzburg, the other back to Munich. [...] Mme appreciation to Nannerl: ‘Highly esteemed Marchand, Gretl and Hanchen cried profusely. The madam! and, (as I hope) my dearest friend I cannot thanks and the apologies, which they repeatedly refrain, on this suitable occasion, in greatest haste, asked me to convey to Mme Daughter, did not end. It from imposing on you with a few lines. With utter was truly moving.’ delight I heard that you are quite well and in good spirits, and therefore I write you, to show my Singing career pleasure, and to thank you a thousand times for all Leopold continued to follow Gretl’s singing the goodness and all the care that you have shown career after she had left his care, and he me from the first moment of our friendship to this frequently sent proud reports to Nannerl. On very hour; and to ask you to regard me even in the 12 November, 1784: ‘Tomorrow, Saturday the future as worthy of your friendship, which is so dear 13th will be the first concert of amateurs, where to me...’ Gretl will have the honor of making an appearance.’ Leopold described the departure: ‘On the first On 19 November, 1784: ‘Gretl sang splendidly, Antoinette Lohmann, Vaughan Schlepp of September we got up at half past four, Heinrich and received from the elector, who talked to her 16 went to the mass at five: nevertheless I had a hard afterwards, and then from Maestro Prat etc. and all 13 time to succeed in getting out of Salzburg at seven [the others] the greatest acclaim. You know that they

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and on the personal characteristics of the family members, receiving a broad cultural The children were Gretl to the market...’ most important musicians, thereby only and intellectual education, sharing in joy, also very close to Margarethe could count on Wolfgang’s making use of the most prominent examples. sorrow and everyday life with the rest of the Leopold’s daughter, interest, but also his criticism. On 31 There has been much written about the family. The family correspondence reveals that Nannerl, she was October, 1783 he wrote in a letter to his uncompromising, principled way in which Leopold had a great concern for his students actually the one father: ‘Please give a little message to Gretl, and Leopold raised Wolfgang and the manner and their ‘ups and downs’. Leopold must have most involved with tell her that when she sings she must not be so arch in which he steered his career, but one enjoyed being able to pass on his experiences the daily care of the and coy; for cajolings and kissings are not always could equally say that it is largely thanks to and to have gifted students under his care once three children. Her palatable- in fact only silly asses are taken in by Leopold that Wolfgang was able to develop his again. The children were also very attached to diaries are a record such devices. I for one would rather have a country inexhaustible and unequalled musical talent to him; Margarethe even called him ‘dearest Papa’. of their daily lives. lout, who does not hesitate to shit and piss in my the extent he did. Constanze, Wolfgang’s wife, had met She wrote between presence, than let myself be humbugged by such Margarethe when they were children. On 19 4 September and false toadyings, which after all are so exaggerated Margarethe Marchand July, 1783 she wrote: ‘Dearest Mademoiselle 31 October, 1783 that anyone can easily see through them...’ After the death of his wife, Leopold Marchand! I am delighted that you still remember (fragments): ‘...the 9th: papa, gretl, henry and Wolfgang had apparently also promised to occasionally took students into his home, me and have taken the trouble to write me. Believe I go for a walk. a nice day... the 12th: papa, I, write an aria for Margarethe, on 21 July, including Heinrich and Margarethe Marchand, me, I am just as much longing to see Salzburg gretle, henry in the theatre. A nice day... the 16th: 1784 he wrote in a letter to Nannerl: ‘Please as well as their cousin, Johanna Brochard [...] And then the pleasure of embracing my went with papa, brother, sister in law, gretl, henry give my greetings to Gretl and tell her that perhaps (Hännchen). On 29 April, 1782, Leopold dear Mademoiselle Marguérite, whom I knew in to the ‘schüß Stadt’ [the shooting place outside the I shall reply myself, but I cannot promise to do wrote: ‘My son is in Vienna and is remaining there Mannheim and Munich as a very clever young Mirabell gate]: I stayed at home. the 17th: with so, for I fear that I may not be able to keep my [...] Meanwhile I am having a pleasant time with woman and who in the meantime has had plenty gretl at the court at the rehearsal, papa entered... promise, as I am far too busy. As for the aria she two pupils whom I am instructing, the twelve-year- of opportunity to perfect her gifts! How delighted after dinner, Binzger and Wiedmann made music must exercise a little patience. But what I do advise old son and the fourteen-year-old daughter of Herr I shall be to see her again, kiss her and admire her for my brother on two violas. a nice day... the 19th: her to do, if she wants to have the aria soon and Marchand, theatrical manager in Munich. I hope to talents. God willing, I shall be able to do so on recitative rehearsal at the court with gretl, papa without fail, is to choose the text which suits her make a great violinist and clavier player out of the August 1st. [...].’ Wolfgang added: ‘[...] dear entered... the 27th: afternoon got dressed with and send it to me, as it is impossible for me to find 14 boy and a good singer and excellent clavier player Mlle Marchand, I hope soon to hear you sing and gretl. drove to the theatre at five, all of us in the time to wade through all sorts of operas...’ In some 15 out of the girl.’ The children were raised as true play on the clavier.’ opera... The month October 1783: the 4th: with sources it is assumed that the aria mentioned

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