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Diplomarbeit Markus Bauer

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Diplomarbeit Markus Bauer „ […] Ewer röm: kayl: und königl: Mayt: Allerunterthänigst – treugehorbster JOHANNES HEINISCH Kayl: musicalischer Hoff Trompeter“ Versuch einer musikalischen Biographie des musikalischen Hoftrompeters von 1727 - 1751 Diplomarbeit Zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von MARKUS BAUER am Institut für Musikwissenschaft Begutachter: Univ. Prof. Michael Walter Graz, 2008 VORWORT..........................................................................................................................................3 1. EINLEITUNG.............................................................................................................................5 2. BIOGRAPHIE.............................................................................................................................7 3. DAS WIENER HOFTROMPETERKORPS............................................................................21 3.1. Geschichte........................................................................................................................................... 21 3.2. Die Voraussetzungen eines Hoftrompeters...................................................................................... 23 3.3. Die Kollegen Heinischs ...................................................................................................................... 33 3.3.1. Franz Anton Küffel ....................................................................................................................................... 33 3.3.2. Franz Joseph Holland.................................................................................................................................... 34 3.3.3. Ferdinand Weidlich....................................................................................................................................... 34 4. KOMPONISTEN...........................................................................................................................36 4.1. Johann Josef Fux................................................................................................................................ 36 4.2. Antonio Caldara................................................................................................................................. 39 4.3. Luca Antonio Predieri ....................................................................................................................... 43 4.4. Georg von Reutter der Jüngere ........................................................................................................ 47 4.5. Andrea Bernasconi............................................................................................................................. 48 5. WERKE .........................................................................................................................................50 5.1. Enea negli Elisi ovvero Il Tempio dell’Eternità - 1731 (J.J.Fux).................................................. 50 5.1.1. SINFONIA .................................................................................................................................................... 50 5.1.2. „CHI NEL CAMIN D’ONORE“ .................................................................................................................. 51 5.2. Adriano in Siria – 1732 (A.Caldara)................................................................................................. 55 5.2.1. INTRODUZIONE......................................................................................................................................... 55 5.3. Achille in Sciro – 1736 (A.Caldara) .................................................................................................. 58 5.3.1. INTRODUZIONE......................................................................................................................................... 58 5.4. Il Temistocle – 1736 (A.Caldara) ...................................................................................................... 61 5.4.1. DER INHALT............................................................................................................................................... 62 5.4.2. „AH, D’ASCOLTAR GIA PARMI“............................................................................................................. 64 5.5. Il Parnaso Accusato, e Difeso – 1738 (G.Reutter d.J.) .................................................................... 66 5.5.1. “LO STUOL CHE APOLLO” ...................................................................................................................... 67 5.6. Zenobia – 1740 (L.A.Predieri)........................................................................................................... 72 5.6.1. DER INHALT............................................................................................................................................... 72 5.6.2. „PACE UNA VOLTA“.................................................................................................................................73 5.7. Servizio da Tavola Nr.2 C-Dur – 1745 (G.Reutter d.J.) ................................................................. 77 5.7.1. ALLEGRO MOLTO..................................................................................................................................... 78 5.7.2. MENUET – TRIO – MENUET .................................................................................................................... 79 5.7.3. FINALE: ALLEGRO.................................................................................................................................... 81 5.8. Trompetenkonzerte (G.Reutter d.J.)................................................................................................ 84 5.8.1. TROMPETENKONZERT NR.1 IN C-DUR ................................................................................................ 84 5.8.2. TROMPETENKONZERT NR.2 IN D-DUR ................................................................................................ 88 5.9. Artaserse (A.Bernasconi)................................................................................................................... 91 ZUSAMMENFASSUNG ..................................................................................................................96 LITERATURVERZEICHNIS ..........................................................................................................98 QUELLENVERZEICHNIS..............................................................................................................99 ANHANG.........................................................................................................................................101 2 VORWORT Motiviert durch mein Studium der historischen Trompete wollte ich mich im Rahmen meiner Diplomarbeit in Musikwissenschaft mit der Geschichte dieses Instruments beschäftigen. Durch mehrere Nennungen in verschiedenen Arbeiten und CD-Booklets wurde ich auf Johann Heinisch aufmerksam. Allerdings bestanden diese Erwähnungen fast immer nur aus dem Namen und dem Beisatz er sei „wohl der beste Trompeter“ gewesen. So begab ich mich auf die Suche nach Quellen, die ihn nannten. Durch diese Recherchen wurde immer klarer, dass niemand Genaueres über Heinisch wusste. So entschloss ich mich die Person Heinisch zu erforschen. Wenn er wirklich so gut war, wie behauptet, so sollte dieser Trompeter nicht in Vergessenheit geraten. Zu diesem Zweck begann ich Noten aus der österreichischen Nationalbibliothek zu studieren und zu edieren, da ansonsten nur das bekannt war, was Andreas Lindner in seinem Buch „Die Kaiserlichen Hoftrompeter und Hofpauker im 18. und 19. Jahrhundert“ 1 veröffentlicht hatte. Durch ein Gespräch wurde ich auf die Möglichkeit gebracht die Wiener Zeitung durchzusehen, da hier das Alter der Verstorbenen und teilweise auch der Sterbeort genannt wurde. Durch die dortige Nennung desselben bekam ich die Möglichkeit noch mehr zu erfahren. Nach verschiedenen Anfragen und Durchsichten fand ich im Archiv des Domes zu St. Stephan in Wien endlich jene Quellen, die die Person Johann Heinisch fassbar machten. An dieser Stelle möchte ich mich bei mehreren Personen bedanken, die für die Entstehung dieser Arbeit äußerst wichtig waren. An erster Stelle bedanke ich mich bei Univ.-Prof. Dr. Michael Walter, der es mir ermöglichte diese Arbeit in Angriff zu nehmen und sie auch betreute. Des Weiteren bedanke ich mich bei Herrn Edward H. Tarr. Vor allem durch sein Buch „Die Trompete“ 2 wurde ich auf Johann Heinisch aufmerksam, ebenso wie durch seine verschiedenen Editionen von Noten, sowie CDs, an denen er sowohl als Trompetensolist als auch als Produzent mitwirkte. Dankbar bin ich ihm auch für die Herstellung des Kontakts zu Dr. Leo Kappel, der mir dankenswerter Weise seine Katalogisierung aller Werke Caldaras mit Trompeten in Wien überließ und mir damit sehr viel Zeit ersparte, da ich schon zu Beginn der Quellensuche nur bestimmte Noten Caldaras durchsehen und kopieren musste. Weiters danke ich Frau Dr. Christine Pollerus, durch deren Hinweis ich auf die Todesanzeigen in der „Wiener Zeitung“ stieß. Mein Dank geht auch an das Matrikenamt der Erzdiözese Wien für die kostenlose Genehmigung zur Einsicht in alle Pfarrarchive Wiens. In dieser Hinsicht muss ich mich auch beim Pfarrer der Kirche „Maria am 1 Andreas Lindner; Die kaiserlichen
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