Dux 1229 / 2015

DUX 1229 / 2015 _______________________________________________________________________________ IGNAZ RITTER VON SEYFRIED (1776–1841) : Missa solemnis in B minor cum Veni Sancte Spiritus, Graduale et Offertorio (1830) arr/ Fr Mieczysław GNIADY *** Justyna STEPIEN - soprano Ewa MIKULSKA - alto Krzysztof MACHOWSKI - tenor Krzysztof MATUSZAK - bass The Artur Malawski Philharmonic Orchestra in Rzeszów Archdiocesan Choir ‘Magnificat’ of Przemyśl / choirmaster: Fr. Mieczysław GNIADY Choir of the Music Department of Rzeszów University / choirmaster: Bożena STASIOWSKA- CHROBAK Fr Mieczysław GNIADY - conductor _______________________________________________________________________________________________ DUX Małgorzata Polańska & Lech Tołwiński ul. Morskie Oko 2, 02-511 Warszawa tel./fax (48 22) 849-11-31, (48 22) 849-18-59 e-mail: [email protected], www.dux.pl Aleksandra Kitka-Coutellier – International Relations kitka@dux IGNAZ RITTER VON SEYFRIED – HIS LIFE AND WORK Ignaz Ritter von Seyfried was born in Vienna on 15 August 1776 as the first of the three sons of Joseph Seyfried and his wife Maria Anna née Wess in a house located at 621 Goldener Greif (now 3 Rothenthurmstrasse). At the christening ceremony, which was held on the same day at the city’s St Stephen’s Cathedral, he was given the following names: Ignatius Joseph Maria Franciscus de Paula. The well-known wholesaler Melchior Peter was his godfather. Seyfried’s father worked initially as an apothecary at the Viennese court and then as a counsellor at the court of Prince Chlodwig Hohenlohe-Schilling. In 1788, by the decision of Emperor Joseph II, he was raised to the nobility. Seyfried had many siblings. According to his autobiography, of the twenty children in the family, however, only four reached maturity: Ignaz’s two brothers Joseph and Franz, and one sister, whose name the composer failed to mention. Franz worked in the town hall while Joseph was a long standing editor of the periodical ‘Der Wanderer’ and made a name also as a talented librettist and translator from French. In view of the fact that both Franz and Ignaz had professional contacts with the Viennese theatre, they were often mistaken for one another. Years of childhood, adolescence and studies On 23 December 1780, the four-year-old Ignaz contracted smallpox and lost his eyesight. He regained the ability to see on 1 February of the following year and even though he was a small boy the happy moment of recovery kept coming back in his thoughts. The disease resulted, however, in permanent damage to his health. Indeed, he battled against ill-health until the end of his life. Not only did he have scars on his face but also had to wear glasses from young age due to acute short-sightedness and spoke in a low and hoarse voice because of a throat defect. This is how Seyfried described his childhood: “As far back as I can remember, I was quiet, polite and agreeable. I never came into conflict with any of my friends and I was never subjected to corporal punishment. I studied eagerly and diligently, and I used to finish my assignments ahead of schedule so that to have an hour of free time to abandon myself to play with other children in the garden. I was particularly delighted with the sight of the dragon of my own construction, which could raise from the ground and spin round towards the sky.” In 1783, at the age of seven Ignaz started regular musical studies. In the same year the father bought an upright of the Vienna-based Walthersch company. His first teacher was one Schubert, possibly an ancestor of Franz Schubert. The programme of studies included flute, violin, viola and cello. Seyfried was not particularly keen on any of these instruments, however, and preferred to spend all his free time at the piano. In addition, he took organ lessons from Joseph Hayda, who also taught him basso continuo, score reading and singing. As a reward for his hard work Seyfried was given the opportunity to play the organ during a Sunday mass at the city’s Minoritenkirche. Seyfried also studied with Wolfgang Amadeus Mozart, who was a friend of the family. After Mozart’s death, he continued his musical education, most probably for a year, as a student of Leopold Koželuch. According to the German composer Hans Michael Schletterer, Seyfried received an excellent education, both general and musical. Soon after Mozart’s death, probably in 1792, Seyfried went to Prague, where he enrolled at the faculty of philosophy at the city’s university. He lost no time in making contact with local musical circles and resumed his piano studies (with František Dušek), making friends with such acclaimed musicians and composers as Václav Jan Tomášek, Václav Vincenc Mašek, Jan August Vitásek and Jan Antonín Koželuch. He established a particularly warm relationship with the director of Prague Conservatory, Dionysius Weber. Their friendship lasted their whole lives and resulted in Seyfried’s fairly frequent stays in Prague. There is no precise information as to the duration of Seyfried’s studies in the city. According to the two letters to his mother dating from 1794, he stayed there for two years and passed many exams between January and March 1794 (there are no details relating to the kind of exams). In the same year he returned to Vienna to study law at the city’s University in the academic year 1795/96. A law diploma was required to start a professional career as a civil servant. In his letter, Seyfried reveals that he was close to gaining a doctorate in law. Having passed two rigorosa, he resolved to devote himself entirely to music before taking the third and final exam. This decision was surely prompted by his successes in piano performance and composition. His work Die Wunderquelle won him recognition in Viennese musical circles. At that time Seyfried became friends with the Kappellmeister at the Bavarian court, Peter von Winter. Having appreciated Seyfried’s outstanding talent, he introduced him into the art of writing music for the stage and convinced his father that he should make music his vocation in life, assuring him that he would face a successful career. Winter’s efforts to win the approval of Seyfried’s father were supported by Albrechtsberger, Henneberg and Schikaneder, who wanted Seyfried to take the position of Kappellmeister at their Freihaustheater auf der Wieden. Seyfried’s biographer, August Schmidt, claims that it was largely thanks to them that he gave up law and embarked on a musical career. Work for the theatre On 1 March 1797, at the age of 21, as a result of Winter’s intercession with Schikaneder, Seyfried signed a six-year contract as Kappellmeister of the Freihaustheater auf der Wieden. During this period, his compositional career took. Seyfried started with musical miniatures to an occassional play marking the Treaty of Campo Formio. 15 July 1797 saw the premiere at the Freihaustheater of his first opera, Der Löwenbrunnen (with a text by Schikaneder), which won high critical acclaim and had many other successful productions in other venues. Seyfried also wrote songs, some of which were published. In 1798, at Winter’s prompting, he penned a hunting overture, an arietta for two choirs, songs to the parody Agnes Bernauer, the singspiel Der Feenkönig and the first act of the operetta Das Jägermädchen. Seyfried’s first major composition was the opera Der Wundermann am Rheinfall (1799). It was met with great enthusiasm. None other than Haydn himself wrote Seyfried a complimentary letter. As the composer wrote in his autobiography, after the premiere of the opera, Schikaneder, the author of the libretto, introduced him to the audience, said some warm words of thanks on his behalf and appealed for a friendly approach to the young, budding composer. In 1801 Schikaneder moved his theatre to a new seat and renamed it as Theater an der Wien. Seyfried’s works had almost 1,700 performances there, his greatest successes, with both the critics and audiences, including his biblical music dramas, such as Saul, König von Israel (1810) and Abraham (1817). Despite the successes Seyfried continued to develop his compositional skills and spent much time on analysing the scores of such great composers as Wolfgang Amadeus Mozart, Joseph Haydn, Johann Sebastian Bach, Peter von Winter, Carl Heinrich Graun, Georg Friedrich Händel, Giovanni Paisiello, Domenico Cimarosa and Ludwig van Beethoven. He was on friendly terms with Beethoven, whose opera Fidelio and the overture Egmont he conducted at their premieres in 1805. Seyfried is also the author of a study on Beethoven’s oeuvre. Even though the musicologist Martin Gustav Nottebohm (1817–1882) claimed that it was of little merit, it is worthy of attention, if only because of Seyfried’s personal reminiscences of Beethoven. On 6 August 1804 Ignaz Ritter Seyfried married Ludwika Schöning. During the thirteen- year-long marriage they had twelve children, only three of whom reached maturity. On 23 December 1814 the composer lost his father, who died from an acute distress caused by the loss of a considerable part of his fortune resulting from the change of the currency exchange rate. The father’s death proved to be a very painful experience for Seyfried, who fell into a nervous breakdown. Less than three years later, on 16 July 1817, he experienced another personal tragedy – the death of his wife. He decided to send their two daughters to a boarding school, while their son, Fritz enrolled in secondary school at the Benedictine Abbey in Melk. Upon graduation, in 1827, he entered the Benedictine, assumed the name of Leopold. From that time onwards, Seyfried maintained close contacts with the Abbey in Melk, furnishing it with numerous religious compositions. Once his children became independent, Seyfried was left alone, finding his only consolation in music.

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