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Joseph Mayseder Kammermusik Vol. 1 Lissy Quartett Joseph Mayseder (1789–1863) Chamber Music Vol. 1 Kammermusik Vol. 1 1 „Souvenir à Baden“ 19:44 Variations Concertantes / Concert Variations for Piano, Violin, Viola and Cello in E major, Op. 63 Konzertante Variationen für Klavier, Violine, Viola und Violoncello E-Dur op. 63 2 Variations Concertantes / Concert Variations 14:34 for Piano, Violin, Viola and Cello in D major, Op. 57 Konzert-Variationen für Klavier, Violine, Viola und Violoncello D-Dur op. 57 3 Divertimento for Violin and Piano in D major, Op. 35 7:38 Divertimento für Violine und Klavier D-Dur op. 35 4 Variations Concertantes / Concert Variations 15:51 for Piano, Violin, Viola and Cello in F major, Op. 24 Konzertante Variationen für Klavier, Violine, Viola und Violoncello F-Dur op. 24 World Premiere Recordings Weltersteinspielungen Lissy Quartett Raimund Lissy violin / Violine Robert Bauerstatter viola / Viola Maria Grün cello / Violoncello Srebra Gelleva piano / Klavier 2 3 Lebenslauf von Joseph Mayseder Joseph Mayseder wurde am 26. Oktober 1789 in Leitung von Beethoven mit, ebenso ein Jahr später Wien geboren. Seinen ersten Violinunterricht erhielt bei der Uraufführung der Kantate „Der glorreiche er im Alter von acht Jahren von Joseph Suche, dem Augenblick“ mit einem großen Violinsolo unter der Konzertmeister im Theater auf der Wieden, später Leitung des Komponisten. 1824 spielte er bei der von Anton Wranitzky und Ignaz Schuppanzigh. Er Uraufführung der 9. Symphonie unter dem Dirigat erhielt auch Klavier und Kompositionsunterricht Beethovens im Orchester mit. Der Kontakt zu von Emanuel Aloys Förster. Den ersten belegten Beethoven ist auch durch einen Brief belegt, in dem Auftritt als Solist absolvierte er als 10-Jähriger im Beethoven Mayseder bittet, bei einer Aufführung Wiener Augarten, weitere folgten unmittelbar. Vom seiner Quartette mitzuwirken. Er spielte auch bei Komponisten Mayseder sind eine Reihe früher Hand- der Uraufführung von Schuberts F-Dur-Messe unter schriften erhalten, die frühesten datierten sind ein dem Dirigat von Franz Schubert am ersten Pult. Streichquartett und ein Streichquintett des damals 12-Jährigen. 1803 wirkte Mayseder als Geiger bei 1815 trat Mayseder neben Johann Nepomuk Hum- einer Aufführung des Oratoriums „Die sieben letzten mel und Mauro Giuliani als Solist in der berühmten Worte“ von Joseph Haydn unter der Leitung des Konzertserie der sechs „Dukatenkonzerte“ auf, Komponisten mit, 1804 und 1805 war er Sekund- 1818 gab er drei Abonnementkonzerte gemeinsam geiger im berühmten Schuppanzigh-Quartett. Aus mit Ignaz Moscheles und Giuliani. 1816 wurde er dem Jahr 1805 ist auch ein Zeugnis erhalten, in zum Geiger in die Wiener Hofkapelle engagiert, dem Johann Georg Albrechtsberger, Joseph von bei der er 20 Jahre später Violin-Direktor wurde. Eybler, Haydn, Leopold Kozeluch, Antonio Salieri und Joseph Weigl über den erst 16-jährigen Mayseder Als Kammermusiker war Mayseder sein ganzes Le- urteilen, dass er „außerordentliche, sein Alter über- ben lang sehr aktiv, er war Primarius bei zahlreichen steigende Fortschritte auf der Violine gemacht habe Quartettabenden in diversen Wiener Privathäusern, und unter die Reihe der Virtuosen zu zählen sei“. 1817 bis 1822 bei Vincenz Neuling, danach bei Ignaz Dembscher, dem Fürsten Constantin Czartoryski, Ale- 1806 folgte die erste Anstellung Mayseders als xander Köchert (seinem Schwiegersohn) und bei dem Violinist in der Dommusik zu St. Stephan, bereits Oberfinanzrat Franz von Heintl. Ebenso gab es Kam- 1810 wurde er bei dem k.k. Hoftheater (Kärntner- mermusikauftritte mit berühmten Zeitgenossen wie tortheater) als Solospieler engagiert. Ab dieser Zeit Franz Liszt, Carl Loewe und vermutlich Clara Wieck. hatte er auch häufige Soloauftritte als Violinvirtuose in Wien, wobei er meistens eigene Kompositionen Als Solist wirkte er fast ausschließlich in Wien, aufführte. 1813 wirkte er bei der Uraufführung von seine wenigen Konzertreisen führten ihn 1812 Ludwig van Beethovens 7. Symphonie unter der nach München, 1818 nach Italien, 1820 nach 4 Paris und 1832 nach Pressburg (Bratislava). Als erschienen in Österreich, England, Frankreich, Solist im Konzertsaal trat Mayseder ab 1830 nur Deutschland, Italien, Holland und Amerika, sei- mehr selten auf, ein berühmtes Beispiel ist die ne Beliebtheit ist auch damit gut dokumentiert. Mitwirkung 1842 beim ersten „Philharmonischen Konzert“ unter dem Dirigat von Otto Nicolai, wo Mayseders Werke wurden im 19. Jahrhundert weltweit er bei einer Mozart-Arie „Violino Obligato“ spielte. in tausenden Konzerten aufgeführt, unter anderem Er spielte von 1814 bis 1855 auch in hunderten von Künstlern wie Henry Vieuxtemps, Ole Bull, Ballettabenden am Kärntnertortheater die Violinsoli. Heinrich Wilhelm Ernst, Theresa Milanollo, Christian Urhan, Camillo Sivori, Joseph Hellmesberger, Franz Mayseder erhielt zahlreiche Ehrungen, darunter 1835 Liszt und Giovanni Bottesini. die Ernennung zum kaiserlichen Kammervirtuosen, 1839 wurde er zum Ehrenmitglied des Pesth-Ofener Privat war Mayseder ein Familienmensch: Er heira- Musikvereins, der Santa Cecilia Rom und des tete 1825 Karolina, geborene Triller und hatte mit Steiermärkischen Musikvereins ernannt, 1852 zum ihr zwei Töchter, Josephine und Karoline. 1844 Ehrenmitglied der Gesellschaft der Musikfreunde kaufte er das Haus am Neuen Markt Nr. 15 in der in Wien und 1862 wurde ihm das “Ritterkreuz des Wiener Innenstadt, das bis heute als „Mayseder- Franz-Joseph-Ordens” verliehen. Haus“ bezeichnet wird. Joseph Mayseder starb am Mayseder war auch als Lehrer sehr aktiv, zu seinen 21. November 1863, sein Ehrengrab befindet sich am Schülern zählten unter anderen Heinrich Wilhelm Wiener Zentralfriedhof. 1876 wurde die Mayseder- Ernst, Miska Hauser, August Lanner, Eleonora gasse in der Wiener Innenstadt nach ihm benannt. Neumann und Heinrich Panofka. Raimund Lissy Seine Kompositionen umfassen 67 Opuszahlen und www.mayseder.at einige gedruckte Werke ohne Opusbezeichnung sowie in Autographen erhaltene (wohl meist) Früh- werke. Zu den verlegten Werken zählen zahlreiche Violinvirtuosenwerke, wie Variationswerke, Rondos, Polonaisen und Divertimenti, aber auch 4 Klavier- trios, 8 Streichquartette sowie 5 Streichquintette. Ein Hauptwerk ist die Messe op. 64 in Es-Dur, die in der Wiener Hofmusikkapelle 128 Mal aufgeführt wurde. Es gab etwa 900 Ausgaben von Werken Mayseders in den verschiedensten Besetzungen, 5 Zu den gespielten Werken Der genaue Bezug des op. 63 zu Baden ist nicht Einer kurzen Allegro-vivace-Einleitung folgt ein lie- überliefert, der Titel besagt „Souvenir à Baden. bliches Moderato-Thema mit führender Violine. Die Guirlande musicale en forme de Variations 1. Variation gehört dem Cello und führt dieses virtuos concertantes pour Piano, Violon, Alto et Vio- in höchste Lagen. Ein 4-taktiges Ritornell beschließt loncelle”. Das Werk ist dem Grafen Franz Pálffy jeweils diese und die folgenden Variationen. In der gewidmet, erschienen 1850 bei den Verlagen Diabelli 2. Variation wird die Viola mit sehr originellen Figu- in Wien, Richault in Paris und Ricordi in Mailand. ren von der Violine begleitet, das Klavier pausiert Das Autograph ist mit 8. Oktober 1849 datiert, es und spielt dann in der 3. Variation virtuos auf. Die handelt sich also um ein Spätwerk Joseph Mayseders. 4. Variation führt die Violine bis zum viergestrichenen Die Einleitung zu op. 63 in E-Dur besteht aus einer e. Die süße Melodie im G-Dur-Andante im 6/8-Takt sehr virtuosen Violinkadenz, der ein liebliches der 5. Variation gibt der Violine und dem Cello Ge- Thema folgt, eingeleitet vom Klavier, fortgesetzt legenheit zu einem schönen Zwiegesang. Zurück von der Violine. Die 1. lyrische Viola-Variation wird in D-Dur führt die virtuose 6. Allegro-Variation direkt abgelöst von einer e-Moll-Cello-Variation. Zurück in in ein effektvolles Piu-mosso-Finale. E-Dur folgen die virtuosen Variationen 3 und 4 für Das Divertimento op. 35 in D-Dur für Violine Klavier und Violine. Die 5. Adagio-Variation steht in und Klavier erschien bei Artaria im April 1823. melancholischem A-Dur mit Terzführungen zwischen Das Autograph der Orchesterpartitur – die Fassung Violine und Viola, die die spätere Salonmusik bereits mit Orchesterbegleitung ist nie im Druck erschie- anklingen lassen, aufgelockert durch einen kurzen nen – ist mit 19. April 1822 datiert. Der Anlass der Walzer-Anklang. Die 6. Variation im Allegro vivace Komposition, vermutlich ein Ballettsolo in den frühen besteht aus virtuosen Sechzehntelfiguren, die oft 1820er Jahren, ist unbekannt. Vermutlich wurde oktaviert zwischen Violine und Cello beziehungsweise das Divertimento in den 1830er Jahren als Pas de Bratsche komponiert sind. Eine Cellokadenz leitet deux sowohl in „Sylphide“-Aufführungen in der von ins Allegro molto des Klaviers über, das durch ein Jean-Madeleine Schneitzhöffer komponierten und Piu mosso der Violine noch in höchste Virtuosität von Taglioni choreographierten Fassung mit Marie gesteigert wird. Taglioni in der Titelpartie eingelegt, als auch in der Chronologisch zurückgehend ist das nächste Werk, von Herman Lovenskiold komponierten und von die „Variations concertantes“ op. 57 in D-Dur, Bouronville choreographierten Fassung in verschie- bereits acht Jahre früher, im Dezember 1842, bei denen Ländern aufgeführt. Daher hat vermutlich auch Artaria in Wien und Richault in Paris erschienen, Mayseder dieses Solo bei den Aufführungen von das Autograph ist mit 12. Februar 1840 datiert. „Sylphide“ am Wiener Kärntnertortheater am 5., 8. Widmungsträger ist Oberfinanzrat Franz von Heintl, und
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  • Toccata Classics TOCC 0138 Notes

    Toccata Classics TOCC 0138 Notes

    HEINRICH WILHELM ERNST Complete Music for Violin and Piano, Volume 2 by Mark Rowe Heinrich Wilhelm Ernst was one of the most important performers of the nineteenth century. In 1884, reviewing over thirty years of avid concert-going, the Rev. H. R. Haweis wrote: ‘[If], looking back and up to the present hour, I am asked to name off hand, the greatest players – the very greatest I ever heard – I say at once Ernst, Liszt, Rubinstein’.1 His assessment was shared by the professionals. ‘Ernst was the greatest violinist I ever heard,’ said Joseph Joachim, ‘he towered above the others [...]. He became my ideal of a performer, even surpassing in many respects the ideal I had imagined for myself.’2 Similarly, Berlioz could not say enough about the genius of his friend: ‘Let me reiterate, Ernst, who is a great musician as well as a great violinist (as well as being the most delightfully humorous man I know) is the complete rounded artist, profoundly and predominantly expressive in everything he does’.3 As a performer, he was particularly admired for his stupendous technique, his intense and melancholic expressivity, his capricious sense of humour, and a tone which came remarkably close to the human voice. These gifts, moreover, were lavished not only on the solo violin: he also made an outstanding contribution to public chamber music. Sir Julius Benedict, for example, reminiscing about the dismal premiere of one of Beethoven’s late quartets, had no doubts about which violinist finally revealed these works as masterpieces: ‘Not until Ernst had completely imbued himself in the spirit of these compositions could P the world discover their long hidden beauties’.4 When one also discovers that Ernst was Paganini’s most significant rival, the first Jewish violin virtuoso of international renown, an important technical innovator and a highly successful and influential composer, it is natural to wonder who exactly he was.