The Philological Project "The Music Library of Maximilian Franz" Is

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The philological project "The Music Library of Maximilian Franz" is intended to identify and establish provenance of the surviving music-dramatic sources that originally belonged to Maximilian Franz (1756-1801), the youngest son of Habsburg Empress Maria Theresa and the last Elector of Cologne, as well as to analyze these sources to answer detailed questions about performance practices at his court in Bonn. Max Franz is known to music history primarily in two capacities, as an admirer of Wolfgang Amadeus Mozart and the first employer of Ludwig van Beethoven. It is the second of these that the proposed study should most benefit, as the period when the musical life in Bonn was most vibrant, from 1780-1794, directly corresponds with the composer's formative years. However, the benefits would extend beyond Beethoven studies, since a more detailed portrait of musical life at this court would also provide greater understanding of practices at smaller German courts in general. Additionally, both the geographical proximity of Bonn to important musical centers of Paris, Berlin, and Mannheim, as well as the political ties to Vienna, make it an ideal case study for the cultural transfer or histoire croisée which is often believed to have marked the internationalization of the musical style during this era. We are currently in a better position than ever to deepen our knowledge of the musical practices in Max Franz's electoral court. Previous research by scholars such as Sieghard Brandenburg and Juliane Riepe have located several of the sources in Modena, but a detailed study of these sources has been thus far lacking. Such a study is long overdue: this period ranks as one of the greatest biographical lacunae in Beethoven studies, and therefore a more precise picture of the musical life in Bonn would form a necessary first step for a modern re-appraisal of his earliest musical experiences. Beyond this, Max Franz's court was also home to a number of outstanding musicians, whose biographies would also benefit from the results of this study: among others, Christian Gottlob Neefe, Andrea Lucchesi, Nicholas Simrock, and Anton Reicha. The first phase of this project shall be directed at systematically identifying the Modena sources and making the results public in a clear presentation of their extent and nature in form of an open access database. This step being completed, the second phase aims to address broader questions of operatic performance practice at Max Franz's court, including, among others, an analysis of the musical capacity of the Bonn Hofkapelle, information on the praxis of arrangement at the Bonn court or substitution arias, or the question of in which language the operas were performed. It is also hoped that the first stage will make it possible to identify further sources scattered throughout Europe, e.g. in Vienna or among the estate of Christian Gottlob Neefe..

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Christian Gottlob Neefe and the Early Reception of Le Nozze Di Figaro and Don Giovanni
Christian Gottlob Neefe and the Early Reception of Le nozze di Figaro and Don Giovanni Woodfield, I. (2016). Christian Gottlob Neefe and the Early Reception of Le nozze di Figaro and Don Giovanni. Newsletter of the Mozart Society of America, 20(1), 4-6. Published in: Newsletter of the Mozart Society of America Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2016 The Newsletter of the Mozart Society of America General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:27. Sep. 2021 Christian Gottlob Neefe and the early reception of Figaro and Don Giovanni When he became Elector of Bonn in 1784, Joseph II’s youngest brother, the music-loving Maximilian Franz, inherited a financial crisis as a result of which he had to close the stage.1 During the five-year theatrical hiatus that ensued, Bonn missed out on public productions of the new wave of popular Viennese operas by Salieri, Martín y Soler, Mozart and Dittersdorf.
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