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Ænstocratic COMPOSERS in the 18Th CENITJRY the Study Of

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Ænstocratic COMPOSERS in the 18Th CENITJRY the Study Of ÆnSTOCRATIC COMPOSERS IN THE 18th CENITJRY The study of a oategovy of composer and 'its retationsh'ip to the mus'icat t'ife of 'its ou)n t'ime and 'its reoept'ion hy a mus'icat Estaht'ishment doth 'in the t8th century and in more recent times. DEREK McCUIiLOCH B.A. (Hons) Dunelm Lectinrer in German in the Department of Linguistic and International Studies Oiiversity of Surrey submitted as a DOCTORAL THESIS (Ph.D.) at the UNIVERSITY OF SURREY © Autumn 1990 Sijpervisor: Professor Nigel Reeves ProQuest Number: 27607877 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27607877 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 "•Cf SUMMARY Biough an acknowledged constituent part of 18th century musical Ufe, no satisfactory collective study of the caiposing aristocrat an that era has hitherto been undertaken. The primary aim of this thesis is to identify as many dilettante aristocratic corposers as possible, to establish how much of their output has survived, and viiere - especially in the case of manuscript survivals - the source material is housed. Postwar relocation, war loss and damage, as well as simple error in existing works of reference, have made the locating of source material in sane capap problematic, and the present stuty has been able to ip-date same of the infonnation given elsevAere. Without entering into debate as to the qualitative aspects of much of the music, the stuify, in the light of the source material, has been able to question the factual basis of information given and judgements cast by reference works and scholars during the past hundred years, and to chart the reception accorded to enm» of these dilettanti by encyclopaedists, editors and camientators of the past three centuries. The thesis also notes and categorises the extent to viiich individual aristocratic coposers related to the music of their own time. A secondary aim of the thesis is to attempt to explain v^y the 18th century saw such a relative profusion of aristocratic catposers, and viiy - prima facie, the lands were such a fruitful breeding ground for them, in caparison with France or Britain. While accepting in principle the fact that many of the composers here identified may well have sought the guidance of a "professional", the thesis assumes all works ascribed to "an illustrious hand" to be largely genuine, unless specrfic doubts may be raised. The pursuit of such doubts has led to the identification of mis-attributions in the case of Bperor Joseph of the Habsburgs, Frederick the Great and Prince Anton of Saxony. One "coposer" is seriously challenged as being one at all, and an open verdict is cast in the case of another. On a more positive note, some coposers, and primarily Frederick lewis. Prince of Wales, are discussed for the first time in relation to their musical talents, and new or unconsidered material has been brought to light in the case of Frederick the Great, Count Losy, and arguably ^ince Johann Em s t of Vfermar. Although the conclusion of this thesis must be that relatively few of these corposers exerted any real influence on the evolution of music in the 18th century, the omniprésence of the composing nobility - especially in the musical landscape of the German lands - justifies the collective stuc^ of the genre. (a) TABLE OF CCNTENTS Introduction with explanation of abbreviations and sigla, CHAPTER 1; THE HABSBÜRG EMPERORS LEOPOLD I (1640-1705) and JOSEPH-1 (1678-1711) and their family and entourage........... ( 1) LEOPOLD I; -die anthology MWK; possible misattributions; Einlagearien - their emission in the Verzeichnis of his works; two recent discoveries; judgements past and present. JOSEPH I; a misattribution in MWK; Air for the lute; unreliability of anecdotal biographical sources. Karl VI; composer of the Miserere? Archiduchessa Maddalena - Wolfenbüttel motet. Rinck's "musical barons": Freiherr von Strall - cantata with chalumeau; FREIHERR VON RADOLT; "Die Aller-treueste Freindin" - inadequacy of DTO edition; BARON d'ASTORGA - a truly legendary figure. CHAPTER 2: ARISTOCRATIC COMPOSERS FOR THE LUTE (48) (and other pluoked instruments) Modem editions of ’’Austrian" and Bohemian lute music. The dubious CCMTE DE TALLARD. COUNT LOSY: the work of Qnil Vogl and Tim Crawford; guitar pieces : transcrip-tions or compositions? The problems of the Suite; keyboard transcriptions (and Lord Danby) : two new concordances. Losy and the musical world of his time. Mr Comte de Taxis and Count Wolkenstein-Rodenegg; nobleman Riwitsky; COUNT QUESTENBERG; Prince Louis; Conte Castell; PRINCE lOBKCWITZ (1); Prince Lobkowitz (2). Count Bergen, Reichsgraf von Gâsrock and a "missing" DTO volume; "C.W." and Contesse Wilhelmine von Altmann; a problem of identification. The Colascione/Gallichon issue. ET.ECTOR MAX III JOSEPH and two DUKES CLEMENT OF BAVARIA. PRINCE ANTON OF SAXONY; a missing "royal” composition located and iden-tified. (b) ŒAPTER 3; THE ANGLO-GERMAN CONNECTION...................... ..(98 ) Wilhelmine of Bayreuth.; DUCHESS ANNA AMALIA OF WEIMAR; other Saxon royal composers, including DUCHESS MARIA CHARLOTTE AMALIA and DUKE AUGUST, both of SAXE-GOTHA. sane lost works found. Graf von Winzingeroda. FREDEEUCK LEWIS, PRINCE OF WALES; a mis-named cantata and its historic significance; Metastasio Canzonets; the Duke of Orleans; the Duke of York. Prince Paul of Esterhazy; the EARLS OF ABINGDON, KELLY and MDRNINGTON and the enoyclopaedias of the past century. ^ - - - - - CHAPTER 4; THE MUNICH-DRESDEN CONNECTION....... '............ ( 152) Burney’s acquaintance. Prince Sapieha. Two electoral siblings: MARIA ANTONIA WALPURGIS, DCWAGER ELECTRESS OF SAXCNY and her younger brother ET ECTOR MAX III JOSEPH OF BAVARIA; Maria Antonia's operas - their popularity and challenged authenticity; six "Arias" that may well be by her. Dr Burney's visit to the Nynphenburg in Munich: was he truthful vben he said he knew "Talestri"? Max III Josei±i as a shy carposer and undoubted virtuoso. Burney's judgements. CHAPTER 5: TELEMANN'S "HIGH-BORN" PROTÉGÉS.................. *..(175) PRINCE JOHANN ERNST OF WEIMAR: his catpositions as published by Telemann and/or arranged by J. S. Bach; an "unknown" concerto revealed eighty years ago. LANDGRAVE ERNST LUDWIG VON HESSEN-DARMSTADT; COUNT FRIEDRICH CARL ZU ERBACH: 24 (30) sonatas that may have been corrected by Telemann - are they in his mould; are they "church sonatas"?? Count Georg zu Erbach. (c) CHAPTER 6; THE HOUSE OF HOHENZOLLERN . (215) FREDERICK THE GREAT; the flute sonatas - two sets of value judgements; current sources of his music (and of Quantz) ; Spitta's judgements; the confused picture of the Arias and Symphonies, and questions of authenticity; Burney's judgements; a "Lesson ... by the King of Prussia" found to be spurious and identified; the King's taste in music; the choice of keys in the sonatas WILFFTJMINE, MARGRf{vTNE OF BAYREUTH; her libretti; her opera "Argenore"; an ill-conceived reconstruction of her harpsichord concerto. Margrave Wilhelm von Bayreuth; a missing lute concerto? PRINCESS AMvIA AMALIA VON PREUSSEN: her training under Kimberger, her judgements and her own capositions. PRINCE LOUIS FERDINAND VON PREUSSEN: influences, output, manorial tributes (including by Archduke Rudolph of Austria) ; Beethoven's judgement; the songs he probably did not write; the reliability of KrFL and the Complété Recording. The Count von Kospoth and Baron von Münchhausen. CHAPTER 7; PERGOLESI and MOZART: TVto 'noble' misattributions (296) and a POSTSCRIPTUM. COUNT WILHFTM VAN WASSENAER and "Pergolesi's" Concerti armonici; M. le Ccmrte de la Lippe-Schaumburg ; BARON HUGO FRIEDRICH VON DALBERG; the "Mozart" songs he did not compose; his other songs, ohamber music and aesthetic writings; the treatise on the viola d'amore his brother did not write. Postscriptum; lists of mainly 19th century aristocratic composers in catalogues in Berlin, Weimar and London (including Albert, the Prince Consort and his elder brother, Emst, Duke of Saxe-Coburg and Gotha. Graf Moritz von Dietriohstein. CONCLUSION' AND SUMMARY (316 ) .Classifications; a Central European phenomenon? Musical life in Britain; musical life in France; identification, attribution and source locations ; reception,- anthologies and editions. ( i) ARISTOCRATIC COMPOSERS IN THE EIGHTEENTH CENTURY The study of a category of composer and its relationship to the musical life of its time and its reception by a musical Establishment both in the 18th century and more recent times. INTRODUCTION The existence of the dilettante - frequently aristocratic - composer, both before and since the 18th century, is a well- cy known fact and arguably adequately documented. In particular the role of royalty and the aristocracy as "patrons" of the arts has been well served in more recent times by Christopher Hogwood’s^^^ Music at Court and by Yorke-Long'searlier work of the same title. Neither work, however, concentrates on the creative efforts of these very "patrons" as composers themselves, nor do they bring the reader to any conclusion as to whether the fact of an active, sumptuous or indulgent musical life for Court consumption had any real bearing on the evolution of music in a wider context. The relationship between the aristocratic devotee and musical life in general is uniquely hinted at, as we shall see, by Telemann in the moving Preface to his publication of six violin concertos by the young and talented' Prince Johann Ernst of Saxe-Weimar, who died tragically early at the age of 18 in 1715. MAY THE REPUBLIC OF MUSIC GIVE LASTING HOMAGE TO THE MEMORY OF THIS INCOMPARABLE PRINCE wrote Telemann.
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