Adalbert Gyrowetz (1763-1850)

Gary Smith

             Gyrowetz was born in the Bohemian town of Ceske Budejovice in 1763, son of choirmaster, who gave him a head start in his studies of the violin, keyboard and composition.  His earliest works included sacred works (obviously), serenades and quartets.  Due to his talents, his father was able to get him into schooling in Prague, but, as was fairly typical, not for music, but for law.  He was an exceptional student, learning five languages (including English), but a lack of money forced him to cut his studies short and he took a post in administration of the estate of Count Franz von Fünfkirchen. Music however, eventually won out, as he had not given up those studies in Prague, and the Count encouraged his efforts.  Gyrowtez played in the Count’s orchestra, and dedicated some early symphonies to his patron.

However, a bright, intelligent and talented man such as Gyrowetz could not stay satisfied working in a quiet corner of the Empire.  He ended up traveling to the principal music centers of Europe: Vienna, London, Paris and Italy.  In late 1785 or early 1786 he visited Vienna and met the main players on the musical stage there.  He called on Haydn, Dittersdorf and Albrechtsberger, and soon came to admire Haydn immensely, but it was Mozart to whom he became a friend.  Taken by the young Gyrowetz, Wolfgang had a symphony of his performed at a concert in the Mehlgrube, without letting people know it wasn’t a Mozart work.  Once the cries of approval were done, Mozart introduced him as the real composer.  About a year later, Gyrowetz talked over with Mozart the opportunity to go to Italy to study.  Wolfgang, who had been there three times in his life and knew the country well, responded on hearing Gyrowetz had decided to take the plunge: “You lucky man!  Oh, if only I could go with you, how happy I should be!”

In Italy, he met both Goethe and the great violinist Nardini, and composed a set of 6 string quartets for publication.  These works, however, ended up being published without his knowledge (or reward) in Paris.  Ending up in Naples for two years, he took composition training from both Paisiello and Nicola Sala.  As well, he taught music and took part in many quartet parties (for pay, not as a dilettante), as his supply of funds began to dwindle down.  Moving on to Paris, Gyrowetz discovered that one of his symphonies had been published under Haydn’s name, and that his 6 Italian string quartets had caused a sensation.  Eventually, seven editions of this set were issued, new works were demanded, and he settled down to a highly productive and lucrative time. 

However, the continuing upheavals of the French Revolution made Paris a worrisome place for foreigners, and by 1790 he had made his way across the Channel to London, where he spent the next 3 years.  Gyrowetz and London society took very well to one another, and his works were as successful here as they were in Paris. In 1791, Haydn arrived for his famous London concerts, and Gyrowetz helped smooth the way into high society for him.  Salomon rewarded him by having many of his works performed at Haydn’s concerts.  Finally, Gyrowetz obtained a commission to compose an opera seria entitled Seriamis  (a similar libretto to which Mozart once had an opportunity to work on) for the Pantheon theatre.  Unfortunately, the theater burnt down the night before the first performance and only the overture to this opera survives. 

Later that year (1792), he set out on a homeward journey (on which he met Napoleon briefly) that saw him end up again in Vienna, in the service of Count von Sikkingen. But, in the year 1804 he obtained an appointment as second Kapellmeister to the Vienna Court Theater, which changed his music output for the rest of his life.  He was now obliged to compose one opera/singspiel and one ballet a year, which caused his instrumental production to rapidly dwindle to a trickle.  His first major success was an opera seria Agnes Sorel that was performed 124 times in Vienna over the next decade and lasted on the boards in Europe for nearly 30 years.  His best know ballets were La laitie’re Suisse and The Inconstant Page, or, The Marriage of Figaro. 

He retired from his Kapellmeister post in 1831 on a pension, wrote his autobiography in 1848, and died in 1850.  Gyrowetz stayed firmly rooted in the Classical style, and while keenly aware of the modern trends around him, he preferred to compose with an understanding of unity, balance and proportion. Early on, he had professed an admiration for Haydn, Hoffmeister and Kozeluch.  While having befriended Mozart, there is no trace of any influence by him on Gyrowetz’s output, while certain traits by the others can at least be surmised with some accuracy.  And so, while incorporating the Romantic style into his works, he never fully fell under the spell of the era.  He served as a pallbearer at Beethoven’s funeral and became greatly admired in his later years by the young Romantics.  He encouraged Chopin early on, and in 1818 the nine year old made his debut in Vienna playing a concerto by Gyrowetz (which apparently was composed some 22 years earlier in 1796). 

His works include some 30 operas/singspiels, 28 ballets, c40 symphonies, 2 piano concerti, 5 sinfonia concertantes, 42+ string quartets, 46 piano trios, close to 100 songs and arias, 11 masses, 2 vespers and many unpublished works. 

Sources:

Sadie, Stanley (Ed.)  The New Groves Dictionary of Music and Musicians 2^nd Edition   Groves Dictionaries, New York  2000    

Liner notes from Hyperion CDA 67109 Three String Quartets Op. 44

Liner notes from Chandos 9791 Adalbert Gyrowetz: Three Symphonies

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