Whos Who Part 1

Noted German composer who moved to London in 1759. Joined with Johann Christian Bach to run a well-received concert series there. Met the Mozarts on their stay in England, helped arrange contacts for them with important people. Wolfgang copied out Abel’s Symphony Opus 7 No. 6 for closer study, and through oversight this work was credited as Mozart’s for decades (K.18). *Contemporary of Mozart*

Hier soll ich dich denn sehen from Die Entführung aus dem Serail W.A. Mozart
(Belmonte) Paul Groves Brilliant Classics 99732,4-5

The original Belmonte in Die Entführung K.384, and the original Herr Vogelsang in Der Schauspieldirektor K.486. Fellow Freemason later became noted singing teacher after retiring from the theater. Mozart regarded him as a good friend; composed for him the insertion arias K.420 and K431, an aria (No. 6) in Davidde penitente K.469 and probably the part for tenor in the Masonic cantata Die Maurerfreude K.471. Emperor Joseph II considered him “notre incomparable Adamberger.”

ALBRECHTSBERGER Johann G. (1736-1809)

Partita for Harp & Orch, Allegro Brilliante. Anna Lelkes, Orch. of Gyor, Budapest FX12299

Master of musical theory, teacher, and choirmaster. When young, studied the works of the baroque composers Caldara, Fux, Pergolese, Handel, Graun etc. in order to help learn composition better. His study of these masters gave him a deep theoretical knowledge of music that earned him high esteem with his colleagues. Albrechsberger’s textbook on composition especially will remain a work of importance by reason of its clarity and minuteness of detail. In 1772 he obtained the position of court organist in Vienna. This position he held for twenty years, and then became choirmaster at St. Stephen's Cathedral. Here he gathered about him a collection of pupils over the years, some of which were destined to become musicians of great renown. Among these were Ludwig van Beethoven, Joseph Eybler, Johann Nepomuk Hummel, Joseph Weigl and others. Haydn and Mozart both were friends of his, and thought very well of him. *Contemporary of Mozart*

Music publisher and composer. Admired Mozart’s compositions. In 1799, when he became head of the music-publishing firm founded by his father (founded in 1774), he contacted Constanze and negotiated the purchase of a large number of Mozart’s manuscripts. These were published in generally excellent editions over the coming years. He also published in 1805 Mozart’s own catalogue of compositions covering the timeframe from February 1784 until November 1791. He further made an attempt to catalogue Mozart’s earlier works. As well, he was involved in the ongoing controversy as to the accuracy and authenticity of the Requiem K.626, his firm bringing out two editions of the work, one in 1827 and another in 1829.

A pupil of Mozart’s in Vienna. His exercises, along with Mozart’s corrections, have survived. Some works from it recorded. Attempted to gain a contract in London for Mozart to write an opera or give subscriptions concerts. Nothing came of this. *Contemporary of Mozart*

Beecke was born in Wimpfen am Nekkar 28 October 1733 into a noble family, his father being warden of the local Military College. There appears to be no information at hand to show that he had any formal musical training, so it seems that he taught himself to play the harpsichord. Beecke was not a career musician. He can be more accurately described as a nobile dilettante in that he turned to performing/composing music as a satisfying pastime, not as a means of making a living. He did very well at this, surpassing many a professional musician in his success and recognition. He first met the Mozart family when both were in Paris in 1766, as the family was on their Great Tour at this point. Mozart next met Beecke when on his ill-fated Paris trip of 1777-78. Mozart met up with Beecke one last time in Frankfort in 1790, appearing together with him in a concert on 15 October 1790. Beecke died on 2 January 1803 and while considered by most as likable and witty, he was reputed to have led a dissipated life and died with many debts. *Contemporary of Mozart*

Non piu andrai from K 492 Le Nozze di Figaro : W.A.Mozart (Figaro) Alastair Miles
Telarc CD

Bass-baritone. The original Figaro in Le nozze di Figaro K.492, and the original Guglielmo in Così fan tutte KV.588, Leporello in the Vienna premiere of Don Giovanni KV.527, and Mozart wrote the part of Bocconio in the unfinished opera Lo sposo deluso KV.430 for him. He had a highly successful career in Italy and was hired by the Burgtheater Italian opera company in 1783. He was an immediate favorite with the Court, audiences and composers. He sang opposite Nancy Storace in the operas La scuola de’ gelosi and La grotta di Trofonio by Salieri, and as well with her in Paisiello’s operas Il barbiere di Siviglia and Il re Teodore in Venezia, and, not to mention (but we will), the operas Il burbero di buon cuore and Una cosa rara by Martin y Soler. Don’t forget, he was Figaro to Storace’s Susanna in Le Nozze di Figaro K.492. Of that role, Michael Kelly wrote of the first full rehearsal when Benucci rendered the aria “Non più andrai’”…”Mozart…sotto voce, was repeating, Bravo! Bravo! Benucci…and when Benucci came to the fine passage, “Cherubino, alla victoria, alla Gloria militare,” which he gave out with Stentorian lungs, the effect was electricity itself, for the whole of the performers on the stage, and those in the orchestra, as if actuated by one feeling of delight, vociferated Bravo! Bravo! Maestro. Viva, viva, grande Mozart! Those in the orchestra I thought would never have ceased applauding, by beating the bows of their violins against the music desks.” While we can never be sure this is what truly happened, we’d really like to believe it so. Benucci’s last great roles were the title role in Salieri’s Axur, rè d'Ormuz in 1788 and as Count Robinson in Cimarosa’s Il matrimonio segreto in 1792. Of his abilities, Mozart wrote his father that Benucci was “particularly good” while Count Zinzendorf felt he was “admirable” and performed “…like an angel.” Joseph II, a keen judge of singers, declared that Benucci was ”…worth more than two Storaces;” this from a man who valued Nancy Storace above all other female singers on the Vienna stage.

BREITKOPF & HÄRTEL (1719-Present)

Music publishers. Founded in Leipzig by Bernhard Breitkopf who later took on Gottfried Härtel on as a partner in 1795. Leopold Mozart made attempts to sell Wolfgang’s works through them, but no contracts were ever signed. Breitkopf met Mozart in 1786, but there is no evidence that any business contacts were made, though one has to suspect that such letters were lost over time. They offered works by Mozart only after his death. Entered into arrangement with Constanze in 1798 to publish (or attempt to publish) the complete works of Mozart. This series, entitled Oeuvres completes de W. A. Mozart saw fifty fascicles issued between 1798 and 1808, when the project was abandoned. Eventually, they did publish as complete version as possible for the time. Entitled Wolfgang Amadeus Mozarts Werke. Kritische durchgesehene Gesamtausgabe, it was published between 1877 and 1883. To their great credit, Breitkopf & Härtel had also backed and published the tremendously influential and scholarly 4-volume biography W. A. Mozart by Otto Jahn in 1856. Equally important in every respect, they also published Ludwig Köchel’s Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amade’ Mozarts, generally known as the Köchel catalogue of all of Mozart’s works, recognized as the most authoritative source in its field. The original version is now designated K1; other major versions are K3 (published in 1937) and K6 (published 1964). The other numbered versions are basically reprints. Köchel dedicated K1 to Otto Jahn; between these two researchers and Breitkopf & Härtel, the basic foundations of Mozart’s resurgence into the modern ear were laid.

CANNABICH (Johann) Christian (Innocenz Bonaventura) [There’s a mouthful!] (1731-1798).

Composer and conductor. Head of the famous Mannheim music establishment by 1774; later went to Munich and became sole director of its Court orchestra. He composed cantata in memory of Mozart in 1797. Met Wolfgang in 1763; later worked to secure appointment for Mozart in Mannheim during the 1777-79 tour. Mozart considered him a great friend and “…the best conductor I have ever seen.” Cannabich probably conducted at the premiere of Idomeneo K.366 in Munich. *Contemporary of Mozart*

Mi Tradi quell'alma ingrata from K 527 Don Giovanni (Vienna Vers) W.A. Mozart
(Donna Elvira) Felicity Lott Telarc CD

Soprano. The original Konstanze in Die Entführung K.384, the first Mademoiselle Silberklang in Der Schauspieldirektor K.486 and Donna Elvira in the Vienna premiere of Don Giovanni K.527. Was a prized pupil and reputed mistress of Antonio Salieri. Accompanied Salieri as Mozart’s guest in attending one of the first performances of Die Zauberflöte K.620. Greatly praised for the beauty of her voice and its great range. Acting ability fair.

Mainly an opera composer. Was considered by most to be the best and most successful composer of buffa opera in Europe. Leopold II commissioned from him a comic opera, something he had not done with Mozart. The result of this commission was the great comic opera Il Matrimonio Segreto, which premiered in January of 1792, roughly six weeks after Mozart's death. It was a tremendous hit and is still considered one of the world's most famous and popular comic operas. *Contemporary of Mozart*

CLEMENT XIV (Lorenzo [or Giovanni] Vincenzo Antonio–Ganganelli) (1705-1774)

Pope. Elected to position in 1769. Met the Mozarts on first Italian tour, when Wolfgang copied from memory (mostly) a Miserere by Allegri at one hearing (more likely two), a work prohibited from performance other than in the Sistine Chapel. For this feat, as well as for his overall talents in music, the Pope created Mozart a Knight of the Golden Order, a degree of the Golden Spur higher in rank than that given to Gluck, the only other composer before Wolfgang to receive this honor. This entitled Mozart to call himself “Ritter” or “Chevalier” legally, but he rarely did so.

CLEMENTI Muzio (1752-1832). Composer, pianist, music publisher and piano maker.

Taught J. B. Cramer, John Fields and Johann Hummel. Appeared in contest with Mozart in 1781 before Joseph II; general agreement being that Mozart probably “won.” Mozart considered that Clementi possessed not the slightest taste or feeling in playing, being merely a “mechanicus.” Clementi made this comment on Mozart’s playing: “Never before had I heard anyone play with such grace and spirit.” *Contemporary of Mozart*

Archbishop of Salzburg 1772-1803). Elected to post after the death of Archbishop Schrattenbach. Not popular with his subjects, but an honest, Enlightened ruler. Enjoyed theater arts, especially comedies, fond of music and played the violin well. Did not tolerate perceived insubordination or complaints well, and firmly believed in the social order of the time, which precluded people from changing status. Hence was less than considerate of the efforts of the Mozarts to advance themselves. The high (or low) point came when on May 9 1781 in Vienna the Archbishop and Mozart quarreled over Wolfgang’s shortcomings in service to His Grace. The Archbishop ordered Mozart from his presence and, in turn, Wolfgang quit to become a freelance artist.

Finnish composer, virtuoso clarinetist and translator. He studied the clarinet from the age of eight and at 12 joined a military band where he began his career as a musician. In 1791 he went to Stockholm where he became a court musician two years later. He studied the clarinet in Berlin in 1798 and in 1803 went to Paris to study composition and clarinet. He held posts as music director in the Swedish court chapel and royal regiment. His compositions include three clarinet concertos, and other instrumental works. He also wrote chamber music, an opera and songs. He made Swedish translations of operas by Mozart and Rossini, among others. Crusell was the most important Finnish composer of the Classical period, and the outstanding Finnish composer up to Sibelius. *Contemporary of Mozart*

Librettist and poet. Wrote the texts to Mozart’s operas Le nozze di Figaro K.492, Don Giovanni K.527, and Cosi fan tutte K.588. May also have supplied the text to the cantata Davidde penitente K.469. Arrived in Vienna 1781-82 and became court poet to the Italian theater. Met Mozart at the home of Baron Raimund Wetzler. Supplied quality libretti to many other opera composers then in Vienna, notably Axur, rè d’Ormus for Salieri and Una cosa rara and L’arbore di Diana for Martin y Soler. Left Vienna in 1790 and traveled to London where he wrote with indifferent success for several opera houses. Moved to the United States in 1805 and ended up becoming the first Professor of Italian Literature at Columbia University in New York City. In 1825, he helped arrange for the first performance of Don Giovanni in America and in 1833 worked to establish the first opera house in New York. Da Ponte wrote his memoirs, which appeared between 1823 and 1827 in New York. He later revised and expanded these in 1829-30.

Composer. In 1786 he received a commission to write a German opera for the Burgtheater, which became the singspiel Doktor und Apotheker, one of the first great German opera works (The Abduction is often considered the first) and equaling Mozart's efforts in popularity. It is probably the most known of all of Dittersdorf's works today. In Mozart’s life, he is probably best known for his sitting in on that great classic event, the playing of one of Mozart's string quartets by noted Classical composers: Haydn and Dittersdorf were on violin, Mozart on the viola and Vanhal on the cello. He returned to composing string quartets around then as well. However, once these quartets were written, in true Dittersdorf style, in an effort to get Artaria to publish them he referred to his great respect for Mozart's quartets; however he added Mozart’s quartets were too consistently artful to be bought and played by everyone. Didn't, he seemed to be saying, they need to publish easier, more popular works? Artaria did in fact publish his quartets later on. *Contemporary of Mozart*

Studied with Czech composer Franz Xaver Duschek, whom she later married in 1776. Met the Mozart family when visiting relatives there in 1777. At that time, Mozart composed for her the scena Ah, t’invola agl’occhi miei K.272. The families stayed in touch, and when Wolfgang and Constanze went to Prague for the premiere of Don Giovanni K.527, they stayed with the Duscheks at their summer residence of Villa Betramka. Legend has it that Mozart finished parts of the opera while seated in the garden of the villa. As well, Josepha is supposed to have locked him in a room until he finished composing an aria he had promised her. He did so, but made her sing it at once without practicing. The work here is the scena Bella mia fiamma…Resta, o caro K.528. When Mozart died, she sang at the memorial concert for him in Prague at St. Nicolas Church on December 14, 1791. She also sang at another Mozart memorial concert given at the National Theater on June 13, 1792.

Jan Ladislav Dussek was a Bohemian Early Romantic, Enlightenist and Revolutionary. He was one of the most celebrated composers and pianists of his age. He is considered one of the first early Romantic composers. Dussek was an organist, noted concert pianist and composer. Following just two years of school and studies at the Charles University in Prague (1776 - 1778) he traveled in 1779 in that part of the Netherlands, which is known today as Belgium, to Mechelen. Here Dussek appeared for the first time as a pianist, eventually finding employment at the municipal court of Wilhelm the V as a piano teacher. By 1783 he turned up in Russia where he appeared at the court of the Czar in St. Petersburg; shortly thereafter he had to flee the country in the wake of the plot against Catherine II (in which he himself became implicated) and later found refuge at the court of Prince Karl Radziwill in Lithuania. From 1784 - 1786 he gave concerts again in Germany, not only on the piano, but also on the glass harmonica. He then settled in Paris where his playing found favor with the queen Marie-Antoinette. Through 1786 - 1789 he remained in Paris as pianist, composer and teacher. He fled to Britain when the French Revolution broke out, turning to music publishing to sustain himself and his family. Here he met Haydn, Muzio Clementi, and probably John Fields and Viotti. Fleeing bankruptcy and abandoning his family, he returned to Europe in 1800 and took up concert tours again, eventually returning to Paris and working for Talleyrand. He died in 1812 from a dissipated life style and a mental illness, leaving behind a large body of piano works (14 concerti alone).

Was a pupil of Mozart’s. Assisted him in rehearsing Così fan tutte K.588 in 1790. Mozart wrote out a testimonial for him praising Eybler’s skill at composition, singing and playing the piano and organ. Mozart’s wife asked him to complete the Requiem (K.626) after Mozart died, but he returned the work after sketching only a few bars. Eybler conducted the work at a memorial service for Haydn in 1809, and he suffered a stroke while directing the Requiem in 1833. He succeeded Salieri as Kapellmeister in 1824. *Contemporary of Mozart*

He joined the Mannheim orchestra and became Konzertmeister in 1774. Remained in Mannheim when most of the orchestra moved with the Court to Munich in 1778. Met Mozart in Mannheim in 1777 and again in 1778 on Mozart’s journey home from Paris to Salzburg. Wolfgang composed the Double Concerto K.315f for piano and violin for himself and Fränzl, but sadly left this work incomplete. *Contemporary of Mozart*

Composer, teacher and organist. Born in Salzburg and so knew the Mozart family early on. In Vienna became a pupil of Mozart’s, supposedly in musical theory. Did some finishing on the Requiem K.626 before Sussmäyr took over to complete it. Was the subject of the humorous canon K.509a, probably intended for the work Der Salzburger Lump in Wien K.509b (incomplete), which modeled its scoundrel (=’Lump’) directly on Freystädtler.

German operatic composer who settled in Vienna as kapellmeister in 1754. He composed his early operas in the Italian tradition, but later, became dissatisfied with mannerisms of older operas, and set out to reform them, putting text and music into a more meaningful and coherent whole. In 1762, his Orfeo ed Euridice revolutionized the 18th-century conception of opera by giving free scope to dramatic effect. "Orfeo" was followed by Alceste (1767) and Paride ed Elena (1770). Born in Erasbach, Bavaria, Gluck studied music at Prague, Vienna and Milan. He went to London in 1745 to compose operas for the Haymarket. In London, he was exposed to Handel's music. But in 1746 he returned to Vienna where he was knighted by the pope. In the early 1770s, Gluck decided to apply his new ideals to French opera, and in 1774 produced Iphigenie en Aulide in Paris, giving a French revision. This brought to a head the fierce debate over the future of opera in which Gluck's French style had the support of Marie Antoinette while his Italian rival Nicolo Piccinni (1728-1800) had the support of Madame du Barry. With Armide (1777) and Iphigenie en Tauride (1779), Gluck won a complete victory over Piccini. Consequently, the art of opera was reformed and operas became more realistic and effective. Gluck's ideas were said to have influenced Mozart. *Contemporary of Mozart*

Diplomat, critic and author. Resided in Paris from 1749. Helped the Mozart family immensely on their stay there in 1763-64. Wrote enthusiastic articles about Wolfgang at this time. Helped Mozart out with social and business contacts when he arrived on Paris in 1778, but friction developed between the two and Mozart’s letters to his father detail this breakdown of their relationship. Eventually, Mozart was forced to leave earlier than planned due to Grimm’s insistence that he go when the Baron had planned, not when Wolfgang wished to.

Don Giovanni: Overture K 527 W.A. Mozart La Petite Bande, Kuijken
Brilliant Classics 99732

Impresario at the national Theater in Prague. Staged in Prague the premiere of The Marriage of Figaro K.492 in December of 1786, offered contract for a new opera to Mozart, resulting in Don Giovanni K.527 premiering there in October of 1787. He commissioned Mozart to compose La Clemenza di Tito K.621 for coronation of Leopold II in Prague on September 6, 1791.

Pupil of Mozart’s in Vienna. Later went to London, where he assisted Haydn (whom he had met in Vienna as well) with contacts in London. Later traveled back to Vienna. Was a pallbearer at Beethoven’s funeral and assisted the young Chopin in his premiere in Vienna. *Contemporary of Mozart*

Who’s Who Part One

BREITKOPF & HÄRTEL (1719-Present)