Who’s Who Part Two

HAFFNER 

  K 250 in D Haffner Serenade : Andante. W. A Mozart    Orch des Bayerisches
      Brilliant Classics 99733/8

Salzburg family friendly to the Mozart family and frequently mentioned in their correspondence.  The father, Sigmund Haffner (1699-1772), was a well-known and respected merchant, as well as mayor of Salzburg from 1768-1772.  For the marriage of his daughter Maria Elisabeth (1753-81) in 1776, Mozart composed the “Haffner” Serenade K.250, first performed at the family’s summerhouse in Loretogasse.  When his son (also named) Sigmund was ennobled in 1782, Mozart composed (initially) another serenade that was later revised into the “Haffner” Symphony K.385 in 1783. 

HAGENAUER  Johann Lorenz (1712-1792). 

 Landlord and prosperous merchant.  Friend of the Mozart family.  He was the owner of the building at No. 9 Getreidegasse where Wolfgang was born in 1756.  He had leased the third floor apartment to Leopold Mozart back in 1747.  When the Mozart family went on the early tours, Hagenauer assisted Leopold with loans and other financial help.  Leopold kept in close communications with him, and over 70 letters survive to give us much invaluable information on the young Wolfgang and the family travels.

HAYDN  Franz Joseph (1732-1809) Composer, Kapellmeister and teacher. 

Cello Concerto #2 in D maj: Rondo Allegro   Jacqueline duPré  EMI 763283 2

Born in Rohrau in 1732, the son of a wheelwright, he was trained as a choirboy at St. Stephen's Cathedral in Vienna, where he scratched out his early living, before gaining an appointment to the small musical establishment of Count Morzin in1759. In 1760 he entered the service of various succeeding Esterházy Princes, and became Kapellmeister on the death of his predecessor Gregorius Werner in 1766. Much of Haydn's life now centered on the magnificent palace and estate at Esterháza, where his employer Prince Nikolaus Esterházy had moved his entourage for most of the year. However, part of the year was spent in Vienna, which is where he met Mozart and the two became great friends.  Beyond friendship though, was the great respect they had for each other and their works.  The death of the Prince in 1790 released Haydn and allowed him to take up the offer of a concert tour to England. The greatest result from the two tours was the famous 12 “London” symphonies he composed for the concerts given in England.  There followed a return to service at Esterházy with the successors to Prince Nikolaus, now at the former residence at Eisenstadt, and finally retirement in Vienna, where he died in 1809, as the soldiers of Napoleon again entered the city. Mozart dedicated his six string quartets (K.387, K.421, K.428, K.458, K. 464, and K.465) to him.  Considered to be the most influential composer throughout the early to middle part of Classical Era (1770-1795).  He is often credited with being “the father of the Symphony.”  He wasn’t, but he was perhaps the best guardian early on of this genre.  *Contemporary of Mozart*

HAYDN  Johann Michael  (1737-1806) 

  Vesperae in Festo SS: Psalm 111 Philharmonic Orch of Györ  Hungaroton LPX11531

Composer and Kapellmeister.  Brother of Joseph Haydn.  Was a colleague in Salzburg of Mozart and his father Leopold. Best known for his church music.  Mozart composed a slow introduction to Haydn’s Symphony in G Perger No. 16 in 1783, and the entire work was credited as being Mozart’s No. 37, K.444 for many decades.  *Contemporary of Mozart*

HOFFMEISTER  Franz Anton (1754-1812).

  Op 24 Piano Concerto D maj. Adagio, Neuhaus, Cologne Chamber Orch, MHS 3468

Publisher and composer. Founded publishing firm in Vienna in 1784.  In 1800 partnered with Ambrose Kuhnel at Leipzig. This firm became C.F.Peters in 1813 and is still in business today.  Composed over 60 symphonies and some 60 concerti alone.  Published several first editions of Mozart’s works, including the Piano Quartet K.478 and the “Hoffmeister” Quartet K.499.  *Contemporary of Mozart*

 HOFMANN  Leopold  (1738-1793) Composer. 

Cello Concerto in C Tempo giusto    Tim Hugh, Northern Sinfonia Naxos 8.553853

Leopold Hofmann was regarded by his contemporaries as one of the most gifted and influential composers of his generation. Although a church musician by profession, Hofmann was also an important and prolific composer of instrumental music. Was Kapellmeister of St. Stephen’s Cathedral in Vienna until his death in March 1793. Two years before his death he required an assistant (unpaid to start) to help him with various duties.  The city appointed one for him, with the understanding that this "unsalaried adjunct" would most likely secure the post when Hofmann retired or died. Ironically, the extremely wealthy Hofmann outlived his financially strapped assistant by some eighteen months.  Mozart (for it was he who achieved this unpaid post), while on his deathbed, asked Constanze to inform Hofmann of the severity of his illness so that (presumably) various tasks could be continued with and another assistant found on short notice. A small point perhaps, but important to Mozart to not let the sick Hofmann down. *Contemporary of Mozart*

HOLZBAUER  Ignaz (Jakob) (1711-1783). Composer and Kapellmeister. 

Günther von Schwarburg : Overture   La Stagione, Schneider    cpo 999 265-2

Mostly worked out of Mannheim, home of one of the great orchestras of the time.  Best remembered for his opera Günter von Schwartzburg that was the first serious German language opera.  Mozart, upon hearing this work in Mannheim in 1777 wrote: “Holzbauer’s music is very beautiful…you cannot imagine what fire there is in this music.”  He also was helpful in attempting to ease Mozart’s way in Mannheim during his stay.  In Paris in 1778, Mozart was commissioned to add music (K.297a) to a Miserere by Holzbauer for the Concert Spirituel.  This additional/replacement music is lost.

HUMMEL  Johann Nepomuk (1778-1837) Composer. 

Sereneta #1 on Opera Themes   for Vln. Clar. Bsn. Guit. Klavier  Consortium Classic
    MHS 4195     

Pupil of Mozart’s in Vienna.  Was considered to be by some the last survivor of the Classical Era when he died in 1837.  Took lessons from Clement, Albrechtsberger, Salieri and Haydn in the late 1790’s.  Primarily composed for piano and was considered to be one of the premier concert pianists in Europe.  Transcribed Mozart’s last 6 symphonies and several piano concerti for chamber groupings of instruments.  *Contemporary of Mozart*

JOSEPH II  Emperor (1741-1790).

K 588 Cosi fan Tutti : Overture   W A Mozart    La Petite Bande, Kuijken
     Brilliant Classics 99729

Passionately fond of music.  Played several instruments competently, received instruction in singing and composition, and enjoyed concerts and operas.  Considered to be a good judge of singers and was directly involved in the negotiations instrumental in acquiring their services for the court theaters in Vienna. Met Mozart as a child in Vienna when they were received at court in 1762.  At a later meeting in 1768, suggested that young Mozart compose an opera, which led to La finta semplice K.51 being written.  Considered Mozart a great talent, but preferred music by Cimarosa, Paisiello, Gassmann and Salieri.  He did have enough respect for the special quality of Mozart’s works that upon the death of Gluck he had Wolfgang named chamber composer with a salary of 800 gulden per year (about $35,000).  However, aside from supplying dances for the court during Carnival season, no works were commissioned from Mozart by Joseph II.  He is supposed to have been the catalyst (by supplying a supposed true story) for Da Ponte and Mozart to produce the opera Così fan tutte K. 588.  The composer Dittersdorf noted in his biography that Joseph II compared Mozart’s compositions to that of a gold snuffbox crafted in Paris, while Joseph Haydn’s were those of a snuffbox finished off in London.      

KARL THEODOR  Elector Palatine and Elector of Bavaria (1724-1799).

 Also accomplished flautist and cellist.  While Elector in Mannheim, the capital of the Palatine, the Mannheim court orchestra was judged the most outstanding in Europe at the time.  The Mozarts first encountered the Elector in 1763, playing for him at his summer residence.  Wolfgang and his mother stayed in Mannheim the winter of 1777-78 attempting to gain a post for Mozart with the Elector, having left the service of Salzburg.  This did not occur, and when Mozart came back through Mannheim in the late fall of 1778 still hoping for employment, the Elector had by then moved his court and orchestra to Munich, where he had been made Elector of Bavaria.  Mozart presented to the Electress a copy of six violin sonatas he had dedicated to her (K.301-306).  In 1780, Mozart was given a commission by the Court to compose an opera for the Carnival season in Munich.  This was the opera Idomeneo K.366, of which the Elector was claimed to state that no music had ever made so great an impression on him.  Later, in 1790 while in Munich, the Elector invited Mozart to perform at a concert given in honor of King Ferdinand IV and Queen Maria Karolina of Naples.

KELLY  Michael (1762-1826) [or O’Kelly, or, as Mozart noted in his catalogue, Occhely!]

K 492 Le nozze di Figaro: In quegli anni in cui val poco (Don Basilio) W. A. Mozart
     Brilliant Classics 99714

Tenor, composer, and theater manager.  The original Don Basilio and Don Curzio for the premiere of Il nozze di Figaro K.492.  Sang in various opera houses in Italy from 1779 until 1783, when he was engaged for the Burgtheater company in Vienna.  Debuted in Salieri’s La scuola de’ gelosi and generally took buffa tenor roles in opera productions in Vienna.  Joseph II, a keen judge of singers, upon hearing of the possibility that Kelly might leave, wrote that “…it would be a real loss for the Italian opera company, for he is excellent in several roles and never less than good in any of them.” Kelly did finally leave Vienna to go back to London, where he enjoyed a highly successful singing career in England and Ireland.  He opened a music business and imported wines towards the end, but eventually he went bankrupt in 1811, the same year he retired from the operatic stage. Kelly’s autobiography from 1826 entitled Reminiscences, gives the reader many interesting pages of detail on the Vienna music scene, and are of great value in the small but vivid capsules of information on Mozart, such as: “He was a remarkably small man, very thin and pale, with a profusion of fine fair hair, of which he was rather vain…His feeling, the rapidity of his fingers, the great execution and strength of his left hand, particularly, and the apparent inspiration of his modulations, astounded me…” And finally; “I shall never forget his little animated countenance, when lighted up with the glowing rays of genius;--it is as impossible to describe it, as it would be to paint sun-beams.”  

KOZELUCH  Leopold (1747-1818)

Sinfonia Concertante in Eb Major: Rondo allegretto        MHS 4395

Composer and music publisher.  He had moved to Vienna in 1778 to pursue music as a career, and quickly established himself as a composer, pianist of note, and teacher.  In 1784 Kozeluch acquired the backing to found his own publishing business, the Musikalisches Magazin, which later was to be managed by his younger brother Antonin Tomas. Mozart had several works published by him, including the variations K.354, "Je suis Lindor." Other works such as the six string quartets to be written for the King of Prussia (only three K.575, K.589 and K.590 were completed), were planned to be issued by Kozeluch, but ended up going to other publishers, such as Artaria. In November of 1791, this firm published piano reduction scores of arias from Die Zauberflöte allowing Kozeluch to cash in on the popularity of Mozart’s opera.   *Contemporary of Mozart*

KRAUS  Joseph Martin (1756-1792) Composer.

Sym in c# minor: Allegro   Concerto Köln   Capriccio 10430

Born in Germany, studied at Mannheim, later relocated to Sweden and became Court Composer to Gustav III.  The king funded an educational travel for Kraus that lasted from 1782 to 1788 and took him to Rome, Naples, Paris, London, and Vienna (1783) etc. In Vienna, it is trustworthily reported, he made contacts with, among others, Haydn (but most probably not Mozart). The composer Paul Wranitzky was a pupil at this time.  The generous Haydn is quoted for the following remark about Kraus: " I own a symphony by him, which I preserve to the memory of one of the greatest geniuses I have met". In March 1792, King Gustav III was assassinated, and Kraus composed funeral music, e.g. the Symphonie funèbre in c minor (VB 148) for the State funeral proceedings.  *Contemporary of Mozart*

LANGE  Aloysia:  See Weber, Aloysia

LANGE, Joseph (Johann) (1751-1831).

Actor and painter.  Premiered the role of Herz (or Puf) in Der Schauspieldirektor K.486.  Married Aloysia Weber, becoming Mozart’s brother-in-law when Mozart married Constanze Weber.  Sketched an excellent likeness of Leopold in 1785, now lost.  Painter of the famous unfinished portrait of Mozart seated at the fortepiano (c1789-90), of which Constanze assured people that “…it exactly resembled him.” Also wrote one of the better short descriptions of Mozart’s personality: "From his conversations and actions, it was hardest to recognize that Mozart was a great man when he was busy with an important work.  Then his speech was not only confused and muddled, but he also occasionally made jokes of a kind unusual for him; indeed, he even forgot himself in his behavior.  But he did not seem to be mulling over or thinking about anything in particular.  Either he was intentionally hiding his inner exertion by being frivolous on the outside, for inexplicable reasons, or else he took delight in throwing into sharp contrast the divine ideas of his music with these sudden outbursts of vulgar platitudes, taking delight in a kind of self-irony.  I can understand that such a sublime artist, out of a deep respect for his art, might degrade and neglect his own person, as if mocking it.”

LEOPOLD II  Emperor (1747-1792)

He became Emperor upon the death of his brother Joseph II in 1790.  He had married the Spanish infanta Maria Luisa, with whom he had a total of 16 children.  Met the Mozarts on their trip to Vienna in 1762.  Leopold and Wolfgang met him again in Italy in Florence, when he was Grand Duke of Tuscany, and Wolfgang played for him.  Leopold attempted to secure a post at the Duke’s court, or at his brother the Archduke Ferdinand’s court, but neither materialized.  Leopold II appears to have liked opera buffa and opera seria, but never commissioned anything from Mozart, though when Joseph II died, the newer Emperor did not dismiss Mozart from his post as Chamber Composer.  Mozart traveled to Frankfurt for his coronation, though at his own expense.  The two “Coronation” piano concertos K.459 and K.537 were played there at concerts Mozart held.  As well, a performance of Die Entführung K.384 was given, but one of Don Giovanni K.527 was cancelled.  However, Don Giovanni was given in Prague in 1791 in Leopold’s honor as part of the celebration of his coronation as King of Bohemia.  Mozart probably conducted this performance, but most certainly directed the premiere of La clemenza di Tito K.621, composed especially for the coronation festivities.  After Mozart’s death, Constanze submitted a petition for a pension to Leopold, who unfortunately died on 1 March 1792 before acting upon it.  However, his successor Francis II granted her one.

LEUTGEB  Joseph (1732-1811) French Horn player. 

K412 Horn Concerto in D : Rondo  W. A. Mozart   Herman Jeurissen
     Brilliant Classics 99713  (Recording with Mozart's text spoken by narrator)

Joined Salzburg court orchestra by 1763 and knew the Mozarts by this point in time.  Apparently toured somewhat frequently.  Moved to Vienna in 1777 and supported himself as a cheese monger.  Mozart was a close friend in Vienna, often staying at the Leutgeb house when Constanze was away.  Wolfgang pulled many personal jokes on this man, and teased him unmercifully at times, but admired his playing technique.  He composed for (or with Leutgeb in mind) the Horn Quintet K.407, perhaps the incomplete Rondo K.371 (which was itself part on an incomplete horn concerto K.370b, now finished by others), the horn concerti K.417, K.447, K.495, the fragment Allegro K.494a, and the movements K.412 and K.514 (the latter finished by Süssmayr).

LODRON  Antonia Maria Josepha Felicitas (1738-1780). Countess. 

K 242 Concerto for Three Pianos : Adagio  Kocsis,Ranki,Schiff Hungarian Orch
     Brilliant Classics 99720/11

Married Ernst Maria Joseph Nepomuk Lodron (1716-79) in 1758 and had three sons and five daughters with him.  The family lived in Salzburg and had many contacts with the Mozarts.  Wolfgang composed the Divertimento K.247 for her name day in 1776, and next year provided her with another, K.287.  For her and two of her daughters (later pupils of Leopold), Mozart composed the Concerto for 3 Pianos K.242.  Two younger daughters became pupils of Nannerl.

MARIA THERESIA  Empress (1717-1780)

Wife of Francis I and became the Dowager Empress when he died and Joseph II became Emperor.  She met the Mozarts on their trip to Vienna in 1762, when the six-year-old Wolfgang leaped into her lap, threw his arms around her neck and kissed her warmly.  Within a few days she had sent to the family sumptuous clothing once worn by her own children, and 100 ducats to Leopold (about $18,000 US).  While receiving the family several other times afterwards graciously, she never appears to have made any efforts to further young Wolfgang’s career.  She did commission the dramatic work Ascanio in Alba K. 111 in 1771 for the festivities surrounding the wedding of her son Ferdinand.  However, when her son sought her advice on hiring Wolfgang for his court in Milan, she replied in the famous letter of 12 December 1771: “You ask my permission to take the young Salzburger into your service.  I do not know in what capacity, since I do not believe that you have need of a composer or of useless people.  However, if it brings you pleasure, I do not wish to hinder you.  I just want to warn you against burdening yourself with useless persons and giving titles to people of that sort.  Moreover, it lowers the standing of your court when these people wander all over the world like beggars.  Besides, he has a large family. With this letter of advice at hand, Ferdinand did not make an offer to Mozart.

MAXIMILIAN  Franz (1756-1801).

Austrian Archduke.  Youngest son of Empress Maria Theresa and Francis I.  Met Wolfgang at age 5 during the Mozart’s first tour to Vienna.  Met later in 1775.  Suggested that Mozart be piano teacher to his future bride Princess Wilhelmine Louise in 1781, but Joseph II suggested Salieri instead; in any case Georg Summer became her teacher.  Professed to feel genuine admiration for Mozart, but apparently never offered him any post.  Mozart hoped to be his Kapelmeister in Cologne at some point, but no offer was ever made.  Present in Vienna when Mozart died, Maximilian gave Constanze 24 ducats (about $4500) as a gift to aid the family.

METASTASIO  Pietro [real name was Antonio Domenico Bonaventura Trapassi] (1698-1782).

L' Amero Saro costante from Il re Pastore  W.A. Mozart (Aminta) Johannette Zomer
     Musica Ad Rhenum  Brilliant Classics 99717

 Librettist and poet.  The most celebrated and revered opera librettist of his time.  He wrote the librettos for over 30 three-act dramatic operas, 8 oratorios, many short dramatic works and numerous serenatas.  Over 800 settings were made from these libretti, and some individual works (for example Olimpiade) were used by twenty-five or more different composers.  Mozart composed La Betulia liberata K.118, Il sogno di Scipione K.126, Il re pastore K.208 and La Clemenza di Tito K.621 (itself set by 5 previous composers) to texts by Metastasio.  Leopold may have sent the libretto of Lucio Silla K.135 (by Gamerra) to him for some rework.  As well, Mozart composed various concert arias taken from different libretti of Metastasio’s.  The better ones are: Alcandro, lo confesso…K294 (K512), Basta vincesti…K484a/295a, and Ah se in ciel, benigne stelle… K538. 

MYSLIVECEK  Joseph (1737-1781). Czech composer. 

Violin Concerto in G: Allegro   Supraphon SU 3259-2 031

Admired opera composer in Italy circa 1765-1775 where he was known as “Il divino Boemo.”  When Wolfgang and Leopold toured Italy in the 1770’s, he gave them many useful and important musical and business contacts.  Considered as a man of honor and a good friend by Leopold.  Wolfgang thought highly of his compositions and recommended them to others.  His oratorio Abramo e Isacco was believed for a time to be by Mozart and was numbered K.241a in K3.  It has since been correctly identified as being by Myslivecek and is now numbered C.3.11 as spurious.  He died from the complications of syphilis.  *Contemporary of Mozart*

NEUBAUER  Franz Christophe (1760?-1795).

La Bataille Sym Op. 11  Selection       Angelicum Orchestra of Milan

Composer and Konzertmeister. It was once thought Neubauer was only a "Sonata Composer", but he was a prolific and remarkably facile composer in a variety of fields.  Eleven of his eighteen symphonies are extant, 5 concertos, numerous string quartets, and other chamber music. He also composed a Schauspiel, an Oratorio and over 30 songs. More recent research has shown Neubauer also wrote a considerable amount of church music. The New Grove lists about 40 Masses, 8 Requiems, 4 Vespers and numerous other shorter sacred works.  Like many musicians of the time during his travels he stopped in many monasteries, performing and composing for food and lodging.  During these travels he met Haydn, Mozart, Kozeluch and Wrantizky.  He accepted posts in Ottobeuren, Schöntal, Weilburg, and Bückeburg over the course of his career.   *Contemporary of Mozart*

NIEMETSCHEK  Franz Xaver (1766-1849).

He was a teacher and early biographer of Mozart.  Met Mozart in Prague in 1791.  After Mozart’s death, both sons (Karl and Franz Xaver) stayed with him for periods of time.  Wrote the first biography of note about Mozart, using material supplied by Constanze.  It first appeared in 1797, an augmented and improved version was later published in 1808.  He later helped the publisher Breitkopf & Härtel issue a publication of Mozart’s collected works.

NISSEN  Georg Nikolas (1761-1826)

Danish diplomat, Mozart biographer.  Constanze Mozart’s second husband.  He was posted to the Danish Embassy in Vienna 1793, and met Constanze (the “Widow Mozart”) not later than 1797.  They were living at the same address in Vienna by 1798, but were not married until 1805.  After five years, Nissen resigned from the Embassy staff and the couple moved to Copenhagen, where he became a censor of political journals and finally a state councilor.  He retired from government service in 1820 and the couple moved back to Salzburg.  He died there in 1826; Constanze outliving him by 16 years.  They were a happy couple, Constanze referring to her husbands as both being “angels” to her.       Throughout their marriage, Nissen assisted Constanze in the preservation and distribution of Mozart’s music and legacy.  Many of her letters are in fact only signed by her; Nissen having written them out himself.  She confided to one of her sons that her trust in him was so complete that she rarely reviewed such correspondence except to sign them.  Nissen assisted in collecting, reviewing and organizing the Mozart manuscripts, played a role in the Requiem (K.626) debate, and commenced a biography of Mozart.  This latter effort began in 1823 and with the help of two assistants, Nissen collected previous biographical works, various letters and testimonials, and of course had the recollections of Constanze at hand.  Unfortunately, he was not trained in the work, though he was a literate man otherwise.  He died with Mozart’s biography still in the collection of information stage, as he had barely begun editing and shaping the material he had at hand.  The biography was finished by other hands, and while it provides many valuable nuggets of information, the work ends up being rambling, contradictory in spots and giving the appearance of being merely being a paste up of different articles penned by various hands.   

ORDONEZ  Karl von (1734 -1786)

Symphony in Bb  Andante          Nova Schola Pratensis

Austrian Composer.  Karl von Ordonez is one of a number of relatively unknown composers who worked in Vienna during the second half of the Eighteenth Century.  Unusually, for a composer of his distinction, Ordonez was not a full-time professional musician. He was employed in the Lower Austrian Regional Court, first as an unpaid assistant and finally culminating as Registrant at a salary of 1000 gulden per year. To all appearances, his musical activities, both as a performer and composer, were pursued in his spare time. As a member of the nobility, although of the lowest rank, he would have been well aware that a professional musical career would not have been approved for a man of his family and rank.  Hence, music appears to have been a bit more than a serious hobby, in a sense, rather than a profession.

For being a part-time composer, Ordonez was a highly prolific one. He composed two operatic works - a marionette opera, Musica della Parodie d'Alceste and a Singspiel, Diesmal hat der Mann den Willen, which premiered in Vienna at the Nationaltheater in 1778.  He is known to have composed a fair amount of amount of church music (unfortunately now lost), a secular cantata in 1779, circa 74 symphonies, a violin concerto and a large amount of chamber music of which the 27 authenticated string quartets are of particular importance.

 *Contemporary of Mozart*

PARADIS  Maria Theresia (1759-1824.)

K 456 Piano Concerto 18 :Andante   W.A. Mozart Derek Han Philharmonia Orch
    Brilliant Classics 99720

Blind pianist and composer.  Blind since the age of three, learned over a hundred piano works by memory.  Became patient of Dr. Mesmer in 1776 and after three weeks sight was partially restored.  Progress was not maintained and blindness returned.  She left his care in June 1777.  Composed sonatas and concerti for piano (most lost) and three operas (two are lost).  Mozart composed a  piano concerto for her (probably K.456).  Salieri composed an organ concerto for her as well.  *Contemporary of Mozart*

 PICHL  Wenzel  (1741-1805)

Symphony Z.24 in Eb Allegro Assai       London Mozart Players Chandos 9740

Violinist, composer, writer and music director, Wenzel Pichl was born Bechyne, near Tábor, and first studied music there with the local choir-master and school teacher Jan Pokorny. From 1753 to 1758 he attended the Jesuit College at Breznice, where he served as a singer, and later moved to Prague where he studied philosophy, theology and law at St. Wenceslaus Seminary. He composed nearly 900 works over the course of his life. Pichl was successful enough for the Empress Maria Theresa to recommend his appointment as music director and Kammerdiener for the Austrian governor of Lombardy, Archduke Ferdinand d’Este, instead of the suggested Mozart.  This was the letter in which she said:  "What I say is intended only to prevent your burdening yourself with useless people and giving titles to people of that sort. " 

Pichl went to Italy in 1777 and remained there until 1796 when the French invasion of Lombardy caused him to return to Vienna.  *Contemporary of Mozart*

PLOYER  Maria Anna Barbara (“Babette”) 1765-1811).

K453 Piano Concerto #17: Allegro Presto   W.A. Mozart Derek Han Philharmonia Orch
     Brilliant Classics 99720

Excellent amateur pianist.  Became a pupil of Mozart’s in 1784.  He dedicated two concerti to her (K.449 and K.453), probably composed the Piano Sonata for two pianos K.448 for the both of them to play together on June 13 1784.  As well, Mozart wrote in an album of hers the 16 bar Funeral March K.453a Marche funèbre del Sigr Maestro Contrapunto. 

PUCHBERG  Johann Michael von (1741-1822).

Viennese merchant and fellow Mason.   Was the recipient of Mozart’s “begging” letters in which an anguished Mozart, often pouring out his heart, would ask for loans of money to cover his debts and help protect his honor.  Resided in a home in Hohe Square in Vienna, owned by Count Franz Walsegg-Stuppach, commissioner of the Requiem (K.626) from Mozart. This may be the connection as to how the Count approached Mozart for this work.

PUNTO  Giovanni  [Johann Wenzel (Jan Václav) Stich] (1746-1803)

Horn Concerto #6 Rondo Moderato  Barry Tuckwell Academy of St. Martin
     Angel SZ 37781

Horn player, violinist, and composer. He was born in Zehusice/Caslav near Prague September 28th, 1746.  After studying horn in Prague, Munich, and Dresden, he served Count Thun for three years and then ran away, changing his name to Giovanni Punto in order to disguise himself from pursuit and to be able to better "market" his musical abilities.  Italians were generally considered the better musicians and composers in that era.  Punto crossed the border into the Holy Roman Empire, where he served the Prince of Hechingen and later at the Mainz court (1769-74). In Paris in 1778 Mozart was impressed with his playing; composing his Sinfonia Concertante K.297B with the horn part in mind for him. He joined the Prince Archbishop of Würzburg's band (1781), and then served the Count of Artois in Paris (1782) before appearing in the London Pantheon concerts (1788). In Paris (1789-99) he was violinist-conductor at the Théâtre des Variétés Amusantes. In Vienna in 1800 Beethoven composed the Horn Sonata op. 17 for him. He toured with Jan Ladislav Dussek in 1802 before returning to Prague. Giovanni Punto died 16 Feb 1803 in Prague from "Brustwassersucht (chest dropsy),” which today is known as pleurisy.  This was a very frequent wind instrument musician illness at that time. Most of Punto's works, including concertos and chamber music, are for the horn.    *Contemporary of Mozart*

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Who's Who Part One     Who's Who Part Three