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Anton Stadler
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- the content below is remote from Wikipedia
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{{Short description|Musical artist (1753â1812)}}{{Use dmy dates|date=April 2022}}- the content below is remote from Wikipedia
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Early life and career
Stadler was born in 1753 in a small town near Vienna; in 1756 his family moved into the city where his brother Johann was born.Michael Lorenz: âMozarts Patenkindâ, Acta Mozartiana 58, vol. 1, June 2011, 57â70. Even though both became famous as clarinet and basset horn players, the Journal des Luxus und der Moden described Anton in 1801 as 'a great artist on many wind instruments',F. Bertuch, 'Wiener Kunstnachrichten', Journal des Luxus und der Moden 1801, 16, p. 543. and in a letter to Ignatz von Beecke, applying for a position in the Wallerstein orchestra (6 November 1781), Anton himself writes that they 'can also play a little violin and viol'.JOURNAL, Poulin, Pamela L., A Little-Known Letter of Anton Stadler, Music and Letters, 69, 1, 1988, 49â56, 0027-4224, 10.1093/ml/69.1.49, In the same letter he stated that both he and his brother 'could supplement orchestral skills with duets, concertos, wind octets and basset horn trios', the latter together with Raymund Griesbacher.BOOK, Lawson, Colin, Mozart: Clarinet Concerto, 1996, Cambridge University Press, 0-521-47929-0, A concert on 21 March 1773 at the Kärntnertortheater, of which a programme survived, appears to mark the first public appearance of the two brothers in Vienna; further recorded appearances include a concert on 19 December 1775 and two concerts (12 and 14 March 1780) in which they took part in a concerto for five winds by Joseph Starzer. Pamela Poulin writes: Until 1782 Anton and Johann held various positions. According to the open account books of the imperial court of 1779 they were hired by the court on a per-service basis. A concert programme of 12 March identifies the brothers as being in the service of Count Carl of Palm. As of October 1780 Anton was employed by the Piaristen religious order of Maria Treu as a 'manorial musician'. In 1781 Anton was in the service of count Dimitri Galizin. In the same year Kaiser Joseph II designated their services as 'indispensable'.JOURNAL, Poulin, Pamela L., The Basset Clarinet of Anton Stadler, College Music Symposium, 22, 67â82,weblink 1982, 17 May 2020,Stadler and Mozart
Mozart's first encounter with Stadler may have been around 1781, following his own move to Vienna. In October 1781 he wrote of the first performance of the sextet version of his E-flat Serenade K 375: "The six gentlemen who executed it are poor beggars who, however, play quite well together, particularly the first clarinet and the two horns." On 8 February 1782 the Stadlers were invited to join the orchestra of the Viennese imperial court, and the following year they were members of the emperor's Harmonie, in which Stadler played second clarinet.JOURNAL, Gerber, Ernst Ludwig, Stadler, Historisch-Biographisches Lexicon der Tonkünstler, 72, 556,weblink 1792, Breitkopf, de, 17 May 2020, Stadler's evident preoccupation with the chalumeau register is significant in view of Mozart's subsequent exploitation of its idiomatic potential.The earliest documented evidence of Mozart's connection with Stadler dates from a year or two later. The clarinetist's playing evoked the following response in Johann Friedrich Schink's Litterarische Fragmente: My thanks to you, brave virtuoso! I have never heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and lovely a tone that no one can resist it â and I have one, dear Virtuoso; let me thank you. I heard music for wind instruments today, too, by Herr Mozart, in four movements, viz. four horns, two oboes, two bassoons, two clarinets, two basset horns, a double bass, and at each instrument sat a master â oh, what a glorious effect it made â glorious and great, excellent and sublime!JOURNAL, Schink, Johann Friedrich, Musikalische Akademie von Stadler, Litterarische Fragmente, 286,weblink 1785, Graz, de, 17 May 2020, Musikalische Akademie von Stadler, Virtuos auf dem Klarinet. Sollst meinen Dank haben, braver Virtuos! was du mit deinem Instrument beginnst, das hört' ich noch nie. Hätt's nicht gedacht, daà ein Klarinet menschliche Stimme so täuschend nachahmen könnte, als du sie nachahmst. Hat doch dein Instrument einen Ton so weich, so lieblich, daà ihm Niemand widerstehn kann, der ein Herz hat, und das hab' ich, lieber Virtuos: habe Dank! Hab' auch heut eine Musik gehört mit Blasinstrumenten, von Herrn Mozart, in vier Säzzen â herrlich und hehr! Sie bestand aus dreizehn Instrumenten, als vier Corni, zwei Oboi, zwei Fagotti, zwei Clarinetti, zwei Basset-Corni, ein Centre-Violon, und saà bei jedem Instrument ein Meister â o es tat eine Wirkung â herrlich und groÃ, treflich und hehr!, Schink here clearly refers to a performance of Mozart's Serenade for thirteen instruments K 361/370a, which probably formed part of Stadler's benefit concert at the National Court Theatre advertised in the Wienerblättchen of 22 March 1784: "Herr Stadler senior, in present service of His Majesty the Emperor, will hold a musical concert for his own benefit, at which will be given, among other well chosen pieces, a great wind piece of a very special kind composed by Herr Mozart."JOURNAL, Musikalische Akademie, Das Wienerblättchen, 11,weblink 22 March 1784, Vienna, de, 17 May 2020, Heut wird Herr Stadler der ältere in wirklichen Diensten Sr. Majestät des Kaisers, im k. k. National-Hoftheater eine musikalische Akademie zu seinem Vortheil geben, wobey unter anderen gut gewählten Stücken eine groÃe blasende Musik von besonderer Art, von der Composition des Hrn. Mozart gegeben wird., Barely more than a week after this first documented performance came the première of Mozart's Piano Quintet K 452 on 1 April, which included parts for both composer and clarinettist.The arrival in Vienna of the Bohemian players Anton David and Vincent Springer proved an important catalyst for Mozart's basset horn writing. They had already generated considerable publicity as early as 1782, when their performance at Ludwigslust 'on largely unknown instruments which they call basset horns' was cited by C.F. Cramer the following year.JOURNAL, Cramer, Carl Friedrich, Ludwigslust 1782, Magazin der Musik, 179â180,weblink 1783, Musicalische Niederlage, Hamburg, de, 17 May 2020, Noch spielten zwei brave Männer, David und Springer auf noch ganz unbekannten Instrumenten, die sie Bassethörner nennen. Sie kommen aus Russland. Das Instrument hat einen Umfang von 4 Octaven, einen sehr schönen und gleichen Ton von oben bis unten, und lässet sich eben so cantabel spielen; als sich grosse Schwierigkeiten darauf ausüben lassen., Mozart's espousal of the basset horn really began in earnest in late 1783 when he produced over a period of two years thirteen works for that instrument:- the Notturni K 436, 437, 438, 439 and 346/439a
- 25 pieces for three basset horns K 439b
- the Masonic funeral music K 477/479a
- the Adagio in B-flat K 411/484a for two clarinets and three basset horns
- the Adagio in F K 410/484d for two basset horns and bassoon
- a fragment of a Quintet in B-flat for keyboard, oboe, clarinet, basset horn and bassoon (K 452a)
- a fragment of an Allegro assai in B-flat for two clarinets and three basset horns (K 484b), possibly linked to K 411/484a
- a fragment of an Adagio in F for clarinet and three basset horns (K 484c), possibly linked to K 580a
- a fragment of an Allegro in F (K 484e), possibly for basset horn
Stadler and the basset clarinet
(File:Stadler-Klarinette mit Replica.jpg|thumb|Sketch of Stadler's basset clarinet; some clarinetists turn the bell forwards (towards the audience).)A surviving programme for a concert on 20 February 1788 documents an important milestone in the history of Stadler and Mozart, heralding the arrival of a newly extended clarinet. It announces a concert at the Hoftheater at which Herr Stadler the elder, in the service of his majesty the Kaiser, will play a concerto on the Bass-Klarinet and a variation on the Bass-Klarinet, an instrument of new invention and manufacture of the court instrument maker Theodor Loz [sic]; this instrument has two more tones than the normal clarinet. Stadler's instrument is now known as a basset clarinet, a term coined by JiÅi Kratochvil to reflect its kinship with the basset horn and to avoid confusion with the bass clarinet, whose orchestral career developed only during the 19th century. As for the variations advertised in Stadler's 1788 programme, a number of works have so far been identified, including Variations on different favourite themes and ten variations on You must not take amiss with me. A possible candidate for the other clarinet work might be another of Stadler's compositions, or perhaps a B-flat major Concerto attributed to Joseph Michl.The "two more tones than the normal clarinet [the compass of which ends at low e]" mentioned in the concert programme can, however, not easily be unambiguously identified. The Lotz basset clarinet must be associated with Mozart's Quintet fragment in B-flat K 516c, 93 bars of a movement which in 1828 Nissen believed to have been originally complete.BOOK, Nissen, Georg Nikolaus von, Anhang zu Wolfgang Amadeus Mozart's Biographie, 1828, Breitkopf & Härtel, Leipzig, 1828, 17, Mozart's hinterlassene Werke, de,weblink Quintetto für Clarinetto, 2 Violinen, Viol. und Bass. B#. Der erste Theil Allo von 90 Tacten ist vollendet. Der zweyte Theil besteht aus 3 Tacten., Basset notes occur only from bar 55, d then occurring 7 times, occasioning notation in the bass clef an octave below pitch, as in Mozart's basset horn writing. Similarly, the second clarinet part of Ferrando's aria 'Ah lo veggio' from Così fan tutte descends to d on a total of 7 occasions. Mozart's avoidance of the tonic c has led some writers to assume that d and e-flat were the extra notes on Lotz's instrument, but the obvious parallel with the basset horn makes c and d much more likely: Robert D. Levin reconstructed K 516c and believes that the missing portion must have contained several examples of low c.R.D. Levin, 'Das Klarinettenquintett B-Dur, KV Anh. 91/516c; ein Ergänzungsversuch', Mozart-Jahrbuch 1968â70, p. 320.It was for this extended clarinet that the Clarinet Concerto and possibly the Quintet for Clarinet and Strings were written. A concerto in D major for basset clarinet was written for Stadler by Franz Xaver Süssmayr, which remains as two incomplete manuscripts. It is now thought that the clarinet concerti by Joseph Leopold Eybler and Leopold Kozeluch were also written for Anton Stadler.Later life and career
In a letter to Constanze from October 1791 Mozart writes of completing the final movement of K 622 ('Stadler's Rondo') and Stadler set out on a concert tour that lasted about four years, during which time he visited at least nine cities, performing more than a dozen times:- Prague, 16 October 1791
- Berlin, 31 January and 23 March 1792
- Warsaw, 4 May and 11 September 1792
- Vilniu, 1793
- Riga, 27 February 5 and 21 March 1794
- St Petersburg, 13 May 1794
- Lübeck, 16 and 27 September 1794
- Hamburg, 29 November and 20 December 1794
- Hannover, 12 September 1795
Works
The following list was compiled by Albert Rice.For clarinet:- Trios caprices pour la clarinette seule (published in Vienna ca. 1808 and dedicated to Count Johann Esterházy, Master of the Crowned Hope Lodge and a clarinet student of Stadler's)
- Trois fantaisies ou potpourris pour la clarinette seule (published in Vienna ca. 1809)
- Variations sur différents themes favorites (Variations on different favourite themes) pour la clarinette seule (published in Vienna ca. 1810)
- Six Duettinos progressives pour 2 Clarinettes (published in Vienna ca. 1808)
- 6 Duettinos concertantes pour 2 clarinettes (published in Vienna)
- 12 ländlerische Tänze für 2 Clarinettes (lost)
- 10 Variations über "Müsst ma nix in übel aufnehma" (You must not take amiss with me) für Clarinette (lost)
- 18 Terzetten für 3 Bassetthörner. A notable recording is that by the Trio di Bassetto (Jean-Claude Veilhan, Eric Lorho & Jean-Louis Gauch) on period basset horns in F by L. Verjat (Paris) after A. Kirst (Potsdam) & Gilles Thomé (Paris) after R. Griesbacher (Vienna); K617 K617060 (1995).
- 6 Duettinos pour 2 Csákans ou csákan et Violon (nos. 1 and 2 published in Vienna in 1808)
- 7 Variations pour Csákan (published in Vienna ca. 1812)
- 7 Variations pour Csákan (published in Vienna ca. 1812)
- 9 Variations über "Müsst ma nix in übel aufnehma" für Csákan (lost)
- 3 Caprices pour Csákan ou Flûte double (lost)
- 2 Märsche (lost)
- 12 deutsche Tänze mit Trios (lost)
References
Further reading
- THESIS,weblink The Basset clarinet of Anton Stadler and its music, M.A., Pamela, Poulin, 17 May 1976, urresearch.rochester.edu,
- Michael Lorenz: "Unknown Stadler Documents (Part 1)", Wien 2020.
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