George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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13. Husaren sind gar wackrcTiUfpen. 4-i.art. 1821.

14. Ja freue dich. so wie du bist. 4-part. 1819.

15. Schlacht. du brichst an. Leyer und Schwert; 4-part. ISll

16. Sclione .\hnunK ist erglommen. 4-part. 1818.

17. Sohn der Ruhe, sinke nieder. 4-pai t. 1822.

18. Was gliinzt dort vorm Walde im Sonuenscheln. (LUn
Leyer und Schwert ; 4-part. Isl4.

19. Wir stehn vor Gott, der Meineid's Frevel racht. UaisanH
wind instruments. 1812.

Vn. LIEDER AND PART-PONGS FOR VAEIOTTS VOIORB
WITH AND WITHOUT ACCOMPANIMENT.

1. Canons zu zwey sind nicht drey. Canon i, 3 (printed bjJIk
No. 90). 1810.

2. Die Sonata soil ich spielen. Canon i 3 (JShns.No. 88). ISM

3. Ein Gartchen und ein Hauschen drin. Soprano, teoor, i
bas«, without accompaniment : MS. 1803.

4. Geigor und Pfeiffer. Swabian Dance-song; soprano, 2 teO'
and bass. 1S12.

5. Heisse, stille Liebe schwebet. Soprano. 2 tenors, and baM. 1

6. HSrst du der Klage dumpfen Schall. Mixed chorus and II
instruments ; MS. 1811.

7. Leek' mich im Angesicht. Canon a 3 (Jahns, No. 95). UK).

8. Leis' wandeln wir. wie Geisterhauch. Dirge; soprano,2teD
and bass, with wind instruments. 1503.

9. Lenz erwacht und Nachtigallen. 2 soprani, 2 tenons I
basses, with PF. ; MS. 1S12.

10. Madchen, ach meide Mfinnerschmeichelein. Canon ilSCNB
No. S5). 1MI2.

11. Scheiden und meiden ist einerlei. Canon k 4 (JShns, Ho. 1
1814.

12. Weil Maria T3ne heitt. Canon a 3; MS. 1816.

13. Zu dem Reich der TOne schweben. Canon a 4 (JShns, Ho. 1
1814.

14. Zur Fremde ward geboren. Soprano, 2 tenors, and bass. 1

VIII. SCOTCH SONGS, .\ CCOMF ANIMENTS TO, FOB FLin
VIOLIN, CELLO, AND PF. 1825.

1. The soothing shades of gloaming.

2. Glowing with love, on fire for fame.

3. O poortith cauld and restless love.

4. True-hearted was he.

5. Yes thou mayst walk.

6. A soldier am I.

7. John Anderson my jo.

8. O my Luve's like the red red rose.

9. Robin is my joy.

10. Where hae ye been a day,

IX. SYMPHONIES, OVERTURES. ORCHESTRAL DANCBl
AND MARCHES.

1. First Symphony, C major ; Allegro con fuoco ; Andante ; Scbi
presto ; Finale, presto. It06— 1807. ,

2. Second Symphony. C. Major ; Allegro ; Adagio ma nOD troi
Menuetto. allegro ; Finale, scherzo presto. 1Kj7. , , „.

3. Grande Ouverture a plusleurs .nstruments, Bb— Eb. ISui.
1.2. „ ,

4. Overture. Beherrscher der Geister ; D minor. 1811. Seel. ,
6. Jubel-Ouverture ; E. Isl8.

6. Waltz for wind instruments; Eb, MS. The trio is WebeTs
'Maienblumlein so schOn.' 1^12.

7. Pen scher for full orchestra ; D. Subject same as the secoi
the LieJcr II. 10. 1815.

8. Tedesco for full orchestra ; D. Unprlnted ; used for the rn' '.
music. 1816.



i



WEBER.



WEBER FAMILY.



429



). Marcia vivace, for 10 trumpets ; D. Unprinted ; used for
ryanthe. 1822.

). March, for wind instruments ; C. Subject partly the same as
,22. 1826.

X. CONCEETOS AND CONCERTED PIECES WITH
OKCHESTKA.
1. First PF. concerto ; C. Allegro ; Adagio ; Finale, presto. 1810.
I. Second PF. concerto ; Eb. Allegro maestoso ; Adagio ; Rondo,
sto. 1812.

I. Concert-stuck for PF. ; F minor. Larghetto affettuoso ; Allegro
slonato ; Marcia e Rondo giojoso. 1821.

:. Concertino for clarinet ; C minor— Eb. Adagio manon troppo ;
ima (Andante) with variations, and Finale, Allegro. ISU.
i. First concerto for clarinet ; F minor. Allegro moderato ; Adagio
non troppo ; Rondo allegretto. 1811.

. Second concerto for clarinet ; Eb. Allegro; Eomanzej AUaPo-
la. 1811.

'. Quintet for clarinet and string-quartet ; Bb. Allegro ; Fantasia
igio ; Menuetto ; Rondo, allegro giojoso. Classed here as being of
nature of a concerto. 1815.

i. Concerto for bassoon ; F major. Allegro ma non troppo ;
igio ; Rondo, allegro. 1811.

I. Adagio e Rondo Ungarese, for bassoon ; C minor. Revision of
13. 1813.

I. Concertino for horn ; E minor. Adagio ; Andante con moto
i variations ; Pol acca. 181.5.
. Romanza Siciliana for flute ; G minor. 1805.
I. Six variations for viola on the YolksliSd, 'A Schilsserl und a
Qd'rl'; C. If06.

. Andante and Rondo Ungarese for viola ; C minor. See No. 9. 1809.
. Potpourri for cello ; D. Maestoso ; Andante with variations ;
«io ; Finale, allegro. 1808.

i. Andante and variations for cello ; D minor, F major. 1810.
. Adagio and Rondo fur the Barmonichord ; F major. 1811.

XI. PIANOFORTE MUSIC.

A. For two hands.

. First Sonata ; C, Allegro ; Adagio ; Menuetto, allegro ; Rondo,

Ito. 1812.

. Second Sonata; Ab. Allegro moderato con spirito ed assai

to ; Andante ; Menuetto capriccio ; Rondo, moderato e molto

;loso. 1816.

, Third Sonata ; D minor. Allegro feroce ; Andante con moto ;

do. presto. 1816.

. Fourth Sonata ; E minor. Moderato ; Menuetto ; Andante quasi

gretto ; Finale, La Tarentella. 1822.

, Six variations on an original theme : C. 1?00.

, Eight variations on a theme from Vogler's 'Castor and Polluz';

1804.

, Six variations on a theme from Vogler's ' Samori ' ; Bb. 1804.

. Seven variations on Bianchi's 'Vien qui Dorinabella'; C. 1807.

. Seven variations on an original theme ,- F. 1808.

, Seven variations on a theme from M^hul's ' Joseph' ; C. 1812.

. Nine variations on a Russian air, 'SchQne Minka' ; minor

. Seven variations on a Gipsy air ; C. 1817.

. Memento capriccioso ; Bb. 1808.

. Grande Polonaise ; Eb. 1808.

. Polacca brilliante ; E major. 1819.

. Rondo brilliante ; Eb. 1819.

. Aufforderung zum Tanze, Rondo brilliant ; Db. 1819.

. Six Fughetti, Op. 1. 1798.

Twelve Allemandes ( Valses, Nos. 11 and 12, for 4 hands.) 1801.
. Six Ecossaises. 1802.
. Eighteen Yalses (Valses favorites de I'lmperatrice de France)

B. For four hands.

. Six easy little pieces: (1) Sonatina, C ; (2) Eomanze. F ; (3) Me-
tto, Bb ; (4) Andante con variazioni, G ; (5) Marcia, maestoso, C ;
?ondo, Eb.

. Six pieces: (1) Moderato. Eb ; (2) .\ndantino con moto. minor ;
Andante con variazioni, G ; (4) Masurik, C ; (5) Adagio, Ab ; (6)
do, r,b. 1809.

. Eight pieces: (1) Moderato, D; (2) Allegro, C; (3) Adagio, F;
Mlegro, A minor; (5) Alia Siciliana, D minor ; (6) Temavariato
hab" mir eins erwahlet. see V. 40), E ; (7) Marcia, G minor ;
Rondo, Bb. 181»— 1819.

Xn. PIANOFORTE MUSIC ^nTTl ACCOMPANIMENT.
. Nine variations on a Norwegian air ; D minor. PF. and violin.

. Six Sonatas for PF. and violin : (1) P, Allegro, Romanze, Rondo
ibile ; (2) CJ. Moderato, Adagio, Rondo allegro ; (3) D minor, Al-
etto moderato. Rondo presto ; (4) Eb, Moderato, Rondo vivace ;
i. Andante con moto with variations. Finale Sicillano ; (6) 0, Al-
con fuoco. Largo, Polacca. 1810.

• Seven variations for PF. and clarinet : Bb. 1811.

. Grand Duo concertant for PF. and clarinet ; Eb. Allegro con
;o. Andante con moto. Rondo allegro. 1816.

• Divertimento assai facile for PF. and guitir: a) Andante, C ;
valse, A minor ; (3) Andante con Variazioni, G ; (4) Polacca,
ifjor. 1816.

tt is scarcely necessary to mention that the
egoing summary is (Jrawn up from Jahns's
arl Maria von Weber in seinen Werken '



(Berlin, Schlesinger, 1871), a first-rate book, on
which all future writers about Weber must rely,
I have altered Jahns's arrangement. [I'-S.]

WEBER FAMILY, known fortheu-connection
with Mozart, who first knew them in Mannheim,
and married the third daughter. The father,

Fridolin, born 1733 at Zell (in Breisgau),
studied law at Freiburg, and succeeded his
father as bailiff of the Schonau estates. He was
a clever violinist, and the Elector Karl Theodor
invited him and his brother Franz Anton to
Mannheim, where however, according to Mo-
zart, he occupied quite a subordinate position
as copyist, prompter, and supernumerary vio-
linist in the band. In 1756 he married Marie
Cacilie Stamm of Mannheim. His brother, and
junior by a year, Franz Anton, was the father
of Carl Maria von Weber, who was thus Mozart's
first cousin by marriage. Mozart writing to his
father about Fridolin Weber's four daughters, says,
' I have never met before with such a variety of
dispositions in one family.' The eldest,

JosEPHA, was a bravura singer, with a high
and flexible voice, but a poor musician. Mozart
wrote for her the part of the Queen of Night in
the ' Zauberflote ' and a bravura air (Kochel,
No. 580). She married in 1789 Hofer, violinist
at Schikaneder's theatre, and after his death
Meyer, a bass-singer, who sang Pizarro in ' Fi-
delio.' She died in 1820. The second,

Alotsia, born 1750, was Mozart's first love..
Her voice was exceptionally high, and extremely
pleasant in tone, though perhaps rather weak for
the stage. In 1780 she was engaged for the
opera in Vienna, and married an actor at the
court theatre, named Lange, who died in 1827.
Mme. Lange made several professional tours be-
fore her final retirement in 1808. She died at
Salzburg in 1839. Mozart wrote for her the-
part of Constanze in the * Entfiihrung,' 6 airs
(Kochel, Nos. 294, 316, 3S3, 418, 419, 538),
and a rondo (No. 416).! The third,

Constanze, born 1763 at Zell, became Mo-
zart's wife. When the Archbishop of Salz-
burg dismissed Mozart from his household in.
Vienna, the latter took up his abode with Frau
Weber (her husband had died of apoplexy), then
living with three of her daughters, Aloysia being
married, in a house called ' Zum Auge Gottes,' in
the Peters-Platz. Here began the love affair
which caused Mozart's father so much anxiety.
The marriage took place Aug. 4, 1782, and in
nine years Constanze was left a widow. For
the support of herself and children she made
several professional tours. In 1809 she married
a Danish official named Nissen,^ but in 1826
was again left a widow, and died at Salzburg
March 6, 1842.' The youngest of the four,

Sophie, born 1764, also a talented singer,
married Haibl, tenor and composer, attached to
Schikaneder's theatre. During widowhood she
lived with Constanze at Salzburg, and died there
in 1843. She was present at Mozart's death,
and in 1825 wrote, at Nissen's request, a touch-
ing account of the last sad moments. [C.F.P.]

I See ante, vol. ii. 387. 2 lb. ii. 460. ' lU 11 406.



430



WEBER'S LAST WALTZ.



WECKERLIN.



WEBER'S LAST WALTZ— LetzterGerlanke,
Dernifere Pensee. The piece known by these
names and beginning tliu.s, and once enormously
popular —







is not Weber's at all, but Reissiger's, and forms
no. 5 of his ' Danses brillantes pour )e PF.,'
written in 1822, and published by Peters of
Leipzig in 1824. The probable cause of its being
af^cribed to Weber is that a MS. copy of it, given
by Reissiger to Weber on the eve of liis departure
for London, was found among Weber's papers
after his death here. It has been also published
as a song — in Germany ' Wie ich bin verwichen ';
in London as ' Weber's Farewell ' (Ciiappell),
* Song of the dying child ' (Cramer), etc. [G.]

WECHSELNOTE, DIE FUX'SCHE— Fux's
Changing-note. A term supposed to represent in
the Strict or ancient style of Counterpoint a very
striking ' licence,' of which Palestrina and his
contemporaries sometimes made use. The Third
Species of Simple Counterpoint — i.e. Four notes
against one — demanded that ' discords by tran-
sition ' (or, as we should now say, Passing-notes)
should be approached and quitted by conjunct
degrees. In spite of this rule the composers of
that time allowed themselves to proceed by a
skip from the second or fourth note in the bar
(provided it be a discord) to the third below,
ascending afterwards to the note on which the
discord should properly have resolved itself.
The following examples show that this note can
appear in two different places in the bar : —

Ex. 1. Ex. 2.



This licence was but rarely used by the old
masters, and rather as an interesting exception.
It has, however, given rise to much discussion
among theorists. Some admired it for its grace-
fulness, some objected to it. Under the name of
NotaCambiata, Changing-note, and Wechselnote,
they have attempted to explain or justify it by
saying that the note which the composers had
skipped could be supplied by imagination, thus —
Ex. 3.



But this explanation attempts to account for the
licence by a process contrary to the composers'
intentions, and even purposely avoided by them.
It may frequently be observed in the history of
the development of music, that able and gifted
musicians have chosen what i.s ri;^l)t by instinct,
regardless of its contradicting the then existing
rules. We, however, h.ive a complete system
of harmony at our disposal — which the old



masters had not — and can therefore regard th
licence as perfectly justifiable. We must noi
remark that Examples i and 2 ought not t
come under the same heading, as they hav
often hitherto done ; each demands and admif
of a totally different and separate explanatioi
According to our present musical terminolog;;
in neither case would the note marked * b
called a Changing-note. To us, in Ex. i, th:
note would appear to be a Passing-note, whic
proceeds regularly, though not immediately, f
the expected interval. B passes to A, inte
rupted by G. Such interruptions are quit
familiar to us. A striking analogy in the mus
of our time is to be found in the interrupte
resolution of another discord (though on
different beat in the bar), namely the Suspej
sion, which is of frequent occurrence nowadays ;



Ex. 4.



H -



ZZ^.



iU=^



m



In Example 2, on the contrary, the B * is, fro:
our point of view, nothing more than an Antic
pation of the chord of G which immeiliate,
follows. In this manner the figure can be w€
explained, justified, or at least shown to be ful
admissible. In the course of time this melod
phrase seems to have lost favour, for we seldo
find it used by later generations. By Bao!
Handel, and some of their successors, it is on
employed in recitatives, and even there it
limited to the skip to the third below ; i
Anticipation being the result.

Ex. 5.



$



9 9



$



ib=ti=



P:



I



The note in question (which is marked with a
in our examples) is, harmonically regarded,
major or minor seventh, although this does i
always appear at first sight. — As this note * I
been called by the old theorists Nola Cambia
or Changing-note, and Fax in his 'Grailus
Parnassum ' was the first to devote special a
careful attention to it, some modern wrih
thought it advisable to name it the Fax'st
Wechselnote, Fux's Changing-note, in distinct!
to our modem 'Changing-note,' [F..

WECKERLIN, Jean Baptiste, born
Gnebwiller in Alsace, Nov. 9, 1821, son olJ
manufacturer. So strong were his musical i
stincts, that though educated for trade, he i j



WECKERLTN.

ty to Paris, and in 1 844 entered the Conser-
jire, where he learned harmony under Elwart,
composition under Hal^vy. Not succeeding
he Institut examinations, he left the school,
took to teaching and composition. Eager to
iuce, and very industrious, he let slip no
ortunity of making himself known, and
mpted all branches of composition, though
I finding that success at the theatre was out
the question. Musical bibliography was
main resource, and he brought to light
ly curious old compositions, such as the
Uet comique de la Reyne,' which was given
1 others of the same class, at the concerts of
Society de Sainte Cecile, of which he was
:us-niaster from 1850 to 55.' He also made
le collection of scarce books of poetry, with
in notation, and song- writers, which he
led to account in his Collections of national
In 1863 ^^ ^3,s selected to form the
iry of the newly-founded 'Soci^t^ des Com-
teuis de Musique,' and in 1869 was placed
\.uber in the Library of the Conservatoire,
which he became head-librarian Sept. 9,
) — a post which he still (1885) fills with
ess.

is vocal and operatic works include 6 operas;
ie-symphonies ; 2 antique dramas; a large
ber of choruses for female voices and for
i do. ; 6 Quatuors de Salon ; various exten-
collections of pieces, and over 300 airs for
3 and PF. ; a Mass and sundry Motets.
instrumental works comprise a Symphony
Suite, both for full orchestra ; arrange-
ts, etc.

is bibliographical works are as follows : —
^Ihansons populaires des provinces de la
ice' (i860), with Champfleury ; 'Les Echos
^emps passe,' 3 vols. ; ' Les Echos d'Angle-
!*; 'Album de la Grandmaman,' 20 old
idies; 'Chansons et Rondes pour les enfants'
5); 'Chansons de France pour les petits
I9ais' (ife8.s); ' Ballet comique de la Reine' ;
bert's operas ' Pomone,' and ' Les Peines et
Plaisirs de I'Amour ' ; ' Le Bourgeois Gen-
mme,' divertissements by Molifere and Lully.
ous articles in the ' Bulletin de la Soci^t^
Compositeurs* ; ' Musiciana,' extracts from
books (Paris, 1877) > 'Chansons populaires
'Alsace,' 2 vols. (1883) ; and 'La Biblio-
ue du Conservatoire de musique,' i vol. 8vo
5), a catalogue raisonne of the books in the
irve.

e has still in MS. 400 airs and 25 operas, and
Essai sur I'Histoire de I'lnstrumentation,'
nended by the Institut (1875). [G.C.]

'EDDING OF CAMACHO, THE (Die
hzeit des Gamacho). A comic opera in 2
; words by Klingemann, after Don Quixote ;
ic by Mendelssohn (op. 10) ; score dated
. 10, 1825. Produced in the small theatre,
in, April 29, 1827, and not performed a
id time. The music was published in PF.
s by Laue of Berlin. [See vol. ii. p. 259.] [G.]

• Seghers 0801-1881) was conductor.



WEELKES.



431



WEDNESDAY CONCERTS, London. These
concerts were established in 1848 at Exeter Hall
by Mr. Stammers, in order to give a miscfl-
laneous musical entertainment at a cheap price
of admission. The prices charged were about
the same as are now paid at the Pojjular Con-
certs. The first series, consisting of fifteen con-
certs, began Nov. 22, were continued once a
week until Feb. 28, 1849. The second and third
series were continued until June 27, twenty-
seven having been given in all. There was a
small orchestra under Willy as leader, and
the programmes consisted of light overtures,
operatic selections, vocal and orchestral, ballads,
and light instrumental pieces. Occasionally more
important works were tried, such as Mendels-
sohn's Antigone, Rossini's Stabat Mater, or
Mendelssohn's G minor Concerto. A fourth
series of fifteen concerts was given, extending
from Oct. 24, 1849, to Jan. 30, 1850, and a
fifth was attempted, first under Mr. Stammers,
and afterwards under Mr. Jarrett, but twelve
of the fifteen only were given. The third and
fourth series showed some slight improvement in
the programmes ; the orchestra was increased
to forty, Herr Anschiitz was conductor, and sym-
phonies of Mozart and Haydn were occasion-
ally given in their entirety. For some reason or
other, in spite of the fine artists engaged, these
concerts failed then to hit the popular taste.
Among the artists who appeared must be named
Mesdames Birch, Dolby, Poole, M. and A. Wil-
liams, Angri, Jetty Treffz, Rainforth, Mr. and
Mrs. Sims Reeves, Braham, Ronconi, Pischek,
Formes, etc., vocalists ; Miss Kate Loder, Thal-
berg. Billet, Sainton, Ernst, Vivier, Maycock,
Lavigne, Distin and sons, instrumentalists; for
the recitation of the Antigone, Mr. and Miss
VandenhofF, George Bennett, etc. [A.C.]

WEELKES, Thomas, Mus. Bac, one of the
most distinguished of English madrigal writers,
published in 1597 a set of ' Madrigals to 3, 4, 5
and 6 Voyces,' which he described in the dedi-
cation as ' the first fruicts of my barren ground.'
This was reprinted in score by the Musical An-
tiquarianSocietyunder the editorship of Mr. (now
Dr.) E. J. Hopkins. In 1598 he published a set
of Ballets and Madrigals to five voyces, with one
to 6 voyces,' in the dedication of which he speaks
of his years being unripened. A second impres-
sion appeared in 1608. In 1600 he issued two
works, viz. ' Madrigals of 5 and 6 parts apt for
the Viols and Voyces,' and ' Madrigals of 6
parts, apt for the Viols and Voices,' describing
himself upon the title-pages of both as ' of the
Coledge at Winchester Organist.' In 1601 he
contributed to 'The Triuniphes of Oriana ' the
fine madrigal ' As Vesta was from Latmos hill
descending.' In 1602 he took the degree of
Mus. Bac. at Oxford as of New College, his
Christian name being erroneously entered in the
University Register as 'William.' In 1608 he
published ' Ayeres or Phantasticke Spirites for
three voices,' upon the title-page of which he
described himself as ' Gentleman of his Majesties
Chappell, Batchelar of Musicke, and Organist of



432



WEELKES.



the Cathedral Church of Chichester,' but as his
name is not to be found in the Cheque-boolc of
the Chapel Royal it is doubtful whether he held
any regidar appointment there. In 1614 he was
a contributor to Leighton's ' Teares or Lanienta-
cions.' His five published works contain 94
compositions distinguished by originality and ex-
cellent part-writing, as well as by a certain
characteristic stiffness ; many of them are still
popular and have been often reprinted. Amongst
them may be named ' Lo ! country sports,' ' To
shorten winter's sadness,' ' In pride of May,'
'Sing we at pleasure,' and 'The nightingale.'
An anthem by him, ' Lord, grant the king,' is
printed in Barnard's collection ; and two others,
' All people clap your hands,' and ' When David
heard that Absalom was slain,' are in the Collec-
tion of Anthems by Madrigal Composers pub-
lished by the Musical Antiquarian Society.
Eleven anthems more are in Barnard's MS.
collections in the Library of the Royal College
of Music. [W.H.H.]

WEHLI, or WEHLE, Karl, a brilliant pianist
known in London some years back, v;as the son
of a merchant in Prague, and born March 1 7,
1825; learned the PE. under Moscheles and
Kullak, composed very much, and exhibited his
talent in Europe, America, Australia, India, etc.
Paris was for long his headquarters. The list
of his works given by Pougin comprises a Sonata
(op. 38), Impromptus (10, 73), Ballades (11, 79),
Nocturnes, Waltzes, and Allegro hongroise (81),
etc., etc. [G.]

WEIGL, Joseph, a native of Bavaria, entered
Prince Esterhazy's band at Eisenstadt as first
cellist in 1 761, left in 1769 for the orchestra of
the Imperial Opera at Vienna, was admitted
member of the Imperial Chapel 1792, and died
Jan. 25, 1820, in his 79th year. He was a great
friend of Joseph Haydn, who stood godfather to
his eldest son,

Joseph, born at Eisenstadt, March 28, 1766.
Joseph's first teacher was Sebastian Witzig,
choirmaster of Korneuburg, and later he studied
with Albrechtsberger and Salieri. At 16 he
wrote his first small opera ' Die betrogene Arg-
list,' which was produced at Gluck's recom-
mendation, and secured him the favour of the
Emperor Joseph, of which he had henceforth
repeated proofs, including a present of 100 ducats
(about £50) for his first Italian opera ' II Pazzo
per forza ' (1788). A letter of congratulation
written him by Haydn on the production of his
' Principessa d'Araalfi ' is well known. Weigl
was also fortunate enough to gain admittance to
the performances of classical music under Mo-
zart's direction, at Baron van Swieten's house.
Salieri took a special interest in him, and em-
ployed him up to 1790 as assistant-conductor of
the National Court Theatre. In 1792 be became
composer to the Opera with a salary of 1,000
florins, then Capellmeister, and finally conductor.
This post he resigned in 1823, and in 1827 was
appointed Vice-Court-Capellmeister. Before that
date he had composed a series of operas, German



WEIGL.

and Italian, and ballets, many of which becE
exceedingly popular. Amongst these, spe
mention must be made of the 'Schweizer Fami
(1809), which long kept the boards, and by
pleasing melodies won all hearts. Reichai
gives a pointed description of Weigl : ' he i
really charming, afi'ectionate, good-hearted V:
nese, and his eye and whole expression
thoroughly in keeping with his tender, giace
pleasing melodies.' Otlier favourite operas v
' Das Waisenhaus,' 'Nachtigall und Rabe,' ''
Bergsturz,' ' L'Amor Marinaro,' and ' L'l
forme.' Beethoven has preserved the air ' 1
ch'io impegno ' in the ' Amor Marinaro ' f
oblivion, by taking it as the theme for
Finale of his Clarinet Trio, op. Ii. [See vo
1 78 6]. L'Uniforme (libretto by Carpani)
composed at the request of Maria Theresa, ]
duced at Schoiibrunn, and repeated in cone
form (1805) with the Empi'ess in the princ
part (Pauline). Treitschke translated it :
German, and ' Die Uniform ' was given at I
court theatres, and in many foreign to\
Weigl was a special favourite of the Emp
(to whom Beethoven dedicated his Septet),
had to preside at the piano at all chamber-<
certs, besides composing cantatas and small bal
for many court festivities. He had an ad\
tageous offer for Stuttgart, but the Empreai



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