Ernestus Weinrauch (1730-1793) previously attributed to
Meingosus Gaelle (1752-1816)
- Stabat Mater (c.1791)
Performers: Ulrike Johanna Jöris (soprano); Ruth Sandhoff (alto);
Hans-Jürgen Schöpflin (tenor); Egbert Junghanns (bariton);
Obserschwäbischer Kammerchor; SWF-Sinfonieorchesters Baden-Baden; Erno
Seifriz (1932-2012, conductor)
Further info: Ernestus Weinrauch (1730-1793) - Requiem in c (c.1780)
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German composer. He entered the Benedictine monastery at Zwiefalten in 1748 and served it for more than 30 years as organist and regens chori and also at times as subprior. He composed primarily liturgical music for his monastery, but also stage music for a Schwäbisch Gmünd passion play Die Geisslung as well as one oratorio Kain und Abel (both in D-Tl and the Stadtarchiv, Schwäbisch Gmünd). Although he did not have his works printed, many were disseminated through copies. Several of his manuscripts survive (in D-Bsb, HR, OB and the two above-named libraries). Weinrauch was also a respected teacher, counting among his pupils the composers Konrad Back in Ottobeuren, Conradin Kreutzer and probably also J.L. Schubaur.
German composer, theologian and physicist. He attended the grammar school at Tettnang and the Hofen priory school attached to the Benedictine abbey of Weingarten (now Schloss Friedrichshafen, Lake Constance). He entered the monastery of Weingarten in 1769 and took his vows in 1771. From autumn 1771 he studied at the Benedictine University of Salzburg, taking doctorates in philosophy (1773) and theology (1777) and becoming friendly with Michael Haydn. He returned to Weingarten and was ordained (20 September 1777); at the monastery he taught practical philosophy and mathematics, was in charge of the novices and became deputy librarian, choral director and even chief cook. After the dissolution of the monastery (1802) he remained at Weingarten for two years, then became professor of dogmatics and ecclesiastical history at the University of Salzburg. Numerous copies of works by Haydn, Mozart and Beethoven in the St Peter chapter library indicate that Gaelle performed them for his Salzburg brothers. After the dissolution of the university he was appointed Father Superior of Maria Plain (1811), where he devoted himself particularly to experiments on the theory of electricity and published his 'Beyträge zur Erweiterung und Vervollkommnung der Elektricitätslehre in theoretischer und practiscsher Hinsicht' (Salzburg, 1813/R). Gaelle’s compositions were intended for use in church services and to promote conviviality within the monastery. Of special importance is the setting of Sebastian Sailer’s Schöpfung (Adam und Evas Erschaffung), which Gaelle designated a comic opera. Siegele has noted the effective use of simple melodies and rich harmonies in the arias, melodramatic style in the recitatives and intimate instrumentation. Beneath the comic aspect, both Sailer’s text and Gaelle’s music have more complex features. Gaelle’s compositional style (in the opera chamber works) is characterized by the use of single themes, fairly long series of variations, modulations to remote keys and small musical units.
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