Anton Diabelli (1781-1858) - Pastoral-Messe in F-dur (1830)
Performers: Christa Degler (1928-2020, soprano); SyIvia Linden
(soprano); SunhiId RauschkoIb (alt); Desmon CIayton (tenor); Hartmut
MüIIer (bass); Chor und Orchester von St. MichaeI; Ernst Ehret
(1911-1978, conductor)
Further info: Anton Diabelli (1781-1858) - Serenata Concertante Op.105
---
Austrian publisher and composer. He studied music in Michaelbeuren and
Salzburg and in 1800 entered Raitenhaslach Abbey. After the dissolution
of the Bavarian monasteries (1803) he went to Vienna, where he taught
the piano and guitar, and soon became known for his arrangements and
compositions; many of his works were published in Vienna. His job as a
proofreader for S.A. Steiner & Co. (as detailed in Beethoven’s
letters) gave him an increasing interest in music publishing, and in the
Wiener Zeitung (15 September 1817) he advertised a subscription for
some of his sacred compositions, which were to appear from his newly
established publishing house in the Schultergasse. Wishing to acquire
business premises of his own, Diabelli made contact with Pietro Cappi,
who had been practising as a licensed art dealer in the Spiegelgasse
since 30 July 1816. After Cappi’s shop passed to Daniel Sprenger on 8
August 1818, the firm Cappi & Diabelli was established in the
Kohlmarkt, and advertised in the Wiener Zeitung (10 December 1818). From
its beginning the new firm was remarkably active in publishing current
operatic and dance music; anthologies such as Philomele für die Guitarre
and Philomele für das Pianoforte and Euterpe for piano (solo and duet)
were popular for decades. As an experienced musician, Diabelli knew how
to respond to the musical fashions of the time; and the connection he
formed with Schubert established the company’s widespread fame. Financed
on commission, he published Schubert’s first printed works; on 2 April
1821 Erlkönig appeared as op.1 and on 30 April Gretchen am Spinnrade as
op.2. Opp.1–7 and 12–14 later became the property of Cappi &
Diabelli.
Diabelli’s long-established acquaintance with Beethoven, however, led to
only a few publications: the reissues Beethoven wanted of the sonatas
opp.109–11, and a few first editions of the smaller works. The firm also
published the Vaterländischer Künstlerverein, including Beethoven’s
Diabelli Variations op.120. In June 1824, following Cappi’s retirement,
the firm (renamed Anton Diabelli & Cie) entered its most productive
period. Cappi’s place was filled by Anton Spina (1790-1857), who handled
the business side while Diabelli was responsible for its artistic
direction. This favourable division of responsibility led to
considerable success and the firm could claim to compete successfully
even with Tobias Haslinger. Lesser firms were taken over: Thaddäus Weigl
on 19 November 1832, Mathias Artaria on 26 June 1833 and M.J.
Leidesdorf (Anton Berka) on 4 September 1835. Diabelli’s programme shows
that he recognized the need to finance the publication of serious or
advanced music by producing popular pieces: the firm’s output included a
rich variety of fashionable music for entertainment and dancing. But
his reputation rests on his championship of Schubert, whose principal
publisher he became until 1823 when (probably through a fault of
Cappi’s) Schubert broke off relations with the firm and turned to other
publishers. After Schubert’s death Diabelli was able to obtain a large
part of the estate from his brother Ferdinand; this became the property
of his firm. Works owned by Leidesdorf, Pennauer, Artaria and Weigl
automatically became Diabelli’s property as he purchased these firms.
The publication of this unexpectedly rich body of compositions extended
beyond Diabelli’s death to his successors, so that ‘new’ works by
Schubert were still appearing in Paris in the 1850s.
Cap comentari:
Publica un comentari a l'entrada