Jump to content

Leopold Koželuch: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
→Further reading: shorter reference
m replacing {{IPA-cs| → {{IPA|cs| (deprecated template)
 
(138 intermediate revisions by 46 users not shown)
Line 1: Line 1:
{{short description|Bohemian composer (1747–1818)}}
[[File:Kozeluh349.jpg|thumb|upright|200px|Portrait of Leopold Koželuh by W. Ridley]]
{{Infobox person
[[File:Velvary CZ birth house of Leopold Kozeluh 048.jpg|thumb|Birth house of Leopold Kozeluch in Velvary]]
| name = Leopold Koželuch
'''Leopold Koželuch''' ({{IPA-cs|ˈlɛopolt ˈkoʒɛlux}}, born ''Jan Antonín Koželuh'', alternatively also ''Leopold Koželuh'', ''Leopold Kotzeluch'') (26 June 1747 – 7 May 1818) was a [[Czech people|Czech]] composer and teacher of [[classical music]]. He was born in the town of [[Velvary]], in [[Bohemia]] (present-day [[Czech Republic]]).
| image = Kozeluh349.jpg
| birth_name = Jan Antonín Koželuh
| birth_date = {{Birth date|1747|6|26|df=y}}
| birth_place = [[Velvary]], Bohemia
| death_date = {{Death date and age|1818|5|7|1747|6|26|df=y}}
| death_place = Vienna, [[Austrian Empire]]
| occupation = Composer
}}
[[File:Velvary CZ birth house of Leopold Kozeluh 048.jpg|thumb|Birth house of Leopold Koželuch in Velvary]]
[[File:Divadlo v Kotcích.tif|thumb|Prague – Kotzen Theatre]]
[[File:SICKINGEN(1832) p2.006 Der Michaelerplatz.jpg|thumb|Vienna – Burgtheater Michaelerplatz]]
'''Leopold Koželuch''' ({{IPA|cs|ˈlɛopolt ˈkoʒɛlux}}, born ''Jan Antonín Koželuh'', alternatively also ''Leopold Koželuh'', ''Leopold Kotzeluch''; 26 June 1747 – 7 May 1818) was a [[Czechs|Czech]] composer and music teacher.


He was born in [[Velvary]] and moved to [[Prague]] to further his musical education, before moving again to [[Vienna]] in 1778, where he was based for the remainder of his career. In Vienna he achieved renown as a composer, pianist and teacher, and from 1792 until his death in 1818 he held royal appointments as ''Kammer Kapellmeister'' (music director) and ''Hofmusik Compositor'' (composer), as [[Wolfgang Amadeus Mozart]]'s successor.
==Life==
Koželuch was the son of the shoemaker Antonín Bartholomäus Koželuh. The composer [[Jan Antonín Koželuh]] was his cousin and for a while his teacher. Later, the pianist Katharina Kozeluch was his daughter. To avoid confusion with his cousin, he changed his name in 1774. His teachers in the 1770s also included [[František Xaver Dušek]].


Koželuch's compositional output included [[sonata]]s and [[concerto]]s for keyboard, the instrument in which he specialised, as well as [[chamber music]], [[choral music]] and [[opera]].
In 1771 he contributed his first work, a ballet, to a theater in Prague, and in later seasons wrote 25 such works. In 1778 he went to Vienna, and was likely for a short while a student of [[Johann Georg Albrechtsberger]].


==Life==
Already after this short while, Kozeluch had also entered the ranks of acclaimed pianists. The imperial court gave him the position that had belonged to [[Georg Christoph Wagenseil]] as teacher to the Archduchess Elisabeth, the daughter of [[Maria Theresa of Austria]]. He was offered [[Wolfgang Amadeus Mozart|Wolfgang Mozart]]'s position in Salzburg when Mozart left that office in 1781, but refused. He did however accept the position of court composer in Prague that Mozart's death left open in 1792.
Koželuch was born on 26 June 1747 in [[Velvary]], in present-day [[Czech Republic]].<ref name="Poštolka">Poštolka</ref> His father was Antonín Bartholomäus Koželuh, a shoemaker.<ref name="Hogwood, p. 621">Hogwood, p. 621</ref> He was baptised Jan Antonín, but by 1773 he had adopted the name Leopold to avoid confusion with his elder cousin, the composer [[Jan Antonín Koželuh]].<ref name="Poštolka"/> He also Germanised his surname to Koželuch.<ref name="English, p. 4">English, p. 4</ref> After starting his musical education in Velvary, Koželuch moved to Prague where he studied with his cousin and [[František Xaver Dušek]], the latter teaching him in the keyboard and composition.<ref name="Poštolka"/>


From 1771 to 1778, Koželuch wrote ballets and pantomimes which were performed in [[Prague]]. The success of these works led him to abandon plans to study law in favour of a musical career.<ref name="Poštolka"/> He moved to [[Vienna]] for this purpose in 1778, where he quickly established himself as a pianist, albeit one who did not perform in public,<ref name="Hogwood, p. 621"/> composer and teacher. Pianist Kemp English observes that in Vienna Koželuch "found himself in the right place at the right time", and was able to advance his career there with carefully cultivated connections.<ref name="English, p. 4"/> He composed a cantata for the death of [[Maria Theresa]] in 1780.<ref name="Vytlačil, p. 8">Vytlačil, p. 8</ref> His pupils would include [[Maria Theresia Paradis]], [[Duchess Elisabeth of Württemberg|Archduchess Elisabeth of Württemberg]], [[Marie Louise, Duchess of Parma|Archduchess Marie Louise]] and [[Maria Leopoldina of Austria|Maria Leopoldine von Österreich]], Empress of Brazil.<ref>Hogwood, p. 626</ref> His appointment to teach Archduchess Elizabeth was an official court position, succeeding [[Georg Christoph Wagenseil]]. In 1781, [[Wolfgang Amadeus Mozart]] resigned his appointment as court organist in [[Salzburg]] following a quarrel with his employer, the Archbishop of Salzburg. The Archbishop offered the position to Koželuch, but Koželuch refused, later expressing concerns to a friend that he might too have fallen victim to what he saw as Mozart's ill-treatment. In 1784, Koželuch expanded into publishing, and soon formed his own firm, Musikalisches Magazin, which would later come under the management of his brother Antonín Tomáš. Koželuch would use the firm, in combination with overseas partners, to publish many of his compositions.<ref name="English, p. 4"/><ref name="Poštolka"/>
Koželuch also joined [[Freemasonry]] around the 1790s, in a lodge in Vienna. He experienced during his lifetime acceptance of his work in all of Europe; in his last years however the criticism that he was too prolific became heard more often. Criticisms of his work by Mozart and Beethoven are still remembered. Many works of his point in the direction of musical [[romantic music|romanticism]], while there is a deliberately reactionary thread running through other works as shown by his continuing use of the term "[[trio sonata]]" to describe his [[piano trio]]s.


By 1790, a time at which Mozart and [[Joseph Haydn]] were at the height of their careers, Koželuch's reputation was such as to move [[Ernst Ludwig Gerber]] to say the following of his status within Europe: "Leopold Kozeluch is without question with young and old the generally most loved among our living composers, and this with justification".<ref name="Hickman, p. 42">Hickman, p. 42</ref> Koželuch's esteem in royal circles grew again in 1791, when he composed a well-received cantata commissioned for the coronation of [[Leopold II, Holy Roman Emperor|Emperor Leopold II]] in Prague. Mozart composed ''[[La clemenza di Tito]]'' for the same occasion. Mozart's death later in the year afforded Koželuch another opportunity: [[Francis II, Holy Roman Emperor|Emperor Franz II]] offered him Mozart's positions in his court, ''Kammer Kapellmeister'' (music director) and ''Hofmusik Compositor'' (composer), and at double Mozart's salary.<ref name="Vytlačil, p. 9">Vytlačil, p. 9</ref> Koželuch would remain in the positions until his death.<ref name="Hogwood, p. 621"/> Koželuch joined a [[Freemasonry|masonic lodge]] in 1791, marking another coincidence between his career and Mozart's and serving to advance himself further within Viennese society.<ref name="Vytlačil, p. 8"/>
==Works==
{{refimprove section|date=December 2015}}
{{original research|section|date=December 2015}}
Koželuch left around 400 compositions. Among these there are about thirty [[symphony|symphonies]], twenty-two [[piano concerto]]s, including a concerto for piano four-hands, arguably one of the best examples of this rare genre, two [[clarinet concerto]]s, twenty-four [[violin sonata]]s, sixty-three [[piano trio]]s, six [[string quartet]]s, two [[oratorio]]s (one of which, ''Moses in Ägypten'', has recently been produced and recorded), nine [[cantata]]s and various liturgical works. Among his music there are also operas and works for ballet, which—with the exception of one opera <!--(the site from which this information seems to be available is down, but a Google cache suggests that it is ''Gustav Wasa'' - the other operas are listed as lost, but the prelude to Gustav Wasa, written around 1792, has been recorded and is sometimes broadcast)-->—have yet to be heard in recent years. Numerous arrangements by him of Scottish songs for the Edinburgh collector George Thomson were popular, and some of these have also been recorded.


Koželuch's compositional output declined after the turn of the century as he focused on his court duties, teaching, and the lucrative work of arranging Scottish, Irish and Welsh folk songs for the publisher [[George Thomson (musician)|George Thomson]].<ref name="English, p. 4"/> [[William Crotch]] reflected on Koželuch's reputation in a lecture in 1806, remarking that he had "sunk in unmerited neglect" while Mozart's reputation had enjoyed posthumous growth.<ref name="Hogwood, p. 623">Hogwood, p. 623</ref> In 1809, [[Ludwig van Beethoven]], a frequent disparager of rival composers, would write to Thomson referring to Koželuch as "Miserabilis".<ref name="Wigmore">{{cite web|last1=Wigmore|first1=Richard|title=Leopold Kozeluch|url=http://www.hyperion-records.co.uk/c.asp?c=C6061|publisher=Hyperion Records|access-date=11 March 2017}}</ref>
His works are currently cataloged using Postolka numbers, after the work of the musicologist [[Milan Poštolka]].


Koželuch died on 7 May 1818. His daughter, [[Catherina Cibbini-Kozeluch]], became a prominent pianist and composer based in Vienna.<ref name="Vytlačil, p. 9"/>
'''Symphonies & Overtures'''
* P I: 1 \ Symphony in D major "L'Arlechino"
* P I: 2 \ Symphony in C major
* P I: 3 \ Symphony in D major Op. 22 No. 1
* P I: 4 \ Symphony in F major Op. 22 No. 2
* P I: 5 \ Symphony in G minor Op. 22 No. 3
* P I: 6 \ Symphony in C major Op. 24 No. 1
* P I: 7 \ Symphony in A major Op. 24 No. 2
* P I: 8 \ Symphony in G major Op. 24 No. 3
* P I: 9 \ Symphony in C major
* P I:10 \ Symphony in A major "A la Française"
* P I:11 \ Symphony in B flat major "L'irresoluto"
* P I:A1 \ Symphony in A major
* P I:D1 \ Symphony in D major (lost)
* P I:D2 \ Symphony in D major
* P I:D3 \ Symphony in D major
* P I:E1 \ Symphony in E major
* P I:F1 \ Symphony in F major
* P I:G1 \ Symphony in G major
* P II:1 \ Sinfonia concertante in E flat major
* P II:2 \ Sinfonia concertante in C major
* P III:1 \ Overture in G major
* P III:1 \ Overture Op. 9 in G major
* P III:2 \ Overture in D major


==Works==
'''Concertos'''
{{See also|List of compositions by Leopold Koželuch}}
* P IV: 1 \ Keyboard Concerto Op. 12 in F major
Koželuch left around 400 compositions. Among these there are about thirty [[symphony|symphonies]], twenty-two [[piano concerto]]s, including a concerto for piano four-hands, arguably one of the best examples of this rare genre, two [[clarinet concerto]]s, twenty-four [[violin sonata]]s, sixty-three [[piano trio]]s, six [[string quartet]]s, two [[oratorio]]s (one of which, ''Moisè in Egitto'', has recently been produced and recorded), nine [[cantata]]s and various liturgical works. Among his music there are also operas and works for ballet, which—with the exception of one opera <!--(the site from which this information seems to be available is down, but a Google cache suggests that it is ''Gustav Wasa'' - the other operas are listed as lost, but the prelude to Gustav Wasa, written around 1792, has been recorded and is sometimes broadcast)-->—have yet to be heard in recent years. Numerous arrangements by him of Scottish songs for the Edinburgh collector George Thomson were popular, and some of these have also been recorded.
* P IV: 2 \ Keyboard Concerto Op. 13 in B flat major
* P IV: 3 \ Keyboard Concerto Op. 11 in G major
* P IV: 4 \ Keyboard Concerto Op. 16 in A major
* P IV: 5 \ Keyboard Concerto Op. 15 in E flat major
* P IV: 6 \ Keyboard Concerto in C major
* P IV: 7 \ Keyboard Concerto Op. 25 in D major
* P IV: 8 \ Concerto for keyboard 4 hands in B flat major
* P IV: 9 \ Harpsichord Concerto in D major
* P IV:10 \ Harpsichord Concerto in D major
* P IV:11 \ Rondo Concerto for harpsichord in E flat major
* P IV:12 \ Harpsichord Concerto in E major
* P IV:13 \ Harpsichord Concerto in F major
* P IV:14 \ Keyboard Concerto in F major
* P IV:15 \ Keyboard Concerto Op. 36 in C major
* P IV:16 \ Keyboard Concerto Op. 45 in E flat major
* P IV:17 \ Piano Concerto in C major
* P IV:18 \ Piano Concerto in C major
* P IV:19 \ Fantasia for piano & orchestra in D minor
* P IV:20 \ Harpsichord Concerto in E major
* P IV:D1 \ Harpsichord Concerto in D major
* P IV:D2 \ Piano Concerto in D major
* P IV:F1 \ Harpsichord Concerto in F major
* P V: 1 \ Clarinet Concerto in E flat major
* P V: 2 \ Clarinet Concerto in E flat major
* P V: 3 \ Sonata for clarinet & orchestra in E flat major
* P V:B1 \ Bassoon Concerto in B flat major
* P V:C1 \ Bassoon Concerto in C major

'''Serenades & Parthias'''
* P VI: 1 \ Serenade Op. 11 No. 1 in D major
* P VI: 2 \ Serenade Op. 11 No. 2 in E flat major
* P VI: 3 \ Parthia in F major
* P VI: 4 \ Divertimento for wind quintet in D major
* P VI: 5 \ Divertimento for wind quintet in D major
* P VI: 6 \ Notturno in D major
* P VI: 7 \ Divertimento for wind quintet in E flat major
* P VI: 8 \ Parthia in F major
* P VI: 9 \ Divertimento for piano & winds in E flat major
* P VI:10 \ Divertimento for piano & winds in E flat major
* P VI:B1 \ Parthia a la Camera in B flat major
* P VI:B2 \ Parthia a la Camera in B flat major
* P VI:B3 \ Parthia a la Camera in B flat major
* P VI:c1 \ Parthia a la Camera in C minor
* P VI:d1 \ Parthia a la Camera in D minor
* P VI:D1 \ Wind Symphony in D major
* P VI:d2 \ Parthia a la Camera in D minor
* P VI:Es1 \ Cassation in E flat major
* P VI:Es2 \ Wind quintet in E flat major
* P VI:Es3 \ Parthia in E flat major
* P VI:F1 \ Parthia in F major (lost)

'''Dances & Marches'''
* P VII:1 \ 6 Contredanses
* P VII:2 \ 12 German Dances
* P VII:3 \ 15 German Dances
* P VII:4 \ 15 German Dances
* P VII:5 \ 12 German Dances
* P VII:6 \ March for Wiener Freykorps in C major

'''String Quartets'''
* P VIII:1 \ String Quartet Op. 32 No. 1 in B flat major
* P VIII:2 \ String Quartet Op. 32 No. 2 in G major
* P VIII:3 \ String Quartet Op. 32 No. 3 in E flat major
* P VIII:4 \ String Quartet Op. 33 No. 1 in C major
* P VIII:5 \ String Quartet Op. 33 No. 2 in A major
* P VIII:6 \ String Quartet Op. 33 No. 3 in F major

'''Keyboard Trios'''
* P IX: 1 \ Piano Trio Op. 3 No. 1 in D major
* P IX: 2 \ Piano Trio Op. 3 No. 2 in F major
* P IX: 3 \ Piano Trio Op. 3 No. 3 in E flat major
* P IX: 4 \ Piano Trio Op. 6 No. 1 in C major
* P IX: 5 \ Piano Trio Op. 6 No. 2 in G major
* P IX: 6 \ Piano Trio Op. 6 No. 3 in B flat major
* P IX: 7 \ Piano Trio Op. 21 No. 1 in C major
* P IX: 8 \ Piano Trio Op. 21 No. 2 in A major
* P IX: 9 \ Piano Trio Op. 21 No. 3 in E flat major
* P IX:10 \ Piano Trio Op. 23 No. 1 in G major
* P IX:11 \ Piano Trio Op. 23 No. 2 in C minor
* P IX:12 \ Piano Trio Op. 23 No. 3 in F major
* P IX:13 \ Piano Trio Op. 27 No. 1 in B flat major
* P IX:14 \ Piano Trio Op. 27 No. 2 in A major
* P IX:15 \ Piano Trio Op. 27 No. 3 in G minor
* P IX:16 \ Piano Trio Op. 28 No. 1 in E flat major
* P IX:17 \ Piano Trio Op. 28 No. 2 in D major
* P IX:18 \ Piano Trio Op. 28 No. 3 in E minor
* P IX:19 \ Piano Trio in G major
* P IX:20 \ Piano Trio in E flat major
* P IX:21 \ Piano Trio in C major
* P IX:22 \ Piano Trio in E flat major
* P IX:23 \ Piano Trio in F major
* P IX:24 \ Piano Trio Op. 34 No. 1 in B flat major
* P IX:25 \ Piano Trio Op. 34 No. 2 in G major
* P IX:26 \ Piano Trio Op. 34 No. 3 in C major
* P IX:27 \ Piano Trio Op. 36 in C major
* P IX:28 \ Piano Trio Op. 37 No. 1 in D major
* P IX:29 \ Piano Trio Op. 37 No. 2 in F major
* P IX:30 \ Piano Trio Op. 37 No. 3 in G major
* P IX:31 \ Piano Trio Op. 40 No. 1 in F major
* P IX:32 \ Piano Trio Op. 40 No. 2 in C major
* P IX:33 \ Piano Trio Op. 40 No. 3 in E minor
* P IX:34 \ Piano Trio Op. 41 No. 1 in B flat major
* P IX:35 \ Piano Trio Op. 41 No. 2 in D major
* P IX:36 \ Piano Trio Op. 41 No. 3 in G major
* P IX:37 \ Piano Trio Op. 44 No. 1 in F major
* P IX:38 \ Piano Trio Op. 44 No. 2 in G major
* P IX:39 \ Piano Trio Op. 44 No. 3 in D major
* P IX:40 \ Piano Trio Op. 46 No. 1 in G major
* P IX:41 \ Piano Trio Op. 46 No. 2 in B flat major
* P IX:42 \ Piano Trio Op. 46 No. 3 in F major
* P IX:43 \ Piano Trio Op. 47 No. 1 in C major
* P IX:44 \ Piano Trio Op. 47 No. 2 in A major
* P IX:45 \ Piano Trio Op. 47 No. 3 in G minor
* P IX:46 \ Piano Trio Op. 48 No. 1 in E flat major
* P IX:47 \ Piano Trio Op. 48 No. 2 in A major
* P IX:48 \ Piano Trio Op. 48 No. 3 in B flat major
* P IX:49 \ Piano Trio Op. 49 No. 1 in D major
* P IX:50 \ Piano Trio Op. 49 No. 2 in E flat major
* P IX:51 \ Piano Trio Op. 49 No. 3 in C major
* P IX:52 \ Piano Trio Op. 50 No. 1 in B flat major
* P IX:53 \ Piano Trio Op. 50 No. 2 in D major
* P IX:54 \ Piano Trio Op. 50 No. 3 in E flat major
* P IX:55 \ Piano Trio Op. 63 No. 1 in B flat major
* P IX:56 \ Piano Trio Op. 63 No. 2 in F major
* P IX:57 \ Piano Trio Op. 63 No. 3 in C major
* P IX:58 \ Piano Trio Op. 64 No. 1 in D major
* P IX:59 \ Piano Trio Op. 64 No. 2 in G major
* P IX:60 \ Piano Trio Op. 64 No. 3 in E flat major
* P IX:61 \ Piano Trio Op. 52 No. 1 in D major
* P IX:62 \ Piano Trio Op. 52 No. 2 in C major
* P IX:63 \ Piano Trio Op. 52 No. 3 in B flat major
* P IX:A1 \ Piano Trio in A major
* P IX:D1 \ Piano Trio in D major
* P IX:F1 \ Piano Trio in F major
* P IX:G1 \ Piano Trio in G major

'''Keyboard Sonatas'''<ref>The complete sonatas for keyboard instrument by Leopold Koželuh was published in four volumes by Bärenreiter, the editor was Christopher Hogwood. ([https://www.academia.edu/29892110/From_Velvary_Bohemia_to_the_court_in_Vienna._The_life_of_the_imperial_Kapellmeister_Leopold_Ko%C5%BEeluh_and_a_new_complete_edition_of_his_keyboard_sonatas the review on this work])</ref>
* P X: 1 \ Keyboard Sonata with violin in D major
* P X: 2 \ Keyboard Sonata with violin in F major
* P X: 3 \ Keyboard Sonata with violin in E flat major
* P X: 4 \ Keyboard Sonata with violin Op. 10 No. 1 in E flat major
* P X: 5 \ Keyboard Sonata with violin Op. 10 No. 2 in C major
* P X: 6 \ Keyboard Sonata with violin Op. 17 No. 1 in F minor
* P X: 7 \ Keyboard Sonata with violin Op. 17 No. 2 in A major
* P X: 8 \ Keyboard Sonata with violin Op. 17 No. 3 in E flat major
* P X: 9 \ Keyboard Sonata with violin in A major
* P X:10 \ Keyboard Sonata with violin Op. 20 No. 1 in D major (lost)
* P X:11 \ Keyboard Sonata with violin Op. 20 No. 2 in C major (lost)
* P X:12 \ Keyboard Sonata with violin Op. 20 No. 3 in G major (lost)
* P X:13 \ Keyboard Sonata with violin Op. 18 No. 1 in G minor
* P X:14 \ Keyboard Sonata with violin Op. 18 No. 2 in C major
* P X:15 \ Keyboard Sonata with violin Op. 18 No. 3 in A flat major
* P X:16 \ Keyboard Sonata with violin Op. 16 No. 1 in G major
* P X:17 \ Keyboard Sonata with violin Op. 16 No. 2 in C minor
* P X:18 \ Keyboard Sonata with violin Op. 16 No. 3 in F major
* P X:19 \ Keyboard Sonata with violin Op. 23 No. 1 in E major
* P X:20 \ Keyboard Sonata with violin Op. 23 No. 2 in G major
* P X:21 \ Keyboard Sonata with violin Op. 23 No. 3 in D major
* P X:22 \ Keyboard Sonata with violin Op. 23 No. 4 in B flat major
* P X:23 \ Keyboard Sonata with violin Op. 23 No. 5 in F minor
* P X:24 \ Keyboard Sonata with violin Op. 23 No. 6 in G major
* P XI:1 \ Sonata for keyboard 4 hands Op. 4 in F major
* P XI:2 \ Sonata for keyboard 4 hands Op. 8 No. 3 in B flat major
* P XI:3 \ Sonata for keyboard 4 hands Op. 19 in F major
* P XI:4 \ Sonata for keyboard 4 hands Op. 29 in B flat major
* P XI:5 \ Sonata for keyboard 4 hands Op. 12 No. 1 in C major
* P XI:6 \ Sonata for keyboard 4 hands Op. 12 No. 2 in F major
* P XI:7 \ Sonata for keyboard 4 hands Op. 12 No. 3 in D major
* P XII: 1 \ Harpsichord Sonata in F major
* P XII: 2 \ Keyboard Sonata in A major
* P XII: 3 \ Keyboard Sonata Op. 13 No. 1 in E flat major
* P XII: 4 \ Keyboard Sonata in F major
* P XII: 5 \ Keyboard Sonata in C major
* P XII: 6 \ Keyboard Sonata Op. 13 No. 3 in E minor
* P XII: 7 \ Keyboard Sonata Op. 13 No. 2 in G major
* P XII: 8 \ Keyboard Sonata Op. 1 No. 1 in F major
* P XII: 9 \ Keyboard Sonata Op. 1 No. 2 in E flat major
* P XII:10 \ Keyboard Sonata Op. 1 No. 3 in D major
* P XII:11 \ Keyboard Sonata Op. 2 No. 1 in B flat major
* P XII:12 \ Keyboard Sonata Op. 2 No. 2 in A major
* P XII:13 \ Keyboard Sonata Op. 2 No. 3 in C minor
* P XII:14 \ Keyboard Sonata in D major
* P XII:15 \ Keyboard Sonata Op. 8 No. 1 in E flat major
* P XII:16 \ Keyboard Sonata Op. 8 No. 2 in C major
* P XII:17 \ Keyboard Sonata Op. 15 No. 1 in G minor
* P XII:18 \ Keyboard Sonata Op. 15 No. 2 in C major
* P XII:19 \ Keyboard Sonata Op. 15 No. 3 in A flat major
* P XII:20 \ Keyboard Sonata Op. 17 No. 1 in F minor
* P XII:21 \ Keyboard Sonata Op. 17 No. 2 in A major
* P XII:22 \ Keyboard Sonata Op. 17 No. 3 in E flat major
* P XII:23 \ Keyboard Sonata Op. 20 No. 1 in F major
* P XII:24 \ Keyboard Sonata Op. 20 No. 2 in C major
* P XII:25 \ Keyboard Sonata Op. 20 No. 3 in D minor
* P XII:26 \ Keyboard Sonata Op. 26 No. 1 in D major
* P XII:27 \ Keyboard Sonata Op. 26 No. 2 in A minor
* P XII:28 \ Keyboard Sonata Op. 26 No. 3 in E flat major
* P XII:29 \ Keyboard Sonata Op. 30 No. 1 in B flat major
* P XII:30 \ Keyboard Sonata Op. 30 No. 2 in G major
* P XII:31 \ Keyboard Sonata Op. 30 No. 3 in C minor
* P XII:32 \ Keyboard Sonata Op. 35 No. 1 in F major
* P XII:33 \ Keyboard Sonata Op. 35 No. 2 in A major
* P XII:34 \ Keyboard Sonata Op. 35 No. 3 in G minor
* P XII:35 \ Keyboard Sonata Op. 38 No. 1 in E flat major
* P XII:36 \ Keyboard Sonata Op. 38 No. 2 in C major
* P XII:37 \ Keyboard Sonata Op. 38 No. 3 in F minor
* P XII:38 \ Piano Sonata Op. 51 No. 1 in E flat major
* P XII:39 \ Piano Sonata Op. 51 No. 2 in C minor
* P XII:40 \ Piano Sonata Op. 51 No. 3 in D minor
* P XII:41 \ Harpsichord Sonata in C major
* P XII:42 \ Harpsichord Sonata in E flat major
* P XII:43 \ Piano Sonata in B flat major (lost)
* P XII:44 \ Piano Sonata in A major (lost)
* P XII:45 \ Piano Sonata in E minor (lost)
* P XII:46 \ Keyboard Sonata in G major (lost)
* P XII:47 \ Keyboard Sonata in F major (lost)
* P XII:48 \ Keyboard Sonata in E flat major (lost)
* P XII:49 \ Piano Sonata in G major (lost)
* P XII:50 \ Piano Sonata in G major
* P XII:C1 \ Harpsichord Sonata in C major
* P XII:D1 \ Harpsichord Sonata in D major
* P XII:Es1 \ Harpsichord Sonata in E flat major
* P XII:Es2 \ Harpsichord Sonata in E flat major
* P XII:G1 \ Harpsichord Sonata in G major
* P XII:G2 \ Harpsichord Sonata in G major

'''Keyboard Pieces'''
* P XIII: 1 \ Andante & March for harpsichord
* P XIII: 2 \ La Chasse for keyboard Op. 5 in B flat major
* P XIII: 3 \ Caprice for piano Op. 45 No. 1 in E flat major
* P XIII: 4 \ Caprice for piano Op. 45 No. 2 in B flat major
* P XIII: 5 \ Caprice for piano Op. 45 No. 3 in C minor
* P XIII: 6 \ Piece for piano Op. 43 No. 1 in A minor
* P XIII: 7 \ Piece for piano Op. 43 No. 2 in C major
* P XIII: 8 \ Piece for piano Op. 43 No. 3 in C major
* P XIII: 9 \ Piece for piano Op. 43 No. 4 in C major
* P XIII:10 \ Piece for piano Op. 43 No. 5 in F major
* P XIII:11 \ Piece for piano Op. 43 No. 6 in G major
* P XIII:12 \ Piece for piano Op. 43 No. 7 in G major
* P XIII:13 \ Piece for piano Op. 43 No. 8 in C major
* P XIII:14 \ Piece for piano Op. 43 No. 9 in A minor
* P XIII:15 \ Piece for piano Op. 43 No. 10 in B minor
* P XIII:16 \ Piece for piano Op. 43 No. 11 in D minor
* P XIII:17 \ Piece for piano Op. 43 No. 12 in E flat major
* P XIII:a1 \ Sicilienne for keyboard in A minor
* P XIII:C1 \ Bernoise for keyboard in C major
* P XIII:F1 \ La chasse au sanglier for keyboard in F major
* P XIII:g1 \ Pastorale for keyboard in G minor
* P XIII:G1 \ Romance for keyboard in G major
* P XIII:G2 \ Air cosaque for keyboard in G major
* P XIV: 1 \ 13 Menuets for harpsichord
* P XIV: 2 \ Menuetto angloise for harpsichord in F major
* P XIV: 3 \ Polonese for harpsichord in C major
* P XIV: 4 \ 9 Menuets for harpsichord
* P XIV: 5 \ 6 Contredanses for keyboard
* P XIV: 6 \ Wachtel Menuett for keyboard in F sharp minor
* P XIV: 7 \ 12 Menuets for keyboard
* P XIV: 8 \ 15 German Dances for keyboard
* P XIV: 9 \ 15 German Dances & 6 Ecossaises for piano
* P XIV:10 \ Marsch für das Corps der Freywilligen des Handelstandes von Wien in C major
* P XIV:11 \ 12 German Dances for piano
* P XIV:C1 \ 12 Ländler for keyboard in C major
* P XIV:D1 \ 10 German Dances & 12 Ländler for piano
* P XIV:Es1 \ 10 Ländler & Coda for piano in E flat major
* P XIV:F1 \ 7 Polonaises for piano

'''Other Chamber Music'''
* P XV:1 \ Violin Duet in D major
* P XV:2 \ Violin Duet in B flat major
* P XV:3 \ Violin Duet in G major
* P XV:4 \ Trio for flute, violin & cello in G major
* P XV:5 \ Hunting Fanfare for 3 horns in C major
* P XV:6 \ Duet for violin & viola in D major
* P XV:7 \ Duet for flute & cello in E minor
* P XV:8 \ Duet for flute & cello in C major
* P XV:9 \ Duet for flute & cello in D major

'''Oratorios'''
* P XVI:1 \ Moisè in Egitto
* P XVI:2 \ La Giuditta (lost)


Milan Poštolka, a musicologist, catalogued Koželuch's works in 1964.
'''Choral Pieces & [[Part song|Part-songs]]'''
* P XVII:1 \ Chorus for La Galatea P XIX:7 in C major
* P XVIII:1 \ Notturno Op. 42 No. 1 in C minor
* P XVIII:2 \ Notturno Op. 42 No. 2 in G minor
* P XVIII:3 \ Notturno Op. 42 No. 3 in B flat major
* P XVIII:4 \ Notturno Op. 42 No. 4 in D minor
* P XVIII:5 \ Notturno Op. 42 No. 5 in E flat major
* P XVIII:6 \ Notturno Op. 42 No. 6 in C major
* P XVIII:B1 \ Quartet: Dum ti dum in B flat major


===Keyboard===
'''Secular Cantatas & Arias'''
Koželuch's substantial output of keyboard compositions reflected the promotion of his reputation as a specialist keyboard virtuoso. [[Christopher Hogwood]] argues that Koželuch's keyboard sonatas, especially those which open in minor keys, "substantially anticipated ... the tragic-pathetic manner" of [[Ludwig van Beethoven|Beethoven]] and [[Franz Schubert|Schubert]], and that in them he "created the internationally praised ''cantabile'' idiom". Hogwood further states that "Koželuch's sonatas are, in the true sense, 'classics'—that is to say, 'models for imitation and study'—and display to perfection precisely those features that theorists required of a sonata at the end of the 18th century."<ref name="Hogwood, p. 623"/> The oeuvre of sonatas spans almost the entirety of Koželuch's career: the first was composed in 1773; the final three date from after 1810. The sonatas cater for different purposes. Some are exhibitionist works; some are simpler; some are cast in a Romantic style that foreshadows Beethoven. In the third category, Koželuch was composing slow minor-key introductions to sonatas as much as 17 years before Beethoven composed his [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8 ("Pathetique")]], while neither Mozart nor Haydn ever did so.<ref name="English, p. 5">English, p. 5</ref> Koželuch's composed his sonatas to be played on the newly emerging [[fortepiano]] rather than the [[harpsichord]]. The popularity of the sonatas in turn helped to make the fortepiano fashionable.<ref name="English, p. 5"/>
* P XIX:1 \ Denis Klage auf den Todt Marien Theresien
* P XIX:2 \ Cantata: Quanto è mai tormentosa
* P XIX:3 \ Cantata Op. 11: Joseph, der Menschheit Segen
* P XIX:4 \ Cantata to Maria Theresia Paradis
* P XIX:5 \ Cantata Op. 8: Chloe, siehst du nicht voll grausen
* P XIX:6 \ Cantata for the Coronation of Leopold II
* P XIX:7 \ La Galatea (lost)
* P XIX:8 \ In un fiero contrasto
* P XIX:9 \ Cantata pastorale per la Natività di Nostro Signor Gesù Christo (lost)
* P XX:1 \ Caro bene in E flat major
* P XX:2 \ Misero me! che veggo in E flat major
* P XX:3 \ Se mai senti in G major


Twenty-two Koželuch keyboard concertos survive. The musicologist Richard Wigmore argues that they "conspicuously lack the melodic abundance, rich woodwind colouring and operatic-style dialogues of Mozart's great Viennese concertos", but nonetheless "beguile with their limpid grace, their sparkling keyboard writing (often in just two parts), and their sense of proportion."<ref name="Wigmore"/> Most are scored only for strings, oboes, horns and soloist—sparser than Mozart's scoring of his contemporaneous concertos—suggesting that the works were intended for small-scale performances.<ref>{{cite web|year=2017|last1=Wigmore|first1=Richard|title=Piano Concertos Nos 1, 5 & 6: Liner notes|url=http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68154|publisher=Hyperion Records|access-date=14 March 2017}}</ref>
'''Songs'''
* P XXI: 1 \ 15 Lieder
* P XXI: 2 \ 12 Lieder
* P XXI: 3 \ The happy Pair in A flat major
* P XXI: 4 \ 12 Ariette Op. 31
* P XXI: 5 \ De l'arbre ces fruits in G major
* P XXI: 6 \ Marschlied für das Wiener Freycorps in C major
* P XXI: 7 \ Marschlied für das akademische Bürgercorps in B flat major
* P XXI: 8 \ 3 Airs François
* P XXI: 9 \ Hört! Maurer, auf der Weisheit lehren in A major
* P XXI:10 \ In questa tomba oscura in C minor
* P XXI:11 \ 12 Canzonette
* P XXI:12 \ Mein Mädchen in D major
* P XXI:13 \ Des Kriegers Abschied in C major
* P XXI:14 \ Leiser nannt' ich deinen Namen in C minor
* P XXI:15 \ Let the declining damask rose in G major
* P XXI:C1 \ Aufruf an die Böhmen in C major
* P XXI:C2 \ 27 Solfeggi
* P XXII:1 \ Scottish, Irish & Welsh Songs
* P XXII:2 \ Welsh Songs
* P XXII:A1 \ Scottish Melodies arranged for keyboard


===Chamber===
'''Operas'''
Koželuch's [[chamber music]], especially his output from the 1790s, is among the more advanced of his works, often foreshadowing the expressionism of Beethoven.<ref name="English, p. 5"/> Musicologist Roger Hickman refers to this period of chamber music output as representing a more "daring character" on the part of the composer, and argues that these works "must have been noted by the young [[Franz Schubert|Schubert]]".<ref>Hickman, p. 51</ref> Koželuch's only [[string quartet]]s date from this period. A set of six published as Opus 32 and Opus 33, they became known throughout Europe.<ref name="Hickman, p. 42"/>
* P XXIII:1 \ Le Muzet (lost)
* P XXIII:2 \ Debora e Sisara (lost)
* P XXIII:3 \ Didone abbandonata (lost)
* P XXIII:4 \ Télémaque dans l'île de Calypso (opera) (lost)
* P XXIII:5 \ Judith und Holofernes (lost)
* P XXIII:6 \ Gustav Vasa (lost)


===Orchestral and choral===
'''Ballets'''
Koželuch probably composed most of his symphonies during his first decade in Vienna, a period in which his Viennese contemporaries, including Mozart, were focusing on other genres. The musicologist Allan Badley labels Koželuch's symphonic compositions as "modest by the standards of the time". Badley argues that Koželuch's symphonies are influenced by those of his Prague teacher [[František Xaver Dušek]] in their orchestration and thematic organisation.<ref>{{cite web|last1=Badley|first1=Allan|title=Liner notes: KOŽELUCH, L.: Symphonies, Vol. 1 – P. I:3, 5, 6, 7 (Czech Chamber Philharmonic, Pardubice, Štilec)|url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573627&catNum=573627&filetype=About%20this%20Recording&language=English#|publisher=Naxos|access-date=11 March 2017}}</ref>
* P XXIV:1 \ Ballet Op. 39: La ritrovata figlia di Ottone II
* P XXIV:2 \ Arlechino (lost)
* P XXIV:3 \ Ballet in C major
* P XXIV:4 \ Ballet in F major
* P XXIV:5 \ Pantomime in A minor
* P XXIV:6 \ Télémaque dans l'île de Calypso (ballet) (lost)


Almost all of Koželuch's choral works, including cantatas and five of his six operas, have been lost.<ref>Golding, p. 5.</ref> His opera ''Gustav Wasa'' (presumably from 1792) was performed in Finland in 2018, for the first time since the death of the composer.<ref>{{cite news | title=Ett tvåhundra år gammat operfynd | language=Swedish | first=Jan | last=Granberg | publisher=Hufvudstadsbladet | date=5 March 2018 | page=20 | url=http://www.hbl.fi/artikel/ett-tvahundra-ar-gammalt-operafynd/ }}</ref>
'''Sacred Music'''
* P XXV: 1 \ Mass in C major
* P XXV: 2 \ Tantum ergo in F major
* P XXV: 3 \ Mandavit Deus in E flat major
* P XXV: 4 \ Quaeso ad me veni in E flat major
* P XXV: 5 \ Umbra noctis orbem tangit in B flat major
* P XXV: 6 \ Domine non sul dignus in E flat major
* P XXV: 7 \ Gottes Liebe in C sharp minor
* P XXV:A1 \ Mass in A major
* P XXV:A2 \ Offertory in A major
* P XXV:A3 \ Aeh quanta vis amoris in A major
* P XXV:A4 \ Mater dolorosa in A major
* P XXV:B1 \ Ad hoc festum chori in B flat major
* P XXV:B2 \ Omni die Mariae in B flat major
* P XXV:B3 \ Magne Deus audi in B flat major
* P XXV:C1 \ Missa brevis in C major
* P XXV:D1 \ Missa brevis in D major
* P XXV:D2 \ Amati quaeso montes in D major
* P XXV:Es1 \ Cernis o anima in E flat major
* P XXV:g1 \ Mass in G minor


== References ==
== References ==
{{Reflist}}
{{Reflist|colwidth=25em}}


==Sources==
==Sources==
*{{cite web|year=2017|last1=English|first1=Kemp|title=Leopold Koželuch (1747-1818): Complete Sonatas for Solo Keyboard, Vol. 7|url=http://www.eclassical.com/shop/17115/art88/4997288-64c203-747313973125.pdf|publisher=Grand Piano|access-date=11 March 2017}}
*Flamm-Harten, C.: ''Leopold Kozeluch'' (1968)
*{{cite web|last1=Golding|first1=Robin|title=Kozeluch: Symphonies|url=https://www.chandos.net/chanimages/Booklets/CH9703.pdf|publisher=Chandos|date=1999|access-date=12 March 2017}}
*Kennedy, Michael and Bourne, Joyce, eds. ''The Concise Oxford Dictionary of Music''. Fourth edition, 1996 (2004 reprint). Oxford, New York: Oxford University Press. ISBN 0-19-860884-5.
*Christa Flamm-Harten: ''Leopold Koželuch : Biographie und stilkritische Untersuchung der Sonaten für Klavier, Violine und Violoncello nebst einem Beitrag zur Entwicklungsgeschichte des Klaviertrios''. Dissertation. Wien 1968, {{OCLC|667990749}}. (Exemplare: Universität Wien, ÖNB)
*{{cite journal|last1=Hickman|first1=Roger|title=Leopold Kozeluch and the Viennese Quatuor Concertant|journal=College Music Symposium|date=1986|volume=26}}
*{{cite journal|last1=Hogwood|first1=Christopher|title=The Keyboard Sonatas of Leopold Koželuch|journal=Early Music|date=2012|volume=40|issue=4|pages=621–637|doi=10.1093/em/cas116}}
*Kennedy, Michael and Bourne, Joyce, eds. ''The Concise Oxford Dictionary of Music''. Fourth edition, 1996 (2004 reprint). Oxford, New York: Oxford University Press. {{ISBN|0-19-860884-5}}.
*{{Cite Grove |last=Poštolka |first=Milan |title=Leopold Kozeluch}}
*Sondheimer, Robert: ''Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18. Jahrhunderts''. Leipzig: Breitkopf & Härtel, 1925.
*Sondheimer, Robert: ''Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18. Jahrhunderts''. Leipzig: Breitkopf & Härtel, 1925.
*[[Lukáš M. Vytlačil|Vytlačil, Lukáš M.]] "From Velvary, Bohemia, to the court in Vienna. The life of the imperial Kapellmeister Leopold Koželuh and a new complete edition of his keyboard sonatas." ''Czech Music Quarterly'' 16/2 (2016), pp.&nbsp;7–11. ([https://www.academia.edu/29892110/From_Velvary_Bohemia_to_the_court_in_Vienna._The_life_of_the_imperial_Kapellmeister_Leopold_Ko%C5%BEeluh_and_a_new_complete_edition_of_his_keyboard_sonatas on-line here])


==Further reading==
==Further reading==
*[[Otto Erich Deutsch|Deutsch, Otto Erich]]. ''Kozeluch Ritrovato''. ''Music and letters.'' London. v. 26 no. 1, Jan. 1945, p.&nbsp;47-50.
*[[Otto Erich Deutsch|Deutsch, Otto Erich]]. ''Kozeluch Ritrovato''. ''Music and letters.'' London. v. 26 no. 1, Jan. 1945, p.&nbsp;47-50.
*Poštolka, Milan. ''Leopold Koželuh : život a dílo''. Praha : Státní hudební vydavatelství, 1964. 387 p. with bibliography pp.&nbsp;379–87 and 10 pp. illustrations.
*Poštolka, Milan. ''Leopold Koželuh : život a dílo''. Praha : Státní hudební vydavatelství, 1964. 387 p. with bibliography pp.&nbsp;379–87 and 10 pp. illustrations.
*John A. Rice, [https://www.academia.edu/14498757/Muzzarelli_Kozeluch_and_La_ritrovata_figlia_di_Ottone_II_1794_Viennese_Ballet_Reborn_in_the_Spirit_of_Noverre "Muzzarelli, Kozeluch, and ''La ritrovata figlia di Ottone II'' (1794): Viennese Ballet Reborn in the Spirit of Noverre"]
*Vytlačil, Lukáš M. [https://www.academia.edu/29892110/From_Velvary_Bohemia_to_the_court_in_Vienna._The_life_of_the_imperial_Kapellmeister_Leopold_Ko%C5%BEeluh_and_a_new_complete_edition_of_his_keyboard_sonatas ''From Velvary, Bohemia, to the court in Vienna. The life of the imperial Kapellmeister Leopold Koželuh and a new complete edition of his keyboard sonatas''.] Czech Music Quarterly 16/2 (2016), pp.&nbsp;7–11.
* John A. Rice, [https://www.academia.edu/7047708/A_Bohemian_Composer_Meets_a_Mozart_Singer_Kozeluchs_Rondò_for_Adriana_Ferrarese "A Bohemian Composer Meets a Mozart Singer: Kozeluch's Rondò for Adriana Ferrarese"]


== External links ==
== External links ==
* [http://www.operone.de/komponist/kozeluhleo.html Operone list of works]
* [http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=kozeluh Classical-composers.org page on Kozeluch]
* [http://www.haydn.dk/mhc_kozeluch.php Michael Haydn and His Contemporaries page on Kozeluch]
* [http://www.mozartforum.com/Contemporary%20Pages/Kozeluch%20Contemp.htm Kozeluch page in "Contemporaries of Mozart" section of mozartforum.com]
* {{IMSLP|id=Koželuh, Leopold|cname=Leopold Koželuch}}
* {{IMSLP|id=Koželuh, Leopold|cname=Leopold Koželuch}}
* [https://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadID=00636 Musical Manuscripts Collection] at the [[Harry Ransom Center]]


{{Classical period (music)}}
{{Authority control}}
{{Authority control}}


Line 435: Line 80:
[[Category:1818 deaths]]
[[Category:1818 deaths]]
[[Category:18th-century classical composers]]
[[Category:18th-century classical composers]]
[[Category:18th-century Bohemian people]]
[[Category:18th-century male musicians]]
[[Category:18th-century musicians from Bohemia]]
[[Category:19th-century classical composers]]
[[Category:19th-century classical composers]]
[[Category:19th-century Czech people]]
[[Category:19th-century Czech musicians]]
[[Category:Classical-period composers]]
[[Category:Czech Classical-period composers]]
[[Category:Czech classical composers]]
[[Category:18th-century composers from the Holy Roman Empire]]
[[Category:Czech male classical composers]]
[[Category:Composers from the Austrian Empire]]
[[Category:Czech expatriates in Austria]]
[[Category:Czech Freemasons]]
[[Category:People from Kladno District]]
[[Category:People from Kladno District]]
[[Category:19th-century Czech male musicians]]
[[Category:String quartet composers]]
[[Category:Oratorio composers]]
[[Category:Czech opera composers]]
[[Category:Czech male opera composers]]
[[Category:Composers for piano]]

Latest revision as of 23:22, 31 August 2024

Leopold Koželuch
Born
Jan Antonín Koželuh

(1747-06-26)26 June 1747
Velvary, Bohemia
Died7 May 1818(1818-05-07) (aged 70)
Vienna, Austrian Empire
OccupationComposer
Birth house of Leopold Koželuch in Velvary
Prague – Kotzen Theatre
Vienna – Burgtheater Michaelerplatz

Leopold Koželuch (Czech pronunciation: [ˈlɛopolt ˈkoʒɛlux], born Jan Antonín Koželuh, alternatively also Leopold Koželuh, Leopold Kotzeluch; 26 June 1747 – 7 May 1818) was a Czech composer and music teacher.

He was born in Velvary and moved to Prague to further his musical education, before moving again to Vienna in 1778, where he was based for the remainder of his career. In Vienna he achieved renown as a composer, pianist and teacher, and from 1792 until his death in 1818 he held royal appointments as Kammer Kapellmeister (music director) and Hofmusik Compositor (composer), as Wolfgang Amadeus Mozart's successor.

Koželuch's compositional output included sonatas and concertos for keyboard, the instrument in which he specialised, as well as chamber music, choral music and opera.

Life

[edit]

Koželuch was born on 26 June 1747 in Velvary, in present-day Czech Republic.[1] His father was Antonín Bartholomäus Koželuh, a shoemaker.[2] He was baptised Jan Antonín, but by 1773 he had adopted the name Leopold to avoid confusion with his elder cousin, the composer Jan Antonín Koželuh.[1] He also Germanised his surname to Koželuch.[3] After starting his musical education in Velvary, Koželuch moved to Prague where he studied with his cousin and František Xaver Dušek, the latter teaching him in the keyboard and composition.[1]

From 1771 to 1778, Koželuch wrote ballets and pantomimes which were performed in Prague. The success of these works led him to abandon plans to study law in favour of a musical career.[1] He moved to Vienna for this purpose in 1778, where he quickly established himself as a pianist, albeit one who did not perform in public,[2] composer and teacher. Pianist Kemp English observes that in Vienna Koželuch "found himself in the right place at the right time", and was able to advance his career there with carefully cultivated connections.[3] He composed a cantata for the death of Maria Theresa in 1780.[4] His pupils would include Maria Theresia Paradis, Archduchess Elisabeth of Württemberg, Archduchess Marie Louise and Maria Leopoldine von Österreich, Empress of Brazil.[5] His appointment to teach Archduchess Elizabeth was an official court position, succeeding Georg Christoph Wagenseil. In 1781, Wolfgang Amadeus Mozart resigned his appointment as court organist in Salzburg following a quarrel with his employer, the Archbishop of Salzburg. The Archbishop offered the position to Koželuch, but Koželuch refused, later expressing concerns to a friend that he might too have fallen victim to what he saw as Mozart's ill-treatment. In 1784, Koželuch expanded into publishing, and soon formed his own firm, Musikalisches Magazin, which would later come under the management of his brother Antonín Tomáš. Koželuch would use the firm, in combination with overseas partners, to publish many of his compositions.[3][1]

By 1790, a time at which Mozart and Joseph Haydn were at the height of their careers, Koželuch's reputation was such as to move Ernst Ludwig Gerber to say the following of his status within Europe: "Leopold Kozeluch is without question with young and old the generally most loved among our living composers, and this with justification".[6] Koželuch's esteem in royal circles grew again in 1791, when he composed a well-received cantata commissioned for the coronation of Emperor Leopold II in Prague. Mozart composed La clemenza di Tito for the same occasion. Mozart's death later in the year afforded Koželuch another opportunity: Emperor Franz II offered him Mozart's positions in his court, Kammer Kapellmeister (music director) and Hofmusik Compositor (composer), and at double Mozart's salary.[7] Koželuch would remain in the positions until his death.[2] Koželuch joined a masonic lodge in 1791, marking another coincidence between his career and Mozart's and serving to advance himself further within Viennese society.[4]

Koželuch's compositional output declined after the turn of the century as he focused on his court duties, teaching, and the lucrative work of arranging Scottish, Irish and Welsh folk songs for the publisher George Thomson.[3] William Crotch reflected on Koželuch's reputation in a lecture in 1806, remarking that he had "sunk in unmerited neglect" while Mozart's reputation had enjoyed posthumous growth.[8] In 1809, Ludwig van Beethoven, a frequent disparager of rival composers, would write to Thomson referring to Koželuch as "Miserabilis".[9]

Koželuch died on 7 May 1818. His daughter, Catherina Cibbini-Kozeluch, became a prominent pianist and composer based in Vienna.[7]

Works

[edit]
See also: List of compositions by Leopold Koželuch

Koželuch left around 400 compositions. Among these there are about thirty symphonies, twenty-two piano concertos, including a concerto for piano four-hands, arguably one of the best examples of this rare genre, two clarinet concertos, twenty-four violin sonatas, sixty-three piano trios, six string quartets, two oratorios (one of which, Moisè in Egitto, has recently been produced and recorded), nine cantatas and various liturgical works. Among his music there are also operas and works for ballet, which—with the exception of one opera —have yet to be heard in recent years. Numerous arrangements by him of Scottish songs for the Edinburgh collector George Thomson were popular, and some of these have also been recorded.

Milan Poštolka, a musicologist, catalogued Koželuch's works in 1964.

Keyboard

[edit]

Koželuch's substantial output of keyboard compositions reflected the promotion of his reputation as a specialist keyboard virtuoso. Christopher Hogwood argues that Koželuch's keyboard sonatas, especially those which open in minor keys, "substantially anticipated ... the tragic-pathetic manner" of Beethoven and Schubert, and that in them he "created the internationally praised cantabile idiom". Hogwood further states that "Koželuch's sonatas are, in the true sense, 'classics'—that is to say, 'models for imitation and study'—and display to perfection precisely those features that theorists required of a sonata at the end of the 18th century."[8] The oeuvre of sonatas spans almost the entirety of Koželuch's career: the first was composed in 1773; the final three date from after 1810. The sonatas cater for different purposes. Some are exhibitionist works; some are simpler; some are cast in a Romantic style that foreshadows Beethoven. In the third category, Koželuch was composing slow minor-key introductions to sonatas as much as 17 years before Beethoven composed his Piano Sonata No. 8 ("Pathetique"), while neither Mozart nor Haydn ever did so.[10] Koželuch's composed his sonatas to be played on the newly emerging fortepiano rather than the harpsichord. The popularity of the sonatas in turn helped to make the fortepiano fashionable.[10]

Twenty-two Koželuch keyboard concertos survive. The musicologist Richard Wigmore argues that they "conspicuously lack the melodic abundance, rich woodwind colouring and operatic-style dialogues of Mozart's great Viennese concertos", but nonetheless "beguile with their limpid grace, their sparkling keyboard writing (often in just two parts), and their sense of proportion."[9] Most are scored only for strings, oboes, horns and soloist—sparser than Mozart's scoring of his contemporaneous concertos—suggesting that the works were intended for small-scale performances.[11]

Chamber

[edit]

Koželuch's chamber music, especially his output from the 1790s, is among the more advanced of his works, often foreshadowing the expressionism of Beethoven.[10] Musicologist Roger Hickman refers to this period of chamber music output as representing a more "daring character" on the part of the composer, and argues that these works "must have been noted by the young Schubert".[12] Koželuch's only string quartets date from this period. A set of six published as Opus 32 and Opus 33, they became known throughout Europe.[6]

Orchestral and choral

[edit]

Koželuch probably composed most of his symphonies during his first decade in Vienna, a period in which his Viennese contemporaries, including Mozart, were focusing on other genres. The musicologist Allan Badley labels Koželuch's symphonic compositions as "modest by the standards of the time". Badley argues that Koželuch's symphonies are influenced by those of his Prague teacher František Xaver Dušek in their orchestration and thematic organisation.[13]

Almost all of Koželuch's choral works, including cantatas and five of his six operas, have been lost.[14] His opera Gustav Wasa (presumably from 1792) was performed in Finland in 2018, for the first time since the death of the composer.[15]

References

[edit]
  1. ^ a b c d e Poštolka
  2. ^ a b c Hogwood, p. 621
  3. ^ a b c d English, p. 4
  4. ^ a b Vytlačil, p. 8
  5. ^ Hogwood, p. 626
  6. ^ a b Hickman, p. 42
  7. ^ a b Vytlačil, p. 9
  8. ^ a b Hogwood, p. 623
  9. ^ a b Wigmore, Richard. "Leopold Kozeluch". Hyperion Records. Retrieved 11 March 2017.
  10. ^ a b c English, p. 5
  11. ^ Wigmore, Richard (2017). "Piano Concertos Nos 1, 5 & 6: Liner notes". Hyperion Records. Retrieved 14 March 2017.
  12. ^ Hickman, p. 51
  13. ^ Badley, Allan. "Liner notes: KOŽELUCH, L.: Symphonies, Vol. 1 – P. I:3, 5, 6, 7 (Czech Chamber Philharmonic, Pardubice, Štilec)". Naxos. Retrieved 11 March 2017.
  14. ^ Golding, p. 5.
  15. ^ Granberg, Jan (5 March 2018). "Ett tvåhundra år gammat operfynd" (in Swedish). Hufvudstadsbladet. p. 20.

Sources

[edit]
  • English, Kemp (2017). "Leopold Koželuch (1747-1818): Complete Sonatas for Solo Keyboard, Vol. 7" (PDF). Grand Piano. Retrieved 11 March 2017.
  • Golding, Robin (1999). "Kozeluch: Symphonies" (PDF). Chandos. Retrieved 12 March 2017.
  • Christa Flamm-Harten: Leopold Koželuch : Biographie und stilkritische Untersuchung der Sonaten für Klavier, Violine und Violoncello nebst einem Beitrag zur Entwicklungsgeschichte des Klaviertrios. Dissertation. Wien 1968, OCLC 667990749. (Exemplare: Universität Wien, ÖNB)
  • Hickman, Roger (1986). "Leopold Kozeluch and the Viennese Quatuor Concertant". College Music Symposium. 26.
  • Hogwood, Christopher (2012). "The Keyboard Sonatas of Leopold Koželuch". Early Music. 40 (4): 621–637. doi:10.1093/em/cas116.
  • Kennedy, Michael and Bourne, Joyce, eds. The Concise Oxford Dictionary of Music. Fourth edition, 1996 (2004 reprint). Oxford, New York: Oxford University Press. ISBN 0-19-860884-5.
  • Poštolka, Milan (2001). "Leopold Kozeluch". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan Publishers. ISBN 978-1-56159-239-5.‎
  • Sondheimer, Robert: Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1925.
  • Vytlačil, Lukáš M. "From Velvary, Bohemia, to the court in Vienna. The life of the imperial Kapellmeister Leopold Koželuh and a new complete edition of his keyboard sonatas." Czech Music Quarterly 16/2 (2016), pp. 7–11. (on-line here)

Further reading

[edit]
[edit]
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Leopold_Koželuch&oldid=1243344932"