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Composer: Anton Diabelli (1781-1858)
Work: 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)
Pastoral-Messe in F-dur (1830)
1. Kyrie 0:00
2. Gloria 4:26
3. Credo 12:05
4. Sanctus 23:12
5. Benedictus 25:48
6. Agnus Dei 31:45
Painting: David Roberts (1796-1864) - Interior of the Cathedral of St Stephen, Vienna (1853)
Image in high resolution: flic.kr/p/2mkueR7
Further info: www.discogs.com/es/sell/relea...
Listen free: No available
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Anton Diabelli
(Mattsee, nr Salzburg, 5 September 1781 - Vienna, 7 April 1858)
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.
7 авг 2024
