(b Berlin, 1748; d Berlin, May 26, 1809). German viol player and instrument maker. He was a viol player in the royal chapel from 1765, and in 1770, together with J.F.E. Benda, he established the Berlin Liebhaberkonzerte. With Benda’s death in 1785 Bachmann succeeded him as director of the concerts; in the same year he married the noted singer and pianist Charlotte Caroline Wilhelmine Stöwe. Throughout this period he also made instruments in the shop of his father, the violin maker and court violinist Anton Bachmann (1716–1800), and may have been responsible for several innovations, including a screw-tuning mechanism for double basses which he introduced in about 1778, although a similiar mechanism was already known in France, having been developed by Benoît Fleury in 1766. He continued alone in his father’s business from 1791, at about which time he passed the directorship of the Liebhaberkonzerte to his younger brother, the court violinist Friedrich Wilhelm Bachmann (...
E. Eugene Helm
revised by Martin Elste
Roger J.V. Cotte
(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera La musicomanie (1779), and possibly E.T.A. Hoffmann in his tale Die Serapionsbrüder (1819), attempted to evoke his strange personality, emphasizing its ridiculous nature.
At the death of his father, a landed nobleman, in 1747, Bagge inherited a large fortune which enabled him to study the violin in Italy with Tartini. By 1750 he had settled in Paris; in the following year he was awarded the title chambellan du Roi de Prusse (then Frederick II) and married the daughter of the Swiss banker Jacob Maudry. With Maudry's death in 1762 the very large inheritance proved a source of contention to the ill-matched couple and they soon separated. Bagge later attempted to gain possession of the inheritance of Mme Maudry, who had died in ...
Barra R. Boydell
(b Waterford, 1740; d ?London, c1795). Irish violinist and inventor. Nothing is known of Clagget before around 1760 when, together with his brother
In Dublin he had performed at concerts on new or unusual instruments, and after settling in London he largely devoted his attention to the development and invention of musical instruments, concerning himself especially with tuning and temperament. In ...
Alan Tyson and Leon Plantinga
[Clementi, Mutius Philippus Vincentius Franciscus Xaverius]
(b Rome, Jan 23, 1752; d Evesham, Worcs., March 10, 1832). English composer, keyboard player and teacher, music publisher and piano manufacturer of Italian birth.
The oldest of seven children of Nicolo Clementi (1720–89), a silversmith, and Magdalena, née Kaiser, Clementi began studies in music in Rome at a very early age; his teachers were Antonio Boroni (1738–92), an organist named Cordicelli, Giuseppi Santarelli (1710–90) and possibly Gaetano Carpani. In January 1766, at the age of 13, he secured the post of organist at his home church, S Lorenzo in Damaso. In that year, however, his playing attracted the attention of an English traveller, Peter Beckford (1740–1811), cousin of the novelist William Beckford (1760–1844) and nephew of William Beckford (1709–70), twice Lord Mayor of London. According to Peter Beckford’s own forthright explanation, he ‘bought Clementi of his father for seven years’, and in late ...
(b Bohemia, 1710/11; d Dresden, March 30, 1771). Bohemian horn player, teacher, inventor and composer. He was appointed second horn of the Dresden Hofkapelle in 1737 and continued in that capacity until about 1768, being paired initially with J.G. Knechtel, later with Carl Haudek. Hampel contributed to the development of both the instrument and its technique, and his innovations were widely imitated. He extended the horn's range downwards by developing the middle and low registers. During his tenure at Dresden, second horn parts became more independent of first parts and a new idiomatic second horn style appeared, the latter characterized by rapid arpeggios and wide leaps, sometimes extending down to the second harmonic, with occasional factitious tones in the low register (e.g. e, f and f ♯). This new style was soon imitated elsewhere, and from it developed a species of second horn player (...
revised by Horace Fitzpatrick and Thomas Hiebert
(b Dobřiš, Nov 1721; d Dresden, July 25, 1802). Bohemian horn player and teacher. From 1738 to 1744 he studied with Johann Schindelárž [Jan Šindelář], who was principal horn player at Prince Mannsfeld’s court at Prague. Haudek joined Count Kinsky’s orchestra in 1744 and became Konzertmeister to Prince J.A. von Auersperg in 1746. He was appointed third horn player in the Dresden Hofkapelle in 1747, becoming first horn about 1756 (Marpurg), probably succeeding J.G. Knechtel. The second horn player at Dresden was Anton Joseph Hampel, with whom Haudek worked to develop the technique of hand-stopping for playing chromatic scales.
According to Dlabacž, Haudek and Hampel performed the most difficult Duettkonzerte in front of the entire Dresden court. Haudek’s 28 horn Duetts (ed. C. Larkins London, 1994), require a well-developed hand-stopping technique for both horn parts. Dlabacž also mentioned solos, Duettkonzerte and partitas written by Haudek for his many pupils (among whom were Franz Wiesbach and Giovanni Punto). Haudek became ill in ...
revised by Arthur W.J.G. Ord-Hume
(b Prague, Dec 21, 1756; d Prague, c1830). Czech composer, pianist and inventor. He studied law and philosophy at Prague University and music with the Prague organist Joseph Prokop. Two of his Singspiels were performed in Prague: König Wenzel (1778) and Die Bezauberten (1779). The piano part of the cantata Pygmalion (1781) and some German songs (1807) were also published in Prague; the first edition of his German songs had appeared in Leipzig in 1799. Kunz was an exponent of the late 18th-century fad for designing combination instruments, constructing in 1791 a piano-organ which he called an Orchestrion (not to be confused with the mechanical instrument of the same name). Between 1796 and 1798, in collaboration with the Prague piano-makers Johann and Thomas Still, he made a second, improved model. Shaped like an over-size grand piano and housed in a mahogany case with sides of ornamentally carved frames backed with blue taffeta, the lower part comprised a two-manual positive organ of 65 keys (compass ...
revised by Luc Rombouts
(b Zinnik [now Hennegau], bap. July 18, 1711; d Ghent, bur. May 25, 1765). Flemish carillonneur and composer. Known by 1729 as a carillonneur and clockmaker in his home town, Le Blan appeared from 1743 in Veurne exercising these two occupations. In 1746 he succeeded Pierre Schepers as town carillonneur at Ghent, becoming town clockmaker in ...
(b Kirchheim, Germany, Feb 21, 1746; d Vienna, Austria, June 25, 1792). German musician, composer, and woodwind instrument maker active in Pressburg and Vienna. Lotz is first documented as a clarinettist: on 17 Dec 1772 he performed a clarinet concerto in a Tonkünstlersocietät concert in Vienna, and in 1775 performed his own clarinet concerto in Pressburg. About this time Lotz became of a member of Cardinal Batthyány’s orchestra in Pressburg, where he served as first clarinettist, played viola when necessary, and directed rehearsals. Lotz remained a member of this orchestra until it disbanded in 1783. It has been suggested, without evidence, that Lotz was a member of the orchestras of Cardinal de Rohan (until 1774) and Prince (Johann?) Esterházy.
Lotz is remembered primarily as an innovative instrument maker. He made for Anton Stadler the basset clarinet for which Mozart wrote his concerto k622. C.F. Cramer (Magazin der Musik...
revised by Alfredo Bernardini
(b Italy, 1721/1724; d Bologna, Oct 16, 1804). Italian oboist and composer. He was employed as an oboist at S Petronio, Bologna, from 1760 until his death, although many sources (e.g. Fétis) claim he had lived in London, probably on the basis that most of his compositions were published there. He wrote a large amount of technically undemanding music almost exclusively in the form of flute duets for the ‘gentleman players’ whom he taught. He composed with facility in an elegant galant style, only rarely hazarding longer movements, as in his op.1 Eight Duets, finding for the great majority of his pieces the minuet to be the most appropriate vehicle for incorporating some simple melodic imitation with general tunefulness, predictable harmonic progressions and a certain rhythmic vitality.
all printed works published in London unless otherwise stated
( b ?Dublin; d Dublin, 1763). Irish music publisher, music seller, instrument dealer and violinist . He worked from about 1738 in the business established by his brother Bartholemew (d July 1758) about a year previously at Corelli’s Head, opposite Anglesea Street in College Green, Dublin. In April 1740 he advertised a proposal for printing Geminiani’s Guida armonica by subscription; it was finally issued in about 1752. Notable publications by him include collections of songs from Arne’s Comus, Dubourg’s variations on the Irish melody ‘Ellen a Roon’ and in December 1752 ‘six Trios for 2 Fiddles and thorough Bass composed by Sieur Van Maldere’. From 1741 a number of publications were issued in conjunction with William Neale, including the Monthly Musical Masque consisting of a collection of contemporary popular songs; the first issue was advertised in January 1744. Manwaring also imported Peter Wamsley’s best violins, Roman fiddle strings and ‘all the newest music published in London’. In addition to his business he took a prominent part in Dublin musical life during the 1740s as a violinist, often appearing with his brother who was also a violinist. He acted as treasurer of various charitable musical societies. After his death his wife carried on the business until ...
William C. Smith
revised by Peter Ward Jones
[ Theobald ]
( b Duchy of Modena, 1762; d London, June 14, 1839). Italian flautist, instrument maker and publisher . He apparently played both the flute and the oboe, but gave up the latter after moving to England where he first appeared at a London concert in February 1785, subsequently becoming well known as a solo and orchestral flautist, and remaining active in this capacity until about 1803. In 1787 he established premises in London where from various addresses he published his own compositions (mainly for flute) and other works. From 1789 he sometimes employed the piano maker and music publisher James Ball to print and sell his publications. In 1800 Monzani entered a partnership with Giambattista Cimador as Monzani & Cimador, from about 1803 occupying a building known as the Opera Music Warehouse. Cimador’s arrangement of several Mozart symphonies for flute and strings was allegedly provoked by the refusal of the King’s Theatre orchestra to play the works in their original form because of their difficulty; six of these were published by Monzani after Cimador’s death. From ...
Arthur W.J.G. Ord-Hume
[Pater Primitivus ]
(b Vlašim, Feb 9, 1750; d Vienna, Jan 9, 1806). Bohemian maker of mechanical instruments and viol player. He was ordained as a priest in 1776, taking the name of Father Primitivus. In 1780 he was appointed librarian to Prince Nikolaus Esterházy, with additional duties as viol player in the orchestra under the direction of Joseph Haydn. In 1795 he moved with the Esterházy household to Vienna. Niemecz became one of the most innovative of the Viennese clockwork barrel organ makers (see Musical clock), although there is no record of where he learnt such skills. Haydn admired his mechanical ability and produced a number of pieces of music (
(b Amatrice, Rieti, Italy, 17??; d Amatrice, Italy, 16–17 March 1804). Italian amateur flutist, composer, and developer of the flute. Orazi served as an army lieutenant in Naples and Spain and on retirement returned to Amatrice, on the northern border of the Kingdom of Naples. In 1797 he published a short treatise illustrating his invention and fabrication of a new type of transverse flute; printed separately at the same time were two ‘enharmonic’ trios he wrote especially for this instrument, incorporating themes by other composers. His aim was to make the flute more competitive with the violin by extending its range down to g; increasing the upper range and facilitating emission of high notes; and enabling it to perform quarter-tones so that portamento effects could enhance its expressive potential.
The instrument was essentially a normal concert flute in D (‘flauto corista’) equipped with four closed-standing keys (E♭, F, G#, B♭). To it was added an extension partly bent back on itself for more convenient positioning of the keys, allowing one to play chromatically from ...
revised by Thomas Hiebert
(b Jarmeritz [now Jaroměřice], June 20, 1752; d Berlin, Jan 24, 1792). Bohemian horn player who specialized in cor alto playing. He was presumably a pupil of Joseph Matiegka (1728–1804), an eminent horn teacher in Prague (Dlabacž). In Paris in 1770, while still a teenager, Palsa formed a duo with the cor basse player Carl Türrschmidt thus initiating what would become a lifelong horn-playing partnership. Between 1773 and 1781 Palsa and Türrschmidt played at the Concert Spirituel on at least 14 occasions (Pierre). In 1781 Joseph Raoux made one of his four silver cors solo for Palsa.
Palsa was noted for his mastery of cantabile style in the high register and praised for the beauty and purity of his tone. Forkel wrote ‘One can not hear anything more beautiful than the little duets that Palsa and his partner Türrschmidt play with each other on two silver horns, especially those that are in minor keys’. As a horn duo the fame of Palsa and Türrschmidt was matched only by that of the brothers Böck. Together with Türrschmidt, Palsa wrote two sets of six horn duos opp.1–2 (Paris, by ...
revised by Horace Fitzpatrick and Thomas Hiebert
[Stich, Johann Wenzel (Jan Václav)]
(b Zehušice, nr Čáslav, Sept 28, 1746; d Prague, Feb 16, 1803). Bohemian horn player, violinist and composer. His master Count Thun sent him to study the horn, first under Josef Matiegka at Prague, then with Jan Schindelarž at Dobříš; he completed his studies (c1763/4) in Dresden under A.J. Hampel, whose hand-stopping technique he later improved and extended. After his return home (1764) he served the count for four years and then ran away with four colleagues, crossing the border into the Holy Roman Empire, where he assumed his Italian pseudonym. He began travelling through Europe in 1768, breaking new ground as a touring horn virtuoso. He visited England in early 1772, performing at least ten times in London, most often as a concerto soloist (LS). Punto's use of hand-stopping was criticized by some in London (New Instructions; LS), probably because it was still novel, but others were more favourable, such as Burney, who wrote from Koblenz in July or ...
Klaus Wolfgang Niemöller
(b Bamberg, Nov 8, 1718; d Karlsruhe, Oct 24, 1809). German composer, conductor and glass harmonica maker. He received his musical education from the organ builder J.P. Seuffert in Würzburg and was a musician at the Rastatt court from about 1745 until its dissolution in 1771. There he was Konzertmeister in 1762 (leading the orchestra from the harpsichord) and Kapellmeister from 1765. In 1772 he became Konzertmeister at the Karlsruhe court, but in 1775 he went to Cologne as Kapellmeister at the cathedral and director of public concerts. Although his stay was brief, he had a lasting influence on Cologne’s musical life through his sacred compositions (in particular his mass for Epiphany, 1776, published in 1781) and through his introduction of modern orchestral methods in the style of Mannheim. In 1777 he accepted an invitation to return to Karlsruhe as Kapellmeister, and was also active there as a teacher and maker of glass harmonicas, whose range he extended from two octaves to four (...
Pamela L. Poulin
(b Bruck an der Leitha, June 28, 1753; d Vienna, June 15, 1812). Austrian clarinettist, composer and inventor. He was a son of a Viennese musician and shoemaker, Joseph Stadler, and his wife Sophie (née Altmann). At some time after the birth of his brother Johann (Nepomuk Franz) (b Vienna, ?1755; d Vienna, May–June 1804), the family returned to Vienna. Both boys became clarinettists; the earliest evidence of a joint performance appears in a programme of the Tonkünstler-Societät (1773). In 1779 they were engaged in the imperial eight-part Harmonie (Anton initially played second clarinet because of his interest in the low register), and they played in the court orchestra on a freelance basis. In 1780, the year of Anton’s marriage to Francisca Pichler (?Bichler), the brothers were also in the service of Count Carl von Palm, while Anton was also employed by the Russian ambassador Count Dmitry Golitsïn and the order of Maria Treu. By ...
(b Reinsdorf, nr Artern, Nov 8, 1725; d Leipzig, Feb 4, 1805). German flautist, teacher and flute maker. In 1750 he received the degree of Imperial Public Notary at Leipzig University. At about this time he began to make flutes. In 1754 he became principal flautist of the Grosses Conzert, a forerunner of the Gewandhaus orchestra. His career, interrupted by the disbanding of the orchestra during the Seven Years War, included solo tours as far afield as St Petersburg. J.F. Reichardt's accounts of his own travels (published 1774–6) took note of Tromlitz and only three other Leipzig virtuosos. Tromlitz left the orchestra in 1776 and devoted himself to teaching, writing, composition and flute making. He recorded his ideas and teaching methods in several texts which shed much light on late 18th-century flute playing and performing practice. His Kurze Abhandlung vom Flötenspielen (1786) announced his rejection of merely average standards of performing and instrument making; this was to become a constant theme of his. He introduced the elements at the core of his ideal: clarity of articulation and expression; perfect intonation in a system having both large (5-comma) and small (4-comma) semitones, for which the E♭ and D♯ keys invented by J.J. Quantz in ...
revised by Thomas Hiebert
(b Wallerstein, Feb 24, 1753; d Berlin, Nov 1, 1797). German cor basse player. He studied under his father Johann Türrschmidt (b Leschgau, 24 June 1725; d Wallerstein, 1800), a renowned primo horn player in the orchestra of the Prince of Oettingen-Wallerstein. From 1770 Carl Türrschmidt and the cor alto player Johann Palsa appeared as duettists in Paris, where they were also appointed to the private orchestra of the Prince of Guémené. The pair became one of the most famous horn duos of the 18th century, playing together for more than two decades. During the years 1773–81 they performed together on at least 14 occasions at the Concert Spirituel, playing at times with J.J. Rodolphe and Punto (Pierre, 367–8). In 1783 they joined the orchestra of the Landgrave of Hessen-Kassel. After their appearance in a double concerto by Antonio Rosetti at Koblenz (1785) the elector ordered four horns of the ...