DAVID WHITWELL

The Wind Band andWind Ensemble of the

Classical Period

SECOND EDITION

THE HISTORY AND LITERATURE OF THE WIND BANDAND WIND ENSEMBLE, VOLUME 4

The Wind Band and Wind Ensemble of the Classical Period

(1750–1800)

Books by David WhitwellPhilosophic Foundations of EducationFoundations of Music EducationMusic Education of the FutureThe Sousa Oral History ProjectThe Art of Musical ConductingThe Longy Club: 1900–1917A Concise History of the Wind BandWagner on BandsAesthetics of Music in Ancient CivilizationsAesthetics of Music in the Middle Ages

The History and Literature of the Wind Band and Wind Ensemble SeriesVolume 1 The Wind Band and Wind Ensemble Before 1500Volume 2 The Renaissance Wind Band and Wind EnsembleVolume 3 The Baroque Wind Band and Wind EnsembleVolume 4 The Wind Band and Wind Ensemble of the Classical Period (1750–1800)Volume 5 The Nineteenth-Century Wind Band and Wind EnsembleVolume 6 A Catalog of Multi-Part Repertoire for Wind Instruments or for Undesignated Instrumentation before 1600Volume 7 Baroque Wind Band and Wind Ensemble RepertoireVolume 8 Classic Period Wind Band and Wind Ensemble RepertoireVolume 9 Nineteenth-Century Wind Band and Wind Ensemble RepertoireVolume 10 A Supplementary Catalog of Wind Band and Wind Ensemble RepertoireVolume 11 A Catalog of Wind Repertoire before the Twentieth Century for One to Five PlayersVolume 12 A Second Supplementary Catalog of Early Wind Band and Wind Ensemble RepertoireVolume 13 Name Index, Volumes 1–12, The History and Literature of the Wind Band and Wind Ensemble

www.whitwellbooks.com

David Whitwell

The Wind Band andWind Ensemble of

the Classical Period(1750–1800)

THE HISTORY AND LITERATURE OF THE WIND BAND AND WIND ENSEMBLE, VOLUME 4

EDITED BY CRAIG DABELSTEIN

WHITWELL PUBLISHING • AUSTIN, TEXAS, USA

Whitwell Publishing, Austin 78701www.whitwellbooks.com

© 1984, 2012 by David WhitwellAll rights reserved. First edition 1984.Second edition 2012

Printed in the United States of America

pdfisbn-13: 978-1-936512-28-7isbn-10: 1936512289

All images used in this book are in the public domain except where otherwise noted.

Composed in Bembo Book

Foreword vii Acknowledgements ix

PART 1 COURT WIND BANDS 1

1 Court Wind Bands in Austria-Bohemia Court Wind Bands in Bohemia 21Court Wind Bands in Hungary 27Court Wind Bands in Vienna 35The Harmoniemusik of Mozart 44

2 Court Wind Bands in Germany 51 3 Court Wind Bands in France 63 4 Court Wind Bands in England 73 5 Russian Horn Bands 75

PART 2 MILITARY WIND BANDS 6 Military Wind Bands in Germany 85 7 Military Wind Bands in Austria 93 8 Military Wind Bands in France 99 9 Military Wind Bands in Italy 103 10 Military Wind Bands in England 105 PART 3 CHURCH WIND BANDS 117

PART 4 CIVIC WIND BANDS 129 11 Civic Band Music in Paris during the French Revolution 137

The Festival of the Federation, 14 July 1790 139The Development of the Musical Institutions 152The Politicalization of Music 168Band Music during The Terror 185Band Music during the Final Years of the Revolution 203

Bibliography 219 Index 229 About The Author 239

Contents

Foreword

This volume is the fourth of several which together attempt a general History and Literature of the Wind Band and Wind Ensemble. At the time these volumes were first writ-ten there was no comprehensive history of the wind band. In addition these volumes together provide library identification and shelf-marks for more than 30,000 wind band manuscripts and early prints before 1900 found in more than 450 librar-ies. Over several decades it was my practice when conducting in Europe to add some weeks to my trip to visit libraries and examine early works for wind band and many of these scores I worked into the repertoire of my own concerts.

The time span we call the Classical Period in the history of music is only fifty years, 1750–1800. In spite of considerable military activity, very little military music of value resulted. On the other hand it was a time of great activity in the court music realm. As nearly all performers were also composers, an enormous amount of court music fills the libraries of Europe from this period, indeed it has yet to be completely cataloged. Among these collections is a great deal of Harmoniemusik, both original compositions and transcriptions of operas. The spread of the Italian string instruments led to increased com-position in both the civic and court life and the orchestra as we know it was rapidly established.

One unique body of music, which we shall treat at length, is that produced in the wake of the French Revolution.

The real purpose in writing these volumes has been an attempt to demonstrate to band directors everywhere that they represent a medium that has performed at the highest levels of society over a very great span of time and that while all musicians take their turn at functional music wind bands also performed music to be listened to. It is a very great mistake for any band director to assume that his role is limited to only entertaining the public.

David WhitwellAustin, Texas

Acknowledgments

This new edition would not have been possible without the encouragement and help of Craig Dabelstein of Brisbane, Aus-tralia. His experience as a musician and educator himself has contributed greatly to his expertise as editor of this volume.

David WhitwellAustin, 2012

PART I

Court Wind Bands

Court Wind Bands

Until the Enlightenment, wind bands enjoyed an almost unrivalled position of importance in society, from the funda-mental role they played in Greek and Roman societies to the enviable positions they held as regularly employed bands in the cities, courts, and churches of Western Europe during the period of 1400–1700. Where an instrumental ensemble was held in high esteem it was nearly always a wind band. The trumpet, which was played only by high priests among the ancient Hebrews, continued its association with the highest level of society in Western Europe by becoming a symbol of the aristocracy, a virtual aural coat-of-arms.

During the Baroque the wind band also acquired a strong spiritual association. The use of wind instruments for spiritual purposes had strong roots in the ‘natural’ sources of the instru-ments themselves, having their origin in bones, reeds, shells, animal horns, etc. In addition, performance on a wind instru-ment was viewed as the closest relation to the voice (‘the God given instrument’) for one used, if not the body itself, as in the case of singing, at least breath from within the body.

Thus it was only natural that during the first two-thirds of the Baroque the common man was surrounded by spiritual music played by the wind band, both by the Abblasen from the civic towers and in the performance of multi-part church music. It should come as no surprise, therefore, that Bach’s predecessor, Kuhnau, should observe,

When our civic musicians at Festival time blow a spiritual song on their trombones, every measure stirs in us the picture of angels singing.……In Heaven instrumental music will be played by wind instruments.1

The Enlightenment, with its turn away from spiritual values to humanism, brought the idea that music should now speak from the soul of man, rather than from God. Ehmann believes, for example, that in the two contrasting themes of the new sonata form, they heard the contrasting natures within every man.2 It is easy to understand, therefore, the loss of status

1 Quoted in Wilhelm Ehmann, Tibilustrium (Kassel: Barenreiter-Verlag, 1950), 55.

Wenn unsere Stadtpfeifer etwa zur Festzeit ein geistliches Lied mit lauter Posaunen vom Turme blasen, so werden wir über alle Massen darüber beweget und bilden uns ein, als hören wir die Engel singen.……Die ewige und himmlische Instrumentalmusik wird aus lauter Pfeifen bestehen.

2 Ibid., 62.

4 Court Wind Bands

suffered by those winds with strong spiritual associations. The trumpet, for example, which stood at the very peak of its prestige during the early Baroque, is given only the most secondary of roles in Classical Period music. It is important to remember that the one wind medium which remains associ-ated with the highest levels of society during the Classical Period, Harmoniemusik,3 was composed entirely of instru-ments (the modern oboe, bassoon, horn, and clarinet) new to the period of the Enlightenment and thus free from these old symbolic ties.

This philosophical atmosphere, together with the arrival of the superior new string instruments from Italy, helps account for the rapid acceptance of the new multi-part string medium—although a last vestige of the former significance of the trumpets and timpani can be seen in their placement at the top of the orchestral scores of the late Baroque and Pre-Classical Periods.

One sees, therefore, at the beginning of the Classical Period the rapid disappearance of almost all of the distinguished tradi-tions of early wind bands and ensembles. Independent civic wind bands all but disappear from notice during the Classical Period (although a new, stronger tradition will appear dur-ing the nineteenth century), and with them the ancient wind instrument guilds. It is particularly interesting that Kaiser Joseph ii closed the office of the leader of the wind guild (Oberspielgrafenamtes) in Vienna in the very year (1782) that he formed his personal new Harmoniemusik!4

When one reads of the performance of trumpets and tim-pani in the old aristocratic tradition, as when the Palatine Archduke Joseph was welcomed by the court in Eisenstadt in 1797,5 one is reading of a truly old-fashioned court practice. Johann Ernst Altenburg, often called the last of the ‘heroisch-musikalischer’ trumpeters, died in 1801. It is, perhaps, not entirely a coincidence that the fall in prestige of the trumpet comes at the very moment that the new horn is brought into the ‘chamber’ from the field. Jiři Sehnal points out that in Moravia the Abt in Žďár had two trumpets still in 1727, but that they often played the ‘Waldhorn.’ Another court, that of Count Lazanský in Manětín, had replaced its trumpets with horns by 1732.6

3 I define ‘Harmoniemusik’ as a wind ensemble consisting of either pairs of oboes or clarinets, or all four, together with bassoons and horns.

4 Ehmann, Tibilustrium, 62.

5 Wiener Zeitung (1797), LXXX, 2983ff.

6 Jiři Sehnal, ‘Die Musikkapelle des Olmützer Erzbischofs Anton Theodor Colloredo-Waldsee 1777–1811,’ in Das Haydn Jahrbuch, vol. 10 (Vienna, 1978), 135.

Court Wind Bands 5

The collection of music by Claus Schall in Denmark,7 ‘Cara-sel Musique’ (1791), must surely represent one of the very last of the old Baroque horse ballets. In the three surviving move-ments one sees the cross-currents of old styles and developing new ones so typical of wind band music during the eighteenth century. One movement is for the old aristocratic ensemble of trumpets and timpani, another for the new Harmoniemusik (pairs of oboes, clarinets, horns, and bassoons), and the third for ‘Türkische music!’

Even though the Classical Period is one in which the old traditions died, the very important new wind band, Har-moniemusik, finds a place for itself at the very highest levels of Western European society. Its musicological importance lies, in part, in this fact (a position the wind medium has not held since that time), and because its repertoire reveals, as the symphonic repertoire does not, that many wind players were the equal of any musicians of that era.

Geographically, Harmoniemusik shares the central Euro-pean locale which one associates with the great masterworks of the Classical Period. The greatest activity is found in the Austrian–Bohemian–Hungarian ‘triangle’ formed by Vienna, Prague, and Budapest. There was considerable Harmoniemusik in a few courts in Southern Germany, but comparatively little in Northern Germany. Similarly, as one moves west, there are relatively few important works from the Low Coun-tries and surprisingly few original, significant compositions from England.

France presents a curious enigma, for while the medium (the instrumentation) of Harmoniemusik begins in France, and Paris was a center for publication of Harmoniemusik, there is very little in the way of original compositions by French com-posers in French libraries today.

In Italy Harmoniemusik seems to have been concentrated in areas under the influence of the Austrian Empire.

I might also mention that some Harmoniemusik found its way to America, via the Moravian settlements in North Carolina and Pennsylvania.8 The presence of such European traditions, of course, characterizes nearly all the early instru-mental music of the United States. One wonders if it were even the case that some American ‘aristocrats’ may for a time have wished to emulate their European contemporaries in hav-

7 Housed in Sorø [Denmark], Sorø Akademis Bibliotek (R.237).

8 See Harry Hall, ‘The Moravian Wind Ensemble’ (PhD diss., Peabody College of Teachers, 1967).

6 Court Wind Bands

ing a personal Harmoniemusik. The knowledge of this special ‘status symbol’ seems at least suggested in a letter written by Thomas Jefferson during the American Revolution to a friend in Europe.

I retain for instance among my domestic servants a gardner …, weaver …, a cabinet maker … and a stone-cutter … to which I would add a vigneron. In a country where, like yours, music is cultivated and practised by every class of men, I suppose there might be found persons of those trades who could perform on the French horn, clarinet or haut-boy and bassoon, so that one might have a band of two French horns, two clarinets and hautboys and a bassoon, without enlarging their domest[ic] expences … Without meaning to give you trouble, perhaps it mig[ht] be practicable for you in your ordinary intercourse with your pe[ople] to find out such men disposed to come to America. Sobriety and good nature would be desirable parts of their characters.9

Chronologically, Harmoniemusik is associated with the period 1750–1835, although the roots of both the medium and the music extend much earlier.10 I date the real beginnings of Germanic Harmoniemusik from the spread of Hautboisten bands throughout Germany at the close of the seventeenth century. These were six- to twelve-member bands composed of several sizes of modern oboes and bassoons, modeled after the Les Grands Hautbois of Louis xiv. The French kings had had fine performing court wind bands from at least the period of François i, but it was the influence of the manners of the French court under Louis xiv which made ‘Hautboisten’ an international ensemble. It seems to have been a necessary part of every German aristocrat’s cultural education to spend time in the court of France, resulting in the French influence one finds in Germany in everything from architecture to music. ‘Everyone in Germany goes there,’ wrote Frederick the Great in 1750, ‘The French taste rules our food, our furniture, and our clothes.’11

These oboe–bassoon bands, under the French name ‘Haut-boisten,’ begin to appear in Germany during the final two decades of the seventeenth century, often including actual French players of the new oboe. Although documentation of these bands is more familiar from military accounts, it is very clear from both the extant repertoire and court records that they either also functioned, or existed separately, in the

9 Julian P. Boyd, The Papers of Thomas Jefferson (Princeton: Princeton University Press, 1950), 2:195–196.

10 The development of both the instrumentation and the musical forms I have discussed in detail in the third volume of this series, pp. 1–21.

11 Frederick ii von Brandenburg, Memoires pour servir à l’histoire de Brandenbourg ([London?]: Chez Ambroise Haude, 1750), 2:771.

Toute l’Allemagne y voyageoit.……Le goût des Francois regla nos Cuisines, nos Meubles, nos Habillements …

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Index

Index of Names

A

Adrien l’Ainé, 18th-century French composer, 195Adrien, Ferdinand, solfeggio faculty of the 1792 Paris

Conservatoire, 157Alexius, Frantisek, 18th-century composer in Graf Pachta

Harmonie Coll., 22, fn. 10Altenburg, Johann Ernst, d. 1801, one of the last Baroque-

style trumpeters, 4Amantino, 18th-century composer in Graf Pachta Har-

monie Coll., 22, fn. 10André, Chelard, solfeggio, clarinet faculty of the 1792

Paris Conservatoire, 156André, Johann, 18th-century publisher in Offenbach, 71Angée, Pierre, faculty of the 1792 Paris Conservatoire,

157Anselm, Carl, Prince of Thurn und Taxis in Regensburg,

58Antoni, director of Prussian army music school, 90Archduke Joseph, Palatine, visits Eisenstadt in 1797, 4Aspelmayr, 1728–1785, composer in Bohemia, 22, fn. 9 &

10, 24, 41Assman, Ernest, timpani, clarinet faculty of the 1792 Paris

Conservatoire, 156

B

Bach, J. C., 1735–1782, German composer in London, as composer for band, 115

Bachmann, Anton, 1716–1800, composer for Frederick the Great, 89

Barbandt, Carl, a German wind player plays in London in the 1750s, 105, fn. 2

Bárta, Josef, 18th-century composer in Graf Pachta Har-monie Coll., 22, fn. 10

Barthélémon, François-Hippolyte, 18th-century band composer in London, 135

Batthyány, Prince Joseph von, Cardinal of Hungary, 1776–1784, 33

Baumgarten, ?, German band leader in London, 106Beer, performed Beethoven Quintet with Beethoven in

1798, 32, fn. 67Beethoven, 1770–1827, German composer, 52ff [on his

study with Haydn],Beethoven, 32, fn. 67Belderbusch, Kaspar Anton von, maintained Harmonie-

musik in 1783, 51Bém, Josef, 18th-century composer in Graf Pachta Har-

monie Coll., 22, fn. 10

Bérault, Jean-Baptiste, père et fils, in 1768–77 Les Grands Hautbois, 64, fn. 4

Berton, Henri Montan, 1767–1844, French composer, 162, fn. 46, 206

Besozzi, ?, 18th-century composer in Bohemia, 41Besozzi, Alessandro, 1702–1775, oboist at Turin, 61Besozzi, Antonio, 1714–1781, oboist at Dresden, 61Besozzi, Giuseppe, b. 1686, oboist at Turin, 61Biber, Heinrich Franz, 1644–1669, Bohemian composer,

21Bidet, Nicolas, member in 1768 of the Les Grands Haut-

bois, 64, fn. 4Blasius, Frederic, 1758–1829, violinist and band composer,

18th century, 178Blasius, Ignace, bassoon faculty of the 1792 Paris Conser-

vatoire, 156Blasius, Pierre, violinist, 1793 faculty of Paris Conserva-

toire, 162Bock, Anton, hornist in Harmoniemusik of Cardinal

Batthyány, 33, fn. 71Böhme, 18th-century publisher in Hamburg, 71Boieldieu, François Adrien, 1775–1834, French Com-

poser, 17, 79Bono, Giuseppe, 1710–1788, Italian composer, 24Bouillé, General, 18th-century France, 150Bourbon, Louis-Joseph de, Prince de Condé, 17th-centu-

ry Paris, 68, fn 241Bramble, Matthew, 18th-century report of Vauxhall

Gardens in London, 134Braun, von, 18th century, maintains Harmoniemusik for

Tafelmusik, 41Brielle, ?, composer faculty of the 1792 Paris Conserva-

toire, 156Briscoli, Domenico, early 19th-century Italian composer

in London, 115Brixi, Frantisek, 1732–1771, composer in Graf Pachta

Harmonie Coll., 22, fn. 10, 23Buch, Antoine, horn faculty of the 1792 Paris Conserva-

toire, 156Bum, Michael, clarinetist in Harmoniemusik of Cardinal

Batthyány, 33, fn. 71Bureau, Joseph, member in 1777 of the Les Grands Haut-

bois, 64, fn. 4Burney, Charles, 1726–1814, English writer, 85, 87, 89,

91ff, 100, 119ff

232 Index

C

Cambini, Giovanni, 1746–1825, Italian composer, 195ffCantelo, Hezekiah, trumpeter at Vauxhall in 1785, 131,

note on pp. 132–133Cartellieri, Antonio, 1772–1807, Harmoniemusik com-

poser, 19, 42Casanova, Giacomo, 1725–1798, Italian author, 65Catel, Simon, 1773–1830, composer, on faculty of the

1792 Paris Conservatoire, 156, 160, 164ff, 165, 188, 196ff, 199ff, 205

Catherine II, 1729–1796, Empress of Russia, 77Cejka, Valentin, 18th-century composer in Graf Pachta

Harmonie Coll., 22, fn. 10Cellini, Benvenuto, 1500–1571, Italian goldsmith and

diarist, 12Charles II, 1630–1685, King of France, 105Charpentier, Jean François, in 1777 of the Hautbois et

Musettes du Poitou, 64, fn. 5Chédeville, Nicolas, member in 1777 of the Les Grands

Hautbois, 64, fn. 4Chédville, Espirit Philippe, member in 1768 of the Les

Grands Hautbois, 64, fn. 4Chénier, Marie-Joseph, 1764–1811, leading French poet of

the Revolution, 159, 178ff, 194, 197Cherubini, Luigi, 1760–1842, composer in 1794 Paris

Conservatoire, 156, 162 fn. 46, 195, 198, 201, 203ff, 206, 214

Christian Ludwig II, 1683–1756, Duke of Mecklenburg-Schwerin, 59

Churchill, John, 1650–1722, Duke of Marlborough, 109Clam-Gallas, Christian Philipp Graf, of Prague,

1748–1808, 24ffClaus Schall, 1757–1835, Danish composer of horse ballet

music in 1791, 5Clement VII, 1478–1534, Pope, 12Colloredo-Waldsee, Anton Theodor, 1777–1811, Arch-

bishop at Kromeriz, 22Corbin, Alexandre, member in 1777 of the Hautbois et

Musettes du Poitou, 64, fn. 5Cornu, Jacques, serpent, 1793 faculty of Paris Conserva-

toire, 162Coupigny, 18th-century French poet, 205Cramer, Carl, 1752–1807, prof. at Keil, reports on Har-

monie in Bonn and Vienna, 17, 36, 51Croes, Henri-Joseph, 1758–1842, composer for Harmonie

at Regensburg, 58Czerwenka, Franz, bassoonist in Harmoniemusik of Car-

dinal Batthyány, 33, fn. 71, and Imperial Harmonie-musik in Vienna, 35, fn. 77

D

Dard, Antoine, member in 1768 of the Les Grands Haut-

bois, 64, fn. 4David, Jacques-Louis, 1748–1825, French painter, 172ff,

178ff, 190ffde la Cour, Claude, member in 1777 of the Hautbois et

Musettes du Poitou, 64, fn. 5Delcambre, Pierre, faculty of the 1792 Paris Conserva-

toire, 157Delcambre,Thomas, bassoon faculty of the 1792 Paris

Conservatoire, 156Devienne, François, 1759–1803, composer, flute faculty of

the 1792 Paris Conservatoire, 156, 163, 168Dietrichstein, Austrian Prince, as composer, 41Dietzl, Joseph, Jr, horn player at Esterházy in 1765, 28Discher, J., 18th-century composer in Olmütz Harmonie-

musik collection, 22, fn. 9Dittersdorf, Karl Ditters von, 1739–1799, German com-

poser, 16, 22, fn. 10Dlabacz, Gottfried Johann, 1758–1820, Bohemian monk,

37Domnich, Henry, horn, 1793 faculty of Paris Consera-

toire, 162Drobney, bassoonist in original Vienna Harmoniemusik,

35, fn. 77Druschetzky, Georg, 1745–1819, Hungarian composer of

Harmoniemusik, 17, 22 fn. 10 [Graf Pachta], 24, 31 ff, 41, 42 [Grassalkovics], 121

Dubreuil, Pierre, member in 1777 of the Hautbois et Musettes du Poitou, 64, fn. 5

Duret, composer, 1795 faculty of Paris Conseratoire, 162, fn. 46

Dusek, Frantisek, 1731–1799, composer in Graf Pachta Harmonie Coll., 22, fn. 10

Duvernoy, Frederic, horn faculty of the 1790 Paris Con-servatoire, 156, 160

E

Egk, Leopold, Bishop at Kromeriz, 1758–1760, 21Eisen, Franz, 18th-century hornist in Milan, 35Eisen, Jakob, hornist in original Vienna Harmoniemusik,

35, fn. 77Eisner, Georg, horn player under Liechtenstein in Vi-

enna, 39Eler, André-Frédéric, 1764–1821, French composer, 206Eley, Christopher Frederick, 1756–1832, English military

composer, 108, 113ffElizabeth i, 1533–1603, Queen of England, 12Elizabeth, 1709–1762, Empress of Russia, 75Elsler, Johann Florian, Haydn’s copyist at Esterházy, 32Elsler, Joseph, oboist in 1801 Harmoniemusik of Prince

Esterházy, 30ffErdödy, Counts in Hungary, 33Esmeister, 18th-century Austrian composer, 24Esterházy, Nicholas ii, 31ff

Index 233

Esterházy, Nicolaus, 1714–1790, Prince Hungary, 27ffEsterházy, Paul Anton, 1711–1762, Prince of Hungary,

27ffEsterházy, Prince, 1762 church music, 121

F

Farmer, Henry, 1882–1965, military music historian, 86, 106ff, 120

Feldmayr, Georg, b. 1757, Harmonie composer for the Wallerstein court, 56

Feray, Abbé, 18th-century French composer, 202Fernier, Anton, 1758–1760, court clarinet player in

Olmütz, 21Fétis, François Joseph, 1784–1871, Belgium, composer and

writer, 78Fiala, Josef, 1754–1816, Harmonie composer at Donaue-

schingen, 24, 41, 58Fischer, Johann Christian, 1733–1800, composer for Fred-

erick Wilhelm ii, 90Fisher, ?, English oboist at Vauxhall in 1785, 131, note on

pp. 132–133Flack, Casper, 18th-century English composer of military

divertimenti, 114Fogenauer, Franz, 1758–1760, court clarinet player in

Olmütz, 21Francesco da Milano, 1497–1543, lutanist, 11François I, 1494–1547, King of France, 6Franklin, Benjamin, 1706–1790, American politician, 140

fn. 5, 173Franz i, 1768–1835, Emperor, visits Wallerstein court in

1764, 55Franz, Johann, 1758–1760, court horn player in Olmütz,

21Franz, Karl, hornist in Harmoniemusik of Cardinal Bat-

thyány, 33, fn. 71Frederick the Great, 1712–1786, 6, 62, 85ffFrederick Wilhelm ii, 1744–1797, 85, 90Friedrich Franz, 1756–1837, Duke of Mecklenburg-

Schwerin, 59Friedrich Wilhelm iii, king in Berlin, 60Fuchs, Georg Friedrich, 1752–1821, clarinet faculty of

the 1792 Paris Conservatoire, Paris arranger for winds, 71ff, 156

Fürstenberg, Karl Egon von, 1796–1854, Prince at Donaueschingen, 57

G

Gallet, André, faculty of the 1792 Paris Conservatoire, 156

Garnier, Joseph, faculty of the 1792 Paris Conservatoire, 156

Gassmann, Florian, 1729–1774, in Olmütz Harmonie-musik collection, 22, fn. 9

Gautier, Jean Mathurin, member in 1768–77 of the Les Grands Hautbois, 64, fn. 4

Gebauer, François, bassoon, 1793 faculty of Paris Conser-vatoire, 162

Gebauer, Michel, oboe faculty of the 1792 Paris Conser-vatoire, 157

Genlis, Madame de, 1746–1830, critic of French etiquette [on Gossec], 170, 174

Gerber, Ernst Ludwig, 1746–1819, author of music Lexikon, 56

Gerber, Matthias, clarinet faculty of the 1792 Paris Con-servatoire, 156

Geveaux, French composer, 163Ginguene, 18th-century French poet, 209Gintscher, Anton, 1779 account of music in the Melk

monastery, 121Goepffert, ?, harpist for La Pouplinière, 1763, 68, fn. 26Gossec, François Joseph, 1734–1829, French composer,

66ff, 68ff, 146ff [Te Deum], 149ff, 151 [March lugubre], 156, 159ff, 164ff, 175ff, 184ff, 186, 188ff, 191, 197, 204ff, 209, 211

Gossec, Mme, clavecinist for La Pouplinière, 1763, 68, fn. 26

Grassalkovics, Anton, d. 1794, Prince of Pressburg, 31Grassalkovics, Prince, maintained a Harmoniemusick, 42Griessbacher, ‘great clarinetist,’ in Harmoniemusik of

Prince Grassalkovics, 41Griessbacher, Jacob, bassoonist in 1780 for Count Palm in

Vienna, 42Guthmann, François, trumpet faculty of the 1792 Paris

Conservatoire, 156Gyrowetz, Adalbert, 1763–1850, Austrian composer, 17

H

Hamilton, Maximilian, 1761–1776, Bishop of Olomouc at Kromeriz, 22

Handel, 108, 134Hardouin, Gabriel, trumpet faculty of the 1792 Paris

Conservatoire, 157Hardy, Alexandre, bassoon, 1793 faculty of Paris Conser-

vatoire, 162Harnisch, Johann, bassoonist, in Prince Liechtenstein

Harmonie 39Harrach, 18th century Graf von Hungary, supported

Harmoniemusik, 34Hausler, Ernst, 1761–1837, German composer of church

music with winds, 124Haydn, Johann Michael, 1737–1806, 124Haydn, Josef, 1732–1809, 22 fn. 9, 25ff, 27ff, 32, 35, 52ff,

73, 113, 129ff,Herschel, William, famous English astronomer as band-

master, 112Hervaux, Charles, horn faculty of the 1792 Paris Conser-

vatoire, 156

234 Index

Hewitt, 1770–1827, English militia band leader to traveled to America, 106, fn. 4

Hirtel, Jacob, oboist in 1801 Harmoniemusik of Prince Esterházy, 31, fn. 57

Hoche, General Lazare, 1768–1797, France, 213ffHoffmeister, 1754–1812, composer in Olmütz Harmonie-

musik collection, 22, fn. 9Hollmayer, Anton, hornist and leader, Prince Liechten-

stein Harmonie, 39Holmes, Edward, 1792–1859, 39 [personal description of

Triebensee]Holstein-Gottorp, Lt. General and Prince von, 18th

century, 88Holzbauer, Ignaz, 1711–1784, German composer, 120, fn.

8Hook, James, English organist at Vauxhall in 1785, 131,

note on pp. 132–133Horace, Étienne, d. 1799, faculty of the 1792 Paris Con-

servatoire, 157Hörmann, Johann, hornist in 1801 of Imperial Harmonie-

musik, 35, fn. 77Hostie, Jean-Marie, d. 1794, faculty of the 1792 Paris

Conservatoire, 157Hotteterre, ?, member in 1768 of the Les Grands Haut-

bois, 64, fn. 4Hradezky, Joseph, substitute member of Imperial Har-

moniemusik, 36Huber, Jakub, 18th-century Bohemian composer, 123Hugot, Antoine, d. 1803, flute faculty of the 1792 Paris

Conservatoire, 156Hyde, James, reorganization of English trumpet signals,

112, fn. 35

I

Ignazio, ?, oboist for La Pouplinière, 1763, 68, fn. 26Imbault, J. J., 17th-century French publisher, 71

J

Jacobi, Christian, 18th-century director of Prussian army music school, 90

Jadin, Françoise, member in 1777 of the Les Grands Hautbois, 64, fn. 4

Jadin, Hyacinthe, 1769–1800, French composer, 162 fn. 46, 202, 206

Jadin, Louis, 1768–1853, composer, faculty of Paris Con-servatoire, 162 fn. 46, 162 fn. 46, 176, 204

Jahn, H., an actor, supported a Harmoniemusik in Vienna, 41

Jefferson, Thomas, tries to hire Harmoniemusik for his estate, 6

Jerome, Claude, faculty of the 1792 Paris Conservatoire, 157

Jommelli, Nicolò, 1714–1774, Italian composer, 124Joseph ii, 1741–1790, Kaiser, forms Harmoniemusik in

1782, 4, 77Joseph, 1776–1847, Archduke, Viceroy of Hungary, visits

Eisenstadt in 1796, 33Joubert, General, 213Jourdan, Barthélemy, 1769–1799, General, Battle of

Fleurus, 195Junker, Carl, 1748–1797, German writer on Maximilian’s

Harmonie in Bonn, 63ff

K

Kastner, Georges, 1810–1867, military historian, 100ff, 103Kauer, Ferdinand, 1751–1831, Austrian composer, 33, fn.

68Kauzner, bassoonist in original Vienna Harmoniemusik,

35, fn. 77Kenn, Joseph, horn faculty of the 1792 Paris Conserva-

toire, 156Kirsten, 18th-century Bohemian composer, 24Klein, Georg, clarinetist in Vienna, 35 fn. 77, 39Kllyn, ?, member of the 1775 Harmoniemusik of the

Prince of Monaco, 69Knoblauch, Johann, hornist in 1761 for Prince Esterházy,

27Kohler, John, 18th-century English militia band leader,

112Kollmann, Augustus Frederic, 18th-century English

music theorist, 114Kouloff, 18th-century member of Russian horn band, 81Kozeluch, in Olmütz Harmoniemusik collection, 22, fn.

9Kreith, Karl, d. 1809, composer in Graf Pachta Harmonie

Coll., 22, fn. 10Kreutzer, Rudolphe, violinist, 1793 faculty of Paris

Conservatoire, 162Krieger, Johann Philipp, 1649–1725, composer for Ger-

man military band, 90Krommer, Franz, 1759–1831, Bohemian-Austrian com-

poser, 19Kuhnau, Johann Christoph, 1735–1805, Bach’s predeces-

sor in Leipzig, 3

L

Laborde, Jean-Benjamin, 1734–1794, music historian, 99Lafayette, General, 1757–1834, France, 141ff, 171Laloire, Marie, faculty of the 1792 Paris Conservatoire,

157Laube, Antonin, 1718–1784, composer in Graf Pachta

Harmonie Coll., 22, fn. 10Lavasseur, Henry, cellist, 1793 faculty of Paris Conserva-

toire, 162

Index 235

Layer, Antoine, clarinet faculty of the 1792 Paris Conser-vatoire, 157

Lazansky, Count, replaces trumpets with horns in 1732 in Manetin, 4

Lazowski, Claude, subject of a Revolutionary Festival in Paris, 180

Le Clerc, flutist for La Pouplinière, 1763, 68 fn. 26Le Gendre, Arnauld, clarinet faculty of the 1792 Paris

Conservatoire, 157Le Peletier, 18th-century French politician, 178Lefévre, Jean Xavier, 1763–1829, clarinetist and composer,

160, 163ff, 206, 202Lefèvre, Louis, 1751–1828, clarinetist, on faculty of the

1792 Paris Conserv., 156Lendvay, Gabriel, clarinetist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Leopold ii, 1747–1792, coronation in Pressburg in 1790, 31Leroux, Gabriél, solfeggio faculty of the 1792 Paris Con-

servatoire, 156Lesuer, Jean François, 1760–1837, French composer, Paris

Conservatoire faculty, 162, 164, 216Liechtenstein, Johann, 1700–1771, Austrian Prince in

Vienna, 18, 38, 95Liechtenstein-Casstelcorn, (1664–1695), Archbishop at

Kromeriz, 21Lisle, Rouget de, 1760–1836, French composer, 211Lobkowitz, Franz Joseph, Prince, 1772–1816, in Vienna,

42Logier, Johann, inventor of the chiroplast, as leader of

militia band, 112Lorenz (Lorentz), 18th-century composer in Graf Pachta

Harmonie Coll., 22, fn. 10Lots, Theodor, clarinetist and leader of the Harmonie of

Cardinal Batthyány, 33Louis xiv, 1638–1715, King of France, 6, 63Louis xv, King of France, 101, 183Louis xvi, 1710–1774, King of France, 138ff, 144, 148, 169,

180ff, 200Louis, ?, hornist and string bass for La Pouplinière, 1763,

68, fn. 26Ludwig Friedrich, 1667–1718, Prince at Rudolstadt, sup-

ports for military music, 59Ludwig ix, of Hessen-Darmstadt, 1719–1790, composer

of military marches, 91ff

M

Machy, Thomas de, member in 1777 of the Hautbois et Musettes du Poitou, 64, fn. 5

Marat, French politician, 199, 203Marciliac, Pierre, trombonist, 1793 faculty of Paris Con-

servatoire, 162Maresch, Johann ( Jan Mares), 1719–1794) early leader of

Russian horn band, 75ff

Marie Antoinette, wife to Louis xvi of France, 139Martin y Solar (‘Marini’), Vicente, 1754–1806, composer

in Vienna, 16, 41Martini il Tedesco [née Johann Schwartzendorf ],

1741–1816, composer, 212Marx, director of Prussian army music school, 90Maschek, Vincenc, 1755–1831, Bohenian composer, 19, 22

fn. 10, 24Mathieu, Jean, serpent faculty of the 1792 Paris Conser-

vatoire, 156Matouschek, performed Beethoven Quintet with

Beethoven in 1798, 32, fn. 67Maximilian Franz, 1756–1801, the Elector of Bonn, 51ffMayer, 18th-century composer in Olmütz Harmonie-

musik collection, 22, fn. 9Mecir, Frantisek, 18th-century composer in Graf Pachta

Harmonie Coll., 22, fn. 10Mecklenburg-Schwerin, duke of, 57Méhul, Étienne, 1763–1817, French composer, 162ff, 188,

196ff, 200ff, 204, 207ff, 211ffMeric, Jean, clarinet faculty of the 1792 Paris Conserva-

toire, 156Michl, Johann, bassoonist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Milling, 18th-century composer in Olmütz Harmonie-

musik collection, 22, fn. 9Miolan, Felix, oboe faculty of the 1792 Paris Conserva-

toire, 157Mirabeau, 18th-century French politician, 168ff, 173, 203Misik, Frantisek, 18th-century Bohemian composer, 22

fn. 10, 23Molière, 1622–1673, French playwright, 66Montesquieu, 1689–1755, French philosopher, 168Morzin, Ferdinand Maximilian, 1693–1763, employer of

Haydn, 25ffMozart, Constanza, 14, 48ffMozart, Wolfgang Amadeus, 1756–1791, Austrian

composer, 8, 10ff, 15 [arranging his Die Entführung aus dem Serail for winds ], 16ff, 38 [on the job offer from Liechtenstein], 41, 44ff, 53, 79

Mr. Charles, a Frenchman performing in London in the 1740s, 105, fn. 2

Müller, Franz, bassoonist in the Joseph Schwarzenberg Harmonie, 41, fn. 104

N

Nadermann, 18th-century publisher of military music in Paris, 71

Nagel, hornist in 1780 for Count Palm in Vienna, 42Napoleon, 1769–1821, 103, 138, 212ff, 216Naumann, Johann Gottlieb, 1741–1801, composer for

Frederick Wilhelm II, 90Navratil, Franz, 18th-century Austrian in Olmütz Har-

moniemusik coll., 22, fn. 9

236 Index

Nelson, Jacob, English timpanist at Vauxhall in 1785, 131, note on pp. 132–133

Neufchâteau, François de, 18th-century French politician, 198

Neumann, Anton, 1740–1776, Kapellmeister at Kromeriz, 22

Nickl, performed Beethoven Quintet with Beethoven in 1798, 32, fn. 67

Nicolai, Friedrich, 1733–1811, German writer, 97Nikl, Mathias, 18th-century hornist in Esterházy and

Vienna, 36

O

Oliva, Franz, bassoonist in the Joseph Schwarzenberg Harmonie, 41, fn. 104

Öttingen-Wallerstein, Kraft Ernst von, Prince, 1748–1802 [his court music], 54

Ozi, Étienne, 1754–1813, French bsn, on faculty of the 1792 Paris Conservatoire, 156, 160

P

Pachta, Ernst Karl, Count, 1718–1803 of Citoliby [hires Wendt], 37

Pachta, Johann Joseph Philipp, b. 1756, Graf of Prague, supported wind band, 22ff

Padny, Josef, bassoonist in Harmoniemusik of Cardinal Batthyány, 33, fn. 71

Pagniez, Jacques, solfeggio faculty of the 1792 Paris Conservatoire, 156

Paillard, Jean, horn faculty of the 1792 Paris Conserva-toire, 157

Paisa, ?, member of the 1775 Harmoniemusik of the Prince of Monaco, 69

Paisiello, Giovanni, 1740–1816, Italian composer, 22 fn. 9, 16

Pajon, Henry Martial, member in 1768–77 of the Les Grands Hautbois, 64, fn. 4

Palm, Karl von, Count in Vienna, maintained Harmonie-musik in 1780, 42

Panoff, Peter, 20th-century German historian, 107Paocher, François, faculty of the 1792 Paris Conserva-

toire, 157Paradis, Maria Theresia, 1759–1824, for whom Mozart

composed K. 456, 47Parke, W. T., oboist, autobiography of 1783–1785, 107ff,

134Patiomkin, Prince, of 18th-century Russia, 78Pepusch, Gottfried, founder of Prussian army music

school (1724), 90Pezival, Caspar, bassoonist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Philidor, Nicolas Danican, member in 1768 of the Les

Grands Hautbois, 64, fn. 4

Phillips, William, 18th-century leader of the Litchfield militia band, 106, fn. 4

Piccinni, Niccola, 1728–1800, Italian composer, 209Pichl, Wenzel, 18th-century composer in Graf Pachta

Harmonie Coll., 22, fn. 10Pirch, George von, composer for Frederick the Great, 89Pleyel, Ignaz, 1757–1830, French composer, 175Pouplinière, Alexandre-Jean-Joseph Le Riche de La,

1693–1762, financier, 65ffPrachensky, Johann, 18th-century composer for military

bands in Austria, 96Praetorius, Michael, 1571–1621, 119Prince of Wales, 1784, review of his wind band, 73Prinster, Anton, hornist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Prinster, Michael, hornist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Procházka, Leopold, bassoonist in the Joseph Schwarzen-

berg Harmonie, 41, fn. 104Procksch, ?, clarinetist for La Pouplinière, 1763, 68, fn. 26Pugnani, Gaetano, 1731–1798, Italian composer for Mili-

tary band, 103, fn. 1Pumm, Johann, 1758–1760, court horn player in Olmütz,

21Puschman, Joseph, 1738–1794, composer of Harmonie

music 22 fn. 9, 59

R

Rameau, Jean-Philippe, 1683–1764, French composer, 65ff

Reicha, Anton, 1770–1836, Bohemian composer in Vi-enna and Paris, 51

Reicha, Joseph, 1746–1795, composer for the Wallerstein court, 56

Reichardt, Johann Friedrich, 1752–1814,composer, writer, 17,36 [reviewer of the original Vienna Harmonie-musik], 51

Reluzzy, 18th-century composer in Olmütz Harmonie-musik collection, 22, fn. 9

Reysser, ?, member of the 1775 Harmoniemusik of the Prince of Monaco, 69

Rigel, père, Henri, 1741–1799, French composer, 201Righini, Vincenzo, 1756–1812, Italian composer, 60Robespierre, Maximilien, 1758–1794,French politician,

185ffRochetin, Nicolas, faculty of the 1792 Paris Conserva-

toire, 157Rode, composer, 1795 faculty of Paris Conseratoire, 162,

fn. 46Rogat, Joseph, bassoonist, 1793 faculty of Paris Consera-

toire, 162Rohan, Louis de, Prince, 17th century France, maintained

wind band, 69

Index 237

Roller, 18th-century composer in Olmütz Harmonie-musik collection, 22, fn. 9

Rong, Wilhelm, 1759–1842, composer for Frederick Wilhelm II, 90

Röser, Valentin, musician for the Prince de Monaco, 70Rosetti, Franz Anton, 1746–1792, German composer, 41,

56ff, 59ffRoth, Sinforiano, 18th-century Italian composer, 103Rouget de Lisle, 175Rousseau, Jean Jacques, 1712–1778, French composer and

philosopher, 65, 99ff, 139, 168, 173ff, 176, 189Rupp, hornist in original Vienna Harmoniemusik, 35,

fn. 77

S

Saint-Suire, Etienne, member in 1768 of the Les Grands Hautbois, 64, fn. 4

Salieri, Antonio, 1750–1825, Italian composer in Vienna, 35ff

Sallantin, François, oboist, 1793 faculty of Paris Consera-toire, 64 fn. 4, 160, 162

Samamein, ?, member in 1768 of the Les Grands Haut-bois, 64, fn. 4

Sarazin, Marie, bassoon faculty of the 1792 Paris Conser-vatoire, 157

Sargent, ?, English trumpeter at Vauxhall in 1785, 131, note on pp. 132–133

Sarrette, Bernard, 1765–1858, administrator of the Guard Band in Paris, 152ff, 157, 160, 162, 185, 198, 209

Sarti, Giuseppe, 1729–1802 Italian composer in Vienna and Russia, 77

Sartori, Christoph, bassoonist in the Joseph Schwarzen-berg Harmonie, 41, fn. 104

Schacht, Theodor von, 1748–1823, composer for Har-monie at Regensburg, 58

Schafgotsch, Prince at Johannisberg, employed Har-moniemusik, 59

Schencker, hornist and harp for La Pouplinière, 1763, 68, fn. 26

Schliess, Ferdinand, clarinetist in Prince Liechtenstein Harmonie 39

Schmelzer, Johann, 1630–1680, Austrian composer, 21Schneitzhoeffer, Jacques, flute, oboe faculty of the 1792

Paris Conservatoire, 156Schönfeld, Johann Ferdinand von,1750–1821, diarist, 22,

41Schreuder, Frédéric, faculty of the 1792 Paris Conserva-

toire, 157Schubart, L., 1739–1791, poet and critic, 54ffSchüster, Joseph, 1748–1812, composer in Olmütz Har-

moniemusik coll., 22, fn. 9Schwarzenberg, Joseph Adam, Prince, 1722–1782, of

Vienna, 37, 40

Schwarzenberg, Joseph Johann, 1769–1833, Prince, 40Schwent, Guillaume, horn faculty of the 1792 Paris Con-

servatoire, 156Schwent, Philippe, faculty of the 1792 Paris Conserva-

toire, 156Sieber, père, Jean, 17th-century French publisher, 71Sigl, Georg, 18th-century composer in Olmütz Har-

moniemusik collection, 22, fn. 9Silverstolpe, Fredrik, Swedish Ambassador to Vienna,

1796–1802, 14Simes, Thomas, 1768 search for a military conductor, 111Simon, 18th-century composer, 24, 90Simonet, François, bassoon faculty of the 1792 Paris

Conservatoire, 156Simrock, Henry, horn faculty of the 1792 Paris Conser-

vatoire, 156Solère, Étienne, clarinet faculty of the 1792 Paris Conser-

vatoire, 156Sonnenleitner, 18th-century composer in Olmütz Har-

moniemusik collection, 22, fn. 9Souillard, Jean, member in 1768–77 of the Les Grands

Hautbois, 64, fn. 4Spalek, Ignac, 1758–1760, court bassoonist in Olmütz, 21Spazier, ?, reports on Harmoniemusik in Bonn in 1793, 51Sperger, Johannes, d. 1812, composer of Harmoniemusik,

33, 59Spohr, Ludwig, 1784–1859, German composer [review of

horn band], 78Stadler, Anton, 1753–1812, clarinetist in orig, Vienna

Harmoniemusik, 35 fn. 77, 42, 46ffStadler, Johann, 1756–1804, clarinetist in original Vienna

Harmoniemusik, 35 fn. 77, 42Stamitz, Franz, horn player at Esterházy, 29Stamitz, Johann Wenzel Anton, 1717–1757, German com-

poser in France, 66ff, 70Starzer, Joseph, 1726–1787, Harmonie composer for

Count Palm in Vienna, 19, 42Steiner, Franz, bassoonist, in Prince Liechtenstein Har-

monie 39Steinmüller, Thaddaus, hornist in 1761 for Prince Ester-

házy, 27Stephann, 18th-century composer in Olmütz Harmonie-

musik collection, 22, fn. 9Stiglitz, Georges, d. 1799, faculty of the 1792 Paris Con-

servatoire, 156Strazer, Josef, 1726–1787, composer in Vienna, Russia, 17Suise, Étienne, member in 1777 of the Les Grands Haut-

bois, 64, fn. 4Sydow, ?, director, 1750, of Prussian army music school,

90

T

Tag, Christian, 1735–1811, German composer of church music with winds, 124

238 Index

Talleyrand, Charles Maurice, 1754–1838, Bishop of Au-tun, 18th-century France, 141

Teimer, Ignaz, oboist in the Joseph Schwarzenberg Har-moniemusik, 41, fn. 104

Teimer, Johann, English hornist Harmoniemusik of Cardinal Batthyány, 33

Teimer, Johann, oboist in the Joseph Schwarzenberg Har-moniemusik, 33, 41 fn. 104

Teimer, Philip, oboist, English hornist in, 33, 41 fn. 104Telemann, Georg, 1681–1767, as composer of Hautboist-

en music, 7, 19Thayer, Alexander, 1817–1897, American early biographer

of Beethoven, 51Tiersmith, Richard, in the 1775 Harmoniemusik of the

Prince of Monaco, 69Traeg, Johann, manuscript dealer in Vienna, 18th century,

35, 49Triebensee, Georg, 1746–1813, oboist, 35 fn. 77, 41 fn. 104Triebensee, Joseph, 1772–1846, leader of Prince Liech-

tenstein’s Harmonie, 18ff, 32 fn. 67, [performing Beethoven Quintet with Beethoven in 1798], 39ff

Trugnet, Jean, member in 1777 of the Hautbois et Mu-settes du Poitou, 64, fn. 5

Tulon, Louis, d. 1799, bassoon faculty of the 1792 Paris Conservatoire, 156

V

Vandenbroeck, Othon, horn faculty of the 1792 Paris Conservatoire, 157

Vanerovsky, ?, 18th-century Bohemian composer, 123Vartl, Ludwig, oboist in the Joseph Schwarzenberg Har-

moniemusik, 41, fn. 104Vauchelet, Nicolas, trumpet faculty of the 1792 Paris

Conservatoire, 157Veillard, Gaspard, serpent faculty of the 1792 Paris Con-

servatoire, 157Venturini, Francesco, 1675–1745, Italian composer of

Hautboisten music, 7Victor Amadeus iii of Turin, Italy, 103, fn. 1Villeroy, Duke of, 17th-century France, maintained wind

band, 69Villette, Charles, nephew to Voltaire, 154Vinit (Vény), Michel-Joseph, as faculty of the 1792 Paris

Conservatoire, 156Vogel, Johann, d. 1788, French composer, 150 fn. 27, 197Vogler, Georg, Abbé, 1749–1814, composer of church

music with winds, 124Voisin, Louis, clarinet faculty of the 1792 Paris Conser-

vatoire, 157Voltaire François-Marie, 1694–1778, French philosopher,

64ff, 168ff, 171ff

W

Wadkovskoi, Prince of 18th-century Russia, 78Wagenseil, Georg, 1715–1777, early Harmoniemusik

composer, 8, 41Walpole, Horace, 131, fn. 17Warlen, Georg, clarinetist in 1801 Harmoniemusik of

Prince Esterházy, 31, fn. 57Weichsel, Carl, a German wind player plays in London in

the 1750s, 105, fn. 2Weidinger, Anton, 1766–1852, inventor of the keyed

trumpet, 33, fn. 68Weigart (Weigerth), Francesco, 18th-century composer in

Olmütz collection, 22, fn. 9Wendt, Johann, 1745–1809, oboist and leader of the Em-

peror’s Harmoniemusik, 17, 24, 35 fn 77, 37 (& fn. 85), 41 (and fn. 104), 44ff

Westerholt, Friedrich von, Count, had Harmoniemusik in 1793, 51

Widerkehr, Philippe, trombone faculty of the 1792 Paris Conservatoire, 156

Willy, Jean, 18th-century composer in Olmütz Har-moniemusik collection, 22, fn. 9

Wineberger, Paul, 1758–1821, Harmonie composer at Wallerstein court, 56

Witt, Friedrich, 1770–1836, Harmonie composer at Wallerstein court, 56

Wood, John, 1769 eyewitness report of the Bath band, 129Worgan, James, English composer for militia band, 106,

fn. 7Wranitzky, Paul, Austrian composer, 37, fn. 85 [on

Wendt]

Z

Zimmermann, Anton, 1741–1781, Bohemian composer, 41

Zinke, Friedrich, oboist under Liechtenstein in Vienna, 39

Zinzendorf, Count, Vienna, diary entries of 1761–1793, 13ff, 41

Zwirzina, hornist in 1780 for Count Palm in Vienna, 42

Dr. David Whitwell is a graduate (‘with distinction’) of the University of Michigan and the Catholic University of America, Washington DC (PhD, Musicology, Distinguished Alumni Award, 2000) and has studied conducting with Eugene Ormandy and at the Akademie fur Musik, Vienna. Prior to coming to Northridge, Dr. Whitwell participated in concerts throughout the United States and Asia as Associate First Horn in the USAF Band and Orchestra in Washington DC, and in recitals throughout South America in cooperation with the United States State Department.

At the California State University, Northridge, which is in Los Angeles, Dr. Whitwell developed the CSUN Wind Ensemble into an ensemble of international reputation, with international tours to Europe in 1981 and 1989 and to Japan in 1984. The CSUN Wind Ensemble has made professional studio recordings for BBC (London), the Koln Westdeutscher Rundfunk (Germany), NOS National Radio (The Nether-lands), Zurich Radio (Switzerland), the Television Broad-casting System ( Japan) as well as for the United States State Department for broadcast on its ‘Voice of America’ program. The CSUN Wind Ensemble’s recording with the Mirecourt Trio in 1982 was named the ‘Record of the Year’ by The Vil-lage Voice. Composers who have guest conducted Whitwell’s ensembles include Aaron Copland, Ernest Krenek, Alan Hov-haness, Morton Gould, Karel Husa, Frank Erickson and Vaclav Nelhybel.

Dr. Whitwell has been a guest professor in 100 different universities and conservatories throughout the United States and in 23 foreign countries (most recently in China, in an elite school housed in the Forbidden City). Guest conducting experiences have included the Philadelphia Orchestra, Seattle Symphony Orchestra, the Czech Radio Orchestras of Brno and Bratislava, The National Youth Orchestra of Israel, as well as resident wind ensembles in Russia, Israel, Austria, Switzer-land, Germany, England, Wales, The Netherlands, Portugal, Peru, Korea, Japan, Taiwan, Canada and the United States.

About the Author

240 About the Author

He is a past president of the College Band Directors National Association, a member of the Prasidium of the Inter-national Society for the Promotion of Band Music, and was a member of the founding board of directors of the World Asso-ciation for Symphonic Bands and Ensembles (WASBE). In 1964 he was made an honorary life member of Kappa Kappa Psi, a national professional music fraternity. In September, 2001, he was a delegate to the UNESCO Conference on Global Music in Tokyo. He has been knighted by sovereign organizations in France, Portugal and Scotland and has been awarded the gold medal of Kerkrade, The Netherlands, and the silver medal of Wangen, Germany, the highest honor given wind conductors in the United States, the medal of the Academy of Wind and Percussion Arts (National Band Association) and the highest honor given wind conductors in Austria, the gold medal of the Austrian Band Association. He is a member of the Hall of Fame of the California Music Educators Association.

Dr. Whitwell’s publications include more than 127 articles on wind literature including publications in Music and Letters (London), the London Musical Times, the Mozart-Jahrbuch (Salzburg), and 39 books, among which is his 13-volume His-tory and Literature of the Wind Band and Wind Ensemble and an 8-volume series on Aesthetics in Music. In addition to numerous modern editions of early wind band music his original compo-sitions include 5 symphonies.

David Whitwell was named as one of six men who have determined the course of American bands during the second half of the 20th century, in the definitive history, The Twenti-eth Century American Wind Band (Meredith Music).

A doctoral dissertation by German Gonzales (2007, Arizona State University) is dedicated to the life and conducting career of David Whitwell through the year 1977. David Whitwell is one of nine men described by Paula A. Crider in The Conduc-tor’s Legacy (Chicago: GIA, 2010) as ‘the legendary conductors’ of the 20th century.

‘I can’t imagine the 2nd half of the 20th century—without David Whitwell and what he has given to all of the rest of us.’ Frederick Fen-nell (1993)