Andreas Romberg

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Andreas Romberg

Andreas Jakob Romberg (born April 27, 1767 in Vechta ; † November 10, 1821 in Gotha ) was a German violin virtuoso , composer and conductor .

Together with his cousin Bernhard Romberg (1767–1841), Andreas Romberg is the most important member of the Romberg family of musicians . In contrast to his cousin, whose Europe-wide reputation was primarily based on his virtuosity as a practicing artist, Andreas Romberg made a name for himself primarily as a composer. At the beginning of the 19th century his compositions were placed on a par with those of Haydn, Mozart and Beethoven; after his death, however, his fame quickly faded. Only his setting of Friedrich Schiller's ballad Das Lied von der Glocke (1808) enjoyed great popularity well into the first decades of the 20th century. Like the music of some other contemporaries of Mozart and Beethoven, Romberg's works have experienced a renaissance since the 1990s, which is noticeable on both the music and the recorded music market.

biography

Vechta, Münster and trip to Amsterdam (1767–1775)

Born as the son of the military musician (Gerhard) Heinrich Romberg (1743–1819) in Vechta, then a garrison town in the Niederstift of the Diocese of Münster / Westphalia, Andreas Romberg received his first music lessons from his father, who was an excellent clarinetist and violinist. The first thirty years of his life are inseparable from the life story of his cousin Bernhard Romberg, who was six months younger than him, son of his uncle (Bernhard) Anton Romberg (1742–1814): Up until 1798, the cousins ​​undertook almost all trips and relocations together. In 1769 both families moved to Münster, and in 1771 Andreas' father Heinrich was accepted into the court and cathedral chapel there. In 1774 Andreas and Bernhard, wrongly referred to as "the younger Romberg brothers", appeared in public for the first time; Andreas as a violinist with a violin solo composed by his father, Bernhard as a cellist. In 1775 the cousins, accompanied by their fathers, gave concerts in Amsterdam; Andreas played a violin concerto by the Tartini student Maddalena Lombardini-Syrmen (1735–99) and was briefly a student of the violin virtuoso and concert entrepreneur Ignazio Raimondi .

Youth in Münster and first concert tours (1776–1784)

After their return to Münster, Andreas and Bernhard certainly took part in concerts by the cathedral orchestra; However, they were not permanently employed in the Münster orchestra until 1782. In the following years, Andreas and Bernhard occasionally gave concerts abroad with their fathers: a concert in Osnabrück in 1779 and a concert in Leipzig on July 5, 1780. In 1782 the Romberg families met Christian Gottlob Neefe (1748-98) during a visit by the Großmann theater troupe in Münster , who was the music director of the troupe and newly appointed court organist to the Elector of Cologne in Bonn and from then on was keenly interested in the further development of the two young Rombergs took. In September of the same year, the Romberg fathers and their sons participated in the celebrations for the opening of the new comedy house in Frankfurt / Main. Andreas Romberg's first traditional composition comes from the same year: Two solos for the violin. At that time he was probably taking composition lessons from Joseph Antony (1758–1832), cathedral organist in Münster since 1781; Andreas was grateful to him all his life, in 1813 he dedicated the vocal pressure of his third symphony (C major op. 33) to his teacher.

In Paris (1784–1785)

In the spring of 1784 the Romberg fathers took their sons on a trip to Paris. In February, still in Munster, Andreas had composed his first violin concerto; During the trip, a quartet for violin, cello, clarinet and bassoon in E flat major was created in Antwerp, probably intended for the four Rombergs to play together. They had a meeting point in Paris in the music-loving Baron Carl Ernst Bagge , in whose salon many greats of Parisian musical life frequented. There Andreas and Bernhard were heard by Jean Le Gros, the entrepreneur of the Paris Concert spirituel at the time , and immediately engaged for the next season. Through Bagges, Andreas also got to know François-André Danican Philidor (1726–95), and through him in turn Giovanni Battista Viotti (1755–1824), the founder of modern French violin playing, whom Andreas admired all his life. In April 1784 the Rombergs were back in Munster; In the same month Andreas composed his second violin concerto in E flat major. The four Rombergs performed the agreed performances at the Paris Concerts spirituels in the following spring: On March 29, 1785, Andreas performed his own violin concerto, and on April 1, all four Rombergs performed together in a Sinfonia concertante .

Apprenticeship in Münster (1785–1790)

Apparently Andreas stayed in Münster continuously from 1785 to 1790. One can assume that during this time the young man primarily devoted himself to further training as a violinist and to expanding his compositional possibilities. During this time, in addition to five other violin concertos, he also wrote his first five symphonies and his first major vocal compositions: the Mass in B flat major (1787) and the singspiele Das Blaue Ungeheuer and Der Rabe (both 1788). All these works remained unprinted, the operas, although Neefe strongly advocated them with his employer Großmann, were initially unperformed. Many of the instrumental works are likely to have been performed in court or subscription concerts in Münster.

Member of the Bonn court orchestra (1790–93)

At their own initiative, Andreas and Bernhard Romberg were accepted into his court chapel in autumn 1790 by their employer, Prince-Bishop Maximilian Franz of Austria , and also the Elector and Archbishop of Cologne based in Bonn , which at that time was a gathering place for many extraordinary talents: the Young Beethoven stayed there until autumn 1792, at which time Josef Reicha (1752–95) and his nephew Anton (1770–1836) belonged, as well as the violinist Franz Anton Ries (1755–1846) and the horn player and music publisher Nikolaus Simrock (1751-1832). Bonn offered the two Rombergs a variety of opportunities to expand their musical experiences: In December 1790 and again in July 1792, Joseph Haydn visited the royal seat; In the autumn of 1791, Andreas and Bernhard Romberg used a trip by the Elector and the court orchestra to Mergentheim to pay a visit to the then famous composer, organist and pianist Johann Franz Xaver Sterkel in Aschaffenburg together with Simrock, Ries and Beethoven . While fleeing from the French revolutionary troops, Elector Maximilian Franz and his court withdrew to Münster at the turn of the year 1792/93. In the Holy Week of 1793 Romberg's oratorio The Messias (based on the epic epic by Friedrich Gottlieb Klopstock ), which was completed shortly before in Bonn, was premiered there. At Easter 1793 the court returned to Bonn, which was still threatened by French troops. In October 1794, the republican army moved into Bonn. Andreas and Bernhard had already officially received leave from the chapel service from the Elector in September 1793 and turned to Hamburg.

Hamburg I (1793–95)

At the end of October 1793, the cousins ​​arrived in Hamburg and immediately found employment as leading instrumentalists in the orchestra of the German Theater, which at that time was directed by Friedrich Ludwig Schröder (1744-1816). Schröder performed a stage work by Andreas Romberg for the first time: The Singspiel Der Rabe was premiered on April 7, 1794. It stayed with this one production; the work, like all of Andreas Romberg's subsequent operas, was unsuccessful. The cousins ​​also took an active part in the city's concert life; They were often heard both in the "Musical Academies" organized by Schröder for the benefit of the pension fund for old and sick actors in the Deutsches Theater, as well as in concerts organized by themselves or by other virtuosos. Andreas had increased the number of his violin concertos to eight by 1793; during his time in Bonn he also composed a double concerto for violin and violoncello; for the concerts in which Bernhard and he took part, he must have drawn from this fund. He made the acquaintance of Christian Friedrich Gottlieb Schwencke (1767–1822), who had succeeded Carl Philipp Emanuel Bach as music director of the five main churches in Hamburg in 1789 , and he quickly gained recognition as a composer and violin virtuoso. During this first time in Hamburg, Andreas Romberg composed primarily chamber music (duos for violin and violoncello, string quartets), but also his seventh symphony (in chronological order), the first that he considered worthy of publication; it appeared in print in 1805.

Trip to Italy and Vienna (1795–97)

In the summer of 1795, Andreas and Bernhard set out on a trip to Italy via Munich; in Bassano they met the music-loving Prince Rezzonico, a Roman senator, who invited them to a concert on the Capitol on February 18, 1796. In March they stayed in Naples and paid their respects to the opera composers Niccolò Piccinni (1728–1800) and Giovanni Paisiello (1740–1816) as well as the violin virtuoso Antonio Lolli (1725–1802). They were allowed to play at court and were admitted to an audience with the Queen of Naples (a daughter of Maria Theresa and sister of her former employer Maximilian Franz). In the summer of 1796 they started their return journey; in Rome they met the painter Karl von Kügelgen , with whom they were acquainted from Bonn, and traveled with him via Tyrol to Vienna, where they arrived in autumn. They were warmly received and encouraged by Joseph Haydn ; they organized a concert with Beethoven.

Hamburg II (1797-1800)

In February 1797, Andreas and Bernhard Romberg arrived in Hamburg, returned to their old position at the Deutsches Theater and resumed their active participation in the concert life of the Hanseatic city. In April 1798, Schröder resigned the directorate of the German theater; and his successor, a five-man board of directors, attempted to change the contractual gaming obligations; The cousins ​​did not agree to that and did not extend their contract with the Deutsches Theater, which expired at Easter 1799. Shortly before, on March 5, 1799, the entire Romberg clan - the fathers Heinrich and Anton, the siblings or cousins ​​Anton, Therese and Angelica, all from Münster, together with Andreas and Bernhard - had come to a concert to be heard in the Deutsches Theater. From now on, Andreas and Bernhard went their separate ways. While the latter set off on an extensive concert tour through Europe, Andreas stayed in Hamburg to devote more time to maintaining his catalog of works. From 1799 Romberg began to publish his works as planned; up to then only 14 “Oden und Lieder fürs Clavier” (without number; Bonn 1793) had appeared in print. The respected Leipzig publisher Breitkopf & Härtel has now published three string quartets as its opus 1 and two song collections without opus numbers, but counted as vocal works No. 1 and 2.

Intermezzo in Paris (1800-02)

In the autumn of 1800, Bernhard Romberg returned to Hamburg for a short time and persuaded his cousin to go to Paris with him. After a joint farewell concert in mid-October in the Deutsches Theater, the cousins ​​traveled to the French capital via Münster (where they visited their family and gave a concert on November 7th). They immediately received an engagement for several concerts from January to Easter 1801. Andreas played a. a. a violin concerto in E major from 1799. It was so popular that it was immediately printed by the Paris publisher Erard (op. 3, 1801/02). Andreas wrote reports on Parisian musical life to Breitkopf & Härtel in Leipzig, which were included in the publisher's Allgemeine Musikische Zeitung . At the end of April Andreas returned to Hamburg for a few months. There he married Anna Magdalena Ramcke on May 25, 1801, daughter of the Hamburg innkeeper Nicolaus Ramcke. In August the couple stayed in Münster and in October they settled in Paris. Apparently, Andreas planned to establish himself as an opera composer. In October 1801 he completed the score of the one-act opera Don Mendoza for the Théâtre Feydeau. The performance took place in the current season 1801/02 and was a complete failure despite the use of paid claqueurs. After a summer stay in Le Havre, the Rombergs traveled back to Hamburg by ship.

Hamburg III (1802-14)

In August 1802 Romberg, his wife and his first son Heinrich, who was born in Paris, arrived in Hamburg. In the following twelve years the steadily growing family stayed in the Hanseatic city; Romberg did not even leave her for short concert tours. His concerts, which take place every February or March - initially in the Deutsches Theater, from 1806 in the newly built Apollosaal - became a Hamburg institution. In the first years the good reputation of these concerts was largely based on his virtuoso skill and his ability as an instrumental composer (symphonies, violin concertos); but after his setting of Schiller's Lied von der Glocke was premiered on January 7, 1809 , his reputation as a composer of rich vocal music increasingly consolidated. The opera genre was, of course, excluded from this: his stage works Point de bruit (1808; for the French Theater in Hamburg) and The ruins of Paluzzi (1811, for the German Theater, which was again under Schröder's direction) were unsuccessful. In May 1809 he received his doctorate from the University of Kiel as a "Doctor of the Liberal Arts, especially Music". Occasionally he was visited by Bernhard Romberg, who was constantly on the move; in March and November 1805 and then again in October 1808 the cousins ​​gave concerts together in Hamburg. In the first few years Romberg and his family could evidently live quite well from his concert activities and the income from the sale of works to publishers; in later years, however, the economic situation deteriorated as a result of the Napoleonic continental blockade and the ongoing state of war. The winter of 1813/14 was remembered in Hamburg as the “winter of misery”. Andreas had given his last concert on April 29, 1812 in the Apollosaal and then performed again the following month. Concert life in Hamburg had come to a standstill.

New journeys (1814-15)

Since the beginning of 1813, Andreas Romberg was in negotiations with the court in Gotha to take over the position of concert master in the court orchestra there, which had become vacant when Louis Spohr left for Vienna. The military situation made it impossible to move to Gotha for the time being. It was not until the spring of 1814 that the Romberg family managed to escape from Hamburg to Altona, which was then Danish. But even now Romberg hesitated to accept the position in Gotha; he used the summer of 1814 to visit his parents' family in Munster and to spend a few weeks with his wife in Stralsund and Rügen. In July he traveled to Berlin to see cousin Bernhard, who had been a member of the court orchestra there since 1805, and stayed until the beginning of September. Then he went, giving concerts in every town, via Breslau, Prague and Leipzig to Gotha, where he arrived in December 1814 and played at court to the duke's pleasure; the conditions of his employment were regulated by mutual agreement. At the beginning of 1815 he returned to Hamburg for a few weeks to organize the relocation of the family to Gotha. On March 15, 1815, he gave his farewell concert in the Apollo Hall.

Gotha (1815-21)

Andreas Romberg took up his position as concertmaster of the court orchestra in Gotha in the spring of 1815. He received an impressive annual salary of 1,000 Reichstalers (Spohr and his wife only received 731 Reichstalers); but by 1815 his family had grown to a group of eight children, three more children were to follow in Gotha, and additional concert income was out of the question in the small town of Gotha. Already after a year and a half in the ducal service, in November 1816, Romberg felt compelled to ask for a raise in the most submissive formulations. Since he received no answer, he repeated his request after a year; now it has been finally rejected. Romberg used the generous vacation regulations of his employment contract to go on concert tours, from the turn of the year to the first few months of each new year. In April 1816 he gave a concert in Dresden, for the first time together with his eldest son Heinrich (1802–59). For such occasions he wrote a (unprinted) double concerto for two violins especially in January 1816. From late 1816 to early 1817 he performed with his son in Hamburg, Berlin, Münster and Osnabrück; At the beginning of 1818 the concert tour went to the Rhineland, Düsseldorf, Cologne and Bonn. At the beginning of 1819 he traveled to Karlsruhe, Frankfurt / Main, Ansbach, Bayreuth and Nuremberg. In the same year he founded the "Singverein" in Gotha, the first civil cultural association, from which in 1937 the "Liedertafel" emerged. In March 1820 he was in Berlin. At the beginning of 1821 he stayed in Gotha due to illness. Apparently Romberg struggled with health problems all year round; he died on November 10, 1821 in Gotha. Bernhard Romberg later expressed the conviction that Andreas Romberg "died of grief [...] because he did not know how to repay the debts he had there (in Gotha)."

Romberg played an Antonio Stradivari violin . As a violinist, he was not without controversy because he did not follow the Parisian trends and was more committed to the traditional violin school. The Leipziger Allgemeine Musikalische Zeitung (AMZ) underlined this in February 1801 in a report on a concert in Paris: “[...] here, where the excellent violinist is so many, and where Romberg with his own manner is against them now dares to run into the prevailing fashion. [...] "

Honors

  • In addition to a few other cities in Germany, the city of Gotha also honored the musician and composer by naming a street after him in the west of the city.

Works

Romberg kept a detailed record of the creation and publication of his works. Since 1782 he entered every new composition after completion in his list of my compositions from 1782 to [1821] ; In addition, he made a separate note of the compositions he had published. If a work was to be printed, he usually gave it an opus number. The opus numbers do not reflect the chronology of the creation, but the order of publication. Only a few smaller works received no opus number despite their publication. In addition, Romberg numbered some of the works that appeared in print according to genre, regardless of whether they had an opus number or not. For example, in 1799 two song collections were published without an opus number, but marked as the 1st or 2nd work of the Gesangsstücke. In the same year three string quartets appeared as his op. 1, with the additional identification as the 1st series of the string quartets.

In 1938, Kurt Stephenson published a bibliography of Romberg's works as an appendix to his habilitation thesis on Andreas Romberg, which is systematically sorted by genre and chronologically within the genres. The work numbering suggested by Stephenson is abbreviated as SteR in the following catalog raisonné. Numbers in round brackets indicate the year of origin, location and year numbers without brackets indicate the place and year of the first printing. The list of Romberg's printed works by Axel Beer (in Romberg [2009]) was used to date them .

Stage works

  • The blue monster , tragicomic fairy tale with song, 3 acts, SteR 176 (1788), lost
  • The raven , tragicomic fairy tale with song, 3 acts, SteR 177 (1788), lost, premiere Hamburg April 7, 1794
  • The power of music , opera, 3 acts, SteR 178 (1790–93), lost
  • The Nebelkappen , Opera, 3 acts, SteR 179, 180 (1793), lost
  • Don Mendoza , Opera, 1 act, SteR 181, lost except for the overture, which appeared in print as op. 36
  • Point de bruit , opéra bouffon, 2 acts, SteR 182-201 (1808), reworked into the Singspiel No Sound (1812/13), lost
  • The ruins of Paluzzi , romantic opera, 3 acts, SteR 202-221 (1810/11), premiere Hamburg December 27, 1811; a piano reduction was published as op.31 (11th work of the vocal pieces), Hamburg 1812
  • The generosity of Scipio , heroic opera, 1 act, SteR 224 (1816), a piano reduction appeared as op. 63 (20th work of the vocal pieces), Hamburg 1825 or earlier

Vocal music

Sacred works with instrumental accompaniment

Unless otherwise stated, for solos, choir and orchestra.

  • Mass in B major SteR 225-229 (1787)
  • The Messiah (Klopstock), Cantata SteR 230, 1st version (1793), 2nd version (1802)
  • Psalmus CX: Dixit Dominus op.61 (19th work of the vocal pieces) SteR 231 (1800), Leipzig 1820
  • Te Deum op.55 (18th work of the vocal pieces) SteR 232 (1806), Cologne / Bonn 1819/20
  • Pater noster for soprano, tenor, bass and orchestra op.24 (19th work of the vocal pieces), SteR 233 (1807), piano reduction Hamburg 1808
  • Offertory Jerusalem surge SteR 234 (1810)
  • Domine salvum fac Imperatorem for mixed choir and orchestra SteR 235 (1810)
  • O salutaris for soprano, tenor, bass and string quartet SteR 236 (1810)
  • Der Erbarmer (Klopstock), Ode, op.64 (21st work of the vocal pieces) SteR 237 (1811), Hamburg 1821
  • Recitative and choir “Den heute zu Heilgem Priesthood”, SteR 238 (1816), lost
  • Sancta Maria , duet for two sopranos and string quartet, SteR 239 (1819)
  • Gloria in D major for two sopranos and string quartet, SteR 240 (1819)
  • German Te Deum " Lord God, we praise you " for choir and orchestra, SteR 241 (1820)

Sacred works for choir a cappella

  • Der Tod ( Klopstock ) for mixed choir, based on a melody by Johann Friedrich Reichardt , SteR 340-341 (two versions, both 1803), Berlin 1803
  • At baptism , two chorals (“See us praying, God, before you”, “Since a Christian became ours”), SteR 342-343 (1815)
  • According to the Psalm translations by Moses Mendelssohn :
    • Psalmody , seven psalms op. 65 (22nd work of the vocal pieces), SteR 344-350 (1817-20), Offenbach 1821
    • Choral No. 1 "Our soul waits for the Lord", Psalm 33, SteR 351 (1821)
    • Choral No. 2 "Turn to me, O Lord!", Psalm 33, SteR 352 (1821)
    • Chorale No. 3 "Kingdoms of the Earth", Psalm 68, SteR 353 (1821)

Secular vocal works with instrumental accompaniment

  • Heinrich and Mariechen (lyricist unknown), rural poem for a voice, piano, two violins and bass, SteR 242 (1787)
  • Obligations of Life (Ludwig Hölty), for choir and orchestra, SteR 243 (1788)
  • The Future Beloved , from Klopstock's elegy , recitative and aria for bass and orchestra, SteR 244 (1788)
  • Recitative and aria "Con questo ferro, indegno!" For soprano and orchestra, SteR 245 (1790)
  • Recitative and Rondo "Numi, tiranni" for tenor and orchestra, SteR 246 (1792)
  • Trio "Ah fermate!" For soprano, tenor, bass and orchestra, SteR 247 (1797)
  • The Harmony of the Spheres (Kosegarten), hymn for solos, choir and orchestra op.45 (17th work of the vocal pieces), SteR 248 (1797, revised 1816), Bonn / Cologne 1817/18
  • Skolie im Abendrot (Köpken), choral song for two tenors, two basses and orchestra, SteR 250 (1799)
  • Bundeslied (Goethe), choral song for two tenors, two basses and orchestra, SteR 251 (1799)
  • Das Saitenspiel (Herder), song for tenor and orchestra, SteR 252 (1799)
  • Im Grünen (Voss), choral song for two tenors, two basses and orchestra, SteR 253 (1799)
  • Die Blume des Lebens (Herder), choral song for two tenors, two basses and orchestra, SteR 254 (1799), Lost
  • The Stations of Life (Langbein), Arietta for bass and orchestra, SteR 255 (1799), lost
  • Frauenlob (Stolberg), duet for tenor, bass and orchestra, SteR 256 (1799), lost
  • Die Tobackspfeife (Pfeffel), duet for tenor, bass and orchestra, SteR 257 (1799)
  • Scene and duet "Raffrena, o cara, così dolci transporti" for two sopranos and orchestra, SteR 258 ​​(1800)
  • Spring song "No more storms fill the air" (Starke), choral song for two tenors, two basses and orchestra, SteR 259 (1800)
  • "Noah, Weinerfinder" (Lenz), choral song for two tenors, two basses and orchestra, SteR 260 (1800)
  • The happiness of friendship (lyricist unknown), choral song for two tenors, two basses and orchestra, SteR 261 (1800)
  • Spring song "Look up, how hehr das lichte Blau" (Strong), choral song for two tenors, two basses and orchestra, SteR 262 (1800)
  • Die Liebe (Gotter), choral song for two tenors, two basses and orchestra, SteR 263 (1800)
  • Small cantata for the birthday party of Nicolaus Ramcke "Glad you see the day sun" (lyricist unknown) for 2 sopranos, tenor and string quartet, SteR 264 (1802)
  • Round song from Schiller's Wallenstein camp "Wohlauf Kameraden auf Pferd", song for bass, choir and wind orchestra, SteR 265 (1802)
  • Selmar and Selma (Klopstock), Elegy for two voices and string quartet (3rd work of the vocal pieces), SteR 266 (1803), Leipzig 1805
  • The lesson (Klopstock), ode for two voices and orchestra, SteR 267 (1804), piano reduction Hamburg 1822 or earlier
  • Das holde Bild , Cavatina and choir for soprano, alto, two tenors, bass and string quartet, SteR 268 (1806), lost
  • Trio "Miei cari figli" for soprano, tenor, bass and orchestra, SteR 269 (1806)
  • Cantata for the wedding of Cipriano de Urbiata for four voices, choir and orchestra, SteR 270 (1807)
  • Maurerlied "Richter freeschaffner Geister" for solo parts choir and piano, SteR 271 (1807)
  • New Year's wish , recitative and aria for bass and orchestra, SteR 272 (1807)
  • Mason's cantata "It floats in a beautiful idol" for tenor, male choir and orchestra, SteR 273 (1808)
  • Aria "Non, non, c'est un demon" for bass and orchestra, SteR 273 (1808)
  • The song of the bell (Schiller), cantata four solo parts, choir and orchestra op.25 (7th work of the vocal pieces), SteR 275 (1808), Bonn 1809
  • The Child Murderer (Schiller), cantata for soprano, choir and orchestra op.27 (9th work of the vocal pieces), SteR 276 (1809), Hamburg 1809
  • Die Macht des Gesangs (Schiller), cantata four solo voices, choir and orchestra op.28 (10th work of the vocal pieces), SteR 277 (1809), Hamburg 1810
  • Der Triumph der Liebe (Schiller), hymn for soprano, two tenors, bass and guitar, SteR 278 (1810)
  • Small cantata for a birthday party "Opfert Dank, ihr Lieben, Holden" for two sopranos, alto, tenor, two basses, choir and orchestra, SteR 279 (1810)
  • Ode to Joy (Schiller) for two tenors, two basses and orchestra, SteR 291 (1811 or earlier), Berlin-Lichterfelde, before 1904
  • What remains and what disappears (Kosegarten), Ode for four solo voices, choir and orchestra op. 42 (14th work of the vocal pieces), SteR 280 (1812), Bonn / Cologne 1817/18
  • Totenfeier (partly Schiller), cantata for two sopranos, tenor, bass, choir and orchestra, SteR 281 (1812)
  • Monologue from Schiller's Jungfrau von Orléans for soprano and orchestra op.38 (12th work of the vocal pieces), SteR 282 (1812), Hamburg 1815
  • The Count von Habsburg (Schiller) Ballade for soprano and orchestra op.43 (15th work of the vocal pieces), SteR 283 (1815), Bonn / Cologne 1817
  • Sehnsucht (Schiller), poem for a voice and orchestra op.44 (15th work of the vocal pieces), SteR 284 (1815), Bonn / Cologne 1817
  • Mason's cantata “Whom echoes today in the sanctuary” for two tenors, two basses, choir, horn and string orchestra, SteR 285 (1816)
  • Blandine (Haupt nach Bürger), melodrama for soprano and orchestra, SteR 286 (1818)
  • Cantata for the Johannesfest 1818 for two tenors, two basses, male choir, horn and piano, SteR 287 (1818)
  • Duet "The night is dark, like Israel's destiny" for tenor, bass and string orchestra, SteR 288 (1819)
  • Grabgesang , Choral, 1st version for four-part choir and orchestra; 2nd version for four solo voices, choir and piano, SteR 289 (1819)
  • Cantata for the Johannesfest 1819 for two tenors, two basses, male choir and orchestra, SteR 290 (1819)

Songs and canzons for voice and piano

  • Song "O was in a thousand love splendor" (citizens), SteR 292 (between 1787 and 1789), lost
  • Serenade (Stamford), SteR 293 (1787), lost
  • 14 Odes and songs for the piano , SteR 294-307 (until 1788), Bonn 1793
  • Song “God's twilight is beautiful”, SteR 308 (1792), lost
  • Song "Star of Love, pale and cloudy", SteR 309 (1792), lost
  • The presence. A Persian song , SteR 322 (1797), lost
  • Sei Canzoni (2nd work of the vocal pieces), SteR 249, 310-315 (1796-98), Leipzig 1800
  • 6 songs to be sung on the piano (1st work of the vocal pieces), SteR 316-321 (1797-98), Leipzig 1799
  • The song “Mein, oh mine is she too”, SteR 323 (1798), lost
  • Sonnet "Frohe, benebensvolle", SteR 324 (1798), lost
  • Drinking song “Frohen Mutes, frei von Sorge”, SteR 325 (1798), lost
  • Four songs by Scholz , SteR 326-329 (1804), Altona, 1818 or earlier; Single editions as early as 1804
  • Comfort of life , [not with SteR; Beer, p. 205], Hamburg, until 1805
  • Hope to see you again , [not with SteR; Beer, p. 205], Hamburg, until 1805
  • Songs with Clavier Accompaniment Op. 15 (4th work of the vocal pieces), SteR 330-333 (No. 1: 1804; No. 2-4: 1806), Hamburg 1806
  • The Wanderer (Christine Westphalen), SteR 334 (1809), lost
  • Die Schiffenden (Christine Westphalen), SteR 335 (1809), lost
  • To Guido , SteR 336 (1812), Hamburg, after 1812
  • Song "O how should I greet you today", SteR 337 (1812), lost
  • Language of Tonkunst , SteR 338 (1814), Hamburg 1839
  • Song "Loud jubilating sound my song", SteR 339 (1815)

Secular chants a cappella

  • Canon "Chi vuol aver felice il core" for soprano, alto and tenor, SteR 354 (1798), published as supplement no. XVIII of the Allgemeine Musikischen Zeitung I (1798/99)
  • Canon “How blessed who has his darling” (citizen) for six voices, SteR 355 (1798), published as supplement no. XVIII of the Allgemeine Musikischen Zeitung I (1798/99)
  • Choir “O wonderful is God's earth” (Hölty), 1st version for two sopranos, tenor and bass, SteR 356 (1801); 2nd version for two choirs, SteR 357 (1814), lost; 3rd version, SteR 358 (1814)
  • Die Eintracht , song for soprano, tenor and bass, SteR 359 (1805)
  • Six songs by Gleim for three voices op.20 (5th work of the vocal pieces), SteR 360-365 (1806), Hamburg 1807
  • Canon "Everyone is mindful" for three voices, SteR 366 (1808)
  • Canon “Vivos voco” for two sopranos, two altos, two tenors and two basses, SteR 390 (composed for the title page of the first edition of op. 25)
  • Six songs by Christine Westphalen geb. v. Axes for three voices op.26 (8th work of the vocal pieces), SteR 367-372 (1809), Hamburg 1809
  • Canon “Enjoy the charm of life” (disciples) for two voices, SteR 373 (1813), lost
  • Canon “Ricordati di me” for four voices, SteR 374 (1814), lost
  • Masonic song "Dank dem Geber" for two tenors and two basses, SteR 375 (1815)
  • Freemason's song "Hier in der Freiheit sichrem Schoße" for two tenors and two basses, SteR 376 (1815)
  • Canon "Everything repeats itself only in life" (Schiller) for soprano, tenor, alto and bass, SteR 377 (1815)
  • Six songs by Lessing op.39 (13th work of the vocal pieces), SteR 378-383 (1815), Hamburg 1816
  • Six songs by Schiller , SteR 384-389 (1821)

Instrumental music

Orchestral works

Symphonies
  • Symphony in F major, SteR 1 (1785), lost
  • Symphony in G major, SteR 2 (1788)
  • Symphony in E flat major, SteR 3 (1788), lost
  • Symphony in E flat major, SteR 4 (1788), lost [arrangement of SteR 3?]
  • Symphony in D major, SteR 5 (1788), lost
  • Symphony in D major, SteR 6 (1792)
  • Symphony No. 1 in E flat major op.6, SteR 7 (1794), Leipzig 1805
  • Symphony No. 2 in D major op.22, SteR 19 (1806), Leipzig 1808
  • Symphony No. 3 in C major op.33, SteR 16 (1797), Leipzig 1812
  • Sinfonia alla turca [No. 4] C major op. 51, SteR 17 (1798), Leipzig 1818
Overtures, inter-act music and other unique pieces for orchestra
  • Between acts, eight numbered individual pieces (No. 1: Allegro in B flat major; No. 2: Andante in F major; No. 3: Allegro assai in B flat major; No. 4: Allegretto vivo in B flat major; No. 5: Poco Adagio E flat major; No. 6: Allegro assai con brio E flat major; No. 7: Andante poco Allegretto E flat major; No. 8: Allegretto E flat major), SteR 8-15 (1794)
  • Overture to the opera Don Mendoza op.36, SteR 181 (1801)
  • Introduzione in C minor to the funeral box, SteR 18 (1805), lost
  • Overture to the opera The ruins of Paluzzi op.37 , SteR 222 (1811), Leipzig 1815
  • Overture to the opera Die Großmuth des Scipio op.54, SteR 223 (1816), Leipzig 1818
  • Between act music on "Heil dir im Siegerkranz", SteR 20 (1817)
  • Overture in D major op. 60, SteR 21 (1819), Leipzig 1820 [2. Version of op. 37]

Concerts and concert pieces

In the violin concertos there are two partly competing, partly complementary counts, both of which are authorized by Romberg; on the one hand, the autograph manuscripts are numbered consecutively from No. 1–16, and on the other hand, the concerts published in print are numbered consecutively as No. 1–4, regardless of this. In the following, the autograph numbering is given with Roman numerals and the counting of the prints with Arabic.

  • Violin Concerto I in F major, SteR 30-33 (1784), finale in three versions
  • Composition for violin and orchestra [Rondo?], SteR 34 (1784?)
  • Rondo in F major for violin and orchestra, SteR 35 (1784)
  • Romance in B flat major for violin and orchestra, SteR 36 (1784?)
  • Violin Concerto II in E flat major, SteR 37 (1784)
  • Violin Concerto III in D major, SteR 38 (1785), no final movement
  • Rondo in D major for violin and orchestra, SteR 39 (1785), probably final movement to SteR 38
  • Rondo in D major for violin and orchestra, SteR 40 (1785), probably 2nd attempt at a final movement for SteR 38
  • Violin Concerto IV in C major, SteR 41 (1786)
  • Double Concerto in D major for violin, clarinet and orchestra, SteR 42 (1788)
  • Rondo in D major for violin and orchestra, SteR 43 (1788), lost
  • Violin Concerto in G major, SteR 44 (1788)
  • Violin Concerto VI in B flat major, SteR 45 (1790)
  • Rondo in F major for violin and orchestra, SteR 46 (1788), lost
  • Violin Concerto VII in A major, SteR 47 (1790)
  • Violin Concerto VIII in E flat major, SteR 48 (1792)
  • Double Concerto in C major for violin, violoncello and orchestra, SteR 49 (between 1790 and 1793)
  • Violin Concerto IX in A major, SteR 50 (1795)
  • Violin Concerto X in E minor, SteR 51 (1797)
  • Violin Concerto XI in G major, SteR 52 (1798)
  • Violin Concerto No. 1 in E major, Op. 3, SteR 53 (1799), Paris 1801/02
  • Violin Concerto XII in G minor, SteR 54 (1800)
  • Violin Concerto No. 2 in C major, Op. 8, SteR 56 (1802), Oranienburg 1805
  • Rondo à la mode de Paris for violin and orchestra op.10, SteR 57 (1803), Berlin 1805
  • Violin Concerto XIII in B minor, SteR 58 (1803)
  • Scottish melody with variations for violin and orchestra op.66, SteR 59 (1804), Leipzig 1821
  • Violin Concerto XIV in F major, SteR 60 (1804)
  • Capriccio in B flat major for violin and orchestra, SteR 61 (1804)
  • Capriccio à la Lolli in A major for violin and orchestra, SteR 62 (1805)
  • Violin Concerto XV in E flat major, SteR 63 (1805)
  • Introduzione and Allegro for the celebration of the Johannes Lodge for orchestra with solo violin, StR 64 (1807)
  • Violin Concerto XV ½ No. 3 in D minor op. 46, SteR 65 (1808), Bonn / Cologne 1817
  • Capriccio in G major for violin and orchestra, SteR 66 (1808)
  • Fantasia in E flat major for violin and orchestra, SteR 67 (1809)
  • Rondo in A major for violin and orchestra op.29, SteR 68 (1810), Hamburg 1810
  • Capriccio in G major for violin and orchestra op.35, SteR 69 (1810), Leipzig 1815
  • Violin Concerto No. 4 in G major op.50, SteR 70 (1810), Leipzig 1817/18
  • Rondo for two violins and orchestra, SteR 71 (1811)
  • Violin Concerto XVI in A minor, SteR 72 (1812)
  • Potpourri based on melodies from Mozart's Don Juan opera for violin and orchestra op. 47, SteR 73 (1815), Bonn / Cologne 1817; Arrangement for 2 violins, 2 violas and violoncello op. 48, SteR 75 (1815–17), Bonn / Cologne 1817; Arrangement for piano and violin op. 49, SteR 76 (1815–17), Bonn / Cologne 1817; Arrangement for two violins and orchestra, SteR 74 (1819)
  • Double Concerto in F major for two violins and orchestra, SteR 77 (1816)
  • Adagio and Rondo alla Polacca in A major for violin and orchestra, SteR 78 (1816)
  • Double Concerto in D minor for two solo violins and orchestra, SteR 79 (1820/21)
  • Potpourri in D major on melodies from the opera Der Deserteur for two violins and orchestra, SteR 80 (1821)

Harmony music

  • Divertimento in E flat major for two clarinets, two bassoons and two horns, SteR 22 (1788), lost
  • Harmoniemusik in F major for two clarinets in Bb and C, two bassoons and two horns in F, SteR 23 (1788)
  • Harmoniemusik in F major for two flutes, two oboes, two clarinets, two bassoons, two horns and double bass, SteR 24 (1800), Lost
  • March in E flat major for two oboes, two clarinets, two bassoons, two horns and double bass, SteR 25 (1800), lost
  • Duet from Die Zauberflöte , arranged for harmony music, for two flutes, two clarinets, two oboes, two horns in Eb, two bassoons and trombone, SteR 26 (1817)

Chamber music

Double quartet, sextets, quintets, quartets (except string quartets)
  • Quartet in E flat major for violin, clarinet in Bb, bassoon and violoncello, SteR 154 (1784)
  • Quartet in B flat major for violin, clarinet in B flat, viola and violoncello, SteR 155 (1788), incomplete
  • Waltz in D major for two violins, flute and bass, SteR 164 (1803), lost
  • Sonata in E flat major for harp, violin, oboe, clarinet, bassoon and double bass, SteR 166 (1805)
  • Quartet for piano, violin, viola and violoncello op.19, SteR 112 (1806), Hamburg 1807
  • Three quintets for flute, violin, two violas and violoncello in A minor, B flat major, G major op.21, SteR 158-160 (No. 3: 1798; No. 1 and 2: 1807), Hamburg 1808
  • Quintet for two violins, two violas and violoncello in E minor, Op. 23, SteR 81 (1807), Hamburg 1809
  • Three quintets for flute, violin, two violas and violoncello in E minor, D major, F major op.41, SteR 161-163 (No. 3: 1800; No. 2: 1807; No. 1: 1815), Leipzig 1816
  • Quintet in E flat major for clarinet, violin, two violas and violoncello op. 57, SteR 167 (1818), Leipzig 1818; Arrangement for two violins, two violas and violoncello op.58, SteR 168 (1818), Leipzig 1818
  • Double quartet in D minor for four violins, two violas and two violoncellos, SteR 125 (1821), unfinished
String quartets and individual movements for string quartet
  • Three string quartets in C major, G major, F sharp minor op.67 (9th series of the string quartets), SteR 82-84 (between 1790 and 1793), Bonn 1817
  • Arietta in G minor con variazioni, on “Who has found a love” from Die Entführung aus dem Seragl for violin solo, viola, cello and bass, SteR 85 (between 1790 and 1793)
  • String quartet in D major, SteR 86 (between 1790 and 1793)
  • Andante con variazioni in B flat major for violin solo, viola, cello and bass, SteR 87 (between 1790 and 1793)
  • Three string quartets in E flat major, G minor, F major op. 1 (1st series of the string quartets), SteR 88-90 (1794–96), Leipzig 1799
  • String quartet in G major, SteR 91 (1796)
  • Three string quartets in E major, A minor, B major op. 2 (2nd series of the string quartets), SteR 92-94 (1797–1799), Bonn 1802
  • Three string quartets in E flat major, D major, F minor op. 5 (3rd series of the string quartets), SteR 95-97 (1799–1800), Paris 1803
  • Quatuor brilliant in A major op.11, SteR 101 (1802), Berlin 1805
  • Three string quartets in D major, E major, C major op.7 (4th series of the string quartets), SteR 102-104 (1803/04), Oranienburg 1805
  • Capriccio in D minor for string quartet op.52, SteR 105 (1804), Leipzig 1818
  • Three string quartets in F major, G minor, B major op. 16 (5th series of the string quartets), SteR 98-100 (1804-06), Offenbach 1806
  • Three songs with variations for string quartet in G major, D major, A major op. 17, SteR 106-108 (1805/06), Offenbach 1806; No. 3 (SteR 108) was published with parts for flute, oboe and two bassoons ad lib.
  • Three string quartets in B minor, A major, F major op. 30 (6th series of the string quartets), SteR 109-111 (No. 1: 1806; No. 2-3: 1810), Hamburg 1810/11
  • Three polonaises for string quartet in E minor, A major, F major op.34, SteR 113-115 (1813), Breslau 1814
  • Fantasia in C minor for string quartet op. 40, SteR 116 (1814), Breslau 1814, together with op. 34; individually as op. 40 for the first time: Leipzig 1815
  • Three string quartets in G major, F sharp minor, E flat major op.53 (7th series of the string quartets), SteR 117-119 (No. 2: 1815; No. 1 and 3: 1817), Leipzig 1818
  • Three string quartets in E minor, C major, D major op.59 (8th series of the string quartets), SteR 120-122 (1819), Leipzig 1820
Duos
  • Variations in G major for violin and violoncello, SteR 143 (1794), Lost
  • Three duos for two violins in D major, E minor, B major op.4 (1st series of the string duos), SteR 126-128 (1802), Bonn 1802
  • Three sonatas for piano and violin in G major, B major, C minor op.9, SteR 151-153 (1804/05), Berlin 1805
  • Variations in D major on a melody from Die Zauberflöte ("A Girl or a Woman") for two violins, SteR 129 (1806)
  • Three duos for two violins in E flat major, G major, C minor op.18 (2nd series of the string duos), SteR 130-132 (1806), Hamburg 1807
  • Three duos for two violins in F major, A major, D minor op.56 (3rd series of the string duos), SteR 133-135 (1818), Leipzig 1818
  • Three flute duets (G major, C major, B minor) op. 62, SteR 27-29 (1819–20), Leipzig 1821
Works for violin solo
  • Solo in C major for violin with bass, SteR 146 (1782)
  • Solo in A major, SteR 147 (1782), lost
  • Three sonatas for the violin alone in E flat major, B flat major, G minor op.32, SteR 148-150 (1802), Leipzig 1813

Varia

  • March in C major for a music box, SteR 169 (1799), lost
  • Canon in F major for four voices, SteR 173 (1800), lost
  • Canon in C major for four voices, SteR 174 (1800), lost
  • Canon F major a tre voci per diminutionem et augmentationem, SteR 175 (1800), lost
  • Andante con variazioni in E flat major for horn, violin and viola, SteR 165 (1804)
  • Overture in D major for a music box, SteR 170 (1804), lost
  • Allegro in D major for a music box, SteR 171 (1804), lost
  • Allegro (Rondo) in G minor for the Panharmonicon, SteR 172 (1810), original lost; Arrangement for flute and string quartet by JF Schwencke, Hamburg undated, arrangement for piano, Hamburg, until 1817

Works composed by Andreas and Bernhard Romberg together

  • Three duos for violin and violoncello in F major, E flat major, E flat major, Ster 136-139, Leipzig 1799
  • Three duos for violin and violoncello in G major, C major, G minor, St 140-142, Leipzig 1800
  • Three duos for violin and violoncello in E minor, C major, B flat major, SteR 144-145, Vienna 1801
  • Three quintets for flute, violin, two violas and violoncello in D major, C major, G major, stere 156-157, Leipzig 1803
  • Double Concerto in F major for violin, violoncello and orchestra, SteR 55 (1801), Paris 1801 as "Première Simphonie concertante [...]"

Authorship questionable

  • Variations in D major on "Heil dir im Siegerkranz" for string quartet SteR 123
  • Variations in A minor on "Schöne Minka" for string quartet SteR 124

Discography

  • The Song of the Bell , op. 25; Chorus Musicus Cologne and Das Neue Orchester, soloists, conducted by Christoph Spering ; Opus 111, 1992
  • The song from the bell after Schiller for solos, choir and orchestra op. 25; Soloists, Municipal Concert Choir Duisburg; Folkwangkammerorchester Essen / Guido Knüsel; calig 50942, 1994
  • Dixit Dominus Domino meo (Psalmus CX) for solos, choir and orchestra; Symphony No. 3 in C major op.33; Funerary song (1819); Collegium vocale Vechta; Members of the Oldenburg State Orchestra / Karlheinz Höfer; Wolkenklang 109506K, 1995
  • Sacred music (psalmody for a cappella choir op. 65; Te Deum for solos, choir and orchestra op. 55); Collegium vocale Vechta & Camerata Andreas Romberg / Karlheinz Höfer; Wolkenklang 129801K, 1998
  • String Quartets Vol. I (F major, Op. 1, No. 3; G minor, Op. 1, No. 2; E flat major, Op. 1, No. 1); Leipzig String Quartet; MDG 307 0963-2, 2000
  • String Quartets Vol. II (B minor op. 30, no.1; G minor op.16, no.2; A minor op.2, no.2); Leipzig String Quartet; MDG 307 1026-2, 2001
  • Three quintets for flute, violin, two violas and violoncello op.41 (E minor, D major, F major), V. Brunner (flute), Viktor Šimčisko (violin), Milan Telecký, Ján Cút (viola), Juraj Alexander (violoncello), Naxos 8.554765, 2001
  • Andreas Romberg: Musik am Gothaer Hof (Overture in E flat major to the opera Die Großmut des Scipio op.54; Potpourri in A major based on melodies from Mozart's Don Juan for violin and orchestra, op.47; Dramatic scene Die Kindsmörderin after Schiller for soprano and orchestra op. 27; Symphony No. 1 in E flat major, op. 6), Antje Weithaas (violin), Anke Hoffmann (soprano), Thuringia Philharmonic Gotha-Suhl / Hermann Breuer; E flat major ES 2033, 2002
  • Andreas & Bernhard Romberg, duos for violin and violoncello (G major SteR 140; C major SteR 141; G minor SteR 142; F major SteR 136; E flat major SteR 137), Barnabas Kelemen (violin), Kouday Mahdi Kadduri (violoncello); Hungaroton 32030, 2002
  • Der Messiah after Klopstock for solos, choir and orchestra WoO; Soloists, Rheinische Kantorei; The Little Concert / Hermann Max; cpo 777 328-2, 2008
  • Andreas & Bernhard Romberg, Concertos & Overtures, Yury Revich, Lionel Cottet, Hofer Symphoniker , Luca Bizzozero, Sony Classical, 2013

literature

  • Friedrich Rochlitz, "Andreas Romberg, Doctor of Music and ducal Saxon Kapellmeister in Gotha", in: Allgemeine Musikische Zeitung XXIII (1821), Sp. 849-856
  • Johann Christoph Schlueter, “Nekrolog. Andreas Romberg “, in: Allgemeine Musikische Zeitung XXIV (1822), Col. 78–85
  • Friedrich Rochlitz, "Andreas Romberg", in: Ders., For Friends of Tonkunst , Vol. 1, ³Leipzig 1868 [first edition: Leipzig 1824], pp. 70–82 [expanded new version of the article from the Allgemeine Musikischen Zeitung ]
  • Hans Michael Schletterer:  Romberg . In: Allgemeine Deutsche Biographie (ADB). Volume 29, Duncker & Humblot, Leipzig 1889, pp. 104-115. (Family article, therein pp. 105–110 about Andreas Romberg)
  • Marion Brück:  Romberg, Andreas. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , p. 18 f. ( Digitized version ).
  • Kurt Stephenson, Andreas Romberg. A contribution to Hamburg's music history (= publications by the Association for Hamburg History, Vol. XI), Hamburg 1938
  • Kurt Stephenson, Andreas Romberg. Bibliography of his works (= publications of the Association for Hamburg History, Vol. XII), Hamburg 1938
  • Klaus G. Werner:  Romberg, Andreas. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 14 (Riccati - Schönstein). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1134-9 , Sp. 332–335 ( online edition , subscription required for full access)
  • Daniela Philippi , Andreas Romberg's setting "Das Lied von der Glocke". In: Festschrift Christoph-Hellmut Mahling on the occasion of his 65th birthday (= Mainz Studies for Musicology 37), ed. by Axel Beer , Kristina Pfarr and Wolfgang Ruf , Tutzing 1997, pp. 1077-1093.
  • Christoph Hust , Studies on the Symphony in 'Northern Germany' around 1790 , Mainz 2008
  • Andreas Romberg, Briefwechsel (1798–1821) , edited and commented on by Volkmar von Pechstaedt. With a foreword by Christoph Hust and a catalog raisonné by Axel Beer (= Hainholz Musikwissenschaft Volume 13), Göttingen 2009
  • Martin Blindow, The Romberg family of musicians. Münster's musical life between classical and early romanticism (= small writings from the Münster city archive, volume 10), Münster 2010
  • Klaus G. Werner and Wolfgang Mechsner, Contributions to Andreas Romberg Research 1, 2014 published by Florian Noetzel Verlag
  • Klaus G. Werner and Wolfgang Mechsner, Contributions to Andreas Romberg Research 2, 2015 published by Florian Noetzel Verlag
  • Klaus G. Werner and Wolfgang Mechsner, Contributions to Andreas Romberg Research 3, 2016 published by Florian Noetzel Verlag
  • Martin Blindow, Andreas Romberg - Sources for his biography (= Andreas Romberg - Selected Works, Series III Editions: Volume 2), published in 2016 by Florian Noetzel Verlag
  • Andreas Romberg, Selected Works (symphonies, choral music, chamber music), new editions, 2001 ff., Edited by Karlheinz Höfer and Klaus G. Werner, published by Florian Noetzel Verlag [54 editions so far]

Web links

Commons : Andreas Romberg  - Collection of images, videos and audio files

Individual evidence

  1. ↑ In the year 1817 it says z. B. on the genre of the symphony: “What Haydn, Mozart, Beethoven and [Andreas] Romberg have achieved so far in this genre of pieces of music, and the height to which these masters have raised it [...].” “[Review:] Symphony à grand Orchester, par JB Moralt [...] “, in: Allgemeine Musikische Zeitung XIX (1817), Sp. 845–849; here Col. 845. As early as 1808, a review of Romberg's 2nd symphony had said: “Symphonies of great character, of artful arrangement and execution, of the wealth of original romantic poetry, and of the beautiful harmony of all their parts to an interesting whole that uplifts the mind and heart, like those of Haydn, Mozart, Beethoven, [Andreas] Romberg, Eberl, are without a doubt the first ornaments of our concerts. ”“ [Review:] Symphonie à grand Orchester [...] composée par Andr. Romberg. My symphony. O. 22 “, in: Newspaper for the elegant world 8 (1808), Col. 1646f .; here col. 1646.
  2. ↑ Presumably one of those six concerts that appeared in print in Amsterdam in 1772/73.
  3. ↑ Blindow (2010), p. 46
  4. ↑ Stephenson (1938), p. 16
  5. ↑ Blindow (2010), p. 46
  6. ↑ Handwritten entry on the back of a printed concert program from April 28, 1780; City History Museum Leipzig, signature: MT / 81/2007.
  7. ↑ At the end of 1798, Schwencke wrote in a correspondence report in the Allgemeine musical newspaper : “I have many very good violin players, e.g. Benda, Jarnowick [ie: Giornowichi], Möser, Lolli, Frenzl [ie: Fränzl], [Regina] Schlick , Rode, Müller , Pieltain, Pixis, etc., of which you will certainly know several, and all of which have had their excellent merits; But no one has ever so completely satisfied me as Andreas Romberg, when he played a concert of his own composition from B major for the first time here in one of the local musical academies five years ago. The most important advantages which make this virtuoso a true artist and which must immediately be noticed by every connoisseur and educated lover and which must be taken for him are the following. First of all: he is a very good composer who combines a really good taste with a lot of knowledge. ”Christian Friedrich Gottlieb Schwencke,“ Letters about musicians and musicians. Second Letter ”, in: Allgemeine Musikische Zeitung I (1798/99), Sp. 123–128; here col. 126f. Original emphasis. The violin concerto that Schwencke speaks of is likely to be the concerto in B flat major, which was completed in Münster in January 1790.
  8. ↑ Friedrich Rochlitz, in an essay about Andreas Romberg, reports the anecdote related to this period that Haydn placed notes on the desk of the musicians gathered for the string quartet while listening to a chamber music soiree and, when several listeners wanted to thank him after they had finished playing, referred to Andreas Romberg as the composer ; see. Friedrich Rochlitz, "Andreas Romberg", in: Ders., For Friends of Tonkunst , Vol. 1, ³Leipzig 1868 [first edition: Leipzig 1824], pp. 70–82. Romberg dedicated his string quartets op.2, which appeared in print in 1802, to Haydn.
  9. ↑ See the family tree of the Romberg family of musicians .
  10. ↑ Axel Beer, "Directory of the printed compositions by Andreas Romberg", in: Romberg (2009), pp. 183–205, here pp. 202f.
  11. ^ Text based on: Stephenson (1938), p. 84.
  12. ↑ Stephenson (1938), p. 88
  13. ↑ See Stephenson (1938), p. 99 and footnote 248
  14. ↑ Text in: Romberg (2009), pp. 108–110.
  15. ^ Letter from Bernhard Romberg to Carl Friedrich Peters dated December 9, 1821, quoted from Blindow (2010), p. 161.
personal data
SURNAME Romberg, Andreas
ALTERNATIVE NAMES Romberg, Andreas Jakob
BRIEF DESCRIPTION German violinist and composer
DATE OF BIRTH April 27, 1767
PLACE OF BIRTH Vechta
DATE OF DEATH November 10, 1821
Place of death Gotha