Joseph Elsner (composer)

Joseph Elsner (1769-1854)

Elsner's grave in the Powązki Cemetery in Warsaw

Elsner memorial plaque in Breslau

Elsner memorial plaque on the Zajazd Dziekanka building in Warsaw, where he lived and worked

Joseph Anton Franz Elsner or Joseph Xaver Elsner ( Polish Józef Elsner ); (Born June 1, 1769 in Grottkau , Principality of Neisse ; † April 18, 1854 in Elsnerów , Warsaw ) was one of the most outstanding German composers of Polish music during the Enlightenment and Pre-Romanticism. He was also director of the Warsaw Conservatory , conductor , music theorist, publicist and music teacher. As a forerunner of the Polish national movement and as a teacher of Fryderyk Chopin (whose musical talent he discovered early on), he occupies an important position in music history.

Life

Joseph Elsner was born in Grottkau in Silesia , in the part of the Principality of Neisse , which was then part of the Kingdom of Prussia . He was of German descent. Elsner came from the local Silesian population, where the feeling of belonging to the German culture prevailed and the Polish tradition was only weakly developed. He received a German upbringing that was marked by a certain aversion to Polish. At first he could not speak the Polish language - he did not learn it until he was over twenty (after 1792, that is, in the phase of his life in Lviv). His father Franz Xaver Elsner ran a carpentry shop and ran a. a. Repairs to musical instruments . At the same time he showed a preference for singing and played the harp. Elsner's mother Anna Barbara, b. Matzke came from Glatz and was the daughter of the esteemed lute and violin maker Joseph Matzke, who had extensive contacts in artistic circles.

Joseph Elsner's musical training began in his hometown of Grottkau, where he sang in a church choir as part of his school duties. As a child he showed an above-average musical talent and made his first attempts at composition. From the age of 12 he continued his education in Breslau - first in the Dominican convent school, then in the Jesuit St. Matthias grammar school. There he received lessons in violin playing, singing and basso continuo ; he showed no particular interest in the Polish language, which was taught as a compulsory subject (however, it was during this period that he became enthusiastic about the Polish hymn). Before he graduated from high school, he was employed by the Wroclaw Opera Choir and Theater Orchestra. At the same time he developed his compositional skills; the public performance of his (now lost) motet Ave Maria met with great resonance in the music circles in Wroclaw. Thanks to a scholarship from the city administration of Grottkau, Elsner began studying at the University of Breslau (Leopoldinum) in 1788 - he first studied at the theological faculty , later at the medical faculty. A year later he went to Vienna with the intention of continuing his medical studies, which he gave up for health reasons soon after matriculation. Enthusiastic about the lively cultural life of Vienna, he finally decided to return to his musical career. In autumn 1791 he got a job as a violinist in the Brno theater orchestra , where he also tried his hand as a conductor.

In the spring of 1792 he went to Lemberg (the then capital of the Kingdom of Galicia and Lodomeria under the Austrian government) to take on the position of second conductor in the orchestra of the German theater there. Two of his operas composed on German texts were premiered at this kuk theater: The rare brothers and The disguised Sultan . The seven-year stay in Lviv marked a turning point in Elsner's career. The composer began to take an active part in Polish cultural life. During this time he began his long-term collaboration with Wojciech Bogusławski , who had left Warsaw after the defeat of the Kościuszko uprising and became director of the Lviv Theater in 1795. Under the influence of his collaboration with Bogusławski and his marriage to Klara Abt from Poland, Elsner began to learn Polish intensively. For his next operas he used Polish libretti - during the Lviv period he composed the opera Amazonki czyli Herminia (The Amazons or Herminia) based on a libretto by Bogusławski - and in his instrumental work he increasingly took up motifs from Polish folk music. In addition to composing and working at the theater, he was committed to the revitalization of Lviv musical life and founded, among other things, a philharmonic society under the name “Akademia Muzyczna”, which regularly organized concerts in the years 1795–97.

After Bogusławski's return to Warsaw in 1799, Elsner took over - at his invitation - the position of musical director and conductor at the Warsaw Teatr Narodowy (National Theater). He held this office for 25 years - initially alone, from 1810 together with the "second music director" Karol Kurpiński (the collaboration with Kurpiński did not go smoothly, which is why Elsner was excluded from the theater management in 1824). During his many years at the Warsaw Opera, he staged numerous world-famous opera works as well as numerous of his own operas; Among the latter are especially worth mentioning: Sułtan Wampum czyli Nieroztropne życzenie (Sultan Wampum or The Careless Wishes), Siedem razy alles (Seven times one) and Andromeda , as well as the works that are part of the history of the Polish people: Leszek Biały czyli Czarownica z Góry (Leszek the White or The Witch of Bald Mountain), Król Łokietek czyli Wiśliczanki (King Lokietek or The Women of Wislica) and Jagiełło w Tenczynie (Jagiełło in Tenczyn). In 1802 Elsner opened the first sheet music shop in Warsaw, as well as a music publisher , in which he published a number of sheet music editions within a few years, including the 24 numbers of the monthly Wybór pięknych dzieł muzycznych i pieśni polskich (selection of beautiful musical works and songs from Poland) which he had edited . In 1805 he founded ETA Hoffmann, the music resource to which Poles and Germans belonged. Elsner worked intensively in Warsaw in the field of music education by running music schools of various levels he founded himself in the years 1821–31: the elementary school for music and dramatic art, the institute for music and declamation and the main music school connected to the University of Warsaw . In the latter school he trained many Polish composers, including Fryderyk Chopin (of whom he wrote: “Special aptitude, a musical genius”), Feliks Ignacy Dobrzyński and Kasper Napoleon Wysocki, who was also represented in the project “Digitization of Łańcuter Musikalien” . As a music theorist, Elsner analyzed, among other things, the relationships between the melodic and metrical-rhythmic features of Polish folk music and the intonation and accentuation (prosody) of the Polish language. On this subject he published two treatises: 1818 Rozprawa o metryczności i rytmiczności języka polskiego (On metrical and rhythmic properties of the Polish language) and in 1830 Rozprawa o melodii i śpiewie (On melody and song). Elsner was (honorary) member of numerous Polish and European music associations. He maintained extensive contacts with artistic, scientific and publishing circles in Germany , Austria and France . It is worth mentioning that he - as was customary with prominent representatives of the Enlightenment - belonged to a Masonic lodge and held high offices there.

The composer died at the age of 84 in Elsnerów , an estate near Warsaw that he had leased from the government before the November uprising (in what is now Warsaw's Targówek district). Immediately after Elsner's death, a committee was set up to look after his estate; the committee was headed by the composer prince Kazimierz Lubomirski , who, among other things, translated Józef Elsner's summary of my musical works with explanations about my work and activities as a musical artist from German. Elsner's activity in Warsaw - especially his educational work in the educational institutions he founded - was largely dependent on the unstable and gradually worsening political situation. Elsner worked in a city that first belonged to the province of South Prussia , then to the Duchy of Warsaw and finally to the Congress of Poland , and he was also a witness of the November uprising. In some of his scores there are dubious dedications to Friedrich Wilhelm III, among others . (Prussia) or to Nicholas I (Russia) . However, they corresponded to the customs of the time and were often due to practical or financial considerations. As an expression of Elsner's real political sympathy can undoubtedly the dedication of the opera Andromeda to Napoleon Bonaparte are considered, who was considered a friend of the Polish cause, as well as the composition of the music for the lyric one-act narodu Powstanie (The revolt of a nation) of Franciszek Salezy Dmochowski during of the November Uprising.

Works

Elsner's oeuvre as a composer is quite extensive and can be compared quantitatively with the bequests of the great Viennese classics. His oeuvre includes 33 masses (including separate parts of masses), 4 oratorios and passions (including the oratorio Passio Domini Nostri Jesu Christi ), 85 offerings , hymns , motets and other religious works, 45 operas (Elsner was the first composer who Wrote operas in the national language, taking material and national motifs from the history of Poland) and other stage works, 55 cantatas , 90 solo and choral songs, 8 symphonies , 2 violin concertos, a flute concerto, over 20 chamber music compositions and 31 works for piano (including four sonatas). Some of these works are lost.

measure up

• Missa brevis in F major op. 85 for 3-part. Male choir and organ (1844)
• Missa festiva in C major op. 52 for 4-part. Choir, Organ and Orchestra (ca.1832)
• Mass in B flat op. 18 for 3-part. Male choir (1823)
• Mass in a minor op. 24 for 4 parts. Choir (ca.1823)
• Mass in A minor, Op. 81 for 4 parts. Choir and Orchestra (1843)
• Mass in B flat major op. 3 for 4 parts. Choir and Orchestra (1799)
• Mass in B flat major op.44 for SSTTBB and organ (1829)
• Mass in B flat major op. 80 for 4 parts. Choir and Organ (1843)
• Mass in C major op. 22 for 4-part. Male choir, 4 horns, trombones and timpani (ca.1823)
• Mass in C major op. 26 for 4 solos, 4 parts. Choir and Orchestra (1820)
• Mass in D minor i D major in laudem omnium sanctorum slavonorum polonorum op. 66 for 2 solos, 4 parts. Choir and Orchestra (1840)
• Mass in D minor op. 16 for 4 parts. Choir (1823)
• Mass in D minor, Op. 5 for 4 parts. Choir and orchestra (ca.1806)
• Mass in E minor - E major op.62 for 4 solos, 4 parts. Choir and orchestra (ca.1838)
• Mass in E minor, Op. 88 for 4 parts. Choir and Organ (1846)
• Mass in F major op.20 for 4 parts. Choir (ca.1823)
• Mass in F major op. 35 for 4-part. Choir and organ (ca.1825)
• Mass in F major op. 41 for 4-part. Choir, orchestra and organ (ca.1826)
• Mass in F major op. 77 for 3-part. Male choir and organ (1843)
• Mass in F major op. 79 for 3 parts. Male choir and organ (1843)
• Mass in G major op. 13 for 3-part. Male choir and organ (ca.1820)
• Mass in G major op. 34 for 4-part. Choir and orchestra (ca.1825)
• Mass in G major op.75 for 2 soprano and alto solos, violins, cellos and organ (1842)
• Mass in g minor op. 72 for 4 solos, 4 parts. Choir and Orchestra (1842)
• Msza ludowa in G major op.15 for 2 sopranos and organ (1820)
• Msza pasterska in a minor op.76 for 4-part. Choir, cellos and organ (1842)
• Missa solenna in B flat major op. 47 for 4 solos, 4 parts. Choir and orchestra (ca.1829)
• Missa solenna in C major (Koronacyjna) op.51 for 4 solos, 4 parts. Choir and orchestra (ca.1829)
• Msza świętojańska F major op. 9 for 4 solos, 4 parts. Choir, Organ and Orchestra (ca.1815)
• Mass, Graduale i Offertorium op. 87 for 4-part. Choir and Orchestra (1844)

Offers

• Offertoria for 4 voices and orchestra (approx. 1783–84)
• Offertory in A major op. 46 for 4-part. Choir and orchestra (ca.1829)
• Offertory in B flat major op. 30 for 4-part. Choir and Orchestra (1828)
• Offertory in B flat major op. 45 for 4-part. Choir, Organ and Orchestra (ca.1829)
• Offertory in B flat major op. 86 for 4-part. Choir and Orchestra (1844)
• Offertory in C major op. 31 for 4-part. Choir and Orchestra (1823)
• Offertory in C major op. 33 for 4-part. Choir, Organ and Orchestra (ca.1824)
• Offertory in C major op. 56 for 4-part. Choir and organ (ca.1835)
• Offertory in D major op. 32 for 4-part. Choir and Orchestra (1824)
• Offertory in E major op. 83 for 4-part. Choir, violin solos and orchestra (1843)
• Offertory in F major op. 50 for 3-part. Male choir (ca.1829)
• Offertory in F major op. 70 for 4-part. Choir, Organ and Orchestra (1840)
• Offertory in F major op. 71 for 4-part. Choir (1840)
• Offertory in G major op.12 for 4-part. Choir and orchestra (ca.1819)
• Offertory in G major op. 38 for 4-part. Choir, flute obligato and orchestra (ca.1825)
• Offertory in G major op. 48 for 4-part. Choir, Organ and Orchestra (ca.1829)
• Offertory In te Domine speravi in E flat major op. 4 for 4 parts. Choir and orchestra (ca.1806)
• Offertory op.58 for choir (ca.1836)

Oratorios and cantatas

• Ad festum Corporis Christi for 4-part. Choir, wind instruments and organ (approx. 1785–86)
• Alleluja in B flat major op. 60 for 4-part. Choir (1836–40)
• Ave Maria in B flat major op. 68 for 4-part. Choir and Organ (1840)
• Ave maris stella A major op.90 for 4-part. Choir, Organ and Orchestra (1847)
• Benedictus for soprano and instrumental group (approx. 1783–84)
• Cantata for the celebration of jubilation ... D major op. 53 for 4-part. Choir and Orchestra (1832)
• Canticum Simeonis in E minor op. 69 for 5 parts. Choir (1841)
• Completorium for choir, 2 violins, violas, 2 horns and organ (ca.1785)
• The dying Jesus for soloists and choir (approx. 1788–89)
• Dies irae in f minor op. 91 for 4 parts. Choir and Organ (1847)
• Gradual in A major op. 82 for 4-part. Choir and Orchestra (1843)
• Gradual D major op. 94 for bass, 4 parts. Choir and Orchestra (1848)
• Gradual in E flat major op. 57 for soprano, 4 parts. Choir and Orchestra (1835)
• Gradual in F major op. 29 for 4-part. Choir and Orchestra (1828)
• Gradual i Offertory in A major op. 25 for 4-part. Choir (ca.1823)
• Gradual i Offertory in E flat major op. 19 for 3-part. Male choir (1823)
• Gradual i Offertory in F major op. 23 for 4-part. Male choir, 4 horns and trombones (ca.1823)
• Gradual i Offertory op. 17 for 4-part. Choir (1823)
• Graduals for 2 sopranos, 2 violins, violas, cellos and 2 horns (ca.1782)
• Cantata in praise of book printing for solos, 4-part. Choir and piano (1804)
• Cantata music for a funeral box for male choir and orchestra (1811)
• Cantata Muzyka na wprowadzenie zwłok ks. J. Poniatowskiego w roku 1814 for declamation, choir and orchestra (1814)
• Cantata Na wdzięcznej Polaków ziemi for choir and orchestra (1807)
• Cantata Powitanie gołąbka for 4 male voices, violin, cello and piano (1844)
• Cantata Powstańmy z orężem w ręku for declamation, solos and choir (1819)
• Kyrie and Gloria in C major for choir, 2 violins, violas, 2 oboes, horn, trumpet, organ and timpani (approx. 1788–89)
• Miserere mei Deus op.96 for solos, 3 choirs and male choir (1848)
• Motet in C major op.28 for double choir
• Motet in G major op. 59 for 4 solos, 4 parts. Choir and Orchestra (1836)
• Motet Salvum fac imperatorem in B flat major op. 6, motet for 4 parts. Choir and orchestra (1807)
• Motet seu Offertorium de Sancto Josepho in C major op. 10 for 4-part. Choir and orchestra (ca.1815)
• Nieszpory in C major op. 36 for 4-part. Choir and orchestra (ca.1825)
• Nieszpory in D major op.89 for 4-part. Choir and Orchestra (1847)
• O gloriosa virginum in B flat major op. 92 for 4 parts. Choir and Orchestra (1847)
• O sacrum convivum op. 49, hymn for 4 parts. Choir and Wind Instruments (ca.1829)
• Passio Domini nostri Christi in D minor op.65 for 14 solos, 3 choirs and orchestra (1835–37)
• Pater noster op. 95 for 4-part. Choir and Organ (1848)
• Post celebrem ... D major op. 11 for soprano, bass, 4-part. Choir and Orchestra (1815)
• Psalm 133 op.63 for double choir (ok. 1838)
• Salve Regina in B flat major, Processio funebris in C minor, Psalmus: De profundis in C minor, Op. 43 for 3 parts. Male choir, 4-part. Choir and Orchestra (1827)
• Requiem in C minor, Op. 42 for 3 parts. Male voices, cello, wind instruments and timpani (1826)
• Requiem op. 2 for 4-part. Choir and Wind Instruments (1793)
• Stabat Mater op.93 for solos, choir and orchestra (1848)
• Te Deum laudamus in D major op. 39 for 4-part. Choir, Trumpet and Timpani (ca.1825)
• Te Deum laudamus op.74 for double male choirs (1842)
• Veni Creator A major op. 97 for 4-part. Choir and Organ (1849)
• Veni Creator in B flat major op. 73 for 4-part. Male choir (1842)
• Veni Creator in C major op.7 for double choir (1812)
• Veni Creator in G major op. 40 for 4-part. Choir (ca.1825)
• Veni Creator in G major op. 54 for 5-part. Choir and Organ (1834)
• Veni Creator op. 78 for 3-part. Male choir and organ (1843)
• Veni Sancte Spiritus E flat major op. 8 for 4-part. Choir and Orchestra (1815)

Ballets

Surname	Year of origin	premiere	Remarks
Divertissement	?	?	-
Dwa posągi	1818	?	-
Dzicy ludzie	circa 1796	?	utwór w 1 akcie

Operas

• Amazonki czyli Herminia , Opera in 2 acts (1797)
• Andromeda , Opera seria in one act (1806)
• The disguised Sultan , opera in 3 acts (1795)
• The rare brothers or the four magic balls , opera in two acts (1795)
• Jagiełło w Tenczynie , Opera in 3 acts (1819)
• Kabalista , opera in two acts (1812)
• Kochankowie ukryci , opera in two acts (18xx)
• Pospolite ruszenie or Bitwa z kozakami , Opera buffa in 2 acts (1807)
• Siedem razy everyone , Opera buffa in one act (1804)
• Wąwozy Sierra Morena , Opera buffa in 3 acts (1811)
• Król Łokietek czyli Wiśliczanki , Opera in 2 acts (1817-18)
• Leszek Biały czyli Czarownica z Łysej Góry , opera in 2 acts (1809)
• Mieszkańcy wyspy Kamkatal , opera in one act (1803-04)
• Stary trzpiot i młody mędrzec , opera in one act (1804–05)
• Sułtan Wampum czyli Nieroztropne życzenia , Opera in 2 acts (1800)
• Śniadanie trzpiotów , Opera in one act (1808)
• Urojenie i rzeczywistość , opera in one act ( ca.1805 )
• Wieszczka Urzella or To co się damom podoba , opera in 3 acts (1805-06)

Other stage works

• Benefis , duo-drama in one act (1809)
• Echo w lesie , duo drama in one act (1808)
• La ritrosia disarmata , duodrama in one act (1815)
• Szewc i krawcowa , duo drama in one act (1808)
• Żona po drodze , duo drama in one act (1808)
• Karol Wielki i Witykind , drama in two acts (1807)
• Powstanie narodu , lyric theater in one act (1830)
• Iskahar, król Guaxary , melodrama in 3 acts (1796)
• Korsarz francuski w Portugalii , melodrama in 3 acts (?)
• Mieczysław Ślepy , melodrama in 3 acts (1807)
• Nurzahad or Nieśmiertelność i bogactwa , melodrama in 3 acts (1805)
• Ofiara Abrahama , melodrama in 4 acts (1821)
• Sąd Salomona , melodrama in 3 acts (1806)
• Sydney i Zuma or Moc kochania czarnej niewiasty , melodrama in 3 acts (1798)
• Trybunał niewidzialny or Syn występny , melodrama in 3 acts (1807)
• Wyspa małżeńska or Żony przez los wybrane , melodrama in 3 acts (1811)

Instrumental concerts

opus	key	Solo instrument	Year of origin	premiere
-	?	Flute	1791-1792	?
-	D major	violin	circa 1795	?
-	G major	violin	approx. 1783–84	?

Symphonies

opus	key	Year of origin	premiere
17th	B flat major	circa 1818	?
-	C major	1796	?
11	C major	1804-1805	?
-	D major	1802	?
-	D major	1788-1789	?
-	D major	circa 1818	?
-	E flat major	1797	?
-	E flat major	1788-1789	?

Chamber music

• Chaconne in G major for violin and piano (1836)
• Piano quartet in E flat major op.15 (ca.1805)
• Piano quartet in F major (approx. 1800)
• Quartet for 2 violins and 2 violas (ca.1798)
• String Quartet in B flat major (?)
• String quintet (?)
• String Quintet in C minor (?)
• Septet in D major for flute, clarinet, violin, viola, cello, double bass and piano (ca.1830)
• Piano Sonata in F major (ca.1798)
• Piano Sonata in B flat major for 4 hands op.16 (?)
• Sonatas for violin and piano op. 10, nos. 1–3 (approx. 1798)
• Piano Sonatas in B flat major and D major (ca.1798)
• Piano trio in C major (ca.1798)
• Trio Grande sonate B flat major, piano trio (1798)

Small instrumental works

• Carnival dances for orchestra (1792–99)
• March for orchestra (1831)
• Marsz przedniej straży wojska polskiego for orchestra (1831)
• Triumphal march for wind orchestra (1809)
• Marsz z echem i andantem for orchestra (?)
• Mazur for orchestra (ok. 1825)
• Polonez in D major for orchestra (1818)
• Polonez in D major for violin and piano (?)
• Polonez in D major for violin and piano (1820)
• Polonez in E major on the overture theme to the opera "Lodoiska" (R. Kreutzer) for orchestra (1804)
• Polonez in E flat major for violin and piano (1820)
• Polonez in F major for orchestra (1818)
• Polonez on the march from the opera "Woziwoda" (L. Cherubini) for orchestra (1804)
• Polonez on the song "Oû peut-on Étre mieux ..." for orchestra (1816)
• Rondo à la Krakowiak in B flat major for piano (1803)
• Rondo à la Mazurek in C major for piano (1803)
• Rondo à la Mazurek in G minor for piano (1803)
• Trois quatuors du meilleur goût polonais for strings (1798)
• Trois quatuors for strings (ca.1796)
• Brno waltz for orchestra (c. 1791–92)
• Viennese waltz for orchestra (c. 1790–91)
• Variation in B flat major on the march from the opera "Przerwana ofiara" (P. Winter) for piano (1802)
• Variation on the aria theme from the opera "Żony przemienione czyli Szewc" (MA Portogall) for orchestra (1810)

Music theoretical works

title
Rozprawa o rytmiczności i metryczności języka polskiego
Rozprawa o melodyi i śpiewie
Sumariusz moich utworów muzycznych , translation from German by Kazimierz Lubomirski, (arr.) Alina Nowak-Romanowicz. Kraków Polskie Wydawnictwo Muzyczne, 1957.

literature

• Array by Dommer:  Elsner, Joseph . In: Allgemeine Deutsche Biographie (ADB). Volume 6, Duncker & Humblot, Leipzig 1877, p. 70 f.
• Christian Weickert:  Elsner, Joseph. In: New German Biography (NDB). Volume 4, Duncker & Humblot, Berlin 1959, ISBN 3-428-00185-0 , p. 466 f. ( Digitized version ).
• Martina Homma: National Music and National Musicology. The Joseph Elsner case. In: German-Polish views on literature and culture. Wiesbaden 1995, pp. 104-116.
• J. Herrmann: Józef Elsner and Polish music. Munich 1969.
• Paul Preis: Music and theater life in the city and district of Glatz. 1st part, pp. 18-19.

Web links

Commons : Józef Elsner  - collection of images, videos and audio files

• Sheet music and audio files by Joseph Elsner (composer) in the International Music Score Library Project
• List of stage works by Joseph Elsner (composer) based on the MGG in Operone
• Elsner's biogram ( Memento from May 18, 2006 in the Internet Archive ) (Archive)
• Elsner at www.klassika.info
• Elsner's biography on the Łańcut Castle Museum website

Individual evidence

1. ↑ There is obviously a certain amount of confusion regarding the composer's first names, which - even in academic writings - are often mistakenly given as Józef Ksawery (Joseph Xaver). This error can be traced back to an article by Wojciech Bogusławski (see W. Bogusławski, Dzieła dramatyczne, Volume 7, Warszawa 1823, pp. 11-30)
2. ^ Józef Elsner
3. ↑ Klara Abt was Elsner's first wife; she died in 1797. His second marriage was in 1802 with the Warsaw singer Karolina Drozdowska (d. 1852)
4. ↑ The number of compositions relates to the compilation of Elsner's works in the study by Alina Nowak-Romanowicz: Józef Elsner, monografia, Polskie Wydawnictwo Muzyczne, Kraków 1957, pp. 265–326.