Ludwig Abeille

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Johann Christian Ludwig Abeille (born February 20, 1761 in Bayreuth , † March 2, 1838 in Stuttgart ) was a German pianist , organist , concertmaster , harpsichordist , conductor , composer and music teacher .

Life

Johann Christian Ludwig Abeille was born as the son of a princely valet. At the age of eleven he came to the Hohe Karlsschule in Stuttgart. There he received his musical training from Antonio Boroni , Ferdinando Mazzanti and Johann Gottlieb Sämann . During this time, still as a student, Abeille supported the court music in Stuttgart.

In 1782 Ludwig Abeille left the Karlsschule and became a real member of the court music of the Württemberg court music of Duke Friedrich Wilhelm Karl von Württemberg , who was elected elector in 1803 and became king of Württemberg in 1806. In 1802 Abeille succeeded Johann Rudolf Zumsteeg as concertmaster . In 1815 he became court organist at the court church and director of the collegiate music . Ludwig Abeille retired in 1832, as his general health did not allow him to continue his profession.

Ludwig Abeille was married to Henriette Hedwig geb. Haug, the daughter of the instrument maker Johann Friedrich Haug and his first wife Christine Dorothea Herdle (1736–1766) a daughter of the Ludwigsburg court musician Johann Jakob Ferdinand Herdle.

Works

Abeille wrote piano , chamber and vocal music as well as the singing games Amor and Psyche and Peter and Aennchen .

  • Amor and Psyche , Singspiel 4 acts. Libretto: Franz Karl Hiemer . World premiere: January 18, 1800 Stuttgart, Hoftheater
  • The caretaker , Singspiel 2 acts. First performance: 1805 Stuttgart
  • Peter and Aennchen , Singspiel 2 acts. Libretto: Franz Karl Hiemer, based on Charles-Simon Favart Annette et Lubin . September 29, 1809 Ludwigsburg
  • Fantaisie for piano op.4
  • Grand Trio for piano, violin and violoncello in C major op.20; Offenbach 1798
  • Piano Concerto in B flat major op.5; Offenbach 1793
  • Concerto for piano 4 hands and orchestra op.6; Offenbach 1793
  • Sonata for piano four hands op.22
  • Ash Wednesday or Cantata for piano op. 11; Augsburg 1798
  • The fallen love , song
  • Songs based on poems by Hübner; 1st volume: Stuttgart 1788; Volume 2: Stuttgart 1791
  • Shepherds songs by Florian; Heilbronn 1795

Honors

  • large gold royal medal of merit.

Reviews in music lexicons of the 19th and early 20th centuries

Gerber sees Abeille as a striking example of how far talent, supported by diligence and nourished by good patterns, can quickly bring. He regards his works as evidence of his taste and his aesthetic knowledge . As an example he cites the Piano Concerto for 4 Hands, Op. 6. Schilling describes Abeille as an excellent and worthy musician. He also writes about his piano compositions that they testify most clearly to his own great skill on this instrument. And about his compositions for singing he finds that they are distinguished by flowing melodies and that in part they deserve to be known more than they were fortunate enough to be. As the main works that deserve to be named, he first names the Ash Wednesday song , followed by the operas Amor and Psyche and Peter and Annchen, several collections of songs, several concerts and trios for the piano. Bernsdorf calls Abeille a highly educated musician and a capable pianist, organ player and composer. In his fifty years of service he had distinguished himself by uncommon activity, profound knowledge and great circumspection. Berndorf highlights the two operas and many chants with pianoforte among Abeille's compositions. Carl Maria von Weber rightly praised the lovely, beautiful singing and the diligent handling of the whole thing. Berndorf recognizes in the piano compositions a praiseworthy testimony to his virtuosity on this instrument , which was very important for the time, and mentions the Concerto for Piano for 4 Hands and Orchestra op.6 by name. He also deserves a special mention of Jacobi's Ash Wednesday song. In conclusion, he assesses: “Even if he was not a highly gifted mind, he still possessed a high degree of graceful and graceful talent, was at an important level of art education through multifaceted and serious studies, and even now deserves greater attention than as a result with great modesty he shared in wider circles. ” At the beginning he cites 1832 as the date of death. In Gollmick 1857 it is not mentioned at all. In 1865 Schuberth called him an able organ player and pianist and described Amor and Psyche, the concerts, trios and piano sonatas as remarkable, but as now out of date.

Hermann Mendel wrote in his Musical Conversation Lexicon in 1870 that he administered his offices punctually, faithfully and conscientiously. He also mentions the two operas and describes them as melodious. He also performs the piano concertos and trios that were popular at the time. He writes about the songs that they are simple, natural and heartfelt and that people still like to sing them, mainly in schools . Rochus von Liliencron does include an article in the Allgemeine Deutsche Biographie, but his assessment is much more critical than that of his predecessors. “ Despite efficient technology, little stands out above the importance of daily literature. [ 8 ] The operas, like his Ash Wednesday cantata, which was particularly popular at the time, move mostly in dull reverberations of partly Gluck music, partly Mozart music. His pleasant songs were rightly widespread, including some of the Masonic ones. ”In 1880, Riemann wrote a short article with the dates of his life, listed the two positions of concertmaster and court organist in Stuttgart, and valued him as an excellent piano and organ player and fertile composer , generally lists operas and chamber music as works and mentions that his songs are still sung in schools . This article was continued in all editions until 1929. Only Alfred Einstein reworked the article, changed the year of death mentioned in the 19th century from 1832 to March 2, 1838, mentioned Amor and Psyche again, changed the chamber music to piano things and songs, but deleted the passage with those sung in school Lieder and leads his work for the first time as co-editor of the Musical Monthly (1784) and the Musical Potpourris (1790). He reports that some of his songs by A. Bopp were published in a song book from Swabia in 1918 in Tübingen and also gives a dissertation from 1924 as the source, namely K. Häring: Five Swabian song composers: Abeille, Eidenbenz, Dieter Schwegler and Christmann.

literature

Discography

Web links

Digitized sheet music and libretti

Berlin State Library

Badische Landesbibliothek Karlsruhe

Württemberg State Library Stuttgart

  • Rondeau : in Easy Pieces for Voice and Piano

Musical potpourri, third quarter of 1790:

University Library of Tübingen

Others

Individual evidence

  1. ^ Gerhard Schoen: Abeille, Ludwig (1761-1838), composer - BMLO. Retrieved February 18, 2017 .
  2. ↑ a b c d Gustav Schilling: Abeille, Joh. Chr. Ludw. In: Encyclopedia of the Entire Musical Sciences, or, Universal Lexicon of Tonkunst . tape 1 . Köhler, Stuttgart 1835 ( limited preview in the Google book search).
  3. ^ Libretto for the opera Amor und Psyche by Franz Karl Hiemer, digitized version of the Bavarian State Library in Munich
  4. ↑ Ludwig Abeille: Grand Trio pour le Piano-Forte avec Violon et Violoncelle: Œuvre 20me . André, Offenbach am Main 1798, OCLC 316286134 .
  5. ↑ a b c d e f g h Ernst Ludwig Gerber: Abeille (Ludwig). In: New historical-biographical lexicon of the Tonkünstler. 1812, Retrieved February 18, 2017 .
  6. ^ A b Eduard Bernsdorf: Joh. Chrstn. Ludw. Abeille . In: New Universal Lexicon of Music . tape 1 . Schaefer, Dresden 1856 ( limited preview in the Google book search).
  7. ^ Julius Schuberth: Abeille, Louis Joh. Christian . In: Small musical conversation lexicon an encyclopaedic handbook containing the most important things in musicology, the biographies of all famous composers, virtuosos, amateurs, musical. Writer and instrument maker, as well as a description of old instruments and an explanation of the foreign u. Artificial words: written for musicians and music lovers . J. Schuberth & Co., Leipzig & New York 1865, urn : nbn: de: bvb: 12-bsb10599472-8 .
  8. ↑ a b Hermann Mendel: Abeille, Joh. Chr. Ludw. In: Musical Conversations Lexicon . tape 1 , 1870 ( limited preview in Google Book search).
  9. ^ A b Rochus von Liliencron: Johann Christ. Ludwig Abeille . In: Allgemeine Deutsche Biographie . tape 1 . Duncker & Humblot, Leipzig 1875 ( Digitale-sammlungen.de ).
  10. ↑ A. Bopp: A song book from Swabia . Verlag des Schwäbischen Albverein (eV) ,, Tübingen 1918, OCLC 313871614 , p. 96 .
  11. ↑ Abeille; J. Ch. Ludwig . In: Alfred Einstein (Ed.): Riemanns Musiklexikon . 11th edition. tape 1 , 1929 ( archive.org ).
  12. ↑ See also text on the Ash Wednesday song by Johann Georg Jacobi, digitized version of the Bavarian State Library in Munich
personal data
SURNAME Abeille, Ludwig
ALTERNATIVE NAMES Abeille, Johann Christian Ludwig (full name)
BRIEF DESCRIPTION German pianist and composer
DATE OF BIRTH February 20, 1761
PLACE OF BIRTH Bayreuth
DATE OF DEATH March 2, 1838
Place of death Stuttgart