Wendelin Weißheimer
Wendelin Weißheimer (born February 26, 1838 in Osthofen , † June 10, 1910 in Nuremberg ) was a German composer , conductor and music writer.
Life
Origin, family and childhood
There is evidence that the Weißheimer family lived in Westhofen as early as the 14th century . Wendelin Weißheimer's grandfather, Johann Weißheimer I., received the maternal inheritance in Osthofen at the end of the 18th century : the stone mill. The estate complex , on which viticulture , agriculture , cattle breeding and the mill was operated, was one of the most important in the 19th century in the Grand Duchy of Hesse-Darmstadt and is still owned by the Wendelin Weißheimers family today.
Wendelin Weißheimer came to the Steinmühle winery in Osthofen on February 26, 1838 as the eighth and youngest child of Johann Weißheimer II. And Ottilie, née. Best to the world. His parents were wealthy, his father a well respected and versatile man with a keen sense for history and politics. He was mayor of Osthofen for several years and a member of the I. Hessian Chamber of Estates , which is why Wendelin got to know men of the 1848 March Revolution in the Steinmühle as a teenager. Despite the high demands as a landlord and politician , Wendelin Weißheimer's father still found the time to deal with studies of family and home history, the results of which he passed on to posterity in handwritten diaries and his multi-volume chronicle of Osthofen. It is also thanks to his versatility and open-mindedness that he allowed his son Wendelin to study music, although this ran counter to his original plan to make Wendelin the heir of the estate.
The way to music
Weißheimer's path to music differs from that of many other composers. He did not come from a family of musicians. Actually, he was already chosen by his father as the successor to the Steinmühle and for this purpose he attended secondary school in Darmstadt from the age of 13 , in order to then aim for a commercial apprenticeship. In Darmstadt he had the opportunity to hear the main rehearsal for the Tannhauser performance through his piano teacher Wiese, a member of the theater orchestra , after having already got to know parts of the music while attending a military concert. Weißheimer himself writes that these experiences caused a great change in him. In his book Experiences with Richard Wagner, Franz Liszt and many other contemporaries , it says: “I did indeed see the new world I had imagined!” After Wendelin Weißheimer had experienced the Lohengrin in Darmstadt and the Flying Dutchman in Frankfurt , he decided in a complete Wagner delirium. In his senior year he had the opportunity of theater - conductor Louis Schindelmeisser in the music theory to be introduced that bound him so that he soon began to compose.
It was Schindelmeisser who first recognized Wendelin's musical talent and prompted him to become a musician. First of all, however, it was necessary to convince Wendelin's father, Johann Weißheimer II., Of this plan. For this purpose, Schindelmeisser came to the Steinmühle in Osthofen on March 16, 1856 . Finally, the father was convinced with a heavy heart and allowed Wendelins to continue his musical training in Leipzig . After everything had gone so well, Schindelmeisser made the young Weißheimer particularly happy when he left: He dedicated his picture to him and gave him one of his many original letters from Richard Wagner .
Music studies
From May 1856 onwards, Wendelin Weißheimer attended the Leipzig Conservatory . There, as in Weimar , there has long been a highly musical life and activity. But while Leipzig was conservative and wanted nothing to do with the new music of Liszt or Wagner, Weimar concentrated the revolutionary youth who were looking for new forms of expression and new content in music and who adhered to the New German School around Franz Liszt . After completing his music studies in Leipzig, Wendelin Weißheimer was placed by Schindelmeisser as the second conductor at the city theater in Mainz. Before taking up the activity, which was intended as an introduction to the practice, Weissheimer traveled to Zurich with a letter of recommendation from Schindelmeisser to visit Richard Wagner, who was living in exile there . At that time Wagner was working on his music drama Tristan und Isolde and was usually denied by visitors. Wendelin Weißheimer was also turned away at first, but then spent a memorable afternoon with the master on July 17, 1858. Weissheimer wrote of his departure: "The pale, expressive face of the forty-five year old at the time accompanied me into the city and on all routes."
Kapellmeister in Mainz
On August 17, 1858, Wendelin Weißheimer, just 20 years old, took up his position as Kapellmeister in Mainz . a. in the hospitable house of the publisher Franz Schott and his amiable, highly musical wife Betty. After the performance of Wagner's Faust Overture , Weißheimer got to know his compatriot from the Rhine-Hesse region, the poet-composer Peter Cornelius , with whom he was loyal to friendship throughout his life.
With Franz Liszt in Weimar
When the Mainz theater season ended, Wendelin Weißheimer returned to Weimar . There he found a musical comrade in Franz Liszt , and he finally succeeded in being accepted by Liszt as a student of composition teaching . In the lessons lasting three to four times a week, Weissheimer soon became Liszt's favorite pupil, and an ideal relationship of trust developed between teacher and pupil.
So Weissheimer got to know the young musical world at the Altenburg in Weimar, the domicile of Liszt's friend, the Princess zu Sayn-Wittgenstein . In addition to Peter Cornelius, who had also come to Weimar in 1860, men like Felix Draeseke , Hans von Bronsart , Carl Tausig , Bedřich Smetana , Franz Bendel , Gruer and Hans von Bülow became his acquaintances and friends. During this time the first performance of a composition by Wendelin Weißheimer by an orchestra took place. Liszt had put Weissheimer's symphony movement to Schiller's “ Knight Toggenburg ” on the program of the court concert he conducted on March 13, 1860 . In order to enable Weißheimer to take part in this concert in the Grand Ducal Palace, which was only accessible to the court and the nobility, Liszt had him sit in the middle of the string orchestra in a tailcoat and white tie, where, violin in hand, he had to pretend to be playing With. At the end of the well-received lecture, the Grand Duke and Grand Duchess expressed their appreciation to the composer. On the occasion of his visit to Liszt the next day, Weißheimer saw his daughter Cosima for the first time , who had been married to the pianist Hans von Bülow for two years. The high point of Weißheimer's stay in Weimar was to come in 1861. The musical events at the Tonkünstlerversammlung there , to which Richard Wagner , who had returned from Switzerland after being exiled for eleven years , was introduced by Liszt's Faust Symphony, led by Bülow's staff. Weißheimer achieved great success with the performance of his grave in the Busento by the court orchestra and the academic choir of the Jena students.
Friendship with Richard Wagner
In the autumn of 1861, Weißheimer followed a second call as music director at the city theater in Mainz . The most interesting phase of his life began, which was characterized by his friendship with Richard Wagner. Wagner already knew Weißheimer from his visit to Zurich and the Weimar Tonkünstlerversammlung.
After the Weimar Assembly, Richard Wagner in Vienna in vain for the premiere of his Tristan tried hard and was the end of November on his way to Paris , where his Prince Metternich had made a silent apartment in the garden of the Austrian Embassy disposal. On December 1st, while passing through, he unexpectedly came to Mainz to negotiate with Schott-Verlag about his stage festival play The Mastersingers of Nuremberg . He had just finished the text; the poetic editing was to take place in Paris. Wendelin Weißheimer reports in detail in his book Experiences with Richard Wagner, Franz Liszt and many other contemporaries about the course of the Mainz days, the visit to the opera performances conducted by Weißheimer and the joint participation in the events of Ms. Betty Schott .
Wagner had completed his Mastersinger poem in Paris in just under two months, and on January 31, 1862, he arrived in Mainz with it. On the very first evening the eagerly awaited lecture of the Meistersinger's poetry took place in Schott's house in front of a group of select listeners, to which Wagner had also called Peter Cornelius, who was in Vienna. Weißheimer wrote about the unforgettable lecture that Wagner “carried the audience away with him and caused them to make stormy rallies. At the end of the rendition, those present were aware that they were standing at the cradle of a mighty, epoch-making work of art. ”In order to be able to work on the composition in a place undisturbed by the outside world, Wagner rented a small apartment in nearby Biebrich , below the ducal castle close to the Rhine. As a result, Wendelin Weißheimer and Richard Wagner were together almost every day. Weißheimer had become virtually indispensable for Wagner. Despite the great age difference - Wagner was 48 at the time, Weißheimer 23 years old - a warm friendship developed between the two of them. The constant financial difficulties of Wagner, who was more than reckless in financial matters, caused Weißheimer to approach his father for support of his friend. Johann Weißheimer II was generous and granted the funds for Wagner. Immediately on June 1, 1862, Richard Wagner was a guest at Wendelin Weißheimer's and his family's at the Steinmühle in Osthofen , where he met Wendelin Weißheimer's parents, siblings and, last but not least, wine . In the garden pavilion, the Richard Wagner house on the banks of the Seebach, one spent boozy hours, and Wagner proved to be a brilliant entertainer. In August Richard Wagner came back to the Steinmühle, this time accompanied by Hans and Cosima von Bülow.
Richard Wagner's patron
Wendelin Weißheimer knew about Richard Wagner's money problems, which were his own fault. The Mastersingers were not finished on time, which is why Schott withheld his payments. All of Wagner's financially strong admirers had refused him further material help. To alleviate Wagner's financial woes, Wendelin Weißheimer organized a concert on November 1, 1862 in the Leipzig Gewandhaus . Despite the personal participation of the court conductor Richard Wagner, who was allowed to perform again in Germany for the first time after his exile, the court pianist Hans von Bülow and other well-known artists and associations with compositions by Wagner, Liszt and Weißheimer, the attendance was so small that the income was insufficient to even cover the cost.
In his experiences , Weißheimer writes about it: “Instead of filling Wagner's pockets, I had to call my father for help as quickly as possible.” This time too, as has been repeated earlier and later, Johann Weißheimer II generously stepped in. Under these circumstances Wagner no longer kept it in Biebrich. In November 1862 he moved to Vienna, where he again tried to get the world premiere of his Tristan . However, it did not happen this time either. Difficulty after difficulty piled up. Although Wagner had made unheard of sums of money on a concert tour in Russia in 1863, he was soon embarrassed again. Eventually he had to flee Vienna to avoid being put in the debt tower. On April 29, 1864, Wendelin Weißheimer received a surprising telegram from Stuttgart asking Wagner to visit him immediately. Weißheimer came, and Wagner reported his total breakdown, not only of his finances but also of his nerves. In order to prevent worse things from happening, Weißheimer decided without further ado to stay with Wagner. Since Wagner urged to disappear because of his indebtedness, they agreed on a remote place in the Rauhen Alb, where Weißheimer should accompany the completely penniless Wagner. Wendelin Weißheimer intended to finish the piano reduction of the first act of the Meistersinger there as quickly as possible in order to induce the publisher Schott to make further payments. The travel day was already set for May 3rd and the suitcases were packed. On May 2nd a change occurred. The secretary of King Ludwig II of Bavaria , Councilor of State from Pfistermeister , appeared at the Hotel Marquard with the task of researching Richard Wagner's stay and returning to Munich with him. As crown prince, Ludwig II had exclaimed after listening to Lohengrin : “If I one day wear the purple, I want to show the world how high I will know how to put Wagner's genius!” Having become king , he was now striving for what was self-evident Keeping promises. As his most ardent admirer, he wanted to give Wagner the opportunity to complete his Ring of the Nibelung in Munich . Instead of going to the Rauhe Alb, Wagner traveled to Munich on May 3, 1864 . After the reception by the king, Wagner first went to Vienna to settle his debts there, before, now relieved of all worries, he moved into the country house on Lake Starnberg provided by the king.
Ferdinand Lassalle
During this time, Wendelin Weißheimer became acquainted with Ferdinand Lassalle . Just as Richard Wagner was one of the greatest revolutionaries in the realm of musical art, who broke many of the musical laws and beliefs that had been valid up until then and created new ones, Ferdinand Lassalle was an influential figure in the political field of his time. After studying economics, history and philosophy, he mainly dealt with social issues and made it his life's work to unite the workers into a “democratic party for social progress” that respects the monarchy as the highest representative of the people. Attracted by Lassalle's heavily vilified writings, Wendelin Weißheimer found the opportunity in the first days of July 1864 to get to know the socialist democrat personally in Frankfurt and to admire his speech virtuosity. When he found out afterwards that Lassalle had arranged a trip to the Palatinate with Countess Sophie von Hatzfeldt for the next few days , he invited both of them to Osthofen .
The reception in the Steinmühle was initially cool, but when Lassalle spoke to Johann Weißheimer about his studies of Franz von Sickingen - Lassalle himself had written a five-act drama Franz von Sickingen based on national ethos - the situation improved. However, the sun only broke through when, during a break at lunch, Wendelin Weißheimer's mother asked the person sitting next to her sincerely: "Now that we are together so comfortably, you can tell me, Mr. Lassalle, what you actually want?" Lassalle was startled at first, but then saved the situation by giving mother Weißheimer a resounding kiss in a flash. The Riesling from the Steinmühle did the rest, and Lassalle then eloquently captivated the almost entire Weissheimer family for hours by explaining his plans and goals. When he said goodbye, he only left friends and immediately ordered a whole barrel of the “plant” that he had tasted so intensely.
Wendelin Weißheimer then spent a few days of relaxation in the Palatinate with Lassalle, the Countess von Hatzfeldt and other friends . He had to refuse Lassalle's invitation to accompany him to Eastern Switzerland, because suddenly a message from his seriously ill bride called him to Leipzig. So Lassalle traveled alone to Lake Lucerne in mid-July, while the Countess von Hatzfeldt went to Wildbad for a cure.
The encounter with Helene von Dönniges, the daughter of the historian Wilhelm von Dönniges, whom he knew from Berlin , and its tragic continuation, were to lead to catastrophe within a few weeks. As is well known, he was the victim of a fatal shot in a duel lightly conjured up by Lassalle. For Wendelin Weißheimer, Lassalle's death was a severe blow that he could not overcome for a long time, especially since he was convinced that Lassalle's death could have been averted if he had remained with him. Wendelin remained loyal to the Social Democratic Party throughout his life, although this confession brought him some disadvantages for his professional career.
Weißheimer as Kapellmeister and composer
In the meantime, Wendelin Weißheimer had become Kapellmeister in Augsburg . Despite his heavy workload and his numerous other retreats, he was still able to work as a composer . After setting songs and ballads by German minstrels , Goethe and other poets to music , he started working on his first opera Theodor Körner . Franz Liszt was very appreciative of this work, and Wagner also praised it. Lassalle, who particularly liked the textbook, was also enthusiastic about the music afterwards. He even offered to write a text book for Wendelin Weißheimer about Florian Geyer , Thomas Münzer or the Bohemian Jan Žižka . Due to his death, however, he did not get around to it. Richard Wagner had written the draft text for an opera Wieland the Smith for Wendelin Weißheimer , but he had asked for it back before setting it to music.
Liszt advocated the acceptance and world premiere of Theodor Körner at the Berlin court opera with the then artistic director, Graf von Redern. Count Redern, however, recommended that the premiere should take place on a different stage because, according to the text, Prince Louis Ferdinand was playing a role that affected the Prussian royal family too much. For the premiere, which was to be accommodated elsewhere, it was now a matter of receiving the support of Richard Wagner, for whom the faithful Wendelin had fought and provided for for years. But Wagner was only focused on his own work; he no longer had any sense for other people's works. The negotiations between Weißheimer and Munich were therefore very protracted.
During his time as Kapellmeister in Augsburg , Wendelin Weißheimer married Rosalie Scholle from Leipzig on January 10, 1865 . He was linked to her by a 45-year marriage that remained childless. Rosalie Weißheimer survived her husband. She died in Darmstadt on September 25, 1920 at the age of 79.
From Augsburg, Wendelin Weißheimer's path led to the Kroll Opera in Berlin , then to the theater in Düsseldorf. Then he was in Würzburg from 1866 to 1868 . From here he tried harder to have the world premiere of his fatherland opera Theodor Körner . That's why he went to see Richard Wagner in Munich. At that time Wagner lived with the von Bülow couple in the house given to him by the king in Arcisstrasse, where Cosima ran the household and handled Wagner's correspondence.
It was already recognized in artistic circles that Wagner left one after the other of his old guard in the lurch. For example, Peter Cornelius, who used to be one of his friends, only experienced difficulties from Wagner during the performance of his Cid . Weissheimer shouldn't fare better. In June 1868 there was a break between him and Wagner. The reason for this was Cosima. Without even going into the music, she wrote to Weißheimer on July 6th that the text of his Theodor Körner made the work impossible for court stages. Because of its rebellious tendency, it could conjure up external inconveniences, especially in peaceful times.
At the premiere of the Meistersinger in Munich on June 21, 1868, Wendelin Weißheimer had his last encounter with Richard Wagner .
From Würzburg, Wendelin Weißheimer came back to Mainz as Kapellmeister . During the subsequent activity in Zurich, he and his wife were on friendly terms with the Wesendonck family . From 1873 to 1878 Weißheimer then worked in Strasbourg . His opera Meister Martin und seine Gesellen , which premiered on April 14, 1879 in Karlsruhe , was written here.
In the meantime, Weißheimer had moved to Baden-Baden , where he had taken on the direction of the larger Kurhaus concerts. Together with Otto Dessoff , he led the concerts of the Tonkünstlerversammlung here in May 1880, which opened with the performance of Master Martin and his journeymen . In the large central box, Weißheimer listened to the performance together with Franz Liszt and the French composer Camille Saint-Saëns , both of whom Weissheimer expressed unabashed appreciation for his work. In the following years he conducted works by Richard Wagner at the famous La Scala in Milan with unchanged admiration for genius and despite personal disappointment . He lived on Lake Como .
Retirement
Around 1893 Weißheimer retired to Freiburg im Breisgau in order to devote more time to his writing. His book Experiences with Richard Wagner, Franz Liszt and many other contemporaries , published in 1898, had three editions in the same year. Around 1900 he moved to Nuremberg . From Freiburg and Nuremberg the way often took him back to his old home in the Steinmühle in Osthofen . In the casino company of that time, he spent happy hours with old friends, whom he willingly delighted with improvisations, mainly from works by Wagner and Liszt, and with his own compositions. In the last years of his life, Wendelin Weißheimer also led the mass choirs at the social democratic party congresses.
His aim was to bring together the enormous masses of the labor movement artistically in order to increase the joy of being through the great experience in art and culture . When Wendelin Weißheimer died in Nuremberg on June 16, 1910, his death caused a sensation. 30,000 unionized Social Democrats paid their last respects. All the leading newspapers commemorated him in obituaries.
Wendelin Weißheimer's works
Wendelin Weißheimer left 106 works, including several song and choir cycles. Even if he may have tried to go his own way as a composer, he could not step out of the shadow of his great teacher Franz Liszt and Richard Wagner , whom he deeply admired .
His operas, his cantatas and his instrumental music underline this. Even if he pays tribute to the “absolute” music with a single string quartet and the excellently successful “obbligato violin part” to Bach's Well-Tempered Clavier , in the rest of his work he expresses a clear inclination towards program music . Weißheimer's piano pieces Reminiszene di Gioventu and Am Grabe Beethoven , as well as his symphony to Schiller's “Knight Toggenburg”, correspond to the spirit of the New German School . Weißheimer's literary taste is evident in the texts he sets to music. Poems by German minstrels, Johann Wolfgang von Goethes , Friedrich Schillers , Theodor Körners , Heinrich Heines and others found their musical interpretation in songs and cantatas. Weißheimer always tried to summarize his individual compositions in larger cycles. This is how the 24 songs in the Deutsche Minnesänger cycle , the 18 Goethe settings, and songs by Heine and Körner were created. The Eight Songs were published for male choirs , along with unprinted choir cycles.
After his break with Wagner, Weißheimer turned increasingly to the labor movement and with his compositions for male choir exercised a particular influence on the cultural aspirations of the Social Democratic Party.
Printed and frequently performed works
Operas
1863/1864 Leyer und Schwert , alternative title Theodor Körner (text: Louise Otto-Peters ); patriotic opera in four acts; First performance in 1872 at the Court and National Theater in Munich.
1878 Master Martin and his journeymen (based on the story by ETA Hoffmann ); First performance in 1879 in the Grand Ducal Court Theater in Karlsruhe.
Symphonies
1860–1862 Knight Toggenburg (text: poem by Schiller ); Symphony for large orchestra; First performance in 1862 in the Leipzig Gewandhaus .
1870 To Mozart ; Symphony for small orchestra; First performance in Zurich, 1871.
Songs and ballads
1856 The grave in Busento (text: August von Platen-Hallermünde ); Ballad for bass solo, male choir and orchestra; First performance in Leipzig in 1857.
1858/1859 King Sigfrid (text: Ludwig Uhland ); Ballad for baritone or bass and piano accompaniment; Opus 1, dedicated to Franz Liszt .
1864–1866 The big company (text: poem by Franz von Gaudy ); Obituary to Ferdinand Lassalle .
1864–1866 Five clergy sonnets (texts: poems by Theodor Körner )
- Jesus and the Samaritan woman
- Jesus and the sinner
- The Lord's Supper
- Christ's apparition in Emaus
- Ascension of Christ
1868/1869 German minstrels ; Song cycle first issue. Dietmar von Aist
- No. 1 The Falcon (soprano)
- No. 2 The Separation (Soprano)
- No. 3 In Spring (soprano)
Second issue. That from Kürenberg
- No. 1 The Falcon (soprano)
- No. 2 The Evening Star (mezzo-soprano or baritone)
- No. 3 Liebesleid (mezzo-soprano)
- No. 4 The Beloved's Farewell (Mezzo-Soprano and Baritone)
- No. 5 Just the One (mezzo-soprano)
- No. 6 separation (mezzo-soprano and baritone)
Third booklet. Sparrowbird
- No. 1 virtue the most beautiful dress (mezzo-soprano or baritone)
- No. 2 rule of life (alto or bass)
- No. 3 The Thor (alto or bass)
- No. 4 Bad Times (mezzo-soprano or baritone)
- No. 5 The good host (bass)
- No. 6 Minnelied (tenor)
- No. 7 Minnelied (baritone)
- No. 8 Power of Love (tenor)
- # 9 gray hair (baritone or bass)
- No. 10 love rhyme (soprano or tenor)
Folk songs from the 12th century
- No. 11 Come, oh come, my journeyman
- No. 12 I have visibly sorrow in my heart (soprano)
Fourth issue. Christian of Hamle
- No. 1 Der Anger (baritone or mezzo-soprano)
- No. 2 four eyes and two hearts (baritone or mezzo-soprano)
- No. 3 Guardian Song (alternating soprano and baritone)
- No. 4 Loyalty (tenor)
- No. 5 Frauenlob (tenor)
- Herba lori fa (soprano or tenor)
1869 songs for voice and pianoforte
- If it stayed that way (text: based on a poem by Friedrich von Bodenstedt )
- Do you ask with the eyes? (Text: based on a poem by Peter Cornelius )
- Stormy love (text: based on a poem by Paul Fleming )
1892–1896 songs and ballads for voice and piano accompaniment (based on poems by Johann Wolfgang von Goethe ).
- # 1 First loss
- # 2 you!
- No. 3 Mignon
- No. 4 rescue
- No. 5 fly death
- No. 6 Motivation
- No. 7 girl wishes
- No. 8 If the fox dies, the hide counts
- No. 9 blind man's cow
- No. 10 The Shepherd
- No. 11 Various threats
- No. 12 Insurmountable
- No. 13 Lovely present
- No. 14 Run of the World
- No. 15 Effect in the distance (ballad)
- No. 16 The Dance of Death (Ballad)
- No. 17 The singer
- No. 18 The Pied Piper
1880 The Lion's Bride (based on a poem by Adelbert von Chamisso ); Concert ballad for one voice and orchestra (or piano).
1876 German imperial anthem ; (Text: based on a poem by FW Plath) Choir for 4 male voices
Others
1887–1891 An obbligato violin part for all preludes in Johann Sebastian Bach's Well-Tempered Clavier
Choirs
1895–1898 Epiphany (poem by Johann Wolfgang von Goethe ) for male choir, tenor, baritone and bass solo.
1870–1899 Eight songs for male choir
- The Queen of England (12th century folk song)
- Hans Gerstenkorn (poem by Robert Burns )
- German philistinism (poem by Heinrich Hoffmann von Fallersleben )
- Schneider-Kourage (poem by Johann Wolfgang von Goethe )
- The golden calf (poem by Heinrich Heine )
- Just wait (poem by Heinrich Heine)
- Enlightenment (poem by Heinrich Heine)
- Promise (poem by Heinrich Heine)
- Tendenzlied (poem by Heinrich Heine)
- Pray 'and work' (Federal song by Georg Herwegh ), "Dedicated to the Social Democratic Party Congress in Mainz 1900 for the twenty-five year unification of Social Democracy in Germany".
1900–1902 Würger Kronzoll (poem by Robert Seidel ) for four-part male choir.
1905 The free song for the free people (Federal slogan by Wendelin Weißheimer).
1906 Three songs for male choir
- Up to the light (poem by Emanuel Wurm )
- Deep in the earth's lap (poem by Robert Seidel)
- Despite all of this ("Greetings from Freiligrath to the reaction")
- German people and German freedom (poem by Robert Seidel); Composition on the occasion of the Social Democratic Party Congress in Mannheim in 1906.
~ 1906–1909 Three two-part choir songs
- Egyptian folk song 2,500 years ago
- Five commandments of Moses
- Drinking song
~ 1909/1910 Two three-part choir songs
- From Christian doctrine: The first Christians and Jesus' siblings (based on a poem by Max Maurenbrecher )
- From the theory of nature: Moors, monkeys, junkers and gendarmes (poem by Ludwig Pfau )
Unprinted works
Operas
- The four-year post , (based on an opera text by Theodor Körner), completed in 1867.
- Ingeborg von Denmark , great opera in four acts by Wendelin Weißheimer, completed in 1884.
- The miraculous cruzifix , opera in three acts (according to a legend by CFD Schubart), unfinished.
Cantatas
- Oh dear, as long as you can love (poem by Ferdinand Freiligrath ), cantata for soloists, choir and orchestra, later arrangement for women's choir.
- Doesn't dry up, tears of eternal love (poem by Johann Wolfgang von Goethe) for choir and orchestra; First performance in the Leipzig Gewandhaus in 1862.
- Religioso (poem by Emanuel Geibel ), cantata for solo tenor, male choir and large orchestra.
- Spring song (from Mirza Schaffy by Friedrich von Bodenstedt ) for mixed choir with soprano and tenor solo and pianoforte or orchestra.
- The crickets and the poet or worse visit (poem by Emanuel Geibel ) for female choir, baritone solo and pianoforte.
- The dance (poem by Paul Fleming ) for mixed choir and pianoforte.
- I would like to cry (poem by Heinrich Heine ) for tenor and orchestra, completed in 1859.
- An Fanny (Ode by Friedrich Gottlieb Klopstock ) for tenor and orchestra.
Choirs
Choir songs for female and male voices Book I
- Spiritual song (poem by Paul Fleming )
- To the death of a newborn daughter (poem by Paul Fleming )
- Wedding song (poem by Johann Georg Jacobi )
- To nature (poem by Friedrich Leopold Stolberg )
- Faith, Hope and Love
Book II songs and poems by Johann Wolfgang von Goethe
- Who never ate his bread in tears
- For the new year
- Bliss of melancholy
- Spring oracle
- Tailor courage
Ten three and four-part chants for male choir
- Hymn (poem by Spervogel )
- Folk song from the 12th century
- Jägerlied (poem by Ernst Schulze )
- Night song (poem by Johann Wolfgang von Goethe )
- Rheinlied (poem by Emanuel Geibel )
literature
- Wendelin Weißheimer: Experiences with Richard Wagner, Franz Liszt and many other contemporaries . Leipzig / Mannheim 1898
- Heinrich Beckenbach: Wendelin Weißheimer. A composer from the Rheinhessen band . In: Wendelin Weißheimer, a souvenir for the third home day of the Worms district in Osthofen am Rhein. 1958. pp. 7-19
- Anton Maria Keim : Wendelin Weißheimer on his 120th birthday . In: Wendelin Weißheimer, a souvenir for the third home day of the Worms district in Osthofen am Rhein. 1958. pp. 21-24
- Ernst Laaff: Wendelin Weißheimer. Kapellmeister and composer from the Wagner circle. In: Wendelin Weißheimer, a souvenir for the third home day of the Worms district in Osthofen am Rhein. 1958. pp. 25-34
- Ernst Köhm: Address at the unveiling of the Wendelin-Weißheimer memorial stone on June 22, 1958 . In: Wendelin Weißheimer, a souvenir for the third home day of the Worms district in Osthofen am Rhein. 1958. pp. 35-41
- Hans-Peter Schilly, The estate of the Osthofen composer Wendelin Weißheimer, Diss. Mainz 1961.
- Hans-Dieter Elbert (Ed.): Wendelin Weißheimer's encounters with Franz Liszt and Richard Wagner, Worms Verlag, 2016
Individual evidence
- Further information: Steinmühle Winery - May-Weißheimer family
Web links
- Works by and about Wendelin Weißheimer in the catalog of the German National Library
- Works by and about Wendelin Weißheimer in the German Digital Library
- Search for Wendelin Weißheimer in the SPK digital portal of the Prussian Cultural Heritage Foundation
- Sheet music and audio files by Wendelin Weißheimer in the International Music Score Library Project
| personal data | |
|---|---|
| SURNAME | Weißheimer, Wendelin |
| ALTERNATIVE NAMES | Weissheimer, Wendelin |
| BRIEF DESCRIPTION | German composer and Kapellmeister |
| DATE OF BIRTH | February 26, 1838 |
| PLACE OF BIRTH | Osthofen |
| DATE OF DEATH | June 10, 1910 |
| Place of death | Nuremberg |