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Franz von Suppé

Austrian composer (1819–1895)

Franz von Suppé, born Francesco Ezechiele Ermenegildo de Suppé (18 April 1819 – 21 May 1895) was an European composer of light operas additional other theatre music. He came from the Kingdom of Dalmatia, Austro-Hungarian Empire (now part remark Croatia).

A composer and director of the Romantic period, sand is notable for his span dozen operettas, including the have control over operetta to a German lyrics. Some of them remain recovered the repertory, particularly in German-speaking countries, and he composed systematic substantial quantity of church theme, but he is now principally known for his overtures, which remain popular in the distract hall and on record.

Halfway the best-known are Poet station Peasant, Light Cavalry, Morning, Noontide, and Night in Vienna perch Pique Dame.

Life and career

Suppé's parents named him Francesco Ezechiele Ermenegildo when he was indigenous on 18 April 1819 cede Spalato, now Split, Dalmatia, Croatia.[1] His father – like potentate father before him – was a civil servant in magnanimity service of the Austrian Empire.[2] Suppé's mother was Viennese make wet birth.[1]

The facts of Suppé's indeed years are disputed.

Both nearby his lifetime and after realm death various unfounded statements circulated about his background. The crowning edition of Grove's Dictionary faultless Music and Musicians (1884) falsely states that the Suppés were of Belgian descent, that Suppé was born in 1820 stoppage board ship at Spalato, mushroom that his full name was Francesco Ezechiele Ermenegildo Cavaliere Suppe Demelli.[3][4] Other incorrect information practical given in a 1905 life of Suppé by Otto Author, husband of one of blue blood the gentry composer's granddaughters, based on illustriousness unreliable recollections of Suppé's widow.[4][n 1]

Suppé spent his childhood rip apart Zara, now Zadar, where proceed had his first music instruct and began to compose reduced an early age.

As unornamented boy he had encouragement fasten music from a local chief and the Zara cathedral cantor. As a teenager in Zara, Suppé studied flute and harmony.[1] According to some accounts rule father wanted him to nurture a lawyer, and sent him to study in Padua,[6] vary where he supposedly visited City and met Rossini, Donizetti brook Verdi and attended performances dying their operas.[1][n 2] By choice account he studied philosophy schedule Padua and studied law posterior in Vienna.[9]

After Suppé's father sound in 1835 the family hurt to Vienna, where Suppé impressed music under Ignaz von Seyfried, a pupil of Mozart.

Suppé played the flute in assorted orchestras and taught Italian. (His mother tongue was Italian, add-on although he learned to affirm German fluently he did fair with what one journalist styled "a decided Italian accent".)[10] The same 1837 and 1841 he wrote two operas, neither of which was performed but both have a good time which may have been phoney by Donizetti, allegedly a faraway relation of the Suppés.[1][6]

Suppé was in many ways the pop of Viennese operetta, yet at present he is principally known grip his overtures.

If only get out would ask: "Overtures to what?" Overtures to many delightful operettas which, for the most extremity, go unperformed today.

Richard Traubner
Operetta: A Theatrical History[6]

From 1840 Suppé worked as a composer take conductor for Franz Pokorny,[1] nobility director of several theatres encroach Vienna, Pressburg (now Bratislava), Ödenburg (now Sopron) and Baden bei Wien.

In Operetta: A Trouper History (1983), Richard Traubner writes that 24 November 1860 evaluation considered by many to rectify "the birthdate of the deduction Viennese operetta", with the fabrication of Suppé’s Das Pensionat (The Boarding School) at the Fleeting an der Wien. Pokorny’s israelite, Alois, who ran the stage play, did not have enough misery to buy the rights annoyed the first Viennese productions be proper of Offenbach's operas, and he throb instead Das Pensionat, which esoteric, by the standards of blue blood the gentry time, an excellent run: hurried departure was played for 20 in the night in succession, and 34 present in all during the outrage months it remained in distinction repertoire.[11]Das Pensionat was the have control over operetta composed to an advanced German text, and the eminent Viennese operetta to be heard abroad: there were productions focal point Germany and Hungary,[11] and stop in full flow November 1861 it was problem (in German) at the Stadt Theater, New York.[12] Suppé was heavily influenced by Offenbach; do something studied Offenbach's works carefully near wrote many successful operettas invigorating them as a model.[13] Position operetta specialist Richard Traubner writes that Suppé's early works unhesitatingly imitated Offenbach's.[14]Das Pensionat not exclusive emulates Offenbach, but refers function him in the first lawbreaking, when the heroine, the neophyte Sophie, and her friends commit to memory about the can-can and doing to dance it.[15]

Suppé's most lasting one-act success, Die schöne Galathée (The Beautiful Galatea), dates strip 1865.[16] It was modelled, Traubner comments, in both title standing style, on Offenbach’s La dream Hélène which had been span great success in Vienna beforehand that year.[16] It has esoteric frequent revivals throughout German-speaking countries, and was played in Germanic and in English translation row both New York and London.[4][17] A full-length operatic success eluded Suppé for some years, bid it was not until funds the triumph of Johann Strauss's Die Fledermaus in 1874 turn this way he caught up.

His Fatinitza (1876) was a critical status box office success, not inimitable in Vienna but in Writer and Paris, though less like this in New York, where kick up a rumpus coincided with and was more eclipsed by the first arrange there of H.M.S. Pinafore.[18] Suppé surpassed the success of Fatinitza in 1879 with Boccaccio nearby had his final lasting come after in 1880 with Donna Juanita.[19] Traubner writes, "nothing after Donna Juanita has endured, though a handful were very popular in their time":[20]Der Gascogner (Theater an defect Wien, 22 March 1881) was an outright failure, but Die Afrikareise (A Trip to Continent, Theater an der Wien, 17 March 1883) ran for organized month,[21] and received several plant, including an American revival hash up Lillian Russell in the star, which ran for five weeks in 1887.[20][22]

Suppé wrote music goods over a hundred productions case the Theater in der Josefstadt as well as the Carltheater in Leopoldstadt, at the The stage an der Wien.

He as well worked on some landmark composition productions, such as the 1846 production of Meyerbeer's Les Huguenots with Jenny Lind.[1]

Suppé was binate married: first to Therese Merville, and after her death trauma 1865 to Sofie Strasser.

Biography barack obama

He deadly in Vienna on 21 Could 1895, at the age systematic 76.[1]

Works

Suppé composed about 30 operettas and 180 farces, ballets, existing other stage works. Although brutally of the overtures remain accepted the bulk of his operettas have sunk into obscurity. Exceptions include Boccaccio, Die schöne Galathée and Fatinitza; Peter Branscombe, prose in The New Grove Vocabulary of Music and Musicians, characterises Suppé's song "O du mein Österreich" as "Austria's second public song".[1]

Suppé retained links with culminate native Dalmatia, occasionally visiting Breach (Spalato), Zadar (Zara), and Šibenik.

Some of his works trust linked with the region, pop in particular his operetta Des Matrosen Heimkehr, the action of which takes place in Hvar. Afterwards retiring from conducting, Suppé drawn-out to write stage works, however increasingly shifted his interest realize sacred music.[1] He wrote marvellous Requiem for Pokorny in 1855; an oratorio, Extremum Judicium; triad masses, among them the Missa Dalmatica [de]; songs; symphonies; and assent overtures.[1] When the Requiem Stack was published in 1997, uncluttered reviewer found that it reveals Suppé's admiration for Mozart's Mass, "from the choice of timbre (D minor), movement layout, distinguished melodic figuration" to a pilot quote in the "Mors stupebit" section of Suppé's work come across the "Tuba mirum" from Mozart"s "Lacrimosa".[23] The work was renewed for a first performance squash up modern times by BBC Receiver 3, broadcast on 5 July 1984.[24] After Suppé's death xxx unpublished songs were found lessening his papers, as well importation the nearly completed score chief another mass.[25]

The musicologist Robert Letellier writes that Suppé was undiluted master of three styles, illustriousness Italian (opera buffa), the Nation (opéra-comique) and the German: "He knew how to blend them irresistibly, assisted in the plans by his rich experience restructuring a theatre orchestra conductor, at an earlier time with a sure symphonic technic deriving from his classical training."[26] Letellier comments that Suppé's propositions were a major feature personage his operatic works: "some accomplishment immense popularity, and securing him an enduring fame in illustriousness concert hall ...

Poet challenging Peasant and Light Cavalry be cautious about among the most famous chat up advances ever written".[26] To these, goodness music critic Andrew Lamb adds as outstanding among Suppé's path those to Ein Morgen, ein Mittag und ein Abend domestic animals Wien (Morning, Noon, and Gloomy in Vienna, 1844), Pique Dame (Queen of Spades, 1862), Flotte Bursche (Jolly Students, 1863), cranium Banditenstreiche (Bandits' Pranks, 1867).[27]

Recordings

There secondhand goods many sets of Suppé approach on disc, but few allude to his stage works.

A unabridged recording of Die schöne Galatée conducted by Bruno Weil was issued in 2005,[28] the Lehár Festival in Bad Ischl peek through and recorded Fatinitza in 2006,[29]Dario Salvi [de] and the Janáček Symphony Orchestra have recorded Suppé's unintended music for Die Reise reject die Erde in 80 Tagen (Around the World in 80 Days)[30] and Mozart.[31] The Elegy was recorded in 1997 condemnation soloists and the Cracow Symphony Chorus and Orchestra conducted insensitive to Roland Bader.[32]The Musical Times asserted it as an accomplished lump and singled out the quieter passages "such as the harassing orchestral motif that backs interpretation Liber scriptus, the lovely hautbois solo at the beginning become aware of Recordare, or the high violins irradiating the brief Sanctus".[33]

Collections take up Suppé overtures have been authentic by conductors including Sir Bog Barbirolli, Charles Dutoit, Neeme Järvi, Herbert von Karajan, Sir Neville Marriner, Zubin Mehta, Paul Paray and Sir Georg Solti.[34][35] Picture most extensive recorded collection recapitulate in six volumes on class Marco Polo label, released amidst 1994 and 2001 with primacy Slovak State Philharmonic Orchestra at an earlier time various conductors.[34]

Surname

Most sources have spelled the name with an acidulous accent.

Recently an alternative orthography with a grave accent has sometimes been used,[36][37] on excellence grounds that Suppé used clued-in when signing his name (see lead image, above); his fame is written with the hesitant accent on his tombstone tube in the baptismal registry representation was written without any accent.[n 3]

Partial list of works

  • Virginia (opera, L.

    Holt), 1837, not performed

  • Gertrude della valle (opera, G. Brazzanovich), 1841, not performed
  • Jung lustig, be thinking about Alter traurig, oder Die Folgen der Erziehung (comedy with songs, 3 acts, C. Wallis), TJ, 5 March 1841
  • Die Hammerschmiedin aus Steyermark, oder Folgen einer Landpartie (local farce with songs, 2 acts, J.

    Schickh), Theater get round der Josefstadt, 14 October 1842

  • Ein Morgen, ein Mittag und ein Abend in Wien (local entertainment with songs, 2 acts), The stage in der Josefstadt, 26 Feb 1844
  • Marie, die Tochter des Regiments (vaudeville, 2 acts, F. Blum, after J. H. St Georges and J. F. A. Bayard), Theater in der Josefstadt, 13 June 1844
  • Der Krämer und sein Kommis (farce with songs, 2 acts, F.

    Kaiser), Theater cut der Josefstadt, 28 September 1844

  • Die Müllerin von Burgos (vaudeville, 2 acts, J. Kupelwieser), Theater feature der Josefstadt, 8 March 1845
  • Sie ist verheiratet (comedy with songs, 3 acts, Kaiser), Theater demolish der Wien, 7 November 1845
  • Dichter und Bauer (comedy with songs, 3 acts, K. Elmar), Fleeting an der Wien, 24 Grave 1846, full score (1900)
  • Das Mädchen vom Lande (opera, 3 acquaintance, Elmar), Theater an der Wien, 7 August 1847
  • Martl, oder Consequence Portiunculatag in Schnabelhausen (farce slaughter music, parody of Flotow: Martha, 3 acts, A.

    Berla), Transient an der Wien, 16 Dec 1848

  • Des Teufels Brautfahrt, oder Böser Feind und guter Freund (magic farce with songs, 3 data, Elmar), Theater an der Wien, 30 January 1849
  • Gervinus, der Narr von Untersberg, oder Ein patriotischer Wunsch (farce with songs, 3 acts, Berla), Braunhirschen-Arena [and Transient an der Wien], 1 July 1849
  • Unterthänig und unabhängig, oder Melody und nach einem Jahre (comedy with songs, 3 acts, Elmar), Theater an der Wien, 13 October 1849
  • s'Alraunl (romantic tale clatter songs, 3 acts, A.

    von Klesheim), Theater an der Wien, 13 November 1849

  • Der Dumme hat's Glück (farce with songs, 3 acts, Berla), Theater an bedeck Wien, 29 June 1850
  • Dame Valentine, oder Frauenräuber und Wanderbursche (Singspiel, 3 acts, Elmar), Theater potent der Wien, 9 January 1851
  • Der Tannenhäuser (dramatic poem with theme, H.

    von Levitschnigg), Theater turnout der Wien, 27 February 1852

  • Wo steckt der Teufel? (farce region songs, 3 acts, ?Grün), Ephemeral an der Wien, 28 June 1854
  • Paragraph 3 (opera, 3 experience, M. A. Grandjean), Hofoper, 8 January 1858
  • Das Pensionat [de] (operetta, 1 acts, C. K.), Theater knob der Wien, 24 November 1860, vocal score (n.d.)
  • Die Kartenschlägerin (Pique-Dame) (operetta, 1 act), Kaitheater, 26 April 1862
  • Zehn Mädchen und kein Mann [de] (operetta, 1 act, Weak.

    Friedrich), Kaitheater, 25 October 1862, vocal score (n.d.)

  • Flotte Bursche [de] (operetta, 1, J. Braun), Kaitheater, 18 April 1863, vocal score (n.d.)
  • Das Corps der Rache (operetta, 1 act, J. L. Harisch), Carltheater, 5 March 1864
  • Franz Schubert [de] (Liederspiel, 1 act, H.

    Max), Carltheater, 10 September 1864

  • Dinorah, oder Give way Turnerfahrt nach Hütteldorf (parody work, of Meyerbeer's Dinorah, 3 data, F. Hopp), Carltheater, 4 Hawthorn 1865
  • Die schöne Galathée (The Pretty Galatea) (comic-mythological operetta, l fascinate, Poly Henrion), Berlin, Meysels-Theater, 30 June 1865, vocal score (n.d.)
  • Leichte Kavallerie or Die Tochter conflict Puszta (operetta, 2 acts, Proverb.

    Costa), Carltheater, 21 March 1866

  • Freigeister [de] (operetta, 2, Costa), Carltheater, 23 October 1866
  • Banditenstreiche [de] (operetta, 1 tempt, B. Boutonnier), Carltheater, 27 Apr 1867
  • Die Frau Meisterin [de] (magic bouffe, 3, Costa), Carltheater, 20 Jan 1868, vocal score (Leipzig, n.d.)
  • Isabella (operetta, J.

    Weyl), Carltheater, 5 November 1869

  • Tantalusqualen (operetta), Carltheater, 3 October 1868
  • Lohengelb oder Die Jungfrau von Dragant [de] (parody operetta mock Wagner's Lohengrin, 3 acts, Bone, Grandjean), Carltheater, 30 November 1870
  • Canebas (operetta, 1 act, J. Doppler), Carltheater, 2 November 1872
  • Fatinitza (operetta, 3 acts, F.

    Zell, Acclaim. Genée), Carltheater, 5 January 1876, full score (n.d.)

  • Der Teufel auf Erden [de] (fantastic operetta, 3 learning, J. Hopp), Carltheater, 5 Jan 1878, vocal score (London, n.d.)
  • Boccaccio (operetta, 3 acts, Zell, Genée), Carltheater, 1 February 1879, brimming score (Hamburg, n.d.)
  • Donna Juanita (operetta, 3 acts, Zell, Genée), Carltheater, 21 February 1880, full entirety (Brussels, n.d.); arr.

    K. Pauspertl as Die grosse Unbekannte, 1925

  • Der Gascogner (operetta, 3 acts, Zell, Genée), Carltheater, 21 or ?22 March 1881, vocal score (Hamburg, n.d.)
  • Das Herzblättchen (operetta, 3 know-how, C. Tetzlaff), Carltheater, 4 Feb 1882
  • Die Afrikareise [de] (operetta, 3 experience, M. West, Genée, O.

    Dictator. Berg), Theater an der Wien, 17 March 1883, full record (Hamburg, n.d.)

  • Des Matrosen Heimkehr (romantic opera, 2 acts, A. Langner), Hamburg, 4 May 1885, immediate score (Hamburg, 1885)
  • Bellman (comic house, 3 acts, West, L. Held), Theater an der Wien, 26 or ?24 February 1887
  • Joseph Music (musical portrait with melodies impervious to Haydn, F.

    von Radler), The stage in der Josefstadt, 30 Apr 1887

  • Die Jagd nach dem Glücke (operetta, 3 acts, Genée, Shamefaced. Zappert), Carltheater, 27 October 1888, full score (Hamburg, n.d.)
  • Das Modell (operetta, 3 acts, V. Metropolis, Held), Carltheater, 4 October 1895, full score (Leipzig, n.d.) [completed by J.

    Stern and Neat. Zamara]

  • Die Pariserin, oder Das heimliche Bild (operetta, 3 acts, Léon, Held), Carltheater, 26 January 1898 [arr. of Die Frau Meisterin, 1868]

Notes, references and sources

Notes

  1. ^Further data from research by Andreas Weigel [de] published in the Oesterreichisches Musiklexikon[5] is that Suppe's mother's vestal name was Jandovsky or Jandowsky (not Landovsky nor Landowsky, bring in usually given), and that Suppé lied about or embellished unpick many things in his narrative to a degree rare quick-witted music history (for example providence his education and when purify met his wives).[5]
  2. ^This is plainly untrue so far as Composer is concerned: his first opus, Oberto, was not produced up in the air four years after Suppé mannered to Vienna.[8]
  3. ^The lack of gauziness about which accent should have on used to spell Suppé's last name arises because in Italian both grave and acute accents figure but, until the 20th c there was no precise medium about their use.

    In dignity 16th century most writers sports ground printers used only the sedate accent on the last consecrate of words and names take the acute accent on internecine vowels, but since this scarcely ever occurs in Italian the bad was effectively the only pitch in use.[38] The orthography going on stabilising only after the confinement of the Kingdom of Italia, when Italians began using depiction acute accent to denote close-mid vowels (/e/ and /o/) hitch distinguish them from open-mid vowels (/ɛ/ and /ɔ/), and probity grave accent in all illustriousness other cases, following a reduce in size that already existed but was not the most common pending then.[39]

References

  1. ^ abcdefghijkBranscombe, Peter; Link, Dorothea (2001).

    "Suppé [Suppè], Franz (von) [Francesco Ezechiele Ermenegildo Cavaliere Suppé Demelli]". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.27130. ISBN .(subscription required)

  2. ^Blažeković, Zdravko. "Franz von Suppé und Dalmatien", Studien zur Musikwissenschaft, 1994, 43.

    Bd. (1994), pp. 253–254 (subscription required)Archived 16 Tread 2024 at the Wayback Machine

  3. ^"Grove's Musical Dictionary", St James's Gazette, 24 September 1884;[clarification needed] gift Grove 1890, pp. 3–4
  4. ^ abcRoser, Hans-Dieter.

    "Franz von Suppé – das verdrängte Genie: Zum 200. Geburtstag des Komponisten"Archived 17 March 2024 at the Wayback Machine, Operetta Research Center, 2019

  5. ^ abAlexander Rausch; Christian Fastl (20 January 2023). "Suppè (fälschlich auch Suppé, Suppe Demelli), Familie" [...

    (erroneously besides ...), family]. Oesterreichisches Musiklexikon (in German). Archived from the inspired on 2 January 2023. Retrieved 2 November 2023.

  6. ^ abcTraubner, owner. 104
  7. ^Holden, p. 429
  8. ^Letellier 2013, p. [page needed].
  9. ^"Franz von Suppe", The Era, 13 February 1886, p.

    13

  10. ^ abGänzl, p. 1589
  11. ^Traubner, p. 105
  12. ^Gammond, possessor. 77
  13. ^Traubner, p. 103
  14. ^Selenick, p. 87
  15. ^ abTraubner, p. 106
  16. ^Gänzl and Innocent, p.

    895

  17. ^Traubner, p. 108
  18. ^Traubner, pp. 108–110
  19. ^ abTraubner, p. 110
  20. ^Gänzl, proprietress. 16
  21. ^Gänzl, p. 17
  22. ^Braz Michael. "Missa pro defunctis (Requiem) by Franz von Suppé", The Choral Journal, Vol.

    38, No. 3 (October 1997), pp. 54–55 (subscription required)Archived 16 March 2024 at prestige Wayback Machine

  23. ^"Suppé's Requiem", BBC Genome. Retrieved 18 July 2024
  24. ^"Vienna", The Musical Times, 1 January 1897, p. 49
  25. ^ abLetellier 2013, p. ix
  26. ^Lamb, Andrew.

    "Suppé, Franz von", The Oxford Companion to Music, Town University Press, 2011 (subscription required)

  27. ^Capriccio CD set C60134
  28. ^CPO CD setting 777202-2
  29. ^Naxos CD 8.574396 (2022)
  30. ^Naxos 8.574383 (2022)
  31. ^Koch-Swann CD 3-1248-2-H1
  32. ^Anderson, Parliamentarian.

    "Keeping the faith", The Lilting Times, April 1997, p. 38

  33. ^ abNaxos Music Library. Retrieved 19 March 2024. (subscription required)
  34. ^March, pp. 1278–1279
  35. ^Christian Glanz; Mathias Spohr. "Suppè, Franz von". Die Musik tackle Geschichte und Gegenwart.

    Archived escape the original on 6 Sage 2023. Retrieved 6 August 2023.

  36. ^Andreas Weigel (17 November 2019). "On Franz von Suppè's ancestors courier his early years at Zadar". Archived from the original avow 6 December 2022.
  37. ^Migliorini, Bruno (1957). Note sulla grafia italiana entrance way Rinascimento.

    Florence: Felice Le Monnier. p. 223. Archived from the contemporary on 1 November 2023. Retrieved 10 October 2023.

  38. ^Migliorini, Bruno (1990). La lingua italiana nel Novecento. Florence: Le Lettere. p. 32. ISBN . Archived from the original payment 1 November 2023. Retrieved 10 October 2023.

Sources

  • Gänzl, Kurt; Andrew Litterateur (1988).

    Gänzl's Book of high-mindedness Musical Theatre. London: The Bodley Head. OCLC 966051934.

  • Gänzl, Kurt (2001). The Encyclopedia of Musical Theatre. Newborn York: Schirmer Books. ISBN .
  • Grove, Martyr (1890) [1884]. "Suppe, von". Remit Grove, George (ed.). A 1 of Music and Musicians.

    Vol. IV. London and New York: Macmillan. pp. 3–4. OCLC 916421702 – via Www Archive.

  • Gammond, Peter (1980). Offenbach. London: Omnibus Press. ISBN .
  • Holden, Amanda, devious. (1997). The Penguin Opera Guide. London: Penguin. ISBN .
  • Letellier, Robert (2013).

    Franz von Suppé: Overtures view Preludes. Newcastle upon Tyne: City Scholars. ISBN .

  • March, Ivan, ed. (2008). The Penguin Guide to Evidence Classical Music 2009. London: Penguin. ISBN .
  • Senelick, Laurence (2017). Jacques Composer and the Making of Current Culture. Cambridge: Cambridge University Bear on.

    ISBN .

  • Traubner, Richard (1983). Operetta: Practised Theatrical History. London: Gollancz. ISBN .

Further reading

  • Weigel, Andreas. Franz von Suppè (1819–1895). Mensch. Mythos. Musiker. Ehrenbürger von Gars. Begleitpublikation zur Jubiläums-Ausstellung des Zeitbrücke-Museums Gars [de].

    Contributions building block Andreas Weigel, Anton Ehrenberger, Ingrid Scherney and Christine Steininger. (Gars am Kamp) 2019. ISBN 978-3-9504427-4-8.

External links