# A Dictionary of Music and Musicians/Woelfl, Joseph

​WOELFL, Joseph, was born at Salzburg, probably in 1772, and his instruction in composition and pianoforte-playing was due to Leopold Mozart and Michael Haydn. No mention of him occurs, however, in the correspondence of Leopold Mozart and his son. In 1792 or 1793 he began his public career at Warsaw. He was already a brilliant pianist, and his performances brought him into great request as a teacher. Amongst his pupils was one, the son of a banker named Ferguson, who subsequently attained some notoriety as a performer and composer. But Warsaw, in the throes of the partition of Poland (1794), was no place for an artist, and Woelfl betook himself to Vienna, where he was received with favour, both as composer and performer. His first opera, 'Der Höllenberg,' was composed to a libretto by Schikaneder, and brought out at his theatre in 1795. This was followed by 'Das schöne Milchmädchen' for the National Theatre in 1797, and 'Der Kopf ohne Mann' at Schikaneder's in 1798. The value of these pieces does not appear to have been great, but they were successful at Vienna, and the last two were performed at Leipzig, and 'Der Kopf ohne Mann' at Prague also. To this period the curious combination-piece, 'Liebe macht kurzen Prozess,' may possibly belong. On the whole, Woelfl was not of much account as a composer for the stage. As a pianoforte virtuoso, he stepped into the first rank, and was even able to contest the palm of supremacy with Beethoven. Socially, Woelfl's pleasing manners may have helped him to sustain the rivalry, from their contrast to his competitor's brusque demeanour. His strength lay in contrapuntal skill and in remarkable execution, in part due to the immense size of his hands. The heat of their partisans recalled the strife of the Gluckists and Picinnists, but the two artists themselves appear to have respected and admired each other. We hear of them as improvising duets at the house of Von Wetzlar, and Woelfl dedicated one of the best of his earlier works (op. 6) to Beethoven. At Vienna ​the young composer married, in 1798, Therese Klemm, an actress at the National Theatre; and in the summer of the same year set out on an extended tour, whether with or without Madame Woelfl seems uncertain. He travelled through Brunn to Prague, where he gave a successful concert, and thence to Leipzig. Two concerts, about Michaelmas, signalised his arrival, and his stay was of considerable length. On April 11 and 23, 1799, he gave two more concerts, and then pursued his way through Dresden and Berlin to Hamburg, arriving there in May. At Hamburg he made another considerable stay, and won many friends. Moreover, though the traditions of C. P. E. Bach still lingered in the place, his playing elicited great admiration. From Schmieder he obtained the libretto of an opera called 'Der trojanische Pferd,' and set himself to the composition of the music. It does not, however, appear that the work was ever produced, and perhaps it was never completed. Woelfl had intentions of going on to London, but seems to have left Hamburg at the beginning of December with Righini, probably for Berlin.
The next clear mention of Woelfl is at a concert in Leipzig, Oct. 21, 1800. On Dec. 10, he gave a concert in Berlin at which Mozart's 'Davidde Penitente' was performed. In the next year he journeyed to Paris, perhaps through Brunswick and Mayence, certainly through Hanover, reaching the French capital in September 1801. There he soon began to attract great attention. On the 5th Brumaire (Oct. 26) the Journal de Paris described him as 'l'un des hommes les plus étonnans de l'Europe sur le Piano.' His wit and courtesy suited French taste, and his execution was at its acme. He speedily assumed a leading position, and in the next spring was reported to be writing an opera for the Théâtre Feydeau. This epoch may be regarded as the culminating point in his career. Henceforward he falls, in some strange way, under a cloud.
Whether this was the result of a faux pas cannot be exactly determined. If Fétis's circumstantial story is to be believed, Woelfl struck up a friendship at Paris with the bass-singer Ellmenreich, who was given to card-sharping. In 1804 the pair travelled to Brussels, and gave a concert which proved a failure. But the little social clubs of the town offered opportunities to Ellmenreich of making money by gambling. He was caught cheating, and the pair would have fallen into the hands of the police but for the intervention of the Secretary of the Department of La Dyle. By his exertions they escaped, and went off together to London, where they arrived at the beginning of 1805. Woelfl does not appear to have been a party to the fraud, but his intimacy with Ellmenreich caused society to avoid him. He was not received as before, and finally died in obscurity and great poverty near London, when is quite uncertain. Of course this story amply accounts for the disappointing close of Woelfl's career. But it seems to be incorrect in almost every detail. That Woelfl was brought into relations with Ellmenreich by the project of the latter for establishing a German Opera in Paris is likely enough, but Woelfl appears to have been in Paris throughout 1804, whereas Ellmenreich left Paris at the end of 1803, and was at Vienna at the beginning of 1805. The statement that Woelfl was received with less favour in England than on his previous visit can only be true on the supposition that he had been there before, which, as already observed, is at all events dubious. Moreover, Woelfl had no reason to complain of his reception in England in 1805; he certainly did not die in obscurity, and it is not likely that he died in poverty.
To return to certainties; the three years and a half (Sept. 1801–Apr. 1805) during which Paris was the centre of Woelfl's life were, on the whole, years of success. In the early part of 1804, his opera, 'L'Amour Romanesque,' was produced at the Théâtre Feydeau with success. In the next year he made his most considerable venture with an heroic opera in three acts, called 'Fernando, ou Les Maures,' which was brought out anonymously at the Théâtre Feydeau. It was produced under very unfavourable circumstances, and was more of a failure than it deserved to be. Perhaps this mischance led Woelfl to conceive a disgust for Paris. He certainly left the French capital within a month or two without any other apparent reason, and ​repaired to London, where he arrived about the beginning of May, 1805. The first trace of him is in an advertisement on May 18, of a benefit concert by Mr. and Mrs. Ashe, which states that he had just arrived in England, and would perform a concerto at this concert on May 27—'his first performance in England.' Besides the concerto (MS.), a grand symphony (MS.) by Woelfl was performed at the concert, and pianoforte concertos by him were played at other concerts on June 1 and June 5, on the former occasion by himself. He was received with the greatest applause, and everything shows that he retained his popularity throughout his seven years' residence in London. In 1806 his concerto known as 'The Calm' created a positive furore, being played at four concerts in about two months, and new compositions by him were almost annually put forward as attractions at the most important concerts. In 1810 the prospectus of 'The Harmonic Budget,' presents him as the fashionable composer of the day, and a portrait is one of the allurements to subscribers. As a composer for the stage, Woelfl did not make any greater mark in London than in Vienna or Paris. Still, two ballets by him were produced at the King's Theatre, 'La Surprise de Diane,' on Dec. 21, 1805, and 'Alzire' (founded on Voltaire's 'Alzire'), on Jan. 27, 1807. Both, especially the former, pleased. His abilities were fully appreciated by the artists and by the public, nor is any trace of a falling off in popular esteem discoverable. On May 16, 1812, a new concerto of his was played at Salomon's concert by Mr. Cudmore. A week later 'The Morning Chronicle' of May 23 contained the announcement, 'Died, on Thursday morning, after a short illness, at his lodgings in Great Mary-le-bone Street, Mr. Woelfl, the celebrated pianoforte player.' It is impossible therefore to understand the uncertainty as to the circumstances of Woelfl's death. An anxious discussion was maintained in the 'Allgemeine Musikalische Zeitung,' in 1815 and 1816 as to whether he was dead or not. It asserted that Woelfl had played at the Philharmonic Concerts, which did not begin till 1813, and the matter was only considered as settled by the marriage of Woelfl's widow to an oboist at Frankfort. The foreign biographies of him are almost all wrong as to the year of his death, while they maintain that he died in the most sordid penury, an assertion for which there seems to be no ground at all.
Woelfl possessed remarkable qualifications for making a success in society. His portrait, about a year before his death, represents a handsome man, rather tall, somewhat stout, and of commanding presence. He possessed that indefinable charm of manner which so much contributes to social success. He was, above everything, a 'good fellow,' and a pleasant, witty talker, fond of a good dinner (with a special penchant for grapes), a good story, and good company. His indolent disposition did not prevent him from being proficient in the amusements of society; he played cards with great skill, and it was difficult to find his equal at billiards.
As a musician, Woelfl exhibits all the excellences that flow from a sound training. Like other composers of that time he wrote much trivial music, but his sympathies were steadily on behalf of a more elevated style. Pupils who wished him to teach them how to play the showy variations that conclude his ​celebrated 'Non Plus Ultra' sonata always met with a rebuff, and were not allowed to go on to the variations till they had mastered the opening allegro. The ease with which he threw off trifles to catch the popular ear did not blind him to their trivial character or impair his respect for his art. Consequently, much of his work, sonatas, quartets, concertos, and symphonies, is thoroughly solid, showing great instrumental effect and, especially, contrapuntal artifice. His works, therefore, continued to appear in programmes for several years. A strongly marked rhythm and a predilection for sweeping arpeggios, continued, on the pianoforte, from one hand to the other were regarded by his contemporaries as his chief mannerisms. He also had a knack of writing minuets with variations, a habit that diverges somewhat from the beaten track. His facility in composition was remarkable. When, on taking some string quartets to a publisher, he found that worthy disinclined to undertake the publication of classical music, he forthwith, by way of sweetening the pill, composed a set of waltzes in the shop.
In extempore performance, few attained such proficiency. At Vienna he rivalled Beethoven, and was even said to surpass him. At Mayence a military band came playing down the street in which the concert-room was situated, in the middle of an extempore performance. Most performers would have been disconcerted by such an interruption. Woelfl, however, catching the rhythm of the drums, worked his themes into a march, and using this as a middle movement for his Fantasia so long as the drums could be heard, proceeded without a break to his finale. He had so complete a mastery of the technique of the pianoforte that he could play a concerto in C major with equal ease in C♯ major, transposing it as he went. He belonged to the school that aims at breadth of effect rather than minute accuracy of rendering, and his enormous hands placed almost two-thirds of the keyboard under his immediate control, and enabled him to produce with ease effects that to ordinary players were absolutely impossible. Two passages may be quoted to exemplify the size of his hands, the first a favourite phrase for winding up a cadenza, the second a passage for the left hand that few could execute, as he did, clearly and neatly:—
The only pupil of Woelfl who attained much eminence was Mr. Cipriani Potter, but, as he was Principal of the Royal Academy of Music for more than a quarter of a century, and professor of the pianoforte there for ten years before that, it is probable that Woelfl influenced musical development in this country more than has been generally suspected. In opera his importance is nil. It is as a composer for and a performer on the pianoforte that he claims attention. His performance could scarcely be equalled in his own time, and his pianoforte compositions have not yet lost all their interest.
The following is a tolerably complete list of his works:—
INSTRUMENTAL WORKS
Op. 1. 2 Sonatas, PF.; F, G (1795). Op. 2. 3 Sonatas, PF. and Violin (1796). Op. 3. 3 Sonatas, PF. (1797). Op. 3. Sonata, PF. with Flute obbllgato (1801). Op. 3. 3 Quartets for Strings (1805?). Op. 4. 3 Quartets for Strings; C, F, minor (1798). Op. 5. 3 Trios. PF. Violin, and Cello; C, E♭, C (1798). Op. 6. Grand Sonata ('Le diable a quatre'), PF.; E. Also 'Op. 50.' Op. 6. 3 Sonatas (dedicated to Beethoven), PF.; A♭, D, A (1798). Op. 6. Trios for PF. Violin, and Cello. Op. 7. 3 Sonatas, PF. (1799). Op. 7. 3 Sonatas, PF. and Violin; E♭, D, A (1800). Op. 8. Op. 9. Fantasia and Fugue, PF. Op. 9. 3 Sonatas, PF. and Violin (or Flute); E♭, E minor. C (1800). Op. 10. 6 Quartets for Strings, in two Books; Bk. i. C, E, A (1799), Bk. ii. G, D minor, F (1800). Op. 11. 3 Sonatas, PF. and Flute (1800). Op. 12. Op. 13. Sonata, PF. and Flute; D (1801). Op. 14. 3 Sonates sur des Idées prises de la Creation de Haydn, PF. and Violin; A, D. (1801). Op. 15. 3 Sonatas, PF. (1801). Op. 16. 3 Sonatas, for PF. Violin obbligato, and Cello ad lib.; B♭, D, C. Op. 17. Sonata (4 hands), PF.; (1804). Also 'Op. 69.' Op. 18. 2 Sonatas, PF. and Violin, and Fantasia for PF. solo. Op. 19. Sonata (or Sonatas), PF. Op. 19. 3 Sonatas, PF. and Violin; D minor, C, E♭ (1804). Op. 20. Concerto (No. 1. in G). PF. and Orchestra (1802). Op. 21. Op. 22. 3 Sonatas (4 hands), PF. Op. 22. 3 Sonatas, PF.; G, A, D minor. Op. 23. 3 Grand Trios, PF. Violin, and Cello; D, E, C minor. Op. 24. 3 Progressive Sonatas, PF. and Violin; G, A minor, C (1804). Op. 25. 3 Sonatas, PF. Violin, and Cello; C, A, E minor (1803). Op. 25. Grand Sonata (preceded by an 'Introduzione,' consisting of an Adagio and Fugue in C minor), PF.; C minor. Op. 25. A Grand Trio. PF. Violin, and Cello. Op. 26. Concerto (No. 2, in E), PF. and Orchestra (1804). Op. 26. 3 Sonatas, PF. (1808). Op. 27. 3 Sonatas, Nos. 1 and 2 for PF. solo; No. 3 for PF. and Violin (or Flute) obbligato; D minor, F, D (1804?). Op. 28. Fantasia and Fugue, PF.; D minor (1805?). Op. 28. Grand Sonata, PF. Op. 28. Grand Sonata, PF., with accompaniment for Violin (1806?) Op. 28. 3 Sonatas, PF. (1809?). ​Op. 28. Sonata, PF. and Violin; D. Also in Op. 27. Op. 29. Op. 30. 3 Quartets for Strings; E♭, C, D (1805?). Op. 31. Grand Duo, PF. and Cello (or Violin), (1805). Op. 32. Concerto (No. 3, in F, 'dedicated to his friend J. B. Cramer'), PF. and Orchestra (1807). Op. 33. 3 Sonatas, PF.; C, D, E (1807). Op. 34. 3 Sonatas, PF. and Violin (or Flute); F, G, E♭ (1804?). Also 'Op. 37.' Op. 35. 3 Sonatas, PF. and Flute; C, G, D (1806). (Scotch Airs.) Op. 36. Concerto (No. 4, 'The Calm,' in G), PF. and Orchestra (1806). Op. 36. Grand Sonata, PF.; B♭. Op. 37. Grand Duet, PF. and Harp; B♭. Op. 38. 3 Sonatas. PF.; G, D, B minor. (Scotch Airs). Op. 38. Sonata, PF.; D (1808?). Also 'Op. 58.' Op. 39. Op. 40. Symphony (ded. to Cherubini), No. 1; G minor (1808?). Op. 41. Symphony, No. 2; C (1808?). Op. 41. Grand Sonata ('Non [or 'Ne'] Plus Ultra'), PF.; F. Op. 42. Sonata (4 hands), PF. with Flute (or Violin), ad lib.; G. minor. A Version of his G minor Symphony. Op. 43. Grand Concerto militaire, PF. and Orchestra; C. Op. 43. 3 Sonatas (ded. to Catalani), PF. and Flute (or Violin). Also 'Op. 45.' Op. 44. Op. 45. Sonata (or Sonatas), PF. Op. 45. 3 Sonatas (ded. to Catalani). PF. and Flute (or Violin). Also 'Op. 43.' Op. 46. Grand Duet for PF. (4 hands) with Flute acc. Probably 'Op. 42.' Op. 46. 3 Sonatas, PF. with acc. for Flute ad lib.; G, F, C. (Scotch.) Op. 47. Sonata (or Sonatas), PF. Op. 47. 3 Sonatas, PF. with acc. for Flute (or Violin) ad lib.; D, G, F. Op. 48. 3 Sonatas, PF., Flute, and Cello; G, F, D (1810?). Op. 49. Concerto (No. 5. 'The Cuckoo,' in D), PF. and Orchestra 1810?). Also 'No. 4.' Op. 50. Grand Sonata ('Le diable à quatre'), PF.; E. Op. 51. Op. 52. Sonata for Harp, with acc. for Flute; C. Op. 53. 3 Sonatas, PF.; F, C, B♭. Op. 54. 3 Sonatas, PF.; G, A minor, D. Op. 55. 3 Grand Sonatas, PF.; A minor, D, A. Op. 56. Practical School for the PF., consisting of 50 Exercises. In two Books. Op. 57. Duet, Harp and PF; F. Op. 58. 3 Sonatas, PF. Op. 58. Sonata, PF; D. Also Op. 38. Op. 59. Divertissement ('La Voyage de Vénus,' or 'Vénus en voyage '), PF. Op. 60. Sonata, PF. Op. 61. Second Sonata, 'With the Manly Heart.' Op. 61. Second Divertissement, PF.; E♭. Op. 62. Grand Sonata, PF.; D. Op. 63. Op. 64. Grand Concerto (in E), PF. and Orchestra. Op. 65. Op. 66. 3 Trios, PF. Violin, and Cello. Op. 66. Trio, PF. Flute, and Cello; C. Op. 67. Grand Sonata, PF. and Violin; E. Op. 68. Grand Sonata. PF. and Violin; D minor. Op. 69. Sonata (4 hands), PF.; C. Also 'Op. 17.'
OPERATIC WORKS.
Der Höllenberg, opera. Libretto by Schikaneder. Schikaneder's Theatre, Vienna, 1795. Das schöne Milchmädchen oder der Guckkasten, operetta. National Theatre, Vienna, 1797. Der Kopf ohne Mann, operetta. Schikaneder's Theatre (?), Vienna, 1798. Das Trojanische Pferd, operetta. Libretto by Schmieder. Written in 1799 (A. M. Z. vol. ii. p. 238), but apparently never performed. Liebe macht kurzen Process, oder Die Heyrath auf gewisse Art, comic opera, composed by Hoffmeister, Haibel, Süssmayer, Henueberg, Stegmayer, Triebensee, von Seyfried, and Woelfl. L'Amour Romanesque, comic opera, in one act. Libretto by D'Armand Charlemagne. Théâtre Feydeau, 1804. Fernand ou les Maures, heroic opera in 3 acts. Théâtre Feydeau, Paris, 1805. Produced anonymously. La Surprise de Diane ou le Triomphe de l'Amour, grand ballet. King's Theatre, London, Dec. 21, 1805. Alzire, grand ballet. Composed by Rossi. King's Theatre, London, Jan. 27, 1807.
VOCAL MUSIC.
Die Geister des See's (words, from Schiller's 'Musenalmanach' for 1799, by Fraulein Amalie von Imhoff). Ballade, with PF. acc. vol. i. (1799). 11 Lieder und eine vierstimmige Hymne von Ramler, with PF. acc. Vol. ii. (1799). 6 English songs, dedicated to Mme. Bianchi.
INSTRUMENTAL MUSIC WITHOUT OPUS-NUMBER.
I. For the PF.
Sonata; C minor. Bouquet de Flore (ded. to his pupils), containing (1) Favourite German air with 9 var.; (2) Favourite Polacca, arr. as a Rondo with acc. (ad lib.) for Flute; (3) Augustin, a favourite German Waltz, arr. as a Capriccio, with Flute or Violin ad lib.; (4) Sonata (4 hands) in F; (5) 6 Waltzes with acc. for Harp ad lib.; (6) Turkish March and Rondo with acc. for Harp ad lib. The Cabinet (Rondos, Airs with var., and military pieces). This was to be completed in 12 numbers to be published monthly. The titles of the first seven numbers are as follows: (1) 'Lullaby,' Variations; (2) 'Alone by the Light of the Moon,' Rondo; (3) 'What's the matter now,' Variations; (4) 'The Linnet,' Rondo; (5) 'Lord Cornwall's March;' (6) 'Donna Delia'; (7) 'Fair Ellen was a gentle maid.' The Harmonic Budget, issued in twelve monthly numbers, commencing July 1, 1810;— 6 Preludes, PF. 12 Waltzes, PF. Trio, PF. Flute, and Cello; C. 6 Preludes. 3 Songs—'The Sigh,' 'Soul of my Love,' 'Rosalie.' March, PF.; D. 6 Preludes, PF. 3 Polaccas. PF. Sonata, PF.; E. 6 Preludes, PF. Fisher's Minuet with var., PF. and Harp; B♭. Duet, PF. and Violin; D minor. Overture to 'La Bataille de Salamine,' PF. (4 hands); C minor. Duet, PF.; C. Allegretto; B♭. 24 Preludes dans les Modes majeurs et mineurs les plus usités. Bon Jour, Rondeau favori; G. Bon Soir, Rondeau favori; D. La Chasse, Rondo; C. Rondo, B♭. 3 Rondeaux; B♭, D, B♭. Rondo facile et brillante; C. Heigho, Rondo. Hark I hear the evening bell, Rondo. March and Military Rondo. Grand March. Portuguese March (ded. to Bishop of Oporto), 1810; D. 3 Polonaises, Harp and PF. Polacca. 12 Valses (1803). 6 Valses. 6 Valses (4 hands). 6 deutsche Tänze (1807?). Grand Fantasia—O mon cher Augustin. Two Books of Duets with favourite airs from Le Nozze de Figaro. ​Badinage. A series of Pieces published by André:— No. 1. Marcia e Rondo Pastorale; D.  2. Donald, Rondo; G.  3. Castle Goring, Rondo; G.  4. Air with var.; A.  5. Air (The Storm) with var.; G.  6. Romance (Je suis encore) with var.; G.  7. Variations; G.  8. Do.; C.  9. Do.; F. 10. 11. The favourite Tambourine avec Introd. et Final. Variations; C. 12. Variations, Harp and PF. 13. March and Rondo. Also 'Marcia e Rondo Pastorale.' A series of Airs with variations published in Vienna (by Traeg?):— No. 1. 9 var. sur le Terzetto, Pria ch'io impegno. (1797.) 2. 9 var. sur une Pièce d'Alcina. (1797.) 3. 9 var. sur Weil der Mond so Heblich schelnt. (1797.) 4. 9 var. sur Ach schön willkommen. (1798.) 5. 9 var. sur Herbey, herbey Ihr Leute. (1798). 6. 9 var. sur La stessa, la stessissima. (Salieri.) (1799.) 7. 9 var. sur Die Hölle ist finster. (1801.) 8. 9 var. 9 var. sur Weibchen treue; B♭ (Winter's Labyrinth.) (1799.) 9 var. sur Kind willst du ruhig schlafen. (Winter's Opferfest.) (1799.) 9 var. sur Wenn ich nur alle Mädchen wüsste. (1798.) 9 var. sur Schau, das du bald ein Meister. (Des Schneider Hochzeit.) (1799) 9 var. sur Mein Vater hat gewonnen. (Liebe macht kurz. Process.) (1801.) 9 var. sur Se vuol ballare. (1802.) Var. on 'Oh cara harmonia' (air from 'Die Zauberflöte.' Var. on Wenn's Lieserl nur wollte. Var. sur Menuet de Fischer; B♭. 9 var. on a favourite German air, 'by the celebrated J. Woelfl.' No. 7; A. Romance de l'opera Une Folie par Méhul var. p. Clav.; G. An dante varié; G.
II. Other Instrumental Works.
Concerto di Camera, PF. with acc. for Strings and Flute; E♭. Redouten-Tänze for Orchestra. 2 Trios for two Clarinets and Bassoon. Grand Sonata for the Harp, in which is introduced a favourite air Of Cosi fan tutte (sic). Also published for P. F. Concerto, PF. and Violin. Trio, PF. and two Horns (1801?). Overture for Orchestra; C minor.
[ J. H. M. ]
* ↑ The uncertainties that envelope Woelfl extend even to the spelling of his name, which appears variously as Wölffl, Woefel, Woelfle, Wölfel, Wolfell, Woelf, Woelft, Wulff, and Woelfl, the last of which, on the whole, seems most probably correct. The Parisians despaired of either pronouncing or spelling his name, and called him Wolf, as they spell Kreutzer Kretsche, and to this day persist in writing Listz.
* ↑ In the Prospectus of 'The Harmonic Budget,' Woelfl is stated to be 'a scholar of the great Mozart,' which seems most improbable.
* ↑ Schilling–who spells the name Furguson.
* ↑ A. M. Z. vol. i. 448. and Intell. Blatt. xi., vol. iv. p. 253; vol. v. p. 249.
* ↑ See [[A Dictionary of Music and Musicians/Beethoven, Ludwig van#178|Beethoven, vol. i., p. 178b.
* ↑ Seyfried.
* ↑ See Beethoven, vol. i. pp. 169a and 178b.
* ↑ A. M. Z. vol. i. p. 479.
* ↑ Dörffel's 'Geschichte der Gewandhaus Concerte.'
* ↑ A. M. Z. vol. ii. p. 409.
* ↑ Ibid. p. 31.
* ↑ Ibid. p. 410. The statement here made differs from that of all other biographers. Schilling seems to suggest that Woelfl returned to Vienna, but all other writers assert that he went from Hamburg to London, and from London to Paris, reaching the French capital in 1801. The facts given in the text show that this account cannot be correct, and it seems improbable that Woelfl went to London at all at this time, though Mr. J. W. Davlson, in the Preface to his edition of the 'Non Plus Ultra' Sonata declares, without giving any authority, that the Military Concerto (op. 43) was composed in London in 1800. On the other hand, the following circumstances seem, taken together, to make strongly against the London visit:— (1) Woelfl left Hamburg in Dec. 1799 with Righini (A. M. Z. vol. ii. p. 410). Now Righini almost certainly was going to Berlin to produce 'Tigrane,' in the early part of 1800 (A. M. Z. vol. ii. p. 620). (2) Woelfl's letter to Lodi (A. M. Z. vol. ii. Intell. Blatt. no. x.), is dated 'Auf der Reise, den 15 Decemb. 1799,' which suggests that he had left Hamburg and was on a journey in Germany. This is exactly the date at which he would be travelling to Berlin with Righini. (3) A Berlin letter of April 1800 (A. M. Z. vol. ii. p. 622), declares that Woelfl had been there three separate times since the preceding June; it is hardly likely that he went three times from Hamburg to Berlin and back again between June and December, 1799. (4) No trace of him in England at this time is forthcoming. (5) The programme of the concert in London on May 27, 1805, at which he appeared, pointedly asserts that it was 'his first performance in England.' ('Morning Chronicle,' May 27, 1805.)
* ↑ Dörffel's 'Geschichte.'
* ↑ A. M. Z. vol. iv. p. 157.
* ↑ A. M. Z. vol. iii. pp. 690 and 834. The last passage renders it likely that the hornplayers Gugel accompanied him, and that the Trio for horns and PF. was written for this tour.
* ↑ A. M. Z. vol. iv. p. 604.
* ↑ Cp. A. M. Z. vol. iv. pp. 111 and 320.
* ↑ A. M. Z. vol. vi. p. 478; vol. vii. p. 142.
* ↑ Ibid. vol. vi. pp. 281, 469, 502.
* ↑ It may be added that it is not easy to see when Woelfl and Ellmenreich could have been at Brussels together. At the beginning of 1802 both were in Paris. In the spring and summer Ellmenreich went to London (A. M. Z. vol. iv. pp. 323 and 781), but Woelfl stayed in Paris (A. M. Z. vol. iv. p. 604). However, in the autumn of 1802 Woelfl was at Amsterdam (A. M. Z. vol. v. p. 115), and was thought to be going to London, and it may have been about this time that the two got into trouble at Brussels. They are next heard of in Sept. 1803 (A. M. Z. vol. v. p. 865), and are then both in Paris. But Woelfl's position there seems just as good after this date as before it.
* ↑ See on the whole affair, A. M. Z. vol. vii. p. 422.
* ↑ One of the strangest of the romantic tales current about Woelfl must be mentioned here. Schilling asserts that he was named Music-master to the Empress Josephine in 1804, and followed her after her divorce (i.e., of course, at the beginning of 1810) to Switzerland. Growing weary of the lonely mountain life, he went down the Rhine by boat, and so to England. This story seems to be a pure fiction. Woelfl may have been Music-master to the Empress, but he went to London in 1805, and is to be found in London every year from that date to the time of his death. In 1810 he was engaged on a monthly publication, 'The Harmonic Budget,' which must have precluded long absence from London. Finally, the Empress Josephine did not go to Switzerland in 1810, or at any time after her divorce.
* ↑ A. M. Z. vol. vii. p. 756.
* ↑ Besides MS. works which may have been novelties, and sonatas, etc., we find the following 'first performances': Symphony (June 15, 1808, Ferrari's Concert); PF. Concerto (Apr. 19, 1809, Ferrari's Concert) Symphony (Mar. 28, 1811. New Musical Fund Concert); PF. Concerto (May 16, 1812, five days before his death, Salomon's Concert).
* ↑ A copy is in the British Museum, but the torn condition of the title-page makes it impossible to say to whom it is dedicated.
* ↑ 'Times,' May 16, 1832.
* ↑ A similar notice, giving the same date (May 21), appears in the 'Gentleman's Magazine.'
* ↑ A. M. Z. vol. xvii. p. 311; vol. xviii. pp. 291 and 762.
* ↑ Mme. Woelfl appears to have been established as a singer at Frankfort since 1804 (A. M. Z. vol. vi. p. 402). Examination of the Philharmonic programmes reveals no trace of Woelfl as a performer.
* ↑ This is Schilling's account of his death: 'W. starb … im Reiche des Mammon, unfern von London, in einem Dorfer mit Schulden belastet, vergebens gegen Krankheit, Kummer, Noth und Elend ankämpfend, jeder Hülfe entbehrend, ungekaunt und von Allen verlassen—auf einem faulen Strohlager.' It is just conceivable that Woelfl might, if deep in debt, have given himself out as dead to deceive his creditors, and lived some years after in obscurity. But the following entry of burial, dated May 25, 1812, in the Registers of S. Marylebone, 'Joseph Woelfl, widower, aged 38,' makes this supposition most improbable. Woelfl's condition is given wrongly in the entry, and his age is at variance with most accounts.
* ↑ There was a portrait by Tielker. This, or another, engraved by Scheffner, was issued with the A. M. Z. for Feb. 19, 1806. The portrait in the 'Harmonic Budget' was drawn by Pyne and engraved by Mayer. The original water-colour sketch by Pyne is in the Hope collection of portraits at Oxford, and from it the woodcut here given is taken.
* ↑ Had Mr. Cipriani Potter, Woelfl's pupil, been still alive, the personal traits of Woelfl's character might have been more clearly exhibited. Much of what is stated in the text is due to reminiscences of Mr. Potter's conversations, kindly communicated by his son, Dr. Potter, and by Mr. A. J. Hipkins.
* ↑ See e.g. the Minuet of the G minor Symphony.
* ↑ E.g. a Symphony or Overture by Woelfl appears in the Philharmonic programmes of May 31, 1813, Feb. 13, 1815, May 1, 1815, May 24, 1819, and Mar. 25, 1822. 'The Calm' was played at Leipzig in 1819 by Schneider (A. M. Z. vol. xxii. p. 44).
* ↑ A movement marked Martiale. and replete with chords thus spread out, is the piece that represents Woelfl in that curious series of parodies, 'Latour's 26 Imitative Variations.'
* ↑ A. M. Z. vol. vii. p. 423.
* ↑ Ibid. vol. iv. p. 157.
* ↑ Comp. Beethoven, vol. i. p. 169a.
* ↑ Advertised in Intell. Blatt. of A. M. Z., May. 1805, No. xi.
* ↑ The Andante from the second of these Sonatas was arranged as a Song (A. M. Z. vol. iv. p. 564; Beylage iv. 1801).
* ↑ The two titles given under Op. 22 are perhaps only different descriptions of the same work.
* ↑ 3 Sonatas for PF. Violin, and Cello, in C, G, and E minor, were published in London as Op. 25. Probably the second Sonata had been transposed.
* ↑ This Sonata appears to have been printed as No. 12 of a Répertoire des Clavecinistes, by Nägeli of (1805), and the Introduction and Fugue have been published separately by Diabelll of Vienna.
* ↑ No. 1, Nos. 1–2, and No. 3, also appear as Op. 27. We also find Op. 27 described as 3 Sonatas. PF. solo; probably an accidental misdescription. Sonata No. 3 was also published as Op. 28.
* ↑ This may possibly be identical with the work next mentioned.
* ↑ A. M. Z. vol. xi.; Intell. Blatt. xii.
* ↑ The second Sonata in an English edition is in D minor. Fétis gives 3 Trios for PF. Violin, and Cello, as Op. 33, but it would appear to be a misprint for 23.
* ↑ The number of this Concerto is very doubtful. It Is given as No. 4 in A. M. Z. vol. ix. Intell. Blatt. x., and this number has been adopted, but Breitkopf & Härtel call it No. 1 (cp. Op. 20) In their Catalogue, and Fétis describes it as No. 6.
* ↑ This Duet seems to have been brought out at Salomon's Concert on May 21, 1806. It could also be played on two PF.s, and was arranged for 4 hands on one PF. by the author. The 3 Sonatas for PF. and Violin or Flute of Op. 34, were published by Clementi with Op. 37, by a misprint, on the title-page.
* ↑ See Non Plus Ultra, vol. ii. p. 465a.
* ↑ This Sonata was also published as Op. 5, unless, indeed, this is a misprint. It is possible that Op. 50 included some other Sonatas, as the publisher (Birchall) announces this as 'a 4th Grand Sonata for PF.'
* ↑ The publisher (Birchall) describes this Concerto as 'by the late J. Woelff, being the last composition of that celebrated author.' It is, therefore, probably the Concerto played at Salomon's Benefit Concert, May 16, 1812.
* ↑ This work has been variously ascribed to each of the first three named, but Woelfl's share was far the largest, amounting to nearly half the work, viz. Nos. 4, 5, 7, 10, 11, 14, and 15, out of a total of 15. The date usually given is 1801. If internal evidence is to go for anything, it must have been written for Schikaneder's Theatre, and Woelfl's participation in the work makes an earlier date more probable.
* ↑ Of these songs, Nos. 2, 3, and 6, were afterwards (1810) printed in 'The Harmonic Budget.'
* ↑ This Sonata did not appear under Woelfl's name. It was published by Lodi about 1797 as op. 18, and an arrangement of it for 4 hands, in which it was attributed to Lodi, was published more than thirty years after by Crelle. The Sonata, however, was almost certainly composed by Woelfl, Lodi's share in it being confined to the insertion of a few errors, after the fashion of the ignorant schoolboy who has got a good copy of verses done for him. For the whole history of this very curious transaction see Woelfl's Letter to Lodi, which remained unanswered, in the A. M. Z. for 1800 (vol. ii. Intell. Blatt. No. 10), and Fink's article on the matter in the same journal in 1832 (vol. xxxiv. pp. 737 sq.).
* ↑ A good deal of the music in this publication appears to have been published separately either before or afterwards, as e.g. the songs, Fisher's Minuet, the Preludes (?).
* ↑ Played at Berlin Dec. 10, 1800, but perhaps never printed. See A. M. Z. vol. iii. p. 237.
* ↑ The airs of Nos. 4 and 5 come from Winter's 'Labyrinth.'
* ↑ No. 7 was certainly published by Traeg. No. 8 is assigned to this series on conjecture only.
* ↑ The air, by Henneberg, is taken from 'Liebe Macht,' etc.
* ↑ Also published in 'The Harmonic Budget.'
* ↑ This is very likely identical with No. 7 published by Traeg.
* ↑ This was No. 3 of a series of pieces published by Chappell & Co. under this title. No. 1 was by J. B. Cramer.
* ↑ See Redouten-Tänze, vol. iii. p. 89b.
* ↑ Cp. A. M. Z. vol. iii. 834 and v. 71.
* ↑ The three works last mentioned were never perhaps printed. The PF. and Violin Concerto was played at Berlin, Dec. 10, 1800 (A. M. Z. vol. iii. p. 237), the Trio at Leipzig about Michaelmas 1802 (A. M. Z. vol. v. p. 71), and the Overture at a Philharmonic Concert in London on March 25, 1822. The same (or a similar) Overture had been played twice before, and the Programmes of the time suggest the existence of Symphonies and Overtures which were not printed. The Concerto in which he transposed at Dresden (A. M. Z. vol. i. p. 560) may also not have been printed, though it may have been Op. 43.