Conradin Kreutzer (1780-1849) - Missa di Sancta Francisca (1830)

★ Follow music ►   / reciclassicat  

Autor: Conradin Kreutzer (1780-1849)
Obra: Te Deum D-Dur, KWV 3301
Intèrprets: CornеIia Götz (soprano); Ruth Sandhoff (alto); Hans-Jürgеn SchöpfIin (tenor); Egbеrt Junghanns (bass); Badеn-Badеn/Frеiburg Symphony Orchestra

Pintura: Anonymus - Interior Church (XIX Century)

Més info: https://imslp.org/wiki/Category:Kreut...

---

Conradin (Conrad, Konradin) Kreutzer [Kreuzer]
(Messkirch, 22 November 1780 - Riga, 14 December 1849)

German composer and conductor. The son of a Swabian burgher, he received his earliest musical training from the local choirmaster, J.B. Rieger. From 1789 he studied theory and the organ with Ernst Weinrauch and learnt to play a number of instruments at the Benedictine monastery of Zwiefalten. In 1798 or 1799 he became a student of law at the University of Freiburg, but after his father’s death in 1800 he turned entirely to music. While still students he and friends performed his one-act Singspiel Die lächerliche Werbung. For the next three or four years he was probably in Switzerland; in 1804 he went to Vienna, where he met Haydn and was probably a pupil of Albrechtsberger. He gave music lessons and concerts in order to maintain himself, and continued to compose, though was unable to secure performances of his stage works in Vienna until 1810. From 1810 he toured Germany and elsewhere demonstrating Franz Leppich’s semi-mechanical ‘panmelodicon’. He spent the winter of 1811-12 in Stuttgart, where the operas Konradin von Schwaben and Feodora were successfully staged. Following Danzi’s resignation Kreutzer was appointed Hofkapellmeister with effect from 10 July 1812. That autumn he married for the first time; his daughters Cäcilie and Marie (the latter from his second marriage) became singers. Although he gave up his Stuttgart post in 1816 owing to intrigues, his friendship there with the Swabian poet Johann Ludwig Uhland, one of Germany’s foremost lyricists and ballad writers, was of far-reaching importance for his later development. The work from this period on which he based his highest hopes was the through-composed ‘heroic opera’ Orestes, with which he intended to bridge the gap between Gluck’s two Iphigenia operas; after fruitless attempts to have it staged in Berlin, and then in Vienna, it was finally produced in Prague in 1818, but was a failure.

After he left Stuttgart Kreutzer spent some time at Schaffhausen before becoming Kapellmeister (1818-22) to Prince Carl Egon of Fürstenberg at Donaueschingen. He made several tours while still nominally engaged there, and the lyric-tragic monodrama Adele von Budoy dates from this period. It was commissioned for Anna Milder Hauptmann, but enjoyed success only when revised for Wilhelmine Schroder-Devrient at Vienna in 1823 under the title Cordelia; she also performed the role in Paris. Following the successful production of his opera Libussa in Vienna in 1822, Kreutzer was appointed Kapellmeister at the Kärntnertortheater; he held the post until 1827 and from 1829 to 1832. Between these spells at the Vienna court opera he was in Paris. In 1833 he moved to the suburban Theater in der Josefstadt, in response to an invitation from the ambitious director, Stöger. He was Kapellmeister there from 1833 to 1835, the period that saw the first performances of his two greatest successes, Das Nachtlager in Granada and Der Verschwender. 1833 saw the première in Berlin of Kreutzer’s settling of Grillparzer’s Melusina, which the poet had originally written for Beethoven in 1823. Although Kreutzer was back at the Kärntnertortheater from 1835, it was at the Josefstadt that the opera Die Höhle bei Waverley was given in 1837. In the 1840s he accompanied his daughters on concert tours and was city music director at Cologne, 1840-42, as well as working in Mainz, 1844-45. He was mentioned in 1846 as Nicolai’s likely successor at the Vienna Hofoper, but the negotiations came to nothing and in 1848 he moved to Riga.