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Sylvius Leopold Weiss de:Silvius Leopold Weiss

Silvius Leopold Weiss in a 1765 copper engraving by Bartolomeo Follin, after a painting by Balthasar Denner

Silvius Leopold Weiss[a] was a German lutenist.

Early life and travels

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Silvius Leopold Weiss was born on 12 October 1687,[1][b] probably in Grottkau (now Grodków, Poland) in the Duchy of Neisse (Nysa), a territory ruled by the Prince-Bishop of Breslau as Prince of Neisse and Duke of Grottkau.[2] It is also possible that he was born in Breslau (Wrocław), where his sister Juliana Margaretha was baptised in the Lutheran St. Elizabeth's Church in 1690.[2][1][c] His parents were Johann Jacob Weiss (c. 1662-1754), a lutenist, and Anna Margaretha (c. 1667–1723), whose last name is not known.[4][1] Silvius, Juliana and their younger brother Johann Sigismund Weiss [de] learned playing the lute from their father.[4] The family was very likely Protestant.[5]

A child prodigy, Weiss performed for Leopold I, Holy Roman Emperor in the seventh year of his life, probably in 1694.[6][7] Very little is known about his early life.[1] At some point before 1706, he entered the service of Charles III Philip of Palatinate-Neuburg, who resided in Breslau and in nearby Brieg (Brzeg).[8] In 1706, he travelled first to Berlin and then to Kassel and Kleve with the retinue of Frederick I, heir apparent of Hesse-Kassel.[9] For the month of April, he stayed at the court of Johann Wilhelm, Elector Palatine, the brother of Charles III Philip, in Düsseldorf, and wrote his earliest known composition, Sonata 7 in C minor.[10] On his return to Breslau, Johann wrote to his brother, thanking him for the opportunity to listen to the virtuoso lutenist and expressing his pleasure and contentment.[10][11]

Alexander Sobieski painted by Jan Kupecký

It is not known where Weiss spent the time between 1707, when his employer Charles III Philip moved to Innsbruck, and 1710.[12] In that year, he travelled to Rome together with the Polish prince Alexander Sobieski; it is possible that he worked for him already since 1708.[13][14] The prince, who was related to the Neuburg family by marriage, had been regularly visiting Rome, where his mother Queen Marie Casimire was living at Palazzo Zuccari.[15] There is circumstantial evidence suggesting that Weiss participated in the premiere of Tolomeo e Alessandro, an opera by Domenico Scarlatti written for the queen.[16] As many of the prince's records were burned in 1714, it is unknown what exactly the duties of Weiss were, but he probably performed in various operas at the palazzo, taught the lute to the prince and his niece and very likely was a chamber musician for the Sobieskis.[17] In 1712 and 1713, Weiss and his Italian wife Maria Angela lived close by, in an apartment in a house that is now in 36 Via Francesco Crispi.[18][15] As the parish registers indicate that Weiss received communion, he must have been Catholic at the time; he may have converted during his time in Rome.[19][8] There is no information about Maria Angela's eventual fate, but she did not return to Germany with Weiss.[15] Alexander Sobieski died in November 1714, a few months after his mother had left Rome.[20] Afterwards Weiss may have returned to the service of Charles III Philip, this time at the latter's Innsbruck court, where Weiss was probably based until 1718.[21][22] In 1717, Weiss probably visited the luthier Thomas Edlinger [it] in Prague.[23]

Court musician in Dresden

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Opernhaus am Zwinger, the Dresden opera house opened in 1719. A lutenist and a theorbist can be seen in the orchestra.

Weiss was invited to play at the Dresden court of Augustus the Strong, the Elector of Saxony and King of Poland, at an unknown date between 1716 and early 1718, and came to visit with permission of his employer Charles III Philip, receiving 100 ducats for two solo concerts.[24] From August 1718, Weiss was employed as "Electoral Saxon and Royal Polish Chamber Musician" for a 1000 Reichsthaler salary, making him a part of one of the best musical ensembles in Europe.[25] He served as orchestral lutenist and, more often, theorbist, both for secular and for sacral performances.[25] Additionally, he performed chamber music solo or in small groups for the court.[26]

Soon after the start of his employment, Weiss was part of a group of musicians that accompanied Frederick Augustus II, the heir apparent, to the Imperial Court in Vienna. Frederick Augustus was there in order to choose one of the daughters of the Joseph I, Holy Roman Emperor, as a bride. Weiss likely performed for the Emperor, Charles VI, possibly also together with the flutist Pierre-Gabriel Buffardin.[27] Frederick Augustus married Maria Josepha of Austria in Vienna on 20 August 1719.[28] After the couple arrived in Dresden, there were three weeks of festivities in September 1719.[29] Weiss was involved in a welcoming event at Pirna on 2 September and probably also as lutenist or theorbist in the first performances at the new Opernhaus am Zwinger opera house, where operas by Antonio Lotti were shown.[30] In 1721, after the death of the aristocratic lutenist Jan Antonín Losy, known as Comte de Logy, Weiss composed a piece for the occasion, the Tombeau sur la mort de M. Comte de Logy, which later became one of his most famous pieces.[31]

Performance of Costanza e fortezza [de] by Johann Joseph Fux in the courtyard of Prague Castle

In 1722, Weiss was attacked by a violinist named Petit, who was probably French or Swiss and believed that Weiss prevented him from obtaining employment at the Dresden court. Petit pretended to kiss the hand of Weiss, but instead tried to bite off the top joint of his right thumb. Had he succeeded, Weiss would not have been able to resume his lute playing. However, the injury was not as bad as initially suspected, and Weiss could continue playing after a few months.[32] In October of the same year, Weiss and Buffardin played in Munich at the wedding of the prince-elector's son, crown prince Charles Albert of Bavaria and archduchess Maria Amalia of Austria.In recognition of his performance, he received a present of 100 gold ducats from the prince-elector and a golden snuff box from the crown prince.[33] In July 1723, Weiss and fellow musicians Carl Heinrich Graun and Johann Joachim Quantz travelled to Prague for the coronation of Charles VI, Holy Roman Emperor as King of Bohemia, where the opera Costanza e fortezza [de] by Johann Joseph Fux was premiered in an open air performance.[34][35] According to Quantz, the three musicians signed up to play in the orchestra (Weiss playing the theorbo, Quantz the oboe, and Graun the violoncello) so they could hear the opera; the crowds were so large that even many aristocrats were unable to attend.[36]

During a visit by Frederick William I of Prussia to Dresden in January 1728, his son, crown prince Frederick II played the flute with Dresden court musicians including Quantz and Weiss.[37] On a return visit in May of the same year, the musicians accompanied Augustus to Berlin, and the crown prince's sister Friederike Sophie Wilhelmine later wrote that Weiss was a greater lutenist than all before or after him.[38][39]

In 1731, Johann Adolf Hasse became the court composer in Dresden, starting a period of frequent performances of Italian opera. Weiss participated as part of the continuo section, playing the theorbo in the vast majority of performances.[40]

13 course lute by Thomas Edlinger [it], Augsburg 1722

Students

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Around 1707, Weiss taught playing the lute to Johann Kropfgans the Elder, a merchant and lutenist in Breslau. Kropfgans, whose son Johann also became a lutenist, had previously received instruction from Philipp Franz Lesage de Richée [fr], who probably also interacted with Weiss.[10][41]

Phillip Hyacinth von Lobkowicz second wife... seee [42]


several students in [43]

It is possible that he gave lessons to Wilhelmine of Bayreuth... [44][45]

Development of thirteen-course lutes

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See JLSA XXXII, 1999.

"Instruments" as header?

Personal life and family

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Legacy

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One image of Weiss is known, an engraving by Bartolomeo Folin that served as the frontispiece of the first volume of the Neue Bibliothek der schönen Wissenschaften und der freyen Künste ('New Library of the Arts and Humanities'), published in Leipzig in 1765. This engraving is based on a lost painting by Balthasar Denner.[46] Denner was in Dresden 1729–1730, so musicologist Hans Volkmann suggested this as a possible date for the painting.[47][48] However, based on the maturity of Weiss in the engraving and the fact that Denner made a painting of the Dresden musician Johann Adolf Hasse, Kenneth Sparr has dated the painting to 1740.[49] Folin (also was from Venice and is reported to have lived in Dresden between 1763 and 1766.[50][51] On the engraving, below the image of Weiss, are the words ...


Notes

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  1. ^ Variant forms for the last name include Weiß, Weis, Weisse, Weise, Vais, Veis, and Veys; the first name is also written as Sylvius or Silvio, the middle name as Leopoldus or Leopoldo.[1]
  2. ^ explain previously thought to be 1686
  3. ^ explain; Hoffmann-Erbrecht has Grottkau but 1686.[3]

References

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  1. ^ a b c d e Legl 2020, p. 696.
  2. ^ a b Smith 1998, pp. 1–2.
  3. ^ Hoffmann-Erbrecht 2012, pp. 935–936.
  4. ^ a b Smith 1998, p. 2.
  5. ^ Smith 1998, pp. 2, 6.
  6. ^ Legl 1998, p. 54.
  7. ^ Reilly, Smith & Crawford 2001.
  8. ^ a b Smith 1998, p. 3.
  9. ^ Smith 1998, pp. 3–4.
  10. ^ a b c Smith 1998, p. 4.
  11. ^ Legl 2000, p. 36.
  12. ^ Smith 1998, p. 5.
  13. ^ Smith 1998, pp. 5–6.
  14. ^ Legl 2020, p. 697.
  15. ^ a b c Smith 1998, p. 6.
  16. ^ Żak 2000, pp. 8–9.
  17. ^ Stone 2006, pp. 66–67.
  18. ^ Vacca 2000, pp. 15–16.
  19. ^ Vacca 2000, p. 16.
  20. ^ Smith 1998, p. 7.
  21. ^ Smith 1998, pp. 7–8.
  22. ^ Legl 1998, p. 71.
  23. ^ Smith 1998, p. 8.
  24. ^ Smith 1998, p. 9.
  25. ^ a b Smith 1998, p. 13.
  26. ^ Smith 1998, p. 14.
  27. ^ Smith 1998, pp. 14, 17.
  28. ^ Smith 2000, p. 87.
  29. ^ Smith 1998, p. 18.
  30. ^ Smith 2000, p. 88.
  31. ^ Smith 1998, p. 22.
  32. ^ Smith 1998, pp. 22–23.
  33. ^ Smith 1998, p. 23.
  34. ^ Smith 1998, p. 26.
  35. ^ Fürstenau 1879.
  36. ^ Smith 1998, p. 27.
  37. ^ Smith 1998, p. 33.
  38. ^ Smith 1998, p. 34.
  39. ^ Wilhelmine, Margravine of Bayreuth 1889, p. 101.
  40. ^ Smith 1998, pp. 35–36.
  41. ^ Crawford 2001.
  42. ^ Smith 1998, pp. 27–31.
  43. ^ Hoffmann-Erbrecht 2012, pp. 938–939.
  44. ^ Smith 1998.
  45. ^ Grove.
  46. ^ Legl 2000, p. 49.
  47. ^ Volkmann 1907, p. 50.
  48. ^ Smith 1998, pp. 34–35.
  49. ^ Sparr 2018.
  50. ^ Legl 2000, p. 50.
  51. ^ Volkmann 1907, p. 288.

Bibliography

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Extra stuff

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