2

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 Woelf 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 Thurs. day morning, after a short illness, at his lodgings in Great Mary-le-bone Street, Mr. Woelf, 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 18167 as to whether he was dead or not. It asserted that Woelf 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

1 One of the strangest of the romantic tales current about Woelfl must be mentioned here. Schilling asserts that he was named Musicmaster 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. Woelf 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. 2 A. M. Z. vol. vil. 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).

4 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. 5 Times,' May 16, 1812.

A similar notice, giving the same date (May 21), appears in the Gentleman's Magazine.'

7 A. M. Z. vol. xvil. p. 311; vol. xvili. pp. 291 and 762.

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."

Woelf 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.10 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 cele

8 Mme. Woelf 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 Woelf as a performer. 9 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, ungekannt 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.

10 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. 11 Had Mr. Cipriani Potter, Woelf'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.

brated 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.1 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 twothirds 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:

1.

1 See e.g. the Minuet of the G minor Symphony.

2 E.g. a Symphony or Overture by Woelf 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).

3 A movement marked Martiale, and replete with chords thus spread out, is the piece that represents Woelf in that curious series of parodies, Latour's 26 Imitative Variations."

4 A. M. Z. vol. vii. p. 423.

5 Ibid. vol. iv. p. 157,

• Comp. BEETHOVEN, vol. I. p. 169 a.

The only pupil of Woelf 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 obbligato (1801).
Op. 3. 3 Quartets for Strings (1805?),7

Op. 4. 3 Quartets for Strings; C, F, C minor (1798).
Op. 5. 3 Trios, PF. Violin, and Cello; C, Eb, C (1798).

Op. 5. Grand Sonata (Le diable à quatre '), PF.; E. Also ' Op. 50,"
Op. 6. 3 Sonatas (dedicated to Beethoven), PF.; Ab, D, A (1798),*
Op. 6. Trios for PF. Violin, and Cello.

Op. 7. 3 Sonatas, PF. (1799).

Op. 7. 3 Sonatas, PF. and Violin; Eb, D, A (1800). Op. 8.

Op. 9. Fantasia and Fugue, PF.

Op. 9. 3 Sonatas, PF. and Violin (or Flute); Eb, E minor, C (1900). Op. 10. 6 Quartets for Strings, in two Books; Bk. I. C, E, A (1799), Bk, il. G, D minor, F (100),

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, C (1801).

Op. 15. 3 Sonatas, PF. (1801).

Op. 16. 3 Sonatas, for PF. Violin obbligato, and Cello ad lib.; Bo. D. C.

Op. 17. Sonata (4 hands), PF.; C (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. Eb (1804).

Op. 20. Concerto (No. 1, in G), PF. and Orchestra (1802).
Op. 21.

Op. 22. 3 Sonatas (4 hands), PF,9

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 (1904). Op. 25. 3 Sonatas, PF. Violin, and Cello; C, A, E minor (1903).10 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?).12

Op. 28. Fantasia and Fugue, PF.; D minor (1805?).

Op. 28. Grand Sonata, PF,13

Op. 28. Grand Sonata, PF., with accompaniment for Violin (1806 ?) Op. 28. 3 Sonatas, PF. (1809 ?),14

7 Advertised In Intell. Blatt. of A. M. Z., May, 1805, No. xl.

8 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 de scriptions of the same work.

10 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.

11 This Sonata appears to have been printed as No. 12 of a Répertoire des Clavecinistes, by Nägeli of (1905), and the Introduction and Fugue have been published separately by Diabelli of Vienna.

12 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.

13 This may possibly be identical with the work next mentioned. 14 A. M. Z. vol. xi., Intell. Blatt. xii.

Op. 28. Sonata, PF. and Violin; D. Also in Op. 27.
Op. 29.

Op. 30. 3 Quartets for Strings; Eb, 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).1

Op. 34. 3 Sonatas, PF. and Violin (or Flute); F, G, Eb (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).2

Op. 36. Grand Sonata, PF.; Bb.

Op. 37. Grand Duet, PF. and Harp: Bb.3

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.4

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.

1 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.

2 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.

3 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 ar ranged 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.

4 See NON PLUS ULTRA, vol. 1. p. 465 a.

5 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.

VOL. IV. PT. 4.

Liebe macht kurzen Process, oder Die Heyrath auf gewisse Art, comic opera, composed by Hoffmeister, Haibel, Süssmayer, Henneberg, Stegmayer, Triebensee, von Seyfried, and Woelfl.7

L'Amour Romanesque, comic opera, in one act. Libretto by D'Ar mand 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. 11. (1799).

6 English songs, dedicated to Mme. Blanchi.8

INSTRUMENTAL MUSIC WITHOUT OPUS-NUMBER, 1. FOR THE PF.

Sonata; O minor.9

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 Cornwallis's March;' (6) 'Donna Della '; (7)' Fair Ellen was a gentle maid.'

The Harmonic Budget, issued in twelve monthly numbers, commencing July 1, 1810 10:

6 Preludes, PF.

12 Waltzes, PF.

Trio, PF. Flute, and Cello; 0.

7 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 Woelf's participation in the work makes an earlier date more probable.

8 Of these songs, Nos. 2, 3, and 6, were afterwards (1810) printed in The Harmonic Budget.'

This Sonata did not appear under Woelf'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 Woelf, 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 Woelf'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.).

10 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 (?).

Ii

Badinage.1

A series of Pieces published by André:

No. 1. Marcia e Rondo Pastorale; D.

2. Donald, Rondo; G.

8. 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 Firal, 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.)

8. 9 var. sur Weil der Mond so lieblich scheint. (1797.)
4. 9 var. sur Ach schön willkommen. (1798.)

5. 9 var. sur Herbey, herbey ihr Leute. (1798),2

6. 9 var. sur La stessa, la stessissima. (Salieri.) (1799.)
7. 9 var. sur Die Hölle ist finster. (1801.)
8. 9 var.3

9 var. sur Weibchen treue; Bb. (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.)

It was Bach's intention by this work to test the system of equal temperament in tuning. To this end he furnishes a prelude and fugue in each key, the keys following one another not according to their relationship, but simply in the order of chromatic ascent.

A credible tradition says that most of the first

(1799)

var, sur Mein Vater hat gewonnen. (Liebe macht kurz. Process.)

(1801.) 4

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; Bb.5

had no regular musical occupation, and where he was deprived of any musical instrumentprobably when accompanying his prince. This tradition is supported by Gerber, whose father, Heinrich Gerber was a pupil of Bach in

No. 7; A.6

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; Eb.7 Redouten-Tänze for Orchestra.8

2 Trios for two Clarinets and Bassoon.

probably possessed some general information on the subject from Bach's sons, says that earlier compositions were used in compiling the first part. Many of the preludes had certainly already appeared as independent compositions. In re

1 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.'

3 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.'

6 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.

8 See REDOUTEN-TÄNZE, vol. iii. p. 89 b. Cp. A. M. Z. vol. iii. 834 and v. 71.

10 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 C 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.

them, the one in C# to the extent of nearly forty bars. Eleven of them were given in a short form in the Klavierbüchlein (1720), written for his son Friedemann. When used for the later work, they were, however, more fully developed, especially those in C major, C minor, D minor, and E minor. The A minor Fugue, too, is without doubt an earlier composition. Spitta considers it belongs to 1707 or 1708. It is an open copy of one in the same key by Buxtehude, and judging from the pedal at its conclusion, it was not at first intended for the clavichord. Perhaps it is therefore somewhat out of keeping with the rest of the work-written so manifestly for this instrument. Witness for instance the commencement of the 16th bar of the Eb minor fugue, where the upper part stops short on Cb, evidently

because Db was not available on most clavichords. Again, in the 30th bar of the A major fugue it is apparent that the imitation in the right hand is accommodated to a limited keyboard. In the second part of the work Db above the line occurs but once-in the 68th bar of the Ab prelude. In compiling this, Bach again availed himself of earlier compositions, though not to such an extent as in the first part. The prelude in C is given, however, as a piece of 17 bars' length in a Klavierbuch of J. P. Kellner's, with the date 3. Juli 1726.' The Fugue in G had twice

11 The Well-tempered Clavier, or preludes and fugues in all the tones and semitones, both with the major third or Ut, Re, MI, and with the minor third or Re, Mi, Fa. For the use and practice of young musicians who desire to learn, as well as for those who are already skilled in this study, by way of amusement; made and composed by Johann Sebastian Bach, Capellmeister to the Grand Duke of Anhalt-Cothen and director of his chamber-music, 1722.