[체코 - 모라비아]Paul Wranitzky

Paul Wranitzky

 

 

 

 Pavel Vranický, later Germanized as Paul Wranitzky (30 December 1756 – 29 September 1808/ 52세), was a Moravian classical composer. His half brother, Antonín, was also a composer

모차르트와 같은 해에 태어났던 모라비아 출신의 작곡가 겸 바이올리니스트 파울 브라니츠키는 19세기가 시작될 무렵 빈에서 가장 인기있고 영향력 있는 작곡가 중 한 명이었다

고향에서 노래, 오르간, 바이올린 등을 배운 다음 빈으로 가서 신학교의 합장 단장이 되었다. 1785년부터 이스터하지 백작을 섬겼으며 1790년 경부터 빈 궁정관현악단의 지휘자가 되었다. 자신이 직접 초연하는 지휘대에 서서 상연한 징슈필 <오베른 Oberon 1790>은 호평을 얻었다. 모차르트,하이든, 베토벤으로부터 대단한 존중을 받았으며 베토벤, 하이든으로부터는 자신들의 새로운 작품 지휘자로 선택되기도 했다.( 예를 들면 1800년 베토벤 교향곡 1번). 매우 다작을 했는데  오페라 10곡, 교향곡44곡,현악4중주 최소 56곡-어떤 자료는 73곡이 넘을 것으로 추정-그리고 많은 수의 관현악곡과 실내악 작품이 있다.

 

y of University of Olomouc and later a theological seminary in Vienna. At age 20, like so many other Czech composers of that period, he moved to Vienna to seek out opportunities within the Austrian imperial capital.

From 1790, he conducted both royal theater orchestras. He was highly respected by Mozart, Haydn and Beethoven; the latter two preferred him as conductor of their new works (e.g., Beethoven's First Symphony, in 1800). Wranitzky was a prolific composer. His output comprises ten operas, 44 symphonies, at least 56 string quartets (some sources give a number as high as 73) and a large amount of other orchestral and chamber music. His opera, Oberon – The Fairy King from 1789 was a favorite in this genre and inspired Emanuel Schikaneder to write the libretto of The Magic Flute for Mozart in 1791; in the mid-1790s, Goethe sought to collaborate with Wranitzky on a sequel to the Mozart opera.

Wranitzky died in Vienna on September 29, 1808.

. 그의 그랜드 심포니는

프랑스를 찬양하는 곡으로서 화려한 전투장면 등 프로그램을 담은 다양한 색채와 장쾌한 스케일을 보여주고 있어서 당대에 열광적인 인기를 끌었던 작품이다. 함께 수록된 후기작인 교향곡 op.52은 소박하고 따뜻한 면을 보여주고 있어서 브라니츠키 음악의 진수를 넓게 조망할 수 있을 것이다.

 

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Although some scholars believe that he studied with Haydn, there is no proof of this. But there can be no question that he studied and was influenced by Haydn's quartets. Like Haydn, Wranitzky's quartet writing went through many stages of development beginning with the pre-classical and evolving to the finished sonata form of late Viennese classicism. The majority of his quartets are in three movements; many share the qualities of the Parisian quatuor concertant, with virtuoso writing in all four parts. In these works, he explored the emerging Romantic style with (for the time) daring harmonic progressions, theatrical gestures and virtuoso display. Based on the ten Wranitzky quartets he has studied, music historian and Reicha scholar Ron Drummond writes, "I can safely and with absolute confidence say that Wranitzky's achievement as a composer of string quartets is a greater achievement, overall, than Mozart's. Lest that statement be misunderstood, let me clarify: it's simply that Wranitzky's output dwarfs Mozart's, and the quality of each man's (mature) productions is so superb that Wranitzky wins by sheer numbers."^[2]

Writing about Wranitzky's music in the last part of the 19th century, the famous French critic and musicologist François-Joseph Fétis recalled, "The music of Wranitzky was in fashion when it was new because of his natural melodies and brilliant style. He treats the orchestra well, especially in symphonies. I recall that, in my youth, his works held up very well in comparison with those of Haydn. Their premature abandonment of today has been for me a source of astonishment