Concertos - Viennese Tuning

Compositions - Concertos

Page 1.1

Introduction	Page 0.
> Solo	Page 1.
Chamber	Page 2.
[Orchestra]	Page 3.
[Opera]	Page 4.
[Church]	Page 5.

Foreword

Page 1.0

Solo Music Listed by Genre:
Concertos	Page 1.1
Sinfonie Concertante	Page 1.2
Concert Arias	Page 1.3
Solo Pieces with Orchestra	Page 1.4
Solo Chamber Music	Page 1.5
[Solo with Piano]	Page 1.6
[Orchestra Solos]	Page 1.7

> Concertos - overview

Concerto listings:

> Extant Concertos
     > Incomplete Concertos
     > Independent Concerto Cadenzas
     > Lost Concertos
     > Spurious Concertos - Extant
     > Spurious Concertos - Lost & Unavailable

[ Concertos - text ]

Extant Concertos:
No.	Composer	Index no.	Concerto no.	RISM no.	Original Title	Key	Ms. location	Ms. no.
1.	Dittersdorf, Karl Ditters von	Kr. 171	1.	240.001.395	Concerto. / per il. / Violone / Violini 2^ue / Flauti 2^ue / Corni 2^ue / Viola / è / Basso. / Del Sig^re Carlo de Dittersdorf.	Eb maj	D-SWl	1687
2.	Dittersdorf, Karl Ditters von	Kr. 172	2.	240.001.394	Concerto In Eb. / per il / Contrabasso. / 2: Violini / 2: Flauti / 2: Corni / Viola. / e / Basso. / Del Sig:r^e Carlo Ditters.	Eb maj	D-SWl	1688
3.	Hindle, Johann	op. 2	1.	-	Conzert fir den Violon / Komponirt von Johann Hindle / opera II 1817 - NB. Focht on p. 109, cites Bb major concerto as no. 2 and D maj concerto as no. 1 (possible mistake or something else?)	Bb maj	A-Wgm	IX / 32008
4.	Hindle, Johann	op. 5	2.	-	Conzert fir den Viollon / Komponirt von Johan Hindle / opera V 1818	D maj	A-Wgm	IX / 55060
5.	Hoffmeister, Franz Anton	-	1.	240.002.633	Concerto in Eb. / per il / Contrabasso. / 2 Violini. / 2 Oboe. / 2 Corni. / Viola / é / Basso Continuo / Del sigl : Franc: Hoffmeister	Eb maj	D-SWl	2850
6.	Hoffmeister, Franz Anton	-	2.	-	Concerto in D / a / Violone Principale / 2: Violini / 2 oboe / 2 crni / Violae / e / Basso / Del Sig^re Franc: Antonio Hoffmeister	D maj	A-Wgm	IX / 6393
7.	Hoffmeister, Franz Anton	-	3.	-	Concerto in Es-dur / per il / Contrabasso / a / Due Violini (Primo obligato . / Due Oboi. / Due Corni / Viola / et / Basso / Sig Franc. Ant. Hoffmeister	Eb maj	A-Wgm	IX / 6394
8.	Kohaut, Karl	-		-	Concerto per il Contrabasso	D maj	A-Wgm	IX / 6399
							Bratislava	private music
							A-Wn - score A-Wn - parts A-Wn - other	Mus. Hs. 37.323 > Lib. Card Mus. Hs. 37.324 > Lib. Card Mus. Hs. 37.325 > Lib. Card
9.	Pichl, Wenzel	-	1.	240.003.573	Concerto in D. / per il / Violone Principale. / Violini 2. / Oboe..2 / Corni..2 / Viola / e / Basso. / Del Sigl:^re Wenceslao Bichl.	D maj	D-SWl	4247
10.	Pichl, Wenzel	-	2.	240.003.572	Concerto In D. / per il / Contrabasso. / 2: Violini / 2: Flauti obl: / 2: Corni obl: / Viola / e / Basso. / Del Sig^re Wenceslao Pichl.	D maj	D-SWl	4246
11.	Roslaub	-		450.000.468	Concerto F-dur: Conter-Baß obligato, violino primo, violino secondo, deux flauto, deux corni, viola et basso.	F maj	D-MÜu	Ros 39
12.	Sperger, Johann Matthias	B 3	1.	240.004.500	Concerto Ex Eb. . / per il / Contrabasso. - score & parts	D maj Eb maj	D-SWl	5176/3
13.	Sperger, Johann Matthias	B 4	2.	240.004.489	Concerto. per il Contra Basso - score	D maj	D-SWl	5176/12
				240.004.489	Cadenza	-	D-SWl	5872/4 (L 2i)
				240.004.492	Concerto. in Eb. / per il / Contra=Basso. - parts	Eb maj	D-SWl	5177/6
14.	Sperger, Johann Matthias	B 5	3.	240.004.507	in b Fa. / Concerto per il / Contrabasso. - score & parts	Bb maj	D-SWl	5176/1
15.	Sperger, Johann Matthias	B 6	4.	240.004.503	Concerto per il Contrabasso - score	F maj	D-SWl	5176/2
16.	Sperger, Johann Matthias	B 7	5.	240.004.502	Concerto per Violone [possibly Zimmermann] - score	Eb maj	D-SWl	5174/2a
16.	Sperger, Johann Matthias	B 7	5.	240.004.850	- solo part	in D	D-SWl	5177/3a
17.	Sperger, Johann Matthias	B 8	6.	240.004.505	Concerto per il Contrabasso - score & parts	G maj	D-SWl	5176/9
18.	Sperger, Johann Matthias	B 9	7.	240.004.506	Concerto. per il Contrabasso - score & parts	A maj	D-SWl	5176/8
19.	Sperger, Johann Matthias	B 10	8.	240.004.498	Concerto. in Eb. / per il / Contrabasso. - score & parts	Eb maj	D-SWl	5177/4
20.	Sperger, Johann Matthias	B 11	9.	240.004.493	Concerto per il Contrabasso - score & parts	Eb maj	D-SWl	5177/7
21.	Sperger, Johann Matthias	B 12	10.	240.004.495	Concerto. in E⁴ 87. / per il / Contrabasso. - score & parts	Eb maj	D-SWl	5177/1
22.	Sperger, Johann Matthias	B 13	11.	240.004.508	Concerto per il Contrabasso - score & parts	Bb maj	D-SWl	5177/2
23.	Sperger, Johann Matthias	B 14	12.	240.004.497	Concerto. in Es. / per il / Contrabasso, - score & parts	Eb maj	D-SWl	5176/7
24.	Sperger, Johann Matthias	B 15	13.	240.004.484	Concerto. Ex D /# # / per il. / Contrabasso. - score & parts [2nd movement taken from Adagio B30 which is arranged after the 2nd movement of Hoffmeister Concerto No. 1]	D maj	D-SWl	5176/6
25.	Sperger, Johann Matthias	B 16	14.	240.004.501	Nro 14/ Concerto. in Es / per il / Contrabasso - score [composed or arranged after Sperger - Zimmerman Concerto No. 5]	Eb maj	D-SWl	5174/2b
25.	Sperger, Johann Matthias	B 16	14.	240.004.849	Concerto. in Es. / per il / Contrabasso. - parts	Eb maj	D-SWl	5177/3b
26.	Sperger, Johann Matthias	B 17	15.	240.004.491	Concerto. per il Contrabasso. - score	D maj (1st)	D-SWl	5176/10
				240.004.490	Concerto. in D# / # / per il, / Contrabasso. - parts	D maj (2nd)	D-SWl	5177/5
				240.004.683	- no title - score excerpt	D maj	D-SWl	5872/4 (L12)
27.	Sperger, Johann Matthias	B 18	16.	240.004.494	Concerto, per il Contrabasso - score & parts	Eb maj	D-SWl	5176/11
28.	Sperger, Johann Matthias	B 19	17.	240.004.509	Concerto. in B. / per il / Contrabasso. - score & parts	Bb maj	D-SWl	5176/4
29.	Sperger, Johann Matthias	B 20	18.	240.004.483	Concerto, in Cmol. / per il / Contrabasso - score & parts	C min	D-SWl	5176/5
30.	Vanhal, Johann Baptist	II:h Es.1	-	240.005.192	Concerto in Eb. / per il / Contrabasso. / 2 Violini. / 2 Oboe / 2 Corni in Dis / Viola / é / Basso Continuo.	Eb maj	D-SWl	5512
31.	Zimmermann, Anton	D3	1.	600.153.002	Concerto in D / Violine Principale / Violini 2 / Viola obl Corni 2 / Con Basso / Del Sings Zimmermann / Kempffer	D maj	A-KR	H 48/147
32.	Zimmermann, Anton	D2	2.	240.005.422	Concerto. in D. / per il / Contrabasso. / 2. Violini. / 2. Oboi. / 2. Corni. / Fagotto / Viola / e / Basso. / Del Sigl. Antonio Zimmermann.	D maj	D-SWl	5817

Incomplete Concertos:
No.	Composer	Index no.	Concerto no.	RISM no.	Original Title	Key	Ms. location	Ms. no.
1.	Sperger, Johann Matthias	L 2f	?	240.004.665	Concerto - Solo Part	D maj	D-SWl	5872/4

Independent Concerto Cadenzas:
No.	Composer	Index no.	Concerto no.	RISM no.	Original Title	Key	Ms. location	Ms. no.
1.	Sperger, Johann Matthias	L 2n	?	240.004.671	Poco andante - further research needed	-	D-SWl	5872/4 (L 2n)

Lost Concertos:
No.	Composer	Index no.	Title	Key	Commentary	Reference
1.	Haydn, Joseph	Hob. VIIc: 1	Concerto per il Violone	D maj	This concerto has become the "Holly Grail" of interest to modern bassists and musicologist, ever since it was discovered in Haydn's own catalogs. If there is any lead to discovery of this piece, this site would certainly be the first to report it - but unfortunately such a lead simply does not exist yet.	Drei Haydn Kataloge
2.	Hindle, Johann	-	-	? (further research may yeald some info on the concerto keys however)	There is a strong possibility that one or more concertos by Hindle may have been lost along much other solo bass repertoire of which we have period accounts. For additional information on Hidle's life and opus please see Hindle's chapter in Planyavsky's GdKB.	Planyavsky p. 485 - 513. (the list of public concerts p. 507 - 9.)
3.	Kämpfer, Josef	-	-	?	Kämpfer's numerous concerts and tours have left us plenty of data referring to his concerto performances. Some of these concertos can be traced to Zimmermann and Roslaub but the number of his other concerto appearances strongly suggest that some of them may have been composed by Kämpfer himself. Further research will hopefully yield more light on this subject.	Planyavsky p. 327-333. Focht p. 183-4 Térey-Smith p. 6-13.
4.	Lasser, Johann Baptist	-	Konzert auf den Kontrabass (probably with Italian title in the original)	?	"Brünner Zeitung" reports of a Lasser's own Konzert auf den Kontrabass performance on March 21 in Brünn. This concerto along with some other solo repertoire written by Lasser is now unfortunately lost.	Planyavsky p. 346 Focht p. 187

Spurious Concertos - Extant & Incomplete:
No.	Composer	Index no.	Concerto no.	RISM no.	Original Title	Key	Ms. location	Ms. no.
1.	Anonimous	-	-	450.007.304	Concerto a 5. Basso concertato, violino primo, violino secundo, viola & contra-bas. - further research should clarify if the "Basso concertato" is intended for a type of double bass or possibly violoncello	C maj	D-HRD	Fü 3594a
2.	Brandl, Johann Evangelist (1760-1837)	-	-	400.013.809	Concerto / pour Contre Basso Principale / Violino Primo / Violino Secondo / Corno Primo / Corno Secondo / Viola et Basso / Dl Sig:e Brandl. / . 1797 - a "D" tonality along with the location and the timeframe go in favor of classifying this piece as a Viennese concerto ; further research should clarify this matter	D maj	CH-E	4,29 (Ms.1813)
3.	Capuzzi, Antonio (1755-1818)	-	?	-	Concerto per il Violone - Focht (p. 94-6) includes this piece among the Viennese repertoire based on the unique idiomatic writing suitable for Viennese technique. The author of this site has performed this concerto in both registers and can indeed attest to an astonishing convenience which the Viennese system offers in a performance of this piece. Yet, the manuscript source and the circumstances of the origination of this concerto still leave the space to consider this technical convenience just an amazing coincidence. Perhaps the future discovery of some new evidence may sway a decision on this composition, but for now let it be classed as "spurious".	D maj	GB-Lbl	Add. 17834
4.	Capuzzi, Antonio (1755-1818)	-	?	500.239.827	N:o 9: Concerto / A Contrabasso Solo Obbligato / del Sig:^r NN - incomplete - preserved are only two parts: the 1st violin and the tutti bass part. The Bb major key may or may not play in favor of considering this piece a part of Viennese repertoire, however no systematic investigation of this concerto has been undertaken yet to either prove or disprove the heritage of this piece. Thus it is included here as a possible candidate.	Bb maj	HR-Sm	VII/109
5.	Hause, Wenzel (1764-1847)	-	-	-	Concertino - cited in Albright p. 42 - solo part in Hause p. 33 - cited in Warnecke p. 80 - incomplete - this concertino is preserved only as the solo part of the first movement within the Hause's own Bass Method (p. 33). Although there is no record of Hause ever performing in the Viennese system, it is possible that the piece may have been originally conceived for the Viennese bass, which was still in use during the early years of Hause's career. A "D" tonality certainly plays in favor of such a claim. Further research may offer more details on this piece.	D maj	A-Wn (method - * see footnote)	SA.75.A.61 (method - * see footnote)
6.	Holzbauer, Ignaze (1711-1783)	-	-	-	Concerto di Violon / Violino primo / Violino secondo / Viola obligato / con / Basso Continuo / Del Sig. Ignatio Holzbauer - title from A-Wgm source ; solo in tenor clef with the title: Violon(cello) principale - cit Planyavsky p. 277 - cit Albright p. 46-7 - cit. Focht p. 115 - Focht cites this piece as a violoncello concerto that was heavily arranged in Malaric's edition for double bass from D-B source. Planyavsky on the other side mentions a A-Wgm source that was apparently used both as a cello and a "violone" concerto. This piece may deserve further scrutiny from its A-Wgm source.	A maj	A-Wgm	IX / 21571 Q 16658 violon(cello)
6.	Holzbauer, Ignaze (1711-1783)	-	-	-		A maj	D-B	Mus. Ms. 10789 (violoncello concerto)
7.	Maschek, Vincent (1755-1831)	-	-	-	Concerto - cited in Albright p. 55-6 - solo part in Hause's method p. 37 - incomplete - this concerto is cited in two different sources which somewhat contradict each other. The earlier source is a bass method by Wenzel Hause where the solo part of the first movement in C major is printed on page 37. The other source is a dissertation by P. Albright where the "Concerto in D" is mentioned, but without any additional details. Otherwise the realm and the years of activity of brothers Maschek overlap neatly with the time and region of Viennese bass practice and may support the thesis that the concert was indeed intended for the Viennese bass. Moreover, a "D" key (Albright) is certainly a favorite key for Viennese bass music. However, further research will need to ascertain first the Albright's source, and than attempt to get the complete concerto (if possible at all) for detailed examination.	D maj	Source: Albright	-
7.	Maschek, Vincent (1755-1831)	-	-	-		C maj	A-Wn (method - * see footnote)	SA.75.A.61 (method p. 37 - * see footnote)
8.	Woschitka, Franz Xaver (1728-1796)	-	-	240.001.021	Concerto in D. / a / Violoncello Principale / 2 Violini 2 Oboe / 2 Corni Viola / con Basso / Del Sigl: Baiczka. - Woschitka was both an exceptional soloist on Viennese bass and a violoncellist. Although the title of this piece unquestionably states "violoncello" it may not be unreasonable to investigate if this piece was perhaps conceived for both instruments. A "D" tonality and the fact that the copyist of this piece was Sperger himself (!) along with the fact that Woschitka was obviously able to adapt the piece to Viennese technique, all point to the possibility of yet another Viennese concerto?	D maj	D-SWl	5746
9.	Wrba, Franz (second half of the 18th century)	-	-	-	Concerto - cited in Albright p. 88 - solo part in Hause's method p. 39 - incomplete - this concerto is cited in two different sources with exactly the same difference as the concerto by Maschek cited above. Albright cites the "Concerto in D" without offering any source for his citation, while the Hause method offers a section of the first movement in C Major. For any further conclusion a complete concerto would need to be found.	D maj	Source: Albright	-
9.	Wrba, Franz (second half of the 18th century)	-	-	-		C maj	A-Wn (method - * see footnote)	SA.75.A.61 (method p. 39 - * see footnote)

Spurious Concertos - Lost & Unavailable
No.	Composer	Title	Key	Commentary	Reference
1.	Bergt, Christian Gottlob August (1772-1837)	Konzert für Kontrabass	F maj	This concerto is unfortunately lost, as we only have a citation of its title and a key preserved. The life span of Christian Bergt covers the later period of Viennese tradition, thus allowing for a possibility that the concerto was written in Viennese setup. The key of this concerto is however not the most typical of Viennese literature as it would require an F variant of tuning, which in turn is noted only in Roslaub's and Sperger's 15th concerto. The area of Bergt's activity spans the north and eastern Germany, which was a borderline region where the Viennese Tuning may have been used. So this factor should be also considered. However, any other conclusion will need to wait until this piece is hopefully found one day.	Breugst p. 440
2.	Creutzfeld	Concerto in A	A maj	No information on this composer or any of his other works has been found. It is included here solely on the basis of his German sounding name and the "A" tonality, which is convenient for Viennese performance. Further research should confirm or disprove this claim. Albrigth does not offer any additional information on the source of this piece.	Albright p. 26
5.	Reinhardt, Franz	Concerto	F# min	Albright provides no information on the source of this concerto except the key. However, Strakova in the Book on Moravian Museum Music Collections cites certain Franz Reinhardt among many other composers of the Viennese classicism. Strakova however does not offer any specific information on F. Reinhardt except that some of his compositions are (were) located at the Church of St. Jacob in Brno. The F# minor as a parallel of A major can be played well in Viennese system although the key itself has not been noted in any other solo Viennese compositions. It is possible however that F. Reinhardt may not belong to the 18th century generation of Viennese composers at all, and that aspect should be researched further. His relation to J. G. Reihradt is also to be determined.	> Albright p. 67 (Reinhardt) > Strakova p. 209 ("Reinhard, Franz" citation) p. 25-26 (Composer listings in collection of "Kastel Sv. Jakupa") p. 26 ("Fr. a J.G. Reinhardt" cited - not specific at all on how "Fr. a J.G. Reinhardt" compositions may or may not be related in the collection?)
6.	Rosetti, Franz Anton	Concerto	?	A citation in the first (French) edition of Brun's "Historie de Contrebasses des Cordes" within the Sperger chapter mentions concertos by Zimmermann and Rosetti.	Brun (French edition 1982) p. 283

* Hause, Wenzel. Methode Complette de Contrabasse approuve et adoptee par la Direction du Conservatoire de musique a Prague pour servir a l'etude dans cet etablissement.
NB. This method is cited here as a source of possible concertos that may have been written originally for Viennese bass but converted later in the modern tuning for the use in this method, intended for the orchestra tuning in fourths. This supposition is based on the fact that both Maschek and Wrba concertos are cited by Albright as "in D", while the Hause method features their solo parts in C. This discrepancy may also indicate a possibility of an early use of modern solo tuning but even that thesis will need to wait until the complete concertos are discovered. The method also features a solo part for a concerto by Hause, which also may have been intended originally for the Viennese tuning since it is in D tonality. No source location is known for this concerto either.

* Strakova, Theodora. Pruvodce po archi´vni´ch fondech U´stavu dejin hudby Moravske´ho musea v Brne. Edited by Theodora Strakova, Jiri Sehnal, Svatava Pribanova. Brno : Ustav dejin hudby Moravskeho musea v Brune, 1971.
[ title - English Translation: Guide to Archival Funds of the Institute of History of Music of the Moravian Museum in Brno ]
NB. This guide to the music collections of the Moravian Museum in Brno is an excellent source on many period composers and their collections within various castles, churches and monasteries in Brno and wider Moravian region. However, due to the setup of the book which lists only the composers within a certain location and does not cite individual works, it is difficult to ascertain what particular works can be found in a particular location. It is also difficult to ascertain how many of the collections cited in the book have been catalogued in RISM-OPAC to date, thus leaving this issue open for further research. The book also features an exceptional map of all period locations in Moravia that have housed musical artifacts and thus offers us a fascinating tool to observe the movement and activity of many period musicians in these lands.

Posted: November 1, 2011

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