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This is to certify that the

dissertation entitled

THE ORIGINAL COMPOSITIONS FOR HARMONIE ENSEMBLE
OF
JOHANN NEPOMUK WENT

presented by
Gregory James Wo lynec

has been accepted towards fulfillment
of the requirements for

DNA degree in Wind Conducting

Major professor
Date ma‘f‘g; 200 L

 

 

 

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PLACE IN RETURN Box to remove this checkout from your record.
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6/01 cJCIRCJDatoDuopes-sz

 

 

 

THE ORIGINAL COMPOSITIONS FOR HARMONIE ENSEMBLE OF
JOHANN NEPOMUK WENT

By

Gregory James Wolynec

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF MUSICAL ARTS
Department of Music

2002

ABSTRACT

THE ORIGINAL COMPOSITIONS FOR HARMONIE ENSEMBLE OF
JOHANN NEPOMUK WENT

By

Gregory James Wolynec

This document focuses on the original harmonie compositions of Bohemian
oboist, composer and arranger Johann Nepomuk Went (1745-1801), who was a pioneer
in this early genre of music for wind band. An introductory overview of harmoniemusik
is presented with attention given to the events of Classical Bohemia that directly
influenced the creation of the Viennese court octets. A biographical exploration of Went
includes the known facts of his life and work as well as a perspective as to his role in the
harmonic tradition. In this section the cultural setting into which Went was born is also
explored.

A complete movement-by-movement thematic list of Went’s original works for
wind instruments listed by archival location has been provided. This catalog has been
created following research carried out in various archives throughout the Czech Republic,
Austria, Germany and France. A listing of original compositions for other combinations
of instruments found during the course of this research has been provided as an appendix.

A performance score of one of Went’s mature partitas for wind octet has also

been prepared and included. This Parthia in Dis is located in Vienna’s Gesellschafi der

Musikfreunde and is representative of the mature writing of the composer. It is hoped
that through the creation of similar editions for publication the works for small wind

ensemble of Johann Went can enter the repertoire of the modern wind band.

Copyright by
Gregory James Wolynec
2002

This work is dedicated to my loving wife Elizabeth for the sacrifices she has made, the
support she has offered and the advice she has given throughout this journey.

ACKNOWLEDGEMENTS

I would like to thank all of the teachers, family and friends who have played such
a large part in my work toward completion of this degree. I have been fortunate to have
two mentors of the likes of Prof. John Whitwell and Dr. Timothy Topolewski who have
instilled in me not just a love for music but also a love for learning and an understanding
of the responsibilities of calling oneself a teacher. Dr. Anna Harwell Celenza is one of
the greatest motivators I have ever met and has helped me to succeed in areas I never
dreamed of exploring. I would also like to thank the other members of my committee
who have each contributed in a variety of ways-- Prof. John Madden, Dr. Theodore
Johnson and Dr. Frederick Tims. Jeannie Chehansky-Scheer from MSU bands has
solved “unfixable” problems and offered much help towards this project.

I am deeply indebted to a great many archivists, librarians and musicologists
throughout Europe who aided me (many times at great inconvenience) in my research--
particularly Zuzanna Petraskova from the Klementinum in Prague, Marketa Kabelkova in
the “closed” music wing of the National Museum in Prague, the entire music department
at the Tiebon Statni Archiv in Cesky Krumlov, Jarmila Gabrielova of Charles University,
Bohus Stanék of Cesky Krumlov and Peter Schrieber of Vienna. The members of the
Czech Fulbright Commission, in particular Hana Rambouskova and Jana Hajkova, also
deserve many thanks for their assistance.

Last, but by no means least, I would like to thank my parents for the love and

support they have unfailingly provided me.

vi

TABLE OF CONTENTS

List of Archival Abbreviations viii
I. An Overview of the Harmoniemusik Period 1
II. Johann Nepomuk Went (1745-1801) 10
III. Thematic Index of the Original Compositions for Harmonie of Johann Went 21
A) Introduction 21
C) Esterhazy Archiv 23
B) Gesellschafi der Musikfreunde in Wien 29
D) Moravské Muzeum 33
E) Statni Oblastni Archiv Trebor'i 34
F) Muzeum Ceské Hudby 53
G) ThiIringisches Staatsarchiv Rudolstadt 58
H) Bibliothéque nationale de France 59
IV. Johann Went’s Parthia in Dis: A Performance Edition 61
A) Introduction 61
B) Editorial Notes 62
C) Allegro 63
D) Andante con Alternativo 96
E) Allegro con Alternativo 108
F) Largo 122
G) Rondo 127
Appendix— Catalog of Additional Works of Johann Went 151
Bibliography 1 59

vii

LIST OF ARCHIVAL ABBREVIATIONS

A variety of archives were consulted during the research for this document.

Abbreviations appearing throughout the following page represent these archives.

A: Austria
Ee Eisenstadt, Esterhazy Archiv
ng Wien, Gesellschaft der Musikfreunde in Wien
Wn Wien, Osterreichische Nationalbibliothek, Musiksammlung

CZ: Czech Republic

Bm Brno, Moravské museum, Ustav déjin hudby

K Cesky Krumlov, Statni archiv Tiebofi

an Prague, Muzeum Ceske’ Hudbi, Narodni Muzeum
F: France

Pn Paris, Bibliotheque nationale
D: Germany

RUI Rudolstadt, Thuringisches Staatsarchiv

viii

An Overview of the Harmoniemusik Period

The term harmoniemusik refers to a large body of works composed during and
shortly after the Classic period in central Europe. The instrumentation is frequently that
of a wind octet consisting of pairings of oboes, English horns or Clarinets (as will be
elaborated upon shortly), French horns and bassoons. While representative works can be
found throughout Europe, the tradition appears to have experienced its greatest popularity
in the region encompassed by an approximate triangle connecting Vienna, Prague and
Budapest.1

The harmonie ensemble developed out of the baroque Hautboisten band tradition.
This can be seen by the presence of English horns in much of the repertoire, which at first
seemed unusual to scholars and was explained simply as being due to a lack of
clarinetists in Bohemia, and a logical evolutionary step from an all double reed ensemble.
In terms of genres, the baroque overture-suite and concerto da camera can be seen as
giving way to the divertimento and the partita respectively. As late as 1830, according to
noted Classic period scholar Robbins Landon, the term partita and symphony were
actually interchangeable.2

The evolution of pairings of varieties of wind instruments took place in the
Bohemian lands surrounding Prague. Count Franz Anton Bpork (1662-173 8) traveled
extensively throughout Europe and absorbed a wide variety of cultural influences. His
interest in the French horn and its music was novel for the time. This interest was to have

a marked efl‘ect on Bohemian music, as he encouraged the instrument’s use in a variety of

 

I Whitwell, David, The Wind Band and Wind Ensemble of the Classic Period, Vol. 4 (Northridgc,
CA1Winds, 1985), p. 8.

orchestral and chamber settings. As early as 1701 French hunting airs for the cor de
chasse were published with a German text through a commission from Bpork. He also
formed ensembles of French horns and other wind instruments to be used in chapel
services.3 The resulting instrumentation of a pair of double reeds, French horns and a
single bassoon paved the way for the standardized harmonie octet of the 1780’s.

The Schwarzenberg family of Vienna and southern Bohemia is credited with
founding the first harmonie octet in 1771. The instrumentation of this ensemble
consisted of pairs of oboes, English horns, French horns and bassoons. This ensemble
was used primarily at the Schwarzenberg’s Viennese court as well as their palace in
present day Tfebofi, Czech Republic.4 It is also likely that members of the octet, if not
the octet as a whole, would have performed at other residences of the family such as the
Chateaux in Cesky Krumlov and the massive Hluboka nad Vltavou palace just north of
Ceské Budéjovice . The Schwarzenberg’s court archives in Cesky Krumlov contain one
of the largest collections of harmoniemusik in the world.

The pivotal event in the. rise of harmoniemusik was the formation of Austrian
Emperor Joseph II’s concert octet during 1782. Prior to this time nearly all of the
European courts retained a sizeable number of wind musicians. In fact, by 1730 a wind
band consisting of five oboes, five bassoons, one horn, four trombones and thirteen
trumpets was listed under the employment of the Imperial court.5 Archival documents

from the Theater Reclmungen indicate that the eight members of the Emperor’s

 

2 Ibid., p. 8.

3 Hogwood, Christopher and Smaczny, Jan, “The Bohemian Lands” from Man and Music: The Classical
Era (London: The MacMillan Press Ltd., 1989), p. 195.

4 Zéloha, Jifi, “Das Musikleben am Hofe der Ffirsten zu Schwarzenberg im 18. Jahrhundert” translated and
excerpted from Hudebni Veda Vol. 27, No. 1 (Prague: Academia Praze, 1990), pp. 409-10.

5 Whitwell, David, “The Incredible Vienna Octet School-Part 1” from The Instrumentalist Vol. XXIV,
No.3 (Evanston, 11: The Instrumentalist Co., 1969), p. 33.

Harmonie performed with the court opera orchestra as well as the octet, for which they
received a sizeable stipend.6

While there has been some confiision over the date of creation and initial
instrumentation of the Emperor’s octet, the archival data from the Theater Rechnungen
cited above provides the following information. The instrumentation of the octet was
pairs of oboes, Clarinets, French horns and bassoons. The famous Stadler brothers (who
played such an important role in the music of Mozart), Johann and Anton, were the
original clarinetists in the Emperor’s Harmonie in 17 82 when the ensemble began to
function independently of the court orchestra.7 Interestingly enough, the Imperial
archives in Vienna contain a large number of works for harmonic ensemble written for
pairs of English horns as opposed to clarinets.8

Following Joseph II’s creation of his Harmonie, a great number of lesser Austrian
courts attempted to follow suit. The Emperor’s brother, Maximilian, was the next to
create his own. Others to follow were the courts of Desterriech, Thun, Dittrichstein,
Liechtenstein as well as a host of others.9 In a letter to his father dated from 1782

Wolfgang Amadeus Mozart wrote

I have my eye here on three sources (of permanent income). The first is not certain, and,
even if it were, would not probably be much. . . (he) is young Prince Liechtenstein, who
would like to collect a Harrnoniemusik (though he does not yet want it to be known), for

which I would write the music. This would not bring in much, it is true, but it would at

 

:Whitwell, David, The Wind Band and Wind Ensemble of the Classic Period, Vol. 4, p. 40.
Ibid, p. 40.

8 Clark, David Lindsey; Gillaspie, Jon; Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical
Guide (Westport, CT: Greenwood Press, 1997). p. 84. The authors of this comprehensive new
text identify the holdings of the archive in question (A:ng) as including a portion of the
previously mentioned Schwarzenberg collection

9 Whitwell, David, “The Incredible Vienna Octet School-Part 1,” p. 33.

least be something certain, and I should not sign the contract unless it were to be for

life.10
Mozart had already written some harmoniemusik including at least five Divertimenti for
the Archbishop of Salzburg and two early works for a commission in Milan. 11 The
contemporary wind band missed a wonderfiil opportunity when an agreement with the
Prince was not reached. 12

The initial repertoire for harmonie consisted of a variety of original compositions
for the ensemble. Partitas, divertimenti, and even concerti for soloists accompanied by
octet were written, and consequently performed, in the many courts. This practice was to
continue throughout the period until the ensemble’s demise in the mid-nineteenth
century. Such notables as Mozart, Haydn, Krommer and Stamitz made contributions to
the repertoire. '3

However, a new interest (and consequently tradition) was to assume a prominent
role in the development of wind writing. This was the arrangement of popular operas,
ballets and symphonic works for performance by octet. What is so unusual about these
transcriptions is that they do not resemble the concert band arrangements of the past

century. While the newer versions typically summarize familiar melodies in an overture-

 

“) Whitwell, David, The Wind Band and Wind Ensemble of the Classic Period (1750-1780), p. 45.

1' Hellyer, Roger, “Mozart’s Harrnoniemusik” from The Music Review Vol. 34, No. 2 (Cambridge: W.
Heffer and Sons, 1974), p. 146. K. 231, 240, 252/240a, 253, 270 for the Archbishop, K. 166/ 159d and
186/ 15% in Milan. A sixth Salzburg Divertimento (K. 289) has been dismissed by many scholars as not
being composed by Mozart.

’2 David Whitwell in History of the Wind Band... Vol. 4 suggests that Prince Liechtenstein elected not to
create the ensemble at this time out of deference to the Emperor. However, the Schwarzenberg Harmonie
had existed in Vienna for a full 11 years before Mozart’s letter. Wind musicians and conductors can only
imagine what this arrangement might have done to change the development of their repertoire.

‘3 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide, pp. 8-9.

like setting, the harmonie transcriptions were frequently made up of ten or more
movements and lasted for well over an hour in performance. '4

In 1782 Mozart again wrote to his father of a project he was occupied with.

Well, I am up to my eyes in work, for by Sunday week I have to arrange my opera for
Harmonie. IfI don’t, someone will anticipate me and secure the profits...You have no
idea how difficult it is to arrange a work of this kind for Harmonie, so that it suits these
instruments and yet loses none of its effect. Well, I must just spend the night over it, for

that is the only way.‘5

An advertisement from August 7, 1782 clearly pinpoints the date of the upcoming
performance of Mozart’s own arrangement of Die Entfuhrung aus dem Serail. ‘6 This
arrangement has never been found, though a theory concerning it is presented in the next
chapter.

New research has identified the origins of these types of transcriptions as
belonging to French military ensembles of the 1770’s. The first identified arrangements
for wind ensembles are found in the archives of the Bohemian Pachta family and date
from between 1773 and 1777. By the 1790’s transcriptions formed a significant portion
of the repertoire performed by Austrian harmonie ensembles. ‘7

Opera, the most costly musical genre to perform, provided much of the original
material for arrangements. The repertoire itself demonstrates the peak in popularity that
occurred in these transcriptions during the 1790’s. Mozart’s La C lemenza di Tito was a
failure at its premiere in Prague. Yet, of all of Mozart’s operas, this final one was

transcribed more than any other. Most likely this is a direct result of the decade in which

 

1“ Whitwell, David, “The Incredible Vienna Octet School-Part l,” p. 34.

‘5 Whitwell, David, The Wind Band and Wind Ensemble of the Classic Period Vol. 4, p. 52.
'6 Whitwell, David, “The Incredible Vienna Octet School-Part l,” p. 34.

'7 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide. pp. 9-10.

 

it was written, as is the fact that of all Haydn’s operas only one was ever transcribed for
harmonie.18

The first true master of arrangements for harmonie was Johann Went. He was
followed in succession by Joseph Triebensee and Wenzel Sedlak. David Whitwell’s
landmark “Vienna Octet School” articles of 1969 identified these three as the principal
proponents of the movement.19 These three composer/arrangers are occasionally
represented on contemporary concerts by their opera transcriptions. A more recent

writing lauded the three for the artistry of their work.

The idiomatic use of wind harmony as a proper medium in its own right characterizes the
best wind music. There is a great gulf between the composers who achieved this and the
hacks who seem to have regarded the octet as a poor substitute for the orchestra or the
organ. What makes Went, Triebensee and Sedlak special is that their arrangements are
imaginative transformations of [the original] works. In their works, the wit, the drama,

or the nobility of the original emerges once more.20

One question that has met with various responses is that of the original purpose of
harmoniemusik. This stems largely from the title of tafelmusik that has been placed on
these works. Prior disputes have occupied a great deal of print over the issues of where
and when harmoniemusik was in fact performed. Letters of the time have interpreted the
performance practice as ranging from performance during meals to use as a transition
from dinner to a formal concert or performance as a formal concert itself.21

Advertisements for series of harmonic concerts, including one sponsored by the Viennese

 

‘8 Ibid, p. 9. It is interesting to note the increasing use of harmonie scoring in popular operas of the time
with on-stage bands appearing in abundance. Many of the theater musicians were also members of their
court’s harmonie.

‘9 Whitwell, David, “The Incredible Vienna Octet School Pans 1-6.”

20 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide, p. 9

2‘ Whitwell, David, The Wind Band and Wind Ensemble ofihe Classic Period, Vol. 4, pp. 12-18.

T onkz'instler Societal during the 1780’s and 1790’s, exist and indicate that concert
performances were relatively common by the latter part of the eighteenth century.22

A definitive answer will probably never be accepted universally. However, for an
interesting perspective, consider a piece of archival data from the Schwarzenberg archive
in Cesky Krumlov. This document details the musical performances heard from June
1747 through January 1748, approximately 25 years before the beginnings of the
harmoniemusik explosion around Vienna. Details for 119 performances heard within the
castle grounds are listed. Of these, 105 performances were for church services, four for
balls, four during rehearsals for a musical comedy and two during the performance.
During meals there were a total of four musical performances.23 Yet by the time of the
Emperor’s Harmonie, numerous letters clearly document a great many meals, both in the
Emperor’s court and other nobilities, which were accompanied by wind music.

Harmoniemusik was probably originally intended to serve a utilitarian purpose.
The earliest works for the ensemble were in gallant style and were easily accessible to
listeners. There is little use of dissonance, development or any innovative compositional
techniques in the early harmonie works. The fact that so many of these composers
demonstrated proficiency in such areas in works for other genres brings one to the
realization that early harmoniemusik must have been intended as a background for
various social occasions. In other words, these are works that do little to distract. As
time passed, however, writing for the ensemble progressed, and marked developments

can be seen in these works. The mature wind serenades of Mozart (particularly the C

 

22 Ibid., p. 19.
23 Zéloha, Jiri, “Das Musikleben. . . pp. 405-06.

minor Serenade, K. 388) are ranked among his finest compositions according to many
scholars.

In many ways the history of harmoniemusik reflects the times in which it was
written. With the rise of a new middle class (one that would eventually hear
harmoniemusik despite its original aristocratic trappings) the concert-going society was
created. The dense, contrapuntal works of the Baroque with their ever-present basso
continua Fortspinnung gave way to a music dominated by a “singable” melody set over a
light accompaniment and simple harmonies. As a result of their similarities in style,
much of the arranged harmoniemusik sounds strikingly like the original compositions for
the same ensemble.

Music publishing was another area that saw great changes during the Classic
period. Many of the great arrangers (Johann Went, Joseph Triebensee and Wenzel
Sedlak included) were under contract to write for a variety of houses. The issuing of
“journals” by these publishers consisting of popular opera selections targeted this new,
musically inclined class and various military ensembles.24 As such, a standard
instrumentation developed that was inconsistent with the court ensembles as follows.
Again, pairs of instruments were used but typically as a sextet of Clarinets, French horns
and bassoons. Additional parts were frequently provided but were labeled as ad libitum
or ripieno.25

The Classical harmonie period ended around 1840. In 1836 Prince Johann

Liechtenstein died, thus dissolving his octet, the last of the court octets. This harmonie,

 

2" French publications of these series seem to be targeted towards military ensembles while the Austrian
equivalents appear much fewer in number and were apparently aimed at public usage.
25 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide, pp. 21-29.

mentioned above for its connection with Mozart, had existed for over fifty years.26 In the
ensuing period of over 150 years the majority of this music has remained unperformed.
Recent interest has unearthed a much richer tradition than was ever suspected and has
reintroduced some lost masterworks of the time to modern audiences. Yet, with literally
thousands of works sitting unpublished and unperformed throughout Europe, it is hoped

the work of evaluation and programming will continue.

 

2" Whitwell, David, “The Incredible Vienna Octet School, Part 6,” p. 39.

Johann Nepomuk Went (1745-1801)

Johann Went (Jan Vent, Giovanni Went, Jean Went, etc.) was a pivotal figure
during the rise of harmoniemusik during the Classical era. Little is published in the
English language concerning his work as a performer, composer and arranger. Still less
can be found concerning the Bohemian musicians and traditions of which he is an
excellent example. For this reason, while Went himself serves as the focus of this
discussion, a year spent immersed in Czech culture compels me to also address Bohemian
musical culture during this period as it applies to the topic at hand.

Johann NepomukWentl was born on either June 27 or 28 of 17452 in the small
western Bohemian town of Divice. Went’s father (first name unknown) was a violin
player for Count Arnost Karel Pachta of Citoliby.3 At the time this region, like most of
the Bohemian and Moravian lands of the mid-1700’s, was only beginning to break away
from a feudal system of government. In addition, while the German and Czech languages
had been granted equal status by a 1627 ordinance, by the time the Bohemian Court

Chancery was abolished and the administration centralized in Vienna in 1749 the Czech

 

1 Jan Vent was actually the composer’s birth name and is the name still used by Czech sources. However,
this name was used only during the early portion of his career. Johann Went is the most commonly found
name on official documents relating to the composer, though instances of Wend and Wendt can all be
found in Viennese archives. Interestingly, the majority of musical manuscripts in the Schwarzenberg
archive are signed Giovanni Went or simply Went.

2 Albrecht, Theodore, “When Went Went: The Demise and Posthumous Activities of Viennese Oboist and
Wind-band Leader Johann Went(l745-1801) Including His Previously Unsuspected Son Wilhelm” from
Journal of Band Research Vol. 36, No. 2, (Troy, AL: Troy State University Press, 2001), p. 38. Here
Albrecht does an excellent job of explaining the confusion that originated from Went himself concerning
his birth date.

3 Cemusék, Gracian; Stédroil, Bohumir; Novaéek, Zdenko, Cesko Slovenslg’z Hudebni Slovnik, Slazek
Druhy (Prague: Statni Hudebni Vydavatelstvi, 1965), p. 862.

10

language had been relegated to usage only by the lower class. This was the class to
which the musical serfs of Bohemia belonged.4

The Citoliby region of this period is an area that is not well documented, even in
Czech language publications. Shortly after the Thirty Years War (1618-1648) the town
of Citoliby had a population of just a few farmers who struggled to survive on overgrown
fields. Yet in an active century of change the community developed an astonishing
musical tradition. Composers from this area who are still neglected include the Kopiiva
family of Vaclav Jan and Karel Blazej as well as the Gallina family, particularly Jan
Adam. Much of this musical flowering was due to the patronage of the Pachta family,
who acquired the domain during the 17205.5

While various publications assume that the young Went was trained in Prague, the
actual traditions of musical education within the Bohemian lands indicate that he was
probably trained locally. Charles Burney, a famous scholar of the Classic period, noted
the diligence with which all Bohemian children studied music when he wrote of a school

he observed in the town of Caslav.
I went into the school, which was full of little children of both sexes, from six to ten or
eleven years old, who were reading, writing, playing on violins, hautbois, bassoons, and
other instruments. The organist had in a small room of his house four clavichords, with
little boys practicing on them.“3
Went studied oboe and English horn and, it is assumed, also took lessons in composition.

It is likely that at a young age he began working for the Pachta family as a performer and,

eventually, as a court composer.

 

’ Hogwood, Christopher, “The Bohemian Lands,” p. 190.

5 Sestak, Zdenék, “Citoliby: A Forgotten Part of Czech Music’s Past” from Hudba Ci iolibskych Misrru 18.
Stoleti r SU 0120251-52, 1120251(Prague: Supraphon, 1985), pp. 11-15.

‘5 Hogwood, Christopher, “The Bohemian Lands,” p. 197.

ll

The Pachta family itself represents a rather complex issue. Their representation in
English studies has been less than accurate as most authors have failed to recognize that,
while Jan Joseph Pachta resided in Prague, the family’s court was actually held in
Citoliby castle. Here Jan Jachym Pachta (1676-1742) was succeeded by his musically
inclined son, the previously mentioned Arnost Karel (1718-1803).7

In the previous chapter the impact that the Bohemian Count Spork had on the
development of harmoniemusik was discussed focusing on his introduction of French
horns to his court ensemble. It is interesting to note that his grandniece, J osefa Spork,
was married to Arnost Karel Pachta.8 Examination of collections representing courts in
the vicinity of Prague reveals the development of a standardized instrumentation that
spans from the 1760s into the early part of the following decade. This instrumentation
consists of a pair of either oboes or English horns, a pair of French horns and a single
bassoon.

Manuscripts found in the Pachta archive of the Muzeum Ceské Hudby branch of
the Narodni Muzeum unfortunately are abbreviated. This archive is organized in an
alphabetical fashion by last name. Documents that would follow Wenzel Pichl’s (Vaclav
Pichla) entries have been lost. Therefore, there is no clear record of Went’s
compositional activities for the Pachta court. However, collections of the neighboring
Bohemian court of Clam Gallas (or Frydlant) contain a number of compositions (and
even a few transcriptions) by Went. All of his partitas from this time are for the quintet

instrumentation mentioned above.9 In addition, the presence of these documents outside

 

7 Sestak, Zdenék, “Citoliby: A Forgotten Part of Czech Music’s Past,”p. ll.

8 Ibid., p. 16.

9 In addition, one finds a few string quartets; quintets for oboe, bassoon, violin, viola and bass; as well as an
entire symphony. See appendix for a detailed listing of these other compositions.

12

of the Pachta collection would seem to indicate that knowledge of the young musician
was spreading through at least a portion of the Bohemian lands.

During the early 1770s, while the people of Bohemia were struggling to recover
from the Seven Years War between Prussia and Austria, a terrible famine struck the land.
Nearly 250,000 people died in a short period of time, as desperate actions prompted
outbreaks of disease and fever. 10 Meanwhile, the Austrian government apparently
ignored the speculative practice of shipping grain north through Bohemia to Saxony. By
doing so the ruling body deprived its own citizens of much needed food in a time of
desperation. 1 1

It was from this environment that Went was attempting to escape when he fled his
homeland for the Schwarzenberg court of Vienna and Wittingau (presently the Czech
town of Ti'ebor'r). 12 Josef Adam Schwarzenberg hired Went and Ignac Teimer on July 1‘”,
1771 as English hornists for the court. These two new additions joined oboists Georg
Triebensee and Ludwig Part1, French hornists Josef Fikar and Petr Bradac, and
bassoonists Wenzel Kautzner and Jan Vodicka to form the Schwarzenberg’s Harmonie. '3

As was the case with the other musicians of the Prince’s octet, Went was paid a
generous salary, provided a new home and granted the title “furstlicher Kammermusiker”
(Prince’s Chamber Musician). His performance must have pleased the court, as he was

not sent for additional lessons in Dresden with the legendary Italian oboist Carlo Besozzi

 

’0 According to Sestzik these included attempts to eat a variety of weeds, soil and even dust swept from
remote corners of mills.

11 SestAk, Zdenek, “Citoliby: A Forgotten Part of Czech Music’s Past,” pp 13-14.

‘2 Sestak is not alone when he makes reference to repeated attempts to escape as an “individual revolt

against the feudal system.” However, these statements are diflicult to support through documentation.
‘3 Zéloha, Jiri, “Das Musikleben. . .,”pp. 410-11.

13

as had been the case with his new colleague Triebensee and the previous court oboist Jan
Slechta. 1"

Jiii Zéloha writes that “mainly because of Went’s talents this ensemble [the
harmonic octet] became an irreplaceable part of the Schwarzenberg’s court.”15 These
talents were not limited to playing the English horn. Went continued his work as a
composer and arranger for wind octet and other ensembles throughout his tenure with the
Schwarzenbergs, as can still be seen in the court’s musical archives.

The Schwarzenberg archive in Cesky Krumlov contains the largest intact
collection of Went’s works. A large number of his original partitas, opera
transcriptions16 and original works for chamber ensembles of various instrumentations,
can all be found here. The presence of a number of interesting string quartets as well as a
quintet for oboe, bassoon, violin, viola and basso demonstrates that Went’s compositional
talents, as can also be seen in the Prague collections, extended beyond the writing for
wind instruments. His variety of musical abilities, while rewarded through the generosity
of the Schwarzenbergs, was the reason for his eventual departure to an ensemble of even
higher stature.

It was customary during this time for court chamber musicians in Vienna to take
part in concerts put on by the Emperor or other local nobility. The Schwarzenbergs
themselves regularly hired additional players to perform larger orchestral works. Take
for example the Schwarzenberg Princess Maria Theresia’s organization of a series of

orchestral concerts for the Music Academy of Vienna. Members of the orchestra

 

‘4 Ibid., pp. 409-10.

‘5 Ibid., p. 410.

’6 Albrecht fails to include these 30 transcriptions for harmonic in “When WentWent. . .”(p. 27), bringing
the total to 80, rather than 50, known arrangements by or attributed to Went.

14

included the Schwarzenbergs’ musicians as well as those of the Imperial court and lesser
nobility. '7

By the early 1780’s Went must have performed on at least a few occasions for
Emperor Joseph 11 himself. In fact, Went began a second career with the National
Theater (the famous Burgtheather) as early as 17 77 playing second oboe in addition to his
Schwarzenberg post. 18 As was mentioned in the previous chapter, there is some
disagreement between sources as to when the Emperor formed his Harmonic. Jir'i Zéloha
does not contest the formation of the ensemble in 17 82. However, he does date Went’s
departure from the Schwarzenberg Harmonic (as well as that of his colleague Triebensee)
as 1783.19

Regardless, the founding members of the Emperor’s Harmonicmusik were oboists
Georg Tribensee and Johann Went, clarinetists Johann and Anton Stadler, French
hornists Martin Rupp and Jakob Eisen and bassoons Wenzel Kauzner and Ignaz Drobney.
Triebensee and Went left the Schwarzenbergs’ service at the same time and apparently
with the court’s blessing.20

An interesting possibility has recently surfaced concerning events during this
interesting year in Went’s life. As was quoted in the previous chapter, Mozart wrote to
his father on July 20, 17 82 of his haste to create a harmonic version of Die Entffihrung

“lest someone secure my profits.” This may well have referred to Went who did in fact

 

‘7 Zéloha, Jii‘i, “Das Musikleben. . .,”p. 410.

’8 Hellyer, Roger, “Went, Johann Nepomuk” from The New Grove ’s Dictionary of Music and Musicians,
Vol. 27, Sadie, Stanley ed.(London: Macmillan Press Ltd., 2000), p. 284.

‘9 Zéloha, Jii‘i, “Das Musikleben. . .,”p. 411.

2° Ibid. , pp. 410-11. It is interesting to note that in a writing from 1781 (following the receipt of a
substantial raise, a new oboe as well as a promise of a pension for his wife and children upon his death)
Triebensee promised the Prince to serve the court until the end of his life and would reject any other job
offers. The court apparently was not offended, as he continued to train new musicians for the
Schwarzenberg harmonic.

15

arrange the opera during that year. Prince Joseph Adam Schwarzenberg died in 1782
causing some concern for those under the Schwrazenbergs’ employment. With 13-year-
old Joseph Johann Nepomuk Schwarzenberg assuming the head of the court, the fiiture
must have seemed uncertain at best. There may well be some truth to the theory that
Went completed his transcription in order to assure a position in the Emperor’s new octet,
a position he won that included the responsibilities of second oboist and principal
arranger.21

The move to the Imperial band did not end Went’s association with the
Schwarzenberg Harmonic. His talents as a composer and arranger continued to be
employed by the court. A document signed by Johann Went, K.-K. Krammer Musicus

(Kaiserlich-K’dnigliche Harmonie) details this arrangement:

As the ruling Prince from Schwarzenberg expressed his full satisfaction with pieces Went
had composed for his chamber musicians, he agrees to pay 100 zlotys a year for his
further services. Went promises to prepare six pieces exclusively for the wind harmonic
a year as well as to help with rearrangement of some operas. Prince Schwarzenberg
would also be interested in any quartets or quintets he would compose and deliver to him
neatly written and without any mistakes. His work will be considered good if he
composes some of those quartets or quintets or adapts some opera according to the
wishes of the Prince. Finally, the agreement says that the selection of pieces will fully be

up to the will and taste of the Princess.22

Under his contract with the Emperor Went became responsible for the repertoire
of the Imperial ensemble.23 It is probable that, while he continued to compose some

original works for both the Schwarzenberg and the Imperial Harmonics, evidently most

 

2’ Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide. pp. 330-31.
22 Zéloha, Jii‘i, “Das Musikleben. . .,”pp. 411-12.
23 Hellyer, Roger, “Went, Johann Nepomuk, ” p. 284.

16

of Went’s creative efforts for the wind octet from this point forward were towards the
arrangement of operatic literature.24 By 17 86 Went had established a substantial
reputation for his arranging skills. In fact, recent events apparently prompted him to
write the following open letter to the Wiener Zeitung which appeared on February 18 of

the same year.

Notice,
At various profit-seeking music publishing houses, all manner of operatic arrangements
are being sold under my name, [arrangements] which are, for the greatest part,
unsatisfactory and full of errors. Therefore, in order to save my honor and at the same
time to warn and to notify all honorable music lovers—and especially those who have
subscribed to such operatic arrangements through me—that these excerpts from the most
beloved operas may be ordered for 2 violins, viola, [and] Violoncello, as well as with flute
or oboe, clarinet, violin, viola, basso, [and] similarly also for the wind Harmonie, only at
the music publishing house of Herr Leopold Kozeluch, in Untere Breunterstrasse No.
1152, and, in a short time, may be had for a reasonable price in authentic and correct
versions.
Johann Went

I.R. Court and Chamber Musician25

Sometime during his tenure for the Schwarzenbergs, Went married Sibilla
(maiden name unknown,) who was born in 1752. The couple had four children:

Maximiliana (ca. 1755), Wilhelm (1759), Anton (1781) and Joseph (1783.) On March

 

2" This assertion is based on the lack of original works for octet to be found in the Austrian archives. This
includes the Osterreichische Nationalbibliothek (A:Wn.) Although Hellyer cites this archive, along with
CZ:K, as containing the largest collection of original octets by Went in “Went, Johann Nepomuk ” No
original octets or other works for harmonic by Went are located in this archive.

25 Albrecht, Theodore, “When Went Went . . " p. 27. Translation by Albrecht.

l7

14, 1786 Sibilla Went died fi'om tuberculosis, leaving Johann with four children of ages
roughly three to ten.26

This situation was not to last long, as he soon married Anna Kleindienst from
Krems (1766 or 1767). This marriage produced another six children: Leopold (1787),
Anna (1788), Karolina (1791), Ernestina (1793), Theresia (1795) and Karl (1797).
Theodore Albrecht details the couple’s many moves and the neighborhoods they lived in,
as the family income (and size) continued to grow.27

The year 17 87 (Leopold’s birth year) also coincides with Went’s official
appointment at the Hofkapelle.28 He was to hold this position, along with those at the
National Theater and in the Emperor’s Harmonic, for the rest of his life. Few specifics
are known of the following fourteen years of Went’s life. Archival entries can be found
of arrangements of a number of operas written through the 1790’s. The Traeg catalog of
1799 lists a number of original chamber works as well as a symphony available for sale.29
In addition, Mozart’s widow, Constanze, entrusted Went as one of three guarantors of her
late husband’s works for the publisher Andre von Offenbach.30 We also know that his
daughter of his first maniage, Maximiliana, married oboist Joseph Triebensee,31 who
later succeeded Went as the second master of the “Viennese Octet School.”32

In 1796 Went, as well as Georg Triebensee, expressed concern over the

conditions of their retirement from the Schwarzenberg court. This issue was resolved

 

2611nd, pp. 26-27.

27 Ibid, pp. 27-28.

28 Ibid., p. 39.

29 Hellyer, Roger, “Went, Johann Nepomuk, ” p. 284. This symphony is probably the one located in
CZ:Pmn. See appendix.

3° Sestak, Zdenék, “Citoliby: A Forgotten Part of Czech Music’s Past,” p. 16.

3’ It has been long assumed that Joseph was the son of Georg Triebensee, Went’s longtime colleague in
Vienna. However, in “Das Musikleben. . . ”p. 431 lift Zéloha points out that this is not likely as Georg
(born in 1746) would have been at most 14 when he fathered Joseph.

32 Whitwell, David, “The Incredible Vienna Octet School-Part 3,” p. 34.

18

when, on October 7, 1796, the Prince issued a declaration confirming that in case either
man died or was disabled, his wife or children would receive an appropriate pension or
rent. This payment would occur regardless of other payments such as from the
Tonkunstler-Societat (Society for the Protection of Widows and Orphans of Musicians)”
It is likely the two men had grown concerned about their loss of additional income when
their services were abruptly ended by the dissolution of the Schwarzenberg Harmonie.“

On July 3, 1801 Johann Went died of an apparent stroke. Some have disputed
this date.35 After conducting research in a variety of Viennese archives, Theodore
Albrecht appears to have the definitive proof (including Went’s obituary, the municipal
death registry as well as records of the previously mentioned T onkiinstlcr-Socictat) that
the above date is in fact correct. Albrecht goes on to offer an intriguing possibility that
Johann’s son, Wilhelm, frequently served as the copyist for his father and that he was the
author of the post-1801 arrangements. Wilhelm was himself an oboist and therefore was
the performer on the recital in 1809. Wilhelm is also known to have served Count Franz
Esterhazy (cousin of Nikolaus) as music director in Hungary in July, 1801.36

Anna Went had planned well for the eventual death of her husband (who was in
fact twenty years her senior). When Johann died his estate was comprised of nothing but
his clothing. All other possessions were documented as being purchased with Anna’s
money, therefore remaining untaxed. In addition, she received the previously mentioned

pensions from the Schwarzenbergs and the T onkzinstler-Socictat. The latter registered

 

3’ zaloha, Jiri, “Das Musikleben. . .,”p. 412.

34 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide, p. 330.

3’ Whitwell, David, “The Incredible Vienna Octet School-Part 1,” p. 34. Here Whitwell cites the facts that
Went had performed in an oboe recital in 1809 as well as created arrangements of a few operas composed
after 1801, which seemed to support this argument

3‘ Albrecht, Theodore, “When Went Went. . pp. 24-25.

19

Anna as widow number 62 and paid her required pension until her own death on August
16,1848?7

When Gottfiied Dlabacz wrote of Went in 1815, he remarked that Went’s many
works were “still treasured and performed to great approbation.”38 This had not been the
case with most of Went’s contemporaries. It is quite possible that the efforts of his son-
in-law, Johann Triebensee, played some role in this continued appreciation. In fact,
Triebensee helped to arrange the reissue of a number of Went’s works with added
contrabassoon parts.39

In retrospect, Johann Went’s life and career must be viewed as nothing short of
miraculous. Born into a life of serfdom he managed to scale ever greater heights, first
locally in Citoliby, then with the Schwarzenbergs in southern Bohemia and Vienna, and
finally to a career in the National Theater, the Kaiserlich-Konigliche Harmonic and with
the Hofkapelle. Perhaps the most astounding example of where Went’s creative talents
managed to take him can be seen in the following example. At the peak of his career in
Vienna his annual salary was documented as around 1150 gulden for performing,
composing, arranging and copying duties. At roughly the same time, I an J achym
Kopiiva (1754-1792) earned a 16 gulden salary in Citoliby as headmaster and
choirrnaster.4O It is hoped that this study is only the beginning of the explorations into the

original works, both for harmonic as well as other ensembles, of this fine composer.

 

3’ Ibid., pp. 29-30.

38 Dlabaci, Gottfried Johann, Allgcmeines Historiches K unstler-Lexikon fiir Bohmen_(Prague: Gedruckt bei
G. Hasse, 1815), p 352.

39 Stoneham, Marshall, Wind Ensemble Sourcebook and Biographical Guide, pp. 330.

4° Sestak, Zdenék, “Citoliby: A Forgotten Part of Czech Music’s Past,” p. 16.

20

Thematic Index of the Original Works for Harmonie of Johann Went

The following catalog provides a detailed listing of the original works for
harmonic of Johann Went. By definition, works for harmonic were written for groups of
paired wind instruments. These works were found in a variety of archives throughout the
Czech Republic, Austria, Germany and France. The composer’s name appears on the
title page in a variety of forms including Johann Went, Johann Vent, Johann Wendt,
Giovani Went, Jean Went and Jan Vent.

The writings of David Whitwell and J iii Zéloha were used as a starting point for
this research. Their early works, though sometimes incomplete, cataloged a great deal of
works for harmonic ensembles. Unfortunately, a variety of sources cite original works
by Went that are now considered lost. This includes the mysterious disappearance of the
latter half of the Pachta family collection. Finally, no signed manuscripts exist of any of
Went’s works. Though it is suspected that Went served as his own copyist this is not
documented. Therefore, the accuracy of his original works, with their many
discrepancies of articulation and dynamic, will never be known.

This catalog is divided by archive with works appearing in order by call number.
Information pertinent to future study in these archives, such as location and access, are
included. Under the archive description the individual pieces are listed by title and call
number. Following this information the opening theme of each movement is provided.
Separate divisions within the movement (such as a trio or altemativo) are also
represented thematically. The instrumental part or parts that play the thematic material

appear above the notation.

21

Instrumentation is given in a conventional eight-number manner as follows.
Flute, Oboe, Clarinet, Bassoon [French Horn, Trumpet, Trombone, Tuba. A work for
pairs of these instruments would appear as 2222/2222. A typical work for wind octet
might appear as 222/2 for pairs of oboes, Clarinets, bassoons and French horns. 1/2, 2
English horns would indicate an ensemble of one bassoon, two French horns and two

English horns.

22

Esterhazy Archiv
Eisenstadt, Austria

The Esterhazy Archiv is located in the Schloss Esterhazy of Joseph Haydn fame. The
harmonicmusik collections in the archive are being cataloged by Peter Schrieber, oboist
with the Wiener Symphoniker. The six partitas of Went located here have been
published recently by Sarastro Music in London with critical markings by Mr. Schrieber.
Access is limited to this archive.

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28

Gesellschaft der Musikfreunde in Wien, Sammlungen (A:ng)
Edsendorferstrafie 12
Vienna, Austria

This Gesellschafi der Musikfreunde in Wien, Sammlungen is part of the Musikverein
complex. A variety of important collections are housed in this archive including portions
of the Schwarzenberg and Imperial collections. This landmark building is also home to
the Vienna Philharmonic. As a public research institution the reading room is open at
scheduled hours.

Parthia in C
VIII 8539/2

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32

Moravské Mfizeum, Ustav déjin hudby (CZ:Bm)
Brno, Czech Republic

The Moravské Muzeum’s J anaéek Archive is located in the Moravian capital city of
Brno. The archive is housed in the former organ school that J anaéek taught in. It is the
second largest musical collection in the Czech Republic and contains many works for
harmonie acquired by the smaller courts found throughout the Moravian lands during the
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Went but are collected from the six partitas located in Ain. One of these movements was also found as the
second movement from CZ:K K II, No.242, though the movement is substantially reworked to utilize the
greater flexibility of the Clarinets.

33

Statni Oblastni Archiv Trebor‘i (CZ:K)
Cesky Krumlov Zémek- Dolni I-Irad
Cesky Krumlov, Czech Republic

The Statni Oblastni Archiv Tfebor‘i is located in the second courtyard of the Cesky
Krumlov castle. The music collection, or Fond Hudebni Sbirka, contains the vast
archives of the Schwarzenberg family. This includes one of the largest intact collection
of harmoniemusik in the world (including some first edition Mozart publications.) The
reading room in the archive is open by appointment.

Parthia in F

K II, No. 229

202/2, 2 English Horns
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K II, No. 230

202/2, 2 English Horns
1. Largo Oboe l
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K II, No. 232

1/2, 2 English Horns~
*see CZ:an XLII E 317

Parthia in Dis*

K II, No. 234

1/2, 2 English Horns

*see CZ:an XLII E 316

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K II, No. 235

1/2, 2 English Horns
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K H, No. 236

1/2, 2 English Horns
I. Allegro Mode‘gato

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36

202/2, 2 English Horns

I. Allegro Oboe 1

K II, No. 241

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K II, No. 246

202/2, 2 English Horns
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Parthia in C
K II, No. 249

202/2, 2 English Horns
I. Maestoso Oboe l

  
    
 

  
 

 
  
  

 

  
 

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18 Piéces

K H, No. 250

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K II, No. 251

202/2, 2 English Horns
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K II, No. 252

202/2, 2 English Horns
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K II, No. 253
202/2, 2 English Horns
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K II, No. 254
202/2, 2 English Horns

 

 

 

 

 

 

 

 

 

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K II, No. 255
202/2, 2 English Horns

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1
r

 

dolce
oo‘Sfi
f

 

 

XVII. Al

12 Piéces

K H, NO. 256

202/2, 2 English Horns

1- Allegro Oboe 1

   

.20“

II. Allegretto non troppo
Oboe 1

   

III. Andante

 

IV. Allegrett

 

Oboel

F:
II’I

 

 

 

 

 

 

 

 

 

 

 

v

  

 

 

,. Oboefi n my E.Homl

 

mama no.”

 

 

 

 

 

 

 

Alternatlvo

VI. Allegro

   

50

11

I

 

I‘Ill'

J‘/ ‘

I 7

T

I

 

 

 

d

I?

 

 

5A

 

- #.}3.

 

)0 E
II T I
dolce

{‘3

P
1’

I?

Oboel

 

 

Hf

,2

 

 

 

 

 

 

 

 

 

A
A

 

 

 

VII. Allegro Oboe 1

VIII. Andante Oboe 1

IX. Andante moderate

X. Allegro Oboe 1

X1. Adagio con ecpressione

Alternativo

I

In
ZZZ-I

I

 

/

I

I

 

 

 

 

I] II

I

II

 

 

lull.

 

   

H5 Oboe I.
3f

e

 

 

 

 

Al egro non troppo Oboe 1

 

’-‘-I

A-".-

'I‘

“"I

 

 

202/2, 2 English Horns

Parthia in C ‘Allelulia’
I. Adagio Mautoso

xu. [11.1ng
K I, No. 355

fs

 

f

 

 

 

#23»

6P

#3

g . __ __ _._ ._
fr cresc

Bassoon l

 

 

 

‘ O
_s‘----‘ lI-‘W—Wno‘m Jr“
1'

ru 1- -II---_--I"IJIV 0

III—{Oboe l
i-‘I-run..-

----_-—-—

  

    
  

 

A

 

51

 

 

 

b—q
«m

 

 
   
 

-- 111 _III-‘- -'-.I-
_II:-
-- II

  

 

 

 

 

 

 

 

r I II I II 1
‘I II

 

 

 

 

 

 

 

 

 

Q) I I Y I I "'— i I I I I Ij—r I
p cresc. f dolce p cresc. f dolce
All etto
boe r“ "‘ r- : 4-; r‘ r “ r- "\ r- I:
":-9——-' J=n--' Jud- - .-----n -'.E ld-J---'3 I‘—--lg Jud- - 1 ----J '-
4- '——-—-_:-- .‘x..... o'- III-.4- iIJHI-I-fi-u--_\-Il-I- A. -----' 1"
'0‘ « —' —.--- b..--.I_-----' " —---- -“*—----J-
\l' T I I I -=’.~?==--d" I I l =:—.~:=—-.

 
 

-
-—---J I.
--—------I
--_~ ; “‘

 
 
 

 

 

Y
sotto voce 6

52

Muzeum Ceské Hudby (CZ:an)
Velkopfevorské Namésti
Prague, Czech Republic

The Muzeum Ceské Hudby is a branch of Vaclavské Namésti’s landmark Narodni
Muzeum. The two prominent collections pertinent to the study of harmoniemusik are
those of Counts Pachta and Clam-Gallas. The Pachta collection is complete
alphabetically through the entries for Wenzel Pichl. Works by composers whose last
name begin following Pichl are considered lost. Unfortunately for those wishing to
examine these collections, this quiet “Lesser Town” site is being restituted to the Maltese
Knights. The archive is considered closed and will not Officially reOpen in its new
location (just a few blocks away) for several years.

Parthia in Dis
XLII E 33
201/2

L “"3” Oboe 1 F. Horn 1

    

II. Menuetto Oboe 1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

IV. Finale Oboe l
/“ /'—\

 
   

 

 

 

 

 

f p f

V.Andante Oboel/.3. /-..

' ” n‘ 1 0 A A I 0’

'mI-i-' J.‘ H-----I- 7 W I... PHI--I-I-
4-_‘-d---d---~ZII---JJJ' ----.Iu- -_Id---—d----;-I---JJJIJ
I“... -'--.-f—uI-- -. IIj'"- I---.--.-- -'
\av‘.‘ u:u- nrz~l~~~ 1 1 1; Ir] 1 :!=\-,—-—§I~~ -nrg l 3‘;

f ’ p f p ’ P f p

53

 

O
'-I!-\- _-.- I"

 

 

 

Parthia alla Camera
XLII E 103

201/2
1. Allegro Oboe 1 \

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘\
5 1111 1111
HI I1111 111 A11
1‘1 1 1111111 1 11 ‘ ‘1 1111r' ‘ _If
Q] 1 H
Trio Oboel
o l
a . 4 In I I l
1 111 1 1. 11’ ,1 1..
v 1 1 11 r 11 111 11 11 1/1 1" 11’ H“!—
1) 1 11 1 11 '1 11 I1 11 r L 11 IT 11 11
dolce
III.LondonOboel ,\ ,\

   
 
   

dolce

IV. Finale Oboe 1

 

 

 

 

 

 

 

 

 

 

 

 

A ' A 1! ' ‘1.-

11'zl 1?;1a’fi‘1e'W
d IIIIIIS ‘A IIIIIIIII ‘A II [I] IIL—‘JL—lIIUII

3 3 3 3 p f p f 3 “3

ParthiainD
XLIIE315
201/2
I. Allegro Moderato Oboel

   
 
   

f P f

54

II. Menuetto Oboe 1

:::fi
HL—A—‘H
Ino—

"0
1»?
y—n—o—A

 

j I A L I I
e} , ' 1 1 M
3
if

 

 

 

 

 

 

 

 

 

1“ ““1" Oboe 1 o

    

Parthia in Dis
XLII E 316

1/2, 2 English Horns
I. Allegro Moderato
E. Horn

I
I

50-1—0—
Ay~r
‘NN

“I

II. Mennet
E

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"I- Adagio E. Horn l

    

 

 

r f

55

WM
XLII E 317

1/2, 2 English Horns
LAME" E. Horn 1

A ‘1
III? 1 I L 1 x I h 1‘

1 ' I
II 1 I - III I
O

Ayyr
1—1—0-

 

pup—AH

"an
1

1—0—4

II. Menuetto E. Horn 1

    

“‘0 13.11om 1

 

 

 

 

 

 

1-41—
”1
:AH
Ayfir
4y~f
~41-4—o-4
IL__
ml
r—o—o—u-e
.041—
PM
Ayhr
h—b—nh—uh-J
tV-‘H
huh-1.
v-I—o-O—
1L4,
H1
:E
I
«H

 

 

 

 

 

 

 

 

 

 

 

111.1111
'gm E. Horn 1 m
T I I I
d 1 I 1
IV-Pm‘" 13. Homl F.Hom1 E-Homl

  
  

 

No B. Horn 1

 

Parthia in Dis
XLII E 318

1/2, 2 English Horns
I. Allegro Moderate F. Horn 1

 

 

 

 

 

 

 

E. Horn I H 1 . H .
A I 1 1'1 I I I I I I I ' I I I I A — 1
I I n I I I 1 I A. I I I I I H I
I ‘I' I I’ I I ‘IO I I IF I I I I
t) ' =9 " :5; I =I " :52; II III I 1 " I '
II. Menuetto
E. Horn 1 1 fl 1‘ 1b-

 

1—0—
‘LF—I
1L-

1—4-4
5-1
1—4
H

 

 

1i
‘LHH
1L__

.1 39""

56

E. Horn 1

1310

 

 

I
A.
w

 

 

 

 

semper p

E. Horn 1

III. Adagio
h L

 

 

 

 

 

 

IV. Menuet E. Horn 1

 

I I
I
I

I

 

 

 

 

I'
I
I

'4'"

 

 

  

 

 

I

m
1 x u
_rr A... r-=:’

JXII

 

II"
T I]
I Y

11
Y

JIII
V

 

O
.4...-

Iij‘zTIlIi
I __._ rur-

I
[III
-

 

"
1 III
I V

I

I
Y

I]
r

I

 

Q

o IILI
V

I

 

'mu-
A-m- o '1" "I.

 

“PM” E.Hom1

(an
“I
Q)

57

Thiiringisches Staatsarchiv Rudolstadt (D:RUI)
Rudolstadt, Germany

The Thuringisches Staatsarchiv Rudolstadt is located in the Scholss Heidecksburg above
the town of Rudolstadt, Germany. The collection includes those of the Schwarzburg
family. The archive is open to the public with prior consent.

Parthia in Dis*l

RH. wss2

222/2, Quartfagott (see below)
* see A:Ee Mus.1 171.

 

‘ This version of the parthia includes a “quartfagott” part (presumably contra-bassoon but notated down a
fifih from the second bassoon part) that was added in a difierent hand. It is possible that this addition was
the work of Joseph Triebensee as was explained in Chapter Two of this document.

2 A modern edition from 1999 created by Falk Stolzenburg of Weimar can also be found under this call
number.

58

Bibliothéque nationale de France, Départment de la musique (F:Pn)
58 rue de Richelieu
Paris, France

The Départment de la musique is located in the Richelieu branch of the Bibliotheque
nationale de France. While no manuscript copies of Went’s works were found here an
early print c0py of one work, as well as recent editions of two smaller works, are
available. As a major research institution the department has scheduled open hours for
the public.

L23) Pieces en harmonic
Vm7 6961 and Vm27 4382‘

42/2

XV' Allegro Clarinet l —\ . J

        
  
  

XVI. Andante Clarinet 1

 

XVII. Alle retto .
gClarinet 1 Clam“ 1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A I I I I I Ffl I I I I I x I I I I I FT—I II I
I I I I I I I I l I I A I I A I L I I J I I I
.‘L If 1' 1.1 1' 1;-
I I 1' I I .....-
J l I \vw
XVIII. Minuetto Clarinet 1 .\

    

Alternatlvo Clarinet 1

 

 

 

 

 

 

1 This work is divided into two suites. The two call numbers represent two complete sets of the work. In
addition, this work is a published copy c. 1792 by Naderman. The first fourteen movements are identical to
CZ:K K II, No. 255.

59

Clarinet l

XIX. Adagio

H'-

I
II

 

A
F
I
F
I

 

 

 

J
'

II

 

 

messo VOCC

Clarinet l

 

I
II

 

 

 

XX. Allegro

 

 

VIIDI
I)

Q)

 

ITICSSO VOCC

XXI. Allegro

sf

     

f

Clarinet l

Clannet l

XXII. Polonaise

   

Clarinet l

 

L
T‘
\v

 

 

 

 

No
l
'4:
OJ

 

 

R

Clarinet l

XXIII. Finale: Allegro

 

 

 

 

II'
I

 

  

 

 

6O

 

Johann Went’s Parthia in Dis: A Performance Edition

Introduction

The manuscript of Johann Went’s Parthia in Dis used for preparation of the
following performance score is located in Vienna’s Gesellschaft der Musikfreunde in
Wien under the call number VIII 39988. The work is representative of Went’s mature
compositions, though it is unusual in its use of Clarinets. As has been documented in
previous chapters, the vast majority of original octets composed by Went make use of
pairs of English horns for the second pairing of instruments. This scoring suggests that
the work was probably composed for Emperor Joseph II’s Imperial Harmonie, though no
date can be ascribed to it.

No score would have been made for this or any other of Went’s works, as it was
unnecessary under the Classic period’s performance practices. It is also likely that Went
himself knew he would be present for rehearsals and performances of his works such as
this parthia. What makes these observations relevant is the quality of the notation found
throughout the composer’s oeuvre. Inconsistencies in terms of dynamics, articulations,
accents and other issues are found in great abundance within and between parts. Identical
passages sounding at the same time may call for a slur in one voice, staccato in another
and lack any marking in a third voice. Despite these shortcomings, a work of true

originality is unmistakably present.

61

Editorial Notes

Great care has been taken to maintain the integrity of the manuscript parts
throughout this work. Where inconsistencies in issues of dynamics and accents as well as
uncharacteristic dissonance were found, a carefiil examination of the score generally
revealed an answer in another part, a later measure, or both. These issues probably
appeared as oversights during the original copying process and therefore have not been
identified in the score.

Discrepancies of articulation have been solved in a similar manner. However,
occasions arose where assumptions had to be made, most frequently in cases of slurs that
appeared to be missing from the parts. Broken slur lines have been used to notate
editorial slurs. Other articulations have been corrected without comment.

The composer frequently distinguished between slashed (short) or unslashed
(long) grace notes throughout his oeuvre. A consensus was taken among the individual
parts to determine appropriate notation of these grace notes on a case-by-case basis. As
with all classical ornamentation, performers should assume some liberty of interpretation.

One specific additional editorial note concerns measures 63-64 in the first horn
part. The manuscript part notates an F with an unnecessary natural sign. This curious
notation, also functioning as a seventh degree of the chord, has been altered to a written

G.

62

Parthia in Dis

Johann Went (1745-1801)
edited by Gregory Wolynec

Allegro

Oboe 1

Oboe 2

Clarinet in B1» 1

Clarinet in B 2

HominEbl

Horn in Eb 2

Bassoon l

Bassoon 2

 

63

Ob. 1

Ob. 2

BbCl. 1

Bb Cl. 2

Hal

Bsn. 1

Bsn. 2

 

64

Ob. 1

Ob. 2

BL Cl. 1

8» Cl. 2

Hn.1

Bsn l

Bsn.2

 

65

Ob. l

Ob. 2

BL Cl. 1

Bl» Cl. 2

HILl

Bsnl

Bsn2

 

66

20

Ob. 1

Oh. 2

85 Cl. 1

Bl: Cl. 2

Pin]

Bsnl

Bsn2

 

p cresc P

67

Oh. I

Ob. 2

B5 C1. 1

Bo Cl. 2

Hit]

Bsnl

Bsn.2

 

68

Ob. l

Ob. 2

B5 Cl. 1

B1» C1. 2

Hal

Bsn.]

Bsn2

 

cresc §f Sf.

69

35 -—-

Ob. l

Ob. 2

BL Cl. 1

B5 Cl. 2

HILI

Bsnl

Bsnz

 

7O

Ob. I

Ob. 2

35 Cl. 1

Bl» C1. 2

Hn.l

Bsn. 1

Bsn 2

 

71

Ob. l

Ob. 2

BL Cl. 1

BL Cl. 2

Pin]

Bsn 1

8811.2

 

P cresc sf 1’

72

Ob. l

Ob. 2

85 Cl. 1

BL Cl. 2

\

j) .cresc qf

Bsnl

Bsn2

 

cresc f j f f

73

Ob. 1

Ob. 2

BL Cl. 1

Bio Cl. 2

Hill

Bsnl

Bsn2

 

p calando

74

Ob. 1

Bl» Cl. 1

Bl» Cl. 2

Hal

Bsnl

Bsn2

 

75

Oh. I

Ob. 2

BL Cl. 1

BL Cl. 2

Hal

Bsnl

Bsn2

 

76

Ob. 1

Ob. 2

Bl» Cl. 1

B6 C1. 2

Hn.l

Bsnl

Bsn2

 

77

Ob. l

Ob. 2

B5 Cl. 1

BL Cl. 2

Hn.1

Bsn.]

Bsn2

 

78

Ob. 1

Ob. 2

85 Cl. 1

Bl Cl. 2

Hn.l

Bsnl

Bsn.2

 

79

85

Ob. l

Ob. 2

Bi. Cl. 1

Bb Cl. 2

HrLl

Bsn.]

Bsn2

 

8O

Ob. 1

Oh. 2

Bl» C1. 1

BB C1. 2

Hn.l

Bsnl

Bsn.2

 

81

Ob. 1

Ob. 2

Bi Cl. 1

B5 C1. 2

Hnl

Bsnl

Bsn.2

 

82

Oh. I

Ob. 2

B Cl. 1

Bl» Cl. 2

Hn.l

HILZ

Bsnl

Bsn.2

 

83

Ob. l

Ob. 2

135 Cl. 1

BL Cl. 2

Hal

Bml

Bsn.2

 

p cresc f

84

Ob. l

Ob. 2

BBC]. 1

Bio Cl. 2

Hnl

Bsn.]

Bsn 2

 

85

Oh. I

Ob. 2

BL Cl. 1

Bl» C1. 2

Hn.l

Bsnl

Bsn. 2

 

86

Ob. l

Ob. 2

Bl» Cl. 1

Bl» Cl. 2

Hn.l

Bsn.]

Bsn2

 

87

Ob. 1

Ob. 2

35 Cl. 1

BL Cl. 2

Hn.1

Bsnl

Bsn.2

 

cresc f P

88

Ob. 1

Ob. 2

Bio Cl. 1

BL Cl. 2

Bsnl

Bsn2

 

89

Ob. l

Ob. 2

BL Cl. 1

B5 C1. 2

Hit]

Bsnl

Bsn2

 

9O

Ob. l

Ob. 2

Bb Cl. 1

Bl» Cl. 2

p cresc

HI'LI

Bsn. l

Bsn.2

 

P cresc f

91

Ob. 1

Ob. 2

Bb Cl. 1

BL Cl. 2

Pin]

Bsn.]

Bsn.2

 

p cresc f

92

Ob. 1

Ob. 2

Bb C1. 1

Bb Cl. 2

Hal

Bsn. l

Bsn.2

 

93

Ob. l

Ob. 2

B5 Cl. 1

BL Cl. 2

Hn.l

Bsn.]

B3112

 

94

Ob. 1

Ob. 2

BL Cl. 1

BbCl. 2

Hn.1

Bsnl

Bsn. 2

 

95

Andante

Oboe 1

Oboe 2

Clarinet in Bi» 1

Clarinet in Bl» 2

HominEbl

Horn in Eb 2

Bassoon 1

Bassoon 2

 

96

Oh. I

Ob. 2

Bio Cl. 1

Bl» Cl. 2

Hal

Bsnl

Bsn2

 

97

Ob. l

Ob. 2

BbCl. 1

BL Cl. 2

HILI

Bsnl

Bsn. 2

 

98

Ob. 1

Ob. 2

Bl» C1. 1

Bb Cl. 2

Hn.l

Bsnl

BsrL2

 

99

Ob. 1

Ob. 2

Bl» C1. 1

Bb Cl. 2

Pin]

Bsnl

Bsn2‘

 

100

Ob. l

Ob. 2

Bk C1. 1

BL Cl. 2

Pin]

Bsnl

Bsn2

 

101

Ob. l

Ob. 2

BbCl. 1

BL Cl. 2

Hn.l

Bsnl

Bsn2

 

102

Ob. l

Ob. 2

B1» C1. 1

Bl» Cl. 2

Hn.1

Bsnl

Bsn2

 

103

40 . Fine Altemyofi

0b.]

Ob. 2

BbCl. l

B» Cl. 2

Hal

Bsn.]

Bsn.2

 

104

m

Ob. 2

135 Cl. 1

Bb C1. 2

Hn.l

HILZ

Bsn.]

 

B8112

105

Ob. l

Ob. 2

B» Cl. 1

Bb Cl. 2

Pin]

Bsnl

Ban

 

106

55 /——\ Andante da capo senza replica
’—\ A

Oh. I

Ob. 2

BbCl. 1

BL Cl. 2

Hn.l

Bsnl

BsrL 2

 

107

Allegro

5

Oboe 1

Oboe 2

Clarinetianl

Clarinet ianZ

Horn in Eb l

Horn in Eb 2

Bassoon l

Bassoon 2

 

108

Ob. l

Ob. 2

Bl» Cl. 1

B» Cl. 2

H111

Bsnl

B311 2

 

109

Ob. 1

Ob. 2

B C1. 1

Bb Cl. 2

Hn.1

B8111

B3112

 

110

Ob. 1

Ob. 2

BL Cl. 1

BL Cl. 2

H111

Bsnl

B3112

 

111

Ob. l

Ob. 2

Bl-Cl. 1

HI Cl. 2

Hn.1

Bsnl

Bsn2

 

112

Ob. l

Ob. 2

BL Cl. 1

BL Cl. 2

Hn.l

Bsn. 1

Bsn. 2

 

113

Ob. 1

Ob. 2

BbCl. 1

 

BL Cl. 2

Hn.1

Bsn. l

Bsn. 2

 

114

Ob. 1

Ob. 2

Bb Cl. 1

Bi. Cl. 2

H111

Bsn. 1

B3112

 

115

Ob. 1

Ob. 2

BbCl. 1

BL Cl. 2

Hn.l

Hn.2

B3111

B3112

 

116

Ob. 1

Ob. 2

Bb Cl. 1

BL Cl. 2

1111]

B311 1

Bsn. 2

 

117

so Alternativo . . . . , . .

Ob. l

Ob. 2

Bb Cl. 1

Bb Cl. 2

11111

Hn.2

B3111

B3112

 

118

Ob. 1

Ob. 2

Bl; Cl. 1

B5 C1. 2

11111

11112

B3111

Bsr12

 

119

Ob. 1

Bb Cl. 1

 

Bl» Cl. 2

Pin]

83111

Bsn. 2

 

120

da capo senza replica

Ob. 1

Ob. 2

Bl» Cl. 1

Bb C1. 2

11111

Bsn. l

Bsr12

 

121

Largo

Oboe 1

Oboe 2

Clarinet in BI» 1

Clarinet in Bk 2

Horn in Eb l

Horn in Eb 2

Bassoon 1

Bassoon 2

 

1’ cresc. 3f p

122

Ob. l

Ob. 2

13b Cl. 1

85 Cl. 2

Hn.1

B3111

B3112

 

p cresc. qf p

123

Ob. 1

Ob. 2

BbCl. 1

Bb Cl. 2

HILI

Hn.2

Bsnl

B3112

 

124

Ob. 1

Ob. 2

Bl» Cl. 1

 

BI» Cl. 2

Hn.1

Bsn.]

Bsr12

 

cresc. < P cresc. V P

125

Ob. 1

Ob. 2

Bi. Cl. 1

 

B1» C1. 2

H111

Hn.2

Bsn. 1

83112

 

126

Rondo: Allegretto

Oboe l

Oboe 2

Clarinet in B5 1

Clarinet in 852

Hom in Eb l

Horn in Eb 2

Bassoon l

Bassoon 2

 

127

Ob. 1

Ob. 2

B Cl. 1

B» Cl. 2

Hn.1

Bsn. l

Bsn.2

 

128

Ob. 1

Oh. 2

B1. C1. 1

Bb C1. 2

11111

B3111

B3112

 

129

Ob. 1

Ob. 2

Bb Cl. 1

Bb Cl. 2

H111

B311 1

Bsn. 2

 

130

Oh. I

Ob. 2

BbCl. 1

B» Cl. 2

1111.1

Hn.2

8311 l

B3112

 

131

Ob. l

Ob. 2

Bb Cl. 1

Bio Cl. 2

Hn.l

Bsn. 1

8311 2

 

132

Ob. 1

Ob. 2

Bb Cl. 1

Bl» Cl. 2

Hn.1

Bsn. 1

Bsn. 2

 

133

35 Minore

Ob. 1

Ob. 2

Bb Cl. 1

 

Bb C1. 2

H111

Bsn. 1

83112

 

134

Ob. l

Ob. 2

85 Cl. 1

Bl» Cl. 2

Hn.1

83111

Bsn. 2

 

135

45

Ob. 1

Ob. 2

BbCl. l

85 Cl. 2

11111

83111

83112

 

136

Ob. l

Ob. 2

85 Cl. 1

Bb Cl. 2

Pin]

Bsn. l

Bsn. 2

 

137

55

Ob. 1

Ob. 2

81» C1. 1

8b C1. 2

H111

8311 1

83112

 

138

Ob. 1

Ob. 2

Bio Cl. 1

Bl» Cl. 2

Hn.1

Bsn. 1

83112

 

139

Ob. l

Ob. 2

Bb Cl. 1

81» C1. 2

11111

Bsn. l

Bsn. 2

 

140

Ob. 1

Ob. 2

85 C1. 1

Bb Cl. 2

Hn.1

Bsn. 1

83112

 

141

Ob. l

Ob. 2

81» Cl. 1

B5 C1. 2

H111

Bsn.]

83112

 

142

Ob. 1

Ob. 2

81» Cl. 1

 

8b Cl. 2

Hn.1

Hn.2

8311 l

Bsn. 2

 

143

Ob. 1

Ob. 2

85 C1. 1

8!» Cl. 2

11111

83111

Bsn.2

 

144

Ob. 1

Ob. 2

Bl» Cl. 1

B1» C1. 2

1111.1

Hn.2

83111

83112

 

145

Ob. l

Ob. 2

81: C1. 1

B1» C1. 2

Hn.1

Bsn. l

8311 2

 

146

Ob. l

Ob. 2

81» Cl. 1

B5 C1. 2

11111

Hn.2

8311 1

83112

 

147

Ob. 1

Ob. 2

BbCl. 1

 

B1» C1. 2

Hn.1

83111

83112

 

148

Ob. l

Ob. 2

BL Cl. 1

8b C1. 2

Hn.1

Hn.2

8311 1

83112

 

149

Ob. 1

Ob. 2

85 Cl. 1

85 Cl. 2

Hn.1

83111

8311 2

 

150

APPENDIX

151

Catalog of Additional Works of Johann Went

The following is a list of original compositions by Johann Went discovered while
creating the preceding thematic index of original works for harmonie. This is by no
means intended to represent the complete works of Johann Went, rather it is hoped that it
can serve as a point of departure for future research. These works have much to offer as
they are of more consistent quality and inventiveness lacking from some of the wind band
works. Czech musicologist Bohu§ Stanék, whom I spoke to concerning Went’s original
compositions, spoke so highly of the craftsmanship found in the string quartets that I
almost lost track of my own topic. A very few of these works were published in the early
1970’s by Antonin Myslik.

This is strictly a catalog of musical titles. The name of the library or archive
receives its own heading followed by its standard abbreviation. Each title is followed by
the call number and instrumentation. Due to the nature of these ensembles an eight
number system for indicating instrumentation does not seem appropriate. Instead, the
complete instrumentation is listed.

Gesellschaft der Musikfreunde in Wien1 A:ng
Quintetto in F

X] 1033/1

Oboe, Bassoon, Violin, Viola, Basso

Quintetto in Dis

XI 1033/2
Oboe, Bassoon, Violin, Viola, Basso

 

1 A number of partitas and other works are marked “Accomodata di Went” (arranged by Went) and are not
included in this listing. Also, the Serenade No. 2, VIII 1229 marked as by Went is actually Beethoven’s
Op. 87 Trio. Interestingly, the second oboe part is missing and is replaced by the Serenade No. 3, source
unknown.

 

152

Quintetto in D
XI 1033/3

Oboe, Bassoon, Violin, Viola, Basso

Osterreichische Nationalbibliothek, Musiksammlung

Quintetto No. 1 in C
S.M. 1 1521
Oboe, Violin, 2 Violas, Basso

Quintetto No. 2 in F
S.M. 11522
Oboe, Violin, 2 Violas, Basso

Quintetto No. 3 in G
S.M. 11523
Oboe, Violin, 2 Violas, Basso

Quintetto No. 4 in B
S.M. l 1524
Oboe, Violin, 2 Violas, Basso

Quintetto No. 5 in D
S.M. 11525
Oboe, Violin, 2 Violas, Basso

Quintetto No. 6 in Dis
S.M. 11526

Oboe, Violins, 2 Violas, Basso

Quartetto No. l in Dis
S.M. 12488
2 Violins, Viola, Basso

Quartetto No. 2 in F
S.M. 12489
2 Violins, Viola, Basso

Quartetto No. 3 in A
S.M. 12490
2 Violins, Viola, Basso

Qu_artetto No. 4 in B
S.M. 12491
2 Violins, Viola, Basso

153

A:Wn

Quartetto No. 5 in G
S.M. 12492
2 Violins, Viola, Basso

Quartetto No. 6 in C
S.M. 12493
2 Violins, Viola, Basso

Quartetto No. 7 in B
S.M. 12494
2 Violins, Viola, Violoncello

Quartetto No. 8 in Dis
S.M. 12495
2 Violins, Viola, Violoncello

Qu_artetto No. 9 in A
S.M. 12496
2 Violins, Viola, Violoncello

Quartetto No. 10 in C
S.M. 12497
2 Violins, Viola, Violoncello

Qu_aitetto No. 11 in F
S.M. 12498
2 Violins, Viola, Violoncello

Quartetto No. 12 in D
S.M. 12499
2 Violins, Viola, Violoncello

Ti‘eboii Statni Archiv CZ:K
Petite Sére’nade Concertée

K XXIII, No. 23

2 Oboes, English Horn

Trio Concerte’

K XXIII, No. 24

2 Oboes, English Horn

Sei Terzetti2

 

2 These six trios (in C, B, F, C. B and C respectively) are bound in a single volume for each part.

154

K XXIII, No. 36
2 Oboes, English Horn

Quartetto I in Dis
K XXIV, No. 172
2 Violins, Viola, Violoncello

Quartetto II in F
K XXIV, No. 172
2 Violins, Viola, Violoncello

Qu_artetto III in A
K XXIV, No. 172
2 Violins, Viola, Violoncello

Quartetto IV in B
K XXIV, No. 172
2 Violins, Viola, Violoncello

Q1_i_artetto V in G
K XXIV, No. 172
2 Violins, Viola, Violoncello

Quartetto VI in C
K XXIV, No. 172
2 Violins, Viola, Violoncello

W
K XXIV, No. 173

2 Violins, Viola, Violoncello

Qu_artetto II in Dis
K XXIV, No. 173
2 Violins, Viola, Violoncello

Qigrtetto III in A
K XXIV, No. 173
2 Violins, Viola, Violoncello

Metto IV in C
K XXIV, No. 173
2 Violins, Viola, Violoncello

Qu_artetto V in F
K XXIV, No. 173
2 Violins, Viola, Violoncello

155

Qu_artetto VI in D
K XXIV, No. 173
2 Violins, Viola, Violoncello

Quartetto I in B
K XXIV, No. 174

2 Violins, Viola, Violoncello

Quartetto II in Dis
K XXIV, No. 174
2 Violins, Viola, Violoncello

Qu_artetto III in A
K XXIV, No. 174
2 Violins, Viola, Violoncello

Quartetto IV in G
K XXIV, No. 174
2 Violins, Viola, Violoncello

Quintetto I in B
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

Quintetto II in Dis
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

Quintetto III in F
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

Quintetto IV in C
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

Quintetto V in G
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

Quintetto VI in D
K XXIV, No. 175
Oboe, Bassoon, Violin, Viola, Basso

156

Muzeum Ceské Hudbi, Narodni Muzeum CZ:an

Sinfonia in Dis
XLII E 102
2 Oboes, 2 French Horns, 2 Violins, Viola, Basso

Quintetto in D
XLII E 104

Oboe, Bassoon, Violin, Viola, Basso

Quintetto in F
XLII E 344

Oboe, Bassoon, Violin, Viola, Basso

 

Quintetto in Dis
XLII E 345

Oboe, Bassoon, Violin, Viola, Basso

Quintetto in B
XLII E 346

Oboe, Bassoon, Violin, Viola, Basso

Quintetto in C
XLII E 347

Oboe, Bassoon, Violin, Viola, Basso

Quintetto in G
XLII E 348

Oboe, Bassoon, Violin, Viola, Basso
Bibliothéque nationale de France Fan

Petite Sérémade Concertante3
G 9716 (44)
2 Oboes, 1 English Horn

Qu_artetto Concertante4
G 9717 (45)

Oboe, Large Oboe (Clarinet) in B, English Horn, Bassoon

 

3 This is a contemporary edition of CZ:K K XXIII, No. 23 edited by Antonin Myslik and published in
1972 by Edition Kneusslin.
4 Edited by Antonin Myslik and published in 1972 by Edition Kneusslin.

157

 

BIBLIOGRAPHY

158

BIBLIOGRAPHY

Albrecht, Theodore, “W'hen Went Went: The Demise and Posthumous Activities of
Viennese Oboist and Wind-Band Leader Johann Went (1745-1801) Including His
Previously Unsuspected Son Wilhelm” from Journal of Band Research Vol. 36,
No. 2 (Troy, AL: Troy State University Press, 2001), pp. 22-45.

Clark, David Lindsey; Gillaspie, Jon; Stoneham, Marshall, Wind Ensemble Sourcebook
and Biographical Guide (Westport, CT: Greenwood Press, 1997).

Dlabaci, Gottfried Johann, Allgemeines Historiches Kfinstler-Lexikon fiir Bohmen
(Prague: Gottlieb Hasse, 1815), pp. 142, 352, 419.

Cemuéak, Gracian; Stédrofi, Bohumir; Novaéek, Zdenko, Cesko Slovenaky Hudebni
Slovnik. Slazek Druhy (Prague: Statni Hudebni Vydavatelstvi, 1965), p. 862.

Hellyer, Roger, “’Fidelio’ fill’ neunstimmige Harmonie” from Music and Letters Vol. 53,
No. 3 (Oxford: Oxford University Press, 1972), pp. 242-253.

Hellyer, Roger, “Mozart’s Harmoniemusik” from The Music Review Vol. 34, No. 2
(Cambridge: W. Hefl‘ery and Sons, 1973), pp. 146-155.

----- “Went, Johann Nepomuk” from The New Grove’s Dictionary of Music and
Musiclaans Vol. 27, Sadie, Staniey ed.(London: Macmillan Press Ltd., 2000), p.
284.

Hogwood, Christopher and Smaczny, Jan, “The Bohemian Lands” from Man and Music:
The Classical Era (London: The MacMillan Press Ltd., 1989), pp. 188-211.

Leeson, Daniel and Whitwell, David, “Mozart’s ‘Spurius’ Wind Octets” from Music and

Letters Vol. 53, No. 4 (Oxford: Oxford University Press, 1972), pp. 377-399.

Sestak, Zdenék, “Citoliby: A Forgotten Part of Czech Music’s Past” from Hudba
Citolibskych Mistrz’: 18. Stoleti (Prague: Supraphone, 1985), pp. 11-18.

Whitwell, David, The History and Literature of the Wind Band and Wind Ensemble-Vol.
4, (Northridge: Winds, 1983).

----- The History and Literature of the Wind Band and Wind En_semble-Vol.
_5_, (Northridge: Winds, 1983).

----- The History and Lmuure of the Wind Band and Wind En_semble-Vol.
8, (Northridge: Winds, 1983).

159

 

----- “The Incredible Vienna Octet School-Part 1” from The Instrumentalist
Vol. 24, No.3 (Evanston, I]: The Instrumentalist Co., 1969), pp. 31-35.

 

----- “The Incredible Vienna Octet School-Part 2” from The Instrumentalist
Vol. 24, No.4 (Evanston, II: The Instrumentalist Co., 1969), pp. 40-43.

----- “The Incredible Vienna Octet School-Part 3” from The Instrumentalist
Vol. 24, No.5 (Evanston, 11: The Instrumentalist Co., 1969), pp. 42-45.

----- “The Incredible Vienna Octet School-Part 4” from The Instrumentalist
Vol. 24, No.6 (Evanston, 11: The Instrumentalist Co., 1970), pp. 38-40.

----- “The Incredible Vienna Octet School-Part 5” from The Instrumentalist
Vol. 24, No.7 (Evanston, 11: The Instrumentalist Co., 1970), pp. 31-36.

 

----- “The Incredible Vienna Octet School-Part 6” from The Instrumentalist
Vol. 24, No.8 (Evanston, 11: The Instrumentalist Co., 1970), pp. 31-33.

Zéloha, Jii‘i, “Musical Life” from Hudebni Vé'da Vol. 24, No. 1 (Prague: Academia Praze,
1987), pp. 43-62.

----- “Das Musikleben am Hofe der Fursten zu Schwarzenberg im 18. J ahrhundert”

translated and excerpted from Hudebni Ve'da Vol. 27, No. 1 (Prague: Academia
Praze, 1990), pp. 399-434.

160