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  <page>
    <title>Franz Danzi</title>
    <id>142795</id>
    <revision>
      <id>311823905</id>
      <timestamp>2009-09-04T12:36:17Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
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      <comment>/* External links */ [[Category:18th-century German people]] [[Category:19th-century German people]]</comment>
      <text xml:space="preserve">[[Image:Franz Danzi.JPG|thumb|right|Franz Danzi]]
'''Franz Ignaz Danzi''' ([[June 15]], [[1763]] - [[April 13]], [[1826]]) was a [[Germany|German]] [[cellist]], [[composer]] and [[Conducting|conductor]], the son of the noted [[Italy|Italian]] [[cello|cellist]] Innocenz Danzi. Born in [[Schwetzingen]], Franz Danzi worked in [[Mannheim]], [[Munich]], [[Stuttgart]] and [[Karlsruhe]], where he died.

Danzi lived at a significant time in the history of European concert music. His career, spanning the transition from the late Classical to the early Romantic styles, coincided with the origin of much of the music that lives in our concert halls and is familiar to contemporary classical-music audiences. As a young man he knew [[Wolfgang Amadeus Mozart|Mozart]], whom he revered; he was a contemporary of [[Ludwig van Beethoven|Beethoven]], about whom he—like many of his generation—had strong but mixed feelings; and he was a mentor for the young [[Carl Maria von Weber|Weber]], whose music he respected and promoted.

Born in Schwetzingen and raised in [[Mannheim]], Danzi studied with his father and with [[Georg Joseph Vogler]] before he joined the superlative orchestra of the elector [[Karl Theodor, Elector of Bavaria|Karl Theodor]] in 1778 as a teenager. In 1780 the first of his woodwind compositions was published at Mannheim. His father, principal cellist of the orchestra, was praised by [[Wolfgang Amadeus Mozart|Mozart]] for his playing at the premiere of ''[[Idomeneo]]''. Danzi remained behind in a more provincial [[Mannheim]] when [[Karl Theodor, Elector of Bavaria|Karl Theodor]] moved his court to [[Munich]] in 1778. After an apprenticeship with the small theater orchestra left in [[Mannheim]], he rejoined the main court in [[Munich]] as principal cellist—taking his father’s position—in 1784.

In 1790 he married the singer Maria Margarethe Marchand, with whom he travelled in an opera troupe to Leipzig, Prague, Venice, and Florence.

By 1798, once more in Munich, he rose to the position of assistant ''[[Kapellmeister]]'' in one of the most important musical centers of Europe, but in 1807, unhappy at the treatment he received at court and despairing of any further advancement, he left [[Munich]] to be ''Kapellmeister'' in the smaller and less important [[Stuttgart]] court of [[Frederick I of Württemberg]], the new king of [[Württemberg]]. After five years he moved again to [[Karlsruhe]], where he spent the last years of his life at the Royal ''Konservatorium'' struggling to raise the modest courtly musical establishment to respectability.

Although not himself a composer of the first rank, Danzi was a highly competent musician. At best, his music is charming, tuneful, and well crafted. He is known today chiefly for his [[Wind Quintet|woodwind quintets]], in which he took justifiable pride for the idiomatic treatment of the individual instruments. He composed in most major genres of the time, including opera, church music, orchestral works, and many varieties of chamber music. He was a first-rate cellist as well as a conscientious and—by all reports—effective orchestra leader and conductor. 

[[Francesca Lebrun]] (1756-1791), a singer and composer, was Franz Danzi's sister.

At Schwetzingen, the city concert hall was renamed in his honor in 2005.

==Selected Works==
Among his compositions are:

* Wind Sextet in E flat major, '''Op. 10'''
* Horn Sonata in E flat major, '''Op. 28'''
* Quartets for Bassoon and Strings, '''Op. 40''', 1-3
* Quintet in D minor for Piano and Winds, '''Op. 41'''
* Quintet in F major for Piano and Winds, '''Op. 53'''
* Quintet in D major, for Piano and Winds, '''Op. 54'''
* Wind Quintets, '''Op. 56''', 1-3
* Wind Quintets, '''Op. 67''', 1-3
* Wind Quintets, '''Op. 68''', 1-3
* 4 Bassoon Concertos

==Media==
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}}

== External links ==
* {{IMSLP|id=Danzi, Franz}} 
* {{WIMA|idx=Danzi|name=Franz Danzi}}
* [http://www.editionsilvertrust.com/music-books-a-to-g.htm Danzi Wind Quintets Opp.56 &amp; 68, sound-bites and discussion of works]
* [http://www.idrs.org/scores/lehrer2/Danzi/Introduction_Danzi.html Article on the 9 Danzi Wind Quintets at the Double Reed Society website]
{{DEFAULTSORT:Danzi, Franz}}
[[Category:1763 births]]
[[Category:1826 deaths]]
[[Category:German composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:German conductors]]
[[Category:German classical cellists]]
[[Category:Germans of Italian descent]]
[[Category:18th-century German people]]
[[Category:19th-century German people]]

[[da:Franz Danzi]]
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    </revision>
  </page>
  <page>
    <title>William Crotch</title>
    <id>741149</id>
    <revision>
      <id>306603252</id>
      <timestamp>2009-08-07T14:02:26Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
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      <comment>Missing spaces, added persondata</comment>
      <text xml:space="preserve">[[Image:William Crotch.jpg|thumb|right|200px|William Crotch playing the organ, aged 3½, in an illustration from ''The London Magazine'', April 1779]]
[[Image:View from Hurley Bottom (1806).jpg|thumb|right|Crotch painted &quot;View from Hurley Bottom&quot; (1806) at 5 p.m. on [[August 30]], according to his inscription.]]
'''William Crotch''' ([[5 July]] [[1775]] &amp;ndash; [[29 December]] [[1847]]) was an [[England|English]] [[composer]], [[organ (music)|organist]] and [[artist]]. 

Born in [[Norwich]] to a master carpenter he showed early musical talent (a [[child prodigy]]). The three and a half year old Master William Crotch was taken to [[London]] by his ambitious mother, where he not only played on the organ of the [[Chapel Royal]] in [[St. James's Palace]], but for the [[George III of the United Kingdom|King]]. ''The London Magazine'' of April 1779 records:
&lt;blockquote&gt;He appears to be fondest of solemn tunes and church musick, particularly the 104th [[Psalm]]. As soon as he has finished a regular tune, or part of a tune, or played some little fancy notes of his own, he stops, and has some of the pranks of a wanton boy; some of the company then generally give him a cake, an apple, or an orange, to induce him to play again...&lt;ref&gt;''The London Magazine'', April 1779.&lt;/ref&gt;&lt;/blockquote&gt;

Crotch was later to observe that this experience led him to become a rather spoilt child, excessively indulged so that he would perform.

He was for a time organist at [[Christ Church, Oxford]], from which he was later to graduate with a [[Bachelor of Music]] degree.

His composition ''The Captivity of Judah'' was played at [[Trinity Hall, Cambridge]], on [[4 June]] [[1789]]; his most successful composition in adulthood was the [[oratorio]] ''Palestine'' (1812). He may have composed the ''[[Westminster Quarters|Westminster Chimes]]'' in 1793.

In 1797 Crotch was given a professorship at [[Oxford University]], and in 1799 he acquired a [[doctorate]] in music. While at Oxford, he became acquainted with the musician and artist [[John Malchair]], and took up [[sketch (drawing)|sketch]]ing. He followed Malchair's style in recording the exact time and date of each of his pictures, and when he met [[John Constable]] in London in 1805, he passed the habit along to the more famous artist.

In 1834, to commemorate the installation of the [[Arthur Wellesley, 1st Duke of Wellington|Duke of Wellington]] as chancellor of the University of Oxford, Crotch penned a second oratorio titled ''The Captivity of Judah''. The 1834 work bears little resemblance to the oratorio he wrote as a child in 1789.

In 1822, Crotch was appointed to the [[Royal Academy of Music]] as its first Principal, but resigned ten years later.&lt;ref&gt;Temperley, Nicholas, and Heighes, Simon. &quot;Crotch, William&quot;. [http://.www.grovemucic.com Grove Music Online] (subscription access)&lt;/ref&gt; He spent his last years at his son's house in [[Taunton]], where he died suddenly in 1847.

==External links==
*[http://www.hoasm.org/VIIJ/Crotch.html William Crotch (1775&amp;ndash;1847)]
*{{ChoralWiki}}

==References==
&lt;references/&gt;

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
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|PLACE OF DEATH    = Taunton
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  </page>
  <page>
    <title>Carl Heinrich Graun</title>
    <id>385713</id>
    <revision>
      <id>311821684</id>
      <timestamp>2009-09-04T12:16:20Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">[[Image:Carl Heinrich Graun.jpg|image|thumb|Carl Heinrich Graun.]]

'''Carl Heinrich Graun''' (7 May 1704 {{ndash}} 8 August 1759) was a German [[composer]] and [[tenor]] singer. Along with [[Johann Adolf Hasse]], he is considered to be the most important German composer of Italian [[opera]] of his time.&lt;ref&gt;''The [[New Grove Dictionary of Opera]] vol. 2 p.519&lt;/ref&gt;

==Biography==
Graun was born in [[Wahrenbrück]] in [[Brandenburg]]. He sang in the chorus of the [[Dresden]] opera before moving to [[Braunschweig (city)|Braunschweig]], singing there and writing six operas for the company. In 1735 Graun moved to [[Rheinsberg]], after he had written an opera for the crown prince, when marrying [[Elisabeth Christine of Brunswick-Bevern|Elisabeth Christine]] in [[Salzdahlum]]. He was [[kapellmeister]] to [[Frederick II of Prussia]] (Frederick the Great) from his ascension to the throne in 1740  until Graun's death nineteen years later in [[Berlin]].

Graun wrote a number of operas. His opera ''Cleopatra e Cesare'' inaugurated the opening of the Berlin opera house in 1742 . Others, such as ''[[Montezuma (Graun)|Montezuma]]'' (1755), with a [[libretto]] by King Frederick. None of his pieces are often performed today, though his passion ''Der Tod Jesu'' (The Death of Jesus, 1755) was frequently given in Germany for many years after his death. His other works include [[concerto]]s and [[trio sonata]]s.

Carl Heinrich Graun was the brother of [[Johann Gottlieb Graun]], also a composer.

==Works==
==== Stage works ====
*Polydorus (5 acts, 1726-28)
*Iphigenia in Aulis (3 acts 1728)
*Scipio Africanus (3 acts, 1732)
*Lo specchio della fedeltà (3 acts, 1733)
*Pharao Tubaetes (5 acts, 1735)
*Rodelinda, regina de' langobardi (3 acts, 1741)
*Cleopatra e Cesare (3 acts, 1742)
*Artaserse, libretto by [[Metastasio]] (3 acts, 1743)
*Catone in Utica, libretto by Metastasio (3 acts, 1743)
*Alessandro e Poro, libretto by Metastasio (3 acts, 1744)
*Lucio Papirio (3 acts, 1744)
*Adriano in Siria, libretto by Metastasio (3 acts, 1746)
*Demofoonte, libretto by Metastasio (3 acts, 1746)
*Cajo Fabricio (3 acts, 1746)
*Le feste galanti (1747)
*Cinna (3 acts, 1748)
*L'Europa galante (1748)
*Ifigenia in Aulide (3 acts, 1748)
*Angelica e Medoro (3 acts, 1749)
*Coriolano (3 acts, 1749)
*Fetonte (3 acts, 1750)
*Il Mithridate (3 acts, 1751)
*L’Armida (3 acts, 1751)
*Britannico (3 acts, 1751)
*L'Orfeo (3 acts, 1752)
*Il giudizio di Paride (1 act, 1752)
*Silla (3 acts, 1753)
*Semiramide (3 acts, 1754)
*[[Montezuma (Graun)|Montezuma]] (3 acts, 1755)
*Ezio, libretto by Metastasio (1755)
*I fratelli nemici (3 acts, 1756)
*La Merope (3 acts, 1756)

====Other works====
*Te Deum
*Der Tod Jesu (1755)
*Oratorium in Festum Nativitatis Christi
*Osteroratorium
*Six Italian Cantatas
*Concerto for Horn, Strings and Cembalo D-major
*Sinfonia C-major

==Bibliography==
*John W. Grubbs (1972): The Sacred Choral Music of the Graun Brothers

==Notes==
{{reflist|2}}

==Sources==
*''Graun, Carl Heinrich'' by E Eugene Helm, in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7

==External links==
*{{IMSLP|id=Graun, Karl Heinrich|cname=Carl Heinrich Graun}}
*{{ChoralWiki|Karl Heinrich Graun}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
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  <page>
    <title>Johann Ernst Eberlin</title>
    <id>1239295</id>
    <revision>
      <id>311816215</id>
      <timestamp>2009-09-04T11:24:26Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
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      <comment>/* External links */ [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">'''Johann Ernst Eberlin''' (27 March 1702 &amp;ndash; 19 June 1762) was a [[Germany|German]] composer and [[organist]] whose works bridge the [[Baroque music|baroque]] and [[Classical music era|classical era]]s. He was a prolific composer, chiefly of church organ and [[choir|choral]] music.

His first musical training started in 1712 at the High School of the Jesuiten pc. Salvator in [[Augsburg]]. His teachers there were [[Georg Egger]] and [[Balthasar Siberer]] (who taught him how to play the organ). He started his university education in 1721 at the Benediktiner medal in [[Salzburg]] where he studied law. He dropped out of university in 1723.

His first breakthrough was in 1727 when he became the organist for Count [[Leopold Anton Freiherr von Firmian|Leopold von Firmian]] (then [[Archbishop of Salzburg]]). He reached the peak of his career when he was the organist for Archbishop [[Andreas Jakob von Dietrichstein]]. 

He also composed and played at church concerts. His contemporaries were [[Leopold Mozart]] and [[Anton Cajetan Adlgasser]].

==External links==
* {{ChoralWiki}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Eberlin, Johann Ernst
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|DATE OF DEATH     = 19 June 1762
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[[de:Johann Ernst Eberlin]]
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  </page>
  <page>
    <title>Michael Haydn</title>
    <id>157943</id>
    <revision>
      <id>312292457</id>
      <timestamp>2009-09-07T02:11:51Z</timestamp>
      <contributor>
        <username>James470</username>
        <id>9398373</id>
      </contributor>
      <minor/>
      <comment>/* Works */ [[Missa Hispanica]]</comment>
      <text xml:space="preserve">{{dablink|For the American general, see [[Michael Hayden]]}}
[[File:michaelhaydn1.jpg|thumb|Michael Haydn]]
'''Johann Michael Haydn''' (September 14, [[1737 in music|1737]] &amp;ndash; August 10, [[1806 in music|1806]]) was an [[Austria]]n [[composer]] of the [[Classical period (music)|classical period]], the younger brother of [[Joseph Haydn]].

==Life==
Johann Michael Haydn was born in 1737 in the Austrian village of [[Rohrau, Austria]] near the Hungarian border. His father was [[Mathias Haydn]], a wheelwright who also served as &quot;Marktrichter&quot;, an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of [[Count Friedrich August von Harrach-Rohrau|Count Harrach]], the presiding aristocrat of Rohrau. Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp, and he also made sure that his children learned to sing; for details see [[Mathias Haydn]].

Michael's early professional career path was paved by his older brother Joseph, whose skillful singing had landed him a position as a [[boy soprano]] in the [[St. Stephen's Cathedral, Vienna]] where he worked as a chorister, under the direction of [[Georg Reutter II|Georg Reutter]]. The early 19th century author [[Albert Christoph Dies]], reporting from Joseph's late-life reminiscences, says the following:&lt;ref&gt;Albert Christoph Dies, 86&lt;/ref&gt;
:&quot;Reutter was so captivated by [Joseph]'s talents that he declared to the father that even if he had twelve sons, he would take care of them all. The father saw himself freed of a great burden by this offer, consented to it, and some five years after dedicated Joseph's brother Michael and still later [[Johann Evangelist Haydn|Johann]] to the musical muse. Both were taken on as choirboys, and, to Joseph's unending joy, both brothers were turned over to him to be trained.&quot;

The same source indicates that Michael was a brighter student than Joseph, and that (particularly when Joseph had grown enough to have trouble keeping his soprano voice), it was Michael's singing that was the more admired.

Shortly after he left the choir-school, Michael was appointed [[Kapellmeister]] at [[Oradea|Großwardein]] and later, in 1762, at [[Salzburg]]. The latter office he held for forty-three years, during which time he wrote over 360 compositions for the church and much instrumental music.

On 17 August 1768 Haydn married the singer Maria Magdalena Lipp (1745–1827); they had a daughter, Aloisia Josefa in January 1770, but she died only a few days before her first birthday. Lipp was disliked by the women in Mozart's family.&lt;ref&gt;Max Kenyon, ''Mozart in Salzburg: A Study and Guide''. New York: G. P. Putnam's Sons: 142&lt;/ref&gt; Still, Lipp had created the role of ''Barmherzigkeit'' (Divine Mercy) in Mozart's first musical play ''[[Die Schuldigkeit des ersten Gebotes]]'' (1767), and later the role of Tamiri in ''[[Il re pastore]]'' (1775). [[Leopold Mozart]] criticized Haydn's alcoholism.&lt;ref&gt;Max Kenyon, ''Mozart in Salzburg: A Study and Guide''. New York: G. P. Putnam's Sons: 154. &quot;Michael Haydn indeed, according to Leopold, was taking to drink. He was sometimes under its influence when at the organ during High Mass ...&quot;&lt;/ref&gt;

He was acquainted with [[Wolfgang Amadeus Mozart|Mozart]], who had a high opinion of his work, and was the teacher of both [[Carl Maria von Weber]]&lt;ref&gt;Max Kenyon, ''Mozart in Salzburg: A Study and Guide''. New York: G. P. Putnam's Sons: 197. &quot;In January 1798, Michael Haydn, who had succeeded to one of Leopold Mozart's minor posts, that of teacher to the Cathedral choir boys, found among the new entry a likeable and promising lad of 11 named Carl Maria von Weber.&lt;/ref&gt; and [[Anton Diabelli]].

Michael remained close to Joseph all of his life. Joseph highly regarded his brother and felt that Michael's religious works were superior to his own.&lt;ref&gt;Rosen 1997, 366&lt;/ref&gt; In 1802, when Michael was &quot;offered lucrative and honourable positions&quot; by &quot;both [[House_of_Esterh%C3%A1zy#Prince_Nikolaus_II_.5BMikl.C3.B3s_Ferdin.C3.A1nd.5D_.281765.E2.80.931833.29|Esterházy]] and the [[Louis of Etruria|Grand Duke of Tuscany]],&quot; he wrote to Joseph in Vienna asking for advice, though in the end he chose to stay in Salzburg.&lt;ref&gt;[[H. C. Robbins Landon]], ''The Collected Correspondence and London Notebooks of Joseph Haydn''. Fair Lawn, New Jersey: Essential Books (1959): 214, Draft of a letter to Haydn's brother, Johann Michael, in Salzburg. German. &quot;Du&quot; form. Vienna, 22nd January 1803.&lt;/ref&gt; It has been hypothesized that Michael and Maria Magdalena named their daughter Josefa in honor of Michael's brother.&lt;ref&gt;Max Kenyon, ''Mozart in Salzburg: A Study and Guide''. New York: G. P. Putnam's Sons: 154. &quot;Haydn's second child, so quickly baptized on the day she was born, was named Josepha : had Michael his great brother in mind ?&quot;&lt;/ref&gt;

Michael Haydn died in [[Salzburg]] at the age of 68.

==Works==
Michael Haydn never compiled a thematic catalog of his works, nor did he ever supervise the making of one. The earliest catalog was compiled in 1808 by Nikolaus Lang for 'Biographische Skizze'. In 1907 Lothar Perger compiled a catalogue of his orchestral works, the [[Perger-Verzeichnis]], for 'Denkmäler der Tonkunst in Österreich', which is somewhat more reliable than Lang's catalog. Thus, some of Haydn's instrumental works are referred to by Perger numbers. And in 1915 Anton Maria Klafsky undertook a similar work regarding the sacred vocal music. In 1982, Charles H. Sherman, who has edited scores of many Haydn symphonies for Doblinger, published a chronological catalog of Haydn's symphonies, which some recording companies have adopted. Later, in 1991, Sherman joined forces with T. Donley Thomas to publish a chronological catalog of all Haydn's music, which used a single continuous range of numbers, as does [[Ludwig Ritter von Köchel|Köchel's]] catalog of Mozart's music.

The task of cataloguing Haydn's music is simplified by the fact that he almost always put the date of completion on his manuscripts.&lt;ref&gt;H. C. Robbins Landon, ''The Symphonies of Joseph Haydn''. London: Universal Edition &amp; Rockliff (1955): &quot;Michael … dated his manuscripts with a most satisfying exactitude.&quot;&lt;/ref&gt; Guesswork is necessary when the autograph manuscript of a given work did not survive to posterity.

[[File:Michael Haydn, St Peters Church, Salzburg, image by Scott Williams.jpg|thumb|500px|St. Peter's Church in Salzburg and the entrance to the Michael Haydn Library]]
Haydn's sacred choral works are generally regarded as his most important, including the ''Requiem pro defuncto Archiepiscopo Sigismundo'' (Requiem for the death of Archbishop Siegmund) in C minor, which greatly influenced the ''[[Requiem (Mozart)|Requiem]]'' by [[Wolfgang Amadeus Mozart|Mozart]], ''[[Missa Hispanica]]'' (which he exchanged for his diploma at [[Stockholm]]), a [[mass (music)|Mass]] in D minor, a ''Lauda Sion'', and a set of graduals, forty-two of which are reprinted in [[Anton Diabelli]]'s ''Ecclesiasticon''. He was also a prolific composer of secular music, including forty [[symphony|symphonies]] and partitas, a number of [[concerto|concerti]] and [[chamber music]] including a [[string quintet]] in C major which was once thought to have been by his brother Joseph.

There was another case of posthumous mistaken identity involving Michael Haydn: for many years, the piece which is now known as Michael Haydn's [[Symphony No. 25 (Michael Haydn)|Symphony No. 25]] was thought to be Mozart's [[Symphony No. 37 (Mozart)|Symphony No. 37]] and assigned [[Köchel catalogue|K.]] 444. The confusion arose because an autograph was discovered which had the opening movement of the symphony in Mozart's hand, and the rest in somebody else's. It is now thought that Mozart had composed a new slow introduction for reasons unknown, but the rest of the work is known to be by Michael Haydn. The piece, which had been quite widely performed as a Mozart symphony, has been performed considerably less often since this discovery in 1907.

Indeed, several of Michael Haydn's works influenced Mozart. To give just two examples: the ''Te Deum'' &quot;which Wolfgang was later to follow very closely in K. 141&quot;&lt;ref&gt;Max Kenyon, ''Mozart in Salzburg: A Study and Guide''. New York: G. P. Putnam's Sons: 44&lt;/ref&gt; and the finale of the [[Symphony No. 23 (Michael Haydn)|Symphony No. 23]] which influenced the finale of the [[String Quartet No. 14 (Mozart)|G major Quartet]], K. 387.
&lt;!-- largely duplicate section; maybe someone wants to incorporate some bits of this into the main body
Johann Michael Haydn was an acclaimed and respected composer during his lifetime. Born in Rhrau, near the Austrian-Hungrian border, Hayden was talented young singer in the famed Vienna Boys Choir. He was appointed as kapellmeister at the court of Grosswardein, which is now Hungary, in 1757. Haydn served the Archbishop of Salzburg from 1763 until his death. A prolific composer, he wrote hundreds of compositions including a Requiem which influended the more famous setting by Mozart. Haydn's &quot;Dixit,&quot; the opening movement of the composer's ''Vesperae Pro Testo Sancti Innocentium,'' was completed on December 8,1793, in Salzburg for the Feast of the Holy innocents celebrated on December 28, a commemoration of the slaughter of thousands of children at the hand of King Herod. The work is scored for 2 horns, 2 violins, cello, bass and SSA chorus.
--&gt;

==List of Works==
{{Main|List of compositions by Michael Haydn}}

===Instrumental music===
* 1.1 Symphonies (43 symphonies + single movements of symphonies)
* 1.2 Concertos (12 concertos + 1 single movement)
* 1.3 Serenades (21 serenades, cassations, notturni and divertimenti)
* 1.4 Incidental music (1)
* 1.5 Ballets (3)
* 1.6 Dances (15 collections of ''Menuetti'', 3 of ''Menuettini'', 1 ''English Dances'', 1 ''German Dances'')
* 1.7 Marches (15 marches and fragments of marches)
* 1.8 Quintets (6)
* 1.9 Quartets (19)
* 1.10 Trio Sonatas (10)
* 1.11 Duo Sonatas (4)
* 1.12 Solo Sonatas (2)
* 1.13 Keyboard (19 compositions)
* 1.14 Unknown instrumentation (1)

===Sacred vocal music===
* 2.1 Antiphons (47)
* 2.2 Cantatas (5)
* 2.3 Canticles (65)
* 2.4 Graduals (130)
* 2.5 Hymns (16)
* 2.6 Masses (47)
* 2.7 Motets (7)
* 2.8 Offertories (65)
* 2.9 Oratorios (7)
* 2.10 Psalm settings (19)
* 2.11 Requiem (3)
* 2.12 Other (42)

===Secular vocal music===
* 3.1 Arias (8)
* 3.2 Canons (65)
* 3.3 Cantatas (14)
* 3.4 Part-songs (97)
* 3.5 Operas (1)
* 3.6 Serenatas (1)
* 3.7 Singspiele (11)
* 3.8 Songs (46)

==Notes==
&lt;references /&gt;

==References==
*Charles H. Sherman and T. Donley Thomas, ''Johann Michael Haydn (1737–1806), a chronological thematic catalogue of his works''. Stuyvesant, New York: Pendragon Press (1993)
*[[Albert Christoph Dies|Dies, Albert Christoph]] (1810) ''Biographical Accounts of Joseph Haydn'', Vienna. English translation by Vernon Gotwals, in ''Haydn: Two Contemporary Portraits'', Milwaukee: University of Wisconsin Press.
*[[Charles Rosen|Rosen, Charles]] (1997) ''The Classical Style''. New York: Norton. ISBN 0-393-31712-9

==External links==
*{{ChoralWiki|Johann Michael Haydn}}
*{{IckingArchive|idx=M.Haydn|name=Michael Haydn}}
*{{IMSLP|id=Haydn, Michael}}
*[http://www.haydn.dk The Michael Haydn Project] — Biography, works, literature, etc. for Michael Haydn and his contemporaries
*[http://www.classicalarchives.com/main/h.html#haydnm Michael Haydn] — [[Musical Instrument Digital Interface|MIDI files]] at [[Classical Archives]]
* [http://www.dommusik.at/downloads/index.html &quot;Jubilaeumsmesse&quot; in MP3-Format] (creative commons licence)

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Haydn, Michael Johann
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Austrian composer
|DATE OF BIRTH     = 14 September 1737
|PLACE OF BIRTH    = Rohrau, Austria
|DATE OF DEATH     = 10 August 1806
|PLACE OF DEATH    = Salzburg
}}

{{DEFAULTSORT:Haydn, Michael}}
[[Category:1737 births]]
[[Category:1806 deaths]]
[[Category:Classical era composers]]
[[Category:Austrian musicians]]
[[Category:Joseph Haydn]]

[[ca:Michael Haydn]]
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  </page>
  <page>
    <title>Johann Friedrich Fasch</title>
    <id>389541</id>
    <revision>
      <id>310924073</id>
      <timestamp>2009-08-30T18:11:14Z</timestamp>
      <contributor>
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      <minor/>
      <comment>robot Modifying: [[he:יוהאן פרידריך פאש]]</comment>
      <text xml:space="preserve">'''Johann Friedrich Fasch''' (15 April 1688 &amp;ndash; 5 December 1758) was a [[Germany|German]] [[violinist]] and [[composer]].

Fasch was born in [[Buttelstedt]], was a choirboy in [[Weissenfels]] and studied under [[Johann Kuhnau]] at the famous [[Thomasschule zu Leipzig|St. Thomas School]] in [[Leipzig]] and later founded a [[Collegium Musicum]] in that city. He then traveled throughout Germany, becoming a violinist in the orchestra in [[Bayreuth]] in 1714 and holding court posts  in [[Greiz]] and [[Lukavec]]. In 1722 he was appointed [[Kapellmeister]] at [[Zerbst]], a post he held until his death.

His works include [[cantata]]s, [[concerto]]s, [[symphonies]], and [[chamber music]]. None of his pieces were printed in his lifetime, and a large number of his vocal works, including four [[opera]]s, have been lost. However, he was held in high regard by his contemporaries ([[Johann Sebastian Bach]] made manuscript copies of a number of his pieces), and he is today considered an important link between the [[Baroque music|Baroque]] and [[Classical music era|Classical]] periods.

Fasch died in Zerbst at the age of 70. He was the father of [[Carl Friedrich Fasch|Carl Friedrich Christian Fasch]], also a musician of note.

Since 1983, the city of Zerbst holds the annual Fasch Fesivals to honour his memory.   

==Works list==
This listing is based on [[Rüdiger Pfeiffer]]'s now out-dated ''Fasch Werke Verzeichnis.'' The Internationale Fasch Gesellschaft e.V. has been working on a new ''Fasch-Verzeichnis'' for several years, but has yet to produce a replacement (as of 2008).

'''Operas'''&lt;br /&gt;
Fwv A \ Operas (lost)

'''Serenatas'''&lt;br /&gt;
Fwv B: 1 \ Serenata (lost)&lt;br /&gt;
Fwv B: 2 \ Serenata (lost)&lt;br /&gt;
Fwv B: 3 \ Freudenbezeugung der vier Tageszeiten, autograph score at D-DS&lt;br /&gt;
Fwv B: 4 \ Beglückter Tag (for the birthday of [[Catherine the Great]], 1757), autograph score in the [[Sing-Akademie Berlin]] archive, D-B; performed at 10th Fasch-Festtage on 10 April 2008

'''Sacred cantatas for occasions'''&lt;br /&gt;
Fwv C:B 1 \ Beständigkeit bleibt mein Vergnügen

'''Sacred cantatas'''&lt;br /&gt;
Fwv D:B 1 \ Bewahre deinen Fuss&lt;br /&gt;
Fwv D:D 1 \ Dein allerhöchster Adel&lt;br /&gt;
Fwv D:D 2 \ Der Gottlose ist wie ein Wetter&lt;br /&gt;
Fwv D:D 3 \ Die den Herrn vertrauen&lt;br /&gt;
Fwv D:D 4 \ Die Gerechten müssen sich freuen&lt;br /&gt;
Fwv D:D 5 \ Die so das Land des Lichts bewohnen&lt;br /&gt;
Fwv D:D 6 \ Die Starken bedürfen des Arztes nicht&lt;br /&gt;
Fwv D:D 7 \ Die Starken bedürfen des Arztes nicht&lt;br /&gt;
Fwv D:D 8 \ Du bist Christus, des lebendigen Gottes Sohn&lt;br /&gt;
Fwv D:D 9 \ Du bist mein Gott, ich bitte dich&lt;br /&gt;
Fwv D:D10 \ Du sollst Gott, deinen Herrn, lieben&lt;br /&gt;
Fwv D:E 1 \ Ehre sei Gott in der Höhe&lt;br /&gt;
Fwv D:E 2 \ Er hat grosse Dinge an mir getan&lt;br /&gt;
Fwv D:E 3 \ Es erhub sich ein Streit&lt;br /&gt;
Fwv D:E 4 \ Es haben dir, Herr, die Hoffärtigen&lt;br /&gt;
Fwv D:E 5 \ Es wird des Herrn Tag kommen&lt;br /&gt;
Fwv D:E 6 \ Es wird ein unbarmherzig Gericht&lt;br /&gt;
Fwv D:G 1 \ Gehet zu seinen Toren ein&lt;br /&gt;
Fwv D:G 2 \ Gelobet sei der Herr täglich&lt;br /&gt;
Fwv D:G 3 \ Gottes und Marien Kind&lt;br /&gt;
Fwv D:G 4 \ Gott hat die Zeit der Unwissenheit übersehen&lt;br /&gt;
Fwv D:G 5 \ Gott ist die Liebe&lt;br /&gt;
Fwv D:G 6 \ Gott ist die Liebe&lt;br /&gt;
Fwv D:G 7 \ Gott ist ein rechter Richter&lt;br /&gt;
Fwv D:G 8 \ Gott will, dass allen Menschen&lt;br /&gt;
Fwv D:G 9 \ Gott wir warten deiner Güte&lt;br /&gt;
Fwv D:G10 \ Gott wir warten deiner Güte&lt;br /&gt;
Fwv D:H 1 \ Herr, gehe nicht ins Gericht&lt;br /&gt;
Fwv D:H 2 \ Herr, lehre uns bedenken&lt;br /&gt;
Fwv D:H 3 \ Herr, wenn Trübsal da ist&lt;br /&gt;
Fwv D:I 1 \ Ich bin der Weg&lt;br /&gt;
Fwv D:I 2 \ Ich danke dem Herrn von ganzem Herzen&lt;br /&gt;
Fwv D:I 3 \ Ich freue mich im Herrn&lt;br /&gt;
Fwv D:I 4 \ Ich halte mich, Herr, zu deinen Altar&lt;br /&gt;
Fwv D:I 5 \ Ich hebe meine Augen auf&lt;br /&gt;
Fwv D:I 6 \ Ich hoffe darauf, dass du so gnädig bist&lt;br /&gt;
Fwv D:I 7 \ Ich war tot, und siehe, ich bin lebendig&lt;br /&gt;
Fwv D:I 8 \ In der Welt habt ihr Angst&lt;br /&gt;
Fwv D:J 1 \ Jauchzet dem Herrn alle Welt; Edition 2008 Gottfried Gille for [http://www.primalamusica.com/erol.html ''Prima la musica!'']&lt;br /&gt;
Fwv D:K 1 \ Kommet her zu mir alle&lt;br /&gt;
Fwv D:K 2 \ Kündlich gross ist das gottselige Geheimnis&lt;br /&gt;
Fwv D:L 1 \ Leben wir, so leben wir dem Herrn&lt;br /&gt;
Fwv D:L 2 \ Lobe den Herrn, meine Seele&lt;br /&gt;
Fwv D:L 3 \ Lobe den Herrn, meine Seele&lt;br /&gt;
Fwv D:M 1 \ Mein Seel erhebt den Herren mein&lt;br /&gt;
Fwv D:N 1 \ Niemand kennet den Sohn&lt;br /&gt;
Fwv D:N 2 \ Niemand kennet den Sohn&lt;br /&gt;
Fwv D:R 1 \ Rast und tobt, ihr stolzen Feinde&lt;br /&gt;
Fwv D:S 1 \ Sage mir an, du , den meine Seele liebet&lt;br /&gt;
Fwv D:S 2 \ Sanftes Brausen, süsses Sausen; Edition 2008 Gottfried Gille for [http://www.primalamusica.com/erol.html ''Prima la musica!'']&lt;br /&gt;
Fwv D:S 3 \ Seid untereinander freundlich, herzlich&lt;br /&gt;
Fwv D:S 4 \ Sei getreu bis in den Tod&lt;br /&gt;
Fwv D:S 5 \ Selig sind, die nicht sehen und doch gläuben&lt;br /&gt;
Fwv D:S 6 \ Siehe um Trost war mir sehr bange&lt;br /&gt;
Fwv D:S 7 \ Siehe zu, dass deine Gottesfurcht nicht&lt;br /&gt;
Fwv D:T 1 \ Trachtet am ersten nach dem Reiche Gottes&lt;br /&gt;
Fwv D:U 1 \ Unser Wandel ist im Himmel&lt;br /&gt;
Fwv D:W 1 \ Wachet und betet, das ihr nicht in Anfechtung&lt;br /&gt;
Fwv D:W 2 \ Welt und Teufel, tobt ihr noch&lt;br /&gt;
Fwv D:W 3 \ Welt, du magst mich immer hassen (fragment)&lt;br /&gt;
Fwv D:W 4 \ Wer sich selbst erhöhet&lt;br /&gt;
Fwv D:W 5 \ Wie Gott liebt und vergibt&lt;br /&gt;
Fwv D:W 6 \ Will mir jemand nachfolgen&lt;br /&gt;
Fwv D:W 7 \ Wirf dein Anliegen auf den Herrn&lt;br /&gt;
Fwv D:W 8 \ Wir müssen alle offenbar werden&lt;br /&gt;
Fwv D:W 9 \ Wir wissen, dass der Sohn Gottes&lt;br /&gt;
Fwv D:Z 1 \ Zion mach in deinen Toren&lt;br /&gt;
Fwv D:Z 2 \ Zur Mitternacht war ein Geschrei (fragment)

'''Motets'''&lt;br /&gt;
Fwv E:B 1 \ Beschliesset einen Rat

'''Passion oratorios'''&lt;br /&gt;
Fwv F: 1 \ Brockes Passion

'''Masses'''&lt;br /&gt;
Fwv G:B 1 \ Missa brevis in B flat major&lt;br /&gt;
Fwv G:D 1 \ Mass in D major&lt;br /&gt;
Fwv G:D 2 \ Mass in D major&lt;br /&gt;
Fwv G:D 3 \ Missa brevis in D major&lt;br /&gt;
Fwv G:D 4 \ Missa brevis in D major&lt;br /&gt;
Fwv G:D 5 \ Missa brevis in D major&lt;br /&gt;
Fwv G:D 6 \ Credo in D major&lt;br /&gt;
Fwv G:D 7 \ Credo in D major&lt;br /&gt;
Fwv G:e 1 \ German Mass in E minor&lt;br /&gt;
Fwv G:F 1 \ Mass in F major&lt;br /&gt;
Fwv G:F 2 \ Missa brevis in F major&lt;br /&gt;
Fwv G:F 3 \ Quoniam in F major&lt;br /&gt;
Fwv G:g 1 \ Missa brevis in G minor

'''Canticles'''&lt;br /&gt;
Fwv H:G 1 \ Magnificat in G major

'''Psalm settings'''&lt;br /&gt;
Fwv I:B 1 \ Beatus vir in G major&lt;br /&gt;
Fwv I:C 1 \ Confiteor in D major&lt;br /&gt;
Fwv I:D 1 \ Dixit Dominus in G major&lt;br /&gt;
Fwv I:L 1 \ Laetatus sum in F sharp minor&lt;br /&gt;
Fwv I:L 2 \ Lauda Jerusalem in D major&lt;br /&gt;
Fwv I:L 3 \ Laudate Pueri Dominum in A major&lt;br /&gt;
Fwv I:N 1 \ Nisi Dominus in D major

'''Orchestral suites'''&lt;br /&gt;
Fwv K:a 1 \ Suite for 2 flutes, 2 oboes &amp; bassoon in A minor&lt;br /&gt;
Fwv K:A 1 \ Suite for violin, 2 oboes &amp; 2 bassoons in A major&lt;br /&gt;
Fwv K:A 2 \ Suite for 2 flutes, 2 oboes &amp; bassoon in A major&lt;br /&gt;
Fwv K:a 2 \ Suite for 2 oboes &amp; 2 bassoons in A minor&lt;br /&gt;
Fwv K:a 3 \ Suite for 2 oboes &amp; 2 bassoons in A minor&lt;br /&gt;
Fwv K:A 3 \ Suite for 2 oboes &amp; bassoon in A major&lt;br /&gt;
Fwv K:a 4 \ Suite for 2 oboes &amp; bassoon in A minor&lt;br /&gt;
Fwv K:B 1 \ Suite for 2 orchestras (3 flutes, 3 oboes, 2 bassoons, strings and basso continuo in each orchestra)&lt;br /&gt;
Fwv K:B 2 \ Suite for 2 flutes, 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 3 \ Suite for 2 flutes, 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 4 \ Suite for 2 flutes, 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 5 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 6 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 7 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 8 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B 9 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:B10 \ Suite for 2 oboes &amp; bassoon in B flat major&lt;br /&gt;
Fwv K:C 1 \ Suite for 2 oboes &amp; 2 bassoons in C major * Modern edition: Hans-Heinrich Kriegel; Bochum: 1998&lt;br /&gt;
Fwv K:C 2 \ Suite in C major (lost)&lt;br /&gt;
Fwv K:C 3 \ Suite for 2 oboes &amp; bassoon in C major (lost)&lt;br /&gt;
Fwv K:D 1 \ Suite for 3 trumpets &amp; winds in D major&lt;br /&gt;
Fwv K:d 1 \ Suite in D minor (lost)&lt;br /&gt;
Fwv K:d 2 \ Suite for 3 flutes, 3 oboes &amp; bassoon in D minor&lt;br /&gt;
Fwv K:D 2 \ Suite for 3 trumpets &amp; winds in D major&lt;br /&gt;
Fwv K:D 3 \ Suite for 2 trumpets in D major&lt;br /&gt;
Fwv K:D 3 \ Suite for 2 trumpets, 3 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:d 3 \ Suite for chalumeau, 2 oboes &amp; bassoon in D minor&lt;br /&gt;
Fwv K:d 4 \ Suite for 2 oboes &amp; bassoon in D minor&lt;br /&gt;
Fwv K:D 4 \ Suite for 2 trumpets, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:d 5 \ Suite for 2 oboes &amp; bassoon in D minor&lt;br /&gt;
Fwv K:D 5 \ Suite for 3 horns, 3 oboes &amp; 2 bassoons in D major&lt;br /&gt;
Fwv K:d 6 \ Suite for 2 oboes &amp; bassoon in D minor&lt;br /&gt;
Fwv K:D 6 \ Suite for wind septet in D major&lt;br /&gt;
Fwv K:D 7 \ Suite for wind septet in D major&lt;br /&gt;
Fwv K:D 8 \ Suite for wind septet in D major&lt;br /&gt;
Fwv K:D 9 \ Suite for wind septet in D major&lt;br /&gt;
Fwv K:D10 \ Suite for wind septet in D major&lt;br /&gt;
Fwv K:D11 \ Suite in D major (lost)&lt;br /&gt;
Fwv K:D12 \ Suite for 2 horns, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D13 \ Suite for 2 horns, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D14 \ Suite for 2 horns, 2 oboes &amp; bassoon in D major * Modern edition in preparation by Kim Patrick Clow for [http://www.primalamusica.com/erol.html ''Prima la musica!'']&lt;br /&gt;
Fwv K:D15 \ Suite for 2 horns, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D16 \ Suite for 2 flutes, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D17 \ Suite for 2 flutes, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D18 \ Suite for 2 flutes, 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D19 \ Suite in D major (lost)&lt;br /&gt;
Fwv K:D20 \ Suite for 2 oboes &amp; 2 bassoons in D major&lt;br /&gt;
Fwv K:D21 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D22 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D23 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D24 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D25 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:D26 \ Suite for 2 oboes &amp; bassoon in D major&lt;br /&gt;
Fwv K:e 1 \ Suite for 2 flutes, 2 oboes &amp; bassoon in E minor&lt;br /&gt;
Fwv K:e 2 \ Suite for 2 oboes &amp; bassoon in E minor&lt;br /&gt;
Fwv K:e 3 \ Suite for 2 oboes &amp; bassoon in E minor&lt;br /&gt;
Fwv K:Es1 \ Suite for 2 oboes &amp; bassoon in E flat major&lt;br /&gt;
Fwv K:F 1 \ Suite for wind septet in F major&lt;br /&gt;
Fwv K:F 2 \ Suite in F major (lost)&lt;br /&gt;
Fwv K:F 3 \ Suite for 2 horns, 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv K:F 4 \ Suite for 2 horns, 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv K:F 5 \ Suite for 2 horns, 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv K:F 6 \ Suite for 2 flutes, 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv K:F 7 \ Suite for 2 oboes &amp; 2 bassoons in F major * Modern edition in preparation by Kim Patrick Clow for [http://www.primalamusica.com/erol.html ''Prima la musica!''] &lt;br/&gt;
Fwv K:F 8 \ Suite for 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv K:F 9 \ Suite in F major (lost)&lt;br /&gt;
Fwv K:g 1 \ Suite for 2 oboes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:G 1 \ Suite for violin &amp; wind septet in G major&lt;br /&gt;
Fwv K:g 1a \ Suite for 2 flutes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:g 2 \ Suite for 3 oboes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:G 2 \ Suite for violin &amp; oboe concertante in G major * Modern edition in preparation by Kim Patrick Clow for [http://www.primalamusica.com/erol.html ''Prima la musica!'']&lt;br /&gt;
Fwv K:g 3 \ Suite for 2 oboes &amp; 2 bassoons in G minor&lt;br /&gt;
Fwv K:G 3 \ Suite for wind septet in G major&lt;br /&gt;
Fwv K:g 4 \ Suite for 2 oboes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:G 4 \ Suite for wind septet in G major&lt;br /&gt;
Fwv K:g 5 \ Suite for 2 oboes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:G 5 \ Suite for 4 horns, 3 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G 6 \ Suite in G major (lost)&lt;br /&gt;
Fwv K:g 6 \ Suite in G minor (lost)&lt;br /&gt;
Fwv K:g 7 \ Suite for 2 oboes &amp; bassoon in G minor&lt;br /&gt;
Fwv K:G 7 \ Suite in G major (lost)&lt;br /&gt;
Fwv K:G 8 \ Suite for 3 flutes &amp; 2 bassoons in G major * Modern edition in preparation by Hans-Heinrich Kriegel for [http://www.primalamusica.com/erol.html ''Prima la musica!''] &lt;br /&gt;
Fwv K:G 9 \ Suite for 2 oboes &amp; 2 bassoons in G major&lt;br /&gt;
Fwv K:G10 \ Suite for 2 flutes, 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G11 \ Suite for 2 flutes, 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G12 \ Suite for 2 flutes, 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G13 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G14 \ Suite for 2 flutes, 2 oboes &amp; bassoon in G major (lost)&lt;br /&gt;
Fwv K:G15 \ Suite for 3 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G16 \ Suite for 2 oboes &amp; bassoon in G major * Modern edition in preparation by Kim Patrick Clow for [http://www.primalamusica.com/erol.html ''Prima la musica!''] &lt;br /&gt;
Fwv K:G17 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G18 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G19 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G20 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G21 \ Suite for 2 oboes &amp; bassoon in G major&lt;br /&gt;
Fwv K:G22 \ Suite for 2 oboes &amp; bassoon in G major (lost)

'''Concertos'''&lt;br /&gt;
Fwv L:a 1 \ Oboe Concerto in A minor&lt;br /&gt;
Fwv L:A 1 \ Violin Concerto in A major&lt;br /&gt;
Fwv L:A 2 \ Violin Concerto in A major&lt;br /&gt;
Fwv L:a 2 \ Violin Concerto in A minor&lt;br /&gt;
Fwv L:A 3 \ Violin Concerto in A major&lt;br /&gt;
Fwv L:B 1 \ Concerto for chalumeau in B flat major&lt;br /&gt;
Fwv L:B 2 \ Violin Concerto in B flat major&lt;br /&gt;
Fwv L:B 3 \ Concerto grosso in B flat major&lt;br /&gt;
Fwv L:B 4 \ Concerto grosso in B flat major&lt;br /&gt;
Fwv L:c 1 \ Bassoon Concerto in C minor&lt;br /&gt;
Fwv L:C 1 \ Oboe Concerto in C major&lt;br /&gt;
Fwv L:C 2 \ Bassoon Concerto in C major&lt;br /&gt;
Fwv L:c 2 \ Bassoon Concerto in C minor&lt;br /&gt;
Fwv L:C 3 \ Concerto for flute, violin, bassoon &amp; b.c. in C major&lt;br /&gt;
Fwv L:D 1 \ Concerto for trumpet &amp; 2 oboes in D major&lt;br /&gt;
Fwv L:d 1 \ Lute Concerto in D minor&lt;br /&gt;
Fwv L:d 2 \ Oboe Concerto in D minor&lt;br /&gt;
Fwv L:D 2 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:d 3 \ Oboe Concerto in D minor&lt;br /&gt;
Fwv L:D 3 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:d 4 \ Concerto for oboe and violin in D minor&lt;br /&gt;
Fwv L:D 4 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:D 4a \ Violin Concerto in D major (Fwv L:D 4a)&lt;br /&gt;
Fwv L:d 5 \ Concerto in D minor (lost)&lt;br /&gt;
Fwv L:D 5 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:d 6 \ Concerto for flute, violin, bassoon &amp; b.c. in D minor&lt;br /&gt;
Fwv L:D 6 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:d 7 \ Concerto grosso in D minor&lt;br /&gt;
Fwv L:D 7 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:D 8 \ Violin Concerto in D major&lt;br /&gt;
Fwv L:D 9 \ Concerto for 2 flutes in D major&lt;br /&gt;
Fwv L:D10 \ Concerto for flute and oboe in D major&lt;br /&gt;
Fwv L:D11 \ Concerto for flute and oboe in D major&lt;br /&gt;
Fwv L:D12 \ Concerto in D major (lost)&lt;br /&gt;
Fwv L:D13 \ Concerto for triple wind choirs in D major&lt;br /&gt;
Fwv L:D14 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D15 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D16 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D17 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D18 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D19 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D20 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D21 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:D22 \ Concerto grosso in D major&lt;br /&gt;
Fwv L:e 1 \ Concerto for flute and oboe in E minor&lt;br /&gt;
Fwv L:Es1 \ Concerto grosso in E flat major&lt;br /&gt;
Fwv L:F 1 \ Concerto in F major (lost)&lt;br /&gt;
Fwv L:F 2 \ Violin Concerto in F major&lt;br /&gt;
Fwv L:F 3 \ Concerto grosso in F major&lt;br /&gt;
Fwv L:F 4 \ Concerto grosso in F major&lt;br /&gt;
Fwv L:F 5 \ Concerto grosso in F major&lt;br /&gt;
Fwv L:G 1 \ Concerto in G major (lost)&lt;br /&gt;
Fwv L:g 1 \ Oboe Concerto in G minor&lt;br /&gt;
Fwv L:g 2 \ Concerto in G minor (lost)&lt;br /&gt;
Fwv L:G 2 \ Oboe Concerto in G major&lt;br /&gt;
Fwv L:g 3 \ Concerto in G minor (lost)&lt;br /&gt;
Fwv L:G 3 \ Oboe Concerto in G major&lt;br /&gt;
Fwv L:g 4 \ Concerto for 2 oboes in G minor&lt;br /&gt;
Fwv L:G 4 \ Violin Concerto in G major&lt;br /&gt;
Fwv L:G 5 \ Violin Concerto in G major&lt;br /&gt;
Fwv L:G 6 \ Violin Concerto in G major&lt;br /&gt;
Fwv L:G 7 \ Violin Concerto in G major&lt;br /&gt;
Fwv L:G 8 \ Concerto for flute and oboe in G major&lt;br /&gt;
Fwv L:G 9 \ Concerto for 2 oboes in G major&lt;br /&gt;
Fwv L:G10 \ Concerto for 2 oboes in G major&lt;br /&gt;
Fwv L:G11 \ Concerto grosso in G major&lt;br /&gt;
Fwv L:G12 \ Concerto grosso in G major&lt;br /&gt;
Fwv L:G13 \ Concerto grosso in G major&lt;br /&gt;
Fwv L:h 1 \ Concerto for flute and oboe in B minor&lt;br /&gt;
Fwv L:h 2 \ Concerto for flute and oboe in B minor

'''Symphonies'''&lt;br /&gt;
Fwv M:A 1 \ Symphony in A major&lt;br /&gt;
Fwv M:a 1 \ Symphony in A minor&lt;br /&gt;
Fwv M:A 2 \ Symphony in A major&lt;br /&gt;
Fwv M:A 3 \ Symphony in A major&lt;br /&gt;
Fwv M:B 1 \ Symphony in B flat major&lt;br /&gt;
Fwv M:B 2 \ Symphony in B flat major&lt;br /&gt;
Fwv M:B 3 \ Symphony in B flat major&lt;br /&gt;
Fwv M:C 1 \ Symphony in C major&lt;br /&gt;
Fwv M:D 1 \ Symphony in D major&lt;br /&gt;
Fwv M:D 2 \ Symphony in D major&lt;br /&gt;
Fwv M:F 1 \ Symphony in F major&lt;br /&gt;
Fwv M:Fis \ Symphony in F sharp major&lt;br /&gt;
Fwv M:G 1 \ Symphony in G major&lt;br /&gt;
Fwv M:g 1 \ Symphony in G minor&lt;br /&gt;
Fwv M:G 2 \ Symphony in G major&lt;br /&gt;
Fwv M:G 3 \ Symphony in G major&lt;br /&gt;
Fwv M:G 4 \ Symphony in G major&lt;br /&gt;
Fwv M:G 5 \ Symphony in G major&lt;br /&gt;
Fwv M:G 6 \ Symphony in G major

'''Chamber pieces'''&lt;br /&gt;
Fwv N:a 1 \ Trio for 2 violins &amp; continuo in A minor&lt;br /&gt;
Fwv N:B 1 \ Quartet for recorder, oboe, violin &amp; continuo in B flat major&lt;br /&gt;
Fwv N:B 2 \ Quartet for 2 oboes, bassoon &amp; continuo in B flat major&lt;br /&gt;
Fwv N:B 3 \ Trio for 2 oboes &amp; continuo in B flat major&lt;br /&gt;
Fwv N:C 1 \ Bassoon Sonata in C major&lt;br /&gt;
Fwv N:c 1 \ Quartet for 2 violins, pasetel &amp; continuo in C minor&lt;br /&gt;
Fwv N:c 2 \ Trio for 2 violins &amp; continuo in C minor&lt;br /&gt;
Fwv N:d 1 \ Quartet for 2 oboes, bassoon &amp; continuo in D minor&lt;br /&gt;
Fwv N:D 1 \ Quartet for flute, violin, bassoon &amp; continuo in D major&lt;br /&gt;
Fwv N:d 2 \ Quartet for 2 oboes, bassoon &amp; continuo in D minor&lt;br /&gt;
Fwv N:D 2 \ Trio for flute, violin &amp; continuo in D major&lt;br /&gt;
Fwv N:d 3 \ Quartet for 2 violins, viola &amp; b.c. in D minor&lt;br /&gt;
Fwv N:D 3 \ Trio for flute, violin &amp; continuo in D major&lt;br /&gt;
Fwv N:D 4 \ Trio for 2 violins &amp; continuo in D major&lt;br /&gt;
Fwv N:d 4 \ Trio for 2 violins &amp; continuo in D minor&lt;br /&gt;
Fwv N:e 1 \ Trio for 2 oboes &amp; continuo in E minor&lt;br /&gt;
Fwv N:E 1 \ Trio for 2 violins &amp; continuo in E major&lt;br /&gt;
Fwv N:F 1 \ Quartet for 2 oboes &amp; 2 bassoons in F major&lt;br /&gt;
Fwv N:F 2 \ Quartet for 2 oboes, bassoon &amp; continuo in F major&lt;br /&gt;
Fwv N:F 3 \ Quartet oboe, violin, horn &amp; continuo in F major&lt;br /&gt;
Fwv N:F 4 \ Quartet for oboe, violin, bassoon &amp; continuo in F major&lt;br /&gt;
Fwv N:F 5 \ Trio for recorder, bassoon &amp; continuo in F major&lt;br /&gt;
Fwv N:F 6 \ Trio for 2 oboes &amp; bassoon in F major&lt;br /&gt;
Fwv N:F 7 \ Trio for 2 violins &amp; continuo in F major&lt;br /&gt;
Fwv N:g 1 \ Quartet for 2 oboes, bassoon &amp; continuo in G minor&lt;br /&gt;
Fwv N:G 1 \ Quartet for flute, 2 recorders &amp; continuo in G major&lt;br /&gt;
Fwv N:g 2 \ Trio for 2 oboes &amp; continuo in G minor&lt;br /&gt;
Fwv N:G 2 \ Trio for flute, violin &amp; continuo in G major&lt;br /&gt;
Fwv N:G 3 \ Trio for flute, violin &amp; continuo in G major&lt;br /&gt;
Fwv N:G 5 \ Trio for 2 violins &amp; continuo in G major&lt;br /&gt;
Fwv N:G 6 \ Trio for 2 violins &amp; continuo in G major

'''Doubtful authenticity'''&lt;br /&gt;
Fwv O:F 1 \ Fantasie in F major

'''Arrangements of works by other composers'''&lt;br /&gt;
Fwv Q:D 1 \ Symphony in D major after Maximilian III

==External links==
*[http://www.fasch.net/english/homepage.htm International Fasch Society]
*{{IckingArchive|idx=Fasch|name=Johann Friedrich Fasch}}
*{{IMSLP|id=Fasch, Johann Friedrich}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Fasch, Johann Friedrich
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = German violinist and composer
|DATE OF BIRTH     = 15 April 1688
|PLACE OF BIRTH    = Buttelstedt, Germany
|DATE OF DEATH     = 5 December 1758
|PLACE OF DEATH    = Zerbst, Germany
}}

{{DEFAULTSORT:Fasch, Johann Friedrich}}
[[Category:1688 births]]
[[Category:1758 deaths]]
[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]

[[da:Johann Friedrich Fasch]]
[[de:Johann Friedrich Fasch]]
[[es:Johann Friedrich Fasch]]
[[eo:Johann Friedrich Fasch]]
[[fr:Johann Friedrich Fasch]]
[[he:יוהאן פרידריך פאש]]
[[ja:ヨハン・フリードリヒ・ファッシュ]]
[[no:Johann Friedrich Fasch]]
[[oc:Johann Friedrich Fasch]]
[[pl:Johann Friedrich Fasch]]
[[fi:Johann Friedrich Fasch]]</text>
    </revision>
  </page>
  <page>
    <title>Wilhelm Friedemann Bach</title>
    <id>250974</id>
    <revision>
      <id>310752080</id>
      <timestamp>2009-08-29T18:33:15Z</timestamp>
      <contributor>
        <username>DavidRF</username>
        <id>1302553</id>
      </contributor>
      <comment>/* External links */ fix flat</comment>
      <text xml:space="preserve">[[Image:Wilhelm Friedemann Bach.jpg|right|framed|Wilhelm Friedemann Bach, in a portrait by Wilhelm Weitsch]]

'''Wilhelm Friedemann Bach''' (22 November 1710 &amp;ndash; 1 July 1784), the second child and eldest son of [[Johann Sebastian Bach]] and [[Maria Barbara Bach]], was a German composer and performer. Despite acknowledged genius as an organist, improviser and composer, his income and employment finally became unstable and he died in poverty.

==Biography==
Wilhelm Friedemann (hereafter W.F. or Friedemann) was born in [[Weimar]], where his father was employed as organist and chamber musician to the Duke of Saxe-Weimar. In July of 1720, when W.F. was nine, his mother [[Maria Barbara Bach]] died suddenly; [[Johann Sebastian Bach]] remarried in December of 1721. J. S. Bach supervised Friedemann's musical education and career with great attention. The graded course of keyboard studies and composition that J. S. Bach provided is documented in the ''Clavier-Büchlein vor Wilhelm Friedemann Bach'' (with entries by both father and son) This education also included (parts of) the [[French Suites]], (Two-Part) Inventions, (Three-Part) Sinfonias (popularly known as &quot;Inventions&quot;), the first volume of the [[Well-Tempered Clavier]], and the six Trio Sonatas for organ. At the age of 16 he went to [[Merseburg]] to learn the violin with his teacher [[Johann Gottlieb Graun]].

In addition to his musical training, W.F. received formal schooling beginning in Weimar. When J.S. Bach took the post of cantor of the St. Thomas Church in [[Leipzig]] (in 1723), he enrolled W.F. in the associated [[Thomasschule]]. (J.S. Bach - who had himself been orphaned at the age of 10 - said that he took the position in Leipzig partly because of the educational opportunities it afforded his children). On graduating in 1729, W. F. Bach enrolled in Leipzig University, a renowned institution at the time. He maintained a lifelong interest in mathematics, and continued to study it privately during his first job in [[Dresden]].

He was appointed in 1733 to the position of organist of the [[Sophienkirche|St. Sophia's Church]] at [[Dresden]]. In competing for the post he played a new version of his father’s Prelude and Fugue in G Major, BWV 541. The judge described Friedemann as clearly superior to the other two candidates. He remained a renowned organist throughout his life. Among his many pupils in Dresden was [[Johann Gottlieb Goldberg]], the keyboardist whose name is erroneously enshrined in the popular nickname given to J. S. Bach's 1742-publication, &quot;Aria with Diverse Variations&quot; - that is, &quot;The [[Goldberg Variations]].&quot; (The scholar [[Peter Williams]] has discredited the story linking the work to Goldberg, which states that J. S. Bach wrote the work for the Russian Ambassador Count Hermann Carl von Keyserlingk, who would ask his employee, Goldberg, to play variations for him to ward off insomnia. Williams instead has argued that J.S. Bach wrote the variations to provide a display piece for Friedemann). &lt;ref&gt; Williams, Peter (2001) Bach: The Goldberg Variations. Cambridge: Cambridge University Press. ISBN 0-521-00193-5.&lt;/ref&gt;

In 1746 Wilhelm Friedemann became organist of the Liebfrauenkirche at [[Halle, Saxony-Anhalt|Halle]]. In 1751, W.F. married Dorothea Elisabeth Georgi (1721–1791) - who was 11 years his junior and who outlived him by seven years. Dorothea was the daughter of a tax collector. The landed estates she inherited caused the family to be placed in a high tax bracket by Halle authorities, who were raising taxes to meet the revenue demands of the [[Seven Years War]]. To raise cash for these payments, she sold part of her property in 1770. The couple produced two sons and a daughter, Friederica Sophia (born in 1757), who was the only one of their offspring to live past infancy. Friederica Sophia eventually migrated to America.

W.F. Bach was deeply unhappy in Halle almost from the beginning of his tenure. In 1749 he was involved in a conflict with the Liebfrauenkirche's cantor Gottfried Mittag, who had misappropriated funds that were due to Friedemann. In 1750 the church authorities reprimanded Friedemann for overstaying a leave of absence (he was in Leipzig settling his father's estate). In 1753 he made his first documented attempt to find another post, and thereafter made several others. All these attempts failed.

In 1762, he negotiated for the post of Kapellmeister to the court of [[Darmstadt]]; although he protracted the negotiations for reasons that are opaque to historians and did not actively take the post, he nevertheless was appointed &quot;Hofkapellmeister of Hessen-Darmstadt&quot;, a title he used in the dedication of his ''Harpsichord Concerto in E minor.''

In June 1764, he left the job in Halle without any remunerative employment secured elsewhere. His financial situation deteriorated so much that in 1768 he re-applied for his old job in Halle, without success. He thereafter supported himself by teaching; not surprisingly, he died in penury. After leaving Halle in 1770, he lived for several years (1771-1774) in [[Braunschweig]] where he applied in vain for the post of an organist at the St. Catherine's church. Then he moved to [[Berlin]], where he initially was welcomed by the princess Anna Amalia (the sister opf [[Frederick the Great]]), but later fell in disgrace under still opaque circumstances. In Berlin he lived until his death.

Earlier biographers have concluded that his &quot;wayward&quot; and difficult personality reduced his ability to gain and hold secure employment, but the scholar David Schulenberg writes (in the ''Oxford Composer Companion: J.S. Bach'', ed. Malcolm Boyd, 1999) that &quot;he may also have been affected by changing social conditions that made it difficult for a self-possessed virtuoso to succeed in a church- or court-related position&quot; (p. 39). Schulenberg adds, &quot;he was evidently less willing than most younger contemporaries to compose fashionable, readily accessible music.&quot;

W.F. Bach was renowned for his improvisatory skills. It is speculated that when in Leipzig his father's accomplishments set so high a bar that he focused on improvisation rather than composition. Evidence adduced for this speculation includes the fact that his compositional output increased in Dresden and Halle. 

His compositions include many church [[cantata]]s and instrumental works, of which the most notable are the [[fugue]]s, [[polonaise]]s and [[fantasia (music)|fantasia]]s for [[clavier]], and the duets for two flutes. He incorporated more elements of the [[counterpoint|contrapuntal]] style learned from his father than any of his three composer brothers, but his use of the style has an individualistic and improvisatory edge which endeared his work to musicians of the late 19th century, when there was something of a revival of his reputation.

Friedemann's students included [[Johann Nikolaus Forkel]], who in 1802 published the first biography of Johann Sebastian Bach; Friedemann, as well as his younger brother [[Carl Philipp Emanuel Bach]], were major informants for Forkel. Friedemann has in earlier biographies been called a poor custodian of his father's musical manuscripts, many of which he inherited; however, more recent scholars are uncertain how many were lost. It is known that Friedemann sold some of his father's collection to raise cash to pay debts (including a large sale in 1759 to Johann Georg Nacke). Also, his daughter took some of the J.S. Bach manuscripts with her when she moved to America, and these were passed on to her descendants, who inadvertently destroyed many of them. Others were passed on through his only known Berlin pupil, Sarah [[Itzig]] Levy, the daughter of a prominent Jewish family in Berlin and great-aunt of [[Felix Mendelssohn]]; it was she who gave Mendelssohn the manuscript of the ''[[St. Matthew Passion]],'' which she had received from W.F. Bach. Some of his scores were collected by [[Carl Friedrich Christian Fasch]] and his pupil [[Carl Friedrich Zelter]], the teacher of [[Felix Mendelssohn]] and through them these materials were placed in the library of the [[Berlin Singakademie]], which Fasch founded in 1791 and Zelter took charge of in 1800. 

Friedemann is known occasionally to have claimed credit for music written by his father, but this was in keeping with common musical practices in the era.  

Wilhelm Friedemann Bach is not to be confused with [[Wilhelm Friedrich Ernst Bach]], his nephew, also a composer.  Friedemann himself may have been one of the models for [[Denis Diderot|Diderot's]] philosophical dialogue [[Rameau's Nephew]] (Le Neveu de Rameau).

==Works list==
'''Keyboard Works'''&lt;br /&gt;
BR A 1 \ Keyboard Sonata in C major (F200)&lt;br /&gt;
BR A 2 \ Keyboard Sonata in C major (F 1)&lt;br /&gt;
BR A 3 \ Keyboard Sonata in C major (F 2)&lt;br /&gt;
BR A 4 \ Keyboard Sonata in D major (F 3)&lt;br /&gt;
BR A 5 \ Keyboard Sonata in D major (F 4)&lt;br /&gt;
BR A 6 \ Sonata for 2 harpsichord in D major (F 11) (lost)&lt;br /&gt;
BR A 7 \ Keyboard Sonata in E flat major (F 5)&lt;br /&gt;
BR A 8 \ Keyboard Sonata in E flat major (F201)&lt;br /&gt;
BR A 9 \ Keyboard Sonata in E minor (F204) (lost)&lt;br /&gt;
BR A 10 \ Keyboard Sonata in F major (F202)&lt;br /&gt;
BR A 11 \ Keyboard Sonata in F major (F 6)&lt;br /&gt;
BR A 12 \ Sonata for 2 harpsichord in F major (F 10)&lt;br /&gt;
BR A 13 \ Concerto for harpsichord solo in G major (F 40)&lt;br /&gt;
BR A 14 \ Keyboard Sonata in G major (F 7)&lt;br /&gt;
BR A 15 \ Keyboard Sonata in A major (F 8)&lt;br /&gt;
BR A 16 \ Keyboard Sonata in B flat major (F 9)&lt;br /&gt;
BR A 17 \ Fantasia for harpsichord in C major (F 14)&lt;br /&gt;
BR A 18 \ Fantasia for harpsichord in C minor (F 15)&lt;br /&gt;
BR A 19 \ Fantasia for harpsichord in C minor (F 16)&lt;br /&gt;
BR A 20 \ Fantasia for harpsichord in D major (F 17)&lt;br /&gt;
BR A 21 \ Fantasia for harpsichord in D minor (F 18)&lt;br /&gt;
BR A 22 \ Fantasia for harpsichord in D minor (F 19)&lt;br /&gt;
BR A 23 \ Fantasia for harpsichord in E minor (F 20)&lt;br /&gt;
BR A 24 \ Fantasia for harpsichord in E minor (F 21)&lt;br /&gt;
BR A 25 \ Fantasia for harpsichord in G major (F 22)&lt;br /&gt;
BR A 26 \ Fantasia for harpsichord in A minor (F 23)&lt;br /&gt;
BR A 27-38 \ Twelve Polonaises (F 12)&lt;br /&gt;
BR A 39 \ Harpsichord Suite in G minor (F 24)&lt;br /&gt;
BR A 40-41 \ 2 German Dances for harpsichord in G minor (F205)&lt;br /&gt;
BR A 42-43 \ 2 Menuets for harpsichord&lt;br /&gt;
BR A 44-47 \ 4 Preludes for harpsichord (F206)&lt;br /&gt;
BR A 48-49 \ 2 pieces for harpsichord (F 25)&lt;br /&gt;
BR A 50 \ Menuetto for harpsichord in F major (F208)&lt;br /&gt;
BR A 51 \ L'imitation de la chasse for harpsichord in C major (F 26)&lt;br /&gt;
BR A 52 \ La Reveille for harpsichord in C major (F 27)&lt;br /&gt;
BR A 53 \ Gigue for harpsichord in G major (F 28)&lt;br /&gt;
BR A 54 \ Prelude for harpsichord in C minor (F 29)&lt;br /&gt;
BR A 55 \ Scherzo for harpsichord in D minor&lt;br /&gt;
BR A 56 \ March for harpsichord in E flat major (F 30)&lt;br /&gt;
BR A 57 \ March for harpsichord in F major&lt;br /&gt;
BR A 58 \ Polonaise for keyboard in C major (F 13)&lt;br /&gt;
BR A 59 \ Ouverture for harpsichord in E major&lt;br /&gt;
BR A 60 \ Andante for harpsichord in E minor (F209)&lt;br /&gt;
BR A 61 \ Allegro non troppo for harpsichord in G major (F203) (lost)&lt;br /&gt;
BR A 62 \ Un poco allegro for harpsichord in C major&lt;br /&gt;
BR A 63-80 \ 18 pieces for clock-organ (F207)&lt;br /&gt;
BR A 81-88 \ Eight fugues for harpsichord (F 31)&lt;br /&gt;
BR A 89 \ Fugue for organ in C minor (F 32)&lt;br /&gt;
BR A 90 \ Fugue for organ in F major (F 33)&lt;br /&gt;
BR A 91 \ Fugue (triple) for organ in F major (F 36)&lt;br /&gt;
BR A 92 \ Fugue for organ in G minor (F 37)&lt;br /&gt;
BR A 93-99 \ 7 Chorale preludes for organ (F 38)&lt;br /&gt;
BR A100 \ Trio on &quot;Allein Gott in der Höh dei Ehr&quot; for organ (F 38) (lost)&lt;br /&gt;
BR A101-104 \ 4 Chorale preludes for organ (lost)&lt;br /&gt;
BWV 534 \ Prelude and Fugue in F minor (once attr. to J.S.Bach)

'''Chamber Music'''&lt;br /&gt;
BR B 1 \ Flute Duetto in E minor (F 54)&lt;br /&gt;
BR B 2 \ Flute Duetto in E flat major (F 55)&lt;br /&gt;
BR B 3 \ Flute Duetto in E flat major (F 56)&lt;br /&gt;
BR B 4 \ Flute Duetto in F major (F 57)&lt;br /&gt;
BR B 5 \ Flute Duetto in F minor (F 58)&lt;br /&gt;
BR B 6 \ Flute Duetto in G major (F 59)&lt;br /&gt;
BR B 7 \ Viola Duetto in C major (F 60)&lt;br /&gt;
BR B 8 \ Viola Duetto in G major (F 61)&lt;br /&gt;
BR B 9 \ Viola Duetto in G minor (F 62)&lt;br /&gt;
BR B10 \ Flute Sonata in F major (F 51) (lost)&lt;br /&gt;
BR B11 \ Flute Sonata in A minor (F 52) (lost)&lt;br /&gt;
BR B12 \ Flute Sonata in D major (F 53) (lost)&lt;br /&gt;
BR B13 \ Trio Sonata in D major (F 47)&lt;br /&gt;
BR B14 \ Trio Sonata in D major (F 48)&lt;br /&gt;
BR B15 \ [[Trio Sonata For Two Flutes|Trio Sonata in A minor (F 49)]]&lt;br /&gt;
BR B16 \ Trio Sonata in B flat major (F 50)&lt;br /&gt;
BR B17 \ Sonata for flute, violin &amp; continuo in F major

'''Orchestral Works'''&lt;br /&gt;
BR C 1 \ Symphony in C major (F 63)&lt;br /&gt;
BR C 2 \ Symphony in F major (F 67)&lt;br /&gt;
BR C 3 \ Symphony in G major (F 68) (lost)&lt;br /&gt;
BR C 4 \ Symphony in G major (F 69) (lost)&lt;br /&gt;
BR C 5 \ Symphony in B flat major (F 71) (lost)&lt;br /&gt;
BR C 6 \ Symphony in A major (F 70) (fragment)&lt;br /&gt;
BR C 7 \ Symphony in D minor (F 65)&lt;br /&gt;
BR C 8 \ Symphony in D major (F 64)&lt;br /&gt;
BR C 9 \ Harpsichord Concerto in D major (F 41)&lt;br /&gt;
BR C10 \ Harpsichord Concerto in E flat major (F 42)&lt;br /&gt;
BR C11 \ Concerto for 2 harpsichords in E flat major (F 46)&lt;br /&gt;
BR C12 \ Harpsichord Concerto in E minor (F 43)&lt;br /&gt;
BR C13 \ Harpsichord Concerto in F major (F 44)&lt;br /&gt;
BR C14 \ Harpsichord Concerto in A minor (F 45)&lt;br /&gt;
BR C15 \ Concerto for flute in D major

'''Liturgical Works'''&lt;br /&gt;
BR E1 \ Mass in G minor (F100)&lt;br /&gt;
BR E2 \ Missa in D minor (F 98)&lt;br /&gt;
BR E3 \ Heilig ist Gott in D major (F 78a)&lt;br /&gt;
BR E4 \ Agnus Dei in D minor&lt;br /&gt;
BR E5 \ Amen (F 99)&lt;br /&gt;
BR E6 \ Halleluja (F 99)&lt;br /&gt;
BR E7 \ Lobet Gott, unsern Herrn in D major (F 78b)

'''Sacred Cantatas'''&lt;br /&gt;
BR F 1 \ Lasset uns ablegen die Werke der Finsternis (F 80)&lt;br /&gt;
BR F 2 \ O Wunder ! wer kann dieses fassen? (F 92)&lt;br /&gt;
BR F 3 \ Ach, daß du den Himmel zerrissest (F 93)&lt;br /&gt;
BR F 4 \ Ehre sei Gott in der Höhe (F250)&lt;br /&gt;
BR F 5 \ Der Herr zu deiner Rechten (F 73)&lt;br /&gt;
BR F 6 \ Wir sind Gottes Werk (F 74)&lt;br /&gt;
BR F 7 \ Wie schön leuchtet der Morgenstern (F 82)&lt;br /&gt;
BR F 8 \ Cantata for Palm Sunday (lost)&lt;br /&gt;
BR F 9 \ Erzittert und fallet (F 83)&lt;br /&gt;
BR F10 \ Auf, Christen, posaunt&lt;br /&gt;
BR F11 \ Gott fähret auf mit Jauchzen (F 75)&lt;br /&gt;
BR F12 \ Wo geht die Lebensreise hin? (F 91)&lt;br /&gt;
BR F13 \ Wer mich liebet, der wird mein Wort halten (F 72)&lt;br /&gt;
BR F14 \ Dies ist der Tag (F 85)&lt;br /&gt;
BR F15 \ Ertönt, ihr seligen Völker (F 88)&lt;br /&gt;
BR F16 \ Ach, daß du den Himmel zerrissest&lt;br /&gt;
BR F17 \ Es ist eine Stimme eines Predigers in der Wüste (F 89)&lt;br /&gt;
BR F18 \ Der Herr wird mit Gerechtigkeit (F 81)&lt;br /&gt;
BR F19 \ Ach Gott vom Himmel, sieh darein (F 96)&lt;br /&gt;
BR F20 \ Introduzzione delle predicazione del Catechismo (F 76)&lt;br /&gt;
BR F21 \ Wie ruhig ist doch meine Seele (F 77) (lost)&lt;br /&gt;
BR F22 \ Der Höchste erhöret das Flehen der Armen (F 86)&lt;br /&gt;
BR F23 \ Verhängnis, dein Wüten entkräftet die Armen (F 87)&lt;br /&gt;
BR F24 \ Auf, Christen, posaunt (F 95)&lt;br /&gt;
BR F25 \ Dienet dem Herrn mit Freuden (F 84)&lt;br /&gt;
BR F26 \ Der Trost gehöret nur für Kinder&lt;br /&gt;
BR F27 \ Zerbrecht, zerreist, ihr schnöden Banden (F 94)&lt;br /&gt;
BR F28 \ Laß dein Wehen in mir spielen&lt;br /&gt;
BR F29 \ Gnade finden (F 79) (fragment)

'''Secular Cantata &amp; Opera'''&lt;br /&gt;
BR G1 \ O Himmel, schöne (F 90)&lt;br /&gt;
BR G2 \ Lausus und Lydie (F106) (lost)

'''Song'''&lt;br /&gt;
BR H1 \ Cantilena nuptiarum consolatoria (F 97)

'''Miscellaneous Works'''&lt;br /&gt;
BR I1 \ Canons &amp; Studies for organ (F 39)&lt;br /&gt;
BR I2-5 \ 4 Triple Canons for organ (F212)&lt;br /&gt;
BR I6 \ Fugal exposition for organ in C major (F 35)&lt;br /&gt;
BR I7 \ Fugue exposition on B-A-C-H for organ (F210)&lt;br /&gt;
BR I8 \ Abhandlung vom harmonischen Dreiklang (lost)

'''Other works in Falk's catalogue'''&lt;br /&gt;
F 34 \ Fugue for organ in B flat major&lt;br /&gt;
F211 \ 3 Fugues for organ&lt;br /&gt;
Fnv8 \ Keyboard Sonata in A minor

==Trivia==
*One of Mozart's projects - [[Köchel catalogue]] 404a - was to transcribe several fugues from the Well-Tempered Clavier, and the last, in [[F minor]], of the Eight Fugues (Falck 31) of Wilhelm Friedemann Bach, for string trio, providing them with preludes of his own. (This has in fact been recorded a few times even outside of complete Mozart editions.)

==Further reading==
*Borysenko, Elena. ''The Cantatas of Wilhelm Friedemann Bach.'' Thesis (Ph.D.) Eastman School of Music, University of Rochester, 1981. In 2 volumes. (&quot;Vol. II ... consists primarily of selected movements from the cantatas of W.F. Bach, followed by translations of the texts of these movements and a critical commentary.&quot;) 
*Falck, Martin. ''Wilhelm Friedemann Bach; Sein Leben und seine Werke, mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern''. Leipzig: C. F. Kahnt, 1919.
*Helm, Eugene. &quot;Wilhelm Friedemann Bach&quot;, in Christoph Wolff et al., ''The New Grove Bach Family.'' NY: Norton, 1983 (ISBN 0-393-30088-9), pp. 238–50.

==Media==
{{listen|filename=Wilhelm Friedemann Bach - Polonaise 4 and 5.ogg|title=Polonaise 4 and 5|description=|format=[[Ogg]]}}

==References==
{{Reflist}}

==External links==
*{{IckingArchive|idx=W.F.Bach|name=Wilhelm Friedemann Bach}}
*{{IMSLP|id=Bach%2C_Wilhelm_Friedemann|cname=Wilhelm Friedemann Bach}}
*[http://hdl.handle.net/1802/1578 Concertos, harpsichords (2), orchestra, F. 46, E{{music|flat}} major, arranged for two pianos] (from the Sibley Music Library Digital Score Collection)

==Other sources==
*{{1911}}
*[http://www.oxfordmusiconline.com/public/;jsessionid=A4C509E206D95B348AD78484105AF5AB The New Grove Dictionary] served as a source for revision.  
*Schulenberg, David: entry on Wilhelm Friedemann Bach in ''The Oxford Composer Companion: J.S.Bach'' (ed. Malcolm Boyd, 1999: ISBN 978-0198662082)
*[http://www.s-line.de/homepages/bachdiskographie/bachfam/wilfriedbach%201710/wilfriedbach1710-concerti.htm The harpsichord concertos of Wilhelm Friedemann Bach]
*[http://www.classicistranieri.com/dblog/articolo.asp?articolo=6601 Duets for Two Flutes] Complete MP3 Creative Commons Recording

{{DEFAULTSORT:Bach, Wilhelm Friedemann}}
[[Category:1710 births]]
[[Category:1784 deaths]]
[[Category:Bach family|Wilhelm Friedemann]]
[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:German Lutherans]]
[[Category:People from Weimar]]
[[Category:People from Saxe-Weimar]]
[[Category:University of Leipzig alumni]]

[[bs:Wilhelm Friedemann Bach]]
[[bg:Вилхелм Фридеман Бах]]
[[cs:Wilhelm Friedemann Bach]]
[[da:Wilhelm Friedemann Bach]]
[[de:Wilhelm Friedemann Bach]]
[[et:Wilhelm Friedemann Bach]]
[[es:Wilhelm Friedemann Bach]]
[[eo:Wilhelm Friedemann Bach]]
[[fr:Wilhelm Friedemann Bach]]
[[hr:Wilhelm Friedemann Bach]]
[[it:Wilhelm Friedemann Bach]]
[[hu:Wilhelm Friedemann Bach]]
[[nl:Wilhelm Friedemann Bach]]
[[ja:ヴィルヘルム・フリーデマン・バッハ]]
[[ka:ვილჰელმ ფრიდემან ბახი]]
[[no:Wilhelm Friedemann Bach]]
[[nds:Wilhelm Friedemann Bach]]
[[pl:Wilhelm Friedemann Bach]]
[[pt:Wilhelm Friedemann Bach]]
[[ru:Бах, Вильгельм Фридеман]]
[[simple:Wilhelm Friedemann Bach]]
[[sr:Вилхелм Фридман Бах]]
[[fi:Wilhelm Friedemann Bach]]
[[sv:Wilhelm Friedemann Bach]]
[[zh:威廉·弗里德曼·巴赫]]</text>
    </revision>
  </page>
  <page>
    <title>Antonio Rosetti</title>
    <id>923189</id>
    <revision>
      <id>305903638</id>
      <timestamp>2009-08-03T22:48:39Z</timestamp>
      <contributor>
        <ip>212.183.134.209</ip>
      </contributor>
      <text xml:space="preserve">'''Antonio Rosetti''' (c. 1750–[[June 30]], [[1792]], born Anton Rösler, changed to Italianate form by 1773) was a [[classical music era|classical era]] [[composer]] and [[double bass]] player, and was a contemporary of [[Joseph Haydn|Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]].

Rosetti was born around 1750 in [[Litomerice|Litoměřice]], a town in Northern [[Bohemia]], and was originally called Franz Anton Rösler. He is believed to have received early musical training from the [[Jesuits]]. In 1773 Rosetti left this native country and joined the Hofkapelle of Prince von Öttingen-Wallerstein, whom he served for sixteen years, before becoming [[Kapellmeister]] to the Duke of [[Mecklenburg-Schwerin]] in 1789. In 1777, he married Rosina Neher, with whom he had three daughters. In 1781 he was granted leave to spend five months in [[Paris]]. Many of the finest ensembles in the city performed his works. Rosetti arranged for his music to be published, including a set of six symphonies published in 1782. He returned to his post, assured of recognition as an accomplished composer. He died only half a year after Mozart on [[June 30]], [[1792]].

Rosetti wrote a great deal of music, including many [[symphony|symphonies]], [[concerto]]s and [[vocal music|vocal works]]. He is perhaps best known today for his [[horn (instrument)|horn]] concertos, which [[Wolfgang Amadeus Mozart|Mozart]] scholar [[H. C. Robbins Landon]] suggests (in ''The Mozart Companion'') may have been a model for Mozart's four horn concerti. Rosetti is also known for writing the [[Requiem]] (1776) which was played at a memorial for Mozart in December 1791.

There is difficulty in attributing some music to Rosetti, since there were a couple of other composers with similar names at the same time, including Franciscus Xaverius Antonius Rössler.

== Incomplete instrumental works list ==
Available recordings are listed.

=== Symphonies ===

{| class=&quot;wikitable&quot;
!colspan=&quot;2&quot; | Catalog Numbers
!rowspan=&quot;2&quot; | Name
!rowspan=&quot;2&quot; | Key
!rowspan=&quot;2&quot; | Recordings
|-
!Murray
!Kaul
|-
|A1
|I:8
|Symphony
|C major
|
|-
|A5
|I:6
|Symphony
|C major
|
|-
|A6
|I:11
|Symphony
|C major
|Tacet 1999
|-
|A8
|I:26
|Symphony
|C major
|Arte Nova 2000 / RBM 1997
|-
|A9
|I:21
|Symphony
|C major
|Chandos 1997
|-
|A10
|I:3
|Symphony
|D major
|
|-
|A12
|I:12
|Symphony
|D major
|Chandos 1997
|-
|A13
|I:30
|Symphony
|D major
|Teldec 1997
|-
|A14
|I:29
|Symphony
|D major
|MDG 2001
|-
|A15
|I:33
|Symphony
|D major
|
|-
|A16
|I:7
|Symphony
|D major
|
|-
|A17
|I:15
|Symphony
|D major
|
|-
|A19
|I:13
|Symphony
|D major
|Tacet 1999
|-
|A20
|I:18
|Symphony &quot;La Chasse&quot;
|D major
|MDG 2003
|-
|A21
|I:20
|Symphony
|D major
|MDG 2001 / Arte Nova 2000
|-
|A22
|I:28
|Symphony
|D major
|MDG 2003
|-
|A23
|I:5
|Symphony
|E flat major
|
|-
|A27
|I:32
|Symphony
|E flat major
|Arte Nova 2000 / Teldec 1995
|-
|A28
|I:23
|Symphony
|E flat major (notated as D sharp!)
|Teldec 1995
|-
|A29
|I:9
|Symphony
|E flat major
|RBM 1997
|-
|A32
|I:10 + I:55
|Symphony
|F major
|
|-
|A33
|I:24
|Symphony
|F major
|Chandos 1997
|-
|A39
|I:16
|Symphony
|G major
|CPO 2005
|-
|A40
|I:22
|Symphony
|G major
|Chandos 1997
|-
|A41
|I:27
|Symphony
|G minor
|Teldec 1995 / K&amp;K 2006 / RBM 1994
|-
|A42
|I:27
|Symphony
|G minor
|Arte Nova 2000
|-
|A43
|I:19
|Symphony
|B flat major
|MDG 2003
|-
|A45
|I:14
|Symphony
|B flat major
|CPO 2005
|-
|A48
|I:31 ?
|Symphony
|B flat major
|RBM 1997
|-
|A49
|I:25
|Symphony
|B flat major
|Teldec 1995
|}

=== Wind ensembles ===

{| class=&quot;wikitable&quot;
!colspan=&quot;2&quot; | Catalog Numbers
!rowspan=&quot;2&quot; | Name
!rowspan=&quot;2&quot; | Key
!rowspan=&quot;2&quot; | Recordings
|-
!Murray
!Kaul
|-
|B1
|II:9
|Partita
|D major
|CPO 2004
|-
|B2
|II:10
|Partita
|D major
|
|-
|B3
|II:8
|Partita
|D major
|CPO 2004
|-
|B4
|II:11
|Partita
|D major
|CPO 2004
|-
|B5
|II:14
|Partita
|D major
|CPO 2004
|-
|B6
|II:17
|Quintet
|E flat major
|
|-
|B7
|II:20
|Partita
|E flat major
|
|-
|B11
|II:1
|Partita
|E flat major
|
|-
|B16
|?
|Partita
|E flat major
|Classico 2006
|-
|B17
| -
|Quartet
|E flat major
|Classico 2006
|-
|B18
|II:13
|Partita
|F major
|Classico 2006
|-
|B19
|II:16
|Partita
|F major
|
|-
|B20
|II:15
|Partita
|F major
|CPO 2004
|-
|B21
|?
|Partita
|F major
|
|-
|B22
|II:2
|Sextet
|B flat major
|Classico 2006
|-
|B24
|II:19 + II:21
|Sextet
|D major
|
|-
|B26
| -
|Sextet
|E flat major
|
|-
|B27
|I:58
|Notturno
|E flat major
|CPO 2003
|}

=== Concertos ===

{| class=&quot;wikitable&quot;
!colspan=&quot;2&quot; | Catalog Numbers
!rowspan=&quot;2&quot; | Name
!rowspan=&quot;2&quot; | Key
!rowspan=&quot;2&quot; | Recordings
|-
!Murray
!Kaul
|-
|C2
|III:1
|Piano Concerto
|G major
|Tacet 1999
|-
|C3
|III:2
|Piano Concerto
|G major
|Tacet 1999
|-
|C5
|III:8
|Violin Concerto
|C major
|
|-
|C6
|III:9
|Violin Concerto
|D major
|CPO 2005
|-
|C9
|III:5
|Violin Concerto
|D minor
|CPO 2005
|-
|C11
|III:4
|Violin Concerto
|F major
|
|-
|C14
|I:36
|Symphonie Concertante
|D major
|MDG 2001
|-
|C15
| -
|Viola Concerto
|G major
|
|-
|C16
|III:14
|Flute Concerto
|C major
|Orfeo 2003
|-
|C17
|III:16
|Flute Concerto
|D major
|
|-
|C18
|III:12
|Flute Concerto
|D major
|
|-
|C19
| - 
|Flute Concerto
|E flat major
|Naxos 2008
|-
|C20
|III:18
|Flute Concerto
|E flat major
|
|-
|C21
|III:20
|Flute Concerto
|F major
|Orfeo 2003
|-
|C22
|III:13
|Flute Concerto
|G major
|Orfeo 2003
|-
|C23
|III:11
|Flute Concerto
|G major
|
|-
|C25
|III:17
|Flute Concerto
|G major
|Orfeo 2003
|-
|C27
|III:22
|Flute Concerto
|G major
|
|-
|C28
|III:21
|Flute Concerto
|G major
|MDG 2003
|-
|C30
|III:27
|Oboe Concerto
|C major
|
|-
|C31
|III:29
|Oboe Concerto
|C major
|CPO 1991
|-
|C33
|III:28
|Oboe Concerto
|D major
|CPO 1991
|-
|C34
|III:3
|Oboe Concerto
|F major
|CPO 1991, Naxos 2002
|-
|C36
|III:30
|Oboe Concerto
|G major
|MDG 2001
|-
|C37
|III:25
|Oboe Concerto
|G major
|
|-
|C38
|III:43
|Horn Concerto
|D minor
|Hanssler 2001, Teldec 1994, Nimbus 1988
|-
|C39
| -
|Horn Concerto
|D minor
|
|-
|C40
|III:35
|Horn Concerto
|E flat major
|Arte Nova 2002
|-
|C41
|III:39
|Horn Concerto
|E flat major
|Zuk 2005
|-
|C42
|III:41
|Horn Concerto
|E flat major
|
|-
|C43
| -
|Horn Concerto
|E flat major
|Arte Nova 2002
|-
|C44
|III:48
|Horn Concerto (lost)
|E flat major
|
|-
|C45
|III:46
|Horn Concerto (lost)
|E flat major
|
|-
|C46
|III:47
|Horn Concerto (lost)
|E flat major
|
|-
|C47
|III:40
|Horn Concerto
|E flat major
|Arte Nova 2002
|-
|C48
|III:37
|Horn Concerto
|E flat major
|
|-
|C49
|III:36
|Horn Concerto
|E flat major
|Hanssler 2001
|-
|C50
|III:44
|Horn Concerto
|E major
|
|-
|C51
|III:42
|Horn Concerto
|E major
|Hanssler 2001
|-
|C52
|III:45
|Horn Concerto
|E flat major
|Arte Nova 2002
|-
|C53
|III:38
|Horn Concerto
|F major
|Hanssler 2001
|-
|C54
| -
|Horn Concerto
|E flat major
|
|-
|C55
|III:54
|Concerto for 2 Horns
|E flat major
|Naxos 1991
|-
|C56
| -
|Concerto for 2 Horns
|E flat major
|CPO 2003
|-
|C57
|III:53
|Concerto for 2 Horns
|E flat major
|CPO 2003
|-
|C58
|III:51
|Concerto for 2 Horns
|E major
|CPO 2003
|-
|C59
|III:50
|Concerto for 2 Horns (lost)
|E major
|
|-
|C60
|III:52
|Concerto for 2 Horns
|E major and F major
|CPO 1999
|-
|C61
|III:49
|Concerto for 2 Horns
|F major
|Naxos 1991
|-
|C62
|III:55
|Clarinet Concerto
|E flat major
|CPO 1999
|-
|C63
|III:57
|Clarinet Concerto
|E flat major
|CPO 1999
|-
|C68
|III:64
|Bassoon Concerto
|E flat major
|
|-
|C69
|III:60
|Bassoon Concerto
|B flat major
|CPO 2003, Naxos 2003
|-
|C73
|III:61
|Bassoon Concerto
|B flat major
|CPO 2003, Naxos 2003
|-
|C74
|III:62
|Bassoon Concerto
|B flat major
|CPO 2003, Naxos 2003, Hungaroton 2006
|-
|C75
|III:63
|Bassoon Concerto
|F major
|CPO 2003, Naxos 2003
|}

=== Chamber music ===

{| class=&quot;wikitable&quot;
!colspan=&quot;2&quot; | Catalog Numbers
!rowspan=&quot;2&quot; | Name
!rowspan=&quot;2&quot; | Key
!rowspan=&quot;2&quot; | Recordings
|-
!Murray
!Kaul
|-
|D6
|IV:1.1
|String Quartet Op 2/1
|A major
|
|-
|D7
|IV:1.2
|String Quartet Op 2/2
|C major
|
|-
|D8
|IV:1.3
|String Quartet Op 2/3
|E flat major
|
|-
|D9
|IV:2.1
|String Quartet Op 6/1
|A major
|CPO 1995
|-
|D10
|IV:2.2
|String Quartet Op 6/2
|E flat major
|CPO 1995
|-
|D11
|IV:2.3
|String Quartet Op 6/3
|B flat major
|CPO 1995
|-
|D12
|IV:2.4
|String Quartet Op 6/4
|C minor
|CPO 1995
|-
|D13
|IV:2.5
|String Quartet Op 6/5
|D major
|CPO 1995
|-
|D14
|IV:2.6
|String Quartet Op 6/6
|F major
|CPO 1995
|-
|D15
|IV:4.1
|String Quartet
|A major
|
|-
|D16
|IV:4.2
|Flute Quartet
|G major
|
|-
|D17
|IV:4.3
|String Quartet
|F major
|
|-
|D18
|IV:3
|Bassoon Quartet
|B flat major
|
|-
|D19
|IV:13.1
|Violin Sonata
|D major
|Supraphon 2000, Naxos 2002
|-
|D20
|IV:13.2
|Violin Sonata
|E flat major
|Supraphon 2000, Naxos 2002
|-
|D21
|IV:13.3
|Violin Sonata
|B flat major
|Supraphon 2000, Naxos 2002
|-
|D22
|IV:13.4
|Violin Sonata
|G major
|Supraphon 2000, Naxos 2002
|-
|D23
|IV:13.5
|Violin Sonata
|B flat major
|Supraphon 2000, Naxos 2002
|-
|D24
|IV:13.6
|Violin Sonata
|C major
|Supraphon 2000, Naxos 2002
|-
|D29
|IV:8.1
|Piano Trio
|C major
|
|-
|D30
|IV:8.2
|Piano Trio
|E flat major
|
|-
|D31
|IV:8.3
|Piano Trio
|D major
|
|-
|D32
|IV:8.4
|Piano Trio
|D major
|
|-
|D33
|IV:8.5
|Piano Trio
|A major
|
|-
|D34
|IV:8.6
|Piano Trio
|C major
|
|-
|D38
|IV:9.4
|Piano Trio
|C major
|
|}

Note: The recordings of D19 through D24 above are arrangements for harp.

=== Piano ===

E1	Piano Sonata in F major

E2	Piano Sonata in G major

E3	Piano Sonata in B major

E4	Piano Sonata in F major

E5-62	Piano Pieces

== References ==
*H.C. Robbins Landon, &quot;The Concertos: (2) Their Musical Origin and Development,&quot; in H.C. Robbins Landon and Donald Mitchell, eds., ''The Mozart Companion,'' NY: Norton, 1956, p. 277. ISBN 0-393-00499-6.
*Sterling E. Murray. &quot;Antonio Rosetti&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[February 5]] [[2006]]), [http://www.grovemusic.com/ grovemusic.com] (subscription access).

== External links ==
*[http://www.rosetti.de/ Homepage of the Internationale Rosetti Gesellschaft (in German)]
*[http://www.mozartforum.com/Contemporary%20Pages/Rosetti_Contemp.htm A biography of Rosetti (in English)] at Mozartforum.com
*[http://www.bach-cantatas.com/Lib/Rosler-Franz-Anton.htm A shorter biography (in English)] at Bach-Cantatas.com
*[http://corno.de/english/antonio_rosetti.htm Horn Concertos of Rosetti] at Robert Ostermeyer Musikedition
*[http://www.klassika.info/Komponisten/Rosetti/index.html Extensive information (in German)] Including complete list of works, at Klassika.info
*{{IMSLP|id=Rosetti, Franz Anton}}

{{Lifetime|1750|1792|Rosetti, Antonio}}
[[Category:Czech composers]]
[[Category:Classical era composers]]

[[cs:František Antonín Rössler]]
[[de:Antonio Rosetti]]
[[fr:Antonio Rosetti]]
[[it:Antonio Rosetti]]
[[la:Antonius Rosetti]]
[[nl:František Antonín Rössler]]
[[ja:フランティシェク・アントニーン・レスレル]]
[[ru:Розетти, Антонио]]
[[sl:Antonio Rosetti]]</text>
    </revision>
  </page>
  <page>
    <title>Michael Arne</title>
    <id>162337</id>
    <revision>
      <id>308447332</id>
      <timestamp>2009-08-17T08:58:51Z</timestamp>
      <contributor>
        <username>TXiKiBoT</username>
        <id>3171782</id>
      </contributor>
      <minor/>
      <comment>robot Adding: [[ru:Арн, Майкл]]</comment>
      <text xml:space="preserve">'''Michael Arne''' (1740 or 1741 - [[14 January]] [[1786]]) was an English [[composer]], [[harpsichordist]], [[organist]], [[singing|singer]], and [[actor]]. He was the son of composer [[Thomas Arne]] and lauded [[soprano]] [[Cecilia Young]], the latter of which belonged to the famous Young family of musicians of the seventeenth and eighteenth centuries. Like his father, Arne worked primarily as a composer of stage music and vocal art song, contributing little to other genres of music. He wrote several songs for [[London]]'s [[pleasure garden]]s, the most famous of which is ''Lass with the Delicate Air'' (1762). A moderately prolific composer, Arne wrote nine [[opera]]s and collaborated on at least 15 others. His most successful opera, ''Cymon'' (1767), enjoyed several revivals during his lifetime and into the early nineteenth century.

==Biography==
===Early life and career===
[[Image:Susanna Cibber.jpg|thumb|230px|right|'''Susanna Maria Cibber''' (Arne) (1714 – 1766) was the greatest dramatic actress of the eighteenth century London stage and was the highest paid actress in England during her lifetime. On the day of her death [[Royal Opera|Covent Garden]] and [[Theatre Royal, Drury Lane|Drury Lane]] closed their doors as a tribute to her memory.&lt;ref name=&quot;Cibber&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=Molly Donnelly: &quot;Susanna Maria Cibber&quot;, ''Grove Music Online'' ed. L. Macy (Accessed January 15, 2008), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt;]]
Michael Arne was born in either late 1740 or early 1741 in the [[Covent Garden]] area of [[London]]. Music historian [[Charles Burney]], a close friend of the Arne family, indicates that he was Thomas Arne's natural son but there is some speculation among modern scholars that he may have been adopted.&lt;ref name=hoasm&gt;[http://www.hoasm.org/VIIJ/ArneM.html Biography Michael Arne at www.hoasm.org]&lt;/ref&gt; There is no record for Michael Arne at [[St Paul's, Covent Garden]], where most of the Arne family were christened.&lt;ref name=&quot;Grove&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=John A. Parkinson: &quot;Michael Arne&quot;, ''Grove Music Online'' ed. L. Macy (Accessed January 14, 2009), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt; His father, Thomas Arne, was the most important English composer of the eighteenth century and is considered the catalyst for the revival of English opera in the early 1730s.&lt;ref name=&quot;Grove2&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=Peter Holman, Todd Gilman: &quot;Thomas Augustine Arne&quot;, ''Grove Music Online'' ed. L. Macy (Accessed January 15, 2009), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt;  His mother, Cecilia Young, was one of the greatest English sopranos of the century and part of the famous Young family of musicians. Both Michael's grandfather, [[Charles Young (musician)|Charles Young]], and his great-uncle, [[Anthony Young (musician)|Anthony Young]], were well known [[organist]]s and minor [[composer]]s. His [[Isabella Lampe|Aunt Isabella]] was a successful soprano and the wife of composer [[John Frederick Lampe]]. His other aunt, [[Esther Young]], was a [[contralto]] and the wife of [[music publisher]] [[Charles Jones (publisher)|Charles Jones]]. His cousins, [[Isabella Young|Isabella]], [[Elizabeth Young (contralto)|Elizabeth]], and [[Polly Young|Polly]], were all successful singers in their own right.&lt;ref name=&quot;operissimo&quot;&gt;[http://hosting.triboni.com/triboni/exec?method=com.operissimo.artist.webDisplay&amp;id=ffcyoieagxaaaaabbwsk&amp;xsl=webDisplay&amp;searchStr=Cecilia%20Young Biography of Cecilia Young on Operissimo.com (in German). Accessed 13 January 2008]&lt;/ref&gt;  

After 1745 Michael spent the majority of his childhood in the care of his aunt and celebrated actress [[Susannah Maria Cibber]] due to his mother's frequent illnesses and his father's busy career. It is likely that he received his earliest musical training from his aunt.&lt;ref name=hoasm/&gt; It was also under her mentorship that he made his stage début as the Page in [[Thomas Otway]]’s tragedy ''[[The Orphan]]'' in the late 1740s.&lt;ref name=&quot;Grove&quot;/&gt; He began his musical career as a singer appearing in [[Francesco Onofrio Manfredini]]’s concert on 20 February 1750.&lt;ref name=&quot;Grove&quot;/&gt; This was followed by several singing appearances at the [[Vauxhall Gardens]] in the summer of 1750 where his father was the resident composer.&lt;ref name=hoasm/&gt; However, Michael's career as a vocalist and actor was not prolonged for much longer. [[Charles Burney]] wrote that Michael's father &quot;tried to make him a singer, but he was naturally idle and not very quick. However, he acquired a powerful hand on the harpsichord&quot;.&lt;ref name=&quot;Burney&quot;&gt;{{cite book 
|title= A General History of Music from the Earliest Ages to the Present Period 
|last= Burney
|first= Charles
|editor= F. Mercer
|year= written from 1776-1789, published 1935
|publisher= Oxford Publishing Company 
}}&lt;/ref&gt; Michael's obvious lack of enthusiasm for singing pervailed and he focused primarily on music composition and organ and harpsichord performance after the summer of 1750. On 5 February 1751 he gave his first solo organ concert which featured one of his father’s organ concertos; he went on to be the principal exponent of his father's organ works for the next thirty years. Arne also showed an early talent as a composer and his first collection of vocal art songs entitled ''The Floweret'' was published in 1750. The collection included the Scottish style song &quot;The Highland Laddie&quot; which became popular and as late as 1775 was adapted by [[Thomas Linley the elder]] in ''[[The Duenna]]''.&lt;ref name=&quot;Grove&quot;/&gt;

===Mid life and career===
[[Image:Drury lane interior 1808.jpg|left|thumb|200px|The interior of the [[Theatre Royal, Drury Lane]] where Michael Arne primarily worked from 1756-1767.]]
During the 1750s and 1760s, Arne worked as an organist and harpsichordist and composer to the theatres and pleasure gardens of London. He married sometime during the 1750s to a now unknown woman who died only a few years into their marriage. From 1756 onwards he composed a considerable amount of music for the stage, much in the same vein as his father. He wrote several successful operas, a significant amount of incidental music for plays, and published several song collections. Several of his songs were written for performance in London's [[pleasure garden]]s. One of his best-known songs is  ''Lass with the Delicate Air'', which premiered in 1762. In 1764 he collaborated with [[Jonathan Battishill]] in setting [[Richard Rolt]]’s ''Almena'', which was a theatrical flop but praised for its fine music. The previous year he had met [[soprano]] Elizabeth Wright after hearing her perform at [[Ranelagh Gardens]]. The two became romantically involved and married in 1766. The following year Elizabeth sang the title role in his opera ''Cymon''. The work used a libretto by [[David Garrick]] and was the greatest success of his career. Arne's wife sang in several more of his stage works as well as other productions in leading roles at the [[Theatre Royal, Drury Lane]] throughout the 1760s.&lt;ref name=hoasm/&gt;&lt;ref name=&quot;Grove&quot;/&gt;

In 1766 Arne built a laboratory at Chelsea in order to pursue his interest in [[alchemy]]. His hobby quickly turned into an obsession and he was soon suffering financially due to the expenses of this pursuit. These financial problems caused a considerable amount of stress and tension in his marriage and Arne ended up in [[debtor's prison]] in early 1769. Elizabeth died on 1 May 1769 while he was in prison and [[Charles Burney]] blamed Arne for his wife's early death due to the overwork and stress he had subjected her to. Somewhat humbled, Arne abandoned his pursuit of alchemy and by the early 1770s was financially stable again.&lt;ref name=&quot;Grove&quot;/&gt;&lt;ref name=&quot;Burney&quot;/&gt;

===Later life and career===
[[Image:Covert Garden Theatre edited.jpg|thumb|250px|A drawing of the [[Royal Opera|Royal Opera House, Covent Garden]], where Michael Arne primarily worked from 1777 until his death. This drawing was made shortly before the theatre burned down in 1808. Many of Arne's compositions dating from his time their, along with a large amount composed by his father, were destroyed in this fire and are now lost.&lt;ref name=&quot;Grove&quot;/&gt;]]
Up until this point Arne had spent his entire career working in London. However, in 1771–1772 he traveled to Germany, touring the country in a series of concerts with his pupil Ann Venables. He notably conducted the German premiere of [[Handel]]'s ''[[Messiah (Handel)|Messiah]]'' in Hamburg on 21 May 1772. After returning to England in the Fall of 1772 he married Miss Venables.&lt;ref name=&quot;operissimo&quot;&gt;[http://hosting.triboni.com/triboni/exec?method=com.operissimo.composer.webDisplay&amp;id=ffcyoindnoaaaaaaopqf&amp;xsl=webDisplay&amp;searchStr=Arne Biography of Michael Arne at Operissimo.com (in German). Accessed 13 January 2008]&lt;/ref&gt;  He also spent some time working in [[Dublin]], [[Ireland]] in 1775-1776. His opera ''The Maid of the Vale'' premiered at the [[Smock Alley Theatre]] in Dublin on 12 February 1775, and in December 1776 he was engaged by [[Thomas Ryder]] to produce ''Cymon'' in Dublin. Both productions featured his wife in leading roles and she became a highly popular attraction to the Dublin community.&lt;ref name=&quot;Grove&quot;/&gt;

While in Ireland, Arne began to pursue alchemy once more and he took a house at Clontarf in the hopes of discovering the [[philosopher's stone]]. His pursuits again led him into debt and he was arrested and confined to a Dublin [[sponging-house]]. While there he was assisted by the father of [[Michael Kelly (tenor)|Michael Kelly]], later a famous tenor, who provided him with a piano in return for young Kelly’s daily lesson. In this way Arne was able to teach students and thereby earn money to pay off his creditors.&lt;ref name=&quot;Grove&quot;/&gt; 

The Arnes returned to London in 1777 and Michael was engaged as composer at [[Royal Opera|Covent Garden]] for several seasons. In 1781 he was notably hired to provide a harpsichord accompaniment for ''Eidophusikon'', a display of moving pictures. In 1784–5 he worked at the [[Haymarket Theatre]] as the director and conductor of the [[Lent|Lenten]] [[Oratorio]]s. Upon his father’s death in 1778, Michael inherited the majority of his father's assets which included a number of unpublished manuscripts. Included among these were several organ concertos written in 1750s, and in 1784 Michael announced his intention to publish them. However, Michael died in poverty without having done so, leaving his wife destitute. The organ concertos were preserved and later published in 1787 by [[John Groombridge]].&lt;ref name=&quot;Grove&quot;/&gt;

Michael Arne had a daughter Sarah who was a leading singer at Drury Lane from 1795 to 1800. It is uncertain as to whether she was a daughter from his second or third marriage. Records also indicate that he had a daughter known as Jemima who nursed him while he was ill at the end of his life. It is possible that Jemima and Sarah may be the same person, or that they are indeed two different people.&lt;ref name=&quot;Grove&quot;/&gt;

==Works==
Arne was a moderately prolific composer. He wrote nine operas, collaborated on at least 15 others, wrote a small amount of incidental music for plays, and published seven song collections. He also wrote a small amount of music for the harpsichord and organ, some of which was published in 1761. Like his father, Arne wrote in the popular [[Galante music|galante style]] of the day and utilized both rudiments of English folk music and Italian opera in his compositions. The following is a complete list of his stage works and published works.&lt;ref name=&quot;Grove&quot;/&gt; 

===Stage works===
*''Florizel and Perdita, or The Winter's Tale'' (21 January 1756, Drury Lane, London)  
*''The Humorous Lieutenant'' (10 December 1756, Covent Garden, London)
*''Harlequin Sorceror'' (1757, Covent Garden, London) 
*''Harlequin's Invasion'' (31 December 1759, Drury Lane, London) 
*''The Heiress or the Antigallican'' (21 May 1759, Drury Lane, London) 
*''Edgar and Emmeline'' (31 January 1761 Drury Lane, London) 
*''A Midsummer Night's Dream'' (23 November 1763, Drury Lane, London) 
*''Hymen'' (23 January 1764, Drury Lane, London) 
*''Almena'' (2 November 1764, Drury Lane, London) 
*''Cymon'' (2 January 1767, Drury Lane, London) 
*''Linco's Travels'' (6 April 1767, Drury Lane, London) 
*''Tom Jones'' (14 January 1769, Covent Garden, London) 
*''The Maid of the Vale'' (15 February 1775, Smock Alley Theatre, Dublin) 
*''Emperor of the Moon'' (22 March 1777, Patagonian, London) 
*''The Fairy Tale'' (18 July 1777, Haymarket, London) 
*''The Fathers, or the Good-natured Man'' (30 November 1778, Covent Garden, London) 
*''Love in a Village'' (13 February 1779, Covent Garden, London) 
*''All alive at Jersey'' (22 May 1779, Sadler's Wells, London) 
*''The Conscious Lovers'' (27 September 1779, Covent Garden, London) 
*''The Belle's Stratagem'' (22 February 1780, Covent Garden, London)  
*''The Artifice'' (14 April 1780, Drury Lane, London) 
*''The Choice of Harlequin, or the Indian Chief'' (26 December 1781 Covent Garden, London) 
*''Vertumnus and Pomona'' (21 February 1782, Covent Garden, London) 
*''The Positive Man'' (16 March 1782, Covent Garden, London)  
*''The Maid of the Mill'' (25 September 1782, Covent Garden, London) 
*''The Capricious Lady'' (17 January 1783, Covent Garden, London)  
*''Tristram Shandy'' (26 April 1783, Covent Garden, London)

===Song collections===
Arne wrote close to two hundred vocal songs during his career, the majority of which were written for performance at London's pleasure gardens. Many of these songs were published in anthologies but at least some fifty or more songs were never published.&lt;ref name=&quot;Grove&quot;/&gt; 
*''The Floweret'' (London, 1750)
*''The Violet'' (London, 1756)
*''A Favourite Collection of English Songs'' (London, 1757)
*''New Songs and Ballads'' (London, 1765)
*''New Songs sung by Miss Wright at Vauxhall'' (London, c1765)
*''A Collection of Favourite Songs sung by Mrs. Arne'' (London, 1773)
*''Ranelagh Songs'' (London, 1780)

===Other===
* ''Lessons for the Harpsichord'', (London, 1761)

==Sources==
{{reflist}}

{{DEFAULTSORT:Arne, Michael}}
[[Category:1740 births]]
[[Category:1786 deaths]]
[[Category:Classical era composers]]
[[Category:English composers]]
[[Category:Opera composers]]
[[Category:People from Covent Garden]]

[[fr:Michael Arne]]
[[ru:Арн, Майкл]]
[[fi:Michael Arne]]</text>
    </revision>
  </page>
  <page>
    <title>Josef Mysliveček</title>
    <id>574021</id>
    <revision>
      <id>312913953</id>
      <timestamp>2009-09-10T03:50:11Z</timestamp>
      <contributor>
        <username>Vlastimil Svoboda</username>
        <id>8886066</id>
      </contributor>
      <comment>Continuation of efforts to enhance the usefulness of the works' list</comment>
      <text xml:space="preserve">[[Image:Myslivecek josef1.jpg|thumb|right|Portrait of Josef Mysliveček]]

'''Josef Mysliveček''' ([[March 9]], [[1737]] &amp;ndash; [[February 4]], [[1781]]) was a [[Czechs|Czech]] [[composer]] who contributed to the formation of late eighteenth-century classicism in music.

&lt;gallery&gt;
Image:Myslivecek house, Melantrichova Street, Prague.jpg|The house of Mysliveček's parents on Melantrichova Street in Prague, where the composer spent much of his childhood and early manhood
Image:Myslivecek - bust on his house.jpg|Bust on the Mysliveček house in Prague
&lt;/gallery&gt;
==Biography==
He was born in [[Prague]], one of twins who were sons of a prosperous mill owner, and studied [[philosophy]] at [[Charles-Ferdinand University]] before following in the footsteps of his father.&lt;ref&gt;A comprehensive treatment of Mysliveček's life and works is found in Daniel E. Freeman, ''Josef Mysliveček, &quot;Il Boemo&quot;'' (Sterling Heights, Mich.: Harmonie Park Press, 2009).&lt;/ref&gt; He achieved the rank of master miller in 1761, but gave up the family profession in order to pursue musical studies.  In Prague, he studied composition with [[Franz Habermann]] and [[Josef Seger]] in the early 1760s. His ambitions led him to travel to [[Venice]] in 1763 to study with [[Giovanni Battista Pescetti|Giovanni Pescetti]]. His travel to [[Italy]] was subsidized in part from family wealth, in part from the Bohemian nobleman Vincenz von Waldstein.  In [[Italy]] he became known as ''Il Boemo'' (&quot;the Bohemian&quot;) and also &quot;Venatorini&quot;, &quot;the little hunter,&quot; a literal translation of his name. Reports that he was known as ''Il divino Boemo'' during his lifetime are false.  The nickname originated from the title of a [[romanetto]] about the composer by [[Jakub Arbes]] that was first published in 1884. He was made a member of the [[Accademia Filarmonica di Bologna]] in 1771. Mysliveček prized freedom of movement and was never employed directly by any noble, prelate, or ruler, unlike most contemporary composers.  He earned his living through teaching, performing, and composing music, and frequently received gratuities from wealthy admirers. Financially irresponsible throughout his life, he died destitute in Rome in 1781.  After his arrival in Italy in 1763, he never left the country except for a visit to Prague in 1767-68, a visit to Vienna in 1773, and a stay in Munich between December 1776 and April 1778.  His return to Prague led to the production of several of his operas.  He was invited to Munich by the musical establishment of the Elector [[Maximilian III Joseph]] to compose an opera for the carnival season of 1777 (''Ezio'').

Mysliveček's first opera was performed at [[Bergamo]] in 1766. His ''[[Il Bellerofonte]]'' was a great success in [[Naples]] after its first performance at the [[Teatro San Carlo]] on 20 January 1767, and it led to a number of commissions from Italian theaters. In 1770 Mysliveček met the young [[Wolfgang Amadeus Mozart]] in [[Bologna]]. He was close to the Mozart family until 1778, when contacts were broken off after he failed to make good on a promise to arrange an opera commission for Mozart at the Teatro San Carlo in Naples.  Earlier, the Mozarts found his dynamic personality irrestisible.  In a letter to his father Leopold written from Munich on October 11, 1777, Mozart described his character as &quot;full of fire, spirit and life.&quot;  Similarities in his musical style with the earlier works of Mozart have often been noted.  Additionally, Mozart used musical motives drawn from various Mysliveček compositions to help fashion opera arias, symphonic movements, keyboard sonatas, and concertos. He also made an arrangement of Mysliveček's aria &quot;Il caro mio bene&quot; (from the opera [[Armida]] of 1780). The old text was replaced with the new text &quot;Ridente la calma,&quot; KV 152 (K⁶ 210a) in a scoring for soprano with piano accompaniment.

According to the same letter of Wolfgang Mozart written from Munich on October 11, 1777, an incompetent surgeon burned off Mysliveček's nose while trying to treat a mysterious illness.  A letter of [[Leopold Mozart]] to his son of October 1, 1777, refers to the illness as something shameful for which Mysliveček was deserving of social ostracism. Mysliveček's reputation for sexual promiscuity, Leopold's insinuations, and the reference to facial disfigurement in Wolfgang's letter hint unmistakenly at the symptoms of [[tertiary syphilis]]. Mysliveček's explanation for his condition to Wolfgang--[[bone cancer]] caused by a carriage accident--is preposterous on its face. The concern Mozart revealed to his father at this time for Mysliveček's sufferings was very touching.  In the entire Mozart correspondence, no individual outside the Mozart family was ever the cause for so much outpouring of emotion as what is found in Wolfgang's letter of 11 October 1777.  

Mysliveček never married and no names of lovers are recorded.  Reports of romantic liaisons with the singers [[Caterina Gabrielli]] and [[Lucrezia Aguiari]] do not pre-date the publication of the fifth edition of the ''Grove Dictionary of Music and Musicians'' (1954).

==Compositions==
In all, he wrote twenty-six [[opera seria|opere serie]], including the aforementioned ''Il Bellerofonte''. Nearly all were successful at their first performances until the diasaster of ''Armida'' at [[La Scala]] during carnival of 1780.  Some of the irregularities that doomed this production were not Mysliveček's fault, however, for example the interruption of performances caused by the lying-in of the ''[[prima donna]]'' Caterina Gabrielli, who gave birth in the middle of the run out of wedlock at the age of 49.  During the period of his activity as a composer of operas (1766-1780), Mysliveček succeeded in having more new ''opere serie'' brought into production than any other composer in Europe. Mysliveček and [[Gluck]] were the first composers raised in the [[Czech lands]] to become famous as operatic composers, but their operatic output exhibits few, if any, Czech characteristics.  Mysliveček's operas were very much rooted in a style of Italian ''opera seria'' that prized above all the vocal artistry to be found in elaborate [[arias]] .

Among his other pieces were [[oratorio]]s, [[symphony|symphonies]], [[concerto]]s, and [[chamber music]], including some of the earliest known [[string quintet]]s composed with two violas.  He was also a pioneer in the composition of music for [[wind ensemble]].  It may be fair to say that his greatest composition is the oratorio [[Isacco figura del redentore]], first performed in [[Florence]] in 1776.  His violin concertos are perhaps the finest composed between the generation of Vivaldi and the Mozart violin concerto of 1775.  He was also one of the most gifted and most prolific composers of eighteenth-century symphonies.  Nearly all of them are cast in three movements without a minuet following Italian tradition.  A set of symphonies published by Ranieri del Vivo in [[Florence]] in the late 1770s was the first anthology of symphonies ever printed in Italy.

Mysliveček's compositions evokes a gracious, diatonic style typical of Italian classicism in music.  His best works are characterized by melodic inventiveness, logical continuity, and a certain emotional intensity that may be attributable to his dynamic personality.

==Works' List==

===Instrumental works===

Mysliveček's instrumental music includes divertimenti, sonate, symphonies, etc.&lt;ref&gt;A. Evans &amp; R. Dearling, ''Josef Mysliveček (1737-1781): a Thematic Catalogue of his Instrumental and Orchestral Works'', Musikwissenschaftliche Schriften XXXV (Munich &amp; Salzburg: Katzbichler, 1999) is the only published thematic catalog of Mysliveček's works. Freeman, ''Josef Mysliveček'', contains new works' lists with corrections to the Evans/Dearling catalog.&lt;/ref&gt; Lost works have been omitted from this works' list, however they are inventoried fully in Freeman, ''Josef Mysliveček''.


'''Works for Solo Keyboard'''

''Six Easy Divertimentos for the Harpsichord or Piano-Forte''.  London: Longman &amp; Broderip, 1777. [F major, A major, D major, B-flat major, G major, C major]

''Six Easy Lessons for the Harpsichord''.  Edinburgh: Corri &amp; Sutherland, 1784.
[C major, B-flat major, A major, G major, F major, D major]

1 undated sonata in C major in the Archivio e Museo della Badia of the Basilica Benedettina di San Pietro, Perugia


'''Violin Sonatas'''

5 sonatas for violin and a bass line preserved in manuscripts in the library of the Conservatorio di Musica Niccolò Paganini in Genoa, perhaps from the 1760's

''Six Sonatas for the Piano Forte or Harpsichord with an Accompaniment for a Violin''.  London: Charles &amp; Samuel Thompson, ''ca.'' 1775.  [E-flat major, D major, C major, B-flat major, G major, F major]

6 sonatas for violin and keyboard in a manuscript dated 1777 in the České Muzeum Hudby in Prague [D major, F major, E-flat major, G major, B-flat major, E-flat major]

6 sonatas for violin and keyboard in an undated manuscript in the České Muzeum Hudby in Prague [D major, G major, C major, B-flat major, F major, C major]


'''Sonatas for Two Cellos'''

6 sonatas for two cellos and a bass line in an undated manuscript in the České Muzeum Hudby in Prague [A major, D major, G major, F major, C major, B-flat major]


'''Sonata for Violin, Cello, and Bass'''

1 sonata in G major for violin, cello, and a bass line in an undated manuscript in the České Muzeum Hudby in Prague


'''Duets for Two Flutes'''

6 duets for two flutes and a bass line in an undated manuscript in the private collection of Antonio Venturi in Montecatini-Terme, Italy [G major, C major, A minor, E minor, D major, B-flat major]


'''Other Chamber Works'''

E 3:A2 - Sonata for 2 violins &amp; continuo Op. 1 No. 2 in A major&lt;br /&gt;
E 3:A3 - Sonata for 2 violins &amp; continuo Op. 1 No. 5 in A major&lt;br /&gt;
E 3:A4 - Sonata for 2 violins &amp; continuo Op. 4 No. 4 in A major&lt;br /&gt;
E 3:A6 - Sonata for 2 violins &amp; continuo in A major&lt;br /&gt;
E 3:A7 - Sonata for flute, violin &amp; continuo No. 4 in A major&lt;br /&gt;
E 3:B2 - Sonata for 2 violins &amp; continuo in B flat major&lt;br /&gt;
E 3:B3 - Sonata for 2 violins &amp; continuo Op. 4 No. 5 in B flat major&lt;br /&gt;
E 3:B6 - Sonata for flute, violin &amp; continuo No. 6 in B flat major&lt;br /&gt;
E 3:B7 - Cassation for 2 clarinets &amp; horn in B flat major&lt;br /&gt;
E 3:C1 - Sonata for 2 violins &amp; continuo Op. 1 No. 1 in C major&lt;br /&gt;
E 3:C2 - Sonata for 2 violins &amp; continuo Op. 4 No. 1 in C major&lt;br /&gt;
E 3:C6 - Sonata for flute, violin &amp; continuo No. 3 in C major&lt;br /&gt;
E 3:D1 - Sonata for 2 violins &amp; continuo Op. 1 No. 3 in D major&lt;br /&gt;
E 3:D4 - Sonata for flute, violin &amp; continuo No. 1 in D major&lt;br /&gt;
E 3:D5 - Sonata for 2 violins &amp; continuo in D major&lt;br /&gt;
E 3:E1 - Sonata for 2 violins &amp; continuo in E major&lt;br /&gt;
E 3:Es1 - Sonata for 2 violins &amp; continuo in E flat major&lt;br /&gt;
E 3:Es2 - Sonata for 2 violins &amp; continuo Op. 1 No. 6 in E flat major&lt;br /&gt;
E 3:Es3 - Sonata for 2 violins &amp; continuo Op. 4 No. 3 in E flat major&lt;br /&gt;
E 3:F2 - Sonata for 2 violins &amp; continuo Op. 1 No. 4 in F major&lt;br /&gt;
E 3:F3 - Sonata for 2 violins &amp; continuo Op. 4 No. 6 in F major&lt;br /&gt;
E 3:F5 - Sonata for 2 violins &amp; continuo in F major&lt;br /&gt;
E 3:F7 - Sonata for 2 violins &amp; continuo in F major&lt;br /&gt;
E 3:G1 - Sonata for 2 violins &amp; continuo in G major&lt;br /&gt;
E 3:G2 - Sonata for 2 violins &amp; continuo Op. 4 No. 2 in G major&lt;br /&gt;
E 3:G6 - Sonata for flute, violin &amp; continuo No. 2 in G major&lt;br /&gt;
E 3:G7 - Sonata for 2 violins &amp; continuo in G major&lt;br /&gt;
E 4:A1 - String Quartet Op. 3 No. 1 in A major&lt;br /&gt;
E 4:A2 - String Quartet (Sinfonia) in A major&lt;br /&gt;
E 4:A3 - String Quartet in A major&lt;br /&gt;
E 4:B1 - String Quartet Op. 3 No. 3 in B flat major&lt;br /&gt;
E 4:B2 - String Quartet (Sinfonia) in B flat major&lt;br /&gt;
E 4:B3 - String Quartet Op. 1 No. 5 in B flat major&lt;br /&gt;
E 4:B4 - String Quartet in B flat major&lt;br /&gt;
E 4:C1 - String Quartet Op. 3 No. 6 in C major&lt;br /&gt;
E 4:C2 - String Quartet Op. 1 No. 2 in C major&lt;br /&gt;
E 4:C3 - String Quartet in C major&lt;br /&gt;
E 4:D1 - String Quartet (Sinfonia) in D major&lt;br /&gt;
E 4:D2 - String Quartet Op. 1 No. 3 in D major&lt;br /&gt;
E 4:E1 - String Quartet (Sinfonia) in E major&lt;br /&gt;
E 4:Es1 - String Quartet Op. 3 No. 5 in E flat major&lt;br /&gt;
E 4:Es2 - String Quartet (Sinfonia) in E flat major&lt;br /&gt;
E 4:Es3 - String Quartet Op. 1 No. 1 in E flat major&lt;br /&gt;
E 4:Es4 - String Quartet in E flat major&lt;br /&gt;
E 4:F1 - String Quartet Op. 3 No. 2 in F major&lt;br /&gt;
E 4:F2 - String Quartet Op. 1 No. 4 in F major&lt;br /&gt;
E 4:F3 - String Quartet in F major&lt;br /&gt;
E 4:G1 - String Quartet Op. 3 No. 4 in G major&lt;br /&gt;
E 4:G2 - String Quartet (Sinfonia) in G major&lt;br /&gt;
E 4:G3 - String Quartet Op. 1 No. 6 in G major&lt;br /&gt;
E 4:G4 - String Quartet in G major&lt;br /&gt;
E 5:A1 - String Quintet in A major&lt;br /&gt;
E 5:B1 - String Quintet in B flat major&lt;br /&gt;
E 5:B2 - Oboe Quintet in B flat major&lt;br /&gt;
E 5:B3 - Wind Quintet in B flat major&lt;br /&gt;
E 5:B4 - Hunting Partita in B flat major&lt;br /&gt;
E 5:C1 - String Quintet in C major&lt;br /&gt;
E 5:C3 - Wind Quintet in C major&lt;br /&gt;
E 5:D2 - Wind Quintet in D major&lt;br /&gt;
E 5:Es1 - String Quintet in E flat major&lt;br /&gt;
E 5:Es3 - Wind Quintet in E flat major&lt;br /&gt;
E 5:F1 - String Quintet in F major&lt;br /&gt;
E 5:F2 - Oboe Quintet in F major&lt;br /&gt;
E 5:F3 - Wind Quintet in F major&lt;br /&gt;
E 5:G1 - String Quintet in G major&lt;br /&gt;
E 5:G2 - Wind Quintet in G major&lt;br /&gt;
E 6:G1 - Serenade in G major [mis-catalogued by Evans/Dearling as a chamber sextet; it is actually a string symphony]&lt;br /&gt;
E 7:A1 - Sinfonia concertante Op. 2 No. 4 in A major [mis-catalogued by Evans/Dearling as a chamber septet; it is actually a string quintet that could be performed as a string symphony]&lt;br /&gt;
E 7:B1 - Sinfonia concertante Op. 2 No. 1 in B flat major [mis-catalogued by Evans/Dearling as a chamber septet; it is actually a string quintet that could be performed as a string symphony]&lt;br /&gt;
E 7:C1 - Sinfonia concertante Op. 2 No. 6 in C major [mis-catalogued by Evans/Dearling as a chamber septet; it is actually a string quintet that could be performed as a string symphony]&lt;br /&gt;
E 7:D1 - Sinfonia concertante Op. 2 No. 5 in D major [mis-catalogued by Evans/Dearling as a chamber septet; actually a string quintet]&lt;br /&gt;
E 7:E1 - Sinfonia concertante Op. 2 No. 2 in E major [mis-catalogued by Evans/Dearling as a chamber septet; it is actually a string quintet that could be performed as a string symphony]&lt;br /&gt;
E 7:G1 - Sinfonia concertante Op. 2 No. 3 in G major [mis-catalogued by Evans/Dearling as a chamber septet; it is actually a string quintet that could be performed as a string symphony]&lt;br /&gt;
E 8:B1 - Wind octet No. 3 in B flat major&lt;br /&gt;
E 8:Es1 - Wind octet No. 1 in E flat major&lt;br /&gt;
E 8:Es2 - Wind octet No. 2 in E flat major&lt;br /&gt;

'''Concertos'''

E 9a:A1 - Violin concerto No. 8 in A major&lt;br /&gt;
E 9a:B1 - Violin concerto No. 5 in B flat major&lt;br /&gt;
E 9a:C1 - Violin concerto No. 1 in C major&lt;br /&gt;
E 9a:D1 - Violin concerto No. 7 in D major&lt;br /&gt;
E 9a:D2 - Violin concerto No. 4 in D major&lt;br /&gt;
E 9a:E1 - Violin concerto No. 2 in E major&lt;br /&gt;
E 9a:F1 - Violin concerto No. 3 in F major&lt;br /&gt;
E 9a:G1 - Violin concerto No. 6 in G major&lt;br /&gt;
E 9b:C1 - Cello Concerto in C major [arrangement of a violin concerto not catalogued by Evans/Dearling]&lt;br /&gt;
E 9c:D1 - Flute Concerto in D major&lt;br /&gt;
E 9d:B1 - Keyboard Concerto in B flat major&lt;br /&gt;
E 9d:F1 - Keyboard Concerto in F major&lt;br /&gt;
E 9e:Es1 - Concertino for wind quintet &amp; orchestra in E flat major&lt;br /&gt;

'''Symphonies and Overtures'''

E10:A 1 - Symphony in A major&lt;br /&gt;
E10:A 2 - Overture No. 2 in A major&lt;br /&gt;
E10:A 3 - Sinfonia a 4 in A major&lt;br /&gt;
E10:B 1 - Overture to Il Trionfo di Clelia in B flat major&lt;br /&gt;
E10:B 2 - Symphony in B flat major&lt;br /&gt;
E10:B 3 - Overture No. 5 in B flat major&lt;br /&gt;
E10:B 4 - Overture to La clemenza di Tito in B flat major&lt;br /&gt;
E10:B 5 - Overture to Artaserse in B flat major&lt;br /&gt;
E10:B 6 - Sinfonia a 4 in B flat major&lt;br /&gt;
E10:B 8 - Symphony in B flat major &lt;br /&gt;
E10:B 9 - Overture to Il Demetrio II in B flat major&lt;br /&gt;
E10:c 1 - Overture to La famiglia di Tobia in C minor&lt;br /&gt;
E10:C 1 - Symphony in C major &lt;br /&gt;
E10:C 2 - Symphony Op. 1 No. 3 in C major&lt;br /&gt;
E10:C 3 - Overture to Il Bellerofonte in C major&lt;br /&gt;
E10:C 4 - Overture to Demofoonte I in C major&lt;br /&gt;
E10:C 6 - Symphony in C major &lt;br /&gt;
E10:C 7 - Overture No. 1 in C major&lt;br /&gt;
E10:C 8 - Overture to Ezio I in C major&lt;br /&gt;
E10:C10 - Overture to Isacco figura del redentore in C major&lt;br /&gt;
E10:C11 - Symphony in C major &lt;br /&gt;
E10:C12 - Overture to L'Olimpiade in C major&lt;br /&gt;
E10:C13 - Overture to Armida in C major&lt;br /&gt;
E10:C14 - Symphony in C major &lt;br /&gt;
E10:D 1 - Symphony Op. 1 No. 1 in D major&lt;br /&gt;
E10:D 2 - Symphony Op. 1 No. 6 in D major&lt;br /&gt;
E10:D 3 - Overture to Semiramide in D major&lt;br /&gt;
E10:D 4 - Symphony in D major &lt;br /&gt;
E10:D 5 - Overture to Il Farnace in D major&lt;br /&gt;
E10:D 6 - Symphony in D major &lt;br /&gt;
E10:D 7 - Symphony in D major &lt;br /&gt;
E10:D 8 - Symphony in D major &lt;br /&gt;
E10:D 9 - Overture to La Nitteti in D major&lt;br /&gt;
E10:D10 - Symphony in D major  (lost)&lt;br /&gt;
E10:D11 - Symphony in D major  (lost)&lt;br /&gt;
E10:D12 - Symphony in D major &lt;br /&gt;
E10:D13 - Overture to Tamerlano in D major&lt;br /&gt;
E10:D14 - Overture No. 4 in D major&lt;br /&gt;
E10:D15 - Overture to Il Demetrio I in D major&lt;br /&gt;
E10:D16 - Overture to Antigona in D major&lt;br /&gt;
E10:D17 - Sinfonia a 4 in D major&lt;br /&gt;
E10:D18 - Overture to Demofoonte II in D major&lt;br /&gt;
E10:D20 - Overture to Adriano in Siria in D major&lt;br /&gt;
E10:D21 - Symphony in D major &lt;br /&gt;
E10:D22 - Overture to La Calliroe in D major&lt;br /&gt;
E10:D23 - Symphony in D major &lt;br /&gt;
E10:D24 - Overture to Il Medonte in D major&lt;br /&gt;
E10:DQ1 - Symphony in D major &lt;br /&gt;
E10:E 1 - Overture to L'Ipermestra in E major&lt;br /&gt;
E10:E 2 - Sinfonia a 4 in E major&lt;br /&gt;
E10:Es1 - Symphony in E flat major &lt;br /&gt;
E10:Es2 - Symphony in E flat major &lt;br /&gt;
E10:Es3 - Overture to Adamo ed Eva in E flat major&lt;br /&gt;
E10:Es4 - Sinfonia a 4 in E flat major&lt;br /&gt;
E10:Es6 - Symphony in E flat major &lt;br /&gt;
E10:F 1 - Symphony Op. 1 No. 4 in F major&lt;br /&gt;
E10:F 2 - Symphony in F major &lt;br /&gt;
E10:F 3 - Symphony in F major &lt;br /&gt;
E10:F 5 - Symphony in F major &lt;br /&gt;
E10:F 6 - Overture No. 3 in F major&lt;br /&gt;
E10:F 8 - Symphony in F major &lt;br /&gt;
E10:F 9 - Symphony in F major &lt;br /&gt;
E10:F10 - Symphony in F major &lt;br /&gt;
E10:F11 - Symphony in F major &lt;br /&gt;
E10:G 1 - Symphony Op. 1 No. 2 in G major&lt;br /&gt;
E10:g 1 - Symphony Op. 1 No. 5 in G minor&lt;br /&gt;
E10:G 2 - Overture to Il Parnasso confuso in G major&lt;br /&gt;
E10:G 3 - Symphony in G major &lt;br /&gt;
E10:G 4 - Overture to Motezuma in G major&lt;br /&gt;
E10:G 5 - Overture No. 6 in G major&lt;br /&gt;
E10:G 6 - Overture to Romolo ed Ersilia in G major&lt;br /&gt;
E10:G 7 - Sinfonia a 4 in G major&lt;br /&gt;
E10:G 8 - Overture to Ezio II in G major&lt;br /&gt;
E10:G10 - Symphony in G major &lt;br /&gt;
E10:G11 - Symphony in G major &lt;br /&gt;
E10:G12 - Symphony in G major &lt;br /&gt;
E11:B1 - Orchestral piece in B flat major

===Operas===
* Semiramide (Bergamo, 1766)
* [[Il Bellerofonte]] (Naples 1767)
* [[Farnace]] (Naples, 1767)
* Il trionfo di Clelia (Turin, 1768)
* [[Demofoonte]] [1st version] (Venice, 1769)
* L’Ipermestra (Florence, 1769)
* La Nitteti (Bologna, 1770)
* Motezuma (Florence, 1771)
* Il gran Tamerlano (Milan, 1772)
* Il Demetrio [1st version] (Pavia, 1773)
* Romolo ed Ersilia (Naples, 1773)
* Antigona (Turin, 1774)
* La clemenza di Tito (Venice, 1774)
* Atide (Padua, 1774)
* [[Artaserse]] (Naples, 1774)
* [[Demofoonte]] [2nd version] (Naples, 1775)
* Ezio [1st version] (Naples, 1775)
* Adriano in Siria (Florence, 1776)
* Ezio [2nd version] (Munich, 1777)
* La Calliroe (Naples, 1778)
* [[Olimpiade]] (Naples, 1778)
* La Circe (Venice, 1779)
* Demetrio [2nd version] (Naples, 1779)
* [[Armida]] (Milan, 1780)
* Il Medonte (Rome, 1780)
* Antigono (Rome, 1780)

* Il Parnaso confuso (c.1765), dramatic cantata
* Elfrida (1774), play with choruses (lost)
* Das ausgerechnete Glück (1777), children operetta (lost)
* Theodorich und Elisa (c.1777), melodrama

===Oratorios===
* Il Tobia (Padua, 1769)
* I pellegrini al sepolcro (Padua, 1770)
* Giuseppe riconosciuto (Padua, c.1770) - lost
* Adamo ed Eva (Florence, 1771)
* La Betulia liberata (Padua, 1771) - lost
* La passione di Nostro Signore Gesù Cristo (Florence, 1773)
* La liberazione d'Israele (1773-74?) - lost, perhaps composed in Naples, first recorded performance in Prague in 1775
* Isacco figura del redentore (Florence, 1776)

===Other vocal works===
'''Secular cantatas'''
* Cantata per S.E. Marino Cavalli (1768) - lost
* Narciso al fonte (1768) - lost
* Cantata a 2 (by 1771)
* Enea negl'Elisi (1777) - lost
* Armida
* Ebbi, non ti smarir
* Non, non turbati, o Nice
* 6 birthday cantatas written between 1767 and 1779 during his stay in Naples - lost

'''Arias'''
* Ah che fugir … Se il ciel mi chi rida;
* 3 duetti notturni (2 vv, insts)

'''Sacred works'''
* Veni sponsa Christi (1771)
* Lytanie laurentanae
* Offertorium Beatus Bernardy

==Notes==
&lt;references/&gt;

==External links==
* {{IMSLP|id=Mysliveček, Josef|cname=Josef Mysliveček}}

==References==
*[http://www.haydn.dk/mhc_myslivecek.php Josef Mysliveček]
*[http://www.mozartforum.com/Lore/article.php?id=540&amp;pt_sid=17ef99fbcf47868912a27795f34f774f Mozart Contemporaries: Myslivecek, Joseph]
*[http://www.karadar.com/Dictionary/myslivecek.html Karador Classical Music Dictionary] Includes full libretto of  Mysliveček's ''Il Gran Tamerlano'', 1772.
*[http://www.italianopera.org/luchesi/luchesinewmanE.html W.A.Mozart and Josef Mysliveček] Discussion begins about half way down page.
*[http://www.italianopera.org/compositori/M/c219703E.htm More at the same site] Links to several other language pages.

{{DEFAULTSORT:Myslivecek, Josef}}
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    </revision>
  </page>
  <page>
    <title>John Stafford Smith</title>
    <id>438202</id>
    <revision>
      <id>311647908</id>
      <timestamp>2009-09-03T12:51:57Z</timestamp>
      <contributor>
        <username>Adamjackson77</username>
        <id>10446686</id>
      </contributor>
      <minor/>
      <comment>grammar</comment>
      <text xml:space="preserve">{{Infobox Person
| name              = John Stafford Smith
| image             = John smith.jpg
| image_width       = 200px
| birth_date        = {{Birth date|1750|03|30|df=yes}}
| birth_place       = [[Gloucester]], [[England]]
| death_date        = {{Death date and age|1836|09|21|1750|03|30|df=yes}}
| death_place       = [[London]], [[England]]
| nationality       = [[British people|British]]
| occupation        = [[Composer]]
| known_for         = [[Composed]] &quot;[[To Anacreon in Heaven|The Anacreontic Song]]&quot; the tune of the [[national anthem]] of the [[United States of America]]
}}

[[Image:JohnStaffordSmith01.jpg|thumb|right|[[Memorial]], [[Gloucester Cathedral]]]]

'''John Stafford Smith''' ([[March 30]], [[1750]] – [[September 21]], [[1836]]) was a [[British people|British]] [[composer]] born in [[Gloucester]], [[England]], church [[organist]], and early [[musicologist]]. He was one of the first serious collectors of manuscripts of works by [[Johann Sebastian Bach]].

Stafford Smith is best known for writing the music for &quot;[[To Anacreon in Heaven|The Anacreontic Song]]&quot;, which became the tune for the American patriotic song the [[Star Spangled Banner]] following the [[war of 1812]], and in [[1931]] was adopted as the [[national anthem]] of the [[United States of America]]

==Life==
John Stafford Smith was baptised in [[Gloucester Cathedral]], [[England]] on 30 March 1750, the son of Martin Smith, organist of [[Gloucester Cathedral]] from 1743-1782.  He attended the [[The King's School, Gloucester|Gloucester cathedral school]] where he became a boy-singer.  He furthered his career as a choir boy at the [[Chapel Royal]], [[London]] and also studied under the famous Dr [[William Boyce]]. 

By the 1770's he had gained a reputation as a composer and organist.  He was elected as a member of the select [[Anacreontic Society]] which boasted amongst its membership such persons as [[Dr Johnson]], [[James Boswell]], Sir [[Joshua Reynolds]] and [[Henry Purcell]].

About 1780 Smith composed music for the society's constitutional song entitled ''To Anachreon in Heaven''. The words were by Ralph Tomlinson (1744-1778) president of the society, and were inspired by the sixth-century BC Greek lyric poet, [[Anacreon]], who wrote odes on the pleasures of love and wine. The song  became popular in Britain and also America following the establishment of several Anarchreontic Societies there.

Stafford Smith later became a Gentleman of the Chapel Royal in 1784, organist for the Chapel Royal in 1802 and [[Master of the Children]] in 1805. he also became [[Lay clerk|lay-vicar]] of [[Westminster Abbey]]. He was organist at the [[Three Choirs Festival]] held at Gloucester in 1790. 

John Stafford Smith is considered to be the first Englishman to be a serious [[antiquarian]] and [[musicologist]].&lt;ref&gt;{{cite web
| title       = John Stafford Smith
| url         = http://www.jazzstore.com/performer/John-Stafford-Smith/5832
| publisher   = 
| accessdate  =
| quote       = John Stafford Smith has been called &quot;virtually the first English musicologist&quot; He remains a significant figure in American history as the composer of the tune, &quot;The Star-Spangled Banner&quot;, the national anthem of the United States.}}&lt;/ref&gt; 
He began by publishing his ''A Collection of English Song'' in 1779.  Smith's library included the ''Old Hall Manuscript'' as well as a copy of ''&quot;Ulm Gesangbuch&quot;'' from 1538. He also collected works that dated back to the twelfth century including some [[Gregorian chants]]. His publication ''&quot;Musica Antiqua&quot;'' (1812) included musical scores of works by [[Jacob Obrecht]], [[Adrian Willaert]], [[Jacob Clemens non Papa|Jacob Clemens]] and [[Cristóbal de Morales]] with historical notes on each piece. 

He died in 1836 at the age of eighty-six, allegedly caused by a grape-pip lodged in his windpipe.

==American national anthem==
In 1814 [[Francis Scott Key]] wrote the poem &quot;[[The Star-Spangled Banner|The Defence of Fort McHenry]]&quot; (later re-titled, &quot;The Star-Spangled Banner&quot;), which came to be sung to the tune of Stafford Smith's ''&quot;Anacreon&quot;''. This was officially designated as the [[national anthem]] of the [[United States]] in 1931.&lt;ref&gt;{{cite web
| title       = John Stafford Smith: Composer of the Star Spangled Banner
| url         = http://www.visit-gloucestershire.co.uk/gloucester/smith.htm
| publisher   = 
| accessdate  = 
| quote       = }}&lt;/ref&gt;

==Luxembourg national anthem==
The music of &quot;Anacreon&quot; was also temporarily employed for the national anthem of [[Luxembourg]] until the anthem's replacement by [[Ons Heemecht]] in 1895.

==References==
{{reflist}}

*''Historic Gloucester'' by Phillip Moss, Published 30/04/2005 Publisher: Nonsuch Publishing ISBN 9781845880774 
* John Stafford Smith entry at , ''Allmusic'' by Keith Johnson [http://www.answers.com/topic/john-stafford-smith?cat=entertainment]
*[http://special.lib.gla.ac.uk/manuscripts/search/resultsn.cfm?NID=7345&amp;RID= Manuscripts Catalogue] John Stafford Smith , University of Glasgow. Accessed march 2008

==External links==
*{{IMSLP|id=Smith, John Stafford|cname=John Stafford Smith}}

&lt;references/&gt;

{{DEFAULTSORT:Smith, John Stafford}}
[[Category:English composers]]
[[Category:Glee composers]]
[[Category:Classical era composers]]
[[Category:English classical organists]]
[[Category:English musicologists]]
[[Category:Gentlemen of the Chapel Royal]]
[[Category:1750 births]]
[[Category:1836 deaths]]
[[Category:People from Gloucester]]
[[Category:National anthem writers]]
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[[de:John Stafford Smith]]
[[hu:John Stafford Smith]]
[[ja:ジョン・スタフォード・スミス]]</text>
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  <page>
    <title>Michel Corrette</title>
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      <text xml:space="preserve">[[Image:Michel Corrette.jpg|thumb|right|217px|Michel Corrette]]

'''Michel Corrette''' (10 April 1707 &amp;ndash; 21 January 1795) was a [[France|French]] [[organist]], [[composer]] and author of musical method books.  

==Life==
Corrette was born in [[Rouen]], [[Normandy]]. His father, [[Gaspard Corrette]], was an [[organist]] and composer. Corrette served as [[organist]] at the [[Jesuit]] College in [[Paris]] from about 1737 to 1780. It is also known that he traveled to [[England]] before 1773. In 1780 he was appointed organist to the [[Duke of Angouleme]] and some 15 years later died in [[Paris]] at the age of 87.

==Music==
Corrette was prolific. He composed [[ballet]]s and [[divertissement]]s for the stage, including ''{{lang|fr|Arlequin,}}'' ''{{lang|fr|Armide,}}'' ''{{lang|fr|le Judement de Midas,}}'' ''{{lang|fr|les Âges,}}'' ''{{lang|fr|Nina}}'' and ''{{lang|fr|Persée.}}'' He composed many concertos, notably 25 ''concertos comiques.'' Aside from these works and [[concerto]]s for organ, he also composed [[sonata]]s, songs, instrumental chamber works, harpsichord pieces, [[cantata]]s and other sacred vocal works.

==His teaching==
Aside from playing the organ and composing music, Corrette organized concerts and taught music. He wrote nearly twenty music method books for various instruments—the [[violin]], [[cello]], [[Double Bass|bass]], [[flute]], [[recorder]], [[bassoon]], [[harpsichord]], [[harp]], [[mandolin]], [[voice]] and more—with titles such as ''l'Art de se perfectionner sur le violon'' (The Art of Playing the Violin Perfectly), ''le Parfait Maître à chanter'' (The Perfect Mastersinger) and ''L′école d′Orphée'' (The School of Orpheus), a violin treatise describing the French and Italian styles. These pedagogical works by Corrette are valuable because they &quot;give lucid insight into contemporary playing techniques.&quot;[http://kdfc.com/new/composers_detail.cfm?id=95]

==See also==
*[[French baroque harpsichordists]]
*[[French organ school]]

==External links==
*Corrette: Tous les bourgeois de Chastres [http://www.boreades.com/meta/acd_2_2118_1.2.128k.m3u]
*Corrette: Noël provençal [http://www.boreades.com/meta/acd_2_2118_1.4.128k.m3u]
*{{IckingArchive|idx=Corrette|name=Michel Corrette}}
*{{IMSLP|id=Corrette, Michel}}
*[http://www.hoasm.org/VIIE/Corrette.html Michel Corrette (1707 - 1795)], biographical sketch on Here of a Sunday Morning website
*[http://fr.wikipedia.org/wiki/Michel_Corrette Michel Corrette], translation from the French Wikipedia
*[http://hdl.handle.net/1802/3501 Les pantins] (from ''Maîtres français du clavecin des XVIIme et XVIIIme siècles'') From Sibley Music Library Digital Scores Collection

{{DEFAULTSORT:Corrette, Michel}}
[[Category:1707 births]]
[[Category:1795 deaths]]
[[Category:People from Rouen]]
[[Category:French composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]


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  </page>
  <page>
    <title>Jacques Duphly</title>
    <id>1289808</id>
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      <text xml:space="preserve">'''Jacques Duphly''' ([[January 12]], [[1715]] &amp;ndash; [[July 15]], [[1789]]) was a [[France|French]] [[harpsichord|harpsichordist]] and organist, and the composer of bright, lively, and attractive keyboard music.

He was born in [[Rouen]], France, the son of Jacques-Agathe Duphly and Marie-Louise Boivin. As a boy, he studied the harpsichord and [[Organ_(music)|organ]], and was employed as organist at the cathedral in [[Évreux]].

His teachers were [[François d'Agincourt]] and [[Jean-Jacques Rousseau]]. Later, Rousseau would ask him to contribute to his dictionary, for articles relating to the art of playing the harpsichord.

On 11 September 1734 'le sieur Dufliq, organist of the cathedral of Evreux' applied for a position at the church at St. Eloi; the register goes on to make clear that he had been trained by Dagincourt at Rouen, went to Evreux (c1732) for what must have been his first appointment (he was only 19 when he resigned from it) and returned to his native parish. His tenure at St Eloi began inauspiciously since old man he was replacing did not take kindly to this personnel decision, and locked the organ loft before he left and threw away the key, but the church quickly changed the locks. To St Eloi he added Notre Dame de la Ronde in 1740, his sister Marie-Anne-Agathe sometimes substituting for him when duties conflicted. He left both appointments in 1742 and moved to Paris. According to the clerk of St Eloi, it was affairs that drew him there, but other reports suggest that it was the realization that he would do better as a specialist of the harpsichord in Paris than as an organist in Rouen. Therefore in 1742 he settled in Paris, making his name as a harpsichordist, teacher and composer. He was praised for his light touch and a great ability to bring out the character of the pieces.In 1742, after the death of his father, Duphly moved to [[Paris]], where he became famous as a performer and teacher. He was considered by [[Pascal Taskin]], the harpsichord maker, to be one of the best teachers in Paris.

He started publishing books of original harpsichord music in 1744. His popularity continued to increase into the 1760s , and he published more volumes of harpsichord music. His four harpsichord collections (1744-68) are modelled chiefly on Rameau's. Book 3 (1758) includes a long, brilliant chaconne and a savage tirade, La Médée. In all, he published four volumes of harpsichord music (1744, 1748, 1756 and 1768). Book 4 of his harpsichord music contains the enchanting (and still regularly played today) rondeau, 'La Pothouin'.

Marpurg (1754) remarked that Duphly, a pupil of Dagincourt, plays the harpsichord only, in order, as he says, &quot;not to spoil his hand with the organ. He lives in Paris, where he instructs the leading families&quot;. His reputation seems to have reached its peak in the 1750s and 60s. Marpurg's ‘Raccolta delle piu nuove composizioni di clavicembalo, ii’ (1757), contains a pair of rondeaux from Duphly's first book. In 1764 Walsh brought out an edition of his second book; in 1765 the 20-year-old Richard Fitzwilliam was studying with him. That year Pascal Taskin, the harpsichord maker, reckoned 'Dufly' among the best teachers in Paris, along with Armand-Louis Couperin, Balbastre and Le Grand. The article on fingering in Rousseau's Dictionnaire (1768) contains rules which the author presents 'with confidence, because I have them from M Duphli, excellent harpsichord teacher who possesses above all perfection in fingering' (though either Duphly or Rousseau overlooked the fact that these 'rules' were lifted word for word from Rameau's, in his Pieces de clavecin of 1724). The titles and dedications of Duphly pieces show him to have been a part of the inner circle of professional and aristocratic connoisseurs; yet he seems to have been unambitious and content with a simple and modest life of teaching and playing.

D'Aquin wrote that 'in general his pieces are sweet and amiable: they take after their father'. Although this represents a curious judgment of his music, which is often flashy and energetic, it may reflect a nature that allowed him to drift gently from view to a point of obscurity where it became necessary to inquire in the Journal general de la France (27 November 1788) 'what has become of M Duphlis, former harpsichord teacher in Paris, where he was in 1767. If he no longer exists, one would like to know his heirs, to whom there is something to communicate. He apparently never married, and when he died, no heirs appeared; even his sister could not be located. He died on [[July 15]] [[1789]], the day after the [[storming of the Bastille]], in an apartment in the Hôtel de Juigné, lonely, forgotten, with his library - and ''without a harpsichord''. The mystery could possibly be clarified by this fact: in 1785, [[Antoine de Sartine]], ex-chief of Police, and ex-minister of the Navy, lived at the same address. 

Duphly left his possessions to his servant, who was with him for 30 years. But his will and the inventory of his effects show that he had been living in modest comfort in his small apartment. His dedication of his last pieces to the Marchioness of Juigne, 21 years before, did not exempt him from paying 300 livres a year for rent. 

Dagincourt may have been Duphly's teacher, but Rameau's harpsichord music served as Duphly's chief model. Rameau's shadow falls on themes (the courante La Boucon in book 1 begins like Rameau's E minor courante, transformed in metre) and on whole pieces (Les colombes in book 2 -- which D'Aquin must have meant when he said of Duphly's music: 'On connait les tourterelles, qui affectent le coeur' -- is almost a condensed paraphrase of La timide from Rameau's Pieces de clavecin en concerts, 1741). Scarlatti's fast 3/8 sonatas have their echo in La De Caze (book 2) and La De la Tour (book 3), and Dagincourt (or Couperin, whom Dagincourt imitated) can be felt in a rondeau in C (book 1) and La De Brissac (book 2), among other pieces.

Book 3 mixes solos and two sonata-like groups with violin accompaniment; the latter are singularly unimaginative in their use of the violin, which seems to have been more a hindrance than a resource. Two solo groups in F minor and D are excellent, however. The first consists of a sombre rondeau in bass-viol range called La Forqueray after the late virtuoso of that instrument, a brilliant chaconne of 285 bars, and a savage tirade entitled La Medee and marked 'vivement et fort'. In the 12 years between books 3 and 4 fashion passed Duphly by: book 4 contains but six half-hearted essays in Alberti-bass style.

Only fifty-two works by Duphly are known, most of which were published during his lifetime in the four volumes of harpsichord music mentioned above. The titles of the work refer to well-known protectors of art (e.g. [[Princess Victoire of France|La Victoire]], [[Antoine de Sartine|la de Sartine]]) or other composers (e.g. [[Antoine Forqueray|La Forqueray]]). His late music contains elements typical of the early classical movement - e.g. the use of Alberti bass, quite dissimilar to [[Jean-Philippe Rameau]] or [[François Couperin]]. 

==See also==
*[[French baroque harpsichordists]]

==References==
*David Fuller. &quot;Jacques Duphly&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[August 4]] [[2005]]), [http://www.grovemusic.com/ grovemusic.com] (subscription access).
* Sleeve notes of [[vinyl record]] &quot;Le Clavecin Français&quot; par Pauline Aubert, Vogue MC 20123
* Françoise Petit: ‘Sur l’oeuvre de Jacques Duphly’, Courrier musical de France, '''23''' (1968), pp.  188–90
* on the address of M. de Sartine: A. de Maurepas et A. Boulant&quot;Les ministres et les ministères du siècle des Lumières&quot;, page 249

==External links==
*[http://jacques.duphly.free.fr Pièces pour clavecin] Complete scores (Book I, II, III and IV) freely downloadable (modern edition), Discography.
*{{IMSLP|id=Du Phly, Jacques}}

{{DEFAULTSORT:Duphly, Jacques}}
[[Category:French composers]]
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[[Category:1715 births]]
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  <page>
    <title>Anton Reicha</title>
    <id>1103499</id>
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      <timestamp>2009-09-09T22:05:30Z</timestamp>
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      <minor/>
      <comment>robot  Adding: [[fa:آنتونین رایشا]]</comment>
      <text xml:space="preserve">[[Image:Reicha.jpg|thumb|right|300px|Portrait of Anton Reicha made in 1815 by M.F. Dien.]]
'''Anton''' (''Antonín'', ''Antoine'') '''Reicha''' (''Rejcha'') ([[February 26]], 
[[1770]] &amp;ndash; [[May 28]], [[1836]]) was a [[Czech Republic|Czech]]-born [[Naturalization|naturalized]] [[France|French]] [[composer]]. A contemporary and lifelong friend of [[Ludwig van Beethoven|Beethoven]], Reicha is now best remembered for his substantial early contribution to the [[wind quintet]] literature and his role as a teacher - his pupils included [[Franz Liszt]] and [[Hector Berlioz]]. Reicha was also an accomplished [[Music theory|theorist]] and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as [[fugue]]s and [[etude]]s for [[piano]] and [[string quartet]]s.

Reicha was born in [[Prague]] into a family of a town piper. His father died when Reicha was just 10 months old, and his mother was uninterested in the boy's education. At the age of 10 the young composer ran away from home, and was subsequently raised and educated in music by his uncle [[Josef Reicha]]. When the family moved to [[Bonn]], Josef secured for his nephew a place at the Hofkapelle, but for Reicha this was not enough. He studied composition secretly, against his uncle's wishes, and entered the [[University of Bonn]] in 1789. When Bonn was captured by the French in 1794, Reicha had to flee to [[Hamburg]], where he made his living by teaching harmony and composition, and studied [[mathematics]] and [[philosophy]]. Between 1799 and 1801 he lived in [[Paris]], trying to achieve recognition as an opera composer, without success. In 1801 he moved to [[Vienna]], where he studied with [[Antonio Salieri|Salieri]] and [[Johann Georg Albrechtsberger|Albrechtsberger]] and produced his first important works. His life was once again affected by war in 1808, when he had to leave Vienna. Reicha settled in Paris, where he spent the rest of his life teaching composition; in 1818 he was appointed professor at the [[Conservatoire de Paris|Conservatoire]].

Reicha's output during his Vienna years included large semi-didactic cycles of works such as ''[[36 Fugues (Reicha)|36 Fugues for piano]]'' (which explored Reicha's &quot;new method of fugal writing&quot;), ''[[L'art de varier]]'' (a set of 57 variations on an original theme), and exercises for the treatise ''Practische Beispiele''. During the later Paris period, however, he focused his attention mostly on theory and produced a number of treatises on composition. Works of this period include some 25 wind quintets, some of the earliest important music for wind ensembles. Ideas he advocated in his music and writings include [[polyrhythm]], [[polytonality]] and [[microtonal music]]; none were accepted by the composers of the time. Due to Reicha's own attitude towards publishing his music, he fell into obscurity immediately after his death; his life and work remain poorly studied.

== Life ==
=== 1770&amp;ndash;1805: Early years, first visit to Paris and the Viennese period ===
Reicha was born in [[Prague]]. His father Šimon, the town piper of the city, died when Anton was just 10 months old.&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; Apparently Reicha's mother was not interested in her son's education, and so in 1780 Reicha ran away from home following a sudden impulse - as is recounted in his memoirs, he jumped onto a passing carriage&lt;ref&gt;{{cite journal|journal=Notes, 2nd Series|publisher=Music Library Association|accessdate=2008-10-29|
url=http://www.jstor.org/stable/898945
|title=Review of Olga Sotolova's 'Antonin Rejcha' (Deryck Viney, translator)|last=Hoyt|first=Peter A.|volume=49|issue=3|month=March | year=1993|pages=996–8|doi=10.2307/898945}}&lt;/ref&gt;. Reicha went to [[Klatovy]] to his grandfather first, and then was adopted by his uncle [[Josef Reicha]], a virtuoso [[cellist]], [[Conductor (music)|conductor]] and composer, who lived at [[Wallerstein]], [[Bavaria]].&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; Josef and his wife did not have children, and apparently the young Anton had their full attention: Josef taught him [[violin]] and [[piano]], his wife insisted that the boy learned [[French language|French]] and [[German language|German]], and Reicha also received instruction in [[flute]].&lt;ref&gt;Demuth, 2 (166)&lt;/ref&gt;

In 1785 the family moved to [[Bonn]], where Reicha became a member of the Hofkapelle of Max Franz, [[Elector of Cologne]], under the direction of his uncle, playing the [[violin]] and the second [[flute]].&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; The young [[Ludwig van Beethoven|Beethoven]] became a [[viola]] player and organist in the Hofkapelle in 1789 and Reicha befriended him; the two became lifelong friends. [[Christian Gottlob Neefe]], who was one of the most important figures in the musical life of the city at the time, might have instructed both Reicha and Beethoven in composition, and possibly also introduced them to the works of [[Johann Sebastian Bach]], such as the [[Well-Tempered Clavier]].

From about 1785 Reicha studied composition secretly, against his uncle's wishes, yet already by 1787 he composed and conducted his first [[symphony]]. In 1789 he entered the [[University of Bonn]]. Reicha was studying and worked as performer until 1794, when Bonn was attacked and captured by the [[France|French]] forces. Reicha managed to escape to [[Hamburg]],&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; vowed never to perform again, and started earning his living by teaching harmony and composition, as well as the piano. He also occupied himself with composition, studied [[mathematics]], [[philosophy]] and, significantly, methods of teaching composition. In 1799 Reicha moved to [[Paris]], hoping to achieve success with his operas. These hopes were dashed, however: he could neither get his old librettos accepted, nor find suitable new ones, despite support from his friends and influential members of the aristocracy. In 1801 Reicha left Paris for [[Vienna]].

In Vienna he began studying with [[Antonio Salieri]] and [[Johann Georg Albrechtsberger]].&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; Both were renowned teachers whose pupils included Schubert (Salieri) and Beethoven (both), and Albrechtsberger  was also an important theorist. Reicha visited [[Joseph Haydn|Haydn]], whom he already met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna. Reicha's move to Vienna marked the beginning of a more productive and successful period in the composer's life. Reicha himself reflected on this time in his memoirs: &quot;The number of works I finished in Vienna is astonishing. Once started, my verve and imagination were indefatigable. Ideas came to me so rapidly it was often difficult to set them down without losing some of them. I always had a great penchant for doing the unusual in composition. When writing in an original vein, my creative faculties and spirit seemed keener than when following the precepts of my predecessors.&quot;&lt;ref name = &quot;drummondweb&quot;&gt;Reicha's autobiography, ''Notes sur Antoine Reicha'', quoted in [[Ron Drummond]], &quot;Program Notes for a Performance of Antonín Rejcha's C Minor String Quartet&quot;. See [http://www.classical.net/music/comp.lst/articles/reicha/quartets/sounding3.html]&lt;/ref&gt; In 1801 Reicha's opera ''L'ouragan'', which failed in [[Paris]], was performed at the palace of [[Lobkowicz|Prince Joseph Franz Maximilian Lobkowicz]], Beethoven's patron. Empress [[Maria Theresa of Naples and Sicily|Maria Theresa]] commissioned another opera after this performance, ''Argine, regina di Granata'', which was also performed (although privately). Reicha's studies in Hamburg came to fruition here with the publication of several semi-didactic, encyclopedic works such as ''[[36 Fugues (Reicha)|36 Fugues for piano]]'' (published in 1803, dedicated to Haydn)&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; and ''[[L'art de varier]]'', a large-scale [[Variation form|variation]] cycle (composed in 1803-4 for [[Prince Louis Ferdinand of Prussia (1772-1806)|Prince Louis Ferdinand]]), and the treatise ''Practische Beispiele'' (published in 1803), which contained 24 compositions.

=== 1806-18: Departure from Vienna and life in Paris ===
Reicha's life and career in Vienna were interrupted by [[Napoleon I of France|Napoleon]]'s military activities. In November 1805 the city was occupied by [[France|French]] troops. In 1806 Reicha travelled to [[Leipzig]] to arrange a performance of his new work, the cantata ''Lenore'' (stopping at Prague to see his mother for the first time since 1780), but because Leipzig was blockaded by the French, not only was the performance cancelled, but Reicha could not return to Vienna for several months. When he did return, it was not  for long, because by 1808 the [[Austrian Empire]] was already preparing for another war, the [[War of the Fifth Coalition]], so Reicha decided to move, once again, to Paris.&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; This time three of Reicha's many operas were produced, and all failed to attract attention; nevertheless, his fame as theorist and teacher increased steadily, and by 1817 most of his pupils became professors at the [[Conservatoire de Paris]]. Reicha himself was appointed professor of [[counterpoint]] and [[fugue]] at the Conservatoire in 1818. 

[[Image:AntonReicha.jpg|thumb|right|150px|Anton Reicha's gravestone at [[Père Lachaise Cemetery|Père Lachaise]], Paris.]]
This second Paris period produced several important theoretical writings. ''Cours de composition musicale'', published by 1818, became the standard text on composition at the Conservatoire; the ''Traité de mélodie'' of 1814, a treatise on [[melody]], was also widely studied. Another semi-didactic work, 34 Études for piano, was published by 1817. It was also in Paris that Reicha started composing [[wind quintet]]s, which proved to be his most enduring works&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn=  |url=|page=415 }} {{cs icon}}&lt;/ref&gt; (but which were far removed from the experimental writing of the Vienna period fugues). Reicha's personal life also improved: he got married in 1818 to Virginie Enaust. The couple had two daughters.

Reicha stayed in Paris for the rest of his life. During the last decade of his life, Reicha was fully accepted in [[France]]: he became a [[naturalized citizen]] in 1829 &lt;ref&gt;Demuth, p. 167.&lt;/ref&gt;, then a Chevalier of the [[Légion d'honneur]] in 1835, and also in 1835 he succeeded [[François-Adrien Boieldieu]] at the [[Académie française]]. He published two more large treatises: ''Traité de haute composition musicale'' (1824–6), which dealt with composition, and ''Art du compositeur dramatique'' (1833) on writing opera. Reicha's ideas expressed in the former work sparked some controversy at the Conservatoire. In 1826 [[Franz Liszt]] and [[Hector Berlioz]] became Reicha's students, [[Charles Gounod]] followed some time later. [[Frédéric Chopin]] considered studying with him in 1829, but decided not to. In June 1835 [[César Franck]] started studying with him, although only did so for 10 months, until Reicha died in May 1836. He was buried at the [[Père Lachaise Cemetery]].

== Works ==
{{see also|List of compositions by Anton Reicha}}
It is difficult to present a coherent list of Reicha's works, because the opus numbers assigned to them at the time of publication are in disarray, some pieces were supposedly lost, and many works were published several times, sometimes as part of larger collections. Reicha's surviving oeuvre covers a vast array of genres and forms, from [[opera]] to [[piano]] [[fugue]]s. He is best known today for his [[wind quintet]]s - 25 works composed in [[Paris]] between 1811 and 1820, which were played all over Europe. Reicha claimed in his memoirs that his wind quintets filled a void: &quot;At that time, there was a dearth not only of good classic music, but of any good music at all for [[wind instrument]]s, simply because the composers knew little of their technique.&quot;&lt;ref&gt;Reicha's autobiography, ''Notes sur Antoine Reicha'', quoted in [[Bill McGlaughlin]]'s &quot;A World Of Winds: Making Your Own Quintet — The Father of the Wind Quintet&quot;, see [http://saintpaulsunday.publicradio.org/features/9910_reicha/]&lt;/ref&gt;. Indeed, Reicha's experiences as a [[flautist]] must have helped in the creation of these pieces, in which he systematically explored the possibilities of the wind ensemble and invented an extended [[sonata form]] that could accommodate as many as five principal themes.&lt;ref&gt;Ron Drummond. &quot;Anton Reicha: A Biographical Sketch&quot;, see [http://www.classical.net/music/comp.lst/articles/reicha/bio.html]&lt;/ref&gt;

The wind quintets represent a more conservative trend in Reicha's oeuvre, however, especially when compared to his earlier work, namely the compositions of the [[Vienna|Viennese]] period. Technical wizardry prevails in compositions that illustrate Reicha's theoretical treatise ''Practische Beispiele'' of 1803, where techniques such as [[bitonality]] and [[polyrhythm]] are explored in extremely difficult [[sight reading]] exercises.&lt;ref&gt;Demuth, 7 (171)&lt;/ref&gt; ''[[36 Fugues (Reicha)|36 fugues for piano]]'', published in 1803, was conceived as an illustration of Reicha's ''neue Fugensystem'', a new system for composing [[fugues]]. Reicha suggested fugal answers could be placed on any [[Degree (music)|scale degree]] (rather than the standard [[Dominant (music)|dominant]]) to widen the possibilities for [[Modulation (music)|modulation]] and undermine the [[Tonality|tonal]] stability of the fugue.&lt;ref&gt;{{cite book|last=Walker|first=Alan|authorlink=Alan Walker (musicologist)|title=Franz Liszt: Volume One, the Virtuoso Years, 1811-1847|location=Ithaca, NY|publisher=Cornell University Press|year=1987|isbn=0-8014-9421-4|page=94}}&lt;/ref&gt; The fugues of the collection not only illustrate this point, but also employ a variety of extremely convoluted technical tricks, such as polyrhythm (no. 30), combined (nos. 24, 28), asymmetrical (no. 20) and simply uncommon (no. 10 is in 12/4, no. 12 in 2/8) [[Meter (music)|metre]]s and [[time signature]]s, some of which are derived from folk music, an approach that directly anticipates that of later composers such as [[Béla Bartók]].&lt;ref&gt;Václav Jan Sýkora. Preface to an edition of ''36 fugues for piano'', Kassel: Bärenreiter catalogue numbers 19117-119. 1973&lt;/ref&gt; Number 13 is a [[musical mode|modal]] fugue played on white keys only, in which [[cadence]]s are possible on all but the 7th degree of the scale without further [[alteration]]. Six fugues employ two subjects, one has three, and number 15 employs six subjects. In several fugues Reicha establishes a link with the old tradition by using subjects by [[Joseph Haydn|Haydn]] (no. 3), [[Johann Sebastian Bach|Bach]] (no. 5), [[Wolfgang Amadeus Mozart|Mozart]] (no. 7), [[Domenico Scarlatti|Scarlatti]] (no. 9), [[Girolamo Frescobaldi|Frescobaldi]] (no. 14) and [[George Frideric Handel|Handel]] (no. 15). Many of the technical accomplishments are unique to fugue literature.

The [[Étude|etudes]] of op. 97, ''Études dans le genre fugué'', published in Paris by 1817, are similarly advanced. Each composition is preceded by Reicha's comments for young composers who choose to study the work. Thirty of thirty-four etudes included are fugues, and every etude is preceded by a prelude dedicated to a particular technique or compositional problem. Again an exceptionally large number of forms and textures is used, including, for example, the [[variation form]] with extensive use of [[invertible counterpoint]] (no. 3), or an Andante in C minor based on the famous [[Folia]] harmonic progression. Reicha's massive cycle of variations, ''[[L'art de varier]]'', uses the same pedagogical principle and includes variations in the form of four-voice fugues, [[program music]] variations, [[toccata]]-like hand-crossing variations, etc, foreshadowing in many aspects not only [[Ludwig van Beethoven|Beethoven]]'s [[Diabelli Variations]], but also works by [[Schubert]], [[Wagner]] and [[Debussy]].&lt;ref&gt;Jan Racek. Foreword to the critical edition of &quot;L'art de varier&quot;, Praha: Státní hudební vydavatelství, 1961&lt;/ref&gt;

Many of Reicha's [[string quartet]]s are similarly searching, and too foreshadow numerous later developments. The eight Vienna string quartets (1801-5) are amongst his most important works. Though largely ignored since Reicha's death, they were highly influential during his lifetime, and left their mark on the quartets of Beethoven and Schubert&lt;ref&gt;See [[Ron Drummond]]'s articles on Reicha for an extensive discussion of his quartets: [http://www.classical.net/music/comp.lst/articles/reicha/quartets/index.html]. The first modern edition in score and parts of Reicha's Vienna quartets was published in June 2006 by Merton Music of London, see [http://www.classical.net/music/links/commercial/publisher/merton/USCat2006.pdf].&lt;/ref&gt;, much like [[Johann Sebastian Bach|Bach]]'s [[Well-Tempered Clavier]] was ignored by the public but well-known to Beethoven and Chopin. Reicha also wrote prolifically for various kinds of ensembles other than wind quintets and string quartets: there are [[violin sonata]]s, [[piano trio]]s, [[Horn (instrument)|horn]] trios, various works for wind or string instrument accompanied by strings, works for voice, etc. He also wrote much large-scale music - at least eight [[Symphony|symphonies]] are known, seven [[opera]]s, choral works including a [[Requiem]], and many more.

Much of Reicha's music remained unpublished and/or unperformed during the composer's life, and virtually all of his work fell into obscurity after his death. This is partly explained by Reicha's own decisions which he reflects on in his autobiography: &quot;Many of my works have never been heard because of my aversion to seeking performances [...] I counted the time spent in such efforts as lost, and preferred to remain at my desk.&quot;&lt;ref name = &quot;drummondweb&quot;&gt; &lt;/ref&gt; It must also be noted that Reicha frequently advocated ideas, such as the use of [[quarter tone]]s, that were too far ahead of his time to be understood by his contemporaries.&lt;ref&gt;Demuth, 5-6 (169-70)&lt;/ref&gt;

== Writings ==
Reicha's major theoretical and pedagogical works included the following:
* ''Practische Beispiele: ein Beitrag zur Geistescultur des Tonsetzers ... begleitet mit philosophisch-practischen Anmerkungen'' (1803), a didactic work that includes 25 sight-reading exercises of extreme difficulty, some of which were later published separately or in collections such as the ''[[36 Fugues (Reicha)|36 fugues]]''. The exercises are divided into three groups: one for polyrhythm, one for polytonality and one that included exercises written on four [[staff (music)|stave]]s and so required knowledge of the alto and tenor [[clef]]s.
* ''{{lang|fr|Traité de mélodie}}'' (Paris, 1814), on melody, translated into German by [[Carl Czerny|Czerny]]
* ''{{lang|fr|Cours de composition musicale, ou Traité complet et raisonné d’harmonie pratique}}'' (1818), on composition, translated into German by Czerny
* ''{{lang|fr|Traité de haute composition musicale}}'' (2 vols. 1824–1826), translated into German by Czerny around 1835. In this late treatise Reicha expressed some of his most daring ideas, such as the use of [[quarter tone]]s and folk music (which was almost completely neglected at the time).&lt;ref&gt;Demuth, 8 (172)&lt;/ref&gt;
* ''{{lang|fr|L'art du compositeur dramatique}}'' (4 vols., 1833), on the writing of opera. Provides an exhaustive account of contemporary performance techniques and is supplemented with examples from Reicha's own operas. 
In addition to these, a number of smaller texts by him exist. These include an outline of Reicha's system for writing fugues, ''Über das neue Fugensystem'' (published as a foreword to the 1805 edition of ''36 fugues''), ''Sur la musique comme art purement sentimental'' (before 1814, literally &quot;On music as a purely emotional art&quot;), ''Petit traité d’harmonie pratique à 2 parties'' (c. 1814, a short &quot;practical treatise&quot; on harmony), a number of articles and the [[poem]] ''An Joseph Haydn'', published in the preface to ''36 fugues'' (which were dedicated to Haydn).

== Notable recordings ==
* ''Complete Wind Quintets'' (1990). The Albert Schweitzer Quintet. 10 CDs, CPO 999 022-2 to 999 031-2
*: Awarded the Deutscher Schallplattenpreis prize. Also includes ''Andante arioso, Andante and Adagio'' for wind ensemble.
* ''36 Fugues Op. 36'' (1991-92). Tiny Wirtz (piano). 2 CDs, CPO 999 065-2
* ''36 Fugues'' (2006). Jaroslav Tůma (fortepiano Anton Walter, 1790). 2 CDs, ARTA F101462, see [http://www.arta.cz/index.php?p=f10146en]

==Media==
{{listen
 | filename=Anton Reicha - Wind Quintet Op. 88 No. 2 in E-flat major - 1. Lento - Allegro Moderato.ogg
 | title=Wind Quintet Op. 88 No. 2 in E-flat major - 1. Lento - Allegro Moderato
 | description=Performed by the Soni Ventorum Wind Quintet
 | format=][[ogg]]
 | filename2    = Reicha_-_Grand Duo_-_Lento.ogg 
 | title2       = Grand Duo - Lento
 | description2 = Performed by Felix Skowronek (flute) and Marshall Winslow (piano)
 | format2      = [[ogg]]
 | filename3     = Anton Reicha - Variations for Bassooon.ogg
 | title3        = Variations for bassoon and a string quartet, transcription for bassoon and piano
 | description3  = Performed by Arthur Grossman (bassoon) and Neil O'Doan (piano)
 | format3       = [[Ogg]]
}}

{{commons|Wind quintets by Anton Reicha}}

==References==
* Olga Šotolová, ''Antonín Rejcha: A Biography and Thematic Catalogue.'' Deryck Viney, translator. Supraphon, Prague, 1990. ISBN 80-7058-169-7. 
*: The standard monograph on Reicha. Contains numerous errors, but is richly informative on many aspects of Reicha's life&lt;ref&gt;Hoyt, ''op. cit.'', pp. 996-8.&lt;/ref&gt;
* {{GroveOnline|Antoine Reicha|Peter Eliot Stone|24 October|2007}}
* {{cite journal|last=Demuth|first=Norman|title=Antonin Reicha|journal=Music &amp; Letters|volume=29|issue=2|month=April | year=1948|pages=165–172|
url=        http://www.jstor.org/stable/730884 |accessdate=2008-10-29|doi=10.1093/ml/29.2.165}}

==Notes==
{{Reflist}}

==External links==
===General reference===
* {{cite web|url=http://www.classical.net/music/comp.lst/reicha.html|publisher=Classical.net| title=Anton Reicha page - contains [[Ron Drummond]]'s essays on Reicha's life|accessdate=2007-12-22}}
* [http://www.idrs.org/scores/lehrer2/reicha/Introduction_Reicha.html Essay on Anton Reicha by Charles-David Lehrer for the International Double Reed Society]
* [http://saintpaulsunday.publicradio.org/features/9910_reicha/ Bill McGlaughlin's article on Reicha for Saint Paul Sunday]
* [http://www.lvbeethoven.com/Bio/BiographyContemporary_AntonReicha.html Beethoven's Contemporaries: Anton Reicha]
* [http://www.beethoven-haus-bonn.de/sixcms/detail.php//doksuche_ergebnisse_digitales_archiv_en Letters] written by or concerning Reicha and [http://www.beethoven-haus-bonn.de/sixcms/detail.php//doksuche_ergebnisse_digitales_archiv_en portraits] of him in the Digital archives of the Beethoven-Haus Bonn.
*[http://www.geocities.com/vienna/strasse/3239/composers.html A brief reference on Czech classical music]
*{{nl icon}} [http://www.klassiekemuziekgids.net/componisten/reicha.htm Klassiekemuziek: Anton Reicha]
*{{findagrave|21018}}

===Scores===
*{{WIMA|idx=Reicha|name=Anton Reicha}}
* {{IMSLP|id=Reicha%2C_Anton|cname=Anton Reicha}}
*{{cite web|url=http://www.kb.dk/en/nb/samling/ma/digmus/1800/reicha.html|title=Anton Reicha Wind Quintets: Free Scores|publisher=The Royal Library, Copenhagen|accessdate=2008-10-29}}

{{Lifetime|1770|1836|Reicha, Anton}}
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Romantic composers]]
[[Category:Music theorists]]
[[Category:Czech composers]]
[[Category:People from Prague]]
[[Category:University of Bonn alumni]]

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  <page>
    <title>Thomas Arne</title>
    <id>162051</id>
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      <text xml:space="preserve">[[Image:Thomas Augustine Arne.jpg|thumb|Thomas Augustine Arne]]
'''Thomas Augustine Arne''' (12 March 1710 &amp;ndash; 5 March 1778) was an English [[composer]],  [[violin]]ist, and [[Keyboard instrument|keyboard]] player. He was the father of composer [[Michael Arne]] and the husband of lauded [[soprano]] [[Cecilia Young]]. A prolific composer of music for the stage, he was the most significant figure in 18th-century English theatre music and is considered the catalyst for the revival of [[Opera in English|English opera]] in the early 1730s. While he was alive, England's musical scene was for the most part dominated by foreign music and musicians. Arne was the only native English composer of his day that was able to compete successfully with composers like [[George Frideric Handel]] who monopolised the British music scene during the [[eighteenth century]].&lt;ref name=&quot;Grove&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=Peter Holman, Todd Gilman: &quot;Thomas Augustine Arne&quot;, ''Grove Music Online'' ed. L. Macy (Accessed November 19, 2008), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt; 

Between 1733 and 1777, Arne wrote music for about 100 stage works, including [[Play (theatre)|plays]], [[masques]], [[pantomimes]], and [[opera]]. Many of his dramatic scores are now lost, probably destroyed in the disastrous fire at [[Royal Opera House|Covent Garden]] in 1808. He showed little interest in writing concert music. The [[symphonies]] and [[overtures]] he composed derive mostly from his stage works, and his [[keyboard concerto]]s were mainly a by-product of his work in the theatre. His music exemplifies a diversity of styles which utilize not only the essentials of [[Italian opera]] but also rudiments of [[Folk music of England|English folk music]] and eighteenth century [[galante music]].&lt;ref name=&quot;Grove&quot;/&gt;  

As a [[Roman Catholic|Catholic]], Arne's career suffered in a community where writing music for the [[Church of England]] was profitable, both financially and politically. As a result he was denied the sort of official patronage given to his most important English contemporaries, [[William Boyce]] and [[John Stanley (composer)|John Stanley]], a fact that hurt him financially later in his life. Regardless, Arne dominated the various genres of English theatre music for several decades and is considered one of the finest composers of the era. Today he is probably best known for writing the [[British people|British]] [[patriotic song]], ''[[Rule, Britannia!]]'' which is part of his opera ''[[Alfred (opera)|Alfred]]'' (1740) and for his opera ''[[Artaxerxes (opera)|Artaxerxes]]'' (1762). Many of his songs and incidental theatre music are still performed in concerts and recitals today.&lt;ref name=&quot;davey&quot;&gt;{{cite book 
|title= History Of English Music
|last= Davey 
|first= Henry
|year= 2007
|publisher= Kessinger Publishing Company 
|isbn=978-14-2860-670-8}}&lt;/ref&gt;

==Biography==
===Early life and education===
[[Image:Charles burney by reynolds 1781.jpg|thumb|right|Music historian [[Charles Burney]] studied under Arne from 1744-1747. He became a friend of the Arne family and was included in their regular social set of friends which consisted of &quot;a constellation of wits, poets, actors, and men of letters&quot; such as [[George Frideric Handel|Handel]] and [[David Garrick]].&lt;ref name=&quot;Cibber&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=Molly Donnelly: &quot;Susanna Maria Cibber&quot;, ''Grove Music Online'' ed. L. Macy (Accessed November 19, 2008), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt;]]
Arne was born in [[King Street]] in the [[Covent Garden]] area of [[London]] on 12 March 1710 and was baptized almost eleven weeks later on 28 May at [[St Paul's, Covent Garden]]. Arne was named after his father and grandfather who were [[upholstery|upholsterers]] and office holders in the [[Worshipful Company of Upholders]]. As a boy, he decided to adopt the middle name of Augustine in order to show support for his mother Anne's [[Roman Catholic]] faith. Although his father ran a successful business, the ''Two Crowns and Cushions'', out of a large house in King Street, he allowed both his father (Arne's grandfather) and brother Edward (Arne's uncle) to die in the [[Marshalsea|Marshalsea debtor's prison]].&lt;ref name=&quot;davey&quot;/&gt;

Arne was educated at [[Eton College]] and was initially apprenticed for three years to London attorney Arthur Kynaston. However, his true passion was for music and he soon abandoned the law. According to music historian [[Charles Burney]], who became his apprentice in 1744, Arne tormented his fellow pupils “night and day” by playing the [[recorder]], practising the [[spinet]] secretly at night during the holidays, and “muffling the strings with a handkerchief”.&lt;ref name=&quot;Burney&quot;&gt;{{cite book 
|title= A General History of Music from the Earliest Ages to the Present Period 
|last= Burney
|first= Charles
|editor= F. Mercer
|year= written from 1776-1789, published 1935
|publisher= Oxford Publishing Company 
}}&lt;/ref&gt; He initially studied composition on his own before a chance meeting with the violinist and composer [[Michael Christian Festing]] led him to start studying music more formally. The two met at the gallery of the [[Her Majesty's Theatre|Italian Opera]] to which Festing had access although Arne, still a boy, officially did not. Burney wrote that Arne had crept into the gallery dressed as a liveryman in order to gain access to the fine collection of musical scores contained there.&lt;ref name=&quot;Britannica&quot;&gt;{{cite book 
|title= The New Encyclopaedia Britannica 
|volume= 1 
|edition= 15
|year= 1998
|publisher= Encyclopaedia Britannica Inc.
}}&lt;/ref&gt; Upon befriending Festing, Arne became his pupil, studying violin for the first time and music composition. Festing, who was only four and a half years older, also broadened the young Arne's knowledge by taking him to numerous concerts, operas, and other performances. The teenagers were both present on 12 November 1725 to hear [[Thomas Roseingrave]] win the competition for the post of [[organist]] of [[St George's, Hanover Square]].&lt;ref name=&quot;Grove&quot;/&gt;  

Although Arne's father was first opposed to his change of career, he was soon reconciled to it after hearing his son play first violin in a concert in the home of a neighbour. The opposition cannot have been strong, for Arne was soon teaching his younger sister [[Susannah Maria Cibber|Susannah]] and his brother Richard to sing. Susannah would grow up to become a famous [[contralto]] and actress, and both she and Richard performed in several of their brother's works throughout his career.&lt;ref name=&quot;Cibber&quot;/&gt;

===Early career===
[[Image:Tr stage.jpg|left|thumb|300px|Eighteenth century print of the Little Theatre stage.]]
The genuine support of Arne's father became more apparent when he provided Arne with the financial backing to form a theatre company in 1732 for the purpose of staging [[Opera in English|English operas]] at the [[Haymarket Theatre|Little Theatre]] in the [[Haymarket (London)|Haymarket]]. The company's first production was [[John Frederick Lampe]]'s setting of [[Henry Carey (writer)|Henry Carey]]'s ''[[Amelia (Carey)|Amelia]]'' in March 1732 , which was followed with an unauthorized production of [[Handel]]'s ''[[Acis and Galatea]]''. The company, however, soon split the following Autumn with Lampe remaining at the Haymarket while Arne put on a production of ''[[Teraminta]]'' by Carey and [[John Stanley (composer)|John Stanley]] at [[Lincoln's Inn Fields]] on 20 November 1732.&lt;ref name=&quot;Grove&quot;/&gt; This was followed by the first staged production of a work composed by Arne, the [[opera]] ''Rosamond'', on 7 March 1733. The opera used a setting of [[Joseph Addison]]'s 1707 [[libretto]] and contained the popular air &quot;Rise, Glory, Rise&quot; which was sung regularly in London concerts for the next four decades. Arne's sister portrayed the title role and his brother played the part of the page boy.&lt;ref name=&quot;Britannica&quot;/&gt;
The next season Arne staged his [[afterpiece]] setting ''The Opera of Operas, or Tom Thumb the Great'' at the Little Theatre in the Haymarket. The work was a satire of Italian opera and was the brain child of librettist [[Henry Fielding]]. Lampe had set the text to music a few years before and a revival of his work was produced at [[Theatre Royal, Drury Lane|Drury Lane]] at the same time that Arne's piece premiered, which further encouraged a growing competition between the two. Arne's setting was well received, running for 15 nights which was a significant success for a young composer. Shortly thereafter his masque ''Dido and Aeneas'' also did well, running for 17 performances.&lt;ref name=&quot;Grove&quot;/&gt;

In April 1734, Arne's sister married [[actor]] and [[playwright]] [[Theophilus Cibber]], whose company of players was in residence at Drury Lane. The marriage proved beneficial to Arne's position in the London theatre as he became house composer at Drury Lane, and wrote music for a number of plays and pantomimes over the next few years.&lt;ref name=&quot;Cibber&quot;/&gt;  Also advantageous to his career was his own marriage to one of the finest English [[sopranos]] of the century and Lampe's sister-in-law, [[Cecilia Young]], on 15 March 1737. Cecilia was part of a well-known English family of musicians which included several highly successful singers, composers, and organists. Prior to her marriage to Arne, Cecilia had already had numerous successes singing in works by Handel. Her father, [[Charles Young (musician)|Charles Young]], was the organist of [[All Hallows-by-the-Tower|All Hallows, Barking-by-the-Tower]], and he strongly objected to their marriage due to Arne's Catholic faith. The couple married anyway and Cecilia became a frequent performer of his works during the first decade of their marriage. Indeed, both Arne's wife and his sister became indispensable assets to him and contributed greatly to his first enduring successes. They appeared in many of his productions and were by all accounts two of the finest singers and actresses on the London stage. For example, the two women sang in the opening production of Arne's ''[[Comus (Arne)|Comus]]'' (1738) which is based on [[John Milton|Milton]]'s [[Comus (John Milton)|1634 masque of the same name]] as adapted by [[John Dalton]]. Arne's version continued to run beyond the end of the century. Later in his career Cecilia's talented nieces, [[Isabella Young|Isabella]], [[Elizabeth Young|Elizabeth]], and [[Polly Young|Polly]], all became performers in Arne's stage works.&lt;ref name=&quot;davey&quot;/&gt;

===Middle career===
{|align=right
|{{Listen|filename=Rule, Britannia.ogg|title=&quot;Rule, Britannia!&quot;|description=A somewhat degraded copy of a [[phonograph cylinder]] recorded by Albert Farrington in 1914 for [[Edison Records]]}}
|}
By 1738 Arne was one of the leaders of musical life in London. That year he was one of the founding members of the [[Royal Society of Musicians|Society of Musicians]] (later Royal Society), along with [[Handel]], [[William Boyce]], and [[Johann Christoph Pepusch]]. Arne was also a [[Freemasonry|Freemason]]&lt;ref&gt;[http://www.ugle.org.uk/masonry/famous-masons.htm Website reference] at the United Grand Lodge of England.&lt;/ref&gt; and active in the organisation which has long been centred around his home, the Covent Garden area of London. In 1740 he was commissioned by [[Frederick, Prince of Wales]] to set [[David Mallet]] and [[James Thomson]]'s masque ''[[Alfred (opera)|Alfred]]'' for performance at his country home, [[Cliveden]]. The original work contained only seven musical numbers, including ''[[Rule, Britannia]]''. He later rewrote it a number of times, turning it into an all-sung oratorio in 1745 and then an opera in 1753. ''Alfred'' is one of the few surviving stage works by Arne and is still performed by opera companies today.&lt;ref name=&quot;Grove&quot;/&gt;

In 1740–1741 Arne composed music for the Drury Lane productions of [[William Shakespeare|Shakespeare]]'s ''[[The Tempest]]'', ''[[As You Like It]]'', ''[[Twelfth Night]]'' and ''[[The Merchant of Venice]]'', including songs such as &quot;Where the bee sucks&quot;, &quot;When Daisies Pied&quot; and &quot;Under the greenwood tree&quot; which are still performed in concerts and recitals today. Arne had another major success in spring 1742 with [[William Congreve]]'s 1700 masque ''[[The Judgement of Paris (opera)|The Judgment of Paris]]''. The work was composed for the birthday celebrations of Prince Frederick's daughter, [[Princess Augusta of Great Britain|Princess Augusta Charlotte of Wales]], at Cliveden.&lt;ref name=&quot;davey&quot;/&gt;  

In 1741 Arne's only child, [[Michael Arne]] was born. That same year he filed a complaint in the [[Court of Chancery]] pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court. Arne subsequently wrote: [[Image:Georg Friedrich Händel 4.jpg|thumb|left|Portrait of [[George Frideric Handel]] who was a close friend of both Arne and his sister. Arne is the primary reason that Handel began writing large scale works, such as the ''[[Messiah (Handel)|Messiah]]'', in the English language, as he convinced him that people would pay more money for music in their own language.&lt;ref name=&quot;Grove&quot;/&gt; ]] &lt;br /&gt; ''&quot;As Mr. Arne has His Majesty's royal Patent for the sole printing and publishing of his works, he humbly hopes no Gentlemen or Ladies will give any Encouragement to pirated copies, written or printed, such persons who deliver them acting in open contempt of His Majesty's Authority and greatly injuring the Author in his Property. And as Mr. Arne can offend no honest Shopkeeper in maintaining his Right; he gives the Public Notice, that whosoever shall offer to write or print any of his works shall be prosecuted according to law.&quot;''&lt;ref name=&quot;copy&quot;&gt;''Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits'': Ronald J. Rabin and Steven Zohn:Journal of the Royal Musical Association, Vol. 120, No. 1 (1995), pp. 112-145&lt;/ref&gt; Arne was certainly one of the very first composers to have appealed to the law over copyright issues.&lt;ref name=&quot;copy&quot;/&gt;

Up until this time, Arne's career had been confined almost solely to London. However, this changed when his sister moved to [[Dublin]] in December 1741 in order to avoid the scandal surrounding her recently failed marriage to Cibber. Susannah began performing in Dublin with Handel in the spring of 1742. She most notably sang the contralto solos in the first performance of Handel's ''[[Messiah (Handel)|Messiah]]'' on April 13. Their success inspired Arne to try his luck in Dublin and he soon arrived with his wife and the tenor [[Thomas Lowe (tenor)|Thomas Lowe]] the following June. He spent two seasons there, during which time he performed mostly already existing compositions, including a number of Handel [[oratorio]]s in addition to his own works. However, his first oratorio ''The Death of Abel'' did have its premiere at Dublin's [[Theatre Royal, Dublin|Smock Alley Theatre]] on 18 February 1744. The work was unique for its time as it was the first oratorio to use female voices in the choruses. Arne also organized a concert in Dublin featuring his wife which was well received.&lt;ref name=&quot;Grove&quot;/&gt; 

Arne returned to London in August 1744. On his journey home he met [[Charles Burney]] in [[Chester]], and agreed to take him to London as his apprentice without the usual fee. He continued his work at Drury Lane over the next few years, and had a smash hit with his version of ''God bless our noble king'', which was sung every night during the crisis of the [[Young Pretender]]'s rebellion in September 1745. During the summer of that same year, Arne began a long association with concerts in London's [[pleasure gardens]] when vocal performance became one of the regular forms of entertainment. He became the appointed official composer for [[Vauxhall Gardens|Vauxhall]] in 1745 and also presented material at the [[Marylebone Gardens|Marylebone]] and [[Ranelagh Gardens]]. In particular, his dialogue ''Colin and Phoebe'' established him as one of the leading composers at the gardens. According to Burney, ''Colin and Phaebe'' was “constantly encored every night for more than three months”, and was published in September in the first collection of Vauxhall songs, ''Lyric Harmony''. Many of the songs that Arne wrote for the pleasure gardens were published in a series of annual song collections, which also contained his theatre music, that were produced over the next 20 years. Although most of the collections contain some new music, many songs were reprinted in several volumes.&lt;ref name=&quot;davey&quot;/&gt;

===Late career===
[[Image:Drury lane interior 1808.jpg|right|thumb|200px|The interior of the Theatre Royal, Drury Lane.]]
The 1750s proved to be difficult years both professionally and personally for Arne. His compositions were struggling to grasp the public's admiration and after an argument with [[David Garrick]], Susannah left [[Theatre Royal, Drury Lane|Drury Lane]] in 1750 for [[Royal Opera House|Covent Garden Theatre]]. Thomas followed along with several other company members and a battle ensued between the two theatres; beginning with competing productions of ''[[Romeo and Juliet]]'' put on on the same day, 28 September, with rival settings by Arne and Boyce of processional [[dirges]] at the end of Shakespeare's play. Arne's works continued to be out of public favour at Covent Garden and he was ultimately forced to stage his all-sung opera ''[[Eliza (opera)|Eliza]]'' (1754) at the Little Theatre instead. The opera's subject matter, however, was objected to and was suppressed after one performance &quot;by an Order from a superior Power&quot;. To compound these problems Arne's marriage was having major difficulties. He attributed the situation to Cecilia's frequent illnesses, while she complained of his repeated philandering.&lt;ref name=&quot;Grove&quot;/&gt;

In 1755 the couple returned to Dublin for performances at the Smock Alley Theatre and while there the marriage broke down with Thomas leaving Cecilia in Ireland with her young niece Polly. Thomas filed for legal separation alleging that she was mentally ill. He agreed to support her with £40 a year, though in 1758 her friend Mrs Delany wrote that she was &quot;much humbled&quot;, teaching singing in [[Downpatrick]]: &quot;She has been severely used by a bad husband, and suffered to starve, if she had not met with charitable people&quot;. However, other records indicate that she received a reasonable amount of money from the sales of published collections of his music.&lt;ref name=&quot;davey&quot;/&gt; 
[[Image:Susanna Cibber.jpg|thumb|230px|left|Susanna Maria Cibber (Arne) enjoyed a close lifelong relationship with her brother and was the most constant presence in his life. She became the greatest dramatic actress of the eighteenth century London stage and was the highest paid actress in England during her lifetime. On the day of her death Covent Garden and Drury Lane closed their doors as a tribute to her memory.&lt;ref name=&quot;Cibber&quot;/&gt;]]
After his separation, Arne's career revived significantly and he produced some of his best and most enduring works in the proceeding decade. In 1759 he was appointed a Doctor of Music by [[Oxford University]].&lt;ref name=&quot;Britannica&quot;/&gt; He began a relationship with one of his pupils, [[Charlotte Brent]], a soprano and former child prodigy. Brent was a marvellous singer and actress and helped revive the popularity of Arne and his works. She performed in several of Arne's productions including the role of Sally in his 1760 [[opera]] ''[[Thomas and Sally]]'' and Mandane in his 1762 [[opera]] ''[[Artaxerxes (opera)|Artaxerxes]]''. ''Thomas and Sally'' was the first English comic opera to be sung throughout (it contained no dialogue).&lt;ref name=&quot;autogenerated1&quot;&gt;[http://www.answers.com/topic/thomas-and-sally-or-the-sailor-s-return-opera-in-1-act?cat=entertainment Thomas and Sally, or The Sailor's Return, opera ...: Thomas Arne from Answers.com]&lt;/ref&gt; ''Artaxerxes'' was one of the most successful and influential English operas of the eighteenth century and is the only known attempt to write an Italianate, Metastasian [[opera seria]], in the English language.&lt;ref&gt;[http://www.classicalopera.co.uk/Artaxerxes.html Artaxerxes&lt;!-- Bot generated title --&gt;]&lt;/ref&gt; Brent also sang in Arne's revision of ''[[The Beggar's Opera]]'' (1759), his comic operas ''[[The Jovial Crew]]'' (1760) and ''[[Love in a Village]]'' (1762), and his oratorio ''Judith'' (1761) to name just a few. Eventually Brent and Arne went their separate ways and Brent married violinist Thomas Pinto in 1766, the same year that his sister died.&lt;ref name=&quot;Cibber&quot;/&gt; 

Arne's popularity as a composer began to wane again in the mid 1760s. His last truly successful stage work was the masque ''The Arcadian Nuptials'' in January 1764. His comic opera ''The Guardian Out-Witted'' only lasted for six performances the following December, while the lost ''L'Olimpiade'', an opera seria in Italian, failed after only two nights in April 1765. Major theatres began to lose interest in him and he received fewer and fewer contracts. He found some compensation in his membership of the [[Noblemen and Gentlemen's Catch Club]] and the [[Madrigal Society]], and in the profitable concerts of [[Catch (music)|catches]] and [[Glee (music)|glees]] he gave at [[Ranelagh House]] in 1767. However, by 1770 he was experiencing evident financial difficulties, demonstrated by legal threats from Cecilia's lawyers for failing to make payments. In spite of these difficulties, Arne managed to produce some of his finest work during this period, including ''An Ode upon Dedicating a Building to Shakespeare'' (7 September 1769), written for [[David Garrick]]'s Shakespeare festival at Stratford-upon-Avon, the masque ''[[The Fairy Prince]]'' (1771), the music for [[William Mason]]'s ''Elfrida'' (1772), the afterpiece ''May-day'' (1775),  and ''Caractacus'' (1776).&lt;ref name=&quot;Grove&quot;/&gt; 

In October 1777, shortly before his death of a ‘spasmodic complaint’, Arne and his wife were reconciled. They had one son, [[Michael Arne]]. Thomas Arne is buried at [[St Paul's, Covent Garden]], [[London]].&lt;ref name=&quot;davey&quot;/&gt;

==Works==
{{seealso|List of compositions by Thomas Arne}}
[[Image:Covert Garden Theatre edited.jpg|thumb|250px|A picture of the Royal Opera House, Covent Garden, drawn shortly before it burned down in 1808.]]
During his lifetime, Arne's works enjoyed a higher degree of popularity and success than that of any other preceding composer, including Purcell. He was one of the most prolific composers of the eighteenth century, though most of his works are now lost, and his life situation prevented him from composing outside of only a few genres. Many of his dramatic scores were destroyed in the disastrous fire at Covent Garden in 1808. Unlike his most important English contemporaries, [[William Boyce]] and [[John Stanley]], Arne did not write anything for the Anglican liturgy or any [[organ (music)|organ]] [[voluntary|voluntaries]], nor did he express interest in writing concert music. His [[Roman Catholic]] faith prevented him in the former pursuit and his output in the latter stems almost solely from his stage works. He did not contribute to the [[concerto grosso]] repertory and the [[symphonies]], [[overtures]], and [[keyboard concerto]]s he did write are all related in one way or another to his theatrical works. With the exception of a relatively small amount of sacred music, a number of songs written for the pleasure gardens, a few [[Ode#English ode|odes]], and some time spent writing [[glees]] towards the end of his career, most of his life was spent as a theatre composer.&lt;ref name=&quot;davey&quot;/&gt;  However, his success and output in this area was so prodigious that music historian William Stafford wrote in 1830, &lt;blockquote&gt;&quot;Arne was neither so vigorous as [[Henry Purcell|Purcell]], nor had he the magnificent simplicity, and lofty grandeur of [[George Frideric Handel|Handel]]: but the ease and elegance of his melodies, and the variety of his harmony, render his compositions attractive in the highest degree: and we may justly be proud of his name, as an honour to English music.&quot;&lt;ref name=&quot;Grove&quot;/&gt;&lt;/blockquote&gt;

[[Image:Extract from Artaxerxes.gif|thumb|left|Extract from ''Artaxerxes''.]]
Following Purcell, the popularity of opera in England dwindled for several decades.  A revived interest in opera occurred in the 1730s which is largely attributed to Arne, both for his own compositions and for alerting Handel to the commercial possibilities of large-scale works in English. Arne was the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being ''[[Thomas and Sally]]'' in 1760. His opera ''[[Artaxerxes (opera)|Artaxerxes]]'' (1762) was the first attempt to set a full-blown [[opera seria]] in English and was a huge success, holding the stage until the 1830s.  Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice. His modernized ballad opera, ''Love in a Village'' (1762), began a vogue for pastiche opera that lasted well into the 19th century. [[Charles Burney]] wrote that Arne introduced &quot;a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had either pillaged or imitated.&quot;&lt;ref name=&quot;Grove&quot;/&gt;

Of his stage works, only a few of his manuscripts survive, and those works that were printed usually appear without the choruses, dances or recitatives, and often only in vocal score.  Some of the best, such as ''The Judgment of Paris'' (1742),'' Artaxerxes'' (1762) and ''The Fairy Prince'' (1771), only survive in the form of these incomplete manuscripts. Most of his works use spoken dialogue as opposed to [[recitative]] which was common practice in London theatres of his day.&lt;ref name=&quot;davey&quot;/&gt; 

One of the most arresting features of Arne's music is its diversity of style, which utilized not only the essentials of Italian opera but also rudiments of English folk music and his own [[galante music|galant]] flair. Even in his earlier works, such as ''Comus'' (1738), there is a distinction between his own melodic folk like style and the numbers in a more elevated Handelian expression, such as the exquisite air &quot;Nor on beds of fading flow'rs&quot;. His later works are often characterized by [[galant]] phrases and motifs which he would employ to aid characterization. For example, in ''Artaxerxes'' he set aside the most complex and richly scored airs for the principal characters, mostly using the older idioms for the minor characters. 20th-century criticism, influenced by 19th-century ideas of stylistic unity and progression, has tended to view this practice as a failing, although Arne doubtless thought it made large-scale works pleasantly diverse, and it was taken up by his younger colleagues, such as [[Thomas Linley the younger|Thomas Linley]] and [[Samuel Wesley]].&lt;ref name=&quot;Grove&quot;/&gt;

Sadly, Arne's non-theatrical vocal works have been generally neglected after his death, though the best of them warrant much better attention. The [[oratorio]] ''Judith'' (1761) is possibly the finest by an Englishman before [[Edward Elgar]]'s ''[[The Dream of Gerontius]]'', which was composed almost 150 years later. The work's lyrical airs and surprisingly un-Handelian forward-looking choruses are masterfully constructed. Another masterpiece, ''An Ode upon Dedicating a Building to Shakespeare'' (1769), only survives in an incomplete vocal score, without the music that accompanied Garrick's melodramatic declamation of the text, although it does contain &quot;Thou soft flowing Avon&quot;, one of Arne's most beautiful songs. ''Whittington's Feast'' (1776), his last major work apart from the lost ''Caractacus'', survives complete in orchestral score and contains some exceptional and ornate music. However, as in many of Arne's works, ''Whittington's Feast'' suffers from a poor text, largely because it is merely a line-by-line imitation of ''[[Alexander's Feast]]''. Arne was undoubtedly an inconsistent composer, decidedly lacking in a proclivity to perfectionism. He was often too hasty in his writing and was too easily satisfied by poor texts. Nevertheless, at his best he was capable of far outshining his more consistent contemporaries.&lt;ref name=&quot;Grove&quot;/&gt;

== References ==
{{reflist}}

== External links ==
* [http://www.ihgs.ac.uk/familyhistory/arne.php Family History Page by a descendant of Arne]
* [http://www.classical-composers.org/comp/arne Thomas Augustine Arne on the Classical Composers Database]
* [http://www.library.unt.edu/music/virtual/browse.html#A Works by Thomas Arne] in the University of North Texas Virtual Rare Book Room
* [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;GRid=6496 Profile page for Thomas Arne] on the [[Find A Grave]] web site

=== Sheet music===
* {{IckingArchive|idx=Arne|name=Thomas Augustine Arne}}
* {{IMSLP|id=Arne%2C_Thomas_Augustine|cname=Thomas Arne}}
* {{MutopiaComposer|ArneT}}
* {{ChoralWiki|Thomas Arne}}

{{DEFAULTSORT:Arne, Thomas}}
[[Category:People from Covent Garden]]
[[Category:Baroque composers]]
[[Category:Opera composers]]
[[Category:Glee composers]]
[[Category:Classical era composers]]
[[Category:English composers]]
[[Category:Old Etonians]]
[[Category:1710 births]]
[[Category:1778 deaths]]
[[Category:Members of the Royal Society of Musicians]]

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  <page>
    <title>Antonio Soler</title>
    <id>471397</id>
    <revision>
      <id>308950021</id>
      <timestamp>2009-08-19T21:30:52Z</timestamp>
      <contributor>
        <username>FordPrefect42</username>
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      <comment>/* Early life */</comment>
      <text xml:space="preserve">'''Antonio Francisco Javier José Soler Ramos''', usually known as [[Padre]] Antonio Soler, (December 3, 1729 (baptized) &amp;ndash; December 20, 1783) was a Spanish [[composer]] whose works span the late [[Baroque]] and early [[Classical music era]]s. He is best known for his [[Keyboard instrument|keyboard]] [[sonata]]s, an important contribution to the [[harpsichord]], [[fortepiano]] and [[pipe organ|organ]] repertoire.

==Early life==
Soler was born in [[Olot]] in the [[Catalonia|Catalan]] province of [[Girona (province)|Girona]]. In 1736, when he was six, he entered the [[L'Escolania|Escolania]] of the great [[Monastery of Montserrat]] where he studied with the resident ''maestro'' Benito Esteve and [[organist]] Benito Valls. In 1744 he was appointed organist at the Cathedral of [[La Seu d'Urgell]] and appointed as a subdeacon at the same time. Later in life, he held posts as [[chapel]] master in [[Lleida]] and [[El Escorial]].

==Ministerial lifestyle==
Soler took [[Holy Orders]] at the age of 23 and his routine with the [[Hieronymite]] order near [[El Escorial, Madrid]] was a [[Monastery#Monastic life in western Medieval Europe|simple one]] for the next 31 years.  His 20 hour days were filled with prayer, contemplation and farming - a simple and unadorned life.  Yet, in these austere surroundings, Soler managed to produce more than 500 musical works.  Amongst these were around 150 keyboard sonatas, many believed to have been written as [[sheet music]] for his pupil, the [[Infante Gabriel of Spain|Infante Don Gabriel]], a son of [[King Carlos III]].  Other pieces include [[Christmas]] [[villancico]]s&lt;ref&gt;edited as ''Siete villancicos de navidad'' Instituto de Musica Religiosa de la Excma.  Diputacion Provincial, Cuenca [Spain]1979&lt;/ref&gt; and Latin church music including [[mass (music)|mass]]es.  No portraits of Soler are known to exist.

==Compositions==
Padre Soler's most celebrated works are his [[keyboard instrument|keyboard]] [[sonata (music)|sonatas]], which are comparable to those composed by [[Domenico Scarlatti]] (with whom he may have studied). However, Soler's works are more varied in form than those of Scarlatti, with some pieces in three or four movements; Scarlatti's pieces are in one or two movements. Fortunately, Soler's sonatas were catalogued in the early twentieth century by Fr. Samuel Rubio and so all have 'R' numbers assigned.

Soler also composed [[concerto]]s, [[quintet]]s for organ and [[string instrument|strings]], [[motet]]s&lt;ref&gt;edited by Ediciones Escurialenses, Editorial Patrimonio Nacional, 1983.&lt;/ref&gt;, [[mass (music)|mass]]es and pieces for solo organ. He also wrote a [[treatise]], ''Llave de la modulación'' (&quot;The Key to [[modulation (music)|Modulation]]&quot;, 1762).

Soler's &quot;Six Concertos for Two Organs&quot; are still very much in the repertoire and have been often recorded. A [[Fandango (dance)|fandango]] once attributed to Soler, and probably more often performed than any other work of his, is now thought by some to be of doubtful authorship.

==Selected discography==

*Recordings of works solely by Soler
** ''Soler: 8 Sonatas, Fandango''. Played by harpsichordist [[Nicolau de Figueiredo]]. Passacaille 943
** ''Soler: Fandango, 9 Sonatas''. Played by [[harpsichordist]] [[Scott Ross (harpsichordist)|Scott Ross]]. Erato
** ''Soler: Fandango &amp; Sonatas''. Played by [[harpsichordist]] [[David Schrader]]. Cedille 004
** ''Soler: Harpsichord Sonatas, vol. II''. Played by harpsichordist David Schrader. Cedille 009
** ''Soler: Sonatas''. Played by [[pianist]] Elena Riu. Ensayo 9818
** ''Soler: Complete Harpsichord Works''.  Played by [[Bob van Asperen]] (12 disks). Astrée
** ''Soler: Sonatas para piano''. Played by [[pianist]] [[Alicia de Larrocha]]. EMI CLASSICS
** ''Soler: Los 6 Quintetos para clave y cuerda''. Played by [[harpsichordist]] [[Genoveva Gálvez]] and the [[string quartet]] Agrupación Nacional de Música de Cámara. EMI CLASSICS
** ''Soler: Sonatas for Harpsichord''. Played by [[Gilbert Rowland]]. A multi-volume project on [[Naxos Records]].
** ''Soler: Six Concertos for Two Keyboard Instruments''.  Played by [[Kenneth Gilbert]] and [[Trevor Pinnock]]. Archiv Produktion 453171-2
** ''Soler: 19 Sonatas''. Played by [[Anna Malikova]]. Classical Records CR-049 
*Recordings of works by Soler &amp; other composers
**''Favourite Spanish Encores''. Played by pianist [[Alicia de Larrocha]] with R. Frühbeck de Burgos conducting the [[Royal Philharmonic Orchestra]].  London/Decca Legends 467687
**''Grandes Pianistas Españoles''. Played by pianist Alicia De Larrocha. Rtve 65235
**''Piano Español''. Played by pianist Jorge Federico Osorio. Cedille 075
**''The Emperor's Fanfare''. played by [[Michael Murray (organist)|Michael Murray]] on his organ blaster cd.

==Media==
{{listen 
 | filename     = Soler Sonate 84.ogg
 | title        = Sonata No. 84 in D Major for Organ
 | description  = 
 | format       = [[ogg]]
 | filename2    = Soler Concerto.ogg
 | title2       = Concerto for 2 Organs No. 1 in C Major
 | description2 = 
 | format2      = [[ogg]]
}}

==Sources==
{{reflist}}
* [http://www.kunstderfuge.com/bios/soler.html ''Soler, Antonio (Father)'']
* [http://www.chateaugris.com/Soler/solerpag.htm ''The Life and Times of Soler'' (includes audio and sheet music of Soler's keyboard works)]

==External links==
* {{IckingArchive|idx=Soler|name=Antonio Soler}}
* {{IMSLP|id=Soler%2C_Padre_Antonio|cname=Antonio Soler}}
* [http://www.youtube.com/watch?v=bXwMv1b1094 ''Sonata No.10 in b-minor, performed by Ken Iisaka'']
* [http://www.chateaugris.com/Soler/audio-music.htm ''All sonatas (free scores)'']

{{DEFAULTSORT:Soler, Antonio}}
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[[Category:Baroque composers]]
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[[Category:Composers for pipe organ]]

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  </page>
  <page>
    <title>Giovanni Paisiello</title>
    <id>37945</id>
    <revision>
      <id>307185267</id>
      <timestamp>2009-08-10T16:01:25Z</timestamp>
      <contributor>
        <username>Szalax</username>
        <id>7208495</id>
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      <minor/>
      <comment>/* External links */</comment>
      <text xml:space="preserve">{{No footnotes|date=April 2009}}

[[Image:PaiselloVigeeLeBrun.jpg|thumb|right|250px|Paisiello at the clavichord, by [[Marie Louise Élisabeth Vigée-Lebrun]], 1791. The score is ''[[Nina (opera)|Nina, o sia La pazza per amore]]''.]]
'''Giovanni Paisiello''' (or '''Paesiello''') (May 9, 1740 &amp;ndash; June 5, 1816), was an [[Italy|Italian]] [[composer]] of the [[classical music era|Classical era]]. 

==Life==
Paisiello was born at [[Taranto]] and educated by the [[Society of Jesus|Jesuit]]s there.  He became known for his beautiful singing voice and in 1754 was sent to the [[Music Conservatories of Naples|Conservatorio di S. Onofrio]] at [[Naples]], where he studied under [[Francesco Durante]], and eventually became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, ''La Pupilla'' and ''Il Mondo al Rovescio'', for [[Bologna]], and a third, ''Il Marchese di Tidipano'', for Rome.

His reputation now firmly established, he settled for some years at Naples, where, despite the popularity of [[Niccolò Piccinni]], [[Domenico Cimarosa]] and [[Pietro Guglielmi]], of whose triumphs he was bitterly jealous, he produced a series of highly successful operas, one of which, ''L'ldolo cinese'', made a deep impression upon the Neapolitan public.

In 1772 Paisiello began to write church music, and composed a requiem for Gennara di Borbone, of the reigning dynasty. In the same year he married Cecilia Pallini, and the marriage was a happy one. In 1776 Paisiello was invited by the empress [[Catherine II of Russia]] to [[St Petersburg]], where he remained for eight years, producing, among other charming works, his masterpiece, ''[[Il barbiere di Siviglia (Paisiello)|Il barbiere di Siviglia]]'', which soon attained a European reputation. The fate of this opera marks an epoch in the history of Italian art; for with it the gentle suavity cultivated by the masters of the 18th century died out to make room for the dazzling brilliance of a later period.

When, in 1816, [[Gioachino Rossini]] set a revised version of the libretto to music, under the title of &quot;Almaviva ossia la inutil precauzione&quot; the fans of Paisiello stormed the stage.  Rossini's opera, now known as ''[[The Barber of Seville|Il barbiere di Siviglia]]'' is now acknowledged as Rossini's greatest work, while Paisiello's opera is only infrequently produced -- a strange instance of poetical vengeance, since Paisiello himself had many years previously endeavoured to eclipse the fame of [[Giovanni Battista Pergolesi]] by resetting the libretto of his famous intermezzo, ''[[La Serva padrona]]''.

Paisiello left Russia in 1784, and, after producing ''Il Re Teodoro'' at Vienna, entered the service of [[Ferdinand IV of Naples]], where he composed many of his best operas, including ''Nina'' and ''La Molinara''. After many vicissitudes, resulting from political and dynastic changes, he was invited to [[Paris]] (1802) by [[Napoleon]], whose favor he had won five years previously by composing a march for the funeral of [[Louis Lazare Hoche|General Hoche]]. Napoleon treated him munificently, while cruelly neglecting two more famous composers, [[Luigi Cherubini]] and [[Etienne Méhul]], to whom the new favorite transferred the hatred he had formerly borne to Cimarosa, Guglielmi and Piccinni.

Paisiello conducted the music of the court in the [[Palace of the Tuileries|Tuileries]] with a stipend of 10,000 francs and 4800 for lodging, but he entirely failed to conciliate the Parisian public, who received his opera ''Proserpine'' so coldly that, in 1803, he requested and with some difficulty obtained permission to return to Italy, upon the plea of his wife's ill health. On his arrival at Naples Paisiello was reinstated in his former appointments by [[Joseph Bonaparte]] and [[Joachim Murat]], but he had taxed his genius beyond its strength, and was unable to meet the demands now made upon it for new ideas. His prospects, too, were precarious. The power of the Bonaparte family was tottering to its fall; and Paisiello's fortunes fell with it. The death of his wife in 1815 tried him severely. His health failed rapidly, and constitutional jealousy of the popularity of others was a source of worry and vexation.

Paisiello is known to have composed 94 operas, which are known for their gracefully beautiful melodies.  Perhaps the best-known tune he ever wrote is &quot;Nel cor più non mi sento&quot; from ''La Molinara'', immortalized when [[Ludwig van Beethoven|Beethoven]] composed variations based on it. Paisiello also wrote a great deal of church music, including eight masses; as well as fifty-one instrumental compositions and many stand-alone songs.  Manuscript scores of many of his operas were presented to the library of the [[British Museum]] by [[Domenico Dragonetti]].

The library of the Gerolamini at Naples possesses an interesting manuscript compilation recording Paisiello's opinions on contemporary composers, and exhibiting him as a somewhat severe critic, especially of the work of Pergolesi. 

The ''[[Concise Grove Dictionary of Music]]''&lt;ref&gt;[http://www.gramophone.co.uk/grove_popup_detail.asp?type=entry&amp;id=6764 :&quot;Paisiello&quot;]&lt;/ref&gt; notes that &quot;Paisiello was one of the most successful and influential opera composers of his time. Most of his over 80 operas are comic and use a simple, direct and spirited style, latterly with sharper characterization, more colorful scoring and warmer melodies (features that influenced [[Mozart]]). His serious operas have less than the conventional amount of virtuoso vocal writing; those for Russia are the closest to [[Gluck]]'s [[Reform opera|'reform' approach]].&quot;

==Works==
===Musical Style===

Paisiello was primarily an opera composer. His instrumental works are therefore imbued with a similar vocally conceived melodic line, granted they may be lacking in the sophisticated counterpoint and motivic work of Haydn and Mozart's music. This characterization, however, does not do justice to the extreme drama and topical contrast in all his works such as the Piano Concerto No. 4 in G minor. Essentially he had mastered all the techniques which made for good opera, and this made his works widely popular and admired throughout Europe.

===Operas===
* R 1.00 ''La moglie in calzoni'' (18.2.1764, Modena)
* R 1.01 ''Il ciarlone ''(12.5.1764, Bologna) — lost
* R 1.02 ''I francesi brillanti ''(24.6.1764, Bologna)
* R 1.03 ''Madama l'umorista, o Gli stravaganti ''(26.1.1765, Modena) — lost
* R 1.04 ''L'amore in ballo ''(carnival 1765, Venice S Moisè)
* R 1.05 ''La mascherata delle nozze di Bacco e d'Arianna'' (11.2.1765, Modena)
* ''I bagni d'Abano ''(spring 1765, Parma)
* ''Il negligente'' (1765, Parma)
* R 1.05a ''Le virtuose ridicole'' (1765, Parma)
* R 1.06 ''Le nozze disturbate'' (carnival 1776, Venice S Moisè)
* R 1.07 ''Le finte contesse'' (2.1766, Rome Valle) [Il Marchese di Tulissano?]
* R 1.08 ''La vedova di bel genio'' (spring 1766, Naples, Teatro Nuovo)
* R 1.09 ''Le 'mbroglie de le Bajasse'' (carnival 1767, Naples) — lost
* R 1.09a ''La serva fatta padrona'' (summer 1769, Naples) 2nd version of ''Le 'mbroglie de le Bajasse''
* R 1.10 ''L'idolo cinese'' (spring 1767, Naples, Teatro Nuovo)
* R 1.11 Licenza to ''L'idolo cinese''
* R 1.12 ''Lucio Papirio dittatore'' (summer 1767, Naples, [[Teatro di San Carlo|Teatro di S Carlo]])
* R 1.13 ''Il furbo malaccorto'' (winter 1767, Naples, Teatro Nuovo)
* R 1.14 ''Alceste in Ebuda, ovvero Olimpia'' (20.1.1768, Naples, Teatro di S Carlo)
* R 1.15 ''Le nozze di Peleo e Tetide'' (31.5.1768, Naples PR) [Festa teatrale in musica]
* R 1.16 Licenza to ''Peleo''
* R 1.17 ''La luna abitata'' (summer 1768, Naples, Teatro Nuovo)
* R 1.18 ''La finta maga per vendetta'' (autumn? 1768, Naples, Teatro dei Fiorentini)
* R 1.19 ''L'osteria di Marechiaro'' (winter 1768, Naples, Teatro dei Fiorentini)
* R 1.20 ''La Claudia vendicata'' (performed as act III of ''L'osteria'' 1770, Naples)
* R 1.21 ''Don Chisciotte della Mancia'' (summer 1769, Naples, Teatro dei Fiorentini)
* R 1.22 ''L'arabo cortese'' (winter 1769 Naples, Teatro Nuovo)
* R 1.23 ''La Zelmira, o sia La marina del Granatello'' (summer 1770 Naples, Teatro Nuovo)
* R 1.24 ''Le trame per amore'' (7.10.1770 Naples, Teatro Nuovo)
* R 1.25 ''Demetrio'' (Lent 1771, Modena)
* R 1.26 ''Annibale in Torino'' (16.1.1771 Turin, [[Teatro Regio di Torino]])
* R 1.27 ''La somiglianza de' nomi'' (spring 1771 Naples, Teatro Nuovo)
* R 1.28 &amp; 1.29 ''I scherzi d'amore e di fortuna'' (summer 1771 Naples, Teatro Nuovo)
* R 1.30 ''Artaserse'' (26.12.1771 Modena)
* R 1.31 ''Semiramide in villa'' (carnival 1772 Rome, Teatro Capranico)
* R 1.32 ''Motezuma'' (1.1772 Rome, Dame)
* R 1.33 ''La Dardanè'' (spring 1772 Naples, Teatro Nuovo)
* R 1.34 ''Gli amante comici'' (autumn 1772 Naples, Teatro Nuovo)
* ''Don Anchise Campanone'' (1773 Venice) [rev. Gli amante comici]
* R 1.35 ''L'innocente fortunata'' (carnival 1773 Venice S Moisè)
* R 1.36 ''Sismano nel Mogol'' (carnival 1773 Milan, [[Teatro Regio Ducal]])
* R 1.37 ''Il tamburo'' (spring 1773 Naples, Teatro Nuovo) [Il tamburo notturno]
* R 1.38 ''La semplice fortunata'' (summer 1773, Naples)
* R 1.39 ''Alessandro nell'Indie'' (26.12.1773 Modena) — fragment
* R 1.40 ''Andromeda'' (carnival 1774 Milan, Teatro Regio Ducal)
* R 1.41 ''Il duello'' (spring 1774 Naples, Teatro Nuovo)
* R 1.42 ''Il credulo deluso'' (autumn 1774 Naples, Teatro Nuovo)
* R 1.43 ''La frascatana'' (autumn 1774 Venice, S Samuele) [L'infante de Zamora]
* R 1.44 ''Il divertimento dei numi'' (4.12.1774 Naples, Reale)
* R 1.45 ''[[Demofoonte]]'' (carnival 1775 Venice, S Benedetto)
* R 1.46 ''La discordia fortunata'' (carnival 1775 Venice, S Samuele) [L'avaro deluso]
* R 1.47 ''Le astuzie amorose'' (spring 1775 Naples, Teatro Nuovo)
* R 1.48 ''Socrate immaginario'' (autumn 1775 Naples, Teatro Nuovo)
* R 1.49 ''Il gran Cid'' (3.11.1775 Florence, [[Teatro La Pergola]])
* R 1.50 ''Le due contesse'' (3.1.1776 Rome, Teatro Capranica in Palazzo alla Valle)
* R 1.51 ''La disfatta di Dario'' (carnival 1776 Rome, Teatro Argentina)
* R 1.52 ''Dal finto il vero'' (spring 1776 Naples, Teatro Nuovo)
* R 1.53 ''Il finto spettro'' (26.12.1776, Mannheim)
* R 1.54 ''Nitteti'' (28.1.1777 St. Petersburg)
* R 1.55 ''Lucinda e Armidoro'' (autumn1777 St. Petersburg)
* R 1.56 ''Achille in Sciro'' (6.2.1778 St. Petersburg)
* R 1.57 ''Lo sposo burlato'' (24.7.1778 St. Petersburg)
* R 1.58 ''Gli astrologi immaginari'' (14.2.1779 St. Petersburg, Hermitage) [I filosofi immaginarii], [Le philosophe imaginaire]
* R 1.59 ''Demetrio'' (13.6.1779, Tsarskoye Selo)
* R 1.60 ''Il matrimonio inaspettato'' (1779 [[Kamenny Island Theatre|Kammenïy Ostrov]]) [La contadina di spirito]
* R 1.61 ''La finta amante'' (5.6.1780 Mogilev) [Camiletta]
* R 1.62 ''Alcide al bivio'' (6.12.1780 St. Petersburg, Hermitage)
* R 1.63 ''La serva padrona'' (10?.9.1781 [[Chinese Village (Tsarskoe Selo)|Tsarskoye Selo]])
* ''Il duello comico'' (1782 Tsarskoye Selo) [rev. Il duello]
* R 1.64 ''[[Il barbiere di Siviglia (Paisiello)|Il barbiere di Siviglia, ovvero La precauzione inutile]]'' (26.9.1782 St. Petersburg)
* R 1.65 ''Il mondo della luna'' (1782 Kammenïy Ostrov)
* R 1.66 ''Il re Teodoro in Venezia'' (23.8.1784 Vienna, Burg)
* R 1.67 ''Antigono'' (12.10.1785 Naples, Teatro di S Carlo)
* R 1.68 ''L'amor ingegnoso, o sia La giovane scaltra'' (carnival 1785 Padua)
* R 1.69 ''La grotta di Trofonio'' (12.1785 Naples, Teatro dei Fiorentini)
* R 1.70 ''[[Olimpiade]]'' (20.1.1786 Naples, Teatro di S Carlo)
* R 1.71 ''Le gare generose'' (spring 1786 Naples, Teatro dei Fiorentini) [Gli schiavi per amore; Le bon maître, ou L'esclave par amour]
* R 1.72 ''Pirro'' (12.1.1787 Naples, Teatro di S Carlo)
* ''Il barbiere di Siviglia, ovvero La precauzione inutile'' [rev] (1787 Naples, Teatro dei Fiorentini)
* R 1.73 ''Giunone e Lucina'' (8.9.1787 Naples, Teatro di S Carlo)
* R 1.74 ''La modista raggiratrice'' (autumn 1787 Naples, Teatro dei Fiorentini) [La scuffiara amante, o sia Il maestro di scuola napolitano; La scuffiara raggiratrice]
* R 1.75 ''Fedra'' (1.1.1788 Naples, Teatro di S Carlo)
* R 1.76 ''L'amor contrastato'' (carnival 1789 Naples, Teatro dei Fiorentini) [L'amor contrastato o sia La molinarella]
* R 1.77 ''Catone in Utica'' (5.2.1789 Naples, Teatro di S Carlo)
* R 1.78 ''[[Nina (Opera)|Nina, o sia La pazza per amore]]'' (25.6.1789 Caserta)
* R 1.79 ''I zingari in fiera'' (21.11.1789 Naples, Teatro dei Fiorentinio)
* R 1.80 ''Le vane gelosie'' (spring 1790 Naples, Teatro dei Fiorentini)
* R 1.81 ''Zenobia in Palmira'' (30.5.1790 Naples, Teatro di S Carlo)
* ''La molinara'' (1790 Vienna) [rev. L'amor contrastato]
* ''Nina, o sia La pazza per amore'' [rev] (1790 Naples, Teatro dei Fiorentini)
* R 1.82 ''Ipermestra'' (6.1791 Padua)
* R 1.83 ''La locanda'' (16.6.1791 London Pantheon) [La locanda di falcone; Lo stambo in Berlina]
* R 1.84 ''I giuochi d'Agrigento'' (16.5.1792 Venice, Fenice)
* ''Il fanatico in Berlina'' (1792 Naples, Teatro dei Fiorentini) [rev. La locanda]
* R 1.85 ''Il ritorno d'Idomeneo in Creta'' (autumn 1792 Perugia) — lost
* R 1.86 ''Elfrida'' (4.11.1792 Naples, Teatro di S Carlo) [Adevolto]
* R 1.87 ''Elvira'' (12.1.1794 Naples, Teatro di S Carlo)
* R 1.88 ''Didone abbandonata'' (4.11.1794 Naples, Teatro di S Carlo)
* ''Nina, o sia La pazza per amore'' [rev 2] (1795 Naples, Teatro dei Fiorentini)
* ''Chi la dura la vince'' (9.6.1797 Milan S)
* R 1.89 ''La Daunia felice'' (26.6.1797 Foggia, Palazzo Dogana)
* R 1.90 ''Andromaca'' (4.11.1797 Naples, Teatro di S Carlo)
* R 1.91 ''L'inganno felice'' (1798 Naples, Teatro dei Fiorentinio)
* R 1.92 ''L'isola disabitata'' (3.7.1799, Lisbon) — lost
* R 1.93 ''La Pace''
* R 1.94 ''Proserpine'' (28.3.1803 Paris, Opéra)
* R 1.95 ''Elisa'' (19.3.1807 Naples, Teatro di S Carlo) [+ Mayr]
* R 1.96 ''I pittagorici'' (19.3.1808 Naples, Teatro di S Carlo)

===Cantatas (secular)===
* R 2.01 - L'Ebone (lost)
* R 2.02 - La sorpresa delli Dei (lost)
* R 2.03 - 2 Notturni
* R 2.04 - La Partenza
* R 2.05 - La Libertà e Palinodia a Nice
* R 2.06 - Il Ritorno di Perseo
* R 2.07 - Amor vendicato
* R 2.08 - Il Genio Poetico Appagato
* R 2.09 - Cantata epitalamica (lost)
* R 2.10 - Canone a 4 voci
* R 2.11 - Le nozze di Silvio e Clori
* R 2.12 - La Volontaria
* R 2.13 - Il mio bene, il mio tesoro
* R 2.14 - Birthday Cantata for Prince Felice of Lucca
* R 2.15 - Tirsi a Fille
* R 2.16 - Fille a Tirsi
* R 2.17 - La Lontananza di Tirsi
* R 2.18 - La scusa
* R 2.19 - Riede omai la nuova aurora
* R 2.20 - 3 Notturni for 2 sopranos

===Oratorios, Passions &amp; Sacred Cantatas===
* R 3.01 - Jephte sacrificium (lost)
* R 3.02 - La Passione di Nostro Signor Gesù Cristo
* R 3.03 - Passio secundum Mattheum
* R 3.04 - Passio di San Giovanni
* R 3.05 - Il transito di San Luigi Gansaga
* R 3.06 - Cantata fatta in occasione della transalazione del sangue di S. Gennaro
* R 3.07 - Baldassare
* R 3.08 - Cantata per la Sollenit‡ del SS. Corpo di Cristo
* R 3.09 - Cantata per la transalazione del sangue del glorioso martire S. Gennaro
* R 3.10 - Il fonte prodigioso di Orebre (lost)
* R 3.11 - Passio per la domenica delle Palme
* R 3.12 - Passio per il venerdi Santo

===Religious works for Bonaparte's chapels===
Works composed for Napoleon's and King Joseph's Chapels.
* R 4.01 - Virgam virtutis tuae in F major
* R 4.02 - Mass in F major
* R 4.03 - Absit sonitus tubae in D major
* R 4.04 - Mass in A major
* R 4.05 - Veni ferox, veni in G minor
* R 4.06 - Mass in C major
* R 4.07 - Splendete o coeli in G major
* R 4.08 - Mass in G major
* R 4.09 - Coeli stella amica in E flat major
* R 4.10 - Mass in F major
* R 4.11 - Non est in vita amara in C major
* R 4.12 - Mass in B flat major
* R 4.13 - Messa in Pastorale per il Natale in G major
* R 4.14 - Mass for Passion and Palm Sundays in F major
* R 4.15 - Veni sancte spiritus in E flat major
* R 4.16 - Mass for the coronation of Napoleon I in B flat major
* R 4.17 - Deh resplende o clara stella in D major
* R 4.18 - Gratiae sint Deo devotae in E flat major
* R 4.19 - Splendete o coeli in G major
* R 4.20 - Sitibundi desolati in D minor
* R 4.21 - Alma fax et casti in E flat major
* R 4.22 - Mass in D major
* R 4.23 - Ne lucem Bene in B flat major
* R 4.24 - Altas Olympi fores in A major
* R 4.25 - Rosae lux e coelo in A major
* R 4.26 - Mass in F major
* R 4.27 - Vivat Deus in C major
* R 4.28 - Si mare ferox murmurat in F major
* R 4.29 - Coeli stella amica in E flat major
* R 4.30 - Non est in vita amara in C major
* R 4.31 - Heu nos jam velum in E flat major
* R 4.32 - Quis est? in C major
* R 4.33 - Mass in C major
* R 4.34 - Absit sonitus tubae in D major
* R 4.35 - In tuo beato ardore in G major
* R 4.36 - O mortales summo ardore in D major
* R 4.37 - Mass in D major
* R 4.38 - Mass for the Assumption of the Blessed Virgin Mary in G major (1809)
* R 4.39 - Sagro trattenimento musicale in B flat major
* R 4.40 - Sagro componimento musicale in C major
* R 4.41 - Sagro componimento musicale in G major
* R 4.42 - Mass for the Assumption of the Blessed Virgin Mary in G major (1811)
* R 4.43 - Mass in E flat major
* R 4.44 - Mass for the Assumption of the Blessed Virgin Mary in C major
* R 4.45 - Mass in B flat major
* R 4.46 - Te Deum breve in G major
* R 4.47 - Laudate pueri in E minor
* R 4.48 - Salvum fac Domine in B flat major

===Masses===
* R 5.01 - Missa Defunctorum in C minor
* R 5.02 - Mass in G major
* R 5.03 - Mass in D major
* R 5.04 - Mass in F major
* R 5.05 - Mass in D major
* R 5.06 - Mass in B flat major
* R 5.07 - Agnus Dei in G major
* R 5.08 - Mass in F major
* R 5.09 - Mass in C major
* R 5.10 - Mass in F major
* R 5.11 - Mass in C major (doutful)

===Pieces for the Ordinary of the Mass===
* R 5.51 - Introit, offertory &amp; communion for the mass in F major
* R 5.52 - Introit, kyrie &amp; offertory
* R 5.53 - Introit, gradual, offertory, post-communion &amp; responsory
* R 5.54 - Gradual: Omnes de Saba venient in G major
* R 5.55 - Offertory: Te gloriosus chorus in D major
* R 5.56 - Veni sancte spiritus in D major
* R 5.57 - Exsulta jam cor meum in D major
* R 5.58 - Stabat Mater del Pergolese in C minor
* R 5.59 - Libera me Domine in D minor
* R 5.60 - Caro mea vere est cibus in B flat major
* R 5.61 - Benedictus Rex in B flat major

===Canticles, Hymns &amp; Psalms===
* R 6.01 - Te Deum in B flat major
* R 6.02 - Te Deum in C major
* R 6.03 - Hymn: O salutaris hostia in A major
* R 6.04 - Dixit Dominus in A major
* R 6.05 - Antiphon: Domine ad adjuvandum in F major
* R 6.06 - Dixit Dominus in F major
* R 6.07 - Antiphon: Domine ad adjuvandum in G major
* R 6.08 - Dixit Dominus in C major
* R 6.09 - Dixit Dominus in D major
* R 6.10 - Dixit Dominus in G major
* R 6.11 - Dixit Dominus in D major
* R 6.12 - Dixit Dominus in G major
* R 6.13 - Psalm: Confitebor tibi in A major
* R 6.14 - Psalm: Laudate pueri in E flat major
* R 6.15 - Psalm: Laudate pueri in C major
* R 6.16 - Psalm: Laudate pueri in C major
* R 6.17 - Psalm: Laetatus sum in D minor
* R 6.18 - Psalm: Magnificat in C major
* R 6.19 - Psalm: Magnificat in G major
* R 6.20 - Litany in G major
* R 6.21 - Responsoria Nativitatis Domini in E minor
* R 6.22 - Responsori per la settimana santa
* R 6.23 - Responsori per Giovedi Santo
* R 6.24 - Responsori per Venerdi Santo
* R 6.25 - Lamentazione prima in C major
* R 6.26 - Lamentazione seconda in G major
* R 6.26 - Lamentazione terza in F major
* R 6.28 - Lezione per la sera del Giovedi Santo
* R 6.29 - Christus factus est in A minor
* R 6.30 - Miserere a 5 in D minor
* R 6.31 - Hymn: Pange lingua in C minor
* R 6.32 - Hymn: Tantum ergo in A major
* R 6.33 - 3 Tantum ergo for soprano
* R 6.34 - Hymn: Tantum ergo in C major
* R 6.35 - Antiphon: Benedicat in F major
* R 6.36 - Antiphon: Regina coeli in B flat major
* R 6.37 - Antiphon: Salve Regina in E flat major
* R 6.38 - Antiphon: Ave maris stella in F major

===Motets===
(to be completed)
* R 7.01 - Motet: Astra coeli in C major
* R 7.02 - Motet: O luminosa aurora in G major
* R 7.03 - Motet: In corde intrepido in C major
* R 7.04 - Motet: Mille furis in C major
* R 7.05 - Motet: Absit sonitus in D major

===Instrumental Works===
* R 8.01 - String Quartet No.1 in C major
* R 8.02 - String Quartet No.2 in A major
* R 8.03 - String Quartet No.3 in D major
* R 8.04 - String Quartet No.4 in E flat major
* R 8.05 - String Quartet No.5 in E flat major
* R 8.06 - String Quartet No.6 in C major
* R 8.07 - String Quartet No.7 in E flat major
* R 8.08 - String Quartet No.8 in G major
* R 8.09 - String Quartet No.9 in A major
* R 8.10 - Keyboard Concerto No.1 in C major
* R 8.11 - Keyboard Concerto No.2 in F major
* R 8.12 - 4 Divertimenti for winds in E flat major
* R 8.13 - 12 Divertimenti for winds
* R 8.14 - Collection of rondos and capriccios for keyboard
* R 8.15 - Keyboard Concerto No.3 in A major
* R 8.16 - Keyboard Concerto No.4 in G minor
* R 8.17 - Keyboard Concerto No.5 in D major
* R 8.18 - Keyboard Concerto No.6 in B flat major
* R 8.19 - Keyboard Concerto No.7 in A major
* R 8.20 - Keyboard Concerto No.8 in C major
* R 8.21 - Violin Sonata in E major
* R 8.22 - Marche funèbre pour le Général Hoche in C minor
* R 8.23 - Andante for horn &amp; harp in C major
* R 8.24 - 3 Pieces for Military Band
* R 8.25 - Symphony in C major

===Works of doubtful authenticity===
* R E.02 - Sinfonia in E flat major
* R E.06 - Flute Quartet Op. 23 No.2 in D major
* R E.07 - Flute Quartet Op. 23 No.5 in G major
* R E.08 - Flute Quartet Op. 23 No.4 in G major
* R E.09 - Flute Quartet Op. 23 No.1 in C major
* R E.10 - Flute Quartet Op. 23 No.3 in E minor
* R E.11 - Flute Quartet Op. 23 No.6 in G major
* R E.13 - Marche du Premier Consul in B flat major
* R 8.14 - Mandolin concerto in E flat major
* R 8.15 - Mandolin concerto in C major
* R 8.16 - Mandolin concerto in G major

==References==
{{reflist}}
{{1911}}

==External links==
*{{IMSLP|id=Paisiello, Giovanni|cname=Giovanni Paisiello}}
* [http://www.gramophone.co.uk/grove_popup_detail.asp?type=entry&amp;id=6764 The Grove Concise Dictionary of Music] entry to Giovanni Paisiello via [http://www.gramophone.co.uk/ Gramophone]
* {{WIMA|idx=Paisiello}}

{{DEFAULTSORT:Paisiello}}
[[Category:1740 births]]
[[Category:1816 deaths]]
[[Category:Italian composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:People from Taranto]]
[[Category:Neapolitan school composers]]

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    </revision>
  </page>
  <page>
    <title>Thomas Attwood (composer)</title>
    <id>2125806</id>
    <revision>
      <id>307767165</id>
      <timestamp>2009-08-13T16:18:01Z</timestamp>
      <contributor>
        <ip>85.250.127.148</ip>
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      <comment>/* Video clips */</comment>
      <text xml:space="preserve">'''Thomas Attwood''' ([[23 November]] [[1765]] &amp;ndash; [[24 March]] [[1838]]) was an [[England|English]] [[composer]] and [[organist]].

The son of a musician in the royal band, Attwood was born in [[London]]. At the age of nine he became a chorister in the [[Chapel Royal]]. In 1783 he was sent to study abroad at the expense of the Prince of Wales (afterwards [[George IV of the United Kingdom|George IV]]), who had been favourably impressed by his skill at the [[harpsichord]]. After ending two years at [[Naples]], Attwood proceeded to [[Vienna]], where he became a favorite pupil of [[Wolfgang Amadeus Mozart|Mozart]]. On his return to London in 1787 he held for a short time an appointment as one of the chamber musicians to the Prince of Wales. In 1796 he was chosen organist of [[St Paul's Cathedral]], and in the same year he was made composer to the Chapel Royal. His court connection was further confirmed by his appointment as musical instructor to the Duchess of York, and afterwards to the Princess of Wales. For the [[Coronation of the British monarch|coronation]] of George IV. he composed the [[anthem]] ''I was Glad''. The king, who had neglected him for some years on account of his connection with the Princess of Wales, now restored him to favour, and in 1821 appointed him organist to his private chapel at [[Brighton]]. Soon after the institution of the [[Royal Academy of Music]] in 1823, Attwood was chosen to be one of the professors. He was also one of the original members of the [[Royal Philharmonic Society]], founded in 1813. He wrote the [[anthem]] ''O Lord, Grant the King a Long Life'', which was performed at the coronation of [[William IV of the United Kingdom|William IV]], and he was composing a similar work for the coronation of [[Victoria of the United Kingdom|Queen Victoria]] when he died at his house in [[Cheyne Walk]], [[Chelsea, London|Chelsea]], on [[24 March]] [[1838]]. He was buried under the organ in St Paul's Cathedral.

Attwood's compositions, which show the influence of his teacher Mozart, are now largely forgotten except for a few short anthems. These include &quot;O God who by the leading of a star&quot;, &quot;Come, Holy Ghost&quot;, &quot;Turn Thy face from my sins&quot;, and &quot;Teach me, O Lord&quot;.  He was himself the teacher of [[John Goss]], [[Cipriani Potter]] and his godson [[Thomas Attwood Walmisley]], and in his last years a friend of [[Felix Mendelssohn|Mendelssohn]]. 

==References==
Nicholas Temperley: &quot;Attwood, Thomas&quot;, ''Grove Music Online'' ed. L. Macy (Accessed [[28 June]] [[2005]]), http://www.grovemusic.com

==External links==
*{{ChoralWiki|Thomas_Attwood|Thomas Attwood}}
*{{IckingArchive|idx=Attwood|name=Thomas Attwood}}
*{{IMSLP|id=Attwood, Thomas|cname=Thomas Attwood}}
===Video clips===
* [http://www.youtube.com/watch?v=ddUlZbcBQ_s ''Psalm 50''] Anglican Chant by King's College Choir

{{1911}}

{{DEFAULTSORT:Attwood, Thomas}}
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[[fr:Thomas Attwood]]
[[he:תומאס אטווד]]</text>
    </revision>
  </page>
  <page>
    <title>Tommaso Traetta</title>
    <id>560835</id>
    <revision>
      <id>309037423</id>
      <timestamp>2009-08-20T09:39:27Z</timestamp>
      <contributor>
        <ip>87.114.28.106</ip>
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      <text xml:space="preserve">[[Image:Tommaso Traetta.jpg|thumb|200px|right|Tommaso Traetta]]
'''Tommaso Michele Francesco Saverio Traetta''' ([[30 March]] [[1727]]&amp;ndash;[[6 April]] [[1779]]) was an [[Italy|Italian]] [[composer]].

&lt;!--Perhaps the best place to encounter this fine composer is [[Saint Petersburg]]. Here, Traetta's finest work, the [[opera]] ''[[Antigona]]'', received its first performance at the Court of [[Catherine the Great]] in [[1772]]. THIS IS OUT OF PLACE--&gt;
==Biography==
Traetta was born in [[Bitonto]], a town near [[Bari]], near the top of the heel of the boot of [[Italy]]. He eventually became a pupil of the composer, singer and teacher [[Nicola Porpora]] in [[Naples]], and scored a first success with his opera ''[[Il Farnace]]'', in Naples, in 1751. Around this time he seems too have come into contact with [[Niccolò Jommelli]]. From here on in, Traetta seems to have had regular commissions from all around the country, running the gamut of the usual classical subjects. Then in 1759, something untoward happened that was to trigger Traetta's first operatic re-think. He accepted a post as court composer at [[Parma]].

Parma, it has to be said, was hardly an important place in the grand scheme of things: a minor [[duchy|dukedom]], but a dukedom with a difference, because the incumbent was [[Spain|Spanish]] and his wife was [[France|French]]. Parma had regularly changed owners between [[Austria]]ns and Spaniards and the current Duke was the Infante Felipe. And in one of those inter-dynastic marriages which so complicate the history of Europe, he had married the eldest daughter of [[Louis XV of France|Louis XV]]. With the result that there was currently in Parma a craze for all things French, and in particular a fixation with the splendour of [[Versailles]]. Which is where the influence of the composer [[Jean-Philippe Rameau]] comes in. It was in Parma that Traetta's operas first began to move in new directions.
And as a result there is no doubt that ''[[Antigona]]'', his 1772 opera for St. Petersburg, was amongst his most forward-looking, the closest he approached the famous reform ideals usually associated with [[Gluck]], but in fact a current that was felt by several other composers of the time.

It was in Parma, at the court of the [[House of Bourbon|Bourbon]] Duke there, that Traetta ran unexpectedly headlong into some fresh air from France. In Parma in 1759, he found a number of significant collaborators, and he was fortunate in finding that the man in charge of opera there was a highly-cultivated [[Paris]]-trained Frenchman, [[Guillaume du Tillot]], who had the complete cultural portfolio among all his other responsibilities as Don Felipe's First Minister. To judge from the general stylistic influence in terms of grand scenic effects, and from some specific musical borrowings, Traetta had access in Parma to copies and reports of Rameau's operas. To their influence, Traetta added some ingredients of his own, especially a feeling for dramatic colour, in the shape of his melodies and his use of the [[orchestra]]. The result was a combination of Italian, French and German elements, which even anticipate the [[Sturm und Drang]] movement that was to flourish a few years later, further North.

The first fruit of this francophilia was the opera Traetta wrote in 1759. ''[[Ippolito ed Aricia]]'' owes a lot to Rameau's great tragédie lyrique of 1733, ''[[Hippolyte et Aricie]]''. But Traetta's is no mere translation of Rameau. [[Frugoni]], Traetta's [[librettist]] in Parma completely reworked the original French version by abbé Pellegrin, which itself had been based on [[Jean Racine|Racine]], in its turn stemming ultimately from ancient Greek roots - the ''[[Hippolytus (play)|Hippolytus]]'' of [[Euripides]]. Frugoni retained certain key French elements: the five-act structure as against the customary three; the occasional opportunities for French-style spectacle and effects and in particular the dances and divertissements that end each of those five [[Act (theater)|acts]]; and a more elaborate use of the [[choir|chorus]] than for instance in [[Johann Adolph Hasse|Hasse]] and [[Carl Heinrich Graun|Graun]] and Jommelli.

Through the following decade, the 1760s, Tommaso Traetta composed music unceasingly&amp;mdash;not just [[opera seria]], either. There was a clutch of comedies as well, to say nothing of sacred music composed to imperial order. But opera seria was the generally what her imperial majesty commanded. Traetta's first operas for Catherine the Great seem to have been largely revivals and revisions of his earlier works. But then in 1772 came ''Antigona'' &amp;mdash;and for whatever reason, whether it was Traetta's own inclination or the promptings of his librettist [[Marco Coltellini]] or the availability of the [[soprano]] [[Caterina Gabrielli]], the new opera reached areas of feeling and intensity he had never explored before, even in Parma.

The Court Opera of Catherine the Great performed in a theatre inside the [[Winter Palace]] itself, created by the architect [[Bartolomeo Francesco Rastrelli]]&amp;mdash;another Italian&amp;mdash;who was the [[architect]] of many buildings in St. Petersburg, including the [[Hermitage Museum|Hermitage]]. The theatre was quite close to the Empress' own apartments. Too close, in fact, because in 1783, that is to say some time after Traetta's departure, she ordered it to be closed and a new one built. Some years before that she had already booted out Rastrelli, who had been the favourite architect of her predecessor. Traetta too was to depart, though possibly it was the harsh climate of Peter the Great's still relatively new and very damp capital, rather than the Empress' boot, that led him to leave St Petersburg in 1775, and resume the opera composer's peripatetic life, even writing two works for [[London]]: ''[[Germondo]]'' in 1776 and ''[[Telemaco (Traetta)|Telemaco]]'' the year after.

Traetta died two years later, in April 1779, in [[Venice]], and by then, opera seria was for a variety of reasons, artistic and financial, a threatened species. It was to take a genius to prolong its active life, above all in a masterpiece from 1781 called ''[[Idomeneo]]'', and then again one final time 10 years after that, using an old warhorse of a [[Metastasio]] text for a libretto: ''[[La clemenza di Tito]]''. The composer of this final flash of opera seria glory to outshine them all, was no stranger to Naples and to Neapolitan opera&amp;mdash;[[Wolfgang Amadeus Mozart]].

==Operas==

See '''[[List of operas by Traetta]]'''.

==References==
* Marco Russo, ''Tommaso Traetta: i Libretti della Riforma - Parma 1759-61'', Facoltà di Lettere di Trento, Trento 2005; 
* Marco Russo, ''Tommaso Traetta: Maestro di cappella napoletano'', Edizioni S. Marco dei Giustiniani, Genova 2006. 

==External links==
*[http://www.traetta.com Traetta.com website]
*[http://www.operone.de/komponist/traetta.html Operone list of Traetta operas]

{{DEFAULTSORT:Traetta, Tommaso}}
[[Category:1727 births]]
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[[Category:People from the Province of Bari]]

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  </page>
  <page>
    <title>Tommaso Marchesi</title>
    <id>1693144</id>
    <revision>
      <id>306915786</id>
      <timestamp>2009-08-09T04:19:37Z</timestamp>
      <contributor>
        <username>Erik9bot</username>
        <id>8889502</id>
      </contributor>
      <comment>add [[Category:Articles lacking sources (Erik9bot)]]</comment>
      <text xml:space="preserve">'''Tommaso Marchesi''' ([[March 7]], [[1773]]&amp;ndash;[[June 6]], [[1852]]) was an [[Italy|Italian]] composer.

Marchesi was born in [[Lisbon]], but studied music at [[Bologna]], where in 1808 he founded the Accademia dei Filarmonica.

{{Italy-composer-stub}}

{{DEFAULTSORT:Marchesi, Tommaso}}
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    </revision>
  </page>
  <page>
    <title>Domenico Cimarosa</title>
    <id>37943</id>
    <revision>
      <id>309729675</id>
      <timestamp>2009-08-24T05:27:49Z</timestamp>
      <contributor>
        <username>Inebriatedmind</username>
        <id>10300395</id>
      </contributor>
      <comment>unwikify dates per MOS</comment>
      <text xml:space="preserve">[[Image:Domenico cimarosa.jpg|thumb|Domenico Cimarosa]]
'''Domenico Cimarosa''' (17 December 1749 – 11 January 1801) was an [[Music of Italy|Italian]] [[opera]] [[composer]] of the [[Teatro di San Carlo#The great age of Neapolitan opera|Neapolitan school]]. He wrote more than eighty operas during his lifetime, including his masterpiece, ''[[Il matrimonio segreto]]'' (1792).

==Early life and education==
Cimarosa was born in [[Aversa]], near [[Naples]].

His parents were poor, but, anxious to give their son a good education, they sent him to a free school connected with one of the monasteries in Naples after moving to that city. The organist of the monastery, [[Padre Polcano]], was struck by the boy's intellect, and voluntarily instructed him in the elements of music and also in the ancient and modern literature of his country. Because of his influence, Cimarosa obtained a scholarship at the musical institute of [[Music Conservatories of Naples|Santa Maria di Loreto]] in Naples, where he remained for eleven years, chiefly studying the great masters of the old Italian school; [[Niccoló Piccinni]], [[Antonio Maria Gaspare Sacchini]], and other musicians of repute are mentioned among his teachers.

==Early career==
At the age of twenty-three, Cimarosa began his career as a composer with an [[opera buffa]] called ''Le stravaganze del conte'', first performed at the [[Early Theaters in Naples|Teatro del Fiorentini]] at [[Naples]] in 1772. The work met with approval, and was followed in the same year by ''Le pazzie di Stelladaura e di Zoroastro'', a [[farce]] full of humour and eccentricity. This work was also successful, and the fame of the young composer began to spread all over Italy. In 1774, he was invited to [[Rome]] to write an opera for the ''stagione'' of that year; and there he produced another comic opera called ''L'italiana in Londra''.

==Midlife==
[[Image:Domenico Cimarosa.jpg|thumb|Domenico Cimarosa]]
Over the next thirteen years, Cimarosa wrote a number of operas for the various theatres of Italy, living temporarily in Rome, in Naples, or wherever else his vocation as conductor of his works happened to take him. From 1784 to 1787, he lived in [[Florence]], writing exclusively for the theatre of that city. The productions of this period of his life are very numerous, consisting of operas (both comic and serious), [[cantata]]s, and various sacred compositions. The following works may be mentioned, among many others: ''Cajo Mario''; the three [[Biblical]] operas, ''Assalone'', ''La giuditta'', and ''Il sacrificio d'Abramo''; ''Il convito di pietra''; and ''La ballerina amante'', a [[comic opera]] first performed at [[Venice]] with enormous success.

Around 1788, Cimarosa went to [[St. Petersburg]] by invitation of Empress [[Catherine II]]. He remained at her court for four years and wrote an enormous number of compositions, mostly of the nature of ''pièces d'occasion''; of most of these, not even the names are on record. In 1792, Cimarosa left St. Petersburg and went to [[Vienna]] at the invitation of Emperor [[Leopold II, Holy Roman Emperor|Leopold II]]. Here, he produced his masterpiece, ''[[Il matrimonio segreto]]'', which ranks among the highest achievements of light operatic music. In 1793, Cimarosa returned to Naples, where ''Il matrimonio segreto'' and other works were received with great acclaim. Among the works belonging to his last stay in Naples that may be mentioned is the charming opera, ''Le astuzie femminili''.

This period of his life is said to have been embittered by the intrigues of envious and hostile persons, among whom figured his old rival, [[Giovanni Paisiello]]. During the occupation of Naples by the troops of the [[First French Republic|French Republic]], Cimarosa joined the liberal party, and on the return of the [[Bourbons]], was, like many of his political friends, condemned to death. By the intercession of influential admirers, his sentence was commuted to banishment, and he left Naples with the intention of returning to St. Petersburg—but his health was broken, and after much suffering, he died in Venice on [[11 January]] [[1801]] of inflammation of the [[intestine]]s. The nature of his disease led to the rumor of his having been poisoned by his enemies; however, a formal [[inquest]] proved this to be unfounded. He worked till the last moment of his life, and one of his operas, ''Artemizia'', remained unfinished at his death.  The place of his death is marked by a memorial in Campo San Angelo near the calle de Caffetier.

==Main works==
[[Image:Domenico-cimarosa-1.jpg|thumb|Domenico Cimarosa]]
*''Le stravaganze del conte'' (carnival 1772 Naples Teatro San Giovanni dei Fiorentini) [Le magie di Merlina e Zoroastro; Le pazzie di Stelladaura e Zoroastro] 
*''[[La finta parigina]]'' (carnival 1773 Naples Teatro Nuovo) 
*''I sdegni per amore'' (1.1776 Naples Teatro Nuovo) 
*''I matrimoni in ballo'' (carnival 1776 Naples Teatro Nuovo) 
*''La frascatana nobile'' (winter 1776 Naples Teatro Nuovo) [La finta frascatana] 
*''I tre amanti'' (carnival 1777 Rome Teatro Della alla Valle) [Le gare degl'amanti] 
*''Il fanatico per gli antiche Romani'' (spring 1777 Naples Teatro San Giovanni dei Fiorentini) 
*''[[L'Armida immaginaria]]'' (summer 1777 Naples Teatro (San Giovanni) dei Fiorentini) 
*''Gli amanti comici, o sia La famiglia in scompiglio'' (1778? ?Naples Teatro (San Giovanni) dei Fiorentini; carnival 1796 Crema) [Il matrimonio in commedia; La famiglia stravagante, ovvero Gli amanti comici] 
*''Il ritorno di Don Calandrino'' (carnival 1778 Rome Teatro Della alla Valle) [Armidoro e Laurina] 
*''Le stravaganze d'amore'' (1778 Naples Teatro San Giovanni dei Fiorentini) 
*''Il matrimonio per industria'' (1778? Naples?) [?] 
*''La contessina'' (summer 1778 Bologna) [?] [+ G. Astaritta, F.L. Gassmann] 
*''Il matrimonio per raggiro'' (1778/9? Rome?; carnival 1802 Rome Teatro Della alla Valle) [La donna bizzarra] 
*''L'italiana in Londra'' (carnival 1779 Rome Teatro Della alla Valle) [La virtù premiata] 
*''L'infedeltà fedele'' (summer 1779 Naples Teatro del Fondo) 
*''[[Le donne rivali]]'' (carnival 1780 Rome Teatro Della alla Valle) [et al.] 
*''Cajo Mario'' (carnival 1780 Teatro delle Dame) 
*''I finti nobili'' (carnival 1780 Naples Teatro San Giovanni dei Fiorentini) 
*''Il falegname'' (1780 Naples F) [L'artista] 
*''L'avviso ai maritati'' (1780? ?Naples Teatro San Giovann) dei Fiorentini) [?] 
*''Il capriccio drammatico'' (1781? Turin?; 1794 London) 
*''Il pittor parigino'' (carnival 1781 Rome Teatro Della alla Valle) [Le brame deluse] 
*''Alessandro nell'Indie'' (carnival 1781 Rome A) 
*''L'amante combattuto dalle donne di Punto'' (1781 Naples Teatro San Giovanni dei Fiorentini) [La biondolina; La giardiniera fortunata] 
*''Giunio Bruto'' (aut.1781 Verona) 
*''[[Giannina e Bernardone]]'' (aut.1781 Venice SS) [Il villano geloso] 
*''Il convito'' (carnival 1782 Venice SS) [Der Schmaus] 
*''L'amor costante'' (carnival 1782 Rome Teatro Della alla Valle) [Giulietta ed Armidoro] 
*''L'eroe cinese'' (13.8.1782 Naples SC) 
*''La ballerina amante'' (1782 Naples Teatro San Giovanni dei Fiorentini) [L'amante ridicolo] 
*''La Circe'' (carnival 1783 Milan S) 
*''I due baroni di Rocca Azzurra'' (carnival 1783 Rome Teatro Della alla Valle) [Dve nevesty; I due baroni; La sposa in contrasto; Il barone deluso] 
*''La villana riconosciuta'' (1783 Naples Teatro del Fondo) [La villanella rapita] 
*''Oreste'' (13.8.1783 Naples SC) 
*''Chi dell'altrui si veste presto si spoglia'' (1783 Naples F) [Nina e Martuffo] 
*''Il vecchio burlato'' (1783 Venice) [?] 
*''I matrimoni impensati'' (carnival 1784 Rome Teatro Della alla Valle) [La bella greca] 
*''L'apparenza inganna, o sia La villeggiatura'' (spring 1784 Naples F) 
*''La vanità delusa'' (spring 1784 Florence P) [Il mercato di Malmantile] 
*''L'Olimpiade'' (10.7.1784 Vicenza) 
*''I due supposti conti, ossia Lo sposo senza moglie'' (aut.1784 Milan S) [Lo sposo ridicolo] 
*''Artaserse'' (26.12.1784 Turin TR) 
*''Il barone burlato'' (1784 Naples Teatro Nuovo) [rev. Il pittor parigino] [+ F. Cipolla] 
*''Li finti conti'' (spring 1785 Turin, Gallo-Ughetti) [?] 
*''I fratelli papamosche'' (spring 1785 Turin, Gallo-Ughetti) [?] 
*''Le statue parlante'' (1785 Correggio) [?] 
*''Il marito disperato'' (1785 Naples F) [Il marito geloso; Die bestrafte Eifersucht] 
*''La donna sempre al suo peggior s'appiglia'' (1785 Naples Teatro Nuovo) 
*''Il credulo'' (carnival 1786 Naples Teatro Nuovo) [La baronessa stramba; Il credulo deluso] 
*''Le trame deluse'' (1786 Naples Teatro Nuovo) [L'amor contrastato; Li raggiri scoperti] 
*''[[L'impresario in angustie]]'' (1786 Naples Teatro Nuovo) [Die theatralischen Abenteuer] 
*''La baronessa stramba'' (1786 Naples Teatro Nuovo) [rev. I matrimoni in ballo] [Il credulo] 
*''Gli amanti alla prova'' (1786 Naples) [?] 
*''L'impostore punito'' (1786/7 Turin C) [?] 
*''Volodimiro'' (carnival 1787 Turin TR) 
*''Il fanatico burlato'' (1787 Naples Teatro del Fondo) [La burla felice; Der adelsüchtige Bürger] 
*''La felicità inaspettata'' (3.1788 St Petersburg E) 
*''La vergine del sole'' (1788? ?St Petersburg E; 6.11.1789 St Petersburg BK) 
*''La scuffiara'' (1788) [?] 
*''[[La Cleopatra]]'' (27.9.1789 St Petersburg E) [Cleopatra e Marc'Antonio] 
*''[[Il matrimonio segreto]]'' (7.2.1792 Vienna B), [http://www.library.unt.edu/music/assets/vrbr/Matrimonio1799.pdf score] 
*''Sophie et Dorval'' () [rev. Il matrimonio segreto] 
*''Il matrimonio per susurro'' () [?] 
*''La calamità dei cuori'' (1792/3 Vienna B) [?] 
*''Contrattempi'' (1793 Bonn) [?] 
*''Amor rende sagace'' (1.4.1793 Vienna B) 
*''I traci amanti'' (19.6.1793 Naples Teatro Nuovo) [Il padre alla moda, ossia Lo Sbarco di Mustanzir Bassà; Gli turchi amanti; Les amants turcs] 
*''[[Il maestro di capella]]'' (2.7.1793 Berlin, Germany)
*''[[Le astuzie femminili]]'' (26.8.1794 Naples Teatro (San Giovanni) dei Fiorentini) 
*''La pupilla astuta'' (1794 Naples Teatro del Fondo) [?] 
*''La serva innamorata'' (1794 Naples F) [?] 
*''Penelope'' (carnival 1795 Naples Teatro del Fondo) 
*''Le nozze in garbuglio'' (1795 Messina) 
*''L'impegno superato'' (1795 Naples Teatro del Fondo)
*''La finta ammalata'' (1796 Lisbon)
*''I nemici generosi'' (carnival 1796 Rome Teatro Della alla Valle) [Il duello per complimento]
*''Gli Orazi ed i Curiazi'' (carnival 1797 Venice F) 
*''La morte di Assalonne'' (? Florence, Oratorio) [rev. Gli Orazi ed i Curiazi] 
*''Achille all'assedio di Troja'' (carnival 1797 Rome A) 
*''L'imprudente fortunato'' (carnival 1797 Rome Teatro Della alla Valle) 
*''Artemisia regina di Caria'' (summer 1797 Naples SC) 
*''Attilio Regolo'' (carnival 1797 Reggio) [?] 
*''Le nozze di Lauretta'' (1797? Turin) [?] 
*''L'apprensivo raggirato'' (1798 Naples Teatro San Giovanni dei Fiorentini) 
*''Il secreto'' (aut.1798 Turin C) 
*''Semiramide'' (1799 Naples F) [?] 
*''Il conte di bell'amore'' () [?] 
*''L'arte contro l'arte'' (carnival 1800 Alexandria) [?] 
*''Artemisia'' (carnival 1801 Venice F) 
*''Il nuovo podestà'' (spring 1802 Bologna) [?] 
*''Tiro Vespasiano'' (1821 Lisbon) [?] 
*''La discordia fortunata'' () [?] 
*''L'ajo nell'imbarazzo'' () [?] 
*''Le donne vendicate'' () [?] 
*''Il cavalier del dente'' () [?] 
*''La Molinara'' (inc) [?]

==References==
*''This entry incorporates public domain text originally from the [[1911 Encyclopædia Britannica]].''

==External links==
{{Commonscat|Domenico Cimarosa}}
* {{IMSLP|id=Cimarosa, Domenico}} 
*{{IckingArchive|idx=Cimarosa|name=Domenico Cimarosa}}
*{{ChoralWiki}}

{{DEFAULTSORT:Cimarosa, Domenico}}
[[Category:1749 births]]
[[Category:1801 deaths]]
[[Category:People from the Province of Naples]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Italian composers]]
[[Category:Neapolitan school composers]]

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    <title>Antonin Kammel</title>
    <id>2092074</id>
    <revision>
      <id>266563758</id>
      <timestamp>2009-01-26T17:56:53Z</timestamp>
      <contributor>
        <username>RussBot</username>
        <id>279219</id>
      </contributor>
      <minor/>
      <comment>Robot-assisted fix [[WP:DPL|links to disambiguation page]] Violinist</comment>
      <text xml:space="preserve">{{unreferenced|biography|date=October 2007}}
'''Antonín Kammel''' ([[April 21]], [[1730]] Běleč, now [[Czech Republic]] – [[1788]] [[London]]) was a [[composer]] and [[violin]]ist. His best-known composition is String Quartett no. 2.

Kammel was involved in the [[social circle]] of the leading 18th century London concert impresarios, [[Johann Christian Bach]] and [[Carl Friedrich Abel]]. He also performed at provincial musical festivals, leading the orchestra at [[Salisbury]] in 1771.

{{DEFAULTSORT:Kammel, Antonin}}
[[Category:1730 births]]
[[Category:1788 deaths]]
[[Category:Classical era composers]]
[[Category:Czech composers]]

{{Czech-bio-stub}}</text>
    </revision>
  </page>
  <page>
    <title>Joseph Leopold Eybler</title>
    <id>2632833</id>
    <revision>
      <id>306605648</id>
      <timestamp>2009-08-07T14:18:13Z</timestamp>
      <contributor>
        <username>Kainhofer</username>
        <id>1075320</id>
      </contributor>
      <comment>HV 102 is incorrectly attributed to Eybler, was actually composed by Michael Haydn. Source: My personal investigations of the only manuscript for HV102 in the Austrian national library.</comment>
      <text xml:space="preserve">[[File:Joseph von Eybler.jpg|thumb|right|Joseph Edler von Eybler, 1846]]
'''Joseph Leopold Eybler''' (born [[February 8]], [[1765]], in [[Schwechat]] near [[Vienna]]; and died [[July 24]], [[1846]] in Vienna) was an [[Austria]]n [[composer]] known today perhaps more for his friendship with [[Mozart]] than for his own music.

==Life==

Eybler was born into a musical family. His father was a teacher, choir director and friend of the [[Haydn]] family. Joseph Eybler studied music with his father before attending [[Stephansdom]] (the cathedral school of St. Stephen's Boys College) in Vienna. He studied [[musical composition|composition]] under [[Johann Georg Albrechtsberger]], who declared him to be the greatest musical genius in Vienna apart from [[Wolfgang Amadeus Mozart|Mozart]]. He also received praise from [[Joseph Haydn|Haydn]] who was his friend, distant cousin and patron. 

In 1792 he became choir director at the Karmeliterkirche ([[Carmelite]] Church) in Vienna. Two years later he moved to the Schottenkloster, where he remained for the next thirty years (1794-1824). Eybler also held court posts, including that of court Kapellmeister (chapel master) (1824-33). The [[Empress]] [[Maria Teresa of Naples and Sicily|Marie Therese]] commissioned many works from him, including the Requiem in C minor (1803).

==Friendship with Mozart==

Through Joseph Haydn, Eybler met Mozart, who gave him some lessons  and entrusted him with the rehearsal of his [[opera]] ''[[Così fan tutte]]''. Eybler also conducted some performances of ''Così fan tutte''. 

On May 30, 1790 Mozart wrote a testimonial for the young Eybler: &quot;I, the undersigned, attest herewith that I have found the bearer of this, Herr Joseph Eybler, to be a worthy pupil of his famous master Albrechtsberger, a well-grounded composer, equally skilled at chamber music and the church style, fully experienced in the art of the song, also an accomplished organ and clavier player; in short a young musician such, one can only regret, as so seldom has his equal.&quot;

Mozart and Eybler remained friends to the end. As Eybler wrote: &quot;I had the good fortune to keep his friendship without reservation until he died, and carried him, put him to bed and helped to nurse him during his last painful illness.&quot;  

After Mozart's death, [[Constanze Mozart]] asked Eybler to complete her husband's [[Requiem]]. Eybler tried but could not complete the commission perhaps, it is thought, because of his great respect for the music of his friend Mozart. ([[Franz Xaver Süßmayr]] completed the task).

==Last years==

In 1833 Eybler had a [[stroke]] while conducting Mozart’s Requiem and thereafter could not fulfill his duties at the Court. For his service to the Court, Eybler was raised to the nobility in 1835 and was known henceforth as Joseph Leopold, [[Edler]] von Eybler. He died in 1846.

==Works==

Eybler's main compositions were sacred music, including [[oratorio]]s, [[mass]]es, [[cantata]]s, offertories, [[gradual]]s, and his requiem. His other works include an opera, instrumental music (especially his [[string quintet]]s), and songs.

Of special note may be the [[Clarinet concerto (Eybler)|clarinet concerto]] (HV160) he wrote most probably for &quot;Mozart's&quot; clarinetist [[Anton Stadler]]. A recording of this concerto by [[Dieter Klöcker]] is available on the Novalis music label&lt;ref&gt;Joseph Leopold, Edler von Eybler:''Clarinet concerto'', Dieter Klöcker, English Chamber Orchestra on Novalis 150 061 2&lt;/ref&gt;.

===Works list===
HV 1 \ Missa Sancti Hermani in C major&lt;br /&gt;
HV 2 \ Missa Sancti Michaelis in C major&lt;br /&gt;
HV 3 \ Missa Sancti Ludovici in C major&lt;br /&gt;
HV 4 \ Missa Sancti Mauritii in C major&lt;br /&gt;
HV 5 \ Missa Coronationis Ferdinandi V Regis Hungariae in C major&lt;br /&gt;
HV 6 \ Missa Sancti Alberti in C major&lt;br /&gt;
HV 7 \ Missa in C major&lt;br /&gt;
HV 8 \ Missa Sancti Bennonis in C minor&lt;br /&gt;
HV 9 \ Missa Sancti Caroli in C minor&lt;br /&gt;
HV 10 \ Missa Sancti Joannis in C minor&lt;br /&gt;
HV 11 \ Missa Sancti Wolfgangi in D minor&lt;br /&gt;
HV 12 \ Missa Sancti Leopoldi in D minor&lt;br /&gt;
HV 13 \ Missa Sancti Ignatii in E flat major&lt;br /&gt;
HV 14 \ Missa Sanctae Andreae in E flat major&lt;br /&gt;
HV 15 \ Missa Sanctorum Apostolorum in E flat major&lt;br /&gt;
HV 16 \ Missa Sancti Clementis in E major&lt;br /&gt;
HV 17 \ Missa Sancti Josephi in F major&lt;br /&gt;
HV 18 \ Missa Sancti Maximiliani in F major&lt;br /&gt;
HV 19 \ Missa Sancti Rudolphi in F major&lt;br /&gt;
HV 20 \ Missa Sancti Raineri in F major&lt;br /&gt;
HV 21 \ Missa Sancti Sigismundi in F major&lt;br /&gt;
HV 22 \ Missa Sanctae Eleonorae in G major&lt;br /&gt;
HV 23 \ Missa Sancti Georgii in G major&lt;br /&gt;
HV 24 \ Missa Sanctae Sophiae in G major&lt;br /&gt;
HV 25 \ Missa pro Sabbato Sancto in G major&lt;br /&gt;
HV 26 \ Missa Sancti Ferdinandi in G minor&lt;br /&gt;
HV 27 \ Missa Sancti Thaddaei in A flat major&lt;br /&gt;
HV 28 \ Missa Sanctae Elisabethae in A minor&lt;br /&gt;
HV 29 \ Missa Sanctae Theresiae in B flat major&lt;br /&gt;
HV 30 \ Missa Sancti Francisci in B flat major&lt;br /&gt;
HV 31 \ Missa Sancti Theodori in B flat major&lt;br /&gt;
HV 32 \ Missa Sancti Antonii in B flat major&lt;br /&gt;
HV 33 \ Missa Sanctae Annae in B flat major&lt;br /&gt;
HV 34 \ Gloria &amp; Incarnatus for Michael Haydn's Missa in D minor&lt;br /&gt;
HV 35 \ Kyrie ad Missam in Coena Domini in E minor&lt;br /&gt;
HV 36 \ Sanctus in C major&lt;br /&gt;
HV 37 \ Requiem in C minor&lt;br /&gt;
HV 38 \ Graduale: Quem tuus amor ebriat in C major&lt;br /&gt;
HV 39 \ Graduale: Cantate Domino in C major&lt;br /&gt;
HV 40 \ Graduale: Omnes de Saba venient in C major&lt;br /&gt;
HV 41 \ Graduale: Sperate in Deo omnis in C major&lt;br /&gt;
HV 42 \ Graduale: Domine Deus omnium creator in C major&lt;br /&gt;
HV 43 \ Graduale: Unam petii in C major&lt;br /&gt;
HV 44 \ Graduale: Per te Dei Genitrix in C major&lt;br /&gt;
HV 45 \ Graduale: Lauda Sion salvatorem in C major&lt;br /&gt;
HV 46 \ Graduale: Os justi meditabitur sapientiam in C minor&lt;br /&gt;
HV 47 \ Graduale: Nocte surgentes vigilemus omnes in D major&lt;br /&gt;
HV 48 \ Graduale: Ecce sacerdos magnus in D major&lt;br /&gt;
HV 49 \ Graduale: Te summe Jesu fontem amoris in D major&lt;br /&gt;
HV 50 \ Graduale: Tua est potentia in E flat major&lt;br /&gt;
HV 51 \ Graduale: Omni die dic Mariae laudes in E flat major&lt;br /&gt;
HV 52 \ Graduale: Pater noster in E flat major&lt;br /&gt;
HV 53 \ Graduale: Specie tua in F major&lt;br /&gt;
HV 54 \ Graduale: Christus factus est pro nobis in F major&lt;br /&gt;
HV 55 \ Graduale: Benedicam Dominum in omni tempore in F major&lt;br /&gt;
HV 56 \ Graduale: Non in multitudine est virtus tua Domine in F major&lt;br /&gt;
HV 57 \ Graduale: Alma redemptoris Mater in G major&lt;br /&gt;
HV 58 \ Graduale: Victimae paschali laudes in G major&lt;br /&gt;
HV 59 \ Graduale: Beata gens cuius est Deus in G major&lt;br /&gt;
HV 60 \ Graduale: Peccata dimittis in G major&lt;br /&gt;
HV 61 \ Graduale: Dies sanctificatus illuxit nobis in G major&lt;br /&gt;
HV 62 \ Graduale: Dominus in Sina in sancto in G major&lt;br /&gt;
HV 63 \ Graduale: Tu Domine Pater noster in G major&lt;br /&gt;
HV 64 \ Graduale: Benedictus es in A flat major&lt;br /&gt;
HV 65 \ Graduale: Ave Maria gratia plena in A major&lt;br /&gt;
HV 66 \ Graduale: Cantate Domino in A major&lt;br /&gt;
HV 67 \ Graduale: Magnificate Dominum mecum in B flat major&lt;br /&gt;
HV 68 \ Graduale: Exaltate Dominum Deum in B flat major&lt;br /&gt;
HV 69 \ Graduale: Iste est qui ante Deum in B flat major&lt;br /&gt;
HV 70 \ Graduale: Justus ut palma florebit in B flat major&lt;br /&gt;
HV 71 \ Graduale: Bone Deus amor Deus in B flat major&lt;br /&gt;
HV 72 \ Graduale: Populum humilem salvum in B flat major&lt;br /&gt;
HV 73 \ Graduale: Alleluia confitemini Domino in B flat major&lt;br /&gt;
HV 74 \ Graduale: Reges Tharsis et Saba in D major (doubtful)&lt;br /&gt;
HV 75 \ Graduale: Domine cor mundum (doubtful, maybe composed by Oehlinger)&lt;br /&gt;
HV 76 \ Offertory: Nos populus tuus in C major&lt;br /&gt;
HV 77 \ Offertory: Jubilate Deo in C major&lt;br /&gt;
HV 78 \ Offertory: Tui sunt coeli et tua est terra in C major&lt;br /&gt;
HV 79 \ Offertory: Confirma hoc Deus in C major&lt;br /&gt;
HV 80 \ Offertory: Ascendit Deus in C major&lt;br /&gt;
HV 81 \ Offertory: Tres sunt qui testimonium in C major&lt;br /&gt;
HV 82 \ Offertory: Audite vocem magnam dicentem in C major&lt;br /&gt;
HV 83 \ Offertory: Surrexit vere tumulo in C major&lt;br /&gt;
HV 84 \ Offertory in C major (text missing)&lt;br /&gt;
HV 85 \ Offertory: Terra tremuit et quievit in C minor&lt;br /&gt;
HV 86 \ Offertory: Si consistent adversum me castra in C minor&lt;br /&gt;
HV 87 \ Offertory: Timebunt gentes nomen tuum Domine in C minor&lt;br /&gt;
HV 88 \ Offertory: Domine si observaveris iniquitates in C minor&lt;br /&gt;
HV 88 \ Offertory: Haec est dies qua candida in D major&lt;br /&gt;
HV 90 \ Offertory: Summe Deus te semper laudum in D major&lt;br /&gt;
HV 91 \ Offertory: Jubilate Deo omnis terra in D major&lt;br /&gt;
HV 92 \ Offertory: Fremit mare cum furore in D minor&lt;br /&gt;
HV 92 \ Offertory: Laus sit Deo in excelsis in D major&lt;br /&gt;
HV 94 \ Offertory: Tremit mare in D minor&lt;br /&gt;
HV 95 \ Offertory: Lux est orta in E flat major&lt;br /&gt;
HV 96 \ Offertory: Ad te o summa bonitas in E flat major&lt;br /&gt;
HV 97 \ Offertory: Levavi oculos meos in E major&lt;br /&gt;
HV 98 \ Offertory: Ad te levavi animam meam in F major&lt;br /&gt;
HV 99 \ Offertory: Confitebor Domino in F major&lt;br /&gt;
HV 100 \ Offertory: O Maria virgo pia in G major&lt;br /&gt;
HV 101 \ Offertory: Domine Deus salutis meae in G major&lt;br /&gt;
''HV 102 \ Offertory: Lauda Sion salvatorem in G major'' (incorrectly attributed to Eybler; correctly: [[Michael Haydn]]s Offertory Lauda Sion, MH 215)&lt;br /&gt;
HV 103 \ Offertory: Tecum principium in die virtutis tuae in G major&lt;br /&gt;
HV 104 \ Offertory: Levavi in montes oculos meos in G minor&lt;br /&gt;
HV 105 \ Offertory: Confitebor tibi Domine in A major&lt;br /&gt;
HV 106 \ Offertory: Laudate pueri Dominum in B flat major&lt;br /&gt;
HV 107 \ Offertory: Reges Tharsis et insulae munera in B flat major&lt;br /&gt;
HV 108 \ Offertory: Magna et mirabilia sunt opera in B flat major&lt;br /&gt;
HV 109 \ Offertory: Emitte spiritum tuum in B flat major&lt;br /&gt;
HV 110 \ Antiphon: Regina coeli laetare in C major&lt;br /&gt;
HV 111 \ Antiphon: Regina coeli laetare in D major&lt;br /&gt;
HV 112 \ Antiphon: Salve Regina in F major&lt;br /&gt;
HV 113 \ Antiphon: Salve Regina in G major&lt;br /&gt;
HV 114 \ Te Deum in C major (1807)&lt;br /&gt;
HV 115 \ Te Deum in C major (1814)&lt;br /&gt;
HV 116 \ Te Deum in C major (1824)&lt;br /&gt;
HV 117 \ Te Deum in C major&lt;br /&gt;
HV 118 \ Te Deum in D major (1800)&lt;br /&gt;
HV 119 \ Te Deum in D major (1819)&lt;br /&gt;
HV 120 \ Te Deum in B flat major&lt;br /&gt;
HV 121 \ Hymn: Veni sancte spiritus in C major&lt;br /&gt;
HV 122 \ Hymn: Alleluia in C major&lt;br /&gt;
HV 123 \ Hymn: Tristes erant apostoli in C minor&lt;br /&gt;
HV 124 \ Hymn: Iste confessor in D minor&lt;br /&gt;
HV 125 \ Hymn: Ecce quo modo moritur justus in F major&lt;br /&gt;
HV 126 \ Hymn: Coelestis urbs Jerusalem in F major&lt;br /&gt;
HV 127 \ Hymn: Exultet orbis gaudiis in F major&lt;br /&gt;
HV 128 \ Hymn: Tantum ergo in F major&lt;br /&gt;
HV 129 \ Hymn: Veni sancte spiritus in G major&lt;br /&gt;
HV 130 \ Hymn: Jesu nostra redemptio in G major&lt;br /&gt;
HV 131 \ Hymn: Asperges me Domine&lt;br /&gt;
HV 132 \ De profundis clamavi in G minor&lt;br /&gt;
HV 133 \ Laudate Dominum in A minor&lt;br /&gt;
HV 134 \ Miserere in D minor&lt;br /&gt;
HV 135 \ Litaniae in F major&lt;br /&gt;
HV 136 \ Tibi aeterno Deo haec cantica in G major&lt;br /&gt;
HV 137 \ Die vier letzten Dinge&lt;br /&gt;
HV 138 \ Die Hirten bei der krippe zu Bethlehem&lt;br /&gt;
HV 139 \ Dich Schöpfer sanfter Harmonie&lt;br /&gt;
HV 140 \ Il sacrifizio&lt;br /&gt;
HV 141 \ Die Macht der Tonkunst&lt;br /&gt;
HV 142 \ Der Zauberschwert&lt;br /&gt;
HV 143 \ Overture to Der Zauberschwert for piano in B flat major&lt;br /&gt;
HV 144 \ Lied: Ein Weibchen das den ganzen Tag in C major&lt;br /&gt;
HV 145 \ Lied: Es liebt sich so traulich in E flat major&lt;br /&gt;
HV 146 \ Lied: Ich bin in den Blühmond der Rosen in F major&lt;br /&gt;
HV 147 \ Lied: Von Millionen eine allein in G minor&lt;br /&gt;
HV 148 \ Lied: Ich will nichts von Liebe wissen in G major&lt;br /&gt;
HV 149 \ Lied: Sogleich empfand ich beym Erblicken in B flat major&lt;br /&gt;
HV 150 \ Lied: Von der treue Arm umwunden in E minor&lt;br /&gt;
HV 151 \ Scena ed aria for Coriolan&lt;br /&gt;
HV 152 \ Scena ed quartetto for Coriolan&lt;br /&gt;
HV 153 \ Vanne torna altro...Combattero da forte in D major&lt;br /&gt;
HV 154 \ Dov'è la sposa mia...Svenami pur in E flat major&lt;br /&gt;
HV 155 \ Sposa d'Emireno tu sei...L'ombra incerta in E flat major&lt;br /&gt;
HV 156 \ Die Familie des T.C. Gracchus&lt;br /&gt;
HV 157 \ Ouverture in C minor, Op. 8&lt;br /&gt;
HV 158 \ Symphony in C major&lt;br /&gt;
HV 159 \ Symphony in D major&lt;br /&gt;
HV 160 \ Clarinet Concerto in B flat major&lt;br /&gt;
HV 161 \ Divertimento für die Faschingsdienstag in D major&lt;br /&gt;
HV 162 \ 12 Minuets with trios for orchestra&lt;br /&gt;
HV 163 \ 12 Minuets with trios for orchestra&lt;br /&gt;
HV 164 \ 12 Minuets for orchestra&lt;br /&gt;
HV 165 \ 12 Minuets with trios for orchestra&lt;br /&gt;
HV 166 \ 12 Minuets with trios for orchestra&lt;br /&gt;
HV 167 \ 12 Minuets for orchestra&lt;br /&gt;
HV 168 \ 8 Minuets with trios for orchestra&lt;br /&gt;
HV 169 \ 8 Minuets with trios for orchestra&lt;br /&gt;
HV 170 \ 7 Minuets with trios for orchestra&lt;br /&gt;
HV 171 \ 5 Minuets with trios for orchestra (2 are lost)&lt;br /&gt;
HV 172 \ 13 German Dances for orchestra&lt;br /&gt;
HV 173 \ 12 German Dances for orchestra&lt;br /&gt;
HV 174 \ 12 German Dances with trios for orchestra (lost)&lt;br /&gt;
HV 175 \ 12 German Dances for orchestra (lost)&lt;br /&gt;
HV 176 \ 8 German Dances with trios for orchestra&lt;br /&gt;
HV 177 \ Contredanze con 6 alternativi for orchestra&lt;br /&gt;
HV 178 \ 3 Contredances for orchestra&lt;br /&gt;
HV 179 \ Eccossè con 6 alternativi for orchestra&lt;br /&gt;
HV 180 \ Dances for orchestra&lt;br /&gt;
HV 181 \ Polonaise for orchestra in C major&lt;br /&gt;
HV 182 \ String Sextet in D major&lt;br /&gt;
HV 183 \ String Quintet Op. 5 in E flat major&lt;br /&gt;
HV 184 \ Viola d'amore Quintet in D major&lt;br /&gt;
HV 185 \ Viola d'amore Quintet in D major&lt;br /&gt;
HV 186 \ String Quintet in D major&lt;br /&gt;
HV 187 \ String Quintet Op. 6 No. 2 in A major&lt;br /&gt;
HV 188 \ String Quintet Op. 6 No. 1 in B flat major&lt;br /&gt;
HV 189 \ Flute Quintet in D major&lt;br /&gt;
HV 190 \ String Quartet Op. 1 No. 1 in D major&lt;br /&gt;
HV 191 \ String Quartet Op. 1 No. 2 in C minor&lt;br /&gt;
HV 192 \ String Quartet Op. 1 No. 3 in B flat major&lt;br /&gt;
HV 193 \ String Quartet Op. 10 No. 1 in E flat major&lt;br /&gt;
HV 193a \ String Quartet Op. 2 in E flat major&lt;br /&gt;
HV 194 \ String Quartet Op. 10 No. 2 in A major&lt;br /&gt;
HV 194a \ String Quartet Op. 3 in A major&lt;br /&gt;
HV 195 \ String Quartet Op. 10 No. 3 in C major&lt;br /&gt;
HV 195a \ String Quartet Op. 4 in C major&lt;br /&gt;
HV 196 \ Variations &quot;Augustin&quot; for string quartet in G major&lt;br /&gt;
HV 197 \ String Trio Op. 2 in C major&lt;br /&gt;
HV 198 \ Piano Trio Op. 4 in E flat major&lt;br /&gt;
HV 199 \ Sonata for piano &amp; violin Op. 9 No. 1 in C major&lt;br /&gt;
HV 200 \ Sonata for piano &amp; violin Op. 9 No. 2 in F major&lt;br /&gt;
HV 201 \ Sonata for piano &amp; violin Op. 9 No. 3 in B flat major&lt;br /&gt;
HV 202 \ Sonata for piano &amp; violin in E flat major&lt;br /&gt;
HV 203 \ Sonata for 2 cellos Op. 7 No. 1 in G major&lt;br /&gt;
HV 204 \ Sonata for 2 cellos Op. 7 No. 2 in D minor&lt;br /&gt;
HV 205 \ 12 Minuets for piano&lt;br /&gt;
HV 206 \ 12 German Dances with trios for piano&lt;br /&gt;
HV 207 \ 12 German Dances with trios for piano&lt;br /&gt;
HV 208 \ 12 Minuets with trios for piano&lt;br /&gt;
HV 209 \ 12 German Dances for piano&lt;br /&gt;
HV 210 \ 8 German Dances with trios for piano&lt;br /&gt;
HV 211 \ 12 Dances for piano&lt;br /&gt;
HV 212 \ 9 Dances for piano &quot;Alexander's Favorit&quot;&lt;br /&gt;
HV 213 \ 10 Variations for piano in F major&lt;br /&gt;
HV 214 \ 12 Variations for piano in A major&lt;br /&gt;
HV 215 \ 12 Variations for piano&lt;br /&gt;
HV 216 \ 3 Marches for piano&lt;br /&gt;
HV 217 \ 12 Lieder&lt;br /&gt;
HV 218 \ Lied: Auf Weihnacht in E major&lt;br /&gt;
HV 219 \ Lied: Klagtöne in A flat major&lt;br /&gt;
HV 220 \ Lied: Das Wohltun (lost)&lt;br /&gt;
HV 221 \ Lied: Von allen Sterblichen auf Erden (lost)&lt;br /&gt;
HV 222 \ Studies for voice &amp; continuo&lt;br /&gt;
HV 223 \ Lied: Getröstetes Heimweh in E major&lt;br /&gt;
HV 224 \ Lied: Danklied an Gott in E major&lt;br /&gt;
HV 225 \ Lied: Ich will vertrauen in F major&lt;br /&gt;
HV 226 \ Auf Brüder auf in B flat major&lt;br /&gt;
HV 227 \ Des Volkes Wunsch in C major&lt;br /&gt;
HV 228 \ Canon: Frau Mutter schönen Namenstag in G major&lt;br /&gt;
HV 229 \ Canon: Des Lebens sich zu freuen in B flat major&lt;br /&gt;
HV 230 \ Canon: Wann i a Räuscherl hab in B flat major&lt;br /&gt;
HV 231 \ Canon: Wohin du reisest, sei glücklich&lt;br /&gt;
HV 232 \ Choral: Hymne an Gott in E major&lt;br /&gt;
HV 233 \ Choral: Abendlied an einen Freund in A minor&lt;br /&gt;
HV 234 \ Choral: Leichengesang in A flat major&lt;br /&gt;
HV 235 \ Ode an Joseph Haydn vom Fräulein Gabriele von Baumberg in C major&lt;br /&gt;
HV 236 \ Ode an Joseph Haydn vom Fräulein Gabriele von Baumberg in A minor&lt;br /&gt;
HV 237 \ Choral: Freimaurerkantate in F major&lt;br /&gt;
HV 238 \ Choral: Aus dem blühenden Vereine (fragment)&lt;br /&gt;
HV 239 \ Choral: Zufriedenheit mit Wenigen in B flat major&lt;br /&gt;
HV 240 \ Es töne dann in rascher Saiten Sturme in D major&lt;br /&gt;
HV 241 \ Arrangement of Mozart's requiem in D minor&lt;br /&gt;
HV 242 \ Arrangement of Haydn's Gott erhalte Franz for orchestra in G major&lt;br /&gt;
HV 243 \ Choral after Haydn's Schöpfung (lost)&lt;br /&gt;
HV 244 \ Arrangement of Pergolesi's Stabat Mater in F minor&lt;br /&gt;
HV 245 \ Arrangement of Weigl's overture to Nachtigal und Rabe for piano in F major&lt;br /&gt;
HV 246 \ Sketches of a Kyrie and a Gloria for a Mass&lt;br /&gt;
HV 247 \ Mythological Ballet in E flat major (fragment)&lt;br /&gt;
HV 248 \ String Trio in E flat major (fragment)&lt;br /&gt;
HV 249 \ Choral: Laßt uns ihr Brüder in F major (fragment)&lt;br /&gt;
HV 250 \ Choral: Der Wanderer in C major (fragment)

==Sources==
{{reflist}}

* Entry for Eybler in ''The Grove Concise Dictionary of Music'', 1994, Oxford University Press, Inc.
* Program notes by Cordula Timm-Hartmann for Eybler's String Quintet and String Trio, 2005  recording by the Quintett Momento Musicale (MDG 603 1321-2)
* [http://www.editionsilvertrust.com/eybler-string-quintet.htm Joseph Eybler String Quintet Op.6 No.1 Sound-bites and short bio]
* [http://www.mozartforum.com/Contemporary%20Pages/Eybler_Contemp.htm Article on Eybler] in Mozart Forum by Gary Smith

==External links==
*{{IMSLP|id=Eybler, Joseph}}
*{{ChoralWiki|Josef von Eybler}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Eybler, Joseph Leopold
|ALTERNATIVE NAMES = Eybler, Josef von
|SHORT DESCRIPTION = Austrian composer
|DATE OF BIRTH     = 8 February 1765
|PLACE OF BIRTH    = Schwechat, nr Vienna
|DATE OF DEATH     = 24 July 1846
|PLACE OF DEATH    = Vienna
}}

{{DEFAULTSORT:Eybler, Joseph Leopold}}
[[Category:Classical era composers]]
[[Category:Austrian composers]]
[[Category:Austrian conductors]]
[[Category:1765 births]]
[[Category:1846 deaths]]

[[de:Joseph von Eybler]]
[[es:Joseph Leopold Eybler]]
[[fr:Joseph Leopold Eybler]]
[[la:Iosephus Leopoldus Edler de Eybler]]
[[ja:ヨーゼフ・アイブラー]]
[[sv:Joseph von Eybler]]</text>
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  </page>
  <page>
    <title>Frederic Ernest Fesca</title>
    <id>2674552</id>
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      <text xml:space="preserve">'''Frederic Ernest Fesca''' ([[February 15]], [[1789]] &amp;ndash; [[May 24]], [[1826]]), [[Germany|German]] violinist and composer of instrumental music, was born at [[Magdeburg]], where he received his early musical education. 

He completed his studies at [[Leipzig]] under [[Eberhard Muller]], and at the early age of fifteen appeared before the public with several [[concerto]]s for the violin, which were received with general applause, and resulted in his being appointed leading violinist of the Leipzig orchestra. This position he occupied till 1806, when he became concertmaster to the duke of [[Oldenburg]]. In 1808 he was appointed solo-violinist by [[Jérôme Bonaparte|King Jerome]] of [[Kingdom of Westphalia|Westphalia]] at [[Cassel]], and there he remained till the end of the French occupation (1814), when he went to [[Vienna]], and soon afterwards to [[Carlsruhe]], having been appointed concertmaster to the grand duke of [[Baden]]. His failing health prevented him from enjoying the numerous and well-deserved triumphs he owed to his art, and in 1826 he died of [[tuberculosis|consumption]] at the early age of thirty-seven. 

As a virtuoso, Fesca ranks amongst the best masters of the German school of violinists, the school subsequently of [[Louis Spohr|Spohr]] and of [[Joseph Joachim|Joachim]]. Especially as leader of a quartet he is said to have been unrivaled with regard to classic dignity and simplicity of style. Amongst his compositions, his quartets for stringed instruments and other pieces of chamber music are the most remarkable. His three symphonies, along with chamber works of his, were still listed in Augener's catalog as late as 1861 &lt;ref&gt;{{cite book
|title=Catalogue of Augener &amp; co.'s. universal circulating musical library
|date=1861
|url=http://books.google.com/books?id=6w4IAAAAQAAJ&amp;pg=PA1292&amp;dq=catalogue+of+augener+circulating+library+fesca&amp;ei=GcUSR8yrAofI6wL-7oHKBw
|pages=2, 72, 100
|publisher=Augener, Ltd.
|location=London}}&lt;/ref&gt; His two operas, ''Cantemire'' and ''Omar and Leila'', were less successful. He also wrote some sacred compositions, and numerous songs and vocal quartets.

==References==
*{{1911}}

==External links==
&lt;references /&gt;
*[http://www.editionsilvertrust.com/fesca-qt2.htm Friedrich Fesca String Quartet No.2, Op.1 No.2 Sound-bites &amp; short bio]
*{{IMSLP|id=Fesca, Friedrich Ernst|cname=Frederic Ernest Fesca}}
*{{WIMA|idx=Knuth|name=Frederic Ernest Fesca|anch=#Fesca}}

{{Lifetime|1789|1826|Fesca, Frederic Ernest}}
[[Category:German violinists]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:Deaths from tuberculosis]]

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  </page>
  <page>
    <title>Francesco Molino</title>
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      <comment>duplicate categorization; already in a subcat. using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">'''Francesco Molino''' (also known as '''François Molino''') ([[June 4]] [[1775]]&amp;ndash;1847) was an [[Italy|Italian]] [[classical guitar|guitarist]] and [[composer]].

==Biography==
Molino was born in [[Ivrea]] near [[Turin]]. He often travelled to [[Spain]] to give concerts. In 1820 he settled in [[Paris]], where he lived out the remainder of his life.

His works were largely neglected until the twentieth century, when many of them were republished. Among the best known are his ''Three Sonatas'', ''18 Preludes'' and ''Terpsichore'' (a set of dances), all for solo guitar. He also wrote for other instruments in combination with the guitar, including [[flute]] and [[viola]]. In 1830 he published a guitar method.

==Selected works==
===Solo guitar===
* Romance[http://www.danielcabrio.com.ar/090q.pdf]
* Sonatina 
* Sonate Op. 6. Nr. 2 
* Grande Ouverture op.17 
* Nocturne Op.36 
* Nocturne Op.44
* Nocturne Op.57 
* Grande Potpourri über Themen von Rossini op. 47 
* Sonate 	op. 68

===Violin (or Flute) and guitar===
* Notturni op.37 n° 1, op. 38 n° 2, op. 38 n° 3.
* Sonata op.7 n° 2.
* Duetto op. 3 n° 2.
* Tre Duetti op. 16.
* Tre Duetti op. 61.

==Quartet==
*Grand Trio Concertant, op. 30, for flute or violin, viola, and guitar

==Concerto==
*Gitarrenkonzert op. 56 
*Violinkonzert Nr. 2 op. 25 	 
*Violinsonate op. 68	 

==Method==
* Grande méthode complette pour la guitare ... Op. 46. par Francesco Molino Type : Français : Livre Livre Éditeur : Paris : L'Auteur, [183-] OCLC: 54138738

==Bibliography==

*Otto Torp: Instruction book for the Spanish guitar; selected from the works of F. Carulli, F. Molino, &amp; M. Guiliane. Type : Anglais : Livre Livre Éditeur : New York, E. Riley [18--] OCLC: 28429118

*Giovanni Del Lago;  Giovanni Spataro: Lettere di diversi autori che trattano di musica, Österreichische Nationalbibliothek. Musiksammlung. Type : Italien : Livre Livre Thèse/dissertation/manuscrit Éditeur : 1774. OCLC: 12327433

==External links==
*[http://www.tecla.com/authors/molinof.htm] Tecla editions

===Sheetmusic===
*[https://rex.kb.dk/F?func=find-c&amp;ccl_term=(WRD=Molino%20AND%20WWW=http%20NOT%20WWW=sheetmusicnow%20NOT%20WWW=freehandmusic%20NOT%20WWW=hebeonline)&amp;local_base=mus01&amp;con_lng=ENG Rischel &amp; Birket-Smith's Collection of guitar music] Det Kongelige Bibliotek, Denmark
*[http://www.muslib.se/ebibliotek/boije/Boije_m.htm Boije Collection] The Music Library of Sweden

{{Classical guitar}}

{{DEFAULTSORT:Molino, Francesco}}
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[[Category:Italian classical guitarists]]
[[Category:1775 births]]
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  <page>
    <title>Andrea Luchesi</title>
    <id>2864870</id>
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      <text xml:space="preserve">'''Andrea Luca Luchesi''' ([[May 23]], [[1741]] - [[March 21]], [[1801]]), was an [[Italian composer]].

== Biography ==
Andrea Luchesi was born at [[Motta di Livenza]], near [[Treviso]]&lt;ref&gt;[[New Grove]], article &quot;Andrea Lucchesi&quot;&lt;/ref&gt; the eleventh child of Pietro Luchese and Caterina Gottardi. The rather wealthy family descended from groups of noble families who had moved from Lucca to Venice in the 14th century (hence the name Luchese. From 1764/65 Andrea began to use the name Luchesi, which we can find written by his contemporaries also as Lucchesi, Lughesi, Luckesi, Lucchezzy, etc.). He grew up in his native town, receiving musical and general education from his elder brother Matteo, a priest, public tutor and [[organist]].

By 1757&lt;ref&gt;New Grove; Henseler presumed between 1753 and 1755 (''Andrea Luchesi, der letzte bonner Kapellmeister zur Zeit des jungen Beethovens'', page 320)&lt;/ref&gt; he moved to [[Venice]]. The protection of the nobleman Jseppo Morosini enabled him to study with eminent musicians:  [[Gioacchino Cocchi]], ''Padre'' [[Giuseppe Paolucci|Paolucci]], [[Giuseppe Saratelli]], [[Domenico Gallo]], [[Ferdinando Bertoni]] and (the best-known of them) [[Baldassare Galuppi]]. His career in Venice developed quickly: examiner of the organists commission in 1761, then organist at San Salvatore (1764), composer of works for &quot;[[organ (music)|organ]] or [[harpsichord|cembalo]]&quot;, instrumental, [[religious music|sacred]] and [[theatre]] music. He composed for official celebrations, the last (1771) being the solemn funeral of the Duke of Montealegre, [[Spain|Spanish]] [[ambassador]] to Venice. As a famous [[virtuoso]] he was invited to play organ in and outside Venice, e.g. was in charge of inaugurating the new organ of the [[basilica]] of [[Anthony of Padua|Saint Anthony]] in [[Padua]].&lt;ref name=&quot;New Grove&quot;&gt;New Grove&lt;/ref&gt;

In the spring of 1765 his [[opera]] ''L'isola della fortuna'' was performed at the Hoftheater in [[Vienna]]. 

While on tour in Italy in 1771, [[Leopold Mozart|Leopold]] and [[Wolfgang Amadeus Mozart|Wolfgang Mozart]] met Andrea Luchesi and received one of his [[concerto]]s for cembalo (Wolfgang was still playing the concerto in 1777, while Leopold and [[Maria Anna Mozart|Nannerl]] used often the concerto for teaching and practising purposes).&lt;ref&gt; G. Prod’homme, Mozart raconté par ceux qui l’ont connu, Paris 1928, page 15. 

See also : Leopold’s letter dated 11 June 1778&lt;/ref&gt;
 
At the end of 1771, Luchesi traveled to [[Bonn]] on a three-year contract, invited by the [[Prince Elector]] [[Archbishopric of Cologne|Archbishop of Cologne]] Maximilian Friederich who wished to raise the quality level of his [[court]] chapel. After the death of the previous Kapellmeister (Ludwig van Beethoven senior, i.e. the grandfather of Beethoven), Andrea Luchesi was nominated official court [[Kapellmeister]] in 1774.

He acquired the [[principality]]'s citizenship and in 1775 married Anthonetta Josepha d'Anthoin, daughter of Maximilian Friederich's senior counselor. With the exception of a visit to Venice in 1783-84, he lived in Bonn until his death in 1801, although his role as Kapellmeister ended in 1794, when the [[French Revolutionary Wars: Campaigns of 1794|French]] invasion troops suppressed the court.

The young [[Ludwig van Beethoven|Beethoven]] was at the court chapel from 1781 to 1792 as assistant organist, cembalo and [[viola]] player.  Although Beethoven's musical and compositional training was probably influenced by Luchesi's presence, we have no evidence of any formal pupil/teacher relationship between the two.&lt;ref name=&quot;New Grove&quot;/&gt;  When the court organist [[Christian Gottlob Neefe]] temporarily replaced the Kapellmeister as [[conducting|conductor]] and teacher during his 1783-84 absence, Luchesi assigned the organ service to the very young Beethoven.  [[Antonin Reicha]], [[Bernhard Romberg|Bernhard]] and [[Andreas Romberg]], and [[Ferdinand Ries]] are other pupils who achieved minor renown. 

Luchesi died at [[Bonn]].

He had one daughter, who lived in Bonn till her death, and four sons. According to Neefe the first two sons (Maximilian Friederich, born [[1775-12-11]], and M. Jakob Ferdinand, born [[1777-12-18]]) were gifted musicians.&lt;ref&gt; C.G. Neefe, Letter dated 8.4.1787 to the ''Cramer's Magazine ''.&lt;/ref&gt;

== Works ==

* ''L’isola della fortuna'', [[opera buffa]] with [[libretto]] by Giovanni Bertati, performed at the Hoftheater, Vienna, in 1765; also in Venice (1765) and at the Royal Theater in Lisbon (1767).
* ''Ademira'', [[opera seria]], for the Ascension Day in Venice (1784), to honour the visit of king Gustavus III of [[Sweden]]
* Other operas: ''Il marito geloso'' (1766), ''Le donne sempre donne'' (1767), ''Il giocatore amoroso'' (1769), ''Il matrimonio per astuzia'' (1771), ''Il Natal di Giove'', ''L’inganno scoperto ovvero il conte Caramella'' (1773, with libretto from [[Carlo Goldoni]]), ''L’amore e la misericordia guadagnano il gioco'' (1794).
* [[Oratorio]] ''Sacer trialogus'' (1768)
* [[Stabat Mater]] (about 1770)
* [[Requiem]] (1771) in F, for the state funeral of the duke of Montealegre in San Geremia’s.
* Various [[mass (music)|masses]] and [[religious music|sacred works]], including: Mass for San Lorenzo in Venice, Mass for the &quot;Festa della concezione di Maria&quot; in Verona, [[Te Deum]] for the Incurabili conservatory in Venice
* Passione di N.S. Gesù Cristo (1776), on a text from [[Metastasio]] (recorded cd by Tactus)
* Many organ works, including: 
**12 sonatas known as Donelli Collection (completed by 1764), now at the [[Naples]] Conservatory 
**6 sonatine and 8 divertimenti, now at the Library of Congress, [[Washington, D.C.]] 
**2 sonates pour l’orgue in the 'Menus plaisirs du Roi', Paris 
* Celebration music for the feast of San Rocco in Venice (1769)
* [[Serenata]] for the duke of [[Braunschweig|Brunswick]] (1764)
* [[Cantata]] for the duke of [[Wurttemberg]] (1767)
* 2 [[symphony|Symphonies]] (by 1768)
* 6 [[Sonata (music)|Sonatas]] 'per il cembalo con l’accompagnamento di un [[violin]]o'  Op.1 (Bonn, 1772)
* Sonata in fa ‘per il cimbalo’ (1771-73?), now at the University of [[Münster]]
* 3 Symphonies op. 2 (Bonn,1773) - lost
* [[Concerto]] for harpsichord (Bonn,1773) – four more concertos/trios are lost
* Cantata for the election to [[Bishop]] of Archiduke Max Franz (1785 – attributed to Luchesi in the Bonn Stadtarchiv)
* Sonate facile for cembalo and violin ([[Leipzig]], 1796)

==Notes==
{{reflist}}

==References==

*Aroma, Amedeo (1997) ''Settecento organistico Trevigiano'' ed. Ateneo di Treviso.
*Aroma, Amedeo (2000) ''Civiltà Organistica Trevigiana fra Settecento e Ottocento'', Treviso.
*de La Borde, J.B. (1780) ''Essai sur la musique ancienne et moderne'', Paris, Tome III page 199.
*Della Croce, Luigi (1999) (Italian translation of the paper ''Der junge Beethoven und “sein&quot; Kapellmeister Andrea Luchesi'' at the 1999 Beethoven congress at the Hochschule der Künste Berlin), Rassegna Musicale Italiana, anno IV No.15 July/September, pages 13-16.
*Henseler, T. A. (1937) ''Andrea Luchesi, der letzte bonner Kapellmeister zur Zeit des jungen Beethovens'', Bonner Geschichtsblätter, Bonn, pp. 225-364  [G]
*''New Grove'' = article &quot;Andrea Lucchesi&quot;, by Claudia Valder-Knechtges, in the online edition of the New [[Grove Dictionary of Music and Musicians]]
*Torrefranca, Fausto (1930) ''Le origini italiane del romanticismo musicale'', Torino, pages 557-558 [I]
*Valder-Knechtges, Claudia (1983) ''Die Kirchenmusik Andrea Luchesis (1741-1801): Studien zu Leben und Werk des letzten kurkölnischen Hofkapellmeisters'' (Berlin) [G], with first catalogue of Luchesi’s sacred works.
*Valder-Knechtges, Claudia (1984) ''Die weltliche Werke A. Luchesis'', Bonner Geschichtsblätter, xxxvi.
*Valder-Knechtges, Claudia (1989) ''Andrea Luchesi: Verzeichnis der Instrumentalwerke, Mitteilungen der Arbeitsgemeinschaft für rheinische Musikgeschichte'', lxxvi (1989) [G]
*Valder-Knechtges, Claudia (1989) ''Ein Jahrhundert der Musik in Bonn, Bonn als kurkölnische Haupt- und Residenzstadt: 1597-1794'', Geschichte der Stadt Bonn, iii (Bonn, 1989), pages 471-515 [G]
*Valder-Knechtges, Claudia (1990) ''Andrea Luchesi: ein Italiener im Umkreis des jungen Beethoven'', Bonner Geschichtsblätter, xl (1990), pages 29-56 [G]

{{DEFAULTSORT:Luchesi, Andrea}}
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  <page>
    <title>Lodovico Giustini</title>
    <id>3155227</id>
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      <comment>Reverted edits by [[Special:Contributions/99.239.56.24|99.239.56.24]] to last revision by FeanorStar7 ([[WP:HG|HG]])</comment>
      <text xml:space="preserve">'''Lodovico Giustini''' (12 December 1685 – 7 February 1743) was an [[Italy|Italian]] composer and keyboard player of the late [[Baroque music|Baroque]] and early [[Classical music era|Classical]] eras.  He was the first composer ever to write music for the [[piano]].

==Life==
Giustini was born in [[Pistoia]], of a family of musicians which can be traced back to the early 17th century; coincidentally he was born in the same year as [[Johann Sebastian Bach|Bach]], [[Domenico Scarlatti|Scarlatti]], and [[George Frideric Handel|Handel]].  Giustini's father was [[organ (music)|organist]] at the Congregazione dello Spirito Santo, a [[Jesuit]]-affiliated group, and an uncle, Domenico Giustini, was also a composer of sacred music.

In 1725, on his father's death, Giustini became organist at the Congregazione dello Spirito Santo, and acquired a reputation there as a composer of sacred music:  mostly [[cantata]]s and [[oratorio]]s.  In 1728 he collaborated with [[Giovanni Carlo Maria Clari]] on a set of [[Lamentations (music)|Lamentations]] which were performed that year.  In 1734 he was hired as organist at S Maria dell'Umiltà, the Cathedral of Pistoia, a position he held for the rest of his life.  In addition to playing the organ at both religious institutions, he performed on the [[harpsichord]] at numerous locations, often in his own oratorios.

==Works and influence==
Giustini's main fame rests on his collection of 12 ''Sonate da cimbalo di piano e forte detto volgarmente di martelletti'', opus 1, published in [[Florence]] in 1732, which is the earliest music in any genre written specifically for the piano.  They are dedicated to Dom António de Bragança, the younger brother of King [[João V]] of Portugal (the Portuguese court was one of the few places where the early piano was frequently played).

These pieces, which are [[sonata da chiesa|sonate da chiesa]], with alternating fast and slow sections (four or five movements per sonata), predate all other music specifically written for the piano by about 30 years.  Giustini used all the expressive capabilities of the instrument, such as wide dynamic contrast:  expressive possibilities which were not available on other keyboard instruments of the time.  [[Harmony|Harmonically]] the pieces are transitional between late Baroque and early Classical period practice, and include innovations such as [[augmented sixth chord]]s and modulations to remote keys.

James Parakilas points out that it is quite surprising that these works should have been published at all.  At the time of composition, there existed only a very small number of pianos, owned mainly by royalty.  He conjectures that publication of the work was meant as an honor to Giustini; it &quot;represents a gesture of magnificent presentation to a royal musician, rather than an act of commercial promotion.&quot;

While many performances of his large-scale sacred works are documented, all of that music is lost, with the exception of fragments such as scattered [[aria]]s.  Giustini's fame rests on his publication of the one set of piano pieces, although they seem to have attracted little interest at the time.

==References and further reading==
*Edward Higginbottom, &quot;Lodovico Giustini&quot;, ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie.  20 vol.  London, Macmillan Publishers Ltd., 1980.  ISBN 1-56159-174-2
*Jean Grundy Fanelli: &quot;Lodovico Giustini&quot;, Grove Music Online ed. L. Macy (Accessed November 14, 2005), [http://www.grovemusic.com (subscription access)] (Note:  the articles in the two editions of Grove are by different authors, and each contains unique material)
*James Parakilas, ''Piano Roles:  300 Years of Life with the Piano''.  New Haven:  Yale University Press, 1999.  ISBN 0-300-08055-7.
*Lodovico Giustini, The 12 Sonatas for piano, ed. Dominique Ferran, 3 vol. Paris-San Diego, Drake Mabry Publishing, 2003

==External links==
*[http://www.drakemabrypublishing.com/3Bio/i3_gius.html Lodovico Giustini:  short biography]

{{DEFAULTSORT:Giustini, Lodovico}}
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  <page>
    <title>Johann Nepomuk Hummel</title>
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      <text xml:space="preserve">{{Cleanup|date=November 2007}}

[[Image:JNHummel 2.jpg|Johann Nepomuk Hummel|thumb]]

'''Johann Nepomuk Hummel''' or '''Jan Nepomuk Hummel''' ([[November 14]], [[1778]] &amp;ndash; [[October 17]], [[1837]]) was a [[composer]] and virtuoso [[pianist]] of [[Austria]]n origin who was born in [[Pressburg|Pressburg (Pozsony)]] (present-day Bratislava, [[Slovakia]]), part of [[Kingdom of Hungary]]. His music reflects the transition from the [[Classical music era|Classical]] to the [[Romantic music|Romantic]] musical era.

== Life == 
Hummel was born in [[Pressburg]], [[Kingdom of Hungary]], [[Habsburg Monarchy]] which is now [[Bratislava]], [[Slovakia]]. His father, '''Josef Hummel''', was the director of the [[Imperial School of Military Music]] in Vienna and the conductor there of [[Schikaneder]]'s Theater Orchestra. [[Wolfgang Amadeus Mozart]] offered the boy music lessons at the age of 8 after being impressed with his ability. Hummel was taught and housed by Mozart for 2 years free of charge and made his first concert appearance at the age of nine, at one of Mozart's concerts.

Hummel's father then led him on a European tour, arriving in London, where he received instruction from [[Muzio Clementi]] and stayed for four years before returning to Vienna. In 1791, [[Joseph Haydn]], who was in London at the same time as young Hummel, composed a [[piano sonata|sonata]] in A flat for Hummel, who played its premiere in the Hanover Square Rooms in Haydn's presence. When Hummel finished, Haydn reportedly thanked the young man and gave him a guinea. 

[[Image:Johann-nepomuk-hummel.jpg|thumb|Hummel in 1814]]

The outbreak of the [[French Revolution]] and the following Terror caused Hummel to cancel a planned tour through Spain and France. Instead he returned to Vienna giving concerts along his route. Upon Hummel's return to Vienna he was taught by [[Johann Georg Albrechtsberger]], [[Joseph Haydn]], and [[Antonio Salieri]]. 

At about this time, young [[Ludwig van Beethoven]] arrived in Vienna and took lessons from Haydn and Albrechtsberger, becoming a fellow student and a friend. Beethoven's arrival was said to have nearly destroyed Hummel's self-confidence, though he recovered without much harm. Despite the fact that Hummel's friendship with Beethoven was often marked by ups and downs, the mutual friendship developed into reconciliation and respect. Before Beethoven's death, Hummel visited him in Vienna on several occasions, with his wife Elisabeth and pupil [[Ferdinand Hiller]]. Following Beethoven's wishes, Hummel improvised at the great man's memorial concert. It was at this event that Hummel became good friends with [[Franz Schubert]]. Schubert dedicated his last three piano sonatas to Hummel. However, since both composers were dead by the time of the sonatas' first publication, the publishers changed the dedication to [[Robert Schumann]], who was still active at the time.

[[Image:JNHummel.jpg|thumb|left|Bust of Hummel near the Deutsches Nationaltheater in [[Weimar]]]]
In 1804, Hummel succeeded Haydn as [[Kapellmeister]] to Prince [[Paul Esterházy|Esterházy]]'s establishment at Eisenstadt. He held this post for seven years before being dismissed for neglecting his duties. Following this, he toured Russia and Europe and married the opera singer [[Elisabeth Röckel]]. They had two sons. 

Hummel later held the position of [[Kapellmeister]] at [[Stuttgart]] and [[Weimar]], where he formed a close friendship with [[Johann Wolfgang von Goethe|Göthe]] and [[Friedrich Schiller|Schiller]], colleagues from the Weimar theater. During Hummel's stay in Weimar, he made the city into a European musical capital, inviting the best musicians of the day to visit and make music there. He started one of the first pension programs for fellow musicians, giving [[benefit concert]] tours when the musicians' retirement fund ran low. In addition, Hummel was one of the first to fight for musical copyrights against intellectual pirating.

== Influence ==
While in Germany, Hummel published ''A Complete Theoretical and Practical Course of Instruction on the Art of Playing the Piano Forte'' (1828), which sold thousands of copies within days of its publication and brought about a new style of fingering and of playing ornaments. Later 19th century pianistic technique was influenced by Hummel, through his instruction of [[Carl Czerny]] who later taught [[Franz Liszt]]. Czerny had first studied with Beethoven, but upon hearing Hummel one evening, decided to give up Beethoven for Hummel. 

Hummel's influence can also be seen in the early works of [[Frédéric Chopin|Frederic Chopin]] and [[Robert Schumann]], and the shadow of Hummel's [[Piano Concerto No. 3 (Hummel)|Piano Concerto in B minor]] as well as his [[Piano Concerto No. 2 (Hummel)|Piano Concerto in A minor]] can be particularly perceived in Chopin's concertos. This is unsurprising, considering that Chopin must have heard Hummel on one of Hummel's concert tours to Poland and Russia, and that Chopin kept Hummel's piano concertos in his active repertoire. [[Harold C. Schonberg]], in ''The Great Pianists'', writes &quot;the openings of the Hummel A minor and [[Piano Concerto No. 1 (Chopin)|Chopin E minor]] concertos are too close to be coincidental&quot;.&lt;ref&gt;Harold C. Schonberg, ''The Great Pianists'', p. 110&lt;/ref&gt; In relation to Chopin's [[Preludes (Chopin)|Preludes, Op. 28]], Schonberg says: &quot;It also is hard to escape the notion that Chopin was very familiar with Hummel's now-forgotten Op. 67, composed in 1815 - a set of twenty-four preludes in all major and minor keys, starting with C major&quot;. 

[[Robert Schumann]] also practiced Hummel (especially the ''Sonata in F sharp minor, op. 81''). He later applied to be a pupil to Hummel, but was rejected for his neurotic instability. Liszt would have liked to study with Hummel, but Liszt's father Adam refused to pay the high tuition fee Hummel was used to charging (thus Liszt ended up studying with Czerny). Czerny, [[Friedrich Silcher]], [[Ferdinand Hiller]], [[Sigismond Thalberg]], [[Felix Mendelssohn]] and [[Adolf von Henselt]] were among Hummel's most prominent students.

== Music == 
Hummel's music took a different direction from that of Beethoven. Looking forward, Hummel stepped into modernity through pieces like his Sonata in F sharp minor, opus 81, and his Fantasy, opus 18, for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and stretch the [[sonata form]]. In these two pieces, Hummel showed himself to be innovative and daring, especially considering that Op. 81 was composed five years before Beethoven's ''[[Piano Sonata No. 29 (Beethoven)|Hammerklavier sonata]]''. However, Hummel's vision of music was not iconoclastic. The philosophy on which Hummel based his actions was to &quot;enjoy the world by giving joy to the world&quot;.

His main oeuvre is for the piano, on which instrument he was one of the great virtuosi of his day. He wrote eight [[piano concerto]]s, ten [[piano sonata]]s (of which four are without opus numbers, and one is still unpublished), eight [[piano trio]]s, a [[piano quartet]], a [[piano quintet]], a wind octet, a [[cello sonata]], two piano septets, a mandolin concerto, a mandolin sonata, a [[Trumpet Concerto (Hummel)|Trumpet Concerto]] in E major written for the [[Keyed trumpet]] (usually heard in the more convenient E flat major), four hand piano music, 22 [[opera]]s and [[Singspiel]]s, [[mass (music)|masses]], and much more. 

The conspicuous lack of a [[symphony]] among Hummel's works may perhaps be explained by the fact that he could not follow Beethoven's innovations in that field, although that does not explain why he didn't compose a symphony in, say, the style of [[Haydn]].

Hummel left interesting transcriptions for piano, flute, violin and violoncello of some of Mozart's piano concertos and symphonies, that have been recently recorded by the german pianist [[Fumiko Shiraga]]. In particular, his transcriptions of the [[piano concerto]] No. 20 and of the [[symphony]] No. 40 have been well received.

== Last years and legacy ==
At the end of his life, Hummel saw the rise of a new school of young composers and virtuosi, and found his own music slowly going out of fashion. His disciplined and clean [[Muzio Clementi|Clementi]]-style technique, and his balanced classicism, opposed him to the rising school of tempestuous bravura displayed by the likes of Liszt and [[Giacomo Meyerbeer]]. Composing less and less, but still highly respected and admired, Hummel died peacefully in Weimar in 1837. A [[freemason]] (like Mozart), Hummel bequeathed a considerable portion of his famous garden behind his Weimar residence to his masonic lodge.

Although Hummel died famous, with a lasting posthumous reputation apparently secure, his music was quickly forgotten at the onrush of the Romantic period, perhaps because his classical ideas were seen as old-fashioned. Later, during the classical revival of the early 20th century, Hummel was passed over. Like Haydn (for whom a revival had to wait until the second half of the 20th century), Hummel was overshadowed by Mozart. Due to a rising number of available recordings and an increasing number of live concerts across the world, it seems admirers of his music are now growing again in number.

== List of works ==
{{seealso|1=List of compositions by Johann Nepomuk Hummel}}

For a complete list of works by Johann Nepomuk Hummel, see [http://www.geocities.com/mbfleur/Works_Catalog_of_Hummel.pdf this list (PDF)], compiled and formatted by Mr. Mikio Tao of Japan. His sources were the ''New Grove Dictionary of Music'', as well as Zimmerschied's ''Thematisches Verzeichnis der Werke von Johann Nepomuk Hummel''.

== References ==
=== Citations ===
{{reflist}}
=== General references ===
* {{cite book
 | last = Schonberg
 | first = Harold C.
 | title = The great pianists 
 | edition = Rev. &amp; updated ed.
 | year = 1987
 | publisher = http://www.simonandschuster.net/content/careers.cfm
 | location = New York City
 | language = English
 | isbn = 0671642006, 0671638378 (pbk.) 
}}

* ''Kapellmeister Hummel in England and France''. Joel Sachs, Detroit: Information Coordinators 1977.
* ''Johann Nepomuk Hummel: Der Mensch und Künstler''. Karl Benyovszky, Breslau: Eos-Verlag 1934.
* ''Thematisches Verzeichnis der Werke von Johann Nepomuk Hummel''. Dieter Zimmerschied, Hofheim am Taunus: Hofmeister 1971.
* ''Die Kammermusik Johann Nepomuk Hummels'' Dieter Zimmerschied, Mainz: 1966.
* ''Johann Nepomuk Hummel und Weimar. Komponist, Klaviervirtuose, Kapellmeister 1778-1837''. Kurt Thomas, Weimar: Rat der Stadt 1987
* ''Zwischen Klassik und Klassizismus. Johann Nepomuk Hummel in Wien und Weimar.'' Anselm Gerhard, Laurenz Lütteken (editors), Kassel: Baerenreiter 2003.
* ''The Great Pianists: From Mozart to the Present''. Harold Schonberg, New York: Simon &amp; Schuster 1963. (Chapter VII: &quot;From Ireland to Bohemia&quot;).

== External links ==
{{Commons|Johann Nepomuk Hummel}}
* [http://www.hummel-gesellschaft-weimar.de/ Hummel Gesellschaft Weimar] Official Home Page of the Hummel Society in Weimar (German)
* [http://www.hummelhaus-weimar.de/ Hummel's House in Marienstrasse 8, Weimar] Official website of the Hummel House (owned by the Lückhoff Institute)
* [http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=hummel Classical composers database entry]
* [http://www.editionsilvertrust.com/music-books-h-to-m.htm Johann Nepomuk Hummel Piano Trio Nos.1, 3, 4, 6 &amp; 7 Opp.12, 35, 65, 93 &amp; 96; also Piano Quintet, Op.87 Soundbites and short biography.]
* [http://members.klosterneuburg.net/handerle/COMPOSER.HTM#HUMMEL Short biography]
* [http://www.8notes.com/biographies/hummel.asp 8notes biography and commentary]
* [http://www.haydn.dk/mhc_hummel.php Haydn Page with reference to Hanover Square Rooms performance]
* [http://www.compactdiscoveries.com/CompactDiscoveriesArticles/NazarethHummel.html Compactdiscoveries article on Hummel's relation to Chopin]
* [http://www.karadar.com/Dictionary/hummel.html Karadar.com Biography] with free MP3s recorded by themselves
* [http://www.hyperion-records.co.uk/composer_page.asp?name=hummel Hummel] on [[Hyperion Records]]; many of the individual CD pages have a further link to sound samples and/or the CD booklet notes.
* [http://www.artandarchitecture.org.uk/images/conway/3667ebd7.html Hummel medallion] by [[David d'Angers]], 1834.
* [http://launch.groups.yahoo.com/group/johann_nepomuk_hummel/ Johann Nepomuk Hummel Discussion Group on Yahoo] 

=== Music scores ===
* {{IMSLP|id=Hummel%2C_Johann_Nepomuk|cname=Johann Nepomuk Hummel}}
* {{WIMA|idx=Hummel|name=Johann Nepomuk Hummel}}
* {{ChoralWiki}}

{{Seealso|Hummel}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME = Hummel, Johann Nepomuk
|ALTERNATIVE NAMES = Hummel, Jan Nepomuk
|SHORT DESCRIPTION = composer and virtuoso pianist
|DATE OF BIRTH = 14 November 1778
|PLACE OF BIRTH = Pressburg (Bratislava)
|DATE OF DEATH = 17 October 1837
|PLACE OF DEATH = Weimar
}}

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  <page>
    <title>Johann Gottlieb Graun</title>
    <id>3044943</id>
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      <comment>/* External links */ [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">'''Johann Gottlieb Graun''' (27 October 1703 {{ndash}} 28 October 1771) was a [[Germany|German]] [[Baroque music|Baroque]]/[[Classical music era|Classical era]] composer and [[violin]]ist.

Graun was born in [[Wahrenbrück]]. His brother [[Carl Heinrich Graun|Carl Heinrich]] was also a composer and singer. He studied with [[Johann Georg Pisendel|J.G. Pisendel]] in [[Dresden]], and [[Giuseppe Tartini]] in [[Prague]]. Appointed Konzertmeister in [[Merseburg]] in 1726, he taught the violin to [[Johann Sebastian Bach|J.S. Bach]]'s son [[Wilhelm Friedemann Bach|Wilhelm Friedemann]]. He joined the court of the [[Kingdom of Prussia|Prussian]] crown prince (who later became [[Frederick the Great]]) in 1732 and was made Konzertmeister of the [[Berlin Royal Opera|Berlin Opera]] in 1740.

==External links==
* {{IMSLP|id=Graun, Johann Gottlieb}}

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  <page>
    <title>Jean-Marie Leclair the younger</title>
    <id>3311423</id>
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      <comment>Saône</comment>
      <text xml:space="preserve">'''Jean-Marie Leclair le cadet''', also known as Jean-Marie Leclair, the Younger (1703 &amp;ndash; [[November 30]] [[1777]]) was a [[France|French]] composer, and younger brother of the better-known [[Jean-Marie Leclair|Jean-Marie Leclair l'aîné]] (&quot;the elder&quot;).

His musical output includes several works for two [[violin]]s.  In 1733, he produced ''Le Rhône et la Saône'', a vocal piece. His Opus 1 (1739) and Opus 2 (1750) were published because he was probably pretty dope at composing, though perhaps 234 years later we might just assume that he's just a footnote.

{{France-composer-stub}}

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    <title>Johann Georg Albrechtsberger</title>
    <id>15974</id>
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      <text xml:space="preserve">[[Image:Johann Georg Albrechtsberger.jpg|thumb|right|Johann Georg Albrechtsberger portrait by [[Leopold Kupelwieser]]]]

'''Johann Georg Albrechtsberger''' ([[3 February]] [[1736]] &amp;ndash; [[7 March]] [[1809]]) was an [[Austria]]n musician who was born at [[Klosterneuburg]], near [[Vienna]].

He originally studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna and became one of the most learned and skillful contrapuntists of his age.  After being employed as organist at [[Győr|Raab]] in 1755 and [[Maria Taferl]] in 1757, he was appointed Thurnermeister back at Melk Abbey. In 1772 he was appointed organist to the court of Vienna, and in 1792 [[Kapellmeister]] of [[Stephansdom|St. Stephen's Cathedral]].  

His fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians.  Among these were [[Johann Nepomuk Hummel]], [[Ignaz Moscheles]], [[Josef Weigl]] (1766-1846) and [[Ludwig van Beethoven]]. Beethoven had arrived in Vienna in 1792 to study with [[Joseph Haydn|Haydn]] but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint. On completion of his studies, the young student noted, &quot;Patience, diligence, persistence, and sincerity will lead to success,&quot; which reflects upon Albrechtsberger's own compositional philosophies.

Albrechtsberger died in Vienna; his grave is in [[St. Marx cemetery]]. 

His published compositions consist of [[prelude (music)|preludes]], [[fugue]]s and [[sonata (music)|sonatas]] for the [[piano]] and [[organ (music)|organ]], [[string quartet]]s, etc.; but the greater proportion of his works, vocal and instrumental, exists only in manuscript.  They are in the library of the Vienna Gesellschaft der Musikfreunde.

Around 1765, Albrechtsberger wrote at least seven concerti for [[Jew's harp]] and strings (three survive in the Hungarian National Library in Budapest). They are pleasant, well written works in the galant style.

Probably the most valuable service he rendered to music was in his theoretical works.  In 1790 he published at [[Leipzig]] a treatise on composition, of which a third edition appeared in 1821.  A collection of his writings on [[harmony]], in three volumes, was published under the care of his pupil [[Ignaz von Seyfried]] (1776-1841) in 1826.  An English version of this was published by [[Novello]] in 1855. His compositional style derives from [[Johann Joseph Fux]]'s counterpoint, who was Kapellmeister at St. Stephen's Cathedral 1713-1741, a position that Albrechtsberger would hold 52 years later.

One of his most notable works is his concerto for Alto Trombone and Orchestra in B{{music|flat}} Major.  As the trombone has few works dating back to the classical period, his concerto is often highlighted by the trombone community.

==References==
*[http://www.newadvent.org/cathen/01270a.htm Catholic Encyclopedia article]

==External links==
{{Wikisource1911Enc|Albrechtsberger, Johann Georg}}
*{{IckingArchive|idx=Albrechtsberger|name=Johann Georg Albrechtsberger}}
*{{ChoralWiki|Johann Georg Albrechtsberger}}
*{{IMSLP|id=Albrechtsberger, Johann Georg}}

----
*{{1911}}

{{Lifetime|1736|1809|Albrechtsberger, Johann Georg}}
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  <page>
    <title>Hippolyte André Jean Baptiste Chélard</title>
    <id>3867326</id>
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      <text xml:space="preserve">[[Image:André_Hippolyte_Chélard.jpg‎|thumb|right|210px|Hippolyte André Jean Baptiste Chélard]]
'''Hippolyte André Jean Baptiste Chélard''' ([[February 1]], [[1789]] &amp;ndash; [[February 12]] [[1861]]) was a French composer, violist, and conductor of the Classical era.

He was born in [[Paris]] and studied composition with Gosset and viola with Kreutzer. He won the 1811 [[Prix de Rome]] for his cantata ''Ariane''.

He earned his living for much of his career as a violist at the [[Opéra National de Paris|Paris Opera]]. His 1827 opera ''Macbeth'' was a flop in Paris, but a great success in [[Munich]]. From that time on, he composed for the German market, his most popular work being ''Die Hunnenschlacht'' which premiered in Munich in 1835.

He died in [[Weimar]], where he established himself as theater-conductor and in the 1840s he had met, and signed a contract dividing conducting duties with, the newly-arrived [[Franz Liszt]].

{{France-composer-stub}}
{{France-musician-stub}}

==References==
*[[Alan Walker (writer on music)|Walker, Alan]]. ''Franz Liszt. v. 2. The Weimar years, 1848-1861.''  Ithaca, New York: Cornell University Press. 1989, 1993. ISBN 0-8014-9721-3. Many references to Chélard.

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  <page>
    <title>Maria Teresa Agnesi Pinottini</title>
    <id>3258117</id>
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      <comment>/* Operas and Other Works */[[WP:CHECKWIKI|WikiProject Check Wikipedia]] cleanup (break in list) and general fixes</comment>
      <text xml:space="preserve">'''Maria Teresa Agnesi''' ([[October 17]], [[1720]] &amp;ndash; [[January 19]],  [[1795]]) was an Italian composer.  Though she was most famous for her compositions, she was also an accomplished harpsichordist and singer, and the majority of her surviving compositions were written for keyboard, the voice, or both.  She was born in [[Milan]] to Pietro Agnesi, an overbearing man in the lesser nobility.  He provided early education for both Maria Teresa and her more famous older sister, [[Maria Gaetana Agnesi|Maria Gaetana]], a mathematics and language prodigy who lectured and debated all over Europe while her sister performed.  Maria Teresa was married to Pier Antonio Pinottini on June 13, 1752, and they settled in a district populated by intellects and artists, but eventually suffered severe financial ruin.  Pinottini died not too long afterwards.&lt;br /&gt;

==Career==
Not much is known about Maria Teresa.  Nothing is known of her education or teachers, and the dates of her compositions are largely unknown.  Many of her compositions have been lost, although there are records of their existence.  
Her career was made possible by the Austrian Lombardy, which proved progressive and enlightened in women’s rights. The movement was more prevalent in Vienna and Dresden rather than her hometown of Milan, and Maria Teresa found more success and more appreciative audiences in these cities than in her birthplace.  &lt;br /&gt;

Maria Teresa had several famous performances, perhaps the most famous on July 16, 1739, when famous French traveler Charles de Brosses was very impressed by her music.  He was not the only one; the Count Gerolamo Riccati wrote several letters praising her compositions and musical talent.  Another very famous performance was her theatrical debut, the Cantata Pastorale ''Il Ristoro d'Arcadia'', in Milan at the [[Teatro Regio Ducal]] in 1747 where she dedicated her piece to various rulers of the surrounding areas of Saxony and Austria.
Agnesi would enjoy the patronage of [[Maria Theresia]], holy Roman Empress and sovereign of Lombardy, and Maria Antonia Walpurgis, a gifted composer and contemporary.  The Roman Empress was said to have sung at Maria Teresa Agnesi’s famous 1747 performance.&lt;br /&gt;

==Legacy and Influence==

Today her music is seldom performed.  Her keyboard music, while often technically challenging, is said to have been somewhat hackneyed and not distinctive.  Her work does seem to have matured throughout her career; her early works are simple and clean, while her later works are more virtuosic, complex, and melodramatic. 

==Operas and Other Works==
Dramatic Works (for Opera)
* II Restauro di Arcadia (cant. pastorale, G. Riviera), Milan, [[Teatro Regio Ducal]], 1747 (lost)
* La Sofonisba (dramma eroico, 3, G.F. Zanetti)
* Ciro in Armenia (dramma serio, 3, ? Agnesi), Milan, [[Teatro Regio Ducal]], 26 Dec 1753, Act 3 frags.
* Il re pastore (dramma serio, 3, P. Metastasio), ?1755
* La Insubria Consolata (Componimento drammatico, 2), Milan, 1766-Nitocri (dramma serio, 3, A. Zeno), Act 2 frags.
*Ulisse in Campania (serenata, 2)

Other (Keyboard, Small Ensemble, Voice)
* 12 arias, S, 2 
* Aria en Murki: Still, stille Mann!, 
* 4 concs. (F, F, F, D) (str pts missing in A-Wn, D-Dl), 1 cited in 1766 Breitkopf catalogue
* Sonata, G, cited in 1767 Breitkopf catalogue (1998)
* Sonata, F (1992)
* Allegro ou Presto
* Allemande militare &amp; Menuetto grazioso, kbd (with special stops), ed. F. Brodszky, -Thesaurus Musicus, xvii (1962)
* Lost: conc., Eâ, hpd, cited in 1766 Breitkopf catalogue; sonata, G, kbd, cited in 1767&amp;mdash;Breitkopf catalogue; Airs divers

==Discography==
* Hofkomponistinnen in Europa: Aus Boudoir und Gärten, Vol. 2
* Sonata for Harpsichord in G Major
* CD “Note Femminill”-Concerto

==References==
* Sven Hansell, Robert L. Kendrick. &quot;Maria Teresa Agnesi&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[February 11]] [[2006]]), [http://www.grovemusic.com/ grovemusic.com] (subscription access).
* Glickman, Sylvia and Martha Furman, ed. Women Composers: Music Through the Ages.  NY: GK Hall and Co., 1998
* Hansell, Sven, “Agnesi-Pinottini, Maria Teresa”, Grove Music Online.  http://www.grovemusic.com/shared/views/article.html?section=opera.9000555
* Hansell, Sven and Kendrick, Robert L., “Agnesi, Maria Teresa”, Grove Music Online.  http://www.grovemusic.com/shared/views/article.html?section=music.0029
* Trick, Judith, “Women in Music: Western Classical Traditions in Europe and the USA”, Grove Music Online.  http://www.grovemusic.com/shared/views/article.html?section=music52554.2.3

==External links==
* {{IMSLP|id=Agnesi, Maria Teresa}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Agnesi, Maria Teresia
|ALTERNATIVE NAMES = Maria Teresia Agnesi Pinottini
|SHORT DESCRIPTION = Italian composer
|DATE OF BIRTH     = 17 October 1720
|PLACE OF BIRTH    = [[Milan]], [[Italy]]
|DATE OF DEATH     = 19 January 1795
|PLACE OF DEATH    = 
}}

{{DEFAULTSORT:Agnesi, Maria Teresa}}
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Women composers]]
[[Category:18th-century Italian people]]
[[Category:1720 births]]
[[Category:1795 deaths]]
[[Category:People from Milan]]

[[ca:Maria Teresa Agnesi]]
[[de:Maria Teresa Agnesi Pinottini]]
[[ru:Аньези, Мария Тереза]]</text>
    </revision>
  </page>
  <page>
    <title>Francesca Lebrun</title>
    <id>4772058</id>
    <revision>
      <id>299466866</id>
      <timestamp>2009-06-30T07:34:02Z</timestamp>
      <contributor>
        <ip>70.185.198.151</ip>
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      <comment>/* Biography */ spelling</comment>
      <text xml:space="preserve">[[Image:Franziska Lebrun-Danzi.jpg|thumb|right|Francesca Lebrun]]

'''Francesca Lebrun''' ([[March 24]], [[1756]] - [[May 14]], [[1791]]) was a noted 18th-century [[Germany|German]] [[singer]] and [[composer]]. A consummate singer and a stellar composer, Francesca Lebrun shone brightly in a golden age of music.

She was born Franziska Dorothea Danzi in [[Mannheim]], [[Germany]]. Her father was the Italian-born [[cellist]] Innocenz Danzi and her younger brother was the composer and cellist [[Franz Danzi]] (1763-1826). She was renowned for her vocal dexterity and highly sought after by notable contemporaries, such as Schweitzer, Holzbauer, and Salieri, for the lead roles in their most challenging opuses.

Her talent extended beyond the stage to the manuscript tablet and the keyboard; six sonatas for fortepiano and violin of hers survive and have been recorded. Though her career was short, only 19 years, she left an indelible mark in an especially vibrant age.

==Biography==

Born on March 24, 1756 Francesca was the eldest child in the family of gifted musicians. Her mother (Barbara Toeschi) a dancer, her father (Innozenz Danzi) an Italian cellist, were the core of the elite elector Mannheim court performers in the late 1750’s. Her brothers, Franz (Ignaz) Danzi and Joahnn Baptist were cellist and violinist respectively and were successful composers.

She made her first public appearance as a singer at the age of 16 and the following year was engaged by the Mannheim Opera. There seems to be some debate whether she first performed in Gassmann’s L’amore artigiano in May 1772, or Sacchini’s La Contadina in Corte, the role for which she earned the title [[virtuosa da camera]]. She stayed with the Mannheim Court Opera for 4 years and was cast in the premier roles in the Mannheim court opera: Parthenia in Schweitzer’s Alceste (1775, Schwetzingen) and Anna in Holzbauer’s Günther von Schwarzburg (1777). The last, which was a piece, composed for specifically for her voice. At twenty-one she traveled to London to sing 4 opera series by J.C. Bach &amp; Saccini.

In 1778, she married  [[oboe]] virtuoso and composer [[Ludwig August Lebrun]] (1746-1790) from Mannheim and toured with him. That summer she, now known as Senora Lebrun and Ludwig toured Italy, but it was in the Spring of 1779 when she stunned her audience at the Concert Spirituel in Paris by singing Italian lyrics to the instrumental parts of symphonies concertantes. Her compositions for Fortepiano and Violin were published in 1780. Schubart noted that she could sing A, 3 octaves above middle C with ‘clarity and distinctness’. [[Charles Burney]] wrote that and when she sang, accompanied by her husband on oboe, divisions of thirds and sixths, it was impossible to discover who was uppermost of the interval. A celebrated soprano, she sang on major operatic and concert stages through Europe, including England, Germany and Italy to great acclaim. At the opening of the [[Teatro alla Scala]] in [[Milan]] on August 3, 1778, Francesca Lebrun was the female lead in [[Antonio Salieri]]'s opera ''[[Europa Riconosciuta]]''. She created a sensation in 1779 in [[Paris]] at the [[Concert Spirituel]] through her ability to fit Italian words to instrumental parts of symphonies concertantes and sing them. The Lebruns lived in London from 1779 through 1781 while Francesca appeared at the King's Theater. In 1780 the celebrated English artist [[Thomas Gainsborough]] painted her portrait.

Francesca’s family flourished as well, she gave birth to daughter Sophie while in London in June of 1781 and daughter Rosine in 1783 in Munich. Francesca and Ludwig toured around Europe again in 1785, spending a season in Naples, then Berlin and London where Ludwig eventually passed in 1790. She performed only twice after his death and survived him by only five months. She passed on May 14, 1791 at the age of 35. At a time when women’s contributions to music and the stage were decorative if not completely discouraged Madame Lebrun left an impression of exceptional craft and talent.

She was a respected composer of sonatas for violin and piano and trios for piano, violin and cello. It is thought, too, that she was a fine [[pianist]], as reflected in her writing for the instrument.

Several of her children became well-known, including Sophie [Dülken] (1781-after 1815) as a [[pianist]] and Rosine (1783-1855) as a singer and [[actress]].

Her daughter Rosine Lebrun (1783–1855) was a successful opera singer and was a member of the Munich theatre company, 1801–30 and Sophie Dülken became a well-known pianist and composer. Sophie’s daughters and their daughters also became musicians.

==Discography==

*Francesca LeBrun (1756 - 1791), Six Sonatas for Fortepiano and Violin, Op. 1, World Premiere Recording of Complete OP.1
** Performed by: Monica Jakuc &amp; Dana Maiben
** Available: [http://www.dorian.com/store/scripts/prodView.asp?idproduct=5332]
*Women Composers At The Courts Of Europe Sonata (6) for Piano and Violin, Op. 1: no 2 in E flat major by Francesca Lebrun
** Performer:  Jaroslav Sveceny (Violin), Fine Zimmermann (Harpsichord)
** Available: [http://www.arkivmusic.com/classical/Namedrill?&amp;name_id=108087&amp;name_role=1]

==Source==
*[http://online.musicmatch.com/artist/artist.cgi?ARTISTID=1146459&amp;TMPL=LONG#bio Biography of Francesca Lebrun]


{{DEFAULTSORT:Lebrun, Francesca}}
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[[Category:1791 deaths]]
[[Category:German sopranos]]
[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:Women classical composers]]
[[Category:Germans of Italian descent]]

[[de:Franziska Lebrun]]
[[ja:フランチェスカ・ルブラン]]
[[ru:Лебрен, Франческа]]</text>
    </revision>
  </page>
  <page>
    <title>Josse Boutmy</title>
    <id>4928865</id>
    <revision>
      <id>310276010</id>
      <timestamp>2009-08-27T00:53:57Z</timestamp>
      <contributor>
        <username>Erik9bot</username>
        <id>8889502</id>
      </contributor>
      <comment>add [[Category:Articles lacking sources (Erik9bot)]]</comment>
      <text xml:space="preserve">'''Josse Boutmy''' ([[Ghent]], 1697 - [[Brussels]], 1779) was an organist and [[harpsichord]]ist of the [[Southern Netherlands|Austrian Netherlands]] who established himself in [[Brussels]]. He worked in St Gudule's church (1719), with the Prince of [[Thurn and Taxis]] (1736) and at the chapel royal of Brussels (1744). Born into a musical family, his grandfather, father, brother and sons were all musicians.

He composed three collections of pieces for the harpsichord:
* First book (1738)
* Second book (1738)
* Third book, dedicated to governor [[Prince Charles Alexander of Lorraine|Charles of Lorraine]] (c. 1749)

His style incorporates multiple European influences: French ([[Jean-Philippe Rameau|Rameau]], [[Jacques Duphly|Duphly]]), Italian ([[Domenico Scarlatti]]), German ([[Carl Philipp Emanuel Bach]]) and his harpsichord books mix dance pieces belonging to the [[suite]] form, character pieces and [[sonata (music)|sonata]] elements, as did another Brussels musician of the same period, [[Joseph-Hector Fiocco]].

{{DEFAULTSORT:Boutmy, Josse}}
[[Category:1697 births]]
[[Category:1779 deaths]]
[[Category:Belgian composers]]
[[Category:Classical era composers]]
[[Category:Articles lacking sources (Erik9bot)]]

[[fr:Josse Boutmy]]</text>
    </revision>
  </page>
  <page>
    <title>François Devienne</title>
    <id>2368559</id>
    <revision>
      <id>294259096</id>
      <timestamp>2009-06-03T21:51:45Z</timestamp>
      <contributor>
        <username>Locobot</username>
        <id>8675237</id>
      </contributor>
      <minor/>
      <comment>[[WP:WPCHECK|Check Wikipedia]] cleanup ([[WP:WPCHECK#Category_before_last_headline_.28AWB.2C_PY.2C_BOT.29|Fixing categories before last headline]]) + [[WP:GENFIXES|gen. fixes]]</comment>
      <text xml:space="preserve">[[Image:François Devienne par David.jpg|thumb|Francois Devienne|200px|right|François Devienne painted by [[Jacques Louis David]]]] 

'''François Devienne''' ([[January 31]], [[1759]] - [[September 5]], [[1803]]) was a [[France|French]] [[composer]] and professor for [[flute]] at the [[Conservatoire de Paris|Paris Conservatory]].

François Devienne was born in Joinville ([[Haute-Marne]]), as the youngest of fourteen children of a saddlemaker. After receiving his first musical training as a choirboy in his hometown, he was playing in various Parisian ensembles as soloist and orchestra player. He studied the flute with [[Félix Rault]] and in 1780 he joined the household of [[Louis René Édouard, cardinal de Rohan|Cardinal de Rohan]]. He was active in [[Paris]] as a flautist, bassoonist and composer, and played [[bassoon]] at the [[Académie Royale de Musique|Paris Opera]]. He wrote successful operas in the 1790s, including ''Les visitandines'' (1792) which brought him much success.

He was also a member of the 'Military Band of the French Guard' where he was given the rank of sergeant with the duty of teaching the children of his colleagues in the military band in its Free School of Music. After the Revolutionary period, when Free School became the National Institute of Music, later chartered as the [[Conservatoire de Paris|Paris Conservatory]] in 1795, François Devienne was appointed an administrator and flute professor.  He wrote an important Flute School 'Méthode de Flûte Théorique et Pratique' (1793), which was reprinted several times and did much to improve the level of French wind music in the late 18th century. Like many other musicians, he joined the [[freemasons]] and 'Concerts de la Loge Olympique' orchestra.

Devienne died at a sanatorium in Charenton near Paris on September 5, 1803.

His output comprises c. 300 instrumental works that are mostly written for [[wind instrument]]s. There are a dozen of flute [[concerto]]s, [[sinfonia]]s for woodwinds, quartets and trios for different ensembles, 12 [[opera]]s, 4 [[bassoon concerto]]s, and 6 bassoon [[sonata]]s in an elegant melodic style.

Devienne’s compositions for flute, revived by [[Jean-Pierre Rampal]] in the 1960s, are now better known to flautists, but still not, unfortunately, to the public at large. As well as extensive educational work, including the well-known Méthode of 1794, with its extremely interesting articles on technique and style of the time, his collected work also includes eight books of [[sonata (music)|sonata]]s for flute or bassoon, a variety of [[chamber music]] and no less than seventeen concertos. The brilliant and melodic style of these last makes them perfect examples of the concertante classical genre, comparable only to work by the Viennese composer [[Franz-Anton Hoffmeister]] (1754- 1812), who himself wrote some 25 concertos for flute.

Devienne’s concertos, however, are, remarkably enough, frequently closer to the spirit of [[Wolfgang Amadeus Mozart|Mozart]], who while in Paris had attended the Concerts spirituels. It was there that Devienne frequently, and with great success, played his compositions, which were brilliant reflections of the elegant tone of Paris at the time. Concerto No. 2 in D major is an example of grace and balance, two characteristics to be found in the fine portrait of the composer by [[Jacques-Louis David]], qualities which are associated with Mozart, explaining why Devienne was called the French Mozart. 

François Devienne is the ancestor of Tonino Devienne
&lt;ref&gt;{{cite web|title=Éditions Verdier - Tonino Devienne|url=http://www.editions-verdier.fr/v3/auteur-devienne.html|accessdate=12 May 2009}}&lt;/ref&gt;.

==External links==
* [http://www.operone.de/komponist/devienne.html List of stage works of Francois Devienne].
* [http://www.haydn.dk/mhc_devienne.php Article in Michael Haydn page]
* {{IMSLP|id=Devienne, François}} 

==References==
{{reflist}}

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[[de:François Devienne]]
[[fr:François Devienne]]
[[he:פרנסואה דוויאן]]
[[la:Franciscus Devienne]]
[[nl:François Devienne]]
[[ja:フランソワ・ドヴィエンヌ]]
[[ru:Девьен, Франсуа]]
[[sl:François Devienne]]</text>
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  </page>
  <page>
    <title>Anton Stamitz</title>
    <id>5888095</id>
    <revision>
      <id>310816781</id>
      <timestamp>2009-08-30T01:54:05Z</timestamp>
      <contributor>
        <username>FeanorStar7</username>
        <id>160806</id>
      </contributor>
      <comment>add punct. to clarify difference betweeen names</comment>
      <text xml:space="preserve">'''Antonín Thadaeus Jan Nepomuk Stamic [&quot;Anton Thadäus Johann Nepomuk Stamitz]&quot;'''&lt;ref name=&quot;hoasm&quot;&gt;{{cite web|title=Brief biography|publisher=HOASM|url=http://www.hoasm.org/XIIA/StamitzAnton.html |accessdate=2007-12-23}}&lt;/ref&gt; (1750 or 1754 in [[Mannheim]] &amp;ndash; 1798 or 1809 in [[Paris]]) was a [[Germany|German]] (and second-generation [[Bohemian]]) composer and [[violin]]ist. 

Anton and his brother [[Carl Stamitz|Carl]] received their first violin instruction from their father, [[Johann Stamitz|Johann]]. After their father's death in 1757 they were &lt;!--adopted and?--&gt; taken on as students by [[Christian Cannabich]], who had been a student of their father's. Both were by this time already violinists in the famous [[Mannheim school|Mannheimer Kapelle]] and participated in its development.

In 1770 with his brother Carl, he visited Paris and established himself there. Between 1782 and 1789 he played in the King's court orchestra in [[Versailles]], and obtained the title &quot;ordinaire de la musique du roi&quot;. He was the violin teacher of [[Rodolphe Kreutzer]]&lt;ref&gt;{{cite book|last=Silvela|first=Zdenko|title=A new history of violin playing : the vibrato and Lambert Massart's revolutionary discovery
|publisher=Universal Publishers|date=2001|location=USA|isbn=1-58112-667-0|url=http://books.google.com/books?id=gXqBVbWm6tkC&amp;pg=PA107&amp;dq=anton+stamitz&amp;lr=&amp;as_brr=3&amp;ei=ufduR7fEB5L0iwG1sJl9&amp;sig=VUOaWiIoJ6P88q63Y3tGJpiY8ik#PPA107,M1|
accessdate=2007-12-23|page=107}}&lt;/ref&gt;.

Although his further history up to 1798 is not known, he probably died in Paris. He may have died as late as 1809.

==Selected list of works==
*At least four concertos, in B-flat, F (1779), G and D,  for [[viola d'amore]] now also performed on the viola
*About twenty [[violin concerto]]s
*Several flute concertos
*A concerto for two flutes in G
*Four concertos for two clarinets or clarinet and violin
*Several string quartets &lt;ref&gt;For example {{cite book|title=this set of six quartets opus 30, for &quot;due violini alto e basso concertati&quot;|date=1778|publisher=M. de la
Chevardiere|oclc=66551007|
url=http://books.google.com/books?id=Q9jQHAAACAAJ&amp;dq=anton+stamitz&amp;lr=&amp;ei=0epuR6SVKo7AiQGVoqj9Dw|
accessdate=2007-12-23}}&lt;/ref&gt; and symphonies
*Caprices for solo flute
*Six duos for two flutes, published as his opus 1
*A [[sinfonia concertante]] in D for two flutes and orchestra

==References==
&lt;references/&gt;

==External links==
*{{cite web|title=Synthonia page with summary worklist|url=http://www.synthonia.com/Opus/Anton_Stamitz|accessdate=2007-12-23}}
*[http://www.sandiego.edu/symphony/programnotess97.html Program notes to a performance of his third viola concerto]
*[http://www.violadamoresocietyofamerica.org/TheStamitzFamily.html Much fuller biography by Viola d'Amore Society of the Stamitz Family]
*{{IMSLP|id=Stamitz, Anton}}

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[[Category:1798 deaths]]
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{{germany-composer-stub}}
{{germany-musician-stub}}
{{Violinist-stub}}

[[cs:Antonín Stamic]]
[[de:Anton Stamitz]]
[[fr:Anton Stamitz]]
[[ko:안톤 슈타미츠]]
[[he:אנטון שטאמיץ]]
[[nl:Jan Antonín Tadeáš Nepomuk Stamic]]
[[ja:アントン・シュターミッツ]]
[[oc:Anton Stamitz]]
[[zh:安东·斯塔米茨]]</text>
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  </page>
  <page>
    <title>Muzio Clementi</title>
    <id>54449</id>
    <revision>
      <id>310383874</id>
      <timestamp>2009-08-27T16:07:25Z</timestamp>
      <contributor>
        <ip>96.232.207.16</ip>
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      <comment>/* Music */</comment>
      <text xml:space="preserve">[[Image:Muzio Clementi.jpg|thumb|Portrait of Clementi by [[Aleksander Orłowski]] (1810)]]

'''Muzio Clementi''' (24 January 1752, [[Rome]] – 10 March 1832, [[Evesham]], [[Worcestershire]], [[England]]) was a celebrated English, of Italian birth, [[Classical period (music)|classical]] [[composer]], [[pianist]], pedagogue, [[conductor (music)|conductor]], music publisher, editor, and piano manufacturer. He is credited with being the first to write specifically for the [[piano]]. He is best known for his piano [[sonatas]], [[sonatina]]s, and his collection of piano studies, ''[[Gradus ad Parnassum]]''.  Nineteenth century enthusiasts called Clementi &quot;the father of the pianoforte&quot;, &quot;father of modern piano technique&quot;, &quot;father of Romantic pianistic virtuosity&quot;, etc., judgments which have become overshadowed as Clementi has slipped into obscurity.

In his day, the European reputation of Muzio Clementi was second only to [[Joseph Haydn]] as a symphonist. Unlike his celebrated contemporaries, however, the Italian composer wrote primarily for the piano, as reflected in his catalogue of 110-plus sonatas and other piano works. His first teacher was his father and then Sir Peter Beckford, a wealthy English voyager.

He was influenced by [[Domenico Scarlatti]]'s harpsichord school, by Haydn's classical school and by the ''stile galante'' of [[Johann Christian Bach]]. He soon became known as one of the great piano virtuosi, touring numerous times from London — where he had lived for many years — throughout Europe. He taught [[keyboard instrument|keyboard]] technique, and developed a piano method still in use today. Esteemed as a teacher, his students included some of the leading lights of the day — [[John Field]], [[Johann Baptist Cramer]], [[Ignaz Moscheles]], and so on.  Many others, including [[Giacomo Meyerbeer]], [[Friedrich Wilhelm Kalkbrenner]], [[Johann Nepomuk Hummel]] and [[Carl Czerny]], attended courses which he held in [[Paris]], [[Vienna]], [[St. Petersburg]], [[Berlin]], [[Prague]], [[Rome]] and [[Milan]].

Clementi not only produced his own brand of pianos but was also a [[music publisher]]. It was thanks to this activity that many compositions by contemporary (and earlier) artists have stayed in the repertory. His genius for self-promotion, as well as a considerable talent as a composer, made Clementi sought after by the [[aristocracy|aristocrat]]s of his day.


== Biography ==

Muzio [Filippo Vincenzo Francesco Saverio] Clementi (baptized Mutius Philippus Vincentius Franciscus Xaverius), was born in [[Rome]], [[Italy]] on January 24, 1752, and the following day baptized in the local church of S. Lorenzo in Damaso. He was the eldest of the seven children of Nicolo Clementi (1720–1789), a noted silversmith, and Madalena, née Caisar (Magdalena Kaiser), who was Swiss. His father soon realized his son’s musical talent, and by the time the boy was seven had arranged private musical instruction for him. By age nine he was sufficiently proficient to be offered a position as church [[organist]] at the Chiesa di St Lorenzo in [[Damaso]]. 

Meanwhile, he had begun formal musical studies three years earlier with a relative, [[Antonio Baroni]], maestro di cappella at St Peter’s basilica.  At the age of seven he commenced studies with the organist [[Cordicelli]], and later studied voice with [[Giuseppe Santarelli]]. A few years later, probably at 11 or 12, he was given counterpoint lessons by [[Gaetano Carpani]], and by 13 he had already composed an [[Oratorio]], ''Martitio de’ gloriosi Santi Giuliano'', and a [[mass]]. When he was 14, in January of 1766, he became organist of the parish San Lorenzo in Dámaso. 

In 1766, Sir [[Peter Beckford (hunter)|Peter Beckford]] (1740-1811), a wealthy Englishman and cousin of the novelist [[William Thomas Beckford]], twice [[Lord Mayor]] of London, visited Rome. He was impressed by the young Clementi's musical talent, and negotiated with Nicolò to take Clementi to his estate, [[Steepleton Iwerne]], north of [[Blandford Forum]] in [[Dorset]], [[England]] — where Beckford agreed to provide quarterly payments to sponsor Muzio's musical education. In return, he was expected to provide musical entertainment at the manor. For the next seven years Clementi lived, performed, and studied at the estate in Dorset. His compositions from this early period were few, and have almost all been lost.

In 1770 Clementi made his first public performance as an [[organist]]. The audience was reported to be impressed with his playing, thus beginning one of the outstandingly successful concert pianist careers of the period. 

In 1774, Clementi was freed from his obligations to Peter Beckford.  During the winter of 1774–1775 he moved to [[London]], making his first appearance as a harpsichordist in a benefit concert on April 3, 1775. There he made several public appearances as a solo [[harpsichordist]] at [[benefit concert]]s for two local musicians, a singer and a harpist, and served as conductor (from the keyboard) at the [[Her Majesty's Theatre|King's Theatre (Her Majesty's Theatre)]], [[Haymarket (London)|Haymarket,]] for at least part of this time. His popularity grew in 1779 and 1780, due largely to the run-away sales of his newly-published Opus 2 Sonatas. His fame rose quickly, and there was enthusiastic talk in musical circles that he was the greatest piano virtuoso of the day, possibly of all times.

Clementi started a [[Europe]]an tour in 1781, travelling to [[France]], [[Germany]], and [[Austria]]. In [[Vienna]], he agreed to enter a musical duel with [[Mozart]] for the entertainment of [[Joseph II, Holy Roman Emperor|Holy Roman Emperor Joseph II]] and his guests. On December 24, 1781, at the Vienese court, each performer was called upon to improvise and perform selections from his own compositions. The ability of both was so considerable that the Emperor declared a tie.

On 12 January 1782, Mozart wrote to his father: &quot;Clementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer’s worth of taste or feeling - in short he is a mere mechanicus&quot; (Latin for automaton or robot). In a subsequent letter, Mozart wrote: &quot;Clementi is a charlatan, like all Italians.  He marks a piece [[Tempo#Basic tempo markings|presto]] but plays only allegro.&quot; 

Clementi's impressions of Mozart, by contrast, were enthusiastic and filled with praise. Much later, the pianist Ludwig Berger recalled: &quot;Until then I had never heard anyone play with such spirit and grace. I was particularly overwhelmed by an adagio and by several of his extempore variations for which the Emperor had chosen the theme, and which we were to devise alternately.&quot;
 
The main theme of Clementi's B-Flat Major sonata (op. 24, no. 2), however, captured Mozart's imagination.  Ten years later, in 1791, Mozart used it in the overture to his opera ''[[Die Zauberflöte]]'' (The Magic Flute). This so embittered Clementi that every time this sonata was published, he made certain that it included a note explaining that it had been written ten years before Mozart began writing ''Zauberflöte''. Clementi's admiration for Mozart, obviously not reciprocated, was reflected in a large number of transcriptions he made of Mozart's music, among which is a piano solo version of the &quot;Zauberflöte&quot; overture.

From 1782, and for the next twenty years, Clementi stayed in England playing the piano, conducting, and teaching. Two of his students attained a fair amount of fame for themselves: [[Johann Baptist Cramer]]; and [[John Field (composer)|John Field]] (who, in his turn, would become a major influence on [[Frédéric Chopin]]).

Clementi took over the firm Longman and Broderip in 1798 at 26 [[Cheapside]], initially with a [[James Longman]], who left in 1801. Clementi also had offices at 195 Tottenham Court Road from 1806. The publication line, 'Clementi &amp; Co, &amp; Clementi, Cheapside' appears on a lithograph, 'Music' by W Sharp after J Wood, circa 1830s.

Clementi also began manufacturing pianos, but in March, 1807, the warehouses occupied by Clementi's new firm were destroyed by a fire, resulting in a loss of about forty thousand pounds. But the man's courage was indomitable. That same year, he struck a deal with [[Ludwig van Beethoven]], one of his greatest admirers, that gave him full publishing rights to all of Beethoven's music in England. His reputation as an [[editor]] and [[interpreter]] of Beethoven's music is at least as great as his reputation as a composer, though he's been criticized for some less docile editorial work, such as making harmonic &quot;corrections&quot; to some of Beethoven's scores. 

That Beethoven, in his later life, started to compose [[chamber music]] specifically for the [[British people|British]] market may have been related to the fact that his [[publisher]] was living in London.

In 1810, Clementi stopped concertizing in order to devote his time to composition and piano making. On January 24, 1813, Clementi together with a group of prominent professional musicians in England founded the &quot;Philharmonic Society of London&quot;, which became the [[Royal Philharmonic Society]] in 1912. In 1813 Clementi was appointed a member of the Swedish Royal Academy of Music.

Meanwhile, his pianoforte business had flourished, affording him an increasingly elegant lifestyle. As an inventor and skilled mechanic, he made important improvements in the construction of the piano, some of which have become standard in instruments to this day.

At the end of 1816 Clementi made another trip to the continent to present his new works, particularly at the Concerts Spirituels in [[Paris]]. He returned to London in June 1818, after stopping off in [[Frankfurt]]. In 1821 he once again returned to Paris, conducting his symphonies in [[Munich]] and [[Leipzig]]. In London he was becoming widely acclaimed as a symphonist: in 1824 his symphonies were featured in five of the six programs at the 'Concerts of Ancient and Modern Music' at the King's Theatre.

In 1826 Clementi completed his very large collection of keyboard studies, ''Gradus ad Parnassum'', and set off for Paris with the intention of publishing the third volume of the work simultaneously in Paris, London and Leipzig. After staying in Baden and most likely making another visit to Italy, he returned to London in the autumn of 1827.

On December 17, 1827, a large banquet was organised by Johann Baptist Cramer and Ignaz Moscheles in his honor at the [[Hotel Albion]]. Moscheles, in his diary, says that on that occasion Clementi improvised at the piano on a theme by Handel. In 1828 he made his last public appearance at the opening concert of the Philharmonic Society; and in 1830 he retired from the Society.

Clementi moved outside [[Lichfield]], [[Staffordshire]], in 1830, and spent his final years in [[Evesham]], [[Worcestershire]]. On [[10 March]] [[1832]], after a short illness, he died.  He was eighty years old. On March 29, 1832, he was buried at [[Westminster Abbey]]. Accompanying his body were three of his famous students: [[Johann Baptist Cramer]], [[John Field]] and [[Ignaz Moscheles]]. He had been married three times and is said to have had four children.

==Music==
{{seealso|1=List of compositions by Muzio Clementi}}
[[Image:Muzio Clementi.jpeg|thumb]]

As a composer of Classical piano sonatas, Clementi was among the first to create keyboard works expressly for the capabilities of the pianoforte.  Acclaimed as the father of the pianoforte and modern piano technique, this complex and influential musician was also the first virtuoso on the instrument. Clementi established the modern piano technique and influenced generations of virtuosi to come.  

Of Clementi's playing in his youth, Moscheles wrote that it was &quot;marked by a most beautiful legato, a supple touch in lively passages, and a most unfailing technique.&quot; D. Scarlatti may be said to have closed the old and Clementi to have founded the newer school of technique on the piano. 

Amongst Clementi's compositions the most remarkable are sixty sonatas for pianoforte, and the great collection of Etudes called &quot;Gradus ad Parnassum&quot;. [[Claude Debussy|Debussy]]'s piece ''Doctor Gradus ad Parnassum'' (the first movement of his suite ''[[Children's Corner]]'') makes playful allusion to it. Similarly his [[sonatina]]s are still popular for piano students everywhere. [[Erik Satie]], a contemporary of Debussy, would later parody these sonatinas (specifically the [http://www.mutopiaproject.org/cgibin/make-table.cgi?collection=clemson&amp;preview=1 sonatina Op. 36 N° 1]) in his ''[[Sonatine Bureaucratique]]''.	 

Clementi composed almost 110 [[piano sonata]]s. Some of the earlier and easier ones were later classified as [[sonatina]]s after the success of his Sonatinas Op. 36, and continue to be popular pedagogical pieces in piano education. However, most of Clementi's sonatas are more difficult to play than those of Mozart, who wrote in a letter to his sister that he would prefer her not to play Clementi's sonatas due to their jumped runs, and wide stretches and chords, which he thought might ruin the natural lightness of her hand. [[Beethoven]], however was a great admirer of the Clementi sonatas and their influence is very evident in his own piano compositions.

In addition to the piano solo repertoire, Clementi wrote a great deal of other music, including several recently pieced together, long worked on but slightly unfinished symphonies that are gradually becoming accepted by the musical establishment as being very fine works. A likely reason that these later works were not published in Clementi's lifetime is that he kept revising them. While Clementi's music is hardly ever played in concerts, it is becoming increasingly popular in recordings.	

Mozart's most evident disrespect for Clementi (and perhaps Italians in general [perhaps because of rivalry and jealousy) has led some to call them &quot;arch rivals&quot;. But the animosity was not as far as we know reciprocated by Clementi, and in any case Mozart's letters are full of irreverent jibes which he never expected to become public.
 	 
Clementi's influence extended well into the 19th century, with composers using his sonatas as models for their keyboard compositions. [[Ludwig van Beethoven]], in particular, had the highest regard for Clementi. Unlike Mozart, Beethoven was quite different. He did not disparage Clementi but held him in great esteem. Beethoven often played Clementi sonatas and often a volume of them was on Beethoven’s music stand. Beethoven recommended these works to many people including his nephew Karl. The most accurate description of Beethoven's regard for Clementi's music can be found in the testimony of his assistant, [[Anton Schindler]], who wrote &quot;He (Beethoven) had the greatest admiration for these sonatas, considering them the most beautiful, the most pianistic of works, both for their lovely, pleasing, original melodies and for the consistent, easily followed form of each movement. Beethoven had but little liking for Mozart's piano music, and the musical education of his beloved nephew was confined for many years almost exclusively to the playing of Clementi sonatas.&quot; (''Beethoven as I Knew Him'', ed. Donald M. McArdle, trans. Constance Jolly, Chapel Hill and London, 1966). Schindler continues with reference to Beethoven's fondness for Clementi's piano sonatas: &quot;For these he had the greatest preference and placed them in the front rank of pieces appropriate to the development of fine piano playing, as much for their lovely, pleasing, fresh melodies as for the well knit, fluent forms of all the movements.&quot; In Moscheles edition of Schindler's biography he quotes Schindler as follows: &quot;Among all the masters who have written for pianoforte, Beethoven assigned to Clementi the very foremost rank.  He considered his works excellent as studies for practice, for the formation of a pure taste, and as truly beautiful subjects for performance.  Beethoven used to say...'They who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact.' &quot; 

Carl Czerny (1791-1857)also had the highest regard for Clementi's piano sonatas and used them successfully in his teaching of Franz Liszt. Czerny referred to Clementi as &quot;the foremost pianist of his time.&quot; 



Russian pianist [[Vladimir Horowitz]] developed a special fondness for Clementi's work after his wife, [[Wanda Toscanini]] bought him Clementi's complete works. Horowitz even compared some of them to the best works of Beethoven. The restoration of Clementi's image as an artist to be taken seriously is not least due to his efforts and today to [[Andreas Staier]], Andrea Coen and Costantino Mastroprimiano.

Being a contemporary of Mozart and Beethoven, Clementi to this day is revered as one of the greatest piano players and remains a prominent figure in the history of music, as well as in the development of the [[sonata form]].

With ministerial decree dated 20 March 2008, the Opera Omnia of the composer Muzio Clementi was promoted to the status of Italian National Edition. The steering committee of the National Edition consisting of the scholars Andrea Coen (Rome), Roberto De Caro (Bologna), Roberto Illiano (Lucca — President), Leon B. Plantinga (New Haven, CT), David Rowland (Milton Keynes, UK), Luca Sala (Cremona/Poitiers, Secretary and Treasurer), Massimiliano Sala (Pistoia, Vice-President), Rohan H. Stewart-MacDonald (Cambridge, UK) and Valeria Tarsetti (Bologna).

==Critical Edition==
With a ministerial decree dated 20 March 2008, the Opera Omnia of the composer Muzio Clementi was promoted to the status of Italian National Edition. The official ceremony took place at the Ministry for the Cultural Heritage (Rome) in the presence of On. Andrea Marcucci, the Under-Secretary of State, Dr. Maurizio Fallace, Director-General for the Library Heritage and Cultural Institutes, and the steering committee of the National Edition consisting of the scholars Andrea Coen (Rome), Roberto De Caro (Bologna), Roberto Illiano (Lucca — President), Leon B. Plantinga (New Haven, CT), David Rowland (Milton Keynes, UK), Luca Sala (Cremona/Poitiers, Secretary Treasurer), Massimiliano Sala (Pistoia, Vice-President), Rohan H. Stewart-MacDonald (Cambridge, UK) and Valeria Tarsetti (Bologna).

The critical edition of the complete works of Clementi, published by Ut Orpheus Edizioni of Bologna, will consist of 15 volumes: the first two will contain vocal and orchestral music respectively, five volumes will be devoted to the chamber music, two volumes to the keyboard works, and two volumes to the didactic works. Another three volumes will contain: 1.) the doubtful works, the arrangements and transcriptions of Clementi; 2.) the correspondence; 3.) a thematic catalogue of his works together with documents relating to his life, the iconography and an updated bibliography. Each volume will contain an analytical historical introduction, a critical edition of the music and a critical commentary (comprising a list, description and criticism of the sources, an account of the interpretational problems and a list of variants).

==Media==
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==Further reading==
*{{cite book|last=Tyson|first=Alan|title=Thematic catalogue of the works of Muzio Clementi|publisher=Tutzing: Schneider|year=1967|id=OCLC 457741}}&lt;ref&gt;{{cite journal|last=K. D.|volume=49|issue=3|journal=Music &amp; Letters|title=Review of Alan Tyson's Thematic Catalogue of the works of Muzio Clementi|pages=231–233|year=1968|url=http://links.jstor.org/sici?sici=0027-4224%28196807%2949%3A3%3C231%3ATCOTWO%3E2.0.CO%3B2-V|accessdate=2007-01-10}}&lt;/ref&gt;
*Leon B. Plantinga: ''Clementi: His Life and Music'' (Oxford University Press, February 1977)
*R. Illiano, L. Sala, M. Sala (eds.):'' Muzio Clementi. Studies and Prospects'' (Bologna 2002)
*M. Sala, R. Bösel (eds.): ''Muzio Clementi Cosmopolita della Musica'' (Bologna 2004)
*R. H. Stewart-MacDonald:'' New Perspectives on the Keyboard Sonatas of Muzio Clementi'' (Bologna 2006)

==Notes==
{{reflist}}

==External links==
{{Commons cat|Muzio Clementi}}
*[http://www.muzioclementi.com/home.php?l=ing www.MuzioClementi.com (English)]
*[http://www.clementisociety.com/ Muzio Clementi Society website]
*[http://www.wolfmusic-publications.com/index.html www.wolfmusic-publications.com/index.html]
*[http://www.mozartforum.com/Lore/article.php?id=526 Muzio Clementi Biography by Tel Asiado on mozartforum.com ]
*[http://www.1911encyclopedia.org/Muzio_Clementi Muzio Clementi Biography on LoveToKnow 1911 Encyclopedia Britannica]
*[http://www.musicweb-international.com/classRev/2002/Oct02/Clementi_wright.htm Muzio Clementi by Dr David C F Wright on MusicWeb]
*[http://www.theatlantic.com/issues/96may/clementi/clementi.htm The Finished Symphonies - Muzio Clementi, by William H. Youngren on Atlantic Monthly 1996.05. ]
*{{IMSLP|id=Clementi%2C_Muzio|cname=Muzio Clementi}}
*{{IckingArchive|idx=Clementi|name=Muzio Clementi}}

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  <page>
    <title>Johann Baptist Georg Neruda</title>
    <id>1551245</id>
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      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">Relative to other composers of the [[Classical music era]] '''Johann Baptist Georg Neruda''' ([[Czech language|Czech]]: ''{{lang|cs|Jan Křtitel Jiří Neruda}}'') is little known, and his dates of birth and death (given as c1707 and c1780 by the [[Grove Dictionary of Music and Musicians|Grove Dictionary]]) are only approximations.  He was born in [[Bohemia]], now part of [[Czech Republic]], to a well-respected musical family.  After spending his earlier years gaining a good reputation as a violinist and conductor in [[Prague]] and Germany, Neruda became ''[[Kapellmeister|Konzertmeister]]'' of the [[Dresden]] court orchestra.

His compositional output includes eighteen [[Symphony|symphonies]], fourteen instrumental [[concerto]]s (including a [[bassoon concerto]]), [[sonata (music)|sonata]]s, sacred works and an [[opera]]: ''Les Troqueurs''.

According to Nimbus Records Ltd. (1994), one of the composer's more significant works is the ''Concerto in E-flat for Trumpet and Strings''.  Originally written for the &quot;corno da caccia&quot; or &quot;[[natural trumpet]]&quot; using only the high register, it is now rarely performed on anything other than an E-flat or B-flat [[trumpet]]. Incidentally, the Corno da Caccia for which Neruda wrote is not to be confused with the 4-valved hunting horn which has recently been given the same name. The manuscript for this piece is in the [[National Library]] in Prague, along with several other unusual works for [[brass instrument]]s.  [[Wolfgang Amadeus Mozart|Mozart's]] Trumpet Concerto [[Köchel-Verzeichnis|K]] 47c has never been located but is established to have once existed, and the Neruda Trumpet Concerto has admirably assumed its role in the trumpeter’s repertoire.

==References==
*{{cite book|last=Neruda|first=Johann Baptist Georg|coauthors=Annegret Rosenmüller|title= Sei sonate a tre für Violino I, Violino II und Basso continuo|publisher=Beeskow : Ortus|date=2006 edition|id=OCLC 70912463}}
*{{cite book|last=Ottenberg|first=Hans-Günter|coauthors=Zdenka Pilková|title=The Symphony in Dresden : ten symphonies|publisher=New York : Garland|year=1984|isbn=0-8240-3850-9}} Contains a symphony in A written between 1745 and 1770 by Neruda (name given as Jan Křtitel Jiří Neruda)

==External links==
*{{WIMA|idx=Neruda|name=Johann Baptist Georg Neruda}}

 &lt;!-- according to this article, born in Prague, died in Dresden. --&gt;

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  <page>
    <title>Franz Ignaz Beck</title>
    <id>5958846</id>
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      <text xml:space="preserve">'''Franz Ignaz Beck''' (or Ignaz Beck) ([[February 20]] [[1734]]&amp;ndash;[[December 31]] [[1809]]) was a [[Germany|German]] [[composer]].

In his homeland he  received his first studies probably from his father, and afterwards was probably a student of [[Johann Stamitz]].

After a duel, which ended with what he mistakenly believed to be the death of his opponent, he fled the country.  Through Venice and possibly Naples he arrived in France, where he was recorded as being in Marseille for a time as the [[conducting|conductor]] of the theater orchestra.

In Bordeaux in the 1760s he eventually found employment as conductor of the opera orchestra. This position was his last before his death in 1809.

He belongs to the representatives of the [[Mannheim school]], which on the one hand was experimental and on the other hand prepared the way for the classical composers of the succeeding next two centuries.  One finds that they are affected as much by the compositions of this school as by those of the Italian and French music of the time.  

As was indeed not uncommon with the Mannheim school - indeed, [[Georg Matthias Monn]] wrote a symphony in [[B major]] (as did Joseph Haydn, but the key is otherwise unusual in orchestral music in the 18th century) - keys such as [[E major]] and others remote from C major can be found in Beck's music, as can dramatic effects of various kinds.

His compositions include a setting of the [[Stabat Mater]], several [[symphony|symphonies]] and opera overtures, and other works. Recordings of Beck's symphonies can be found on several music labels.  

Beck's works have been catalogued by Anneliese Callen.

==Scores==
*[http://www.artaria.com/SystemLink_Summary_O2 Artaria]   Including Callen catalogue numbers
*{{cite book|last=Callen|first=Anneliese|coauthors=Richard J. Viano, Donald H. Foster|isbn=0824038452|publisher=Garland Publishing|location=New York|title=Foreign composers in France, 1750-1790: Franz Ignaz Beck|date=1984
|url=http://books.google.com/books?id=zV8uAAAACAAJ&amp;dq=inauthor:anneliese+inauthor:callen&amp;as_brr=0}}

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  <page>
    <title>Mikhail Sokolovsky</title>
    <id>5243136</id>
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      <text xml:space="preserve">'''Mikhail Matveyevich Sokolovsky''' ([[Russian language|Russian:]] '''Михаи́л Матве́евич Соколо́вский''' (1756&amp;mdash;after 1795) was a late-18th century [[Russians|Russian]] [[opera]] [[composer]], [[conducting|conductor]] and [[violin]]ist.

Sokolovsky played the violin in the [[orchestra]] of the Medox Theatre in [[Moscow]]. It is known that he also taught singing at the [[university]]. The music of the renowned-in-its-day opera ''[[The Miller&amp;ndash;Wizard, Trickster and Match-Maker]]'' (''Мельник&amp;ndash;колдун, обманщик и сват [MYEL-neek kahl-DOON, ahb-MAHNSH-cheek ee svaht]'') to the text by [[Alexander Ablesimov|Aleksandr Ablesimov]] (Moscow, 1779; [[Saint Petersburg]], circa 1795) is attributed to him. Only part of the score survived but [[Nikolai Tcherepnin]] completed the missing portions in 1925, enabling the work to be revived. Sokolovsky's contemporary, composer [[Yevstigney Fomin]] later revised the music of the opera adding an [[overture]] to it.

Under the reign of autocratic Czar [[Nicholas I of Russia]], verses of Sokolovsky that were critical of Nicholas's predecessors, were often sung at anti-Nicholas rallies.

==See also==
[[Nikolai Sheremetev]]

==Bibliography==
*Sokolova, A. &quot;Fomin&quot;, the article in ''Tvorcheskie portrety kompozitorov''. Moskva: Muzyka, 1989, p.360-362.
*Abraham, Gerald. ''The Concise Oxford History of Music''. Oxford, 1979, p.479-481.
*[[Richard Taruskin|Taruskin, Richard]]. &quot;Fomin, Yevstigney Ipat'yevich&quot; in ''The [[New Grove Dictionary of Opera]]'' (editor, [[Stanley Sadie]]). London, 1992 ISBN 0-333-73432-7.

==External links==
*[http://www.vor.ru/English/1000years/1000y-033.html Russia&amp;mdash;1000 years of music]

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    <title>Johann Peter Salomon</title>
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      <comment>/* Life */ Repairing links to disambiguation pages - [[Wikipedia:Disambiguation pages with links|You can help!]]</comment>
      <text xml:space="preserve">[[Image:Johann Peter Salomon.jpg|thumb|200px|Johann Peter Salomon]]
'''Johann Peter Salomon''' ([[February 20]], [[1745]] (baptized) &amp;ndash; [[November 28]], [[1815]]) was a German [[violin]]ist, [[composer]], [[conducting|conductor]] and musical [[impresario]].

==Life==

He was born in [[Bonn]] and was the second son of Philipp Salomon, an oboist at the court in Bonn. His birth home was at Bonngasse 515, coincidentally the later birth home of [[Ludwig van Beethoven|Beethoven]].&lt;ref&gt;Robbins Landon (1976, 24)&lt;/ref&gt;  At the age of thirteen, he became a violinist in the court orchestra and six years later became the concert master of the orchestra of [[Prince Henry of Prussia|Prince Heinrich of Prussia]]. He composed several works for the court, including four [[operas]] and an [[oratorio]]. He moved to [[London]] in the early 1780s, where he worked as a composer and played violin both as a celebrated soloist and in a [[string quartet]]. He made his first public appearance at [[Covent Garden]] on 23 March 1781.

While in England, Salomon composed two operas for the [[Royal Opera]],&lt;ref&gt;Of his 1795 opera ''Windsor Castle'', [[Joseph Haydn]] wrote &quot;ganz passabel&quot;; &quot;quite passable&quot;.  Haydn wrote an overture for the opera (Robbins Landon 1976: 24, 483).&lt;/ref&gt; several art songs, a number of [[concertos]], and [[chamber music]] pieces. He is perhaps best known today, however, as a concert organiser and conductor. 

Salomon brought [[Joseph Haydn]] to London in 1791-92 and 1794-95, and together with Haydn led the first performances of many of the works that Haydn composed while in England.&lt;ref&gt;At the performances, both Haydn and Salomon were seated center stage.  Haydn (who according to [[Charles Burney|Burney]] &quot;presided&quot; seated at a piano while Salomon led with his violin, a common practice of the time.  The tempos were set by Salomon.  See Robbins Landon (1976:  52, 56-57).&lt;/ref&gt; Haydn wrote his symphonies numbers 93 to 104 for these trips, which are sometimes known as the ''Salomon'' symphonies (they are also more widely known as the [[London symphonies]]). Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies (for example, the phrase marked 'Salomon solo ma piano' in the trio of no. 97, and the florid violin part of no. 103, second movement); the Sinfonia Concertante in B ([[Hoboken-Verzeichnis|H]] I:105) was composed for Salomon, who played the solo violin part; and the six string quartets opp. 71 and 74 (H III:69–74), written between the two London visits in 1793, though dedicated to Count Apponyi, were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of ''[[The Creation (Haydn)|The Creation]]''. He was one of the founder-members of the [[Philharmonic Society]] and led the orchestra at its first concert on 8 March 1813.

Salomon is also believed to have given the ''Jupiter'' nickname to [[Wolfgang Amadeus Mozart]]'s ''[[Symphony No. 41 (Mozart)|Symphony No. 41]]''. Amongst his protegés was the English composer and soloist [[George Pinto]].

Salomon died in [[London, England|London]] in 1815, of injuries suffered when he was thrown from his horse.&lt;ref&gt;Robbins Landon (1976, 27)&lt;/ref&gt;  He is buried in the [[cloisters]] of [[Westminster Abbey]].

==Assessment==

Salomon's violin playing was highly regarded in his day; for a collection of reviews, see Robbins Landon (1976, 24-27).  Robbins Landon also praises his personal qualities:  &quot;Salomon was not only a clever and sensitive impresario, he was also generous, scrupulously honest, and very efficient in business matters.&quot;&lt;ref&gt;Robbins Landon (1976, 24-27)&lt;/ref&gt; [[Ludwig van Beethoven|Beethoven]], who know Salomon from his days in Bonn, wrote to [[Ferdinand Ries|Ries]] on hearing of his death, &quot;Salomon's death grieves me much, for he was a noble man, and I remember him since I was a child.&quot;&lt;ref&gt;Robbins Landon (1976, 27)&lt;/ref&gt;

==Notes==

&lt;references/&gt;

==References==
*Hubert Unverricht. The ''[[New Grove Dictionary of Opera]]'', edited by Stanley Sadie (1992),  ISBN 0-333-73432-7 and ISBN 1-56159-228-5
*''The Oxford Dictionary of Opera'', by John Warrack and Ewan West (1992), ISBN 0-19-869164-5
*Robbins Landon, H. C. (1976) ''Haydn:  Chronicle and Works''.  Bloomington:  Indiana University Press.

== External links ==
* [http://www.closelinks.com/facts.php?id=2180&amp;name=Johann+Peter&amp;surname=Salomon www.closelinks.com Free Family Tree]

{{DEFAULTSORT:Salomon, Johann Peter}}
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[[de:Johann Peter Salomon]]
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  </page>
  <page>
    <title>Hermann Raupach</title>
    <id>5219884</id>
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      <comment>reorder and rmv dead link to sound file</comment>
      <text xml:space="preserve">'''Hermann Friedrich Raupach''' ([[December 21]], [[1728]] &amp;ndash; [[December 12]], [[1778]]) was a German [[composer]].

==Biography==
Hermann Raupach was born at [[Stralsund]] in [[Germany]], the son and pupil of Christoph Raupach (1686-1744, a composer and organist. Raupach was a [[harpsichordist]], who became the assistant of [[Vincenzo Manfredini]], at the [[Russia]]n [[Imperial Court]] Orchestra in [[St Petersburg]] in 1755. In 1758 he was appointed a [[Kapellmeister]] and court composer. Some of his operas were performed in Russian. His ''Alceste'' (''Альцеста'', 1758 is regarded as &quot;the second Russian opera&quot; (after [[Araja]]’s ''[[Tsefal i Prokris]], 1755''). The role of Admet in this opera was sung by [[Dmitri Bortnyansky]], called the &quot;[[Orpheus]] of the [[Neva]] river&quot;. 

In 1762 Raupach left [[St Petersburg]] for [[Hamburg]] and then to [[Paris]], where he met [[Wolfgang Amadeus Mozart]] and improvised with him on harpsichord in 4 hands. Mozart arranged some movements from his sonatas for piano and string orchestra. The Sonata for Piano and Violin in A major, that was listed as K61, &lt;ref&gt;The number was changed into K. Anh 290a and then later into K. Anh C.23.07. See [http://www.mozartforum.com/koechel%20main.htm the link] &lt;/ref&gt;  first appeared under Mozart's name in the Breitkopf &amp; Härtel &quot;OEuvres&quot; in 1804. It had been in Baron Taddaus von Dürnitz collection, and was mistakenly thought to be by Mozart. In 1912 Theodor de Wyzewa and Georges de St. Foix discovered that the real composer was Hermann Raupach. They believed the young Mozart copied this sonata to use for an arrangement for a piano concerto, as he had used works of Raupach in K37, K39 and K41. &lt;ref&gt; Mozart's Piano Concertos Nos. 1, 2 and 4. &lt;/ref&gt; 

Later Raupach returned to [[St Petersburg]], where he became the instructor of composition and singing at the [[Academy of Fine Arts]] from 1768 to 1778. The composers Dmitri Bortnyansky and  [[Yevstigney Fomin]] were among his pupils.  He died in St Petersburg.

==Works==
====Operas==== 
*''Alceste'', ({{lang-ru|Альцеста - Alcesta}}, text by [[Alexander Sumarokov]] in [[Russian language|Russian]] (1758, [[St Petersburg]]), 
*''The New Monastery'' (1759) 
*''Siroe'', in Italian (1760, [[St Petersburg]]) 
*''Good Soldiers'' (''Добрые солдаты – Dobryie soldaty'', [[February 29]], [[1780]] [[St Petersburg]]) 
====Others==== 
*About 15(?) [[ballets]]
*Cantatas to the [[Psalms]] in Russian translation by [[Mikhail Lomonosov]] (His ''Psalm 145'' was especially popular)
*Violin sonatas

==Music sample==

[[Image:Mozart 4Pf Concerto 2.jpg|thumb|550px|none|W.-A. Mozart’s adaptation of Andantino from the Sonata by Hermann Raupach in his Piano Concerto No.4, in G, the second movement, K.41, dated by Leopold Mozart July [[1767]], [[Salzburg]].]]

==Bibliography==
*Gerber E.L.: ''Altes Lexicon'', II, p.239

==References==
{{reflist}}

==External links==
*[http://operetta.stanford.edu/composers/R.html Opera composers R]
*[http://www.mozartforum.com/Lore/article.php?id=031 Not by Mozart]
*[http://www.rulex.ru/01170274.htm Short biographical note in Russian]

{{DEFAULTSORT:Raupach, Hermann Friedrich}}
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  <page>
    <title>Simon Sechter</title>
    <id>347243</id>
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      <text xml:space="preserve">{{Refimprove|date=September 2008}}
[[Image:Sechter.jpg|thumb|Simon Sechter. Lithograph by [[Josef Kriehuber]], 1840]]
'''Simon Sechter''' (October 11, 1788 &amp;ndash; September 10, 1867) was an [[Austria]]n [[music theory|music theorist]], [[teacher]], [[Organ (music)|organist]], [[conducting|conductor]] and [[composer]].

Sechter was born in [[Frymburk|Friedberg (Frymburk)]], [[Bohemia]], then part of the [[Austrian Empire]], and moved to [[Vienna]] in 1804, succeeding [[Jan Václav Voříšek]] as court organist there in 1824. In 1810 he began teaching [[piano]] and [[Singing|voice]] at an academy for blind students. In 1828 the ailing [[Franz Schubert]] had one counterpoint lesson with him.&lt;ref&gt;Schubert's Lesson with Sechter Alfred Mann 19th-Century Music, Vol. 6, No. 2 (Autumn, 1982), pp. 159-165&lt;/ref&gt; In 1851 Sechter was appointed professor of composition at the [[University of Music and Performing Arts, Vienna|Vienna Conservatory]]. In his last years, Sechter was generous to a fault, and died in poverty.{{Fact|date=May 2009}} He was succeeded at the Conservatory by [[Anton Bruckner]], a former student&lt;ref&gt;The Wind and Wind-chorus Music of Anton Bruckner By Keith William Kinder Greenwood Publishing Group, 2000&lt;/ref&gt; whose teaching methods were based on Sechter's.

Others whom Sechter taught include the composer [[Henri Vieuxtemps]], the conductor [[Franz Lachner]], the teacher [[Eduard Marxsen]] (who taught [[Johannes Brahms]] piano and counterpoint), the composer and teacher [[Johann Nepomuk Fuchs]], [[Gustav Nottebohm]], [[Carl Umlauf]], the conductor and composer [[Kéler Béla]] and the pianist-composers [[Sigismond Thalberg]] and [[Adolf von Henselt]], to list a few.

Sechter had strict teaching methods. For instance, he forbade Bruckner to write any original compositions while studying counterpoint with him. The scholar [[Robert Simpson (composer)|Robert Simpson]] believes that &quot;Sechter unknowingly brought about Bruckner's originality by insisting that it be suppressed until it could no longer be contained.&quot;&lt;ref&gt;The Essence of Bruckner By Robert Simpson, Robert Wilfred Levick Simpson Gollancz, 1967&lt;/ref&gt; Sechter taught Bruckner by mail from 1855 to 1861 and considered Bruckner his most dedicated pupil. Upon Bruckner's graduation, Sechter wrote a [[fugue]] dedicated to his student.

In the three-volume treatise on the principles of composition, ''Die Grundsätze der musikalischen Komposition'', Sechter wrote a seminal work that influenced many later theorists. Sechter's ideas are derived from [[Jean-Philippe Rameau]]'s theories of the fundamental bass, always diatonic even when the surface is highly chromatic; music theory historians strongly associate Sechter with the Viennese conception of fundamental bass theory.&lt;ref&gt;p. 60, Cook (2007) Nicholas. Oxford ''The Schenker project: culture, race, and music theory in fin-de-siècle Vienna'' Oxford University Press&lt;/ref&gt; Sechter was an advocate of [[just intonation]] over [[well temperament|well-tempered tuning]].{{Fact|date=May 2009}}

Carl C. Müller compiled and adapted Sechter's ''Die richtige Folge der Grundharmonien'' as ''The Correct Order of Fundamental Harmonies: A Treatise on Fundamental Basses, and their Inversions and Substitutes'' (Wm. A. Pond, 1871; G. Schirmer, 1898).

Sechter was also a composer, and in that capacity is mostly remembered for writing about 5,000 fugues (he tried to write at least one fugue every day), but he also wrote masses and oratorios. In addition he wrote five [[operas]] ''Das Testament des Magiers'' (1842), ''Ezzeline, die unglückliche Gegangene aus Deli-Katesse'' (1843), ''Ali Hitsch-Hatsch'' (1844), ''Melusine'' (1851), and ''Des Müllers Ring'' (?).&lt;ref&gt;[http://opera.stanford.edu/composers/S.html Opera Glass]&lt;/ref&gt;  In 1823-24, he was one of the 50 composers who composed a variation on a waltz by [[Anton Diabelli]] for ''[[Vaterländischer Künstlerverein]]''.

He may have been the most prolific composer who ever lived, outdoing even [[Georg Philipp Telemann]] in the quantity of his output.

== References ==
{{reflist}}

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[[de:Simon Sechter]]
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  </page>
  <page>
    <title>Michele Carafa</title>
    <id>3627687</id>
    <revision>
      <id>302629423</id>
      <timestamp>2009-07-17T17:14:56Z</timestamp>
      <contributor>
        <username>Eastfrisian</username>
        <id>915543</id>
      </contributor>
      <text xml:space="preserve">'''Michele Enrico Carafa di Colobrano''' ([[17 November]], [[1787]] &amp;ndash; [[26 July]], [[1872]]) was an [[Italy|Italian]] [[opera]] [[composer]]. He was born in [[Naples]] and studied in [[Paris]] with [[Luigi Cherubini]].  He was Professor of counterpoint at the [[Conservatoire de Paris|Paris Conservatoire]] from 1840 to 1858.

==Selected Operas==

*''Gabriella di Vergy'' (1816)
*''Jeanne d'Arc à Orléans'' (1821)
*''Le solitaire'' (1822)
*''Le valet de chambre'' (1823)
*''Il sonnambulo'' (1824)
*''[[La belle au bois dormant (opera)|La belle au bois dormant]] ([[Sleeping Beauty]])'' (1825)
*''Le nozze di Lammermoor'' (1829)
*''La prison d'Édimbourg'' (1833)

==Source==

*''The Oxford Dictionary of Opera'', by John Warrack and Ewan West (1992),  782 pages,  ISBN 0-19-869164-5

{{DEFAULTSORT:Carafa, Michele}}
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[[de:Michele Carafa]]
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[[ru:Карафа ди Колобрано, Микеле Энрико]]
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  <page>
    <title>John Foster (composer and magistrate)</title>
    <id>6434674</id>
    <revision>
      <id>291240965</id>
      <timestamp>2009-05-20T19:37:26Z</timestamp>
      <contributor>
        <username>Postcard Cathy</username>
        <id>1744116</id>
      </contributor>
      <comment>/* Bibliography */</comment>
      <text xml:space="preserve">{{Orphan|date=November 2006}} 
'''John Foster''' (1762-1822) of Chapletown South Yorkshire was the composer of the tune set to ''While Shepherds Watched Their Flocks by Night'' known as ''Old Foster'', one of the more popular of the hundreds of tunes used with these words.
Musically he was based in one of the many non-conformist chapels
in the Blackburn Valley, (see [[Blackburn Brook]]), near Sheffield. His style is 19th century classical.
He is also credited as being the magistrate who made
cock-fighting and bull-baiting illegal in Yorkshire (Gatty,1884).

The tune was originally published in [[York]] as part of a collection of anthems for choir and orchestra, the only surviving prints of which are in Sheffield Local History Library. It did not have the  [[carol]] words of [[Nahum Tate]] then.  It was  [[Psalm]]47, ''Ye people all with one accord''. It became ''While Shepherds Watched Their Flocks by Night'' when it migrated to becoming a pub carol accompanied by the small pub string band orchestra after the instruments were thrown out of the churches into the pubs by the [[Oxford Movement]].

This has not stopped commercial recordings of ''While Shepherds ...'' being made with the anthem orchestra, which would have had difficulty fitting in a public house even if it were available.

==Bibliography==
*The New Oxford Book of Carols, ''edited'' Hugh Keyte and Andrew Parrott.
*Gatty, Alfred, ''A life at one living'', (1884).

[[Category:Classical era composers|Foster, John]]
{{DEFAULTSORT:Foster, John}}</text>
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  <page>
    <title>Elisabetta de Gambarini</title>
    <id>6811444</id>
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      <id>311366238</id>
      <timestamp>2009-09-01T23:01:31Z</timestamp>
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        <username>TXiKiBoT</username>
        <id>3171782</id>
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      <minor/>
      <comment>robot Adding: [[ja:エリザベッタ・デ・ガンバリーニ]]</comment>
      <text xml:space="preserve">[[Image:Gambarini.gif|thumb|250px|Elisabetta de Gambarini, 1748]]

'''Elisabetta de Gambarini''' (1731-1765) was an English [[composer]], singer, [[organist]] and [[harpsichord]]ist of the [[XVIII century]] born in London of an Italian father, Charles Gambarini.
   
She took part as a [[soprano]] in [[Handel]]'s [[oratorio]] ''[[Judas Maccabaeus (Handel)|Judas Maccabaeus]]'' at 1 April 1747. She left two books of harpsichord works, published in 1748 :

* Opus 1 : ''Six sets of lessons for the harpsichord'' in three movements
* Opus 2 : ''Lessons for the harpsichord intermixed with Italian and English songs''; in one movement only.

== Discography ==
*''Lessons for the harpsichord'' by [[Paule van Parys]] (Pavane ADW7395 )

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  </page>
  <page>
    <title>Franz Krommer</title>
    <id>6827614</id>
    <revision>
      <id>312170690</id>
      <timestamp>2009-09-06T11:49:41Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>replace lifetime which is duplicating category information using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">'''Franz Krommer''' ([[Czech language|lang-cz:]] ''František Vincenc Kramář'') (November 27, 1759 &amp;ndash; January 8, 1831) was a [[Moravia]]n composer of [[European classical music|classical music]], whose seventy-year life began the year of the death of [[George Frideric Handel]] and ended a few years after that of [[Ludwig van Beethoven]].

[[Image:FranzKrommer.jpg|right|thumb|Franz Krommer]]

==Life==

The main events of his life were somewhat as follows:

* From 1773 to 1776, he studied violin and organ with his uncle, Antonín Mattias Kramár, in Turán. Here he became organist along with his uncle in 1777.  In 1785 he returned to Vienna as violinist in the orchestra of the duke of Styria, now in Simontornya in Hungary.
* In 1790 Krommer was named Maestro di Capella at the Cathedral of Pécs in Hungary.  He returned again to Vienna in 1795, before becoming Maestro di Capella this time for Duke Ignaz Fuchs in 1798.
* From 1813 (and from 1818, Kapellmeister, according to the HOASM biography)  until his death in 1831, Krommer was the successor to [[Leopold Kozeluch]] in the position of court composer for the Imperial Court of Austria.

He may have been Kapellmeister as early as 1814&lt;ref&gt;{{cite journal|last=Engel|first=Carl|authorlink=Carl Engel|journal=The Musical Quarterly|url=http://links.jstor.org/sici?sici=0027-4631%28191810%294%3A4%3C491%3AMWSNH%3E2.0.CO%3B2-L|
title=Music We Shall Never Hear|month=October | year=1918|volume=4|issue=4|pages=500–1|issn=0027-4631|accessdate=2007-08-22}}&lt;/ref&gt;. (This article also shows or at least suggests that Beethoven's opinion towards such music of Krommer's as he heard was poor.) 

==Compositions==
His output was prolific, with at least three hundred published compositions in at least 110 [[opus number]]s including at least five symphonies, seventy string quartets and many others for winds and strings, about fifteen [[string quintet]]s ([http://www.areditions.com/rr/embellish/1999_08/quintets.html]) and much music for winds by themselves and with other instruments, for which he has perhaps become best-known.     

===Worklist by opus number===

Compiled from [http://catalog.loc.gov Library of Congress] records (of scores, parts or recordings. Note that some works by Krommer were published with the same opus number.&lt;!-- As to the Library of Congress, record listings of these kind in their catalog are not copyrighted, according to a response to a query I made them.--&gt;) also from [http://www.worldcat.org WorldCat].

*opus 1 - three string quartets (Offenbach s. M., André, about 1780)&lt;ref name=&quot;mzk&quot; /&gt;
*opus 2 - three duos for two violins (in E♭, C and F)&lt;ref name=&quot;nnl&quot;&gt;{{cite web|title=National Library of the Netherlands Library Catalog|url=http://www.kb.nl/menu/catalogi.html/|accessdate=2007-08-09}}&lt;/ref&gt;
*opus 3 - three quartets for strings (in C, A and D) (published around 1794 by André)&lt;ref name=&quot;slub&quot; /&gt;
*opus 4 - three quartets for strings (published in 1794 by André)&lt;ref name=&quot;blibrary&quot; /&gt;
*opus 5 - three quartets for strings (in E♭, F and B♭)&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;uiowa&quot;&gt;{{cite web|title=University of Iowa OPAC Search Page|url=http://infohawk.uiowa.edu/F|accessdate=2007-08-11}}&lt;/ref&gt;&lt;ref name=&quot;uiowa&quot; /&gt;
*opus 6 - three duos for two violins (published by Pleyel about 1799)&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 7 - three string quartets &quot;concertans&quot; (published by Andre about 1797)&lt;ref name=&quot;blibrary&quot; /&gt;
*opus 8 - six string quintets&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 9 - seven variations for violin solo&lt;ref name=&quot;mzk&quot; /&gt;
*opus 9 - also the opus number of a set of string quartets.
*opus 10 - three string quartets&lt;ref name=&quot;mzk&quot; /&gt;
*opus 11 - Trois quintetti : pour deux violons, deux altos &amp; violoncelle (published by Andre in or before 1798). In F major, C minor and D major.&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 12 - symphony no. 1 in F major (published about 1798 by Andre)&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 13 - Quartet for flute, violin, viola, violoncello in D major. (ca. 1797)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 14 - 13 variations for violin and bass&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 15 - sonata in C for violin and basso continuo (published by Andre in 1799)&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;blibrary&quot; /&gt;
*opus 16 - three string quartets (in E♭, F and C) (published Vienna: Artaria about 1800)&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;nnl&quot; /&gt;
*opus 17 - quartet for flute and strings in F&lt;ref name=&quot;voyager&quot; /&gt;
*opus 18 - three string quartets (in D, A and E♭) (new edition Adliswil ; Lottstetten : Edition Albert J. Kunzelmann, c 2000)&lt;ref name=&quot;worldcat&quot; /&gt;&lt;ref name=&quot;dma&quot; /&gt;
*opus 18 - Concertino for flute, oboe, violin, horn and orchestra in C&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;uiowa&quot; /&gt;(possibly an arrangement of one of the quartets in the set also published as opus 18. &lt;!--MZK Brno has a ca. 1805 edition of this so not merely a modern arrangement.--&gt;) 
*opus 19 - three string quartets &quot;concertans&quot;, in C, F and B♭.&lt;ref name=&quot;nnl&quot; /&gt;
*opus 20 - three string quartets, in C, F and B♭ (composed jointly by Krommer and Barrière. Krommer composed three movements each of two of the quartets.)&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;voyager&quot; /&gt;
*opus 21 - quartets for clarinet and strings (no. 1 in B♭, no. 2 in E♭) (published by Andre in 1819.)&lt;ref name=&quot;uiowa&quot; /&gt;&lt;ref name=&quot;skc&quot; /&gt;
*opus 22 - three duos concertants for violins (in A major, C, and F minor)&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 23 - String quartet in G major (published by  Simrock in Bonn in 1802)&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 23 - Flute quartet in C (arrangement of above?)&lt;ref name=&quot;slub&quot;&gt;{{cite web|title=Dresden SLUB OPAC|url=http://www.slub-dresden.de/|accessdate=2007-09-17}}&lt;/ref&gt;
*opus 24 - three string quartets (published in Vienna)&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 25 - six quintets for two violins, two violas and bass (nos. 1-3 in C, F and E♭)&lt;ref name=&quot;slub&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 26 - string quartets (in C, F and A)&lt;ref name=&quot;nnl&quot; /&gt; (published by Simrock about 1803) &lt;!--copy at Netherlands National Library missing entire first violin part? --&gt;
*opus 27 - sonata for violin &quot;with the accompaniment of a viola&quot; in D&lt;ref name=&quot;nnl&quot; /&gt;
*opus 29 - sonata for violin with the accompaniment of a viola in D&lt;ref name=&quot;mzk&quot; /&gt;
*opus 30 - flute concerto no. 1 in G&lt;ref name=&quot;worldcat&quot; /&gt; (2004 edition for flute and piano published Frankfurt (Main) : Zimmermann)&lt;ref name=&quot;dma&quot;&gt;{{cite web|title=Katalog des Deutschen Musikarchivs|url=http://dispatch.opac.d-nb.de|accessdate=2007-08-20}}&lt;/ref&gt;
*opus 30 also - quartet for flute, violin, viola and bass in C&lt;ref name=&quot;worldcat&quot; /&gt;&lt;ref name=&quot;voyager&quot; /&gt; (published by [[Artaria]] in the 1810s)
*opus 31 - Marches for woodwinds, two horns and trumpet.
*opus 32 - Trio for piano, viola, and cello, in F&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 33 - three duos for two violins, in B♭, E and A♭ (published by Andre about 1803)&lt;ref name=&quot;slub&quot; /&gt;
*opus 34 - three string quartets (in G major, D minor and B♭ major)&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt; &lt;!--one copy at Netherlands National Library is incomplete --&gt;
*opus 34 (also) - &quot;sonata&quot; for piano, viola and cello in F &lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 35 - concerto for two clarinets in E♭
*opus 35 - three violin duets.&lt;ref name=&quot;blibrary&quot; /&gt;
*opus 36 - clarinet concerto in E♭ (published by Offenbach s.m., André about 1820)&lt;ref name=&quot;mzk&quot; /&gt;
*opus 37 - oboe concerto in F&lt;ref name=&quot;uiowa&quot; /&gt;
*opus 38 - &quot;Concertino pour flute, hautbois et violon&quot;&lt;ref name=&quot;mzk&quot; /&gt;
*opus 39 - concertino for flute, oboe violin and orchestra in G&lt;ref name=&quot;dma&quot; /&gt; 
*opus 40 - symphony no. 2 in D major&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 42 - sonata for violin with the accompaniment of a viola
*opus 43 - fourth violin concerto&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 44 - fifth concerto for violin and orchestra in D (exists in flute concerto arrangement also published in 1830)&lt;ref name = &quot;mzk&quot; /&gt;
*opus 45 - sonata for violin and cello in C (Canadian National Library) (See above)
*opus 45 number 1 - Partitas, woodwinds, horns (2), trumpet in B♭ major.
*opus 45 number 2 - Harmony (Partita) for 2 oboes, 2 clarinets, 2 horns, trumpet, 2 bassoons, and contrabassoon, in E♭ major.
* opus 45 number 3 - Harmony (Partita) in B♭ major for 2 oboes, 2 clarinets, trumpet, 2 horns, 2 bassoons, and contrabassoon (all three opus 45 re?published by Döblinger in 1999.)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 46 number 1 - Quartet in B♭ for bassoon, two violas and cello.&lt;ref name=&quot;voyager&quot; /&gt;
*opus 46 number 2 - Quartet in E♭ for bassoon, two violas and cello.&lt;ref name=&quot;voyager&quot; /&gt;
*opus 47 - thirteen pieces for two clarinets and viola (or three clarinets)&lt;ref name=&quot;uiowa&quot; /&gt;
*opus 48 - string quartets (in E♭, C and D)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 49 - quintet in D for flute, violin, two violas, and cello (published by Bureau d'Arts et d'Industrie, Vienna, 1800s) (in the [http://sigma.nkp.cz NKC library] in the Czech republic. Recorded on the label Edit, 1996.)&lt;ref name=&quot;slub&quot; /&gt;
*opus 50 - string quartets in F major, B♭ and A&lt;ref name=&quot;nnl&quot; /&gt; (the manuscript of no. 3 in A major is in the [[Pierpont Morgan Library]]&lt;ref&gt; {{cite journal
  | last = Turner
  | first = J. Rigbie
  | title = Nineteenth-Century Autograph Music Manuscripts in the Pierpont Morgan Library: A Check List (II)
  | journal = 19th-Century Music
  | volume = 4
  | issue = 2
  | pages = 160
  | date = Autumn, 1980
  | url = http://www.jstor.org/stable/746713
  | doi = 10.1525/ncm.1980.4.2.02a00070
  | accessdate = 2009-04-11
  | month = November
  | year = 1980 }} &lt;/ref&gt;)
*opus 51 - duets for violins (ca. 1809)&lt;ref name=&quot;nnl&quot; /&gt; (Canadian National Library)
*opus 52 - oboe concerto in F
*opus 52 - clarinet concerto&lt;ref name=&quot;mzk&quot; /&gt;
*opus 53 - three string quartets, in E♭, A and C (early publication 1804. Vienna: Cappi)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 54 - duos for two violins&lt;ref name=&quot;blibrary&quot;&gt;{{cite web|title=British Library OPAC|url=http://catalogue.bl.uk|accessdate=2007-08-11}}&lt;/ref&gt;
*opus 54 - also the opus number of three string quartets, in F, D and B♭ (published in 1805)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 55 - quintet (2nd flute quintet) for flute, violin, 2 violas and cello in E minor (possibly written 1797 &lt;!--according to card entry which may be quoting 1805 score --&gt;)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 56 - three string quartets, in B♭, D and G&lt;ref name=&quot;nnl&quot; /&gt; 
*opus 57 - harmony (octet-partita) for winds in F 
*opus 58 - quintet (3rd flute quintet) in C for flute, violin, two violas, and cello&lt;ref name=&quot;BayernLibrary&quot;&gt;{{cite web|title=Bayern OPAC Main Page|url=http://gateway-bayern.bib-bvb.de/|accessdate=2007-08-11}}&lt;/ref&gt; 
*opus 59 - variations (quartet in G) on a Bohemian folksong for flute, violin, viola and cello&lt;ref name=&quot;uiowa&quot; /&gt;&lt;ref name=&quot;dma&quot; /&gt;
*opus 61 - violin concerto in D minor.&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;hollis&quot;&gt;{{cite web|title=Hollis Harvard OPAC|url=http://hollis.harvard.edu|accessdate=2007-08-20}}&lt;/ref&gt;
*opus 62 - symphony no. 3 in D major (1807) (about to be republished, 2006, by Ries &amp; Erler. The old André edition is at the Library of Congress - ''Grande sinfonie pour 2 violons, flûte, 2 haut-bois, 2 clarinettes, 2 bassons, 2 cors, 2 trompettes, timbales, alto &amp; basse...'')&lt;ref name=&quot;nnl&quot; /&gt;
*opus 63 - quintet in C for flute and strings (flute, violin, two violas, and cello) (published by Sieber in Paris, between 1799 and 1813, republished in 2000.) 
*opus 64 - three string quartets (published by Pleyel 1803 or 1804)&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 65 - concertino for flute, oboe and orchestra in C&lt;ref name=&quot;voyager&quot;&gt;{{cite web|title=University of Rochester Sibley OPAC|url=http://catalog.lib.rochester.edu|accessdate=2007-08-22}}&lt;/ref&gt;
*opus 66 - quintet in E♭ for flute (or violin), violin, two violas, and cello  (ca. 1809) (Vienna: magasin de l'imprimerie chimique)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 67 - octet-partita in B♭
*opus 68 - three string quartets in F minor, C major and A (about 1809) (Vienna: magasin de l'imprimerie chimique)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 69 - &quot;harmonie&quot; (for wind-ensemble) for 2 oboes, 2 clarinets, 2 bassoons, horn and contrabassoon in E♭
*opus 69 - also the opus no. of a quartet for clarinet, violin, viola and cello in E♭ (written about 1808) (published in Bonn: Simrock, also about 1808)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 70 - sinfonia concertante for violin, flute, clarinet and orchestra in E♭
*opus 70 also - string quintet in E♭ (2 violins, 2 violas, cello)&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 71 - partita for winds in E♭
*opus 72 - string quartets in C, E and A♭ (published ca. 1810) (Vienna: magasin de l'imprimerie chimique)  (nos. 1 in C and 3 in A♭ published by Theo Wyatt in their Merton Music series in 1996.)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 73 - partita for winds in F
*opus 74 - three string quartets in B♭, G and in D minor (published ca. 1810) (Vienna: magasin de l'imprimerie chimique)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 75 - quartet for flute, violin, viola and cello in D&lt;ref name=&quot;mzk&quot; /&gt;
*opus 76 - partita for winds in C
*opus 77 - partita for winds in F
*opus 78 - partita for winds in B♭&lt;ref name=&quot;voyager&quot; /&gt;
*opus 79 - octet-partita/nonet for 2 oboes, 2 clarinets, 2 horns, 2 bassoons, and contrabassoon in E♭. [http://www.worldcat.org/oclc/26133008]
*opus 80 - sinfonia concertante for flute, clarinet violin and orchestra in D&lt;ref name=&quot;uiowa&quot; /&gt; 
*opus 80 may also be the proper opus number of the quartets presently listed under opus 90.
*opus 80 also is the number assigned to a string quintet&lt;ref name=&quot;skc&quot; /&gt;
*opus 81 - violin concerto&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 82 - quartet for clarinet, violin, viola and cello in D. (published by Andre possibly around 1814.)&lt;ref name=&quot;uiowa&quot; /&gt;
*opus 83 - harmonie for winds in F
*opus 83 - quartet for clarinet and strings in B♭ (published by Andre around 1816.)&lt;ref name=&quot;uiowa&quot; /&gt;
*opus 84 - piano trio no. 1 for piano, violin and cello in E♭ major (Vienna: magasin de l'imprimerie chimique, around 1810) &lt;!-- opus 32 not usually counted as his first trio because of sonata designation... --&gt;&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;
*opus 85 - three string quartets in F, B♭ and D (Netherlands Library record gives 1809 for date of publication. No. 1 in F has been republished in the Merton Music series.)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 86 - concerto for flute and orchestra in E minor (arranged by [[Joseph Küffner]] into a clarinet concerto)&lt;ref name=&quot;blibrary&quot; /&gt; 
*opus 87 - piano trio no. 2 for piano, violin and cello in F major (Vienna: Steiner. Published in 1811)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 88 - three (?) quintets for strings (published ca. 1810) (Vienna: magasin de l'imprimerie chimique) (number 1 is in E♭, number 2 is in D minor, no. 3 is in C)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 89 - Grand quatuor pour flute, violin, alto, violoncello in F&lt;ref name=&quot;blibrary&quot; /&gt; (Offenbach : Chez J. Andre, 1816?) [http://www.worldcat.org/oclc/18608836]
*opus 90 - quartet for clarinet and strings in C major (1820)   &lt;!-- is this related to one of the three quartets printed in the other opus 90?--&gt;&lt;ref name=&quot;dma&quot; /&gt;
*opus 90 - also the opus number of three string quartets, in E♭, C and B♭  (ca. 1813) (Vienna: magasin de l'imprimerie chimique)&lt;ref name=&quot;mzk&quot;&gt;{{cite web|title=Moravian Library of Brno Catalogs|url=http://www.mzk.cz/katalogy/|accessdate=2007-08-11}}&lt;/ref&gt;&lt;ref name=&quot;nnl&quot; /&gt;  &lt;!-- Netherlands library also says opus 80 while listing them under opus 90. Moravian Library has a pre-1951 card, no. 406, magasin chimique from around 1800, scanned-in giving a corroborating datum --&gt;
*opus 91 - quintet for flute and strings in D major
*opus 91 also - concerto in E♭ for two clarinets and orchestra&lt;ref name=&quot;voyager&quot; /&gt;
*opus 92 - quartet for flute and strings in G&lt;ref name=&quot;mzk&quot; /&gt; (also National Library of Canada) 
*opus 92 - also string quartets (date of publication 1816)&lt;ref name=&quot;nnl&quot; /&gt; (other catalog entries at the same site list the three opus 92 quartets as being in D, B♭ and G major respectively. Published by Ricordi in Milan.)
*opus 92 - (also opus 94?) ''also'' a quintet for flute and strings in D minor&lt;ref name=&quot;nnl&quot; /&gt; (published by Haslinger around 1820)&lt;ref name=&quot;urr&quot;&gt;{{cite web|title=Rochester Library Research|url=https://urresearch.rochester.edu|accessdate=2007-08-22}}&lt;/ref&gt;
*opus 93 - quartet for flute and strings in D (published by André in 1819)&lt;ref name=&quot;blibrary&quot; /&gt;
*opus 94 - quartet in C for flute and strings&lt;ref name = &quot;dma&quot; /&gt;
*opus 94 - also Duets for violins (Canadian National Library)&lt;ref name=&quot;blibrary&quot; /&gt; 
*opus 95 - quartet for piano and strings in E♭ (published 1817)&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;worldcat&quot;&gt;{{cite web|title=WorldCat OPAC|url=http://www.worldcat.org|accessdate=2007-11-29}}&lt;/ref&gt;&lt;ref&gt;{{cite book|title=Guide &amp; Concordance to EARLY MUSIC FROM LOW COUNTRIES LIBRARIES - previously &quot;Music from Dutch Libraries&quot; - : PART IX: MUSIC FOR INSTRUMENTAL ENSEMBLE 1660 – 1820 on Microfiche|chapter=7. Quartets and quintets for string instruments with basso continuo / pianoforte|format=[[Microsoft Word|DOC]]|publisher=Haags Gemeentemuseum, Music Department, The Hague, The Netherlands Koninklijk Conservatorium, Library; MMF Publications|location=Brussels, Belgium; Lisse, the Netherlands
|year=2000|url=http://www.mmfpublications.nl/mmf_publications/ensemble.doc|accessdate=2008-05-26|page=34}}&lt;/ref&gt;
*opus 95 - also? quintet for clarinet, violin, two violas, and cello in B♭ major (1817)&lt;ref name=&quot;mzk&quot; /&gt; [http://www.worldcat.org/oclc/66188551]
*opus 96 - divertimento for string trio in F, 1818.&lt;ref name=&quot;nnl&quot; /&gt; (recorded in 1999)&lt;ref name=&quot;skc&quot;&gt;{{cite web|title=Union Catalogue of the Czech Republic (CASLIN)|url=http://sigma.nkp.cz/F/|accessdate=24 August 2007}}&lt;/ref&gt;&lt;ref&gt;{{cite web|title=Naxos site track listing which explains title Divertimento (two minuets, two slow movements, as in Mozart K.563 for string trio) for opus 96|url=http://www.naxos.com/catalogue/item.asp?item_code=Phoenix106|accessdate=31 March 2009}}&lt;/ref&gt;
*opus 96 - also used for a quartet for flute and strings in C, published by André around 1819&lt;ref name=&quot;voyager&quot; /&gt;
*opus 97 - quartet for flute, violin, viola and violoncello in D (Offenbach s/M, Andre, about 1800?)&lt;ref name=&quot;mzk&quot; /&gt;
*opus 98 - quartet for flute and string trio in G&lt;ref name=&quot;voyager&quot; /&gt;
*opus 99 - three string quartets, in D major, B minor and G major &lt;!-- follow the proper links for that information--&gt;&lt;ref name=&quot;BayernLibrary&quot; /&gt;
*opus 100 - string quintets in B♭ major, D minor, G&lt;ref name=&quot;nnl&quot; /&gt;
*opus 101 - quintet (no. 6) for flute and strings (published by Haslinger around 1790)&lt;ref name=&quot;mzk&quot; /&gt;
*opus 102 - symphony no. 4.&lt;ref name=&quot;nnl&quot; /&gt; &lt;!--two references - mzk also - agree on E♭ major - perhaps this is on title page --&gt;
*opus 103 - three string quartets, in G major, C major and A minor (Vienna: Steiner around 1821)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 104 -  Flute quintet &quot;number 7&quot;, flute, violin, violas, violoncello in E♭ major. (published by Steiner in Vienna.)&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;nnl&quot; /&gt;
*opus 105 - symphony no. 5 in E♭ (published 1815 by Andre in Offenbach on Mayn)&lt;ref name=&quot;mzk&quot; /&gt;&lt;ref name=&quot;nnl&quot; /&gt;&lt;ref name=&quot;worldcat&quot; /&gt;&lt;ref name=&quot;symphonyvienna&quot;&gt;{{cite web|title=The Symphony in Beethoven's Vienna: Index|url=http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=9780521862615&amp;ss=ind|last=Jones|first=David Wyn|year=2006|publisher=Cambridge University Press|accessdate=2007-11-29}}&lt;/ref&gt;
*opus 106 - three string quintets, in F, E♭ and C&lt;ref name=&quot;nnl&quot; /&gt;
*opus 107 - three string quintets (2 violins, 2 violas, violoncello) (in C, A and E♭)  (Offenbach s/M, Andre, about 1825)&lt;ref name=&quot;nnl&quot; /&gt;
*opus 108 - Mass in C for four solo singers, two violins, violas, flute, oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, drums, cello, contraltos and organ. (published in 1824)&lt;ref name=&quot;blibrary&quot; /&gt; &lt;!-- description from the Andre edition as noted in the British Library's catalog) --&gt;
*opus 109 - quintet no. 8 in G for flute, violin, 2 violas and cello (published in the 1820s.  Wien, Tobias Haslinger)&lt;ref name=&quot;voyager&quot; /&gt;
*opus 110 - Three duets for violins (in A minor, E major and C major)&lt;ref name=&quot;nnl&quot; /&gt;
without opus number: 
*partita in C minor for 2 clarinets, 2 horns and 2 bassoons&lt;ref name=&quot;voyager&quot; /&gt;
*&quot; (often referred to as &quot;Ben 338&quot; : trio in F for two oboes and English horn, variations on a theme by [[Ignaz Pleyel|Pleyel]]
*violin concerto in F (edited from a ms. in the Archiepiscopal Archive in Kroměříž, according to the Kunzelmann edition.)
*Mass in D (published Firenze : Presso Ferdinando Lorenzi, 1842)&lt;ref name=&quot;blibrary&quot; /&gt;
*A string trio in D major published in 1993 (by Metronome Edition, Prague)&lt;ref name=&quot;skc&quot; /&gt;
*symphony 6 in D&lt;ref name=&quot;symphonyvienna&quot; /&gt;
*symphony 7 in G minor&lt;ref name=&quot;symphonyvienna&quot; /&gt;
*symphony 8 (lost)&lt;ref name=&quot;symphonyvienna&quot; /&gt;
*symphony 9 in C&lt;ref name=&quot;symphonyvienna&quot; /&gt;

&quot;Ben&quot; refers to the cataloging work done on Ignaz Pleyel and Krommer's work by [[Rita Benton]].

===Complete worklist===
List compiled by Karel Padrta.&lt;ref&gt;Padrta, Karel. ''Franz Krommer: Thematischer Katalog seiner musikalischen Werke''. Prague: Supraphon. 1997. 425 pp. ISBN 80-7058-388-6&lt;/ref&gt;

====Symphonies====
* P I:1 - Symphony No. 1 in F major, Op. 12
* P I:2 - Symphony No. 2 in D major, Op. 40
* P I:3 - Symphony No. 3 in D major, Op. 62
* P I:4 - Symphony No. 4 in C minor, Op. 102 (1819-20)&lt;ref name=&quot;krommersyms4to9&quot;&gt;{{Google books|8MhXnGxfYkEC|The Symphony in Beethoven's Vienna}}, page 197, table 8.3&lt;/ref&gt;
* P I:5 - Symphony No. 5 in E flat major, Op. 105 (1821)&lt;ref name=&quot;krommersyms4to9&quot;/&gt;
* P I:6 - Symphony No. 6 in D major (1823)&lt;ref name=&quot;krommersyms4to9&quot;/&gt;
* P I:7 - Symphony No. 7 in G minor (1824)&lt;ref name=&quot;krommersyms4to9&quot;/&gt;
* P I:8 - Symphony No. 8 (unknown)
* P I:9 - Symphony No. 9 in C major (1830)&lt;ref name=&quot;krommersyms4to9&quot;/&gt;
* P I:C1 - Sinfonia Pastorallis in C major
* P I:D1 - Symphony in D major
* P I:D2 - Sinfonia Pastorallis in D major (lost)

====Concertos====
* P II:1 - Concertino Op. 18 for flute, oboe &amp; violin in C major
* P II:2 - Concertino Op. 38 for flute, oboe &amp; violin in F major
* P II:3 - Concertino Op. 39 for flute, oboe &amp; violin in G major
* P II:4 - Concertino Op. 65 for flute &amp; oboe in C major
* P II:5 - Concertino Op. 70 for flute, clarinet &amp; violin in E flat major
* P II:6 - Concertino Op. 80 for flute, clarinet &amp; violin in D major
* P III: 1 - Violin Concerto Op. 20 in A major
* P III: 2 - Flute Concerto Op. 30 in G major
* P III: 3 - Concerto for 2 clarinets Op. 35 in E flat major
* P III: 4 - Clarinet Concerto Op. 36 in E flat major
* P III: 5 - Oboe Concerto Op. 37 in F major
* P III: 6 - Violin Concerto Op. 41 in B flat major
* P III: 7 - Violin Concerto Op. 42 in E major
* P III: 8 - Violin Concerto Op. 43 in F major
* P III: 9 - Violin Concerto Op. 44 in D major
* P III:10 - Flute Concerto Op. 44 in D major
* P III:11 - Oboe Concerto Op. 52 in F major
* P III:12 - Clarinet Concerto Op. 52 in E flat major
* P III:13 - Violin Concerto Op. 61 in D minor
* P III:14 - Violin Concerto Op. 64 in D major
* P III:15 - Violin Concerto Op. 81 in E minor
* P III:16 - Flute Concerto Op. 86 in E minor
* P III:17 - Clarinet Concerto Op. 86 in E minor
* P III:18 - Concerto for 2 clarinets Op. 91 in E flat major
* P III:C1 - Violin Concerto in C major
* P III:d1 - Flute Concerto in D minor
* P III:Es1 - Clarinet Concertino in E flat major
* P III:F1 - Violin Concerto in F major
* P III:F2 - Violin Concerto in F major
* P III:G1 - Violin Concerto in G major

====Compositions for wind ensemble====
* P IV: 1 - Partita Op. 45 No. 1 in B flat major
* P IV: 2 - Partita Op. 45 No. 2 in E flat major
* P IV: 3 - Partita Op. 45 No. 3 in B flat major
* P IV: 4 - Partita Op. 57 in F major
* P IV: 5 - Partita Op. 67 in B flat major
* P IV: 6 - Partita Op. 69 in E flat major
* P IV: 7 - Partita Op. 71 in E flat major
* P IV: 8 - Partita Op. 73 in F major
* P IV: 9 - Partita Op. 76 in C major
* P IV:10 - Partita Op. 77 in F major
* P IV:11 - Partita Op. 78 in B flat major
* P IV:12 - Partita Op. 79 in E flat major
* P IV:13 - Partita Op. 83 in F major
* P IV:14 - Partita in C minor
* P IV:15 - Partita in E flat major &quot;La Chasse&quot;
* P IV:16 - Serenade No. 7 in E flat major
* P IV:17 - Serenade No. 3 in E flat major
* P IV:18 - Partita in E flat major (P IV:18)
* P IV:19 - Partita in E flat major (P IV:19)
* P IV:20 - Serenade No. 1 in E flat major
* P IV:21 - Parthia No. 2 in E flat major
* P IV:22 - Partita in E flat major (P IV:22)
* P IV:23 - Partita in E flat major (P IV:23)
* P IV:24 - Partita in E flat major (P IV:24)
* P IV:25 - Serenade No. 5 in E flat major
* P IV:26 - Serenade No. 6 in E flat major
* P IV:27 - Partita in E flat major (P IV:27)
* P IV:28 - Variations for wind sextet in E flat major
* P IV:29 - Symphony for winds in F major
* P IV:30 - Partita in B flat major (P IV:30)
* P IV:31 - Partita in B flat major (P IV:31)
* P IV:32 - Partita in B flat major (P IV:32)
* P IV:33 - Serenade No. 4 in B flat major
* P IV:34 - Parthia No. 1 in B flat major
* P IV:35 - Parthia No. 3 in B flat major
* P IV:36 - Parthia No. 4 in B flat major
* P IV:37 - Parthia No. 5 in B flat major
* P IV:38 - Parthia No. 6 in B flat major
* P IV:39 - Parthia No. 8 in B flat major
* P IV:40 - Parthia No. 7 in B flat major
* P IV:41 - Partita in B flat major (P IV:41)
* P IV:42 - Partita in B flat major (P IV:42)
* P IV:43 - Partita in B flat major (P IV:43)
* P IV:44 - Serenade No. 8 in B flat major
* P IV:Es1 - Partita in E flat major &quot;Corni soli&quot;
* P IV:Es2 - Sestetto pastorale in E flat major
* P IV:Es3 - Serenade II in E flat major
* P IV:Es4 - Serenade III in E flat major
* P IV:Es5 - Serenade IV in E flat major
* P IV:Es6 - Partita in E flat major (P IV:Es6)
* P IV:F1 - Partita in F major

====Marches &amp; Dances====
* P V: 1 - Marches Op. 31
* P V: 2 - Marches Op. 60
* P V: 3 - March Op. 82 (lost)
* P V: 4 - Marches Op. 97 (lost)
* P V: 5 - Marches Op. 98
* P V: 6 - Marches Op. 99 (lost)
* P V: 7 - March Op. 100 in F major
* P V: 8 - Marches (P V: 8)
* P V: 9 - March &quot;Gott erhalte Franz der Kaiser&quot; in E flat major
* P V:10 - Marches (P V:10)
* P V:B1 - Ländler for winds
* P V:C1 - Marches (P V:C1)

====String Quintets====
* P VI: 1 - String Quintet Op. 8 No. 1 in B flat major
* P VI: 2 - String Quintet Op. 8 No. 2 in E flat major
* P VI: 3 - String Quintet Op. 8 No. 3 in G major
* P VI: 4 - String Quintet Op. 11 No. 1 in F major
* P VI: 5 - String Quintet Op. 11 No. 2 in C minor
* P VI: 6 - String Quintet Op. 11 No. 3 in D major
* P VI: 7 - String Quintet Op. 18 in C major
* P VI: 8 - String Quintet Op. 25 No. 1 in C major
* P VI: 9 - String Quintet Op. 25 No. 2 in F major
* P VI:10 - String Quintet Op. 25 No. 3 in E flat major
* P VI:11 - String Quintet Op. 25 No. 4 in A major
* P VI:12 - String Quintet Op. 25 No. 5 in F minor
* P VI:13 - String Quintet Op. 25 No. 6 in B flat major
* P VI:14 - String Quintet Op. 62 in D major
* P VI:15 - String Quintet Op. 70 in E flat major
* P VI:16 - String Quintet Op. 80 in D major
* P VI:17 - String Quintet Op. 88 No. 1 in E flat major
* P VI:18 - String Quintet Op. 88 No. 2 in D minor
* P VI:19 - String Quintet Op. 88 No. 3 in C major
* P VI:20 - String Quintet Op. 100 No. 1 in B flat major
* P VI:21 - String Quintet Op. 100 No. 2 in D minor
* P VI:22 - String Quintet Op. 100 No. 3 in G major
* P VI:23 - String Quintet Op. 102 in C minor
* P VI:24 - String Quintet Op. 106 No. 1 in F major
* P VI:25 - String Quintet Op. 106 No. 2 in E flat major
* P VI:26 - String Quintet Op. 106 No. 3 in C major
* P VI:27 - String Quintet Op. 107 No. 1 in C major
* P VI:28 - String Quintet Op. 107 No. 2 in A major
* P VI:29 - String Quintet Op. 107 No. 3 in E flat major
* P VI:30 - String Quintet in D major &quot;La Chasse&quot;
* P VI:31 - String Quintet in E flat major (P VI:31)
* P VI:32 - String Quintet in E flat major (P VI:32)
* P VI:33 - String Quintet in E flat major (P VI:33)
* P VI:34 - String Quintet in G major
* P VI:35 - String Quintet in B flat major

====Quintets with a wind instrument====
* P VII: 1 - Flute Quintet Op. 25 in C major
* P VII: 2 - Flute Quintet Op. 49 in D major
* P VII: 3 - Flute Quintet Op. 55 in E minor
* P VII: 4 - Flute Quintet Op. 58 in C major
* P VII: 5 - Flute Quintet Op. 63 in C major
* P VII: 6 - Flute Quintet Op. 66 in E flat major
* P VII: 7 - Flute Quintet Op. 92 in D minor
* P VII: 8 - Clarinet Quintet Op. 95 in B flat major
* P VII: 9 - Flute Quintet Op. 101 in G major
* P VII:10 - Flute Quintet Op. 104 in E flat major
* P VII:11 - Flute Quintet Op. 109 in G major
* P VII:12 - Oboe Quintet in C major
* P VII:13 - Oboe Quintet in E flat major
* P VII:14 - Flute Quintet in G major
* P VII:15 - Oboe Quintet in E flat major (Rosinack)
* P VII:16 - Oboe Quintet in B flat major (Rosinack)
* P VII:17 - Alla polacca for flute quintet in F major

====String Quartets====
* P VIII: 1 - String Quartet Op. 1 No. 1 in B flat major
* P VIII: 2 - String Quartet Op. 1 No. 2 in G major
* P VIII: 3 - String Quartet Op. 1 No. 3 in E flat major
* P VIII: 4 - String Quartet Op. 3 No. 1 in C major
* P VIII: 5 - String Quartet Op. 3 No. 2 in A major
* P VIII: 6 - String Quartet Op. 3 No. 3 in D major
* P VIII: 7 - String Quartet Op. 4 No. 1 in G major
* P VIII: 8 - String Quartet Op. 4 No. 2 in E flat major
* P VIII: 9 - String Quartet Op. 4 No. 3 in B flat major
* P VIII:10 - String Quartet Op. 5 No. 1 in E flat major
* P VIII:11 - String Quartet Op. 5 No. 2 in F major
* P VIII:12 - String Quartet Op. 5 No. 3 in B flat major
* P VIII:13 - String Quartet Op. 7 No. 1 in C major
* P VIII:14 - String Quartet Op. 7 No. 2 in E minor
* P VIII:15 - String Quartet Op. 7 No. 3 in A major
* P VIII:16 - String Quartet Op. 10 No. 1 in F major
* P VIII:17 - String Quartet Op. 10 No. 2 in B flat major
* P VIII:18 - String Quartet Op. 10 No. 3 in G major
* P VIII:19 - String Quartet Op. 16 No. 1 in E flat major
* P VIII:20 - String Quartet Op. 16 No. 2 in F major
* P VIII:21 - String Quartet Op. 16 No. 3 in C major
* P VIII:22 - String Quartet Op. 18 No. 1 in D major
* P VIII:23 - String Quartet Op. 18 No. 2 in A major
* P VIII:24 - String Quartet Op. 18 No. 3 in E flat major
* P VIII:25 - String Quartet Op. 19 No. 1 in C major
* P VIII:26 - String Quartet Op. 19 No. 2 in F major
* P VIII:27 - String Quartet Op. 19 No. 3 in B flat major
* P VIII:28 - String Quartet Op. 21 in E flat major
* P VIII:29 - String Quartet Op. 23 in G major
* P VIII:30 - String Quartet Op. 24 No. 1 in D major
* P VIII:31 - String Quartet Op. 24 No. 2 in E flat major
* P VIII:32 - String Quartet Op. 24 No. 3 in G minor
* P VIII:33 - String Quartet Op. 26 No. 1 in C major
* P VIII:34 - String Quartet Op. 26 No. 2 in F major
* P VIII:35 - String Quartet Op. 26 No. 3 in A major
* P VIII:36 - String Quartet Op. 34 No. 1 in G major
* P VIII:37 - String Quartet Op. 34 No. 2 in D minor
* P VIII:38 - String Quartet Op. 34 No. 3 in B flat major
* P VIII:39 - String Quartet Op. 48 No. 1 in E flat major
* P VIII:40 - String Quartet Op. 48 No. 2 in C major
* P VIII:41 - String Quartet Op. 48 No. 3 in D major
* P VIII:42 - String Quartet Op. 50 No. 1 in F major
* P VIII:43 - String Quartet Op. 50 No. 2 in B flat major
* P VIII:44 - String Quartet Op. 50 No. 3 in A major
* P VIII:45 - String Quartet Op. 53 No. 1 in E flat major
* P VIII:46 - String Quartet Op. 53 No. 2 in A major
* P VIII:47 - String Quartet Op. 53 No. 3 in C major
* P VIII:48 - String Quartet Op. 54 No. 1 in F major
* P VIII:49 - String Quartet Op. 54 No. 2 in D major
* P VIII:50 - String Quartet Op. 54 No. 3 in B flat major
* P VIII:51 - String Quartet Op. 56 No. 1 in B flat major
* P VIII:52 - String Quartet Op. 56 No. 2 in D major
* P VIII:53 - String Quartet Op. 56 No. 3 in G major
* P VIII:54 - String Quartet Op. 68 No. 1 in F minor
* P VIII:55 - String Quartet Op. 68 No. 2 in C major
* P VIII:56 - String Quartet Op. 68 No. 3 in A major
* P VIII:57 - String Quartet Op. 72 No. 1 in C major
* P VIII:58 - String Quartet Op. 72 No. 2 in E major
* P VIII:59 - String Quartet Op. 72 No. 3 in A flat major
* P VIII:60 - String Quartet Op. 74 No. 1 in B flat major
* P VIII:61 - String Quartet Op. 74 No. 2 in G major
* P VIII:62 - String Quartet Op. 74 No. 3 in D minor
* P VIII:63 - String Quartet Op. 85 No. 1 in F major
* P VIII:64 - String Quartet Op. 85 No. 2 in B flat major
* P VIII:65 - String Quartet Op. 85 No. 3 in D major
* P VIII:66 - 3 Hungarian Dances Op. 89
* P VIII:67 - String Quartet Op. 90 No. 1 in E flat major
* P VIII:68 - String Quartet Op. 90 No. 2 in C major
* P VIII:69 - String Quartet Op. 90 No. 3 in B flat major
* P VIII:70 - String Quartet Op. 92 No. 1 in D major
* P VIII:71 - String Quartet Op. 92 No. 2 in B flat major
* P VIII:72 - String Quartet Op. 92 No. 3 in G major
* P VIII:73 - String Quartet op103 No. 1 in E minor
* P VIII:74 - String Quartet op103 No. 2 in C major
* P VIII:75 - String Quartet op103 No. 3 in A minor
* P VIII:76 - 12 Walzes for String Quartet
* P VIII:77 - Allegretto for string quartet in A major
* P VIII:78 - String Quartet in C major
* P VIII:F1 - String Quartet in F major

====Quartets with a wind/keyboard instrument====
* P IX: 1 - Flute Quartet Op. 13 in D major
* P IX: 2 - Flute Quartet Op. 17 in F major
* P IX: 3 - Clarinet Quartet Op. 21 No. 2 in E flat major
* P IX: 4 - Clarinet Quartet Op. 21 No. 1 in B flat major
* P IX: 5 - Clarinet Quartet Op. 69 in E flat major
* P IX: 6 - Flute Quartet Op. 23 in G major
* P IX: 7 - Flute Quartet Op. 30 in C major
* P IX: 8 - Bassoon Quartet Op. 46 No. 1 in B flat major
* P IX: 9 - Bassoon Quartet Op. 46 No. 2 in E flat major
* P IX:10 - Variations for flute quartet on &quot;O, du lieber Augustin&quot; Op. 59 in D major
* P IX:11 - Flute Quartet Op. 75 in D major
* P IX:12 - Clarinet Quartet Op. 82 in D major
* P IX:13 - Clarinet Quartet Op. 83 in B flat major
* P IX:14 - Flute Quartet Op. 89 in F major
* P IX:15 - Flute Quartet Op. 90 in C major
* P IX:16 - Flute Quartet Op. 92 in G major
* P IX:17 - Flute Quartet Op. 93 in D major
* P IX:18 - Flute Quartet Op. 94 in C major
* P IX:19 - Flute Quartet Op. 97 in D major
* P IX:20 - Flute Quartet in C major
* P IX:21 - Oboe Quartet in C major
* P IX:22 - Oboe Quartet in F major
* P IX:B1 - Clarinet Quartet in B flat major
* P IX:D1 - Variations for flute quartet in D major
* P IX:e1 - Flute Quartet in E minor
* P X:1 - Piano Quartet Op. 95 in E flat major

====Trio Sonatas====
* P XI:1 - String Trio Op. 96 in F major
* P XI:D1 - Variations for string trio in D major
* P XII:1 - 13 Pieces for 2 clarinets &amp; viola Op. 47
* P XII:2 - Sonata for 2 oboes &amp; English horn in F major
* P XII:3 - Variations for 2 oboes &amp; English horn in F major
* P XIII:1 - Piano Trio Op. 32 in F major
* P XIII:2 - Piano Trio Op. 84 in E flat major
* P XIII:3 - Piano Trio Op. 87 in F major

====Duo Sonatas====
* P XIV: 1 - Duet for violins Op. 2 No. 1 in E flat major
* P XIV: 2 - Duet for violins Op. 2 No. 2 in C major
* P XIV: 3 - Duet for violins Op. 2 No. 3 in F major
* P XIV: 4 - Duet for violins Op. 6 No. 1 in E flat major
* P XIV: 5 - Duet for violins Op. 6 No. 2 in G major
* P XIV: 6 - Duet for violins Op. 6 No. 3 in B flat major
* P XIV: 7 - Duet for violins Op. 22 No. 1 in A major
* P XIV: 8 - Duet for violins Op. 22 No. 2 in C major
* P XIV: 9 - Duet for violins Op. 22 No. 3 in F minor
* P XIV:10 - Duet for violins Op. 33 No. 1 in B flat major
* P XIV:11 - Duet for violins Op. 33 No. 2 in E major
* P XIV:12 - Duet for violins Op. 33 No. 3 in A flat major
* P XIV:13 - Duet for violins Op. 51 No. 1 in D major
* P XIV:14 - Duet for violins Op. 51 No. 2 in F major
* P XIV:15 - Duet for violins Op. 51 No. 3 in E flat major
* P XIV:16 - Duet for violins Op. 54 No. 1 in A major
* P XIV:17 - Duet for violins Op. 54 No. 2 in F major
* P XIV:18 - Duet for violins Op. 54 No. 3 in E flat major
* P XIV:19 - Duet for violins Op. 94 No. 1 in G minor
* P XIV:20 - Duet for violins Op. 94 No. 2 in C major
* P XIV:21 - Duet for violins Op. 94 No. 3 in A major
* P XIV:22 - Duet for violins op110 No. 1 in A minor
* P XIV:23 - Duet for violins op110 No. 2 in E major
* P XIV:24 - Duet for violins op110 No. 3 in C major
* P XIV:A1 - Duet for violins in A major
* P XIV:B1 - Duet for violins in B flat major (P XIV:B1)
* P XIV:B2 - Duet for violins in B flat major (P XIV:B2)
* P XIV:C1 - Duet for violins in C major
* P XIV:D1 - Duet for violins in D major (P XIV:D1)
* P XIV:D2 - Duet for violins in D major (P XIV:D2)
* P XIV:E1 - Duet for violins in E major
* P XIV:F1 - Duet for violins in F major (P XIV:F1)
* P XIV:F2 - Duet for violins in F major (P XIV:F2)
* P XIV:G1 - Duet for violins in G major
* P XV: 1 - Duet for flutes Op. 2 No. 1 in G major
* P XV: 2 - Duet for flutes Op. 2 No. 2 in D major
* P XV: 3 - Duet for flutes Op. 2 No. 3 in C major
* P XV: 4 - Duet for flutes Op. 6 No. 1 in D major
* P XV: 5 - Duet for flutes Op. 6 No. 2 in C major
* P XV: 6 - Duet for flutes Op. 6 No. 3 in G major
* P XV: 7 - Duet for flutes Op. 22 No. 1 in A major
* P XV: 8 - Duet for flutes Op. 22 No. 2 in D major
* P XV: 9 - Duet for flutes Op. 22 No. 3 in G minor
* P XV:10 - Duet for flutes Op. 33 No. 1 in D major
* P XV:11 - Duet for flutes Op. 33 No. 2 in F major
* P XV:12 - Duet for flutes Op. 33 No. 3 in B flat major
* P XV:13 - Duet for flutes Op. 51 No. 1 in D major
* P XV:14 - Duet for flutes Op. 51 No. 2 in F major
* P XV:15 - Duet for flutes Op. 51 No. 3 in C major
* P XV:16 - Duet for flutes Op. 54 No. 1 in G major
* P XV:17 - Duet for flutes Op. 54 No. 2 in D major
* P XV:18 - Duet for flutes Op. 54 No. 3 in G major
* P XV:19 - Duettino for flutes Book I No. 1 in C major
* P XV:20 - Duettino for flutes Book I No. 2 in D major
* P XV:21 - Duettino for flutes Book I No. 3 in C major
* P XV:22 - Duettino for flutes Book I No. 4 in C major
* P XV:23 - Duettino for flutes Book I No. 5 in D major
* P XV:24 - Duettino for flutes Book I No. 6 in G major
* P XV:25 - Duettino for flutes Book II No. 1 in G major
* P XV:26 - Duettino for flutes Book II No. 2 in A major
* P XV:27 - Duettino for flutes Book II No. 3 in C major
* P XV:28 - Duettino for flutes Book II No. 4 in G major
* P XV:29 - Duettino for flutes Book II No. 5 in G major
* P XV:30 - Duettino for flutes Book II No. 6 in A major

====Violin Sonatas====
* P XVI:1 - Variations for violin &amp; bass Op. 9 in E flat major
* P XVI:2 - Variations for violin &amp; bass Op. 14 in B flat major
* P XVI:3 - Violin Sonata Op. 15 in C major
* P XVI:4 - Sonata for violin &amp; viola Op. 27 in D major
* P XVI:5 - Sonata for violin &amp; viola Op. 29 in A major
* P XVI:6 - Variations for violin Op. 41 (lost)
* P XVI:7 - Sonata for violin &amp; viola Op. 45 (lost)
* P XVI:B1 - Variations for violin &amp; bass in B flat major
* P XVI:C1 - Variations for violin in C major

====Keyboard Works====
* P XVII: 1 - Sonatina for piano &amp; violin Book I No. 1 in G major
* P XVII: 2 - Sonatina for piano &amp; violin Book I No. 2 in B flat major
* P XVII: 3 - Sonatina for piano &amp; violin Book I No. 3 in C major
* P XVII: 4 - Sonatina for piano &amp; violin Book I No. 4 in D minor
* P XVII: 5 - Sonatina for piano &amp; violin Book I No. 5 in E flat major
* P XVII: 6 - Sonatina for piano &amp; violin Book I No. 6 in A flat major
* P XVII: 7 - Sonatina for piano &amp; violin Book II No. 1 in G minor
* P XVII: 8 - Sonatina for piano &amp; violin Book II No. 2 in C major
* P XVII: 9 - Sonatina for piano &amp; violin Book II No. 3 in D major
* P XVII:10 - Sonatina for piano &amp; violin Book II No. 4 in E flat major
* P XVII:11 - Sonatina for piano &amp; violin Book II No. 5 in E flat major
* P XVII:12 - Sonatina for piano &amp; violin Book II No. 6 in B flat major
* P XVII:13 - Sonatina for piano &amp; violin Book III No. 1 in F major
* P XVII:14 - Sonatina for piano &amp; violin Book III No. 2 in A major
* P XVII:15 - Sonatina for piano &amp; violin Book III No. 3 in C major
* P XVII:16 - Sonatina for piano &amp; violin Book III No. 4 in B flat major
* P XVII:17 - Sonatina for piano &amp; violin Book III No. 5 in G major
* P XVII:18 - Sonatina for piano &amp; violin Book III No. 6 in D major
* P XVII:19 - Polonaise favorite for piano &amp; violin in F major
* P XVIII: 1 - Marches for piano Op. 31
* P XVIII: 2 - 6 Waltzes for piano Op. 94
* P XVIII: 3 - Bürgermarsch for piano (lost)
* P XVIII: 4 - Marches for piano
* P XVIII: 5 - Sonata for piano 4 hands in C major
* P XVIII: 6 - Sonata for piano 4 hands in G major
* P XVIII: 7 - Sonata for piano 4 hands in D major
* P XVIII: 8 - 2 Märsche der Niederösterreichischen Landeswehr for piano (lost)
* P XVIII: 9 - Polonaise favorite de Varsovie for piano in G major
* P XVIII:10 - Polonaise favorite for piano in F major
* P XVIII:11 - Symphony Op. 40 for piano 4 hands in D major
* P XVIII:12 - Trauermarsch for piano in B flat minor
* P XVIII:13 - Menuet for piano in C major
* P XVIII:14 - Menuet for piano in F major
* P XVIII:15 - Rondo for piano in E flat major
* P XVIII:16 - Menuet for piano in D major
* P XVIII:17 - Hungarian dance for piano in F minor
* P XVIII:18 - Andante for piano 4 hands in C major
* P XVIII:19 - 12 German dances for harpsichord
* P XVIII:20 - Quartet for harpsichord duet in C major
* P XVIII:21 - Quartet for harpsichord duet in E minor
* P XVIII:22 - Quartet for harpsichord duet in A major
* P XVIII:G1 - Allegro for piano 4 hands in G major

====Sacred Works====
* P XIX:1 - Mass Op. 108 in C major
* P XIX:2 - Mass in D minor
* P XIX:3 - Mass in C major (P XIX:3)
* P XIX:4 - Mass in C major (P XIX:4)
* P XX:1 - Pange lingua in D major
* P XX:2 - Pange lingua in E flat major
* P XX:3 - Pange lingua in B flat major
* P XX:4 - Offerimus tibi in D major

==Further reading==

*Padrta, Karel. ''Franz Krommer (1759-1831); Thematischer Katalog seiner musikalischen Werke''. Prague: Supraphon. 1997. 425 pp.&amp;nbsp;ISBN 80-7058-388-6 (pbk.) (date of birth of course incorrect but apparently part of title?)
*Zouhar, Zdenek. ''Frantisek Vincenc Kramar : 1759-1959 : vyberova bibliografie.'' V Brne: Universitní Knihovna:1959.

*Note: occasionally a system of classification of Krommer's works is seen in use based on Padrta's work. For example, the quintet for flute and strings opus 55 in E minor is PadK VII/3, the concerto opus 86 for flute and orchestra (also in E minor, and often played with clarinet solo) is PadK III/16. These examples are taken from the listings at a Czech radio station's website which gives both the standard opus numbers (when available) and the newer system ([http://www.rozhlas.cz/d-dur Rozhlas D-Dur].)

==References==
&lt;references /&gt;

==External links==
*[http://www.hoasm.org/XIIC/Krommer.html HOASM biography]
*[http://perso.orange.fr/alain.cf/kramar_bio.htm Biography in French]
*[http://www.haydn.dk/mhc_krommer.php Biography in English]
* {{IMSLP|id=Krommer, Franz Vincenz}}
* {{DM|119149419}}

{{DEFAULTSORT:Krommer, Franz}}
[[Category:1759 births]]
[[Category:1831 deaths]]
[[Category:Czech composers]]
[[Category:Czech violinists]]
[[Category:Classical era composers]]

[[cs:František Kramář]]
[[de:Franz Krommer]]
[[fr:Franz Krommer]]
[[nl:František Vincenc Kramář]]
[[ja:フランティシェック・ヴィンツェンツ・クラマーシュ]]
[[sl:Franz Krommer]]</text>
    </revision>
  </page>
  <page>
    <title>Etienne Ozi</title>
    <id>6846088</id>
    <revision>
      <id>272118636</id>
      <timestamp>2009-02-20T19:23:30Z</timestamp>
      <contributor>
        <username>PhilKnight</username>
        <id>1812441</id>
      </contributor>
      <minor/>
      <comment>Reverted edits by [[Special:Contributions/24.9.50.85|24.9.50.85]] ([[User talk:24.9.50.85|talk]]) to last version by Slimcase</comment>
      <text xml:space="preserve">'''Etienne Ozi''' ([[9 December]] [[1754]]&amp;ndash;[[5 October]] [[1813]]) was a French [[bassoon]]ist and [[composer]]. He is known for his [[concerto]]s, [[symphonie concertante|symphonies concertantes]], and pedagogical pieces. His works were influential in the development of the bassoon and remain a staple of the classical bassoon repertoire.

Ozi's ''Nouvelle Méthode de basson'' (1803) was regarded as one of the first complete instructional materials for the bassoon, which was at the time still seven-keyed, as compared to the far more complex modern instrument. The technical demands of Ozi's literature spurred on its development; instrument maker [[Carl Almenräder]] in particular used his compositions to direct further development of the bassoon in his development of the key mechanism. The Méthodes were adopted by the early [[Paris Conservatory]] as a course of study, containing &quot;detailed principles for the study of the bassoon, exercises in all keys with bass accompaniment, twelve sonatas of progressive difficulty, thirty scale variations and forty-two caprices. It also includes instructions on caring for the instrument, and methods of making the reeds.” &lt;!--note: this is an original translation of the exact quote; please correct it if necessary: &quot;contient les Principes détaillés pour l’Étude du Basson, des Exercices dans tous les Tons avec Accompagnement de Basse, douze Sonates d’une difficulté progressive, Trente Gammes variées et Quarante deux Caprices. Elle renferme aussi la manière de conserver l’Instrument, et les Moyens de faire les Anches.&quot;--&gt;

Born in [[Nîmes]], Ozi received his early musical experience from a military ensemble, but settled in Paris in 1777, where he studied with G. W. Ritter. His 1779 debut at the [[Concert Spirituel]] won the effusive praise of the Parisian press. His 36 appearances over 12 years performing there included 19 performances of his own works.
&lt;!--this is seriously unfinished--&gt;

==References==
*Harold E. Griswold: 'Etienne Ozi', Grove Music Online ed. L. Macy (Accessed [5 Sep 06]), [http://www.grovemusic.com (subscription access)]
*&quot;[[:fr:Etienne Ozi|Etienne Ozi]]&quot;, French Wikipedia, accessed 5 Sep 06

==External links==
*[http://www.idrs.org/Publications/Journal/JNL9/reed.html Reed-making of Etienne Ozi], from &quot;Etienne Ozi (1754-1813): Bassoonist, Teacher and Composer&quot;, by Harold Eugene Griswold

{{DEFAULTSORT:Ozi, Etienne}}

[[Category:French composers]]
[[Category:Classical era composers]]
[[Category:1754 births]]
[[Category:1813 deaths]]
[[Category:French classical bassoonists]]
[[Category:People from Nîmes]]

[[de:Etienne Ozi]]
[[fr:Étienne Ozi]]
[[nl:Etienne Ozi]]</text>
    </revision>
  </page>
  <page>
    <title>Frantisek Kotzwara</title>
    <id>6877366</id>
    <revision>
      <id>295376439</id>
      <timestamp>2009-06-09T14:23:47Z</timestamp>
      <contributor>
        <username>Redvers</username>
        <id>147458</id>
      </contributor>
      <minor/>
      <comment>[[WP:RBK|Reverted]] edits by [[Special:Contributions/TechAndEthicsIn|TechAndEthicsIn]] ([[User talk:TechAndEthicsIn|talk]]) to last version by Kuzaar</comment>
      <text xml:space="preserve">'''Frantisek Kotzwara''' (Czech name: '''František Kočvara''') (1730{{ref|order}} &amp;ndash; [[February 2]] [[1791]]{{ref|order}}) was a [[virtuoso]] [[double bass|double bassist]] &lt;ref name =&quot;Kotzwara&quot;&gt;{{cite web| title = NNDB| url = http://www.nndb.com/people/916/000113577/| accessdate = 2006-09-07}}&lt;/ref&gt;
and composer. He is perhaps more famous for the notorious nature of his [[death]]. &lt;ref name =&quot;Kotzwara&quot;&gt;{{cite web| title = NNDB| url = http://www.nndb.com/people/916/000113577/| accessdate = 2006-09-07}}&lt;/ref&gt;

==Life and music==
Kotzwara was born in [[Prague]], [[Bohemia]] and was something of a nomad. He travelled around Europe and performed with various [[orchestra]]s. His mature career was based in England, where his compositions were published from 1775 onwards. These include [[string quartets]], [[serenade]]s and [[string trio]]s. In London he played in the 'Concerts of Antient Music', in the [[Handel]] Commemoration of 1791 and in the orchestra of the [[King's Theatre]].

The only piece of his to have achieved renown is ''[[The Battle of Prague]]'', a composition based on the 1757 [[Battle of Prague]], in which the [[Kingdom of Prussia]] fought [[Austria]]. ''The Battle of Prague'' was a popular piece of music during the late 18th and 19th centuries, with [[Mark Twain]] mentioning the piece in his book ''[[A Tramp Abroad]]''. &lt;ref name=&quot;Kotz2&quot;&gt;{{cite web|title = sfgate.com |url = http://www.sfgate.com/cgi-bin/article.cgi?file=/gate/archive/2001/11/02/ching.DTL  |accessdate  = 2006-09-07}}&lt;/ref&gt;  A similar piece, ''The Siege of Quebec'', often attributed to Kotzwara, is probably an arrangement by de Krift using assorted materials of Kotzwara.

==A notorious death==
On [[February 2]], [[1791]] while he was in [[London]], Kotzwara visited a [[prostitute]] named Susannah Hill in [[Vine Street, Westminster]]. After [[dinner]] with her in her lodgings, Kotzwara paid her two [[shilling]]s and requested that she cut off his [[testicle]]s.  Hill refused to do so. Kotzwara then tied a [[Ligature (medicine)|ligature]] around the [[doorknob]], the other end fastened around his [[neck]], and proceeded to have [[sexual intercourse]] with Hill. After it was over, Kotzwara was dead. His is most likely the first recorded death from [[erotic asphyxiation]].&lt;ref name=&quot;Kotz3&quot;&gt;{{cite web|title = crimelibrary.com|url = http://www.crimelibrary.com/notorious_murders/classics/sharon_lopatka/6.html|accessdate = 2006-09-07}}&lt;/ref&gt;&lt;ref name =&quot;Kotzwara&quot;&gt;{{cite web| title = NNDB| url = http://www.nndb.com/people/916/000113577/| accessdate = 2006-09-07}}&lt;/ref&gt;

Susannah Hill was subsequently tried for Kotzwara's [[murder]] at the [[Old Bailey]] but was acquitted. The jury chose to believe her [[testimony]] about the nature of Kotzwara's death. The court records of the case were supposedly destroyed in order to avoid a public scandal, though it is likely that some kind of copy was made by an individual. It is believed that this copy was used to produce a [[pamphlet]] about the incident, including Hill's account of the event.&lt;ref name=&quot;Kotz4&quot;&gt;{{cite web|title = Fiddler's companion|url = http://www.ibiblio.org/fiddlers/MARA_MARO.htm|accessdate = 2006-09-07}}&lt;/ref&gt; A 2005 radio competition organised by the Radio Prague station led a listener to reveal that these court records had in fact not been destroyed, and somehow found their way to the Francis Countway Library of Medicine in Boston.

In 1984 a paper about Kotzwara's death was published in the ''American Journal of Forensic Medicine and Pathology'', entitled &quot;The sticky end of Frantisek Koczwara, composer of ''The Battle of Prague''&quot;.&lt;ref name=&quot;Kotz5&quot;&gt;{{cite web|title = NCBI (a database of medical papers)|url = http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?db=PubMed&amp;cmd=retrieve&amp;dopt=abstract&amp;list_uids=6375351|accessdate = 2006-09-07}}&lt;/ref&gt; A pamphlet, Modern Propensities, with details of the trial and an article about auto-erotic asphyxiation was published in London about 1797.

==Notes==
#{{Note|order}} Some sources give Kotzwara's year of birth as 1750 or 1740.
#{{Note|order}} Some sources give Kotzwara's year of death as 1793.

==References==
&lt;div class=&quot;references-small&quot;&gt;&lt;references/&gt;&lt;/div&gt;

== Bibliography ==
* [[Grove's Dictionary of Music and Musicians]]

==External links==
* {{IMSLP|id=Kotzwara, Franz}}

{{DEFAULTSORT:Kotzwara, Frantisek}}
[[Category:1730 births]]
[[Category:1791 deaths]]
[[Category:Classical era composers]]
[[Category:Czech composers]]
[[Category:English classical double-bassists]]

[[de:František Kočvara]]
[[fr:Franz Koczwara]]</text>
    </revision>
  </page>
  <page>
    <title>Georg Matthias Monn</title>
    <id>6882461</id>
    <revision>
      <id>310794977</id>
      <timestamp>2009-08-29T23:11:03Z</timestamp>
      <contributor>
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      <comment>/* External links */</comment>
      <text xml:space="preserve">'''Georg Matthias Monn''' (also called ''Georg Mann'' {{Fact|date=March 2008}}) ([[April 9]], [[1717]], [[Vienna]] &amp;ndash; [[October 3]], [[1750]], Vienna) was an [[Austria]]n [[composer]], [[organist]] and music teacher whose works were fashioned in the transition from the [[Baroque]] to [[Classical period (music)|Classical period]] in music.

Together with [[Georg Christoph Wagenseil]] and [[Josef Starzer]], Monn formed the [[Viennese Pre-Classical]] movement (''Wiener Vorklassik'' in German), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary [[Theme (music)|theme]] in the [[symphony]] was an important condition for the [[First Viennese School]] that would come some fifty years later.

==Life==
We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in [[Klosterneuburg]] near Vienna. Afterwards, he was appointed in the same function in [[Melk]] in [[Lower Austria]] and at the [[Karlskirche]] in Vienna's district [[Wieden]]. Monn died from [[tuberculosis]] when he was only 33 years old.

Monn's  brother Johann Christoph Mann (never ''Monn'', 1726?-82) was also a composer whose works have been confused at times with those of Georg Matthias Monn.&lt;ref&gt;{{cite web|url=http://www.gramophone.co.uk/grove_popup_detail.asp?id=6134|publisher=Grove Powered by Gramophone|accessdate=2007-11-20|title=Article on Georg Monn}}&lt;/ref&gt; The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. We still have absolutely no proof that the Johann Georg Mann born in 1717 is the same person as the ''Georg Matthias Monn'' who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, could need some basic musicological revaluation.

==From Baroque to Classical==
Together with [[Georg Christoph Wagenseil]] and other contemporaries such as [[Leopold Mozart]], Monn forms a school of Austrian composers who had thoroughly studied the principles of [[counterpoint]] as practised by [[Johann Sebastian Bach]] and [[Johann Joseph Fux]], but also forced the change from the Baroque style to the looser, graceful [[galant|Galante music]]. Moreover, they renewed the [[sonata form]] by expanding the concepts of secondary theme and [[musical development|development]]. Later on, [[Michael Haydn|Michael]] and [[Joseph Haydn]] would develop these concepts to a high point.

The catalog of works written by Matthias Monn contains sixteen symphonies, a score of [[quartet]]s, sonatas, [[Mass (music)|masses]] and compositions for [[violin]] and [[keyboard instrument|keyboard]]. A harpsichord concerto by Monn was freely transcribed by [[Arnold Schoenberg]] into a cello concerto for [[Pablo Casals]]. The Monn/Schoenberg cello concerto in D major has been recorded by [[Yo-Yo Ma]] and many other cellists. Schoenberg also wrote &quot;continuo realizations&quot; for several works by Monn, including a cello concerto in G minor, which was recorded by [[Jacqueline Du Pré]].

==List of works==
* Sixteen symphonies&lt;ref name=&quot;komponisten&quot;&gt;{{cite web|title=Matthias Georg Monn (Komponist)|publisher=Komponisten (ABC)|last=Kaiser-Kaplaner|first=Mag. Johannes|url=http://www.komponisten.at/komponisten/152.html|accessdate=2007-11-20}}&lt;/ref&gt; including
** Symphony in G major (also called [[Sinfonia]] in G major)
** Symphony in B major
** Symphony in F major

* Six Quartets&lt;ref name=&quot;komponisten&quot; /&gt; including a Quartet in B major

* Concerti
**Concerto for Violin, Strings &amp; Continuo In B Flat Major &lt;ref name=&quot;jstor&quot;&gt;{{cite web|url=http://www.jstor.org/view/00274224/ap020224/02a00350/0||accessdate=2008-03-31|title=''Violinkonzert'', B Flat, Review author: Pippa Drummond, 'Music &amp; Letters', Oxford University Press, 1977}}&lt;/ref&gt; &lt;ref&gt;Schubert, Ingrid (editor): Monn, Georg Matthias, ''Violinkonzert'', 'Musik alter Meister', Heft 39/40. Akademische Druck- und Verlagsanstalt, Graz, 1975&lt;/ref&gt; &lt;ref name=&quot;Pandora_Concerti&quot;&gt;{{cite web|url=http://www.pandora.com/music/album/michael+schneider/georg+matthias+monn+concerti||accessdate=2008-03-31|title=Pandora Entry on Georg Monn Concerti}}&lt;/ref&gt;
** Keyboard concerto in D major
** Cello concerto in D major (freely transcribed from Monn's harpsichord concerto by [[Arnold Schoenberg]])
** '''Concerto for Cello (or Double Bass) in G Minor''' &lt;ref name=&quot;Pandora_Concerti&quot;&gt;{{cite web|url=http://www.pandora.com/music/album/michael+schneider/georg+matthias+monn+concerti||accessdate=2008-03-31|title=Pandora Entry on Georg Monn Concerti}}&lt;/ref&gt; &lt;ref name=&quot;&quot;&gt;{{cite web|url=http://www.edition-peters.com/pdf/Griesbach-Puccini.pdf||accessdate=2008-03-31|title=Griesbach-Puccini, p.66}}&lt;/ref&gt; 
** Concerto for [[Harpsichord]], Strings &amp; Continuo In G Minor (after Cello Concerto)&lt;ref name=&quot;Pandora_Concerti&quot;&gt;{{cite web|url=http://www.pandora.com/music/album/michael+schneider/georg+matthias+monn+concerti||accessdate=2008-03-31|title=Pandora Entry on Georg Monn Concerti}}&lt;/ref&gt;
** Concerto for Harpsichord in G Minor {{Fact|date=March 2008}}
** Concerto for Harpsichord, Strings &amp; Continuo in D Major &lt;ref name=&quot;Pandora_Concerti&quot;&gt;{{cite web|url=http://www.pandora.com/music/album/michael+schneider/georg+matthias+monn+concerti||accessdate=2008-03-31|title=Pandora Entry on Georg Monn Concerti}}&lt;/ref&gt;
** Concerto in A for [[Fortepiano]] and Strings &lt;ref name=&quot;siue&quot;&gt;{{cite web|url=http://www.siue.edu/~aho/discography/Discography.pdf||accessdate=2008-03-31|title=Music for Piano and Orchestra: The Recorded Repertory, compiled by Dr. Allan B. Ho, Southern Illinois University Edwardsville}}&lt;/ref&gt;

Concerto in G minor for Cello or Double Bass
* Sonata in G minor{{Fact|date=March 2008}}

* Partitas, including
** Partita a tre no. 2 in G Minor &lt;ref name=&quot;Doblinger&quot;&gt;{{cite web|url=http://www.lucksmusic.com/cat-symph/Doblinger.pdf||accessdate=2008-03-31|title=Doblinger Selections}}&lt;/ref&gt;
** Partita a tre no. 7 in D Major &lt;ref name=&quot;Doblinger&quot;&gt;{{cite web|url=http://www.lucksmusic.com/cat-symph/Doblinger.pdf||accessdate=2008-03-31|title=Doblinger Selections}}&lt;/ref&gt;

==Notes==
{{reflist}}

==References==
*{{cite paper|author=Kenneth Emanuel Rudolf|title=The Symphonies of Georg Mathias Monn: 1717-1750|publisher=University of Michigan at Ann Arbor|date=1982|accessdate=2007-11-20}}

==External links==
*[http://www.gramophone.co.uk/grove_popup_detail.asp?id=6134 Matthias Georg Monn] in the Grove Concise Dictionary of Music, published in 1994 by Oxford University Press.
*{{IMSLP|id=Monn, Georg Matthias}}
All the following links are in German.
* [http://www.aeiou.at/aeiou.music.8.1/080102.htm Matthias Georg Monn in der aeiou-Enzyklopädie]
&lt;!--* [http://www.rondomagazin.de/klassik/h/haydn/jh48.htm Cello-Konzert mit dem Freiburger Barockorchester]
* [http://www.rondomagazin.de/klassik/m/monn/mgm01.htm M.G. Monn, Sinfonien und Konzerte] First exists as google-cache, not sure of second, not otherwise.--&gt;
* [http://www.aeiou.at/aeiou.music.data.8.080102/080102am.wav Hörprobe aus Monn's Sinfonie in G]

{{DEFAULTSORT:Monn, Georg Matthias}}
[[Category:1717 births]]
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[[de:Matthias Georg Monn]]
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  </page>
  <page>
    <title>Johann Christian Bach</title>
    <id>250979</id>
    <revision>
      <id>312889897</id>
      <timestamp>2009-09-10T00:56:21Z</timestamp>
      <contributor>
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        <id>1215485</id>
      </contributor>
      <minor/>
      <comment>Robot - Moving category Protestant converts to Catholicism to Converts to Catholicism from Protestant Christianity per [[WP:CFD|CFD]] at [[Wikipedia:Categories for discussion/Log/2009 August 24]].</comment>
      <text xml:space="preserve">[[Image:Johann Christian Bach by Thomas Gainsborough.jpg|thumb|right|Johann Christian Bach, painted in London by [[Thomas Gainsborough]], 1776 (Museo Civico, Bologna)]]
'''Johann Christian Bach''' (September 5, 1735 &amp;ndash; January 1, 1782) was a [[composer]] of the [[Classical music era|Classical]] era, the eleventh and youngest son of [[Johann Sebastian Bach]]. He is sometimes referred to as 'the London Bach' or 'the English Bach', due to his time spent living in the British capital.  He is noted for influencing the concerto style of [[Wolfgang Amadeus Mozart|Mozart]]. 

Johann Christian Bach was born to [[Johann Sebastian Bach|Johann Sebastian]] and [[Anna Magdalena Bach]] in Leipzig, Germany. His distinguished father was already 50 at the time of his birth, which would perhaps contribute to the sharp differences between his music and that of his father. Even so, his father first instructed him in music until he died. After his father's death, when Johann Christian was 15, he worked with his second oldest brother [[Carl Philipp Emanuel Bach]], twenty-one years his senior, and considered at the time to be the most musically gifted of Bach's sons.

He enjoyed a promising career, first as a composer then as a performer playing alongside [[Carl Friedrich Abel]], the notable player of the viola da gamba.  He composed cantatas, chamber music, keyboard and orchestral works, operas and symphonies. 

Bach lived in Italy for many years starting in 1756, studying with Padre Martini in [[Bologna]].  He became organist at the Milan cathedral in 1760.  During his time in Italy he converted from [[Lutheranism]] to [[Roman Catholic Church|Catholicism]].  In 1762, Bach travelled to London to première three operas at the [[Her Majesty's Theatre|King's Theatre]], including ''Orione'' on [[19 February]] [[1763]]. This established his reputation in England, and he became music master to [[Queen Charlotte]].&lt;ref&gt;[http://www.karadar.com/Dictionary/bach_christian.html ''Johann Christian Bach Life'' (Karadar Music)] accessed 21 Dec 2007&lt;/ref&gt;

He met soprano Cecilia Grassi in 1766 and married her shortly thereafter. She was his junior by eleven years. They had no children.  

Johann Christian Bach died in London on New Year's Day, 1782.

==Posthumous evaluation==

Although Bach's fame declined in the decades following his death, his music still showed up on concert programmes in London with some regularity, often coupled with works by [[Haydn]]. In the 19th century, scholarly work on the life and music of Johann Christian's father began, but this often led to the exaltation of J. S. Bach's music at the expense of that of his sons; Phillip Spitta claimed towards the end of his J. S. Bach biography that &quot;it is especially in Bach's sons that we may mark the decay of that power which had culminated [in Sebastian] after several centuries of growth&quot;&lt;ref&gt;Spitta, Vol. 3, p. 278&lt;/ref&gt;, and J.S.'s first biographer, Johann Nikolaus Forkel, said specifically of Christian that &quot;The original spirit of Bach is . . . not to be found in any of his works&quot;&lt;ref&gt;New Bach Reader, p. 458&lt;/ref&gt;. It was not until the 20th century that scholars and the musical world began to recognize that Bach's sons could legitimately compose in a different style than their father without their musical idioms being inferior or debased, and composers like Johann Christian began to receive renewed appreciation.

Johann Christian Bach is of some historical interest as the first composer who preferred the piano to older keyboard instruments such as the harpsichord. Johann Christian’s early music shows the influence of his older brother Carl Philipp Emanuel, while his middle period in Italy shows the influence of Sammartini.

==Contrasting styles of J. S. Bach and J. C. Bach==
Johann Christian Bach's father died when Johann Christian was only fifteen. This is perhaps one reason why it is difficult to find points of similarity between the music of Johann Sebastian Bach and that of Johann Christian. By contrast, the piano sonatas of Carl Philipp Emanuel Bach, Johann Christian's much older brother, tend to invoke certain elements of his father at times, especially with regard to the use of [[counterpoint]]. (C.P.E. was 36 by the time J.S. died.)  

Johann Christian's highly melodic form differentiates himself from the works of his family.  He composed in the [[galant]] style incorporating balanced phrases, emphasis on melody and accompaniment, without too much [[counterpoint|contrapuntal]] complexity.  The galant movement opposed the intricate lines of [[Baroque]] music, and instead placed importance on fluid melodies in periodic phrases.  It preceded the classical style, which fused the galant aesthetics with a renewed interest in [[counterpoint]].

==J. C. Bach and the symphony==
The [[symphony|symphonies]] in the Work List for J. C. Bach in the ''New Grove Bach Family'' listed ninety-one works. A little more than half of these, 48 works, are considered authentic, while the remaining 43 are doubtful.  

By comparison, the composer sometimes called &quot;the Father of the Symphony,&quot; [[Joseph Haydn]], wrote slightly over 100 symphonies. Most of these are not fully comparable to Johann Christian Bach's symphonies, because many of Johann Christian's works in this category are closer to the Italian [[sinfonia]] than to the late classical symphony in its most fully developed state as found in the later works in this category by Haydn and Mozart. 

Using comparative duration as a rough means of comparison, consider that a standard recording of one of Bach's finest symphonies, Op. 6 No. 6 in G minor, has a total time of 13 minutes and 7 seconds (as performed by [[Hanover Band]] directed by [[Anthony Halstead]]), while Haydn's [[Symphony No. 94 (Haydn)|&quot;Surprise&quot; Symphony]] in a typical recording (by [[Ádám Fischer]] conducting the Austro-Hungarian Haydn Orchestra) lasts 23 minutes and 43 seconds. 

It is clear that the listener of J. C. Bach's symphonies should come to these works with different expectations from the ones he or she brings to those of Haydn or Mozart. Concert halls today are frequently filled with the music of Haydn, and comparatively rarely with that of J. C. Bach. But J. C. Bach's music is more and more being recognized for its high quality and significance. The Halstead recording mentioned above is part of a complete survey of this composer's orchestral works on 22 [[CD]]s for the record label CPO, and the complete works of J. C. Bach have now been published in [[Collected Works of Johann Christian Bach|''The Collected Works of Johann Christian Bach'']].

==Legacy==

A full account of J. C. Bach’s career is given in the fourth volume of [[Charles Burney]]'s ''History of Music''.    

There are two others named Johann Christian Bach in the Bach family tree, but neither were composers.

Mozart esteemed J.C. Bach's music highly and arranged three sonatas from the latter's Op. 5 into [[Piano Concertos K. 107 (Mozart)|keyboard concertos]].

[[Patrick O'Brian]] mentions both J.C. Bach and J. S. Bach in his novel ''[[The Ionian Mission]]'', in which [[Jack Aubrey]] brings his friend [[Stephen Maturin]] pieces of music composed by the elder Bach which the two men play together.

==Work List==
*[[List of compositions by Johann Christian Bach]]

==References==
{{Reflist}}
*{{1911}}
==Further reading==
* Ernest Warburton, &quot;Johann Christian Bach,&quot; in Christoph Wolff et al., ''The New Grove Bach Family.'' NY: Norton, 1983 (ISBN 0-393-30088-9), pp. 315ff.
* Philipp Spitta, ''Johann Sebastian Bach,'' trans. Clara Bell &amp; J. A. Fuller-Maitland, NY: Dover, 1951 (reprint of 1889 ed.).
* Christoph Wolff, ed., ''The New Bach Reader,'' NY: Norton, 1998.
* Heinz Gärtner, '' John Christian Bach: Mozart's Friend and Mentor'', trans. Reinhard Pauly.  Portland, Ore.: Amadeus Press, 1994.
* Charles Sanford Terry, ''John Christian Bach''.  London: Oxford University Press, 1967.
* Percy M. Young, ''The Bachs:  1500-1850'', London: J.M. Dent &amp; Sons, Ltd., 1970.

==External links==
*[http://www.earlymusicworld.com/id1.html Article: &quot;Gainsborough and Music&quot; by [[Brian Robins]]]
*{{IckingArchive|idx=J.C.Bach|name=Johann Christian Bach}}
* {{IMSLP|id=Bach%2C_Johann_Christian|cname=Johann Christian Bach}}
*[http://hdl.handle.net/1802/4643 Flute sonatas, W. B 10-15], 1780 edition (From the Sibley Music Library Digital Scores Collection)

{{DEFAULTSORT:Bach, Johann Christian}}
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[[Category:Bach family|Johann Christian Bach]]
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    </revision>
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  <page>
    <title>Ignaz Holzbauer</title>
    <id>1863124</id>
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      <comment>layout; delink dupl. occurrences of names; not necessary</comment>
      <text xml:space="preserve">'''Ignaz Jakob Holzbauer''' (18 September 1711 &amp;ndash; 7 April 1783) was a composer of [[symphony|symphonies]], [[concerto]]s, [[opera]]s, and [[chamber music]], and a member of the [[Mannheim school]]. His aesthetic style is in line with that of the ''[[Sturm und Drang]]'' &quot;movement&quot; of German art and literature. 

Holzbauer was born in [[Vienna]]. His operas include ''Il figlio delle selve'' (premiered [[Schwetzingen]], 1753). Its success led to a job offer from the court at Mannheim, where he stayed for the rest of his life, continuing to compose and to teach, his students including [[Johann Anton Friedrich Fleischmann]] (1766-1798), the [[pianist]], and [[Carl Stamitz]]. Holzbauer died in [[Mannheim]], Germany.

His opera ''[[Günther von Schwarzburg (opera)|Günther von Schwarzburg]]'', based on the life of the eponymous [[Günther von Schwarzburg|king]] (and described [http://www.mozartforum.com/Contemporary%20Pages/Raaff_Contemp.htm here]), was an early German national opera, a performance of which [[Wolfgang Amadeus Mozart|Mozart]] and his sister attended, through which they met [[Anton Raaff]], who was later to premiere a role in ''[[Idomeneo]].'' This opera has recently been recorded on the label cpo.

Mozart also  composed nine [[number (music)|numbers]] for insertion in a ''[[Miserere]]'' by Holzbauer on commission by the Parisian [[Concert Spirituel]] in 1778, but they have been lost. They have been given the catalog number [[Köchel-Verzeichnis|KV]] 297a in the list of Mozart's works.

==Operas==
*''Lucio Papirio'' ([[dramma per musica]],  libretto by [[Apostolo Zeno]], 1737, [[Holleschau]])
*''Sesostri, re d'Egitto'' (dramma per musica, libretto by  Zeno, 1738, Holleschau)
*''Vologeso'' (dramma per musica, libretto by Zeno, 1739, Holleschau)
*''La fata meravigliosa'' ([[dramma giocoso]] per musica, 1748, Vienna)
*''Il figlio delle selve'' (favola pastorale per musica, libretto by [[Carlo Sigismondo Capece]], 1753, Schwetzingen)
*''L'isola disabitata'' (azione per musica, libretto by [[Pietro Metastasio]], 1754, Schwetzingen)
*''L'Isspile'' (dramma per musica, libretto by  Metastasio, 1754, Mannheim)
*''Il Don Chisciotte'' (opera semiridicola, libretto by  Zeno, 1755, Schwetzingen)
*''I cinesi'' (componimento drammatico per musica, libretto by  Metastasio and [[Mattia Verazi]], 1756, Schwetzingen)
*''Le nozze d'Arianna'' ([[festa teatrale]] per musica, libretto by  Verazi, 1756, Schwetzingen)
*''La clemenza di Tito'' (dramma per musica, libretto by Metastasio and Verazi, 1757, Mannheim)
*''Nitteti'' (dramma per musica, libretto by Metastasio, 1758, Mannheim)
*''Alessandro nell'Indie'' (dramma per musica, libretto by Metastasio, 1759, [[Milan]])
*''Ippolito ed Aricia'' (dramma per musica, libretto by [[Carlo Innocenzo Frugoni]] and Verazi, 1759, Mannheim)
*''[[Günther von Schwarzburg (opera)|Günther von Schwarzburg]]'' ([[singspiel]], libretto by [[Anton Klein]], 1777, Mannheim)
*''La morte di Didone (revised as Tod der Dido)'' (singspiel, based on a libretto by Metastasio, 1779, Mannheim)
*''Tancredi'' (dramma per musica, 1783, [[Monaco]])

==References==
*[http://www.salzburgfestival.at/spielplan_werk.php?lang=2&amp;id=2504&amp;sommerflag=0 Announcement of a 2007 concert with a sinfonia concertante by Holzbauer]
*[http://www.hoasm.org/XIIA/Holzbauer.html Brief biography]
*[http://www.mozartforum.com/Whos%20who%20pt%202.htm The story of KV297a]

==External links==
*[http://www.hoasm.org/XIIA/HolzbauerDiscography.html Incomplete discography]

{{DEFAULTSORT:Holzbauer, Ignaz}}
[[Category:1711 births]]
[[Category:1783 deaths]]
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[[Category:Classical era composers]]
[[Category:Opera composers]]

{{Germany-composer-stub}}

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  </page>
  <page>
    <title>Charles Avison</title>
    <id>3088519</id>
    <revision>
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      <minor/>
      <comment>robot Adding: [[ca:Charles Avison]]</comment>
      <text xml:space="preserve">[[Image:Avison.jpg|thumb|200px|Charles Avison]]

'''Charles Avison''' ({{pronEng|ˈeɪvɨsən}}, baptized 16 February 1709, [[Newcastle upon Tyne]] &amp;ndash; 9 May or 10 May 1770, [[Newcastle upon Tyne]]) was an [[England|English]] composer during the [[Baroque]] and [[Classical period (music)|Classical]] periods.  He was a church organist at St John The Baptist Church&lt;ref&gt;[http://www.stjohnthebaptistnewcastle.com/churchhall.html  Church Website]&lt;/ref&gt; in Newcastle and at [[Newcastle Cathedral|St. Nicholas's Church]] (later Cathedral).  He is best remembered for his ''12 Concerti Grossi after [[Domenico Scarlatti|Scarlatti]]'' and his ''Essay on Musical Expression'', the first music criticism published in English.

==Life==
Little is known of Avison's early life.  The son of Richard and Anne Avison, both musicians, he was baptised on 16 February 1709, at St. John's Church in Newcastle.  (According to the [[New Grove dictionary]], he was also born in this city.) It is likely that he had early contact with [[Ralph Jenison]], a patron of the arts, and later a member of [[Parliament of Great Britain|Parliament]].

As a young man, he traveled to London to study under [[Francesco Geminiani|Geminiani]].  However, his ties to his hometown remained strong, and on 13 October 1735, he was accepted the position of church organist at St. John's Church in Newcastle.  Shortly after, he also became organist at nearby St. Nicholas's.  Despite numerous offers of more prestigious positions later in life, he never again left Newcastle.

On 15 January 1737, Avison married Catherine Reynolds.  They had three surviving children: Jane (1744-1773), Edward (1747-1776), and Charles (1751-1795).  Edward and Charles both later served as organists at St. Nicholas's, and Charles published a book of hymns.

In July 1738, Avison was appointed music director of the Newcastle Musical Society.  He also collaborated with [[John Garth]]'s subscription concerts in [[Durham]], and was active in local theatres.

The foundation of Avison's contemporary fame was his ''Essay on Musical Expression'', published in 1752.  It was the first work on musical criticism published in English.

Avison was one of the subjects in [[Robert Browning]]'s ''Parleyings with Certain People of Importance in their Day'':
&quot;Hear Avison! He tenders evidence/That music in his day as much absorbed/Heart and soul then as [[Wagner]]'s music now.&quot;

Avison died on 10 May 1770, after being caught out in an unusual [[blizzard]] that hit from May 2-4.&lt;ref&gt;[http://www.booty.org.uk/booty.weather/climate/1750_1799.htm  Historical weather events for the UK]&lt;/ref&gt;  He is buried at St. Andrew's in Newcastle.&lt;ref&gt;[http://www.standrewsnewcastle.org.uk/  Church Website]&lt;/ref&gt;

==Influence==
Avison continued the Italian style tradition, which [[Francesco Geminiani|Geminiani]] had made so popular in London.  In his Concerti Grossi, in particular, he carried on Geminiani's technique of modeling orchestral concertos after sonatas by older composers.  His ''Essay on Musical Expression'' criticized [[Handel]], who was much admired in England at the time.

Since 1994, the [[Avison Ensemble]] of Newcastle has been performing Avison’s music on period instruments.

==References==
&lt;references /&gt;

==Sources==
*'''The Ingenious Mr. Avison: Making Music and Money in Eighteenth Century Newcastle''', by Roz Southey, Margaret Maddison and David Hughes. Newcastle-upon-Tyne: Tyne Bridge Publishing, 2009. ISBN 1857951298; ISBN 978-1857951295.
*[http://www.academyofsaintcecilia.com/vox/avison.htm  &quot;Charles Avison - the forgotten master of the North&quot;] 
*[http://www.avisonensemble.com/avison.aspx About Charles Avison (Avison Ensemble)]

==External links==
*[http://www.avisonensemble.com Avison Ensemble]
*[http://www.rslade.co.uk/avison/ 18th Century English Music] - short biography
*[http://www.classicsonline.com/composerbio/Charles_Avison/  Discography]
*[http://www.naxos.com/mainsite/default.asp?pn=Composers&amp;char=A&amp;ComposerID=6179 http://www.naxos.com] - brief Naxos biography and discography
*[http://www.newcastle.gov.uk/newcastlecollection/charles-avison Charles Avison at the Newcastle Collection]

{{DEFAULTSORT:Avison, Charles}}
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[[Category:English music critics]]
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[[Category:1770 deaths]]

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  </page>
  <page>
    <title>Ludwig August Lebrun</title>
    <id>6945866</id>
    <revision>
      <id>276000735</id>
      <timestamp>2009-03-09T09:35:53Z</timestamp>
      <contributor>
        <username>Xqbot</username>
        <id>8066546</id>
      </contributor>
      <minor/>
      <comment>robot  Adding: [[hu:Ludwig August Lebrun]]</comment>
      <text xml:space="preserve">'''Ludwig August Lebrun''' ([[2 May]] [[1752]] in [[Mannheim]] &amp;ndash; [[16 December]] [[1790]] in [[Berlin]]) was a [[Germany|German]] [[oboist]] and [[composer]].

== Life ==

The well-known and celebrated [[oboe]] virtuoso (a contemporary described being &quot;charmed by his divine oboe&quot;), played with the orchestra at the court of the [[Prince-Elector]] [[Charles Theodore, Elector of Bavaria|Carl Theodor]] in [[Mannheim]]. He started playing with the orchestra at the age of 12 and became a full member at the age of 15. His father, also an oboist of probably [[Belgian]] origin, worked from 1747 at the Mannheim court. He was a contemporary of [[Carl Stamitz]] and [[Anton Stamitz]], and belonged to the [[Mannheim school]]. 

In the summer 1778 he married the [[soprano]] [[Francesca Lebrun|Franziska Danzi]], the sister of [[Franz Danzi]], one of the most outstanding and well-known singers of the time. With her he travelled extensively across [[Europe]]: [[Milan]], [[Paris]], [[London]], [[Vienna]], [[Prague]], [[Naples]], [[Munich]] and [[Berlin]]. The couple's playing and singing complemented each other perfectly and [[aria]]s with ''[[obbligato]]'' [[oboe]] were written for them, as for instance those in ''Günther von Schwarzburg'' (1777) by [[Ignaz Holzbauer]], ''[[L'Europa riconosciuta]]'' (1778) by [[Antonio Salieri]] and ''Castore e Polluce'' (1787) by [[Georg Joseph Vogler]]. 

The music historian [[Charles Burney]] wrote about appearances of the pair: ''&quot;Franziska Danzi and the excellent oboist Lebrun usually travel together, and it seems as though she has listened to nothing other than his instrument, for when they perform together in thirds and sixths one cannot hear which is the upper or the lower voice!&quot;''

He died at the age of 38.

==Works==
*Ballet &quot;Armida&quot; and &quot;Adèle de Ponthieu&quot;
*Concertos for Oboe and Orchestra No.1 in D minor, No.2 in G minor, No.3 in C major, No.4 in B-flat major, No.5 in C major, No.6 in F major
*Concerto for Clarinet and Orchestra in B-flat major
*Duos for Violin and Viola
*Flute duets
*Flute trios

{{DEFAULTSORT:Lebrun, Ludwig August}}

[[Category:German classical oboists]]
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[[Category:1790 deaths]]
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  </page>
  <page>
    <title>William Boyce</title>
    <id>192711</id>
    <revision>
      <id>301043672</id>
      <timestamp>2009-07-08T19:11:06Z</timestamp>
      <contributor>
        <ip>213.152.33.22</ip>
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      <text xml:space="preserve">{{Unreferenced|date=October 2007}}
{{otherpersons|William Boyce}}
[[Image:Boyce2.gif|thumb|William Boyce]]

'''William Boyce''' (11 September 1711 &amp;ndash; 7 February 1779) is widely regarded as one of the most important [[England|English]]-born [[composer]]s of the 18th century.

Born in [[London]], Boyce was a [[choirboy]] at [[St Paul's Cathedral]] before studying [[music]] with [[Maurice Greene (composer)|Maurice Greene]] after his voice broke. A house in the present choir school is named after him. His first professional appointment came in 1734 when he was employed as an organist at the [[Marybone Chapel|Oxford Chapel]]. He went on to take a number of similar posts before being appointed [[Master of the King's Musick]] in 1755 and becoming one of the organists at the [[Chapel Royal]] in 1758. (John Caldwell) A house in the present choir school is named after him

When Boyce's [[deafness]] became so bad that he was unable to continue in his organist posts, he retired and worked on completing the compilation ''Cathedral Music'' that his teacher Greene had left incomplete at his death. This led to Boyce editing works by the likes of [[William Byrd]] and [[Henry Purcell]]. Many of the pieces in the collection are still used in [[Anglican]] services today.

Boyce is best known for his set of eight [[symphonies]], his [[anthem]]s and his [[ode]]s. He also wrote the [[masque]] ''Peleus and Thetis'' and songs for [[John Dryden]]'s ''Secular Masque'', [[incidental music]] for [[William Shakespeare]]'s ''[[The Tempest (play)|The Tempest]]'', ''[[Cymbeline]]'', ''[[Romeo and Juliet]]'' and ''[[The Winter's Tale]]'', and a quantity of [[chamber music]] including a set of twelve [[trio sonata]]s.  He also composed the British and Canadian Naval March &quot;Heart of Oak&quot;.  The lyrics were later written by David Garrick.

Boyce was largely forgotten after his death and he remains a little-performed composer today, although a number of his pieces were rediscovered in the 1930s and [[Constant Lambert]] edited and sometimes [[Conducting|conducted]] his works.

{{start box}}
{{s-court}}
{{succession box|title=[[Master of the Queen's Music|Master of the King's Music]]|before=[[Maurice Greene (composer)|Maurice Greene]]|after=[[John Stanley (composer)|John Stanley]]|years=1755–1779}}
{{end box}}

==External links==
*{{ChoralWiki}}
*{{IckingArchive|idx=Boyce|name=William Boyce}}

{{DEFAULTSORT:Boyce, William}}
[[Category:1711 births]]
[[Category:1779 deaths]]
[[Category:Classical era composers]]
[[Category:English composers]]
[[Category:Masters of the Queen's Music]]
[[Category:English classical organists]]
[[Category:Deaf musicians]]
[[Category:Members of the Royal Society of Musicians]]

[[ca:William Boyce]]
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  </page>
  <page>
    <title>Leopold Hofmann</title>
    <id>8115510</id>
    <revision>
      <id>307725780</id>
      <timestamp>2009-08-13T11:19:53Z</timestamp>
      <contributor>
        <username>Dmr2</username>
        <id>87565</id>
      </contributor>
      <minor/>
      <text xml:space="preserve">'''Leopold Hofmann''' (also ''Ludwig Hoffman'', ''Leopold Hoffman'', ''Leopold Hoffmann'') ([[August 14]] [[1738]]&amp;ndash; [[March 17]] [[1793]]) was an [[Austria]]n composer of [[European classical music|classical music]].  

==Biography==
Hofmann was the son of a highly-educated civil servant, and at the age of seven became a [[choir|chorister]] in the chapel of the Empress [[Elisabeth Christine of Brunswick-Wolfenbüttel|Elisabeth Christine]], where his choral director and teacher was very likely [[František Tůma]]. 

He was also a student later on of [[Georg Christoph Wagenseil]]. His studies included at various points violin, harpsichord and composition.

In 1758 Hofmann secured what may have been his first appointment, as &quot;musicus&quot; at St. Michael's. He is known to have become choral director at St. Peter's Church in 1764 and, in 1766, [[kapellmeister]]. In 1769 he became a teacher to the royal family.

The position of Kapellmeister at the Cathedral of St. Stephan, a post he acquired in 1772, was among his next responsibilities. At this time he declined the directorship of the Imperial Chapel, but did apply there two years later in 1774, failing in his application.  ([[Giuseppe Bonno]] became director of the Imperial Chapel instead, which had become open upon the death of [[Florian Leopold Gassmann]].)

On the 9th of May 1791, at his own request, [[Mozart]] was appointed assistant-Kapellmeister to Hofmann, an unpaid position. At the time Hofmann was ill and Mozart anticipated becoming Kapellmeister upon Hofmann's death. However, Hofmann survived Mozart and kept his post as Cathedral Kapellmeister until he died.&lt;ref&gt;H.C. Robbins Landon. ''Wolfgang Amadeus Mozart. Volledig overzicht van zijn leven en werk'' Tirion Uitgevers BV Baarn, 2005.&lt;/ref&gt;

==Selected worklist==
===Symphonies===
The following list was drawn up by George Cook Kimball in his Ph.D. thesis. &lt;ref&gt;Kimball, George Cook. ''The Symphonies of Leopold Hofmann (1738-1793)'' Thesis (Ph.D.) Columbia University, 1985.&lt;/ref&gt;

Kimball A 1 \ Symphony in A major&lt;br /&gt;
Kimball A 2 \ Symphony in A major&lt;br /&gt;
Kimball A 3 \ Symphony in A major&lt;br /&gt;
Kimball A 4 \ Symphony in A major&lt;br /&gt;
Kimball A 5 \ Symphony in A major&lt;br /&gt;
Kimball A 6 \ Symphony in A major&lt;br /&gt;
Kimball A 7 \ Symphony in A major (lost)&lt;br /&gt;
Kimball A 8 \ Symphony in A major&lt;br /&gt;
Kimball A 9 \ Symphony in A major (lost)&lt;br /&gt;
Kimball B 1 \ Symphony in B flat major&lt;br /&gt;
Kimball B 2 \ Symphony in B flat major&lt;br /&gt;
Kimball B 3 \ Symphony in B flat major&lt;br /&gt;
Kimball B 4 \ Sinfonia pastorella in B flat major&lt;br /&gt;
Kimball B 5 \ Symphony in B flat major&lt;br /&gt;
Kimball B 6 \ Symphony in B flat major&lt;br /&gt;
Kimball B 7 \ Symphony in B flat major (lost)&lt;br /&gt;
Kimball B 8 \ Symphony in B flat major (lost)&lt;br /&gt;
Kimball C 1 \ Symphony in C major&lt;br /&gt;
Kimball C 2 \ Symphony in C major&lt;br /&gt;
Kimball C 3 \ Symphony in C major (lost)&lt;br /&gt;
Kimball C 4 \ Symphony in C major&lt;br /&gt;
Kimball C 5 \ Symphony in C major&lt;br /&gt;
Kimball C 6 \ Symphony in C major&lt;br /&gt;
Kimball C 7 \ Symphony in C major&lt;br /&gt;
Kimball C 8 \ Symphony in C major (lost)&lt;br /&gt;
Kimball C 9 \ Symphony in C major (lost)&lt;br /&gt;
Kimball C10 \ Symphony in C major&lt;br /&gt;
Kimball C11 \ Symphony in C major&lt;br /&gt;
Kimball C12 \ Sinfonia pastorella in C major&lt;br /&gt;
Kimball C13 \ Symphony in C major&lt;br /&gt;
Kimball C14 \ Symphony in C major&lt;br /&gt;
Kimball C15 \ Symphony in C major&lt;br /&gt;
Kimball C16 \ Symphony in C major (lost)&lt;br /&gt;
Kimball C17 \ Symphony in C major (lost)&lt;br /&gt;
Kimball D 1 \ Sinfonia pastorella in D major&lt;br /&gt;
Kimball d 1 \ Symphony in D minor (lost)&lt;br /&gt;
Kimball D 2 \ Symphony in D major&lt;br /&gt;
Kimball D 3 \ Symphony in D major&lt;br /&gt;
Kimball D 4 \ Symphony in D major&lt;br /&gt;
Kimball D 5 \ Symphony in D major&lt;br /&gt;
Kimball D 6 \ Symphony in D major&lt;br /&gt;
Kimball D 7 \ Symphony in D major&lt;br /&gt;
Kimball D 8 \ Symphony in D major&lt;br /&gt;
Kimball D 9 \ Symphony in D major&lt;br /&gt;
Kimball D10 \ Symphony in D major&lt;br /&gt;
Kimball Es 1 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 2 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 3 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 4 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 5 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 6 \ Symphony in E flat major&lt;br /&gt;
Kimball Es 7 \ Symphony in E flat major (lost)&lt;br /&gt;
Kimball Es 8 \ Symphony in E flat major&lt;br /&gt;
Kimball F 1 \ Symphony in F major (lost)&lt;br /&gt;
Kimball F 2 \ Symphony in F major (lost)&lt;br /&gt;
Kimball F 3 \ Symphony in F major&lt;br /&gt;
Kimball F 4 \ Symphony in F major&lt;br /&gt;
Kimball F 5 \ Symphony in F major&lt;br /&gt;
Kimball F 5 \ Symphony in F major&lt;br /&gt;
Kimball F 7 \ Symphony in F major&lt;br /&gt;
Kimball F 8 \ Symphony in F major&lt;br /&gt;
Kimball G 1 \ Symphony in G major (lost)&lt;br /&gt;
Kimball g 1 \ Symphony in G minor (lost)&lt;br /&gt;
Kimball G 2 \ Symphony in G major&lt;br /&gt;
Kimball G 3 \ Symphony in G major&lt;br /&gt;
Kimball G 4 \ Sinfonia pastorella in G major&lt;br /&gt;
Kimball G 5 \ Symphony in G major

===Concertos===
The following list was drawn up by Allan Badley in his Ph.D. thesis.&lt;ref&gt;Badley, Allan. ''The concertos of Leopold Hofmann (1738-1793)'' Thesis. (University of Auckland.)&lt;/ref&gt;

Badley I:A 1 \ Harpsichord Concerto in A major&lt;br /&gt;
Badley I:B 1 \ Harpsichord Concerto in B flat major&lt;br /&gt;
Badley I:C 1 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 2 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 3 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 4 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 5 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 6 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 7 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 8 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C 9 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C10 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C11 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C12 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C13 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C14 \ Harpsichord Concerto in C major&lt;br /&gt;
Badley I:C15 \ Harpsichord Concerto in C major (lost)&lt;br /&gt;
Badley I:C16 \ Harpsichord Concerto in C major (lost)&lt;br /&gt;
Badley I:D 1 \ Harpsichord Concerto in D major&lt;br /&gt;
Badley I:D 2 \ Harpsichord Concerto in D major&lt;br /&gt;
Badley I:F 1 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley I:F 2 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley I:F 3 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley I:F 4 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley I:F 5 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley I:F 6 \ Harpsichord Concerto in F major&lt;br /&gt;
Badley II:A1 \ Flute Concerto in A major&lt;br /&gt;
Badley II:A2 \ Flute Concerto in A major&lt;br /&gt;
Badley II:D1 \ Flute Concerto in D major (attributed to Joseph Haydn Hob. VIIf:1)&lt;br /&gt;
Badley II:D2 \ Flute Concrto in D major&lt;br /&gt;
Badley II:D3 \ Flute Concrto in D major&lt;br /&gt;
Badley II:D4 \ Flute Concerto in D major&lt;br /&gt;
Badley II:D5 \ Flute Concerto in D major&lt;br /&gt;
Badley II:D6 \ Flute Concrto in D major&lt;br /&gt;
Badley II:e1 \ Flute Conceto in E minor&lt;br /&gt;
Badley II:G1 \ Flute Concerto in G major&lt;br /&gt;
Badley II:G2 \ Flute Concro in G major&lt;br /&gt;
Badley II:G3te Concerto inG major&lt;br /&gt;
Badley II:G4 \ Flute Concto i G major&lt;br /&gt;
Badley III:C1 \ Oboe Concrto in C major&lt;br /&gt;
Badley III:C3 \ Oboe Concebr /&gt;
Badley III:d1 \ Oboe Concerto in D minor&lt;br /&gt;
Badley III:F1 \ Oboe Conerto in F major&lt;br /&gt;
Badley III:G1 \ Oboe Concerto in G major&lt;br /&gt;
Badley V:C1 \ Cello Concerto in C major&lt;br /&gt;
Badley V:C2 \ Cello Concerto in C major&lt;br /&gt;
Badley V:C3 \ Cello Concerto in C major&lt;br /&gt;
Badley V:C4 \ Cello Concerto in C major (lost)&lt;br /&gt;
Badley V:D1 \ Cello Concerto in D major&lt;br /&gt;
Badley V:D2 \ Cello Concerto in D major&lt;br /&gt;
Badley V:D3 \ Cello Concerto in D major&lt;br /&gt;
Badley V:D4 \ Cello Concerto in D major (lost)&lt;br /&gt;
Badley VI:A1 \ Violin Concerto in A major&lt;br /&gt;
Badley VI:A2 \ Violin Concerto in A major&lt;br /&gt;
Badley VI:B1 \ Violin Concerto in B flat major&lt;br /&gt;
Badley VI:B2 \ Violin Concerto in B flat major&lt;br /&gt;
Badley VI:B3 \ Violin Concerto in B flat major (lost)&lt;br /&gt;
Badley VI:C1 \ Violin Concerto in C major&lt;br /&gt;
Badley VI:C2 \ Violin Concerto in C major (lost)&lt;br /&gt;
Badley VI:D1 \ Violin Concerto in D major&lt;br /&gt;
Badley VI:G1 \ Violin Concerto in G major (lost)&lt;br /&gt;
Badley VII:C1 \ Concerto for oboe &amp; harpsichord in C major&lt;br /&gt;
Badley VII:C2 \ Concerto for 2 harpsichords in C major&lt;br /&gt;
Badley VII:F1 \ Concerto for oboe &amp; harpsichord in F major&lt;br /&gt;
Badley VII:G1 \ Concerto for violin &amp; cello in G major&lt;br /&gt;
Badley VII:G2 \ Concerto for flute &amp; harpsichord in G major&lt;br /&gt;
Badley VIII:A1 \ Concertino for violin, viola &amp; cello in A major&lt;br /&gt;
Badley VIII:A2 \ Concertino for harpsichord, flute, violin &amp; cello in A major&lt;br /&gt;
Badley VIII:B1 \ Concertino for 2 violins, viola &amp; cello in B flat major&lt;br /&gt;
Badley VIII:C1 \ Concertino for cello &amp; 2 oboes in C major&lt;br /&gt;
Badley VIII:C2 \ Concertino for violin, viola &amp; cello in C major&lt;br /&gt;
Badley VIII:C3 \ Concertino for harpsichord in C major&lt;br /&gt;
Badley VIII:C4 \ Concertino for 2 oboes in C major&lt;br /&gt;
Badley VIII:C5 \ Concertino for viola &amp; cello in C major (lost)&lt;br /&gt;
Badley VIII:C6 \ Divertimento for harpsichord in C major&lt;br /&gt;
Badley VIII:D1 \ Concertino for 2 violins, viola &amp; cello in D major&lt;br /&gt;
Badley VIII:D2 \ Cassatio in D major&lt;br /&gt;
Badley VIII:D3 \ Concertino for 2 flutes in D major&lt;br /&gt;
Badley VIII:D4 \ Concertino for viola &amp; cello in D major (lost)&lt;br /&gt;
Badley VIII:D5 \ Concertino for violin &amp; cello in D major (lost)&lt;br /&gt;
Badley VIII:E1 \ Concertino for violin &amp; cello in E major&lt;br /&gt;
Badley VIII:Es1 \ Concertino for violin, viola &amp; cello in E flat major&lt;br /&gt;
Badley VIII:Es2 \ Concertino for 2 violas &amp; cello in E flat major&lt;br /&gt;
Badley VIII:F1 \ Concertino for 2 violins, viola &amp; cello in F major&lt;br /&gt;
Badley VIII:F2 \ Concertino for harpsichord in F major&lt;br /&gt;
Badley VIII:F3 \ Concertino for violin, viola &amp; cello in F major&lt;br /&gt;
Badley VIII:G1 \ Concertino for harpsichord in G major&lt;br /&gt;
Badley VIII:G2 \ Concertino for 2 violins, viola &amp; cello in G major

===Other Works===
*A [[mass (music)|mass]] a cappella (republished with masses by Wagenseil and [[Georg Reutter]] by A-R Editions in 2004)
*Duos and sonatas for various instruments, including a divertimento for flute and bassoon, one for 2 violins with continuo, one for two violas with bass. His opus 1 is a set of sonatas a tre for viola and violoncello with cello accompaniment.
*Choral music
**Motet &quot;Altra nocte&quot;
**&quot;Pastor bone : chorus pastoralis&quot; for mixed choir, concertante organ, two violins and bass (2 oboes, 2 trumpets and drums probably added later).

(Recent recordings of his music include recordings of many of the concertos, some of the symphonies including five on [[Naxos Records]], etc., including a CD from 2000 of Artaria discoveries and others of cello flute, violin and oboe concertos.)

His compositions have been catalogued by [[Allan Badley]].

==References==
{{Reflist}}
*[http://www.hoasm.org/XIIC/HofmannL.html HOASM bio]
*[http://www.haydn.dk/mhc_hofmann.php Bio and list of works at the Michael Haydn Site]
*[http://www.naxos.com/composerinfo/485.htm Biography and Naxos discography]

==Further reading==
*Eisen, Cliff. Kimball, George Cook. and Monk, Dennis C. Three symphonies / Franz Asplmayr ; edited by Dennis C. Monk. Four symphonies, them. index D7, E♭1, D1, D2 / Leopold Hofmann ; edited by G. Cook Kimball. Three symphonies, them. index 23, 18, 25 / Wenzel Pichl ; introduction by Richard J. Agee ; thematic index compiled by Anita Zakin. Salzburg. Part 1. The Symphony in Salzburg: Volume 1. New York: Garland, 1984. ISBN 0-8240-3854-1.
*Kreiner, Viktor. ''Leopold Hofmann als Sinfoniker (1738-1793)''. Thesis (doctoral) Universität Wien, 1958.
*Umble, Kathryn Thomas. ''A transcription and stylistic analysis of Leopold Hoffmann's Flute Concerto in G'' Thesis (Ph.D.) [[Bowling Green State University]], 1985.

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  <page>
    <title>Niccolò Piccinni</title>
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[[Image:Piccinni, Niccolò 1.JPG|thumb|right|upright|Niccolò Piccinni]]
'''Niccolò Piccinni''' ([[January 16]], [[1728]] - [[May 7]], [[1800]]) was an [[Italy|Italian]] [[composer]] of symphonies, sacred music, chamber music, and [[opera]]. Although he is somewhat obscure, even to music lovers today, Piccinni was one of the most popular composers of opera — particularly the Neapolitan [[opera buffa]] — of his day. Historically, he had the misfortune of falling between the generations of his great predecessors such as [[Giovanni Battista Pergolesi|Pergolesi]] and the greats who came after him, including [[Domenico Cimarosa]] and [[Mozart]].

== Life ==
Piccinni was born in [[Bari]], and educated under [[Leonardo Leo]] and [[Francesco Durante]], at the [[Music Conservatories of Naples|S. Onofrio Conservatory]]. For this, he had to thank the intervention of the [[Bishop of Bari]], since his father, although himself a musician, was opposed to his son's following the same career. Piccinni's first opera, ''Le donne dispettose'', was produced in 1755, and in 1760 he composed, at [[Rome]], the ''chef d'œuvre'' of his early life, ''La Cecchina, ossia la buona Figliuola'', an ''opera buffa'' with a libretto by [[Goldoni]], which &quot;enjoyed a two-year run in Rome and was played in all the important European capitals. It can probably be called the most popular opera buffa of the 18th century...[even more than]... Pergolesi's ''[[La serva padrona]]''…[and]… The first of the new era, culminating in the masterworks of Mozart.&quot;&lt;ref&gt;Holmes&lt;/ref&gt;

''La buona figliuola'' represents a special moment in the history of eighteenth-century music in which comedy began to take on a new dramatic force.  It is the moment at which the self-consciously [[sentimental]] theatrical project of [[Carlo Goldoni]] (the opera's librettist) is married with the developing musical language of [[classicism]].  This can especially be seen in the sensitive writing of Cecchina's Act II aria &quot;Una povera ragazza.&quot;&lt;ref&gt;Lazarevich, Gordana, ''La Cecchina'', in ''Grove Music Online'', Laura Macy, ed (Accessed June 7, 2008)&lt;/ref&gt;  Piccinni's sighing string figures, warm harmonic cushion, and finely wrought melodic line define the [[topos]] of the eighteenth-century sentimental [[aria]].  

The opera was such a success that fashions of dress, shops, and houses were all named after ''La Cecchina''.&lt;ref&gt;Hogarth, George, ''Memoires of the Musical Drama'' (London, 1838), 134-5.&lt;/ref&gt;  It also set off a debate about the merits of the new sentimental style, especially in [[England]], where conservative reactionaries were wary of the supposed feminizing influence of modern Italian music.  Antonio Baretti commented in 1768 that individuals “of weight and consideration” should not be blamed for condemning “those puny gentlemen” who, as enthusiasts of Italian opera, were able to “feel its minuet niceties, and to be of course in rapture with the languishing Cecchina’s of Piccini [sic].” This modern music, Baretti decried, “far from having any power of increasing courage or any manly virtues, has on the contrary a tendency towards effeminacy and cowardliness.”&lt;ref&gt;Baretti, Giuseppe Marco Antonio.  ''An account of the manners and customs of Italy; with
observations on the mistakes of some travellers, with regard to that country.''  Vol I (Dublin, 1768), 293.
&lt;/ref&gt;

Six years after this Piccinni was invited by Queen [[Marie Antoinette]] to [[Paris]]. He had married in 1756 his pupil Vincenza Sibilla, a singer, whom he never allowed to appear on the stage after their marriage. All his later works were successful; but the directors of the Grand Opera conceived the idea of deliberately opposing him to [[Gluck]], by persuading the two composers to treat the same subject - ''Iphigénie en Tauride'' - simultaneously. The Parisian public was divided into two rival parties, which, under the names of Gluckists and Piccinnists, carried on an unworthy and disgraceful war. Gluck's masterly ''[[Iphigénie en Tauride]]'' was first produced on [[May 18]] [[1779]]. Piccinni's ''Iphigénie'' followed on [[January 23]] [[1781]]. The antagonism of the rival parties continued, even after Gluck left  Paris in 1780; and an attempt was afterwards made to inaugurate a new rivalry with [[Antonio Sacchini|Sacchini]].  Piccinni remained popular, and on the death of Gluck, in 1787, proposed that a public monument be erected to his memory--a suggestion which the Gluckists refused to support.

In 1784 Piccinni became professor at the Royal School of Music, one of the institutions from which the Conservatoire was formed in 1794. On the outbreak of the [[French Revolution]] in 1789, Piccinni returned to Naples, where he was at first well received by [[Ferdinand IV of Naples|King Ferdinand IV]]; but the marriage of his daughter to a French democrat brought him disgrace - he was accused of being a  revolutionary and placed under house arrest for four years. For the next nine years he maintained a precarious existence in [[Venice]], Naples and Rome; but he returned in 1798 to Paris, where the public received him with enthusiasm, but he made no money.  He died at [[Passy]], near Paris. During his life, he worked with the greatest librettists of his age, including [[Metastasio]]. After his death a memorial tablet was set up in the house in which he was born at Bari.

The most complete list of his works was given in the ''Rivista musicale italiana'', viii. 75. He produced over eighty operas, but although his later work shows the influence of the French and German stage, he belongs to the conventional Italian school of the 18th century.

==Works==

See '''[[List of operas by Piccinni]]'''.

===Librettos===
* ''[[La buona figliuola]]'' (La Cecchina) 1760, [http://www.librettidopera.it/cecchina/cecchina.html libretto]

==External links==
*{{IMSLP|id=Piccinni, Niccolò}}

* [http://www.domenicoscarlatti.it Istituto Internazionale per lo studio del '700 musicale napoletano]

==Sources==
*{{Wikisource1911Enc Citation|Piccinni, Niccola}}
*{{cite journal
  | last = Holmes
  | first = William C.
  | title = Pamela Transformed
  | journal = The Musical Quarterly
  | volume = 38
  | issue = 4
  | pages = 581–594
  | date = Oct., 1952 
  | id= ISSN  00027162
 }}
*[[Pierre-Louis Ginguené]], ''Notice sur la vie et les ouvrages de Niccolo Piccinni'' (Paris, 1801).

==References==
{{reflist}}

==See also==

*[[Les Neuf Sœurs]]

{{Lifetime|1728|1800|Piccinni, Niccolò}}
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  <page>
    <title>Pietro Nardini</title>
    <id>1518688</id>
    <revision>
      <id>297649461</id>
      <timestamp>2009-06-21T01:49:49Z</timestamp>
      <contributor>
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      <text xml:space="preserve">[[Image:Nardini 1.jpg|thumb|250px|Engraving of Pietro Nardini]]
'''Pietro Nardini''' ([[April 12]], [[1722]] &amp;ndash; [[May 7]], [[1793]]) was an [[Italy|Italian]] composer and violinist.

==Life==
He was born in [[Fibiana]] and studied music at [[Livorno]], later becoming a pupil of [[Giuseppe Tartini]].  As a [[violin]]ist, he earned the admiration of [[Leopold Mozart]].  In 1770, he became Kapellmeister to the Grand Duke of Tuscany in [[Florence]].

Nardini is mentioned in Hester Lynch Piozzi's Observations and Reflections Made in the Course of a Journey Through France, Italy, and Germany (1789) as playing a solo at a concert Mrs Piozzi and her husband, Gabriele Piozzi, gave in Florence in July 1785.

As a violinist, Nardini wrote a few compositions, though not numerous.  Each are melodious and highly playable, useful in technical studies.  Best known are the Sonata in D major and the Concerto in E minor.

==Quotes==
Of his playing, Leopold Mozart, himself an eminent violinist, writes:

&quot;The beauty, purity and equality of his tone, and the tastefulness of
his cantabile playing, cannot be surpassed; but he does not execute
great difficulties.&quot; His compositions are marked by vivacity, grace, and
sweet sentimentality, but he has neither the depth of feeling, the grand
pathos, nor the concentrated energy of his master Tartini. [http://www.closelinks.com/facts.php?id=2177&amp;name=Pietro&amp;surname=Nardini]

==External links==
* {{IMSLP|id=Nardini, Pietro|cname=Pietro Nardini}}
* [http://www.closelinks.com/facts.php?id=2177&amp;name=Pietro&amp;surname=Nardini www.closelinks.com Free Family Tree]

{{Violinist-stub}}
{{Italy-composer-stub}}

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  <page>
    <title>Johann Stamitz</title>
    <id>321494</id>
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      <timestamp>2009-09-04T13:28:32Z</timestamp>
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      <comment>/* See also */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">[[File:Stamic348.jpg|thumb|upright|200px|Johann Stamitz]]
'''Jan Václav Antonín Stamic''' (later, during his life in Mannheim Germanized as '''Johann Wenzel Anton Stamitz''') ([[June 17]], [[1717]] &amp;ndash; [[March 27]], [[1757]]) was a Czech [[composer]] and [[violin|violinist]]. Johann was the father of [[Carl Stamitz]] and [[Anton Stamitz]], also composers. His music reflects the transition of the baroque period to the classical era. 

== Life ==

Jan Václav Antonín Stamic was born in Deutschbrod/[[Nemecky Brod|Německý Brod]] on June 17, 1717. He was the third child born and the first to survive past infancy. He was baptized on [[June 19]], [[1717]] and probably born a day or two before the [[baptism]].  His name appears in the registry as Jan Waczlaw Antonin Stamitz.  The Stamitz family was very artistic as Johann's father, Antonín Ignác, was organist at the Dean's Church before becoming a merchant, landowner and town councillor. His three brothers were very artistic as well. Joseph František was a painter and Antonín Tadeáš and Václav Jan were both musicians at some point in their lives.  Stamitz received his first schooling in Německý Brod and his first musical instruction most likely came from his father.  In 1728, he enrolled in the [[Jesuit]] gymnasium in [[Jihlava]] where he received training from the Jesuits of [[Bohemia]], whose high standard of musical education produced students who were the premiere musicians in [[Europe]]. 

Stamitz spent the academic year 1734–1735 at the [[Charles University in Prague|University of Prague]].  After only one year, he left the university to pursue a career as a violin virtuoso.  Stamitz' activities during the six-year period between his departure from the university in 1735 and his appointment in [[Mannheim]] around 1741 are not precisely known.

Stamitz was appointed by the Mannheim court either in 1741 or 1742.  Most likely, his engagement at Mannheim resulted from contacts made during the Bohemian campaign and coronation of Carl Albert (Carl VII), a close ally of the Elector [[Electoral Palatinate|Palatine]]. In January 1742 Stamitz performed at Mannheim as part of the festivities surrounding the marriage of Carl Theodor, who succeeded his uncle Carl Philipp as Elector Palatine less than a year later; Carl Albert of [[Bavaria]] was a guest at the wedding.  

At Mannheim, Stamitz advanced rapidly, becoming the “Erster Hoff Violinist” or First Court Violinist in 1743.  He was granted an increase of salary by 200 gulden, to 900 gulden, the most of any instrumentalist at Mannheim.  In 1745 or 1746, he was given the title Concertmeister. The academies, which featured the [[Mannheim school]] and the Mannheim orchestra, were the primary responsibility of the Concertmeister and Stamitz was required to prepare and conduct the performance, perform concertos, and provide orchestral compositions of his own.  On [[Feb 27]], [[1750]], he was named the instrumental music director.  Stamitz’s other duties and responsibilities included supervision and performance of chamber music, and performance in the orchestra for certain operas, ballet productions, balls, and church services.

Stamitz was married on July 1, 1744 to Maria Antonia Luneborn.  They had five children together, [[Carl Stamitz|Carl Philipp]], Maria Francisco, [[Anton Stamitz|Anton Thadäus Nepomuk]], and two children who died in infancy.  

Probably around the late summer of 1754, Stamitz took a year-long journey to [[Paris]], perhaps at the invitation of the musical patron [[Alexandre Le Riche de La Poupelinière]], with whom he stayed; Stamitz appeared in public in Paris for the first time at a [[Concert Spirituel]] of September 8 1754. Stamitz' success in Paris induced him to publish his [[Orchestral Trios, Op. 1]], and possibly other publications with various Parisian publishers.

Stamitz probably returned to Mannheim around the autumn of 1755, dying there less than two years later at the early age of 39.  The entry of his death reads:

{{cquote|([[March 30]], [[1757]]. Buried, Jo’es Stainmiz, director of court music, so expert in his art that his equal will hardly be found.  Rite provided)}}

== Compositions ==

Stamitz’s most important compositions are his 58 [[symphonies]] and his 10 orchestral trios. The orchestral trios, although frequently classified as symphonies, are actually somewhere between the symphony and the chamber trio, and may be played with or without doubling of parts. Stamitz was also a composer of concertos. These include, in addition to his numerous violin concertos,  two for [[harpsichord]], 12 for [[flute]], one for [[oboe]], and one for [[clarinet]] - among the earliest concertos for the instrument ([[Johann Melchior Molter]]'s six from the 1740s seem to have been the first{{Fact|May 2009|date=May 2009}}). He also composed a large amount of chamber music for various instrumental combinations, as well as eight vocal works including his widely circulated concert Mass in D.

Due to at least five other musicians of the 18th century bearing the surname Stamitz, including four from Johann’s immediate family, any attempt to catalog Stamitz’s works is risky at best, principally in view of the many variations in spelling. Actually, few difficulties arise in distinguishing between works by Johann Stamitz and those of his sons Carl and Anton. By contrast, the relationship of the names ‘Steinmetz’ and ‘Stamitz’ has caused substantial confusion, as at least two other musicians called ‘Steinmetz’ lived in the 18th century.{{Fact|May 2009|date=May 2009}}

==Innovations in the Classical Symphony==

Stamitz expanded the orchestral score, making the winds essential for the composition. His symphonies of the 1750s are scored for eight parts; four strings, two horns, two oboes, although flutes and clarinets may substitute. Horns not only provided a harmonic backdrop for strings, but solo lines as well, and he was also one of the first composers to write independent lines for oboes.  

The chief innovation in Stamitz's symphonic works is their adoption of the cycle of four movements, with a fast/slow pair followed by a minuet and trio in the third movement, ending with a [[Tempo|Presto]] or Prestissimo movement. While isolated examples of this structure exist previously, Stamitz was the first composer to use it consistently: well over half of his symphonies and nine of his ten orchestral trios are in four movements. He also contributed to the development of [[sonata form]], most often used in the first movements of symphonies.  

Stamitz also adapted and extended traits originally developed in the Italian opera in his compositions. He added features in his pieces such as extended [[crescendo]] passages and other dynamic effects. Stamitz also incorporated simplified ''tutti'' chordal textures, sectionally specialized scores, and slow harmonic motion. Like Italian operas, Stamitz's compositions have a strong sense of rhythmic drive and distinctive thematic material within the exposition.

== References ==
*[http://www.hoasm.org/XIIA/StamitzJohann.html Johann Stamitz]
*[http://www.violadamoresocietyofamerica.org/TheStamitzFamily.html Biography and works for viola d'amore]
*'Johann (Wenzel Anton) [Jan Waczlaw (Václav) Antonin (Antonín)] Stamitz', Grove Music Online ed. L. Macy , &lt;http://www.grovemusic.com&gt;
*Wolf, Eugene K.  The Symphonies of Johann Stamitz:  A Study in the Formation of the Classic Style.  Bohn, Scheltema &amp; Holkema 1981 ISBN 90 313 0346 1
*Wright, Craig, Bryan Simms.  Music in Western Civilization: Volume B – The Baroque and Classical Eras  Thompson Schirmer 2006  ISBN 0 495 00868 0

==See also==
*[[:Category:Compositions by Johann Stamitz]]

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  <page>
    <title>Luigi Boccherini</title>
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'''Luigi Rodolfo Boccherini''' (February 19, 1743 &amp;ndash; May 28, 1805) was an Italian [[classical music era|classical era]] [[composer]] and [[cello|cellist]] whose [[music]] retained a [[courtly]] and [[galante]] [[Music genre|style]] while he matured somewhat apart from the major European musical centers. Boccherini is most widely known for one particular [[minuet]] from his [[String Quintet]] in E, Op. 11, No. 5 (G 275), and the [[Cello Concerto No. 9 (Boccherini)|Cello Concerto in B flat major (G 482)]]. This last [[Work of art|work]] was long known in the heavily altered [[version]] by German [[cellist]] and prolific arranger [[Friedrich Grützmacher]], but has recently been restored to its original [[version]]. His music was clearly influenced by the Spanish and Mediterranean style in that he composed several quintets for guitar.

==Biography==
Boccherini was born in [[Lucca]], Italy, into a musical family. At a young age he was sent by his father, a [[cellist]] and [[double bass]] player, to study in Rome. In 1757 they both went to [[Vienna]] where they were employed by the court as musicians in the [[Burgtheater]]. In 1761 Boccherini went to [[Madrid]], where he was employed by [[Luis de Borbón y Farnesio, 13th Count of Chinchón|Infante Luis Antonio of Spain]], younger brother of King [[Charles III of Spain|Charles III]]. There he flourished under royal patronage, until one day when the King expressed his disapproval at a passage in a new trio, and ordered Boccherini to change it. The composer, no doubt irritated with this intrusion into his art, doubled the passage instead, leading to his immediate dismissal. Then he accompanied Don Luis to Arenas de San Pedro a little town at the Gredos mountains, there and in the closest town of Candeleda Boccherini wrote many of his most brilliant works. 

Among his late patrons was the French consul [[Lucien Bonaparte]], as well as King [[Friedrich Wilhelm II]] of [[Prussia]], himself an amateur [[cellist]], [[flutist]], and avid supporter of the arts. Boccherini fell on hard times following the deaths of his Spanish patron, two wives, and two daughters, and he died almost in poverty in 1805, being survived by two sons. His blood line continues to this day in Spain.

==Works==
[[Image:LBoccherini.jpg|thumb|200px|right|Luigi Boccherini playing the cello. Unknown artist (Circa 1764-1767)]]

Much of his [[chamber music]] follows models established by [[Joseph Haydn]]; however, Boccherini is often credited with improving Haydn's model of the string quartet by bringing the cello to prominence, whereas Haydn had always relegated it to an accompaniment role. Rather, some sources for Boccherini's style are in the works of a famous Italian cellist, [[Giovanni Battista Cirri]], who was born before Boccherini and before Haydn, and in the Spanish popular music.  

A virtuoso cellist of high caliber, Boccherini often played violin repertoire on the [[cello]], at [[Pitch (music)|pitch]], a skill he developed by substituting for ailing violinists while touring. This supreme command of the instrument brought him much praise from his contemporaries (notably [[Pierre Baillot]], [[Pierre Rode]], and [[Bernhard Romberg]]), and is evident in the cello parts of his compositions (particularly in the quintets for two cellos, treated often as cello concertos with [[string quartet]] [[accompaniment]]). 

He wrote a large amount of chamber music, including over one hundred string quintets for two violins, viola and two cellos (a type which he pioneered, in contrast with the then common scoring for two violins, two violas and one cello), a dozen guitar quintets, not all of which have survived, nearly a hundred [[string quartet]]s, and a number of [[string trio]]s and [[sonata (music)|sonatas]] (including at least 19 for the [[cello]]). His orchestral music includes around 30 [[symphonies]] and 12 virtuoso [[cello concerto]]s.

Boccherini's works have been catalogued by the French [[musicologist]] [[Yves Gérard]] (born 1932) in the [[Gérard catalog]], published in London (1969), hence the &quot;G&quot; numbers applied to his output. 

With a ministerial decree dated 27 April 2006, the Opera Omnia of the composer Luigi Boccherini was promoted to the status of Italian National Edition. The director of the new critical edition is professor Christian Speck (Koblenz-Landau), and the advisory committee includes Theophil Antonicek (Vienna), Sergio Durante (Padua), Ludwig Finscher (Heidelberg), Yves Gérard (Paris), Roberto Illiano (Cremona-Lucca), Fulvia Morabito (Cremona-Lucca), Rudolf Rasch (Utrecht), Massimiliano Sala (Cremona-Lucca), and Andrea Schiavina (Bologna).

Boccherini's style is characterized by the typical [[Rococo]] charm, lightness, and optimism, and exhibits much melodic and rhythmic invention, coupled with frequent influences from the guitar tradition of his adopted country, Spain. 

==Contemporary revival==
Neglected after his death&amp;mdash;the dismissive [[sobriquet]] &quot;[[Haydn]]'s wife&quot; dates from the nineteenth century&amp;mdash; his works have been gaining more recognition lately, in print, record, and concert hall.  His famous &quot;[[Musica notturna delle strade di Madrid]]&quot; (String Quintet in C Major, Op. 30 No. 6, G324), became popular through its use in the [[Peter Weir]] film  ''[[Master and Commander: The Far Side of the World]]'' (2003).

His distinctive compositions for string quintet (two violins, one viola, two cellos), long neglected after his death, have been brought back to life by the [[Boccherini Quintet]] in the second half of the 20th century, when two of its founding members discovered a complete collection of the first edition of the 141 string quintets in Paris and began playing and recording them around the world.

==See also==
*[[List of compositions by Luigi Boccherini]]
*[[List of string quartets by Luigi Boccherini]]
*[[Cello Concerto No. 2 (Boccherini)|Cello Concerto in D Major, G.479]]
*[[Cello Concerto No. 9 (Boccherini)|Cello Concerto in B-flat Major, G.482]]

==Media==

&lt;div style=&quot;width:500px; height:255px; overflow:auto; border:thin grey solid; padding:5px;&quot;&gt; 

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{{multi-listen end}}
&lt;/div&gt;&lt;/ul&gt;

== External links ==
{{commons}}
*[http://www.classical.net/music/comp.lst/boccherini.html Classical Net]
*[http://www.classicalarchives.com/bios/boccherini_bio.html Classical Music Archives]
*[http://www.angelfire.com/wi/boccherini/ Luigi Boccherini 1743-1805]
*{{WIMA|idx=Boccherini|name=Luigi Boccherini}}
* {{IMSLP|id=Boccherini%2C_Luigi_Rodolfo|cname=Boccherini}}
*[http://www.karadar.com/Dictionary/boccherini.html Examples of Boccherini's works at The Classical Music Dictionary]
*[http://www.boadilla.com/pages/boccherini.htm Luigi Boccherini]. More extensive biography {{es icon}}
*Complete list of works at [http://www.uquebec.ca/musique/catal/boccherini/bocl.html#Oeuvre University of Quebec].  Marked &quot;under construction&quot;. {{fr icon}}
&lt;!--  is possibly the same site? --&gt;
*[http://hdl.handle.net/1802/4736 Trios, violins, violoncello, G. 83-88] (From the Sibley Music Library Digital Score Collection) 
*[http://hdl.handle.net/1802/5107 Sonatas, harpsichord, violin, violoncello, G. 143-148] (From the Sibley Music Library Digital Score Collection)

{{DEFAULTSORT:Boccherini, Luigi}}
[[Category:1743 births]]
[[Category:1805 deaths]]
[[Category:People from Lucca]]
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Composers for cello]]
[[Category:Composers for the classical guitar]]
[[Category:Italian classical cellists]]
[[Category:Deaths from tuberculosis]]

[[be:Луіджы Бакерыні]]
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[[ko:루이지 보케리니]]
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[[he:לואיג'י בוקריני]]
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[[uk:Луїджі Боккеріні]]
[[zh:路易吉·博凯里尼]]</text>
    </revision>
  </page>
  <page>
    <title>Hyacinthe Jadin</title>
    <id>10047285</id>
    <revision>
      <id>300270667</id>
      <timestamp>2009-07-04T18:29:27Z</timestamp>
      <contributor>
        <ip>67.183.81.240</ip>
      </contributor>
      <comment>/* Piano */   - Op. 4 no. 3 is actually in C-sharp minor, rather than C minor as stated</comment>
      <text xml:space="preserve">'''Hyacinthe Jadin''' ([[April 27]], [[1776]], [[Versailles]] – [[September 27]], [[1800]], [[Paris]]) was a [[France|French]] composer who came from a distinguished musical family. His uncle [[Georges Jadin]] was a composer in Versailles and Paris, along with his father [[Jean Jadin]], who had also played [[bassoon]] for the [[French Royal Orchestra]].  He was one of five musically gifted brothers, the most famous of which was [[Louis-Emmanuel Jadin]].

Jadin was a pupil of [[Nicolas Joseph Hüllmandel]], who belonged to the famous [[École des Pianistes Parisiens]] (''School of Pianists in Paris''). Hüllmandel himself was a student of [[Carl Philipp Emanuel Bach|C.P.E. Bach]], and was an excellent teacher who brought out Jadin's pianistic brilliance. At the age of 9, Jadin’s first composition, a ''[[Rondo]]'' for piano, was published in the ''Journal de Clavecin.''  By the age of thirteen, Jadin had premiered his first work with the [[Concert Spirituel]]. 

The times in which Jadin lived dictated to a large degree his chance at musical greatness.  In 1789, the same year of his public performance premiere, the [[French Revolution]] broke out.  In 1790, after [[Robespierre]]’s [[Great Terror]] claimed the life of [[Jean-Frédéric Edelmann]], another member of the École des Pianistes Parisiens, Hüllmandel fled France, leaving Jadin behind.

The Revolution did provide work for Jadin, as the demand for theatre and music that reflected the values of the Revolution increased.  He took a job in 1792 as assistant rehearsal pianist (Rezizativbegleiter) at the [[Theatre Feydeau]].  In 1794, he published an overture for 13 wind instruments entitled ''Hymn to the 21st of January''.  The piece commemorated the one-year anniversary of the execution of Citizen Capet (the name given to [[Louis XVI]] during his trial for treason).  In 1795, he began teaching a female piano class at the [[Paris Conservatoire]].

From 1795 to 1800, Jadin was plagued by [[tuberculosis]].  His sickness was serious enough that [[Napoleon Bonaparte]] himself excused Jadin from military service.  Similar to how the French Revolution presented an inevitable obstacle to Jadin’s musical greatness, the state of medicine in the late 18th century prevented him from living long enough to have as profound an impact on music as he otherwise could have.  Tuberculosis at this time was almost a certain death sentence, and he gave his last public concert on September 22, 1799, before dying the following year.  At the time of his death, he was impoverished – still owed several months’ salary by the Paris conservatory – another consequence of the constant political unrest that marked the place and time in which he lived.

==Works==
While chamber music formed a large part of Jadin’s creative career, he is most well-known for his progressive style of piano composition.  Jadin's works anticipated the music of [[Franz Schubert]]; his piano sonatas in particular display a proto-[[Romanticism]], which in parts both rejected and extended the heritage of his [[Classical music|Classical]] predecessors.

===Orchestra===
* [[Piano concerto|Piano Concerto]] No. 1 (1796-97)
*# Allegro brillante
*# Adagio
*# Rondeau - Allegretto
* Piano Concerto No. 2 in D minor (1796), [[accompaniment|accompanied]] by 2 [[violin]]s, [[viola]], [[double bass]], [[flute]]s, [[oboe]]s, [[bassoon]]s, and [[horn (instrument)|horns]] 
*# Allegro moderato
*# Adagio
*# Rondo - Allegro
* Piano Concerto No. 3 in A (1798), accompanied by 2 violins, viola, double bass, 2 flutes, 2 bassoons, and 2 horns
*# Allegro moderato
*# Rondo - Allegro

===Wind Orchestra===
* ''Hymne du Vingt-un Janvier'' (1794), based on text by [[Charles Le Brun]]
* ''Chanson pour la Fête de l'Agriculture'' (1796), based on text by [[Ange Etienne Xavier Poisson de Lachabeaussière]]
* ''Ouverture pour instruments à vent'' (1796)
* ''Hymne du dix germinal'', based on text by [[Théodore Désorgues]]

===Stage===
* ''Le Testament mal-entendu'' (1793), ''[[comédie mêlée d'ariettes]]'' in 2 acts, [[libretto]] by [[François Guillaume Ducray-Duminil]]
* ''Cange ou Le Commissionnaire de Lazare'' (1794), ''[[fait historique]]'' in 1 act, libretto by [[André-Pépin Bellement]]

===Piano===
* [[Rondo]] (1785)
* [[Piano sonata|Piano (or Harpsichord) Sonata]] No. 1 in D (1794), accompanied by violin
*# Allegro
*# Andantino un poco allegretto
*# Menuet: Allegro
*# Final: Presto
* Piano (or Harpsichord) Sonata No. 2 in B-flat (1794), accompanied by violin
*# Allegro fieramente
*# Rondo: Allegretto non tropo
* Piano (or Harpsichord) Sonata No. 3 in F minor (1794), accompanied by violin
*# Allegretto poco agitato
*# Adagio
*# Menuet: Allegro
*# Rondo: Allegro non tropo
* Piano Sonatas, op. 3 nos. 1-3 (1795)
* Piano Sonata in B-flat, op. 4 no. 1 (1795)
*# Allegro
*# Andante
*# Finale: Presto
* Piano Sonata in F-sharp minor, op. 4 no. 2 (1795)
*# Allegro motto
*# Menuet - Trio
*# Finale: Allegro
* Piano Sonata in C-sharp minor, op. 4 no. 3 (1795)
*# Allegro moderato
*# Adagio
*# Rondeau: Allegretto
* Piano Sonata in F minor, op. 5 no. 1 (1795)
*# Allegro moderato
*# Adagio
*# Final: Allegro
* Piano Sonata in D, op. 5 no. 2 (1795)
*# Allegro 
*# Andante
*# Final: Presto
* Piano Sonata in C minor, op. 5 no. 3 (1795)
*# Allegro maestoso
*# Andante
*# Allegro
* [[Duet (music)|Duo]] in F (1796), for four hands 
*# Allegro brillante
*# Andante
*# Rondo: Allegro
* Piano Sonata in C minor, op. 6 no. 1 (1800)
*# Allegro moderato
*# Andante sostenuto
*# Final: Allegro
* Piano Sonata in A, op. 6 no. 2 (1800)
*# Andante
*# Rondeau: Allegretto
* Piano Sonata in F, op. 6 no. 3 (1800)
*# Allegro moderato
*# Adagio
*# Allegro assai

===Chamber===
* [[Quartet]]s for 2 violins, viola, and double bass
**B-flat, op. 1 no. 1 (1795)
*# Largo - Allegro non troppo
*# Adagio
*# Menuet - Trio
*# Finale - Allegro
**A, op. 1 no. 2 (1795)
*# Allegro
*# Menuet - Trio
*# Pastoral Andante
*# Finale
*F minor, op. 1 no. 3 (1795)
*# Allegro moderato
*# Menuet
*# Adagio
*# Polonaise
*E-flat, op. 2 no. 1 (1796)
*# Largo - allegro moderato 
*# Adagio
*# Minuetto
*# Finale Allegro
*B-flat minor, op. 2 no. 2 (1796)
*# Allegro
*# Minuetto
*# Adagio non troppo
*# Allegro Finale
*C, op. 2 no. 3 (1796)
*# Allegro
*# Andante 
*# Menuetto
*# Presto Finale
*C, op. 3 no. 1 (1797)
*# Allegro moderato
*# Adagio
*# Menuette - Andante
*# Presto Finale
*E, op. 3 no. 2 (1797)
*# Allegro moderato
*# Menuet
*# Adagio
*# Allegro
*A minor, op. 3 no. 3 (1797)
*# Allegro moderato
*# Adagio
*# Menuet
*# Finale
*G, op. 4 no. 1 (1798)
*# Allegro moderato
*# Rondo Allegro
*F, op. 4 no. 2 (1798)
*# Allegro non troppo
*# Minuetto Trio
*# Adagio molto
*# Allegro assai
*D, op. 4 no. 3 (1798)
*# Largo - Allegro moderato
*# Minuetto
*# Andante
*# Finale Allegro

===Vocal===
* ''Marche du siège de Lille'' (1792) for voice and piano (or [[harp]])
* ''Romance à la lune'' (1796) for voice and piano (or harp)
* ''Le tombeau de Sophie'' (1796) for voice and [[harpsichord]] (or harp)

==References==
* {{cite web
  | last = Anderle
  | first = Dr. Heinz
  | authorlink =
  | coauthors = Richard Fuller, trans
  | title = The Life and Times of Hyacinthe Jadin
  | work =
  | publisher =
  | date =
  | url = http://www.richardfullerfortepiano.com/Jadin/TheLifeandTimesofHyacintheJadin.htm
  | format =
  | doi =
  | accessdate = 2007-04-12 }}
* Castinel, N. ''Aube d'une vie musicale sous la révolution: la vie et l'oeuvre de Hyacinthe Jadin 1776-1800''.  Lyon, 1991.
* Richard Fuller, “Hyacinthe Jadin (1776-1800)”, Composers’ short biographies, http://members.klosterneuburg.net/handerle/COMPOSER.HTM#JADIN

==External links==
* {{IMSLP|id=Jadin, Hyacinthe}} 

{{DEFAULTSORT:Jadin, Hyacinthe}}
[[Category:1776 births]]
[[Category:1800 deaths]]
[[Category:French composers]]
[[Category:Classical era composers]]
[[Category:French classical pianists]]
[[Category:French conductors]]
[[Category:Music educators]]
[[Category:Deaths from tuberculosis]]
[[Category:Infectious disease deaths in France]]

[[de:Hyacinthe Jadin]]
[[fr:Hyacinthe Jadin]]
[[it:Hyacinthe Jadin]]
[[ja:ヤサント・ジャダン]]
[[nl:Hyacinthe Jadin]]</text>
    </revision>
  </page>
  <page>
    <title>Luigi Cherubini</title>
    <id>357363</id>
    <revision>
      <id>302413042</id>
      <timestamp>2009-07-16T13:30:27Z</timestamp>
      <contributor>
        <username>Dekimasu</username>
        <id>1893265</id>
      </contributor>
      <minor/>
      <comment>/* Biography */ link repair</comment>
      <text xml:space="preserve">[[Image:Luigi Cherubini3.jpg|thumb|200px|right|Luigi Cherubini, c. 1815-1824, Institut Royal de France, Académie des Beaux Arts (musique).]]
[[Image:Luigi Cherubini2.png|thumb|200px|right|Luigi Cherubini wearing a [[Legion d'Honneur]] medal, lithograph by Marie Alexandre Alophe after a painting (Imp. d'Aubert &amp; Co. Galerie de la Presse de la Literature et des Beaux Arts, c. 1850).]]

'''Luigi Cherubini''' (September 8 or September 14&lt;ref&gt;{{cite book | last = Sadie | first = Stanley (Ed.) |year = 1994 | origyear = 1992 |title = The New Grove Dictionary of Opera| others = vol. 1, A-D, chpt: &quot;Cherubini, (Maria) Luigi (Carlo Zanobi Salvadore)&quot; by Stephen C. Willis | publisher = MacMillan. p. 833 | location = New York | isbn = 0-935859-92-6}}&lt;/ref&gt;, 1760 &amp;ndash; March 15, 1842) was an [[Italy|Italian]]-born composer who spent most of his working life in [[France]]. His most significant compositions are operas and sacred music. [[Ludwig van Beethoven|Beethoven]] regarded Cherubini as the greatest of his contemporaries.&lt;ref&gt;{{cite book | last = Holden | first = Amanda | coauthors = (editor), with Kenyon, Nicholas and Walsh, Stephen | title = The Viking Opera Guide | origyear = 1993 | publisher = Viking | location = London
 | isbn = 0-670-81292-7 | pages = 209 }}&lt;/ref&gt; 

==Biography==
Cherubini was born '''Maria Luigi Carlo Zenobio Salvatore Cherubini''' in [[Florence]]. There is uncertainty about his exact date of birth. Although September 14 is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on September 8, feast-day of the Nativity of the Virgin.&lt;ref name=&quot;Sadie, p. 833&quot;&gt;Sadie, p. 833&lt;/ref&gt; His Italian name appears most often in modern journals and on recordings. However, after 1790, he adopted the French version of his name, '''Marie-Louis-Charles-Zénobi-Salvador Cherubini''', which appears in ''all'' extant documents that show his full name after that date.&lt;ref name=&quot;Sadie, p. 833&quot;/&gt;    

His instruction in music began at the age of six with his father, Bartolomeo, ''maestro al cembalo'' (&quot;Master of the [[harpsichord]]&quot;). Considered a [[child prodigy]], Cherubini studied [[counterpoint]] and dramatic style at an early age. By the time he was thirteen, he had composed several religious works. In 1780, he was awarded a scholarship by the [[Grand Duke of Tuscany]] to study music in [[Bologna]] and [[Milan]].&lt;ref name=&quot;Sadie, p. 833&quot;/&gt; 

Cherubini's early ''[[opera seria]]s'' used libretti by [[Apostolo Zeno]], [[Metastasio]] (Pietro Trapassi), and others that adhered closely to standard dramatic conventions. His music was strongly influenced by [[Niccolò Jommelli]], [[Tommaso Traetta]], and [[Antonio Sacchini]], who were the leading composers of the day. His only comic work, ''Lo sposo di tre e marito di nessuna,'' premiered at a [[Venice|Venetian]] theater in November 1783.

Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two ''opera serias'' and an ''opera buffa'' for the King's Theater. In the same year, he made an excursion to Paris with his friend [[Gianbattista Viotti]], who presented him to [[Marie Antoinette]] and Parisian society. Cherubini received an important commission to write ''Démophon'' to a French libretto by [[Jean-François Marmontel]] that would be his first ''[[tragédie en musique]].'' Except for a brief return trip to London and to [[Turin]] for an ''opera seria'' commissioned by the King of the [[House of Savoy]], Cherubini spent the rest of his life in [[France]].&lt;ref name=&quot;Sadie, p. 833&quot;/&gt;

Performances of ''Démophon'' were favorably received at the Grand Opéra in 1788. With Viotti's help, the Théâtre de Monsieur in the [[Tuileries]] appointed Cherubini as its director in 1789, and three years later, he advanced to the Théâtre Feydeau.  This gave him the opportunity to read countless libretti and choose one that best suited his temperament. Cherubini's music began to show more originality and daring. His first major success here was ''[[Lodoïska]]'' (1791) which was admired for its realistic heroism. This was followed by ''Elisa'' (1794), set in the [[Swiss Alps]], and ''[[Medea (opera)|Médée]]'' (1797), which is Cherubini's best known work. ''[[Les deux journées]]'' (1800), in which Cherubini simplified his style, was a popular success. These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique. Feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children.

The fallout from the [[French Revolution]] had a major effect on Cherubini until the end of his life. Politics forced him to hide his connections with the former aristocracy and seek governmental appointments. [[Napoléon]] found him too complex for his tastes, however, Cherubini wrote at least one patriotic work per year for more than a decade.&lt;ref name=&quot;Sadie, p. 833&quot;/&gt;  He was appointed Napoléon's director of music in [[Vienna]] for part of 1805 and 1806, whereupon he conducted several of his works in that city.

After ''Les deux journées'', Parisian audiences began to favor younger composers such as [[Boieldieu]]. Cherubini's opera-ballet ''Anacréon'' was an outright failure and most stage works after it did not achieve success. ''Faniska,'' produced in 1806, was an exception, receiving an enthusiastic response, in particular, by [[Joseph Haydn|Haydn]] and Beethoven. ''[[Les Abencérages]]'' (1813), an heroic drama set in Spain during the last days of the [[Moors|Moorish]] kingdom of [[Granada]], was Cherubini's attempt to compete with [[Spontini]]'s ''[[La Vestale]]''. It brought the composer critical praise but few performances.

[[Image:Medea Cherubini titelblad.jpg|thumb|Title page of the first edition of Cherubini's ''[[Médée]]'', full score, 1797.]]
[[Image:Perelachaise-Cherubini-p1000349.jpg|thumb|Cherubini's grave at [[Père Lachaise Cemetery]] in Paris with a [[bas relief]] by Augustin Dumont.]]

Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven [[mass (music)|masses]], two [[requiem]]s and many shorter pieces. During this period, he was also appointed ''surintendant de la musique du roi'' under the restored monarchy. (It was a position he held until the fall of the [[Bourbon Dynasty]] in the [[July Revolution]] of 1830). The [[London Philharmonic Society]] commissioned him to write a symphony, an overture, and a composition for chorus and orchestra in 1815, the performances of which he went especially to London to conduct, increasing his international fame.

Cherubini's ''Requiem in C-minor'' (1816), commemorating the anniversary of the execution of King [[Louis XVI of France]], was a huge success. The work was greatly admired by Beethoven, [[Robert Schumann|Schumann]] and [[Johannes Brahms|Brahms]]. In 1836, Cherubini wrote a ''Requiem in D Minor'' to be performed at his own funeral. It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work.

Although chamber music does not make up a large portion of his output, what he did write was important. Wilhelm Altmann, writing in his ''Handbuch für Streichquartettspielers'' (Handbook for String Quartet Players) about Cherubini's six string quartets, states that they are first rate and regarded Nos. 1 and 3 as masterworks. His String Quintet for two violins, viola and two cellos is also considered a first rate work.

In 1822, Cherubini became director of the [[Paris Conservatoire|Conservatoire]] and completed his textbook, ''Cours de contrepoint et de fugue,'' in 1835. His role at the Conservatoire would bring him into conflict with the young [[Hector Berlioz]], who went on to portray the old composer as a crotchety pedant in his memoirs. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity. There are many allusions to Cherubini's personal irritability among his contemporaries; [[Adolphe Adam]] wrote, ''&quot;some maintain his temper was very even, because he was always angry.&quot;'' Nevertheless, Cherubini had many friends, including [[Rossini]], [[Chopin]] and, above all, the artist [[Jean Auguste Dominique Ingres|Ingres]]. The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin. In 1841, Ingres produced the most celebrated portrait of the old composer.

During his life, Cherubini received France's highest and most prestigious honors. These included the ''Chevalier de la [[Légion d'honneur]]'' (1814) and ''Membre de l'Académie des Beaux-Arts'' (1815). In 1841, he was made ''Commandeur de la Légion d'honneur,'' the first musician to receive that title.&lt;ref&gt;Sadie, p. 834&lt;/ref&gt; 

Cherubini died in Paris at age 81 and is buried at [[Père Lachaise Cemetery]], just four metres from his friend Chopin. His tomb was designed by the architect [[Achille-François-René Leclère|Achille Leclère]] and includes a figure representing &quot;Music&quot; crowning a bust of the composer with a wreath by sculptor [[Augustin Dumont]].

==Selected works==
===Operas===
*See [[List of operas by Cherubini]].

===Religious Music===
====Masses====
*Five masses: (1773–1776) (lost).
*Mass in B flat major, ''Messe solennelle breve'' (first) (–?–).
*Mass in A major for Three Voices (1808–1809).
*Mass in F major, ''Messe de Chimay'' (1808-1809).
&lt;!--*Mass in D minor, ''Messe solennelle'' (second) (1811)--&gt;
*Missa solemnis in D minor, ''Per il Principe Esterházy'' (1811).
*Mass in C major (1816).
*Mass in G major for the coronation of Louis XVIII. (1816-1819).
*''Missa solemnis'' in E major (1818).
*Mass in A major, ''Messe solennelle'' (third), for the coronation of Charles X (1825).

====Requiems====
*[[Requiem (Cherubini)|Requiem in c minor for mixed chorus]]. Written in memory of Louis XVI of France (1816).
*Requiem in d minor for male chorus. Written for his own funeral (1836).

===Motets &amp; other choral works===
*38 motets.
*''Hymne du Pantheon''.

===Chamber Music===
*String Quartet No.1 in E flat major, (1814).
*String Quartet No.2 in C major, (1829). This is a transcription of his Symphony in D major with a new second movement.
*String Quartet No.3 in D minor, (1834).
*String Quartet No.4 in E major, (1835).
*String Quartet No.5 in F major, (1835).
*String Quartet No.6 in A minor, (1837).
*String Quintet (2 violins, viola &amp; 2 violoncellos) in E minor (1837).

===Other compositions===
*Include a symphony, cantata, overture, and ''Hymne au printemps'' (&quot;Hymn to Spring&quot;) for the Philharmonic Society of London (1815).

==Notes==
{{reflist}}

==Sources==
*Basil Deane, ''Cherubini'' (Oxford Studies of Composers, 1965)
*''Cobbett's Cyclopedic Survey of Chamber Music'', Ed. W.W. Cobbett, Oxford University Press, 1963
*Wilhelm Altmann, ''Handbuch für Streichquartettspielers'', Hinrichtshofen, Amsterdam, 1972
*{{cite book | last = Sadie | first = Stanley (Ed.) |year = 1994 | origyear = 1992 |title = The New Grove Dictionary of Opera| others = vol. 1, A-D, chpt: &quot;Cherubini, (Maria) Luigi (Carlo Zanobi Salvadore)&quot; by Stephen C. Willis | publisher = MacMillan | location = New York | isbn = 0-935859-92-6}}
*{{cite book |last=Cherubini |first=Luigi |authorlink=Luigi Cherubini |others=with [[Fromental Halévy]] | title=Cours de contrepoint et de fugue |year=1835 |publisher=M. Schlesinger |location=Paris |oclc=11909698}}

==External links==
{{commons|Luigi Cherubini|Luigi Cherubini}}
*[http://www.newadvent.org/cathen/03648a.htm Entry for Luigi Cherubini in ''The Catholic Encyclopedia'']
*[http://www.editionsilvertrust.com/music-books-a-to-g.htm Luigi Cherubini String Quartet Nos.1 &amp; 3,  and String Quintet--sound-bites and discussion of works]
*{{IMSLP|id=Cherubini%2C_Luigi|cname=Luigi Cherubini}}
*{{ChoralWiki}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME= Cherubini, Luigi
|ALTERNATIVE NAMES=Cherubini, Maria Luigi Carlo Zenobio Salvatore; Cherubini, Marie-Louis-Charles-Zénobi-Salvador
|SHORT DESCRIPTION=[[Italy|Italian]] composer
|DATE OF BIRTH=[[September 8]] or [[September 14]], 1760
|PLACE OF BIRTH=[[Florence]]
|DATE OF DEATH=[[March 15]], [[1842]]
|PLACE OF DEATH=Paris
}}
{{DEFAULTSORT:Cherubini, Luigi}}
[[Category:1760 births]]
[[Category:1842 deaths]]
[[Category:Opera composers]]
[[Category:People from Florence]]
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Burials at Père Lachaise Cemetery]]

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[[fr:Luigi Cherubini]]
[[ko:루이지 케루비니]]
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[[zh:路易吉·凱魯比尼]]</text>
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  </page>
  <page>
    <title>Christian Heinrich Rinck</title>
    <id>4171579</id>
    <revision>
      <id>309578189</id>
      <timestamp>2009-08-23T10:16:19Z</timestamp>
      <contributor>
        <username>FeanorStar7</username>
        <id>160806</id>
      </contributor>
      <comment>layout</comment>
      <text xml:space="preserve">:''See also: [[Johannes Ringk]]''

[[Image:Rinckdenkmal Elgersburg.JPG|thumb|right|Tombstone of Rinck in Elgersburg]]

'''Johann Christian Heinrich Rinck''' (18 February 1770 &amp;ndash; 23 July 1846) was a [[Germany|German]] [[composer]] and [[organist]] of the late [[classical music era|classical]] era.

Rinck was born in [[Elgersburg]], [[Thuringia]], and died in [[Darmstadt]], aged 76.

==External links==
===Biographies===
*[http://www.naxos.com/composerinfo/868.htm Biography from Naxos.com]
*[http://www.bach-cantatas.com/Lib/Rinck-Johann-Christian.htm another biography]

===Sound Files===
*[http://www.classiccat.net/rinck_jch/index.htm mp3 of Praeludium in c minor]
*[http://www.emusic.com/album/10918/10918640.html mp3 of Flute Concerto]

===Music scores===
*{{IMSLP|id=Rinck, Christian Heinrich}}
*{{WIMA|idx=Rinck}}

{{DEFAULTSORT:Rinck, Johann Heinrich Christian}}
[[Category:1770 births]]
[[Category:1846 deaths]]
[[Category:German composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:German classical organists]]

{{Germany-composer-stub}}

[[de:Christian Heinrich Rinck]]
[[fr:Johann Christian Heinrich Rinck]]
[[nl:Christian Heinrich Rinck]]
[[ru:Ринк, Иоганн Христиан Генрих]]</text>
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  </page>
  <page>
    <title>Alessandro Rolla</title>
    <id>7359526</id>
    <revision>
      <id>306767788</id>
      <timestamp>2009-08-08T09:44:23Z</timestamp>
      <contributor>
        <ip>74.182.231.3</ip>
      </contributor>
      <comment>/* External links */</comment>
      <text xml:space="preserve">[[Image:Alessandro Rolla -1.jpg|thumb|right|200px|Alessandro Rolla, Milan, circa 1820.]]

'''Alessandro Rolla''' ([[22 April]] [[1757]] - [[15 September]] [[1841]]) was widely acknowledged in his time as a [[violin]] and, especially, [[viola]] [[virtuoso]], composer and teacher, though now practically unknown.  His contribution to technique, repertoire and [[history of music]] is greatly underestimated.{{Fact|date=September 2008}}

Still unknown to the majority of musicians and concert-goers, if remembered, it’s always due to his fame as “teacher of the great [[Paganini]]”, yet his role was very important in the development of violin and viola technique. Some of the technical innovations that Paganini later used largely, such as left-hand pizzicato, chromatic ascending and descending scales, the use of very high positions on violin and viola, [[octave]] passages, were first introduced by Rolla.

==Life==
Rolla was born in [[Pavia]], [[Italy]] in 1757 and after his initial studies he moved to [[Milan]] where, from 1770 to 1778, he studied with [[Gian Andrea Fioroni]], [[Maestro di cappella]] at [[Milan Cathedral]], who was the most important musician in Milan after [[Giovanni Battista Sammartini|G. B. Sammartini]]. [[Charles Burney]], in his musical tour in Italy, refers to Fioroni to acquire information about the [[Ambrosian Chant]].

In 1772, at 15, he made his first public appearance as a [[Solo (music)|soloist]] and composer performing “the first [[viola concerto]] ever heard”,  as reported by a contemporary writer. However, this is in fact false, as the first ever viola concerto was written several years earlier by [[Telemann]] (Concerto in G Major for Viola and String Orchestra).

In 1782 he was appointed principal viola and the leader of the Ducale [[Orchestra]] in Parma, playing violin and viola until 1802.
This was the most profitable period of Rolla’s life, his most serene and creative years, in a very stimulating cultural and intellectual atmosphere; he was allowed to travel to conduct and perform as a soloist, became known also abroad and his works were published in Paris and Vienna.

In 1795 he received a visit by the young [[Paganini]] wishing to study with him and from Paganini’s later letters there is evidence that they remained in contact and even played quartet together. This relationship must have had an influence on Paganini, as far as his love for the viola is concerned, which in his maturity led him to compose works of great interest for the instrument, such as the concert piece ''Sonata per la Grand Viola e Orchestra'', the [[Serenata]] and [[Terzetto]] [[concertante]], besides the ''Quartet n.15'' for ''Viola Concertante'', violin, [[guitar]] and [[cello]].

After the death of the Duke of Parma, in 1802 Rolla was offered a position as leader and orchestra director of the [[La Scala]] Orchestra in Milan. Here the new governors, the French and later the Austrians, wanted to create the most important orchestra of Italy and therefore hired the best virtuosos of the time. Among his students during this period were [[Cesare Pugni]], the prolific composer of ballet music, whom he taught the violin. Rolla would conduct many of Pugni's operas for La Scala, among them ''Il Disertore Svizzero'' (1831) and ''La Vendetta'' (1832).

At La Scala Rolla remained until 1833. There he conducted the first Milanese performances of [[Mozart]]’s ''[[Don Giovanni]]'', ''[[Così fan tutte]]'', ''[[Clemenza di Tito]]'' and ''[[Nozze di Figaro]]'' and [[Beethoven]]’s first Symphonies.
During this period he also conducted about eighteen operas of the then most loved opera composer, [[Gioacchino Rossini]], as well as operas by [[Donizetti]] and [[Bellini]], whom he got to know personally.

Since 1811 he was also director of a Cultural Society where musicians used to perform chamber music works by [[Haydn]], Mozart and Beethoven, among others. In 1813 at this Cultural Society he gave private performances of Beethoven’s Fourth, Fifth and Sixth Symphonies.  He also used to be in the [[aristocracy]] drawing rooms, meeting artists and poets, playing for them and dedicating them several compositions.

In 1808 the [[Conservatoire]] of Music in Milan was inaugurated and Rolla was appointed professor of violin and viola. In this capacity he composed many didactical works for his own pupils, graded in difficulty, many of which were published by the newly established publishing house [[Ricordi]]. Several of these ''esercizi'' are composed with progressive technical difficulties and in all [[Key (music)|keys]].

It is also curious to note that Rolla was a member of the adjudicating commission that rejected another famous Parmesan, [[Giuseppe Verdi]], at the entry examination in the [[Conservatoire]] of the city, although he was the only one who expressed a favourable judgement about the young student.

Although involved in [[opera]] [[conducting]] in a period when in Italy opera was dominating over [[instrumental music]], Rolla continued to compose, maintaining the Italian instrumental tradition high. He wrote about 500 works, from didactical compositions to [[sonatas]], [[quartets]], [[symphonies]], [[concertos]] for violin, not less than 13 concertos and other works for viola and orchestra. Significant was his contribution to the diffusion of Beethoven’s works in Italy and his familiarity with Beethoven and other [[Viennese]] composers is shown in his compositions. He continued to compose and play [[chamber music]] until few months before his death at 84.

His works and performances as a violin and viola player and conductor at La Scala were often reviewed and appreciated in the [[Leipziger Zeitung]].

As an example of his fame in Italy and abroad, it’s worth noting that during his lifetime his compositions were published by publishers such as [[Le Duc and Imbault]] in [[Paris]], [[Artaria]] in [[Vienna]], [[Breitkopf &amp; Hartel]] in [[Leipzig]], [[Monzani &amp; Hill]] in [[London]], [[André]] in [[Offenbach am Main|Offenbach]], Ricordi in Milan from 1809, and many more.

This information about Rolla’s life and multifarious musical activity helps us interpret his work. He was a musician of European vision, an innovator in his own field who was also able to learn from the best of his contemporaries. Also being so deeply immersed in opera environment undoubtedly had an influence on his style as a composer. He often used [[Theme (music)|themes]] from operas for his [[variations]].

Because of the technical innovations introduced, his work might be considered helpful for the development of viola technique.

His style varies from the very melodic phrases, typically operatic in character, rich in fiorituras, to the extremely virtuoso writing, the style we are used to identify with Paganini. Ingredients of this technique are an ample use of [[double stops]], fast passages in [[thirds]] and [[sixths]], [[octaves]] from the first to the eighth position, very fast ascending and descending [[diatonicism|diatonic]] and [[chromatic scale]]s, flying staccato, left-hand [[pizzicato]]. And all this was on the viola, something unheard of! Bertini, a historian of his time, in a dictionary of musicians reported that Rolla was prohibited to play in public because women could not hear him without fainting of being struck by attacks of nerves.

Some{{Who|date=March 2009}} think Rolla deserves a more important position in viola repertoire. His didactical works, conceived especially for the viola, are of special interest for students and teachers. They are often conceived in form of [[Duet (music)|duos]], lending themselves to be used also for chamber music education purposes as well.

Many of his works have been published in modern times and are therefore available.

==Bibliography==
*Luigi Inzaghi and Luigi Alberto Bianchi, ''Alessandro Rolla - Catalogo tematico delle opere'', Nuove Edizioni, 1981.
*Maurice Riley, ''The History of the Viola'', Riley, 1980.
*Alessandro Rolla, ''Adagio e tema con variazioni per viola e orchestra,'', edited by L. A. Bianchi, Edizioni Suvini Zerboni, 1979.
*Alessandro Rolla, ''Sonata in Do maggiore per viola e basso'', edited by L. A. Bianchi, Edizioni Suvini Zerboni, 1982.
*Alessandro Rolla, ''Tre pezzi per viola sola'', edited by L. A. Bianchi, Edizioni Suvini Zerboni, 1974.
*Scholes Percy A. (editor), ''Dr. Burney’s Musical Tours in Europe'', vol.I and II; Oxford University Press, 1959.

==External links==
*[http://editionsilvertrust.com/rolla-stringtrio-1.htm Rolla String Trio No.1-Sound-bites &amp; short biography]
*[http://www.viola-in-music.com Viola in music] The role of viola in music, from which most of this article is copied nearly verbatim.
* {{IMSLP|id=Rolla, Alessandro}}
*[http://www.gemsmusicpublications.com/ Complete works for viola (solo works and viola duets) available at Gems Music Publications]

{{DEFAULTSORT:Rolla, Alessandro}}
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[[Category:1841 deaths]]
[[Category:People from Pavia]]
[[Category:Italian classical violists]]
[[Category:Italian classical violinists]]
[[Category:Italian composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:Composers for violin]]
[[Category:Italian conductors]]
[[Category:Music educators]]

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  </page>
  <page>
    <title>Giovanni Battista Sammartini</title>
    <id>1397886</id>
    <revision>
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      <text xml:space="preserve">&lt;!-- please do not add an infobox, per [[Wikipedia:WikiProject Composers#Lead section]]--&gt;[[Image:Giovanni Battista Sammartini.gif|210px|thumb|The only surviving portrait of Sammartini by Domenico Riccardi.&lt;ref&gt; Cattoretti, Anna, ed. Giovanni Battista Sammartini and His Musical Environment.  Brepolis, 2004.&lt;/ref&gt;]]

'''Giovanni Battista Sammartini''' (1700 or 1701 &amp;ndash; 15 January 1775) was an [[Italy|Italian]] [[composer]], [[organ (music)|organ]]ist, choirmaster and teacher.  He counted [[Christoph Willibald Gluck|Gluck]] among his students, and was highly regarded by younger composers including [[Johann Christian Bach]].  It has also been noted that many stylizations in [[Haydn|Joseph Haydn's]] compositions are similar to those of Sammartini, although Haydn denied any such influence.&lt;ref&gt;Churgin, Bathia: &quot;Sammartini [St Martini, San Martini, San Martino, Martini, Martino]                                                         Giovanni Battista&quot;, Grove Music Online ed. L. Macy (Accessed [21 March 2007]),  &lt;http://www.grovemusic.com&gt; &lt;/ref&gt;  Sammartini is especially associated with the formation of the [[symphony|concert symphony]] through both the shift from a brief opera-overture style and the introduction of a new seriousness and use of thematic development that prefigure Haydn and [[Mozart]].  Some of his works are described as [[galant|''galant'']], a style associated with  [[Age of Enlightenment|Enlightenment]] ideals, while &quot;the prevailing impression left by Sammartini's work... [is that] he contributed greatly to the development of a Classical style that achieved its moment of greatest clarity precisely when his long, active life was approaching its end&quot;.&lt;ref&gt; Cattoretti, Anna, ed. Giovanni Battista Sammartini and His Musical Environment.  Brepolis, 2004.&lt;/ref&gt;   

He is often confused with his brother, [[Giuseppe Sammartini|Giuseppe]], a composer with a similarly prolific output (and the same first initial).

==Life==
Giovanni Battista Sammartini was born to French emigrant and oboist Alexis Saint-Martin and Girolama de Federici in [[Milan]], in what was [[Austria]] during most of his lifetime and [[Italy]] today.  He was the seventh of eight children.  He received musical instruction from his father and wrote his first work in 1725, which was a set of vocal works (now lost).  Not long after, he acquired the position of [[maestro di cappella]] of the Congregazione in 1728.

Sammartini quickly became famous as a church composer and obtained fame outside of Italy by the 1730s.  Over the course of the years, he joined many churches for work (8 or more by his death&lt;ref&gt;G. B. Sammartini and the Symphony
   Churgin, Bathia 
   The Musical Times, Vol. 116, No. 1583. (Jan., 1975), pp. 26-29.
Stable URL: http://links.jstor.org/sici?sici=0027-4666%28197501%29116%3A1583%3C26%3AGBSATS%3E2.0.CO%3B2-Q &lt;/ref&gt;) and wrote music to be performed at state occasions and in houses of nobility.  Although he never strayed far from Milan, he came into contact with many notable composers including J.C. Bach, [[Mozart]], [[Boccherini]], and Gluck, the latter of whom became his student from the years 1737 to 1741.

Sammartini’s death in 1775 was unexpected.  Although he was highly regarded in his time, his music was quickly forgotten, and Sammartini wasn’t to be restudied until 1913 by researchers Fausto Torrefranca, Georges de Saint-Foix, and Gaetano Cesari.  Ironically, most of his surviving works have been recovered from published editions from outside his hometown of Milan.

==Innovations==
Sammartini is mostly praised for his innovations in the development of the symphony, perhaps more so than the schools of thought in [[Mannheim School|Mannheim]] and [[First Viennese School|Vienna]].&lt;ref name=&quot;Sammartini, Giovanni Battista 1968&quot;&gt;Sammartini, Giovanni Battista. The Symphonies of G. B. Sammartini.  Ed. Bathia Churgin.  Cambridge:   Harvard University Press, 1968.&lt;/ref&gt;  His approach to symphonic composition was unique in that it drew influence from the [[trio sonata]] and [[concerto]] forms, in contrast to other composers during the time that modeled symphonies after the [[Italian overture]].  His symphonies were driven by rhythm and a clearer form, especially early [[sonata]] and [[binary form|rounded binary]] forms.  His works never ceased to be inventive, and sometimes anticipated the direction of classical music such as the [[Sturm und Drang|''Sturm und Drang'']] style. &lt;ref&gt;Churgin, Bathia: ‘Sammartini [St Martini, San Martini, San Martino, Martini, Martino]  Giovanni Battistam', Grove Music Online ed. L. Macy (Accessed [21 March 2007]),  &lt;http://www.grovemusic.com&gt; &lt;/ref&gt;

==Compositions==
Sammartini was a prolific composer, and his compositions include 4 [[opera]]s, about 70 [[symphonies]], ten [[concertos]] and some of the earliest [[chamber music]] known in the history of western music.  As of 2004, approximately 450 known works have been composed by Sammartini, although a fair amount of his music has been lost, especially sacred and dramatic works.&lt;ref name=&quot;Sammartini, Giovanni Battista 1968&quot;/&gt;  Some of it may have also been lost due to publishment under other names, especially that his brother, Giuseppe.&lt;ref&gt;The Published Instrumental Works of Giovanni Battista Sammartini: A Bibliographical   Reappraisal
   Henry G. Mishkin; Giovanni Battista Sammartini 
  The Musical Quarterly, Vol. 45, No. 3. (Jul., 1959), pp. 361-374.
 Stable URL: http://links.jstor.org/sici?sici=0027-4631%28195907%2945%3A3%3C361%3ATPIWOG%3E2.0.CO%3B2-9&lt;/ref&gt;  His earliest music was for liturgical use.

Sammartini's works are referred to, in publications or recordings, either by the [[opus number]] they received in his lifetime, or by the J-C numbers they receive in the Jenkins-Churgin catalog referred to below. Newell Jenkins edited some of Sammartini's works, including a Magnificat, for the first time (he was also an editor of works by [[Vivaldi]], [[Paisiello]] and Boccherini, among others).

Sammartini’s music is generally divided into three stylistic periods: the early period (1724-1739), which reflects a mixture of [[Baroque]] and Preclassical forms, the middle period (1740-1758), which suggests Preclassical form, and the late period (1759-1774), that displays [[Classical music|Classical]] influences, including Mozart.  Sammartini’s middle period is regarded as his most significant and pioneering, during which his compositions in the ''galant'' style of music foreshadow the Classical era to come.

===Known works===
*Operas (4)
**''Memet'' (1732, [[Lodi, Italy]]), 'tragedia' in three acts, the first movements of two of Sammartini’s earliest known symphonies appear as overtures 
**''L'ambizione superata dalla virtù'' (26 December 1734, [[Teatro Regio Ducal]], [[Milan]]), 'drama' in three acts
**''L'Agrippina, moglie di Tiberio'' (January 1743, [[Teatro Regio Ducal]], Milan), [[dramma per musica]] in three acts,
**''La gara dei geni'' (28 May 1747, [[Teatro Regio Ducal]], Milan), 'componimento drammatico' (of which only one aria survives)
*Sonatas (over 50):
**For organ 
**For cello 
**For violin 
**For flute
*Concertos (10): 
**For cello and piccolo 
**For flute 
**For violin 
*Symphonies (68 or more) 
*Concertinos (7)
*Marches (4)
*Minuets (4)
*String quintets (6)
*Flute and string quartets (21)
*String trios (~200)
*Arias and vocal ensemble pieces (9)
*Cantatas (8)
*Sacred works (17)

==External links==
*{{IMSLP|id=Sammartini, Giovanni Battista}}

==Notes==
{{reflist}}

==References==
*Cattoretti, Anna, ed., ''Giovanni Battista Sammartini and his musical environment'', Brepols, Turnhout, 2004. ISBN 2-503-51233-X.
*Churgin, Bathia and Jenkins, Newell. ''Thematic Catalog of the Works of Giovanni Sammartini: Orchestral and Vocal Music''.  Cambridge: published for the American Musicological Society by Harvard University Press, 1976. ISBN 0-674-87735-7.
*Stedman, Preston.  The Symphony.  Englewood Cliffs, New Jersey: Prentice Hall 1992.

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  <page>
    <title>Joachim Nicolas Eggert</title>
    <id>10199615</id>
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      <text xml:space="preserve">'''Joachim Nicolas Eggert''',  Swedish [[composer]] and [[musical director]], (* [[22 February]] [[1779]] in [[Gingst]] on [[Rügen]], at that time part of Swedish [[Pommern]]; † [[14 April]] [[1813]] in [[Thomestorp]], [[Östergötland]], [[Sweden]]).

At a very young age he started studying to play the  violin. In [[Stralsund]] he continued his musical education in the subjects violin und composition. These studies were followed, at the first years of the 19th century, by studies in musical theory in [[Braunschweig]] and [[Göttingen]], with  [[Johann Nikolaus Forkel]] as a teacher.
 
In [[1802]] he got his first appointment  as a [[Kapellmeister]] at the court theater of [[Schwerin]]. A year later he became violinist at the [[Swedish Royal Orchestra|Royal Court Orchestra]] of Sweden. He soon received his first commissions for compositions.  In  [[1807]] he was appointed member of the Royal Swedish Musical Academy; in the same year he made his debut as a musical director.  Between [[1808]] and [[1812]] he worked  as a Hofkapellmeister at the Royal Court Orchestra. He died in [[1813]] of tuberculosis, at the age of 34 years.

The main part of his compositional creations are instrumental works like [[opera]]s, [[cantata]]s, musical dramas and [[symphony|symphonies]]. He also composed numerous works commissioned by the Swedish Court Orchestra. He introduced elements  of the [[Vienna]] [[Classical period (music)|Classicism]] into Swedish musical culture.  In the course of his activities as Kapellmeister he introduced for the first time works of [[Ludwig van Beethoven|Beethoven's]] in the Swedish concert repertoire. He also gained fame by directing the first Swedish performances of [[Joseph Haydn|Haydn's]] oratorio ''[[The Seasons (Haydn)|The Seasons]]'' and [[Wolfgang Amadeus Mozart|Mozart's]] opera ''[[The Magic Flute]]''.

== Works (a selection) ==
*Operas
**The Moors in Spain
**Svante Sture och Märta Leijonhufvud
*Symphonies
**Symphony No. 1 in C-Minor
**Symphony No. 2 “Skjöldebrand” in g-Minor
**Symphony No. 3 in E-flat Major
**Symphony No. 4 in C-Major

==External links==
* {{IMSLP|id=Eggert, Joachim Nicolas}}
* [http://www.classical-composers.org/comp/eggert Article about Eggert by the Israeli musicologist Avishai Kallai]

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  <page>
    <title>Johann Melchior Molter</title>
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      <text xml:space="preserve">[[Image:Molter.jpg|thumb|Johann Melchior Molter]]

'''Johann Melchior Molter''' (10 February 1696 &amp;ndash; 12 January 1765) was a [[Germany|German]] [[baroque music|baroque]] [[composer]] and [[violin]]ist.  

He was born at [[Tiefenort]], near [[Eisenach]], and was educated at the [[Gymnasium (school)|Gymnasium]] in Eisenach. By autumn 1717 he had left Eisenach and was working as a violinist in [[Karlsruhe]]. Here he married Maria Salome Rollwagen, with whom he had eight children.  From 1719 to 1721 he studied composition in [[Italy]]. From 1722 to 1733 he was court [[Kapellmeister]] at Karlsruhe. In 1734 he became Kapellmeister at the court of Duke [[Wilhelm Heinrich, Duke of Saxe-Eisenach|Wilhelm Heinrich]] of [[Saxe-Eisenach]].

Maria died in 1737; by 1742 Molter had married Maria Christina Wagner. In that year he returned to Karlsruhe and began teaching at the gymnasium there. From 1747 to his death Molter was employed by Margrave Carl Friedrich of [[Baden-Durlach]], the son of his first employer. He died at Karlsruhe.

Molter's surviving works include an [[oratorio]]; several [[cantata]]s; over 140 [[symphony|symphonies]], [[overture]]s, and other works for [[orchestra]]; many [[concerto]]s, including some of the first [[clarinet concerto]]s ever written; and many pieces of [[chamber music]].

One of Molter's many Trumpet Concertos is the signature piece of [[C-SPAN]]'s ''[[Washington Journal]]''. 

==References==
*Klaus Häfner. &quot;Molter, Johann Melchior.&quot; ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[December 1]] 2006), [http://www.grovemusic.com/ grovemusic.com] (subscription access).

==External links==
*{{WIMA|idx=Molter}}

{{germany-composer-stub}}

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  <page>
    <title>Maddalena Laura Sirmen</title>
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      <comment>Corrected birth &amp; death date (according to IMSLP, New Grove)</comment>
      <text xml:space="preserve">'''Maddalena Sirmen''' (9 December 1745, [[Venice]] - 18 May 1818) was an [[Italy|Italian]] [[composer]], [[violin]]ist, and later unsuccessful singer.

==Biography==
Sirmen was born in [[Venice]] to poverty-stricken parents, noble by birth. She began her studies at an orphanage that also taught music in [[Venice]] at the age of seven. 

In her fourteen years of study at the orphanage, Sirmen was occasionally given permission to leave and study with the virtuoso violinist and composer [[Giuseppe Tartini]] (1692-1770), in the hope that Sirmen would develop the technical and emotional capacity demanded of an ambitious woman. Hoping to play the violin professionally in a European classical scene almost entirely dominated by men, Tartini paid her own tuition for musical lessons at the orphanage.

At age twenty-one, Sirmen received her [[maestro]] license at the orphanage, and was given permission to pursue a musical career outside of Venice. Sirmen soon married renowned violinist [[Ludovico Sirmen]] in 1767. The two began touring together that same year. Although little is documented about their relationship, it appears he encouraged Maddalena’s career, respecting her compositions and relishing in her successful solo career. Sirmen soon established her reputation as one of the finest and most famous violinists and composers ever taught in a Venetian orphanage.  

An early critical notice she received as an adult performer was from Quirino Gasparini, who wrote:
&lt;blockquote&gt;
&quot;She won the hearts of all the people of Turin with her playing . . . I wrote to old Tartini last Saturday telling him the good news. It will make him all the happier, since this student of his plays his violin compositions with such perfection that it is obvious she is his descendant&quot;. &lt;ref&gt; Pendle, 114 &lt;/ref&gt;
&lt;/blockquote&gt;

Sirmen was perhaps an even more successful composer. The newlyweds performed in [[Paris]] on Monday, [[15 August]] [[1768]], performing a double violin [[concerto]] which they co-wrote.
&lt;blockquote&gt;
“The ‘Mercure de France’ speaks in glowing terms of M. and Mme Sirmen’s execution of a double violin concerto of their own composition.&quot; &lt;ref&gt; Blom, 821 &lt;/ref&gt;
&lt;/blockquote&gt;

In 1771, Maddalena Sirmen debuted her “Concerto on the Violin” in [[London]], met by rave reviews and lavish support. Her compositions displayed the violin in all its virtuosic brilliance in the dynamic yet restrained early Classical tradition. 

Sirmen visited London for a final time in 1772, performing as a vocalist and failing at that. Although her career withered and faded in its final years, she is remembered as a dynamic inventor and brilliant performer in 18th century classical music.

==Works==
*“Six Trios a deux violins et violoncello oblige”
*“Six Quartettes a deux violins, alto, et basse”
*“6 Duets for 2 violins, dedicated to the Duke of Gloucester”
*“6 Concertos for violin with accompaniment for oboe, 2 horns &amp; strings”
*“Six Sonatas a deux violins”
*“Six Concertos adapted for the Harpsichord by Signor Giordani”

==Notes==
&lt;references/&gt;

==References==
*[[Eric Blom|Blom, Eric]]; ''[[Grove Dictionary of Music and Musicians|Grove’s Dictionary of Music and Musicians]]'', 5th edition, New York: St. Martin’s Press, 1954.
*Bowers, Jane; ''Women Making Music''. Indiana: University of Illinois Press, 1986.
*Pendle, Karin; ''Women &amp; Music: A History.'' Indiana: Indiana University Press, 1991.

==External links==
* {{IMSLP|id=Sirmen, Maddalena Laura}}

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  <page>
    <title>Jean Paul Egide Martini</title>
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      <comment>Category.</comment>
      <text xml:space="preserve">'''Jean Paul Egide Martini''', ([[August 31]] [[1741]]-[[February 10]] [[1816]]) was a composer of [[european classical music|classical music]].  Sometimes known as '''Martini Il Tedesco''', he is best known today for the vocal romance &quot;[[Plaisir d'Amour]],&quot; on which the 1961 [[Elvis Presley]] standard &quot;[[Can't Help Falling in Love]]&quot; is based. He is sometimes referred to as Giovanni Martini, which has resulted in a confusion with [[Giovanni Battista Martini]], particularly with regard to the composition of Plaisir d'Amour.

Martini was born '''Johann Paul Aegidius Schwarzendorf''' in [[Freystadt]], [[Bavaria]]. He adopted the family name Martini after moving to [[France]] as a young man.  There, he established a successful career as a court musician.  Having directed concerts for the [[Marie Antoinette|Queen]] he adapted to the changing regimes throughout the [[French Revolution]], and later wrote music for [[Napoleon]]'s marriage as well as for the restored [[Royal Chapel]].  In 1764, he married Marguerite Camelot.  His melodic opera ''L'amoureux de quinze ans'' written in 1771 enjoyed great success.  In addition, his highly popular church music combined old forms with modern theatricality, and his chansons including &quot;Plaisir D'Amour&quot; were influential.  In 1800 he became professor of composition at the [[Paris Conservatoire]].  He died in [[Paris]] in February of 1816.

==List of works==
*''Annette and Lubin'' (opera)
*''L'amoureux de quinze ans, ou La double fête'' (1771)
*''Le Droit du Seigneur'' (1783)
*&quot;Prière pour le Roi&quot;, political song (1793)
*''Scene héroïque pour Napoléon'' (1814)

== Sources ==
*&quot;Jean Paul Martini&quot; in &quot;Classical Music,&quot; ed. John Burrows.  DK Publishing, Inc: New York, 2005.

==External links==
* {{IMSLP|id=Martini, Jean Paul Egide}} 

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  <page>
    <title>Dmitry Bortniansky</title>
    <id>708535</id>
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      <text xml:space="preserve">[[Image:DmytroBortniansky.jpg|thumb|250px]]
'''Dmytro Stepanovych Bortniansky''' ({{lang-uk|Дмитро Степанович Бортнянський}}, ''Dmytro Stepanovych Bortnians’kyi''; {{lang-ru|Дмитрий Степанович Бортнянский}}, ''Dmitrij Stepanovič Bortnjanskij''; also referred to as ''Dmitry'' or ''Dmitri Bortnyansky''; [[28 October]] [[1751]] [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;GRid=22202508] [http://www.hymntime.com/tch/bio/b/o/r/bortniansky_ds.htm] - {{OldStyleDate|10 October|1825|28 September}}) was a [[Ukrainians|Ukrainian]] composer, active principally in Russia.&lt;ref&gt;Marika Kuzma. &quot;Bortnyans′ky, Dmytro Stepanovych.&quot; Grove Music Online. Oxford Music Online. 11 Jun. 2009 &lt;http://www.oxfordmusiconline.com/subscriber/article/grove/music/03638&gt;.&lt;/ref&gt;  He was one of the &quot;Golden Three&quot; of his era, along with [[Artem Vedel]] and [[Maksym Berezovsky]]. Bortniansky composed in many different musical styles, including choral compositions in [[French language|French]], [[Italian language|Italian]], [[Latin]], [[German language|German]], [[Church Slavonic language|Old Church Slavonic]] and [[Russian language|Russian]].

==Student==
Dmytro Bortniansky was born on [[October 28]], [[1751]] in the city of [[Hlukhiv]] (present-day [[Ukraine]]), then under the [[Russian Empire]] (as Glukhov).  At the age of seven, his prodigious talent at the local church choir afforded him the opportunity to go the capital of the empire and sing with the [[Imperial Chapel (St. Petersburg)|Imperial Chapel Choir]] in [[Saint Petersburg|St. Petersburg]]. There he studied music and composition under the director of the Imperial Chapel Choir, the [[Italian people|Italian]] master [[Baldassare Galuppi]]. When Galuppi left for [[Italy]] in 1769, he took the boy with him. In Italy, Bortniansky gained considerable success composing [[opera]]s: ''[[Creonte]]'' (1776) and ''[[Alcide]]'' (1778) in [[Venice]], and ''[[Quinto Fabio]]'' (1779) at [[Modena]]. He also composed sacred works in Latin and German, both [[a cappella]] and with [[orchestra]]l accompaniment (including an ''Ave Maria'' for two voices and orchestra).

==Master==
Bortniansky returned to the court at St. Petersburg in 1779 and flourished creatively. He composed at least four more operas (all in French, with [[libretto|libretti]] by [[Franz-Hermann Lafermière]]): ''[[Le Faucon]]'' (1786), ''[[Le fete du seigneur]]'' (1786), ''[[Don Carlos (Bortniansky)|Don Carlos]]'' (1786), and ''[[Le fils-rival ou La moderne Stratonice]]'' (1787). Bortniansky wrote a number of instrumental works at this time, including [[piano]] [[sonatas]] and a piano quintet with [[harp]], and a cycle of French songs. He also composed [[liturgy|liturgical]] music for the [[Orthodox Church]], combining the Eastern and Western European styles of sacred music, incorporating the [[polyphony]] he learned in Italy; some works were [[polychoral]], using a style descended from the Venetian polychoral technique of the Gabrielis. 

After a while, Bortniansky's genius proved too great to ignore, and in 1796 he was appointed Director of the Imperial Chapel Choir, the first director not to have been imported from outside of the Russian Empire. With such a great instrument at his disposal, he produced scores upon scores of compositions, including over 100 religious works, sacred [[concerto]]s (35 for four-part mixed choir, 10 for double choruses), [[cantata]]s, and [[hymn]]s.

Dmytro Bortniansky died in St. Petersburg on [[October 10]], 1825, and is interred at [[Alexander Nevsky Monastery]] in St. Petersburg.

==Musical legacy==
In 1882, [[Pyotr Ilyich Tchaikovsky|Pyotr Tchaikovsky]] edited the liturgical works of Bortniansky, which were published in ten volumes. While Dmytro Bortniansky's operas and instrumental compositions are on par with those of the great classical composers, it is his sacred choral works that are performed most often today. This vast body of work remains central not only to understanding 18th-century Orthodox sacred music, but also served as inspiration to his fellow Ukrainian composers in the 19th century.

The tune he wrote for the Latin hymn [[Tantum Ergo]] eventually became known in Slavic lands as ''Коль славен (Kol slaven)'', in which form it is still sung as a Christmas carol today. The tune was also popular with [[freemasons]]. It travelled to English speaking countries and came to be known by the names ''Russia'', ''St. Petersburg'' or ''Wells''; in Germany, the song was paired with a text by [[Gerhard Tersteegen]], and became a well-known chorale and ­traditional closing piece to the military ritual ''[[Großer Zapfenstreich]] (the Ceremonial Tattoo)''.  Prior to the [[October revolution]] in 1917, the tune was played by the [[Moscow Kremlin]] [[carillon]] every day at midday.

[[James Blish]], who novelized many episodes of the original series of [[Star Trek]], noted in one story, ''[[Whom Gods Destroy]]'', that Bortniansky's ''Ich bete an die Macht der Liebe'' was the theme &quot;to which all [[Starfleet]] Academy classes marched to their graduation.&quot;

==Works==
====Operas====
:*''[[Creonte]]'' (1776 [[Venice]])
:*''[[Alcide]]'' (1778 [[Venice]])
:*''[[Quinto Fabio]]'' (1779 [[Modena]])
:*''[[Le Faucon]]'' (1786 [[Gatchin]] in [[French language|French]], with [[libretto]] by [[Franz-Hermann Lafermière]])
:*''[[Le Fête du Seigneur]]'' (1786 [[Pavlovsk]] in French, with libretto by [[Franz-Hermann Lafermière]]) 
:*''[[Don Carlos (Bortniansky)]]'' (1786 [[St Petersburg]] in [[French language|French]], with libretto by [[Franz-Hermann Lafermière]])
:*''[[Le Fils-Rival ou La Moderne Stratonice]]'' (1787 [[Pavlovsk]] in [[French language|French]], with libretto by [[Franz-Hermann Lafermière]])

==== Choruses (in Old Church Slavonic) ==== 
:*''Da ispravitsia molitva moia'' (&quot;Let My Prayer Arise&quot;) no. 2.
:*''Kheruvimskie pesni'' (Cherubic Hymns) nos. 1-7
:*Concerto No. 1: ''Vospoite Hospodevi'' (&quot;Sing unto the Lord&quot;)
:*Concerto No. 7: ''Priidite vozraduemsia'' (&quot;Come Let Us Rejoice&quot;)
:*Concerto No. 11: ''Blahoslovy Hospod'' (&quot;Blessed is the Lord&quot;)
:*Concerto No. 18: ''Blaho iest ispovedatsia'' (&quot;It Is Good To Praise the Lord&quot;, Psalm 92)
:*Concerto No. 19: ''Reche Hospod Hospodevi moemu'' (&quot;The Lord Said unto My Lord&quot;)
:*Concerto No. 21: ''Zhivyi v pomoshi Vyshnaho'' (&quot;He That Dwelleth&quot;, Psalm 91)
:*Concerto No. 24: ''Vozvedokh ochi moyi v hory'' (&quot;I Lift Up My Eyes to the Mountains&quot;) 
:*Concerto No. 27: ''Hlasom moim ko Hospodu vozzvakh'' (&quot;With My Voice I Cried Out to the Lord&quot;) 
:*Concerto No. 32: ''Skazhi mi, Hospodi, konchynu moiu'' (&quot;Lord, Make Me Know My End&quot;)
:*Concerto No. 33: ''Vskuiu priskorbna iesy dusha moia'' (&quot;Why Are You Downcast, O My Soul?&quot;, Psalm 42:5)

====Concerto-Symphony====
:*Concerto-Symphony for Piano, Harp, Two Violins, Viola da gamba, Cello and Bassoon in B Flat Major (1790).

====Quintet====
:*Quintet for Piano, Harp, Violin, Viola da gamba and Cello (1787).

==References==
{{reflist}}

==External links==
* [http://www.bartleby.com/65/bo/Bortnian.html Bortniansky, Dmitri Stepanovich] in [[Columbia Encyclopedia]]
*[http://www.kkovalev.ru/Kovalev-Bortniansky-text.htm Bortniansky: Main biography in Russian] by [http://www.kkovalev.com/english.htm Konstantin Kovalev (Константин Ковалев) - eng.] and [http://www.kkovalev.ru/Bortniansky-eng.htm All about Dmitry Bortniansky + Usual mistakes in the biography of the composer (present time) - eng.]
* [http://www.encyclopediaofukraine.com/pages/B/O/BortnianskyDmytro.htm Bortniansky, Dmytro] in [http://www.encyclopediaofukraine.com Encyclopedia of Ukraine]
* [http://www.hymntime.com/tch/bio/b/o/r/bortniansky_ds.htm Bortniansky, Dmitri Stepanovich] in [http://www.hymntime.com/tch The Cyber Hymnal]
* [http://www.karadar.com/Dictionary/bortniansky.html Bortniansky, Dmitri Stepanovich] in [http://www.karadar.com/Default.htm Karadar Classical Music]
* [http://www.musicusbortnianskii.com/ Musicus Bortnianskii], a [[chamber choir]] from Toronto which specializes in Bortniansky performance and research
*{{ChoralWiki|Dmitri Bortniansky}}
*{{WIMA|idx=Bortnjanski|name=Dmytro Bortniansky}}
*{{IMSLP|id=Bortniansky%2C_Dmytro|cname=Dmytro Bortniansky}}

{{DEFAULTSORT:Bortniansky, Dmytro}}
[[Category:1751 births]]
[[Category:1825 deaths]]
[[Category:Russian composers]]
[[Category:Russian Orthodox Christians]]
[[Category:Ukrainian composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]
[[Category:Christian composers]]
[[Category:Alumni of the National University of Kyiv-Mohyla Academy]]

[[be:Дзмітры Сцяпанавіч Бартнянскі]]
[[be-x-old:Зьміцер Бартнянскі]]
[[bg:Дмитрий Бортнянски]]
[[da:Dmitrij Stepanovitj Bortnjanskij]]
[[de:Dmitri Stepanowitsch Bortnjanski]]
[[es:Dmitri Bortniansky]]
[[hr:Dmitro Stepanovič Bortnjanskij]]
[[it:Dmytro Stepanovyč Bortnjans'kyj]]
[[nl:Dmytro Bortnjansky]]
[[ja:ドミトリー・ボルトニャンスキー]]
[[pl:Dymitr Bortniański]]
[[ru:Бортнянский, Дмитрий Степанович]]
[[sl:Dimitrij Stepanovič Bortnjanski]]
[[fi:Dmitri Bortnjanski]]
[[uk:Бортнянський Дмитро Степанович]]
[[zh:德米特里·斯捷潘诺维奇·博尔特尼扬斯基]]</text>
    </revision>
  </page>
  <page>
    <title>Yevstigney Fomin</title>
    <id>5164674</id>
    <revision>
      <id>301038491</id>
      <timestamp>2009-07-08T18:41:54Z</timestamp>
      <contributor>
        <ip>85.226.42.57</ip>
      </contributor>
      <comment>/* External links */</comment>
      <text xml:space="preserve">[[Image:Evstigney Fomin.jpg|thumb|150px|right|Composer Yevstigney Fomin]]

'''Yevstigney Ipat'yevich Fomin''' &lt;ref&gt; The Romanized spelling of his name is variable: Yevstignei (Evstigney, Evstignei, Ewstigney or Evstignej) Ipatovich (Ipatyevich or Ipatevich) Fomin. &lt;/ref&gt;   ({{lang-ru|Евстигне́й Ипа́тьевич Фоми́н}}) (born [[Saint Petersburg|St Petersburg]] {{OldStyleDate|August 16|1761|August 5}} &amp;ndash; died [[Saint Petersburg|St. Petersburg]] c {{OldStyleDate|April 27|1800|April 16}}) was a Russian opera composer of the 18th century. 

==Biography==

Fomin was born in St. Petersburg into a family of a [[cannon]]eer, the artillery soldier of Tobolsk infantry regiment. His father died when he was 6, and he passed into the care of his stepfather, I. Fedotov, a soldier. Fedotov took him to the [[Imperial Academy of Arts|Academy of Fine Arts]] in [[St. Petersburg]] on [[April 21]], [[1767]], where Fomin studied architecture. As a full student there, he began learning the [[harpsichord]] in 1776 with [[Matteo Bumi]]. From 1777 he studied theory and composition with [[Hermann Raupach]], and from 1779 with [[Blasius Sartori]]. 

In 1782 he went to Bologna to study with [[Padre Martini]] and [[Stanislao Mattei]]; three years later he was accepted into the Accademia filarmonica. Returning to St. Petersburg in 1785, he taught at the theatrical school and composed operas. From 1797 he was répétiteur for the imperial theater under Paul I. He composed about 30 operas including ''Yamshchiki na podstave'' [''The Coachmen at the Relay Station''] (1787); ''Vecherinki'' [''Soirées''] (1788); ''Orfey i Evridika'' (1792), ''Amerikantsy'' [''The Americans''], comic opera (1800), and ''Zolotoye yabloko'' [''The Golden Apple''] (performed after the composers death in 1803). The most successful for decades was his opera-melodrama ''Orfey i Evridika'' to the text by [[Yakov Knyazhnin]]. It was re-staged in the Soviet time in 1947 in [[Moscow]], and in 1953 and in 1961 in [[Saint Petersburg|Leningrad]].

The famous one-act opera ''Anyuta'' to the text by [[Mikhail Popov]] (1772, [[Tsarskoye Selo]]) has been occasionally attributed to Fomin (which is not a certainty).  &lt;ref&gt; See Gerald Abraham's ''The Conscience Oxford History of Music'', Oxford 1979, p.479. &lt;/ref&gt; In addition, Fomin has been credited with the music of another successful Russian opera ''Melnik – koldun, obmanshchik i svat'' (''The Miller who was a Wizard, a Cheat and a Match-maker'', [[Moscow]], 1779), on a subject resembling [[Rousseau]]’s ''[[Le devin du village]]'': it is possible that this was his revision of the music compiled by a theatre violin player [[Mikhail Sokolovsky]]. &lt;ref&gt; Ibid. &lt;/ref&gt;

==Operas==

*''[[The Novgorod Hero Boyeslayevich]]'' (''Новгородский богатырь Боеслаевич – Novgorodskiy bogatyr’ Boyeslayevich'', opera-ballet. Libretto by the Empress [[Catherine II]], [[December 12]], [[1786]] [[St Petersburg]])  
*''[[The Coachmen at the Relay Station]]'' (''Ямщики на подставе - Yamshchiki na podstave'' [[January 13]], [[1787]] [[St Petersburg]]) 
*''[[Soirées]]'' (''Вечеринки или гадай, гадай девица — Vecherinki, ili Gaday, gaday devitsa'', 1788 [[St Petersburg]]) 
*''[[Magician, Fortune-teller and Match-maker]]'' (''Колдун, ворожея и сваха - Koldun, vorozheya i svakha'' (1789 St Petersburg) 
*''[[Orpheus and Eurydice (opera)|Orpheus and Eurydice]]'' (''Орфей и Эвридика  — Orfey i Evridika'', melodrama. Text by [[Yakov Knyazhnin]], January 13, 1792 [[St Petersburg]]) 
*''[[The Miller who was a Wizard, a Cheat and a Match-maker]]'' (''Мельник - колдун, обманщик и сват  — Melnik - koldun, obmanshchik i svat'' (1779 [[Moscow]], c.1795 [[St Petersburg]]) [revision of the music by Sokolovsky (?)] 
*''[[The Americans (opera)|The Americans]]'' (''Американцы - Amerikantsy'', comic opera, [[February 19]], 1800 [[St Petersburg]]) 
*''[[Chloris and Milo]]'' (''Клорида и Милон – Klorida i Milon'', November 18, 1800 [[St Petersburg]]) 
*''[[The Golden Apple (opera)|The Golden Apple]]'' (''Золотое яблоко — Zolotoye yabloko'', [[April 27]], [[1803]] [[St Petersburg]]) 

also:

*''[[Yaropolk and Oleg]]'' (''Ярополк и Олег - Yaropolk i Oleg'') - Choruses to a tragedy  by [[Vladislav Ozerov]] (1798)

==Discography==

*C10 28271 009. Fomin, Yevstigney (1761–1800). ''Американцы'' [''The Americans''] (1800). [[Vladimir Andropov]]. USSR [[Bolshoi Theatre]] Chamber Orchestra (rec. 1988)

*C10 19625 009. Fomin, Yevstigney. ''Ямщики на подставе'' [''The Coachmen''] (1788). [[Vladimir Chernushenko]]. [[Saint Petersburg|Leningrad]] State Conservatory Opera Orchestra (rec. 1982)

*The Golden Age - Moscow Concertino ensemble of soloists (CD).
On [http://www.russiandvd.com/store/album_asx.asp?sku=34774 this website] you can listen to all the tracks that also include music by Bortnyansky and Alyabyev [http://www.russiandvd.com/store/product.asp?sku=34774&amp;genreid= (see the CD information)].&lt;br&gt; 
The first four tracks are as follows: 
:*Yevstigney Fomin. Music from the melodrama ''Orpheus and Eurydice''
:*1. Introduction 
:*2. Adagio 
:*3. Dance of the furies
:*4. Overture to the comic opera ''The Americans''

==Quotations==

&quot;Yevstigney Fomin, one of the most talented composers of his day and age and the founding father of Russian musical drama, also [like [[Vasily Pashkevich]]] died in poverty... His melodrama, based on the well-known legend about Orpheus and Eurydice, is a real masterpiece whose red-hot passions and tragic collisions have since been put to music with equal excellence. ''Orpheus'' premiered at Count Nikolai Sheremetev’s theatre in 1792 to the strains of a choir, orchestra and with a large cast of ballet dancers and actors. For more than two decades ''Orpheus'' ran thousands of times to invariable applause of local and visiting theatergoers. And still, the money Fomin earned for his labors was dwarfed by the exorbitant royalties picked up by his Italian colleagues invited to work in St. Petersburg. [http://www.vor.ru/English/tales/tales_006.html ''&quot;The Voice of Russia 2003&quot;'']

==Notes==

{{reflist}}

==Bibliography==
*Sokolova, A.: ''Fomin'', the article in &quot;Tvorcheskie portrety kompozitorov&quot;, Moskva, Muzyka, 1989, p.360-362
*Abraham, Gerald: ''The Concise Oxford History of Music'', Oxford 1979, p.479-481
*''Fomin, Yevstigney Ipat'yevich '' by [[Richard Taruskin]], 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7

==External links==
*[http://www.classicalarchives.com/info/fo-ov-fu.txt classical archives]
*[http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=fomin classical composers]
*[http://www.vor.ru/English/1000years/1000y-033.html Russia - 1000 years of music]
*{{IMSLP|id=Fomin, Yevstigney Ipat'yevich}}

{{DEFAULTSORT:Fomin, Evstigney}}
[[Category:Classical era composers]]
[[Category:1761 births]]
[[Category:1800 deaths]]
[[Category:Opera composers]]
[[Category:Russian composers]]
[[Category:People from Saint Petersburg]]
[[category:18th-century Russian people]]</text>
    </revision>
  </page>
  <page>
    <title>Vasily Pashkevich</title>
    <id>5154112</id>
    <revision>
      <id>301057260</id>
      <timestamp>2009-07-08T20:26:24Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>/* External links */ +imslp</comment>
      <text xml:space="preserve">'''Vasily Alexeyevich Pashkevich'''  also '''Paskevich'''  ({{lang-ru|Васи́лий Алексе́евич Пашке́вич or Паске́вич}}) (c.1742&amp;ndash;[[March 20]], [[1797]] [[St. Petersburg]]) was a Russian composer, singer, violinist and teacher who lived during the time of [[Catherine the Great]].

==Biography==
Vasily Pashkevich entered court service in 1756 becoming a court composer to Tsar [[Peter III of Russia]] and later to his widow, [[Catherine the Great]]. He also played violin, and taught singing in the Academy of Arts 1773-1774 and later in the court capella. Between 1780 and 1783 he managed the [[Karl Kniper Theatre]] and in 1789 he became the first violin of the court orchestra, remaining in charge of imperial ballroom music until his death.

Pashkevich wrote important comic operas, often re-working them at length, like ''Saint-Petersburg's Trade Stalls'', begun in 1782 and revised in 1792, and also ''As you live you will be judged''. 

The comic opera ''The Miser'' a work of 17 scenes brought him most success. Its roles are: Scriagin, Liubima’s guardian; Liubima, his niece; Milovid, her beloved; Marfa, the servant girl that Scriagin is in love with; Prolaz, Milovid’s manservant who is in Scriagin’s service. Accordingly the speech and the names of the characters of [[Molière]]'s comedy were turned into Russian as well as the music that combines some features of European form with typically Russian melodies.

Catherine had literary ambitions, and Pashkevich was asked to set one of her own opera libretti for performance at the royal court. The result of this, opera ''[[Fevey]]'', was staged on [[April 19]], [[1786]] at the [[Hermitage Theatre]] in [[St. Petersburg]].  The lavish opera production evoked widespread admiration. Despite the success of Pashkevich's work during his years serving under [[Catherine II]], his contributions were not appreciated by the Empress's heirs, who terminated his services and denied him a pension.

His style is similar to Italian opera buffa, but unlike them, the comic situations of his works are often overshadowed by vaguely tragic scenes. His operas are full of citations of popular songs, that later become one of the important characteristics of the great 19th-century Russian opera.

==Works==
====Operas====
:*''Misfortune from Owning a Coach'' (''Несчастье от кареты — Neschastye ot karety'', libretto by [[Yakov Knyazhnin]], 1772?, [[November 7]], [[1779]] [[St. Petersburg]] ) 
:*''Saint-Petersburg's Bazaar'' (''Санкт Петербургский Гостный Двор — Sankt Peterburgskiy Gostinyi Dvor'', libretto by [[Mikhail Matinsky]] 1782 [[St. Petersburg]]), revised as ''You'll be Known by the Way you Live'' (''Как поживёшь, так и прослывёшь — Kak pozhivyosh', tak i proslyvyosh'', 1792 [[St. Petersburg]])
:*''The Burden Is Not Heavy if It Is Yours'' (''Своя ноша не тянет — Svoya nosha ne tyanet'', 1794)
:*''Two Antons'' (''Два Антона - Dva Antona'' 1804?)
:*''The Miser'' (''Скупой — Skupoy'', 1782?, [[Moscow]], 1811? [[Yakov Knyazhnin]] after [[Molière]])
:*''[[Fevey]]'' (libretto by [[Catherine II]], [[April 19]], [[1786]] [[St. Petersburg]]) 
:*''The Early Reign of Oleg'' (''Начальное управление Олега — Nachal'noye upravleniye Olega'',[[November 2]], [[1790]] [[St. Petersburg]])– together with [[Giuseppe Sarti]] and the Milanese musician [[C. Cannobio]])
:*''Fedul and his Children'' (''Федул с детьми'' — ''Fedul s det'mi'', libretto by Empress [[Catherine II]],  [[January 27]], [[1791]] [[St. Petersburg]])– together with [[Vicente Martín y Soler]])
:*''The Pasha of Tunis'' (''Паша Тунисский — Pasha tunisskiy'', libretto by [[Mikhail Matinsky]], 1782)

====Romances====
*Song (text by [[Gavrila Derzhavin]])
*Masses and other liturgical works. 

==Quotations==
&quot;I never saw anything more diverse and magnificent! There were more than 500 actors performing on stage for just a handful of people. There were a maximum of 50 people watching the whole thing, and that was because the Empress restricts the access to her Hermitage&quot; (''A contemporary account on the staging of the opera &quot;Fevey&quot;'')

==Discography==
*C10 06853-56. Pashkevich, Vasili. ''Скупой'' [''The Miser''] (1781). Vladimir Agronsky. Chamber Orchestra of [[Moscow]] Chamber Musical Theater (recorded 1978)[[USSR]]: Melodiya. stereo. Produced by Boris Pokrovsky 

*Russkoe barokko - Zolotaya klassika (CD) Label(s): RCD Music RCD 30649 Year of production: 2003, Year of recording: 2003, Baroque Chamber Ensemble. Including: 
:Vasily Pashkevich. Overture to the opera ''[[Fevey]]'' Allegro C major 2:51
:Vasily Pashkevich. Aria of Tsaritsa from the opera ''[[Fevey]]'' 2:56 (Libretto by [[Catherine II]])
:Vasily Pashkevich. Overture to the opera ''Fedul s det'mi'' Allegro C major 2:50

==See also==
*[[Opera in Russia in the 18th century]]
*[[Russian opera]]

==References==
*Warrack, John and West, Ewan (1992), ''The Oxford Dictionary of Opera'', 782 pages,  ISBN 0-19-869164-5

==External links==
*[http://www.russiandvd.com/store/product.asp?sku=37655&amp;genreid= CD information (in Russian)]
*[http://www.vor.ru/English/tales/tales_006.html The Voice of Russia article on 18th century composers] 
*[http://www.vor.ru/English/MTales/tales_089.html The Voice of Russia article on Russian music]
*{{IMSLP|id=Pashkevich, Vasily Alekseyevich}}

{{DEFAULTSORT:Pashkevich, Vasily}}
[[Category:Classical era composers]]
[[Category:1742 births]]
[[Category:1797 deaths]]
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[[Category:Russian composers]]
[[category:18th-century Russian people]]
[[ru:Пашкевич, Василий Алексеевич]]</text>
    </revision>
  </page>
  <page>
    <title>Maksym Berezovsky</title>
    <id>1001083</id>
    <revision>
      <id>312764642</id>
      <timestamp>2009-09-09T11:48:21Z</timestamp>
      <contributor>
        <username>TXiKiBoT</username>
        <id>3171782</id>
      </contributor>
      <minor/>
      <comment>robot Adding: [[hr:Maksim Sozontovič Berezovskij]]</comment>
      <text xml:space="preserve">{{dablink|Not to be confused with [[Maksymilian Berezowski]], a Polish author, journalist, and erudite.}}

[[Image:Berezovskiy.jpg|thumb|right|200px]]

'''Maksym Sozontovych Berezovsky''' ([[Ukrainian language|Ukrainian]]: Максим Созонтович Березовський, ''Maksym Sozontovych Berezovskyi''; {{lang-pl|Berezowski}}) (c. [[1745]]–[[1777]]) was a [[Ukrainians|Ukrainian]] [[composer]] , [[opera]] [[singer]], and [[violin]]ist. His first name sometimes is transliterated as '''Maxim'''.

Berezovsky was the first Ukrainian  composer to be recognized throughout [[Europe]] and the first to compose an opera, [[symphony]], and [[violin sonata]]. His most popular works are his sacred choral pieces written for the Orthodox Church. Much of his work has been lost; only three of the 18 known choral [[concerto]]s have been found. [[Dmytro Bortniansky]] was thought to be the first Ukrainian symphonic composer until the discovery in 2002 of Berezovsky's Symphony in C by Steven Fox in the [[Vatican Library|Vatican archives]], composed around 1770-72.

==Early life==
Not much is known about Berezovsky’s biography.  His life story was reconstructed in a short novel written in 1840 by [[Nestor Kukolnik]] and a play by Peter Smirnov staged at the [[Alexandrine Theatre]] in [[Saint Petersburg|St. Petersburg]].  Many particulars from these works of fiction had been accepted as fact, but have since been proven inaccurate.

Some accounts speculate that Berezovsky was born on October 27, 1745 in [[Hlukhiv]], and studied at the [[Kyiv Mohyla Academy]].  However, no hard evidence exists for this information, and his name is missing from the annals of the Academy.  Since Hlukhiv was the only other music school training singers for the Imperial Court Choir, it is likely that he did spend at least some of his childhood there. Today there is a monument to Maksym Berezovsky in [[Hlukhiv]], where he was supposedly born.&lt;ref&gt;[http://www.day.kiev.ua/258850/ &quot;Maksym Berezovsky: Tragedy of the Ukrainian Mozart&quot;], Kateryna Zorkina, ''The Day'' (Kiev), 16 April 2002.&lt;/ref&gt;

==Education==
On June 29, 1758 he was accepted as a singer into the [[Peter III of Russia|Prince Peter Fedorovych]] capella in Oranienbaum (now known as [[Lomonosov, Russia|Lomonosov]]), near St. Petersburg.  Berezovsky participated in [[Italian language|Italian]] operas and his name appears in printed [[libretto]]s of the operas ''Alessandro nell'Indie'' by [[Francesco Araja]] and ''La Semiramide riconosciuta'' by [[Vincenzo Manfredini]] given in [[Oranienbaum]] in 1759 and 1760.

In 1762 he became a singer of the Italian Capella of the St. Petersburg Imperial palace, which was the palace chapel choir.  Here he studied under singer N. Garani and Capella director F. Zoppis and likely under composers [[Vincenzo Manfredini]] and [[Baldassare Galuppi]].  He continued as court musician and composer for the majority of the 1760s.

In 1763 Berezovsky wed Franzina Uberscher (also translated as Francisca Iberchere), a graduate of the Oranienbaum theatrical school.  Not much is known about their life together.  When he died in 1777, the composer's government funeral allowance was given to court singer J. Timchenko.  This implies that Berezovsky was either separated or widowed from his wife during his final days, since this allowance would normally be given to the wife of the deceased.

Berezovsky was sent to Italy in the spring of 1769 to train with renowned teacher padre [[Giovanni Battista Martini]] at the [[Bologna Philharmonic Academy]], where he graduated with distinction.  Along with fellow graduate [[Josef Mysliveček]], Berezowsky wrote an exam to compose a polyphonic work on a given theme.  This was a similar exam to that given to fellow alumnus [[Wolfgang Amadeus Mozart]] several months earlier.  Berezovsky's piece for four voices is still kept in the Academy’s archives.  On May 15, 1771 he became a member of the Accademia Filarmonica.

==Later years==
His opera ''[[Demofonte (Berezovsky)|Demofonte]]'' to the Italian libretto by [[Pietro Metastasio]] was staged in [[Livorno]], [[Italy]], and premiered in February 1773.

Berezovsky returned to St. Petersburg in October 1773 (early biographies indicate that he returned in 1775).  According to archival discoveries in the late 20th century, Berezovsky was appointed a staff member of the imperial theatres and capellmeister of the Royal court capella eight months later.  This was a high ranking position for a musician and contradicts the notion that Berezovsky’s talent was not appreciated upon his return to St. Petersburg.  Some sources state that the he committed suicide as a result of depression for not being accepted upon his return to St. Petersburg.  His first biographer, Y. Bolkhovitinov, made this assertion in 1804 based on testimonials of those who knew Berezovsky.  Marina Ritzarev, a contemporary scholar, asserts that he did not commit suicide but rather likely caught a sudden fever resulting in his death after developing some psychic disease.  He died in St. Petersburg on [[March 24]] ([[April 2]], [[Gregorian calendar|N.S.]]), [[1777]].

== Cultural influence ==

[[Andrei Tarkovsky]]'s film ''[[Nostalghia]]'' is &quot;a commentary on exile as told through Berezovsky's life.&quot;&lt;ref&gt;Orlando Figes, ''Natasha's Dance'' (Picador, 2002), p. 41.&lt;/ref&gt;

== References ==
{{Reflist}}
* Pryashnikova, Margarita (2003). Maxim Berezovsky and His Secular Works. Text of the booklet to the CD ''Maxim Berezovsky (early 1740s -1777) Pratum Integrum Orchestra''. http://www.caromitis.com/eng/catalogue/booklets/cm0022003.html.
* [http://www.kkovalev.com/Kovalev-Bortniansky-text.htm Berezovsky: in Main biography of Bortniansky], in Russian by [http://www.kkovalev.com/english.htm Konstantin Kovalev (Константин Ковалев), eng.] 
* [http://www.encyclopediaofukraine.com/display.asp?AddButton=pages\B\E\BerezovskyMaksym.htm Encyclopedia of Ukraine, Article on Maksym Berezovsky] 
* Yurchenko, Mstyslav (2000). Text of booklet to the CD ''Ukrainian Sacred Music Vol.1: Maksym Berezovsky''. http://www.claudiorecords.com/berezovsky.html.
* Yurchenko, Mstyslav (2001). Text of booklet to the CD ''Sacred Music by Maksym Berezovsky''. http://www.cck.kiev.ua/en/cd/d13berz/text.htm.

==External links==
* {{ChoralWiki|Maksim Sozontovich Berezovsky}}

{{DEFAULTSORT:Berezovsky, Maksym}}
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[[Category:Russian composers]]
[[Category:Ukrainian composers]]
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[[Category:Classical era composers]]
[[Category:Christian composers]]
[[Category:Alumni of the National University of Kyiv-Mohyla Academy]]
[[Category:Ukrainian opera singers]]

[[de:Maxim Sosontowitsch Beresowski]]
[[hr:Maksim Sozontovič Berezovskij]]
[[it:Maksim Sozontovič Berezovskij]]
[[ja:マクシム・ベレゾフスキー]]
[[pl:Maksym Berezowski]]
[[ru:Березовский, Максим Созонтович]]
[[uk:Березовський Максим Созонтович]]</text>
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  </page>
  <page>
    <title>Carlo Cecere</title>
    <id>3106750</id>
    <revision>
      <id>291474393</id>
      <timestamp>2009-05-21T20:48:17Z</timestamp>
      <contributor>
        <username>Wikidwitch</username>
        <id>1019974</id>
      </contributor>
      <comment>re-categorisation per [[Wikipedia_talk:WikiProject_Composers#Composers_by_nationality_AND_period]] using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">'''Carlo Cecere''' (7 November 1706 &amp;ndash; 15 February 1761) was an [[Italy|Italian]] [[composer]] of [[operas]], [[concertos]] and [[instrumental]] [[duet (music)|duets]] including, for examples, some [[mandolin]] duets and a concerto for mandolin. Cecere worked in the transitional period between the [[Baroque]] and [[Classical era]]s of music. 

==Life==
Surprisingly little is known about his life, given that he lived in the 18th century. It is known that Cecere was born in [[Grottole]] and died in [[Naples]] where he lies buried in the chapel of the Congregazione dei Musici di S. Maria la Nuova. But it is not even known which instrument(s) he played by preference. According to some sources, he was mainly a [[violin]]ist -- he was a violinist for sure in the monastery of the Carmine in Naples—whereas other sources believe he was primarily a [[flautist]]. 

==Music==
Cecere set to music at least two [[librettos]] by Pietro Trinchera, including ''La tavernola abentorosa.'' Trinchera, not Cecere, was punished because ''La tavernola abentorosa''&lt;nowiki&gt;'&lt;/nowiki&gt;s [[Satire|satirical]] portrayal of [[Monasticism|monastic]] life was considered a buffoonish mockery. It was the first [[comic opera]] written specifically for a monastic audience.

==Selected discography==
*''Italian Flute Concertos'', performed by [[Jean-Pierre Rampal]] (flute) with I Solisti Veneti conducted by Claudio Scimone: Carlo Cecere's Concerto for Flute in A major together with Eustachio Romano's Concerto for Flute in G major, [[Giuseppe Matteo Alberti]]'s Concerto for Flute in F major &quot;con sordini&quot; and [[Giovanni Battista Sammartini]]'s Concerto for Flute in G major. (Sony Classical SNYC 47228SK), a 1991 recording, available as of 2007.
*''Concerti Napoletani per Mandolino'' performed by Dorina Frati (mandolin) with the Symphonia Perusina: Carlo Cecere's Concerto for Mandolin together with Giuseppe Giuliano's Sinfonia for Mandolin, Strings and Basso Continuo in B flat major and his Concerto for Mandolin in G major, Domenico Gaudioso's Concerto for Mandolin in G major, and [[Giovanni Paisiello]]'s  Concerto for Mandolin in E flat major. (Dynamic DYN 193), a 1999 recording, available as of 2007.

==External links==
*[http://gomandolin.org/index.CFM?pag=vociOpere&amp;id=38&amp;ps=eng#bio Biographical sketch of Carlo Cecere] by Pasquale Totaro
*{{IMSLP|id=Cecere, Carlo}}

{{DEFAULTSORT:Cecere, Carlo}}
[[Category:1706 births]]
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[[Category:Italian composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Italian violinists]]
[[Category:Italian flautists]]

[[it:Carlo Cecere]]
[[he:קרלו צ'צ'רה]]</text>
    </revision>
  </page>
  <page>
    <title>Antoine Dauvergne</title>
    <id>1514505</id>
    <revision>
      <id>301696977</id>
      <timestamp>2009-07-12T14:16:30Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>Corrected birth date (Grove), added persondata</comment>
      <text xml:space="preserve">'''Antoine Dauvergne''' (October 3, 1713 in [[Moulins, Allier]] – Februaury 12, 1797 in [[Lyon]]) was a French [[composer]] and [[violin]]ist. Dauvergne served as master of the ''Chambre du roi'', director of the [[Concert Spirituel]] from 1762 to 1771, and director of the ''Opéra'' three times between 1769 and 1790. Dauvergne contributed both as a performer and composer to the classical music at the court at [[Versailles]]. 

The name of Dauvergne is first and foremost associated with the beginnings of French [[comic opera]] (''opéra-comique''). However, in addition to [[opera]]s and [[opera-ballet]]s, Dauvergne composed a number of other works including [[violin sonata]]s (1739), trio sonatas, [[motet]]s, and what he called ''Concerts de Simphonies'' (1751). 

The name Dauvergne is sometimes written D'Auvergne. It means &quot;from [[Auvergne (province)|Auvergne]],&quot; the region in the center of France covered by the volcanic [[Massif Central]] mountain range. 

==Discography==

*Musique à Versailles - Dauvergne: Concerts de Simphonies. Performed by the Concerto Cologne. (Virgin Classics 2029-08-31 EMI 615422)

==Sources==
*[http://www.goldbergweb.com/en/history/composers/10717.php Article on Dauvergne (in French) in Goldberg Magazine]
*[http://www.operone.de/komponist/dauvergne.html List of Dauvergne's staged works with comments (in German)]
*[http://perso.wanadoo.fr/jean-claude.brenac/DAUVERGNE.htm List of Dauvergne's staged works with comments (in French)]

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Dauvergne, Antoine
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = French composer and violinist
|DATE OF BIRTH     = 3 October 1713
|PLACE OF BIRTH    = Moulins, Allier
|DATE OF DEATH     = 12 February 1797
|PLACE OF DEATH    = Lyon
}}

{{DEFAULTSORT:Dauvergne}}
[[Category:1713 births]]
[[Category:1797 deaths]]
[[Category:French composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:French violinists]]

[[es:Antoine Dauvergne]]
[[fr:Antoine Dauvergne]]</text>
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  </page>
  <page>
    <title>Mathias van den Gheyn</title>
    <id>2624449</id>
    <revision>
      <id>239435482</id>
      <timestamp>2008-09-19T01:52:35Z</timestamp>
      <contributor>
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        <id>7178666</id>
      </contributor>
      <comment>Units/dates/other</comment>
      <text xml:space="preserve">'''Mathias van den Gheyn''' (1721-1785) was a [[Flanders|Flemish]] [[composer]]. He lived and worked in [[Leuven]].

He is known first and foremost for his compositions for the [[carillon]] and the [[Organ (music)|organ]], though he wrote for the [[harpsichord]] as well.  His eleven preludes (Preludio I - X and Preludio Coucou) are among the most frequently performed pieces on the carillon due to their musicality and technical virtuosity.

==External links==
{{WIMA|idx=Gheyn|name=Mathias van den Gheyn}}

{{DEFAULTSORT:Gheyn, Mathias van den}}
[[Category:Classical era composers]]
[[Category:Belgian composers]]
[[Category:1721 births]]
[[Category:1785 deaths]]

{{Euro-composer-stub}}
{{Belgium-bio-stub}}</text>
    </revision>
  </page>
  <page>
    <title>Johann Adolph Hasse</title>
    <id>214051</id>
    <revision>
      <id>310928017</id>
      <timestamp>2009-08-30T18:35:49Z</timestamp>
      <contributor>
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        <id>8066546</id>
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      <minor/>
      <comment>robot Modifying: [[he:יוהאן אדולף האסה]]</comment>
      <text xml:space="preserve">[[image:Johann Adolf Hasse.jpg|thumb|250px]]

'''Johann Adolph Hasse''' (baptised [[25 March]] [[1699]] &amp;ndash; [[16 December]] [[1783]]) was an 18th-century [[Germany|German]] [[composer]], [[singer]] and teacher of music. Immensely popular in his time, Hasse was best known for his prolific [[opera]]tic output, though he also composed a considerable quantity of sacred music. Married to [[soprano]] [[Faustina Bordoni]] and a great friend of [[librettist]] [[Pietro Metastasio]], whose libretti he frequently set, Hasse was a pivotal figure in the development of ''[[opera seria]]'' and 18th-century music.

Hasse was born in [[Bergedorf]], near [[Hamburg]].

==Early career==
Hasse's career began in singing, when he joined the [[Hamburg]] Opera (his family, who were traditionally church musicians, came from near Hamburg) in 1718 as a tenor. In 1719 he obtained a singing post at the court of [[Braunschweig|Brunswick]], where in 1721 his first opera, ''Antioco'', was performed; Hasse himself sang in the production.

He is thought to have left Germany during 1722. During the 1720s he lived mostly in [[Naples]], dwelling there for six or seven years. In 1725 his [[serenata]] ''Antonio e Cleopatra'', was performed at Naples; the principal roles were sung by Carlo Broschi, better known as [[Farinelli]], and [[Vittoria Tesi]]. The success of this work not only earned Hasse many commissions from Naples's opera houses, but also, according to Quantz, brought him into contact with [[Alessandro Scarlatti]], who became his teacher and friend; Hasse also altered his style in several respects to reflect that of Scarlatti.

Hasse's popularity in Naples increased dramatically and for several years his workload kept him extremely busy. In this period he composed his only full ''[[opera buffa]]'', ''La sorella amante'', in addition to several ''[[intermezzi]]'' and serenatas. He visited the [[Venice|Venetian]] Carnival of 1730, where his opera ''[[Artaserse]]'' was performed at the [[S Giovanni Grisostomo]]. Metastasio's libretto was heavily reworked for the occasion, and Farinelli took a leading role. Two of his arias from this opera he later performed every night for a decade for [[Philip V of Spain]].&lt;ref&gt;Reference for this section: Grove section 1, &quot;Early years: Germany, Naples and Venice&quot;.&lt;/ref&gt;
==Dresden and Venice==
In 1730 Hasse married Faustina Bordoni, and was also appointed Kapellmeister at the [[Dresden]] court, though he did not arrive at Dresden until July 1731; earlier in the year he had been active at [[Vienna]], supervising a performance of his [[oratorio]] ''Daniello'' at the court of the [[Habsburgs]]. Soon after the couple's arrival in Dresden Faustina performed before the court. In September Hasse's ''Cleofide'' (set to a highly adapted [[Metastasio]] text) was given its premiere; it seems possible that [[J. S. Bach]] attended the performance; certainly [[C. P. E. Bach]] claimed that Hasse and his father had become good friends around this time.

In October Hasse left Dresden to direct premieres of his next operas at [[Turin]] and [[Rome]], and he also wrote music for the Venetian theatres at this time. Come the autumn of 1732 and Hasse was at Naples again, though he spent the winter at Venice where his ''Siroe'' was first performed in particularly lavish style. In February 1733 Friedrich August I, Hasse's patron at Dresden, died. As the court went into a year of mourning Hasse was permitted to remain abroad. Many of his sacred works, composed for Venice's churches, date to this time.

For much of 1734 Hasse was at Dresden, but from 1735 until 1737 he was in Italy, largely at Naples. Faustina performed in the September 1735 premiere of ''Tito Vespasiano'' (another adapted Metastsio libretto) at [[Pesaro]]. Returning to Dresden during 1737 Hasse composed 5 new operas, but when the court moved to Poland in the autumn of 1738 he and Faustina came back to Venice, where both of them where extremely popular. His next stay in Dresden was also his longest, between the first months of 1740 and January 1744. In this time he revised ''Artaserse'', composing new arias for Faustina, and also wrote a couple original ''intermezzi''. His general avoidance of comic opera seems to have been due to Faustina, who feared that the style of singing demanded by ''opera buffa'' would damage her voice.&lt;ref&gt;Reference for this section: Grove section 2, &quot;The first Dresden period, 1730–33&quot;, and Grove section 3, &quot;Dresden and Venice, 1734–44&quot;.&lt;/ref&gt;

==Dresden: 1744-63==
Between the winter of 1744 and late summer 1745, Hasse was in Italy, but then returned to Dresden for a year. [[Frederick the Great]], a keen flute player visited the court in December 1745, and it is likely that many of Hasse's flute sonatas and concertos that date to this time were written for Frederick. The King of Prussia was also present at a performance of one of Hasse's ''Te Deum''s, and himself ordered a performance of the composer's opera ''Arminio''. Soon after Hasse visited Venice and Munich, returning to Dresden in June 1747 to stage his opera ''La spartana generosa'', performed to celebrate multiple royal weddings at this time. Also at this time the hierarchy at Dresden was restructured; [[Nicola Porpora]] was named Kapellmeister, while Hasse himself was promoted to Oberkapellmeister. The marriage of princess Maria Josepha of Saxony to the French Dauphin gave Hasse the opportunity to journey to Paris in the summer of 1750, where his ''Didone abbandonata'' was performed.

The 1751 Carnival in Dresden saw the retirement of Faustina from operatic performance. He continued to produce new operas throughout the decade, including a setting of Metastasio's ''Il re pastore'', a text later used by Mozart. In 1756 the Seven Years War compelled the court at Dresden to move to [[Warsaw]], though Hasse himself lived mostly in Italy, travelling to Poland solely to supervise productions of his operas, if at all. In the autumn of 1760 he moved to Vienna, where he stayed for the next two years, returning to Dresden in 1763 to find much his home destroyed and the musical apparatus of the court opera wrecked. Friedrich August II died soon after and his successor, who also died quickly, deemed elaborate musical events at the court superfluous. Hasse and Faustina were paid two years's salary but given no pension.&lt;ref&gt;Reference for this section: Grove section 5, &quot;The final Dresden period, 1744–63&quot;.&lt;/ref&gt;

==Vienna and Venice: last years==
In 1764 Hasse travelled to Vienna, where the coronation of [[Joseph II, Holy Roman Emperor|Joseph II]] was marked by a performance of his ''[[festa teatrale]]'' ''Egeria'', again set to a libretto by Metastasio. For the most part, he remained at Vienna until 1773. [[Mozart]] was present at a performance of his ''Partenope'' in September 1767. Most of his operas composed during this period were also successfully produced at Naples. He was the favourite of [[Maria Theresa of Austria|Maria Theresa]], and it can be argued that he took up the job of ''de facto'' court Kapellmeister. With the premiere of ''[[Piramo e Tisbe]]'' (September 1768) Hasse had intended to retire from opera but was compelled by Maria Theresa to compose a further work, ''Ruggerio'' (1771), again set to a Metastasian libretto.

At this time operatic style was undergoing significant change, and the model of ''opera seria'' that Hasse and Metastasio had settled found itself assailed by the threat of the reforms of [[Christoph Willibald Gluck]] and [[Ranieri de' Calzabigi]], as laid down in the music and libretto for Gluck's opera ''[[Orfeo ed Euridice]]''. [[Charles Burney]], visiting Vienna in 1773, reported on the debate.
{{bquote|Party runs as high among poets, musicians and their adherents, at Vienna as elsewhere. Metastasio and Hasse, may be said, to be at the head of one of the principal sects; and Calsabigi and Gluck of another. The first, regarding all innovations as quackery, adhere to the ancient form of the musical drama, in which the poet and musician claim equal attention from an audience; the bard in the recitatives and narrative parts; and the composer in the airs, duos and choruses. The second party depend more on theatrical effects, propriety of character, simplicity of diction, and of musical execution, than on, what they style flowery description, superfluous similes, sententious and cold morality, on one side, with tiresome symphonies, and long divisions, on the other.}}

Finding his music under siege from an ''avant-garde'' surge in a new direction, Hasse left Vienna in 1773 and spent the final ten years of his life in Venice, teaching and composing sacred works. Faustina died in November 1781, and Hasse himself, after a long period of suffering from arthritis, just over 2 years later. He was almost completely ignored after his death, until F. S. Kandler paid for his gravestone in Venice, where he is buried, and authored a biography of Hasse in 1820.&lt;ref&gt;Reference for this section: Grove section 6, &quot;Last years&quot;.&lt;/ref&gt;

==Relationship with Metastasio==
Hasse's friendship with Metastasio, and his appreciation of the art form the librettist had created, increased over the years. The early Metastasio texts he set were all greatly altered for the purpose, but [[Frederick the Great]] and [[Francesco Algarotti]] both exerted influence in order to make Hasse pay greater respect to Metastasio's works. In the early 1740s he began setting new Metastasian libretti unadapted, and his personal relations with the librettist also improved significantly at around this time. In one his letters, dated to March 1744, Metastasio made the following comments: 
{{bquote|...never until now had I happened to see him [Hasse] in all his glory, but always detached from his many personal relationships in such a way that he was like an aria without instruments; but now I see him as a father, husband and friend, qualities which make an admirable union in him with those solid bases of ability and good behaviour, for which I will cherish him so many years...}}

In the following years Hasse reset his earlier works based on Metastasio's texts, this time paying great attention to the poet's original intention, and during the 1760s, as Metastasio wrote new texts, Hasse was, as a general rules, the first composer to set them.&lt;ref&gt;Reference for this section: Grove section 4, &quot;Hasse and Metastasio&quot;&lt;/ref&gt; Burney left the following note: {{bquote|This poet and musician are the two halves of what, like Plato’s Androgyne, once constituted a whole; for as they are equally possessed of the same characteristic marks of true genius, taste, and judgement; so propriety, consistency, clearness, and precision, are alike the inseparable companions of both...}}

==Style and reputation==
Despite G. B. Mancini claiming that Hasse was the ''padre della musica'', and despite the composer's massive popularity as a figure at the very forefront of 18th-century serious Italian opera, after his death Hasse's reputation vastly declined and his music lay mostly unperformed (with the exception of some of his sacred works, which were revived now and again in Germany). In particular, his operas sank without trace and revival only begun as the 20th century approached its end: Gluck's reforms took opera away from Hasse's style and Metastasio's Arcadian ideals to a new direction from which it would not return.

In his day, Hasse's style was noted primarily for his lyricism and sense of melody. Burney put it this way: 
{{bquote|[Hasse] may without injury to his brethren, be allowed to be as superior to all other lyric composers, as Metastasio is to all other lyric poets.}}

Careful choice of key was also a crucial factor in Hasse's style, with certain emotions usually marked out by certain key choices. Amorous feelings were expressed by A, for instance, while for expressions of aristocratic nobility Hasse used C and B flat; on the other hand, his supernatural and fear-inducing music usually went into the keys of C and F minor. Most of his arias begin in the major, switching only to minor for the B section before returning to major for the ''da capo''. As his career developed his arias grew much longer but a lyrical sense was still his overriding target.&lt;ref&gt;Reference for this section: Grove section 7, &quot;Musical style and reputation&quot;.&lt;/ref&gt;

==Works==
:See '''[[List of compositions by Johann Adolph Hasse]]''' and '''[[List of operas by Hasse]]'''.

==References==
{{Reflist}}

*{{GroveOnline|Johann Adolf Hasse|Sven Hansell|05 November|2007}}
*Frederick L. Millner: ''The Operas of Johann Adolf Hasse''. Ann Arbor MI: UMI Research Press, 1979 (Studies in Musicology, 2).  ISBN 0-8357-1006-8
==Further reading==
*F. L. Millner: ‘Hasse and London’s [[Opera of the Nobility]]’, MR, xxxv (1974), 240–46
*A. Yorke-Long: Music at Court (London, 1954)
*S. Hansell: ‘Sacred Music at the Incurabili in Venice at the Time of J. A. Hasse’, JAMS, xxiii (1970), 282–301, 505–21
*F. Degrada: ‘Aspetti gluckiani nell’ultimo Hasse’, Chigiana, xxix–xxx (1975), 309–29
*D. Heartz: ‘Hasse, Galuppi and Metastasio’, Venezia e il melodramma nel settecento: Venice 1973–5, i, 309–39
*R. Strohm: Essays on Handel and Italian Opera (Cambridge, 1985)

==External links==
{{Commons|Johann Adolph Hasse}}
*[http://www.earlymusicworld.com/id16.html Article: &quot;Dresden in the time of Zelenka and Hasse&quot; by [[Brian Robins]]]
*[http://www.classical.net/music/comp.lst/acc/hasse.html More modern assessment of Hasse]
*[http://www.hasseproject.com/ The Hasse Project]
*{{IckingArchive|idx=Hasse|name=Johann Adolph Hasse}}
*{{IMSLP|id=Hasse, Johann Adolph}}
*{{ChoralWiki}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Hasse, Johann Adolph
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = German composer, singer and teacher
|DATE OF BIRTH     = 25 March 1699
|PLACE OF BIRTH    = Bergedorf
|DATE OF DEATH     = 16 December 1783
|PLACE OF DEATH    = Venice
}}

{{DEFAULTSORT:Hasse, Johann Adolph}}
[[Category:1699 births]]
[[Category:1783 deaths]]
[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]

[[ca:Johann Adolph Hasse]]
[[cs:Johann Adolf Hasse]]
[[de:Johann Adolph Hasse]]
[[es:Johann Adolph Hasse]]
[[eo:Johann Adolf Hasse]]
[[fr:Johann Adolph Hasse]]
[[it:Johann Adolf Hasse]]
[[he:יוהאן אדולף האסה]]
[[hu:Johann Adolph Hasse]]
[[nl:Johann Adolf Hasse]]
[[ja:ヨハン・アドルフ・ハッセ]]
[[no:Johann Adolf Hasse]]
[[pl:Johann Adolf Hasse]]
[[pt:Johann Adolph Hasse]]
[[ro:Johann Adolph Hasse]]
[[ru:Хассе, Иоганн Адольф]]
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[[tg:Йоахан Адолф Хассе]]</text>
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  </page>
  <page>
    <title>Manuel Blasco de Nebra</title>
    <id>11373640</id>
    <revision>
      <id>286338918</id>
      <timestamp>2009-04-27T00:38:39Z</timestamp>
      <contributor>
        <username>Marcus2</username>
        <id>69025</id>
      </contributor>
      <comment>/* Sources */</comment>
      <text xml:space="preserve">'''Manuel Orlandi Blasco de Nebra''' ([[2 May]] [[1750]] - [[12 September]] [[1784]]) was a [[Spain|Spanish]] [[pipe organ|organist]] and [[composing|composer]] who lived in [[Seville]]. 

He was the son of José Blasco de Nebra (Lacarra), the organist of [[Seville Cathedral]] since 1735, and became his assistant organist in 1768, taking over in 1778. He was renowned for his excellent [[sight-reading]] and playing of the organ, [[harpsichord]] and [[fortepiano]], of which some impression can be obtained from his surviving compositions. During his short life (he predeceased his father), he composed about 170 works, although only 30, all for [[keyboard instrument]], are still in existence.

*Seis [[sonata]]s para clave y fuerte-piano op.1 ([[Madrid]], 1780)
*six [[pastorella]]s and 12 sonatas ([[Montserrat, Valencia|Montserrat]], [[Abadía]])
*six keyboard sonatas ([[Osuna]], [[Encarnación Monastery]])

==Sources==

*José López-Calo: 'Blasco de Nebra (Orlandi), Manuel', Grove Music Online ed. L. Macy (Accessed [[2007-05-23]]), http://www.grovemusic.com/

{{DEFAULTSORT:Blasco da Nebra, Manuel}}

[[Category:Harpsichordists]]
[[Category:Spanish classical organists]]
[[Category:Spanish classical pianists]]
[[Category:Spanish composers]]
[[Category:Classical era composers]]
[[Category:People from Seville]]
[[Category:1750 births]]
[[Category:1784 deaths]]

[[es:Manuel Blasco de Nebra]]
[[fr:Manuel Blasco de Nebra]]</text>
    </revision>
  </page>
  <page>
    <title>Capel Bond</title>
    <id>11395648</id>
    <revision>
      <id>286339498</id>
      <timestamp>2009-04-27T00:42:02Z</timestamp>
      <contributor>
        <username>Marcus2</username>
        <id>69025</id>
      </contributor>
      <comment>/* External links */</comment>
      <text xml:space="preserve">'''Capel Bond''' ([[14 December]] [[1730]] - [[14 February]] [[1790]]) was an [[England|English]] [[pipe organ|organist]] and [[Musical composition|composer]].

He was born in Gloucester, the son of William Bond and the younger brother of [[Painting|painter]] and [[japanner]] [[Daniel Bond]] (1725 - 1803). He received his education at the Crypt school with his uncle, Rev. Daniel Bond, and at the age of twelve became [[apprentice]] to the organist of [[Gloucester Cathedral]], Martin Smith. He left for [[Coventry]] in 1749, where he became organist of two large churches, [[St Michael and All Angels]] (later [[Coventry Cathedral]]), and, in 1752, [[Holy Trinity Church, Coventry]].

He married Ann Spooner, the daughter of Abraham Spooner and his second wife, Anne Birch at Holy Trinity in 1768. Anne's cousin Sarah Sebright (6th Baroness Sebright and mother of Henrietta, 2nd Countess Harewood) said of Capel Bond ''&quot;I had seen Miss Spooner’s marriage in the news and never was more surprised how careful ought people to be that have Daughters who they admit into their families. I should have thought no man less formidable than Mr. Bond.&quot;''

Such was his 'superior merit and regular attendance' that he was awarded an additional £10 per annum as a 'Compliment' from 1770. He did much to encourage musical life in the [[English Midlands|Midlands]], directing the Coventry Musical Society in large works such as [[Handel]]'s ''[[Messiah (Handel)|Messiah]]'' and ''[[Samson (Handel)|Samson]]'', organising concerts and participating in festivals in Coventry and [[Birmingham]].

His ''Six Concertos in Seven Parts'' (London, 1766) are a collection of four [[concerti grossi]] and a [[concerto]] each for [[bassoon]] and [[trumpet]]. The collection is similar in style to works by Midlands composers [[Richard Mudge]] and [[John Alcock (composer)|John Alcock]] published in 1749 and 1750, though also has much in common with the concerti grossi of contemporary English composers Handel, [[John Stanley]], [[Francesco Geminiani]] and [[Charles Avison]]'s arrangements of [[Domenico Scarlatti]]. The bassoon concerto is more [[galant]] in style and may owe some influence to a lost work from 1745 by [[William Boyce]]. The compositions are considered among the best of any English provincial composer, and in their own time were occasionally heard in the [[Concerts of Antient Music]] until 1812. 

His only other known compositions are ''Six [[Anthems]] in Score'' (London, 1769).

He is buried at St. Bartholomew's Church, [[Binley, Coventry]]. His [[tombstone]] reads:

&lt;center&gt;
H[ic] J[acet]&lt;br&gt;
CAPEL BOND&lt;br&gt;
40 years organist of the Churches&lt;br&gt;
of St Michael and Holy Trinity in&lt;br&gt;
COVENTRY&lt;br&gt;
He [wa]s an eminent musician&lt;br&gt;
[and] indulgent husband&lt;br&gt;
[an]d steady in his friendships&lt;br&gt;
[exempl]ary in the constant practice&lt;br&gt;
[of his Ch]ristian and social duties&lt;br&gt;
he died February 14 1790 / aged 59.
&lt;/center&gt;

==Further reading==

*''A Forgotten Gloucester Composer''; ''Gloucester Citizen'' (2 August 1955)
*D. Lines: ''Capel Bond and his Six Concertos in Seven Parts'' (thesis, [[Colchester Institute]], 1986)
*W. Weber: ''The Rise of Musical Classics in Eighteenth-Century England'' (Oxford, 1992)
*H. D. Johnstone and R. Fiske, eds., ''Music in Britain: the eighteenth century'' (1990)

==Sources==

*Owain Edwards/Peter Holman: 'Bond, Capel', Grove Music Online ed. L. Macy (Accessed [[2007-05-24]]), http://www.grovemusic.com/
*David J. Golby, ‘Bond, Capel (bap. 1730, d. 1790)’, [[Oxford Dictionary of National Biography]], [[Oxford University Press]], 2004 (http://www.oxforddnb.com/view/article/57290, accessed [[24 May]] [[2007]])
*[http://www.rslade.co.uk/bond/index.html 18th Century English Music - Capel Bond (1730-1790)]
*[http://www.rootsandleaves.com/photopost/showphoto.php?photo=1060 1768 letter from Sarah Sebright to her mother Henrietta Knight]

==External links==
*[http://www.hyperion-records.co.uk/details/66467.asp Six Concertos in Seven Parts] has been recorded by [[Roy Goodman]] and [[The Parley of Instruments]] on [[Hyperion Records]]

{{DEFAULTSORT:Bond, Capel}}
[[Category:Classical era composers]]
[[Category:English composers]]
[[Category:English classical organists]]
[[Category:People from Gloucester]]
[[Category:People from Coventry]]
[[Category:1730 births]]
[[Category:1790 deaths]]

[[pl:Capel Bond]]</text>
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  <page>
    <title>Johann Christoph Kellner</title>
    <id>11750878</id>
    <revision>
      <id>312466405</id>
      <timestamp>2009-09-07T21:30:35Z</timestamp>
      <contributor>
        <username>Reccmo</username>
        <id>730471</id>
      </contributor>
      <comment>Added section External links with link to WIMA</comment>
      <text xml:space="preserve">'''Johann Christoph Kellner''' (15 August 1736 {{ndash}} 1803) was a [[Germany|German]] [[pipe organ|organist]] and [[composer]]. He was the son of [[Johann Peter Kellner]].

==Life==
He was born in [[Gräfenroda]], [[Thuringia]], where he studied music with his father, moving to [[Gotha]] to study with [[Georg Benda]] in 1754, returning home in 1755. He went on to live in [[Amsterdam]] and [[The Hague]] between 1762 and 1763, eventually settling in [[Kassel]] in 1764, where he was appointed court organist and [[cantor]] in the [[Lutheran church]] in 1772.

He wrote a [[treatise]] on [[music theory]] entitled ''Grundriss des Generalbasses'', op. 16 pt. 1 (Kassel, 1783, 1796), which was very successful. Most of his compositions are [[keyboard instrument|keyboard]] works in a similar [[galante music|galant]] style to his father's, with [[homophonic]] textures and clear [[song]]-like [[melody|melodies]]. His [[concerto]]s for [[harpsichord]] or [[piano]] anticipate the [[Viennese classical]] concerto, and share common features with his contemporary [[C. P. E. Bach]]. Many of his works were popular in their own time, as demonstrated by their inclusion in several 18th-century collections.

==Compositions==
===Concertos for piano or harpsichord===
Published in [[Frankfurt]]. 
*op. 4: 1 concerto
*op. 5: 3 concertos
*op. 7: 3 concertos
*op. 11: 1 concerto

Several more have been lost.

===Organ and piano===
*''3 Vor- oder vielmehr Nachspiele, 3 Fugen, 3 Choral-Vorspiele, im Trio mit dem Canto-firmo'', op. 14 pt. 1, for organ (Kassel)
*''Orgel-Stücke von verschiedener Art'', op. 14 pt. 2, for organ (Kassel)
*''Mein trautes Röschen'', [[rondo]] for [[piano]] (Speyer, 1782)
*''31 neue Orgelstücke'', op. 17 pt. 1 (Speyer, 1789): 12 [[prelude]]s, 14 [[chorale]] preludes, [[fantasia (music)|fantasia]], [[fugue]], [[quartet]] for 4 hands and [[pedal keyboard|pedals]], 2 [[Trio (music)|trio]] chorales for 2 keyboards and pedals
*Menuett, Fantasie, Fuge, Marche, Quartetto, for piano (Speyer, 1789)
*[[Sinfonia]], for piano (Speyer, 1789)
*''Neue Orgelstücke'', op. 17 pt. 2, for organ (Darmstadt, 1793)
*''14 Orgelstücke, bestehend in leichten Vor- und Nachspielen, zwischen neuen Choral-Vorspielen'', op. 20 pt. 1, for organ (Brunswick)
*''Six fugues pour les Orgues ou le Clavecin'', (Amsterdam, 1802)
*[[Serenade]], for piano, 2 [[violin]]s, [[flute (Western concert)|flute]], 2 [[Horn (instrument)|horns]], [[double bass|bass]]; 2 [[sonata]]s, for piano with violin; concerto, for piano with 2 violins, op. 13 (Kassel)
*Sonata, for piano with violin and viola [[ad libitum]], op. 18 (Offenbach)

===Vocal===
[[Empfindsamkeit]] is apparent in his vocal writing. Some [[cantata]]s attributed to [[Johann Peter Kellner]] may have been composed by him.

*''Die [[Schadenfreude]]'', op. 10: [[Singspiel]], C.F. Weisse (Kassel, 1782)
*''Herr Bachus ist ein braver Mann'', [[song]], G.A. Burger (Berlin, 1914)

== Free Scores ==
*[http://icking-music-archive.org/ByComposer/J.C.Kellner.php WIMA] Organ music.

==Sources==
*Karl Gustav Fellerer: 'Kellner, Johann Christoph', Grove Music Online ed. L. Macy (Accessed [[2007-06-13]]), http://www.grovemusic.com/

==External links==
*{{WIMA|idx=J.C.Kellner|name=Johann Christoph Kellner}}

{{DEFAULTSORT:Kellner, Johann Christoph}}
[[Category:1736 births]]
[[Category:1803 deaths]]
[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:German classical organists]]
[[Category:Classical era composers]]
[[Category:German music theorists]]

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  <page>
    <title>Johann Christian Kittel</title>
    <id>11756301</id>
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        <username>Reccmo</username>
        <id>730471</id>
      </contributor>
      <comment>Added section External links with link to WIMA</comment>
      <text xml:space="preserve">'''Johann Christian Kittel''' ([[18 February]] [[1732]] - [[17 April]] [[1809]]) was a [[Germany|German ]] [[pipe organ|organist]], [[composer]], and teacher. He was one of the last students of [[Johann Sebastian Bach]].

==Biography==
[[Image:Jsb.jpg|thumb|Believed to be a fragment of a portrait of [[Johann Sebastian Bach]], once owned by Kittel]]
He was born in [[Erfurt]], and first studied with [[Jakob Adlung]]. He moved to [[Leipzig]] in 1748 and was a favourite pupil of [[Johann Sebastian Bach]] until his death two years later. He was appointed organist and teacher in [[Langensalza]] in 1751, following which he returned to Erfurt as organist of the Barfüsserkirche, in 1756, moving to the [[Predigerkirche (Erfurt)|Predigerkirche]] in 1762. His students included [[M.G. Fischer]], [[K.G. Umbreit]], [[J.W. Hässler]] and [[J.C.H. Rinck]]. He refused many generous and more munificent offers, including one in 1790 from [[Duchess]] [[Anna Amalia]] of [[Saxe-Weimar]] to travel to [[Italy]], remaining in Erfurt for the rest of his life. He played many evening recitals there and was famous as a virtuoso organist; [[Goethe]], [[Johann Gottfried Herder|Herder]], and [[Wieland]] all went to hear him play, and he made a concert tour to [[Hamburg]] in 1800, remaining there for a year while preparing a book of [[chorale]]s for [[Schleswig-Holstein]].

==Compositions==

He considered himself to be 'grounded in the principles of Bach' and aimed 'to awaken, maintain and heighten feelings of devotion in the hearts of his hearers by means of music'. His teaching and composition fulfilled this aim by a restriction to simple forms which were best suited to [[liturgical]] use. He wrote some large-scale organ works such as double chorale [[variations]] based on Bach's examples, though he was influenced by the contemporary [[galante music|galant]] style, with a strong emphasis on [[melody]]. His [[piano sonata]]s of 1789 have features in common with the [[Viennese classical]] school.

===Piano===

*''6 Sonaten ... nebst einer Fantasie'' ([[Gera]], 1789)
*''6 Veränderungen, über ... Nicht so traurig'' ([[St Petersburg]], 1797)

===Organ===

*''Der angehende praktische Organist, oder Anweisung zum zweckmässigen Gebrauch der Orgel bei Gottesverehrungen in Beispielen'', [[textbook]], 3 volumes ([[Erfurt]], 1801-1808)
*''Vierstimmige Choräle mit Vorspielen ... für die Schleswig-Hollsteinischen Kirchen'', 2 volumes ([[Altona, Hamburg|Altona]], 1803)
*''24 Choräle mit 8 verschiedenen Bässen über eine Melodie'', ed. J.C.H. Rinck ([[Offenbach am Main|Offenbach]], 1811)
*''Grosse Präludien'', 2 volumes ([[Leipzig]])
*''24 kurze Choralvorspiele'' (Offenbach)
*''Variationen über 2 Choräle'' (Leipzig)
*''24 leichte Choral-Vorspiele'' ([[Bonn]] and [[Cologne]])

==Further reading==

*A. Dreetz: ''Johann Christian Kittel, der letzte Bach-schüler'' ([[Berlin]], 1932)
*J.P. Anthony: ''The Organ Works of Johann Christian Kittel'' ([[dissertation]], [[Yale University]], 1978)
*J. Burg: ''Johann Christian Kittel (1732–1809), un grand pédagogue de l'orgue, maillon important dans la tradition de Jean-Sébastien Bach'', in ''L’orgue: cahiers et mémoires'', no.228 (1993)

==Sources==

*Karl Gustav Fellerer: 'Kittel, Johann Christian', Grove Music Online ed. L. Macy (Accessed [[2007-06-13]]), http://www.grovemusic.com/

==External links==
*{{WIMA|idx=Kittel|name=Johann Christian Kittel}}

{{DEFAULTSORT:Kittel, Johann Christian}}

[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:German classical organists]]
[[Category:German classical pianists]]
[[Category:1732 births]]
[[Category:1809 deaths]]

[[de:Johann Christian Kittel]]
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[[ru:Киттель, Иоганн Христиан]]</text>
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  <page>
    <title>Justin Heinrich Knecht</title>
    <id>11757665</id>
    <revision>
      <id>310016647</id>
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      <comment>Added ChoralWiki link, persondata</comment>
      <text xml:space="preserve">[[Image:Justin-heinrich-knecht.jpg|thumb|Justin Heinrich Knecht]]

'''Justinus''' or '''Justin Heinrich Knecht''' (30 September 1752 {{ndash}} 1 December 1817) was a [[Germany|German]] [[composer]], [[pipe organ|organist]], and [[music theory|music theorist]]. 

==Biography==
He was born in [[Biberach an der Riss]], where he learnt to play the [[pipe organ|organ]], [[keyboard instrument|keyboard]], [[violin]], and [[singing]]. He attended a [[Lutheran]] collegiate institution in [[Esslingen am Neckar]] from 1768 to 1771, when he became Lutheran [[preceptor]] and music director in Biberach, which was a free [[imperial city]] until 1803, and had a rich [[culture|cultural]] life. He became organist of St Martin's church in 1792, which was used simultaneously by Lutherans and [[Catholic]]s. 

He led an energetic, busy musical life; he composed for the [[theatre]] and [[church (building)|church]], organised subscription concerts, and taught music theory, [[acoustics]], [[aesthetics]], [[Musical composition|composition]], and instruments at the Gymnasium, which was affiliated to the Musikschule in 1806. He went to Stuttgart in December 1806 in the hopes of a post there as [[capellmeister]] or similar, but after being appointed ''Direktor beim Orchester'' by [[King of Württemberg]] in the April 1807, returned in 1808 to his former life in Biberach, where he remained for the rest of his life.

==Works==
Collections are in the Wieland-Archiv, [[Biberach]], and the Kick collection at the library of [[Eberhard-Karls-Universität]], Tübingen. A full thematic catalogue is in Ladenburger (1984).

===Vocal===
*[[Psalm]] XXIII (Leipzig, 1783)
*Paslm VI (Speyer, 1788)
*[[Magnificat]] (1790–1791)
*Psalm I (Speyer, 1792)
*''Herr Gott, dich loben wir'' (Stuttgart, 1816)
*''Vollständige Sammlung ... vierstimmiger Choralmelodien für das neue wirtembergische Landesgesangbuch'', ed. Knecht and [[J.F. Christmann]] (Stuttgart, 1799)
*[[Dixit Dominus]] (1800) 
*10 [[cantata]]s (c.1800)
*[[Te Deum]] (Offenbach, 1801)
*''Wechselgesang der Mirjam und Debora'' ([[F.G. Klopstock]]: Der Messias) (Leipzig, 1781)

===Opera and stage===
*''Die treuen Köhler'' ([[operetta]], [[G.E. Heermann]]), 1786
*''Jupiter und Ganymed'' ([[prologue]] and [[epilogue]]), 1783
*''Die Entführung aus dem Serail'' ([[comic opera]], [[C.F. Bretzner]]), 1787
*''Der lahme Husar'' (comic opera, [[F. Koch]]), 1788
*''Der Schulz im Dorfe, oder der verliebte Herr Doctor'' (comic opera, [[C.L. Dieter]]), 1789
*''Der Kohlenbrenner'' ([[Lustspiel]] mit Gesang, [[L. Ysenburg von Buri]]), 1789
*''Der Musenchor'' (prologue, Knecht), 1791
*''Die Glocke'' ([[melodrama]], [[F. Schiller]]), 1807
*''Die Aeolsharfe, oder Der Triumph der Musik und Liebe'' (romantic opera, [[N. Remmele]]), 1807–1808
*''Feodore'' ([[singspiel]], A. von Kotzebue), 1812
*''Ubaldo'' ([[incidental music]], Kotzebue), 1818

===Orchestral===
*''Le portrait musical de la nature, ou Grande sinfonie (Pastoralsymphonie)'' (Speyer, 1784–1785), modern edition in ''The Symphony 1720–1840'', series C, XIII (New York, 1984) - this work was much admired and anticipates the [[programme music|programme]] of [[Beethoven]]'s ''[[Pastoral Symphony]]''

===Chamber===
*[[Sonata]], for [[harpsichord]], [[violin]] and [[cello]] [[ad libitum]] (Speyer, 1790)
*3 [[Duet (music)|Duo]]s, for 2 [[flute (Western concert)|flutes]] (Speyer, 1791)
*''Diverses danses'', for [[piano]]/(flute and [[guitar]]) (Mainz, 1817)

===Organ===
*''Neue vollständige Sammlung ... für ... Klavier- und Orgelspieler'' (Speyer 1791–1795)
*''Die durch ein Donnerwetter unterbrochne Hirtenwonne'' (Darmstadt, 1794), modern edition by H.W. Höhnen (Wiesbaden, 1982)
*''90 kurze und leichte neue Orgelstücke'' (Augsburg, 1794)
*''Vollständige Orgelschule'' (Leipzig, 1795–1798/1989) - [[Ludwig van Beethoven]] owned a copy of this work
*''Sammlung progressiver Orgelstücke'' (Biberach, 1805)
*''Königlich württembergisches ... Choralbuch'' (Stuttgart, 1816)
*''Caecilia'' (Freiburg, 1817–19)

He completed [[J. S. Bach]]'s ''[[The Art of Fugue]]'' (1803), but this has been lost.

===Piano===
*''12 [[variations|variationen]]'' (Leipzig, 1785)
*''Kleine praktische Klavierschule'' (Munich, 1799–1802)
*''Kleine theoretische Klavierschule'' (Munich, 1800–1801)
*''Bewährtes Methodenbuch beim ersten Klavierunterricht'' (Freiburg, 1820)

===Theoretical===
In [[music theory]], he agreed with the ideas of [[G.J. Vogler]].

*''Erklärung einiger … missverstandenen Grundsätze aus der Voglerschen Theorie'' (Ulm, 1785)
*''Gemeinnützliches Elementarwerk der Harmonie und des Generalbasses'', part 1 (Speyer, 1792), parts 2–4 (Stuttgart, 1793–1797)
*''Kleines alphabetisches Wörterbuch der vornehmsten und interessantesten Artikel aus der musikalischen Theorie'' (Ulm, 1795)
*''Knechts allgemeiner musikalischer Katechismus'' (Biberach, 1803)
*''Luthers Verdienste um Musik und Poesie'' (Ulm, 1817)
*''Theoretisch-praktische Generalbassschule'' (Freiburg, c.1817)

==Further reading==
*''Lebensbeschreibung Herrn Justin Heinrich Knecht, evangelischen Schullehrers und Musikdirektors der freien Reichstadt Biberach'', in ''Musikalische Real-Zeitung'' (10 February 1790, 17 February 1790, 24 February 1790)
*F. Schlegel: ''Justinus Heinrich Knecht'' (Biberach, 1980)
*'M. Ladenburger: ''Justin Heinrich Knecht: Leben und Werk: thematisch-bibliographisches Verzeichnis seiner Kompositionen'' ([[dissertation]], [[University of Vienna]], 1984)
*J. Eppelsheim: ''Justin Heinrich Knechts 'Orgelschule' als Zeugnis süddeutscher Vorstellungen von Orgelklang und Orgelspiel um 1800'', in ''Beiträge zu Orgelbau und Orgelmusik in Oberschwaben im 18. Jahrhundert'' (Ochsenhausen, 1988)
*H. Musch: ''Zu den Cantabile-Stücken in der Orgelschule von Justin Heinrich Knecht'', in ''Beiträge zu Orgelbau und Orgelmusik in Oberschwaben im 18. Jahrhundert'' (Ochsenhausen, 1988)
*H.M. Miller: ''Die Orgelwerke von Justin Heinrich Knecht'' (Munich, 1990)
*H. Jung: ''Zwischen Malerey und Empfindung: zu den historischen und Ausdruck der ästhetischen Voraussetzungen von Justin Heinrich Knechts Le portrait musical de la nature (1785)'', in ''Studien zur Musikgeschichte: eine Festschrift für Ludwig Finscher'', ed. A. Laubenthal and K. Kusan-Windweh (Kassel, 1995)

==Sources==
*Michael Ladenburger: 'Knecht, Justin Heinrich', Grove Music Online ed. L. Macy (Accessed [[2007-06-13]]), http://www.grovemusic.com/

==External links==
* {{ChoralWiki}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Knecht, Justin Heinrich
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = German composer, organist and music theorist
|DATE OF BIRTH     = 30 September 1752
|PLACE OF BIRTH    = Biberach an der Riss
|DATE OF DEATH     = 1 December 1817
|PLACE OF DEATH    = Biberach an der Riss
}}

{{DEFAULTSORT:Knecht, Justin Heinrich}}
[[Category:1752 births]]
[[Category:1817 deaths]]
[[Category:German composers]]
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[[Category:Opera composers]]
[[Category:German classical organists]]
[[Category:German music theorists]]

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  <page>
    <title>Carl Friedrich Christian Fasch</title>
    <id>3798576</id>
    <revision>
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      <contributor>
        <username>FeanorStar7</username>
        <id>160806</id>
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      <comment>layout</comment>
      <text xml:space="preserve">[[File:Carl Friedrich Christian Fasch.jpg|thumb|Carl Friedrich Christian Fasch.]]  
[[File:C. F. Chr. Fasch-Marmorbüste Sing-Ak..jpg|thumb|Carl Friedrich Christian Fasch.]]

'''Carl Friedrich Christian Fasch''' (18 November 1736 {{ndash}} 3 August 1800) was a [[Germany|German]] [[composer]] and [[harpsichord]]ist.

Born in [[Zerbst]], he was the son of the composer [[Johann Friedrich Fasch]], a pupil of [[Johann Sebastian Bach|J.S. Bach]]. He was initially taught by his father. In 1756 he began service at the court of [[Frederick the Great]] of [[Prussia]], where he deputised as Court harpsichordist to [[Carl Philipp Emanuel Bach|C.P.E. Bach]], to whose post he succeeded when Bach left the court in 1787.&lt;ref&gt;Barr, Raymond. &quot;Fasch, Carl Friedrich Christian.&quot; In ''Grove Music Online''.&lt;/ref&gt; In 1791 he founded the [[Berlin Singakademie|Sing-Akademie zu Berlin]]&lt;ref&gt;{{cite journal
  | last = Brown
  | first = A. Peter
  | authorlink =
  | coauthors =
  | title = Review of &quot;The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology&quot; by William Weber.
  | journal = The American Historical Review
  | volume = 98
  | issue = 3
  | pages = 871–872
  | publisher =
  | date = June 1993
  | url = http://links.jstor.org/sici?sici=0002-8762%28199306%2998%3A3%3C871%3ATROMCI%3E2.0.CO%3B2-I
  | doi =10.2307/2167608
  | id =
  | accessdate = 2007-06-17
  | year = 1993}}&lt;/ref&gt; which quickly became an important centre of Berlin musical life. In its concerts Fasch promoted the music of J.S. Bach and other masters of the Baroque period, as well as contemporary music. The Akademie was visited by [[Ludwig van Beethoven|Beethoven]] in 1796.

Fasch died in [[Berlin]] in 1800. His grave is preserved in the [[Protestant]] ''Friedhof I der Jerusalems- und Neuen Kirchengemeinde'' (Cemetery No. I of the congregations of [[Jerusalem's Church]] and [[Deutscher Dom|New Church]]) in [[Kreuzberg|Berlin-Kreuzberg]], south of [[Hallesches Tor (Berlin U-Bahn)|Hallesches Tor]]. He was succeeded as head of the Akademie by [[Carl Friedrich Zelter]].

==References==
{{reflist}}
*{{cite journal
  | last = Pulver
  | first = Jeffrey
  | authorlink =
  | coauthors =
  | title = Music at the Court of Frederick the Great
  | journal = The Musical Times
  | volume = 53
  | issue = 835
  | pages = 600
  | publisher = UMI
  | date = September 1 1912
  | url = http://links.jstor.org/sici?sici=0027-4666%2819120901%2953%3A835%3C599%3AMATCOF%3E2.0.CO%3B2-2
  | doi =10.2307/907651
  | isbn = 0-8357-2330-5
  | accessdate = 2007-06-17
  | location = Ann Arbor, Mich.
  | year = 1912}}

==External links==
*{{IMSLP|id=Fasch, Karl Friedrich Christian}}
*{{ChoralWiki|Carl Friedrich Christian Fasch}}

{{DEFAULTSORT:Fasch, Carl Friedrich Christian}}
[[Category:1736 births]]
[[Category:1800 deaths]]
[[Category:German composers]]
[[Category:Music in Berlin]]
[[Category:People from Anhalt-Bitterfeld]]
[[Category:Classical era composers]]

{{Germany-composer-stub}}

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  <page>
    <title>Wenzel Raimund Birck</title>
    <id>8462327</id>
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      <comment>/* Notes */ don't need two colums yet</comment>
      <text xml:space="preserve">'''Wenzel Raimund Johann Birck''' (also spelled &quot;Pirck&quot;, &quot;Birk&quot;, &quot;Birckh&quot;, &quot;Pirckh&quot;, &quot;Pürk&quot;, and &quot;Pürck&quot;) (1718-1763)&lt;ref&gt;[http://www.klassika.info/Komponisten/Birck/index.html Klassika:Wenzel Raimund Johann Birck]&lt;/ref&gt; was one of the early proponents of Symphonic music in [[Vienna]], along with [[Georg Christoph Wagenseil]] and [[Georg Matthias Monn]], and an early tutor for [[Wolfgang Amadeus Mozart|Mozart]]&lt;ref&gt;[http://www.mozartproject.org/essays/brown.html#Characters_on_the_periphery The Mozart Project, Characters on the periphery]&lt;/ref&gt;. Birck also, along with [[Georg Christoph Wagenseil]] tutored a young [[Joseph Haydn]]&lt;ref&gt;{{cite book|title=Haydn, Mozart and the Viennese School: 1740-1780|ISBN=0393037126|author=Daniel Heartz}}&lt;/ref&gt;.

==See also==
* [[Wolfgang Amadeus Mozart]]
* [[Symphony]]

==References==
* Biba, Otto. 2001. &quot;Pirck, Wenzel Raimund (Johann)&quot;. ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.
* [http://www.americanfactfinders.com/Beethoven/Symphonies.shtml American Fact Finders: Ludwig van Beethoven]
* [http://www.mozartproject.org/essays/brown.html The Mozart Project]

==Notes==
{{reflist}}

{{composer-stub}}

{{DEFAULTSORT:Birck, Wenzel Raimund}}
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  <page>
    <title>Maria Hester Park</title>
    <id>9526126</id>
    <revision>
      <id>301092451</id>
      <timestamp>2009-07-09T00:00:45Z</timestamp>
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      <minor/>
      <comment>Repairing link to disambiguation page - [[Wikipedia:Disambiguation pages with links|You can help!]]</comment>
      <text xml:space="preserve">{{Infobox Musical artist &lt;!-- See Wikipedia:WikiProject_Musicians --&gt;
| Name                = Maria Hester Park
| Img                 = 
| Img_capt            = 
| Img_size            = 
| Landscape           = 
| Background          = 
| Birth_name          = 
| Alias               = 
| Born                = {{Birth date|1760|9|29}}
| Died                = {{Death date and age|1813|6|7|1760|9|29}}
| Origin              = [[United Kingdom]]
| Instrument          = [[piano]], [[harpsichord]], 
| Voice_type          = 
| Genre               = 
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'''Maria Hester Park''' (née Reynolds, [[September 29]], [[1760]] &amp;ndash; [[June 7]], [[1813]]) was a [[British people|British]] [[composer]], [[pianist]], and [[singer]]. Not be confused with another Maria Park who composed at the same time, she was also a noted [[piano teacher]] who taught many students in the nobility, including the [[Duchess]] of [[Devonshire]] and her daughters.

==Biography==
Before her marriage, she gave several well-received performances on both the [[piano]] and the [[harpsichord]]. She married the [[engraver ]]and “man of words” [[Thomas Park]] in April of 1787, and several of his love [[poem]]s to her still exist. Her musical career ended after marrying him. She corresponded with [[Joseph Haydn]], who, on [[October 22]], [[1794]], sent her a [[sonata]] of his composing and a [[thank you letter]] in exchange for two of her pieces. She died in [[Hampstead]], [[London]] at the age of 53, after many years of suffering from ill health. 

==Park's music==
She is said to be &quot;one of the most prolific of the [[18th century]] women composers&quot;, and her works are varied, competent, and professionally arranged. Her music has an individual voice that is progressive for her era, with very [[Mozart]]ean features. For example, her Sonata in F has a constant bass line of straight eighth notes that form the outlines of [[chord (music)|chord]]s, and a distinct [[melody]] with [[ornamentation]]. There are also many basic [[Musical scale|scale]] patterns and simple [[arpeggio]]s, and the majority of her pieces are clean, lacking the [[melodrama]] of later [[Romantic music|romantic]] works.

==Discography==
*''Music by Maria Hester Park, Marie Bigot, and Fanny Mendelssohn Hensel''
*''18th Century Women Composers: Music For Solo Harpsichord, Volume 1''
*''18th Century Women Composers: Music for Solo Harpsichord, Volume 2''

==References==
*Baldwin, Olive and Wilson, Thelma: ‘''Park [nee Reynolds], Maria Hester''’, Grove Music Online ed. L. Macy (Accessed [14 Feb 2007]), http://www.grovemusic.com
*Polmear, Jenny: ‘''Maria Hester Park''’, http://www.ambache.co.uk/wPark.htm
*Tuttle, Raymond, “''Barbara Harbach, Hester Park and Other Women of Note.''” Fanfare 1996, http://www.umsl.edu/~harbachb/fanfare.htm

{{DEFAULTSORT:Park, Maria Hester}}
[[Category:Classical era composers]]
[[Category:British composers]]
[[Category:1760 births]]
[[Category:1813 deaths]]
[[Category:Women composers]]</text>
    </revision>
  </page>
  <page>
    <title>Franz Xaver Süssmayr</title>
    <id>623865</id>
    <revision>
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      <timestamp>2009-08-28T09:07:25Z</timestamp>
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      <minor/>
      <comment>robot Adding: [[pt:Franz Xaver Süßmayr]]</comment>
      <text xml:space="preserve">'''Franz Xaver Süßmayr''' (often written in English as Süssmayr or Suessmayr; [[ July 22]], [[1766]] – [[September 17]], [[1803]]) was an [[Austria]]n [[composer]].

==Biography==
He was born in [[Schwanenstadt]], [[Austria]], the son of a sacristan and teacher. His mother died when he was 6, and he left home at 13. He was a student and [[Cantor (church)|cantor]] in a [[Benedictine]] monastery (1779-1787) in [[Kremsmünster Monastery|Kremsmünster]]. When his voice changed, he became a member of the orchestra as a violinist.

The abbey performed operas and ''Singspiele'', so he had the opportunity to study the operas of [[Christoph Willibald Gluck]] and [[Antonio Salieri]]. He composed a number of stage works and a good deal of church music for the abbey.

He became (after 1787) a student of Salieri in [[Vienna]]. In 1792 he also became the vice-director and composer at the Kärntnertortheater.

He assisted [[Wolfgang Amadeus Mozart]] as a copyist with ''[[La clemenza di Tito]]'' and ''[[Die Zauberflöte]]'' in 1791, as well as completing Mozart's [[Requiem (Mozart)|Requiem]]. Their relationship seems to have been close and playful.

For many years he was also thought to have been a student of Mozart, but there is reason to think that the notion of such a relationship was concocted by Mozart's wife [[Constanze Mozart|Constanze]] in order to legitimise his completion of Mozart's ''Requiem''. During Mozart's last days, it is possible that they discussed his Requiem, and Süssmayr took on the task of completing the piece upon his death and did so, turning it over to Constanze within 100 days of Mozart's death. Though criticised by some as un-Mozartian, Süssmayr's version of the score is most often played, although several alternative versions have been written.

Süssmayr also composed a [[rondo]] for [[French Horn|Horn]] based on a draft composed in 1791 by Mozart. A comparison between Mozart's draft and Süssmayr's version reveals that Süssmayr used very little of Mozart's material. Süssmayr's rondo also makes use of a [[plainchant]] melody, and one explanation of this is that the melody was copied out by Mozart while he was composing the Requiem, which Süssmayr later mistook as material for the rondo. It was included in a piece assembled as Mozart's [[Horn Concerto No. 1 (Mozart)|Horn Concerto No. 1]].     

On commission for [[Emanuel Schikaneder]], he composed an unsuccessful opera, ''Moses oder der Auszug aus Ägypten'', which premiered May 4, 1792. He was more successful with ''Der Spiegel von Arkadien'', which played across Europe in 1794, also in a Schikaneder production. This success led to his appointment as ''[[Kapellmeister]]'' at the [[Burgtheater|National Theater]] in charge of [[Singspiel|German opera]] production.

From this time until 1800, he was very successful and popular on the Viennese music scene. However, after that time, his declining health due to tuberculosis led to decline in his career. He had to beg the theater director to stage his last work, ''List und Zufall''.

His marriage plans came to nil because of his premature death, which occurred in Vienna in 1803. He is remembered now mostly for his completion of the Mozart Requiem.

==Works==
His works include the following:
*Two masses
*Two requiems
*Seven offertories
*A gradual
*Psalms
*A magnificat
*Hymns
*''Nicht mehr als sechs Schüsseln''
*''Moses oder der Auszug aus Ägypten''
*''Der Spiegel von Arkadien''
*''List und Zufall''

Of special note may be the [[clarinet concerto]] he most probably wrote for Mozart's clarinetist [[Anton Stadler]], because it was scored for the [[basset clarinet]]. Recordings of the work by [[Dieter Klöcker]] (on [[Novalis]])&lt;ref&gt;Franz Xaver Süßmayr, ''Concerto Movement in D-major'', ''Dieter Klöcker'', [[English Chamber Orchestra]] on Novalis 150 061 2&lt;/ref&gt; on &quot;normal clarinet&quot; and by [[Thea King]] (on [[Hyperion Records|Hyperion]])&lt;ref&gt;Franz Xaver Süßmayr, ''Concerto Movement in D-major'', ''Thea King'', English Chamber Orchestra on Hyperion CDA66504&lt;/ref&gt; in a reconstructed version for basset clarinet by [[Michael Freyhan]] are available.

== Sources ==
'''Books:'''
*{{cite book|first= H.H.|last= Hausner|title=Franz Xaver Süßmayr|location=Vienna|year=1964}}
* {{cite book|first=W. |last=Wlcek|title=Franz Xaver Süßmayr als Kirchenkomponist|edition=Dissertation|location=Vienna|year=1953, printed 1978}}
* {{cite book|first=C. |last=Wolff|title=Mozarts Requiem|year=1991}}
* {{cite book|first= E.|last= Duda|title= Das musikalische Werk F. X. Süßmayrs|year=2000}}

'''Articles:'''
*Freyhan, Michael:  &quot;Towards the Original Text of Mozart's Die Zauberflote&quot;  in ''The Journal of the American Musicological Society Summer'' 1986 #2, pp. 355-380
*Freyhan, Michael:   &quot;Rediscovery of the 18th Century Scores and Parts of 'Die Zauberflote' showing the Text Used at the Hamburg Premiere in 1793&quot; in ''Mozart Jahrbuch 1997'', pp. 109-149
*Lorenz, Michael: &quot;Süßmayr und die Lichterputzer. Von gefundenen und erfundenen Quellen&quot;, in ''Mozart Jahrbuch 2006''

'''Recordings'''
{{reflist}}

== External links ==
* [http://suessmayr.at/ Website about Süßmayr]
* {{WIMA|idx=Sussmayr|name=Franz Xaver Süssmayr}}

{{DEFAULTSORT:Sussmayr, Franz Xaver}}
[[Category:1766 births]]
[[Category:1803 deaths]]
[[Category:Austrian composers]]
[[Category:Opera composers]]
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[[Category:Wolfgang Amadeus Mozart]]
[[Category:People from Upper Austria]]

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  <page>
    <title>Henri-Joseph Rigel</title>
    <id>13033797</id>
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      <text xml:space="preserve">{{Orphan|date=February 2009}}
'''Henri-Joseph Rigel''' ([[9 February]], [[1741]]— [[2 May]], [[1799]]) was a [[Germany|German]]-born composer of the [[Classical period (music)|Classical era]] who spent most of his working life in [[France]]. He was born in [[Wertheim am Main]] where his father was musical intendant to the local prince. After an education in Germany, where his teachers included [[Jommelli]], Rigel moved to [[Paris]] in 1767. He quickly acquired a reputation in musical circles and published [[harpsichord]] pieces, [[string quartet]]s, [[symphony|symphonies]] and [[concerto|concertos]]. He began composing for the [[Concert Spirituel]], most notably four [[hiérodrame|hiérodrames]] ([[oratorio]]s on sacred themes): ''La sortie d'Egypte'' (1774), ''La destruction de Jericho'' (1778), ''Jephté'' (1783) and ''Les Macchabées'' (score lost). These show the influence of [[Gluck]], and Gluck himself praised ''La sortie d'Egypte''. Between 1788 and 1799 Rigel also wrote 14 [[opera]]s, including the ''[[opéra comique]]'' ''Le savetier et le financier'' (1778).

==Recordings==
*''Six quatuors dialogués, Opus 10'' Quatuor Franz Joseph (Atma Records, 2005)
*''La sortie d'Egypte'', ''La destruction de Jericho'', ''Jephté'', Les Chantres du [[Centre de Musique Baroque de Versailles]], Orchestre des Folies Françoises, conducted by Olivier Schneebeli (K617 Records, 2007)

==Sources==
*Booklet notes to the Schneebeli recording.


{{DEFAULTSORT:Rigel, Henri-Joseph}}

[[Category:Classical era composers]]

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  </page>
  <page>
    <title>Wenzel Thomas Matiegka</title>
    <id>2245566</id>
    <revision>
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      <timestamp>2009-08-13T11:08:23Z</timestamp>
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      <minor/>
      <comment>Disambiguate [[University of Prague]] to [[Charles University in Prague]] using [[:en:Wikipedia:Tools/Navigation_popups|popups]]</comment>
      <text xml:space="preserve">'''Wenzel Thomas Matiegka''' (baptized [[July 6]], [[1773]] - [[January 19]] [[1830]] [http://www.guitaronline.it/molitor_folder/zuthdiss/matiegka.html]) was a [[Bohemia]]n composer.

Matiegka was born in the town of [[Choceň]] in a remote corner of the state of Bohemia, then part of the [[Habsburg Monarchy]], under the Habsburg ruler [[Joseph II, Holy Roman Emperor|Joseph II]].

Upon completion of his primary studies, he continued his musical education under Abbe Gelinek, becoming accomplished on the pianoforte while reading Law at the [[Charles University in Prague|University of Prague]].

After legal employment in the service of Count Kinsky, one of [[Ludwig van Beethoven|Beethoven]]'s original sponsors, Matiegka moved to [[Vienna]] while in his late twenties, during the first years of the 19th century. There he was quickly acknowledged as a guitarist, composer and teacher of the piano.

His ready acceptance in the musical circles of Vienna was evident by those to whom he dedicated several of his chamber works. [[Franz Schubert|Schubert]], as a young man, added a cello part to his Notturno, op. 21 for the important patron of music, Count [[Esterhazy]], an enthusiastic cellist to whom Matiegka's original music was dedicated. Indeed the work was attributed to Schubert for many years.

Matiegka married and settled in the suburb of [[Leopoldstadt]] where he was also [[Kapellmeister]] until his death. He was survived, in penury, by his wife and six children, none of whom took up a musical career.  

His output, as it is known to this day, includes 33 guitar works including solo works, transcriptions, chamber music, and ''[[lied]]er'' as well a dozen liturgical works for small orchestra, voice and organ.  

==External links==
===Sheetmusic===
* [https://rex.kb.dk/F?func=find-c&amp;ccl_term=(WRD=Matiegka%20AND%20WWW=http%20NOT%20WWW=sheetmusicnow%20NOT%20WWW=freehandmusic%20NOT%20WWW=hebeonline)&amp;local_base=mus01&amp;con_lng=ENG Sheetmusic] Det Kongelige Bibliotek, Denmark
* [http://www.muslib.se/ebibliotek/boije/Boije_m.htm Boije Collection] The Music Library of Sweden
* {{IMSLP|id=Matiegka, Wenzeslaus Thomas}}

{{DEFAULTSORT:Matiegka, Wenzel Thomas}}
[[Category:1773 births]]
[[Category:1830 deaths]]
[[Category:Classical era composers]]
[[Category:Composers for the classical guitar]]</text>
    </revision>
  </page>
  <page>
    <title>Wenzel Pichl</title>
    <id>3373977</id>
    <revision>
      <id>311830523</id>
      <timestamp>2009-09-04T13:31:54Z</timestamp>
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      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">'''Wenzel Pichl''' ([[25 September]] [[1741]], [[Bechyně]], [[Bohemia]] &amp;ndash; [[23 January]] [[1805]], [[Vienna]], [[Austria]]; known in his native language as '''Václav Pichl''') was a classical Czech [[composer]] of the 18th Century. He was also a violinist, music director and writer. His first musical training was at Bechyne with the cantor Jan Pokorný. He served as a singer between the years 1752-1758 at the Jesuit college at [[Březnice]]. In [[Prague]], he was a violinist at the [[Jesuit Order|Jesuit]] seminary of [[Saint Wenceslaus]] and his studies while at the university were [[philosophy]], [[theology]] and [[law]].

He was appointed to the post of first violinist of the [[Church of Our Lady in front of Týn|Týn Church]] in 1762 and studied [[counterpoint]] with the [[organist]] J. N. Seger. In 1765 he was engaged by the composer [[Karl Ditters von Dittersdorf]] as a violinist for the private [[orchestra]] of Bishop Adam Patachich at [[Nagyvarad]] (now Oradea, Romania). The orchestra was dissolved in 1769 and Pichl became the music director for Count Ludwig Hartig in Prague.

In about 1770 he became first violinist of the Vienna court theatre and on the recommendation of the Empress [[Maria Theresa of Austria|Maria Theresa]], he became music director for the Austrian governor of [[Lombardy]] at [[Milan]], [[Archduke Ferdinand d'Este]]. Pichl went to [[Italy]] in 1777 and remained there until 1796 when the French invaded Lombardy, he then returned to Vienna where he stayed in the service of the archduke until his death (apart from a brief visit to Prague in 1802).

Wenzel Pichl died on 23 January 1805, as the result of a stroke while playing a violin concerto at the [[Palais Lobkowitz]]. He was 63 years old.

==Selected works==
* Six symphonies, opus 1 (two oboes, two clarinets, two horns, drums, strings. about 1778. &quot;SEI SINFONIE A PIÙ STROMENTI. Dedicate A SUA ALTEZZA REALE IL SERENISSIMO ARCIDUCA FERDINANTO Principe Reale d'Ungeria e Boemia ... Da WENCESLAO PICHL. in attuale Servizio dell'Istessa Altezza Reale. OPERA PRIMA&quot;) &lt;ref name=&quot;nln&quot;&gt;{{cite web|title=National Library of the Netherlands|url=http://www.kb.nl|accessdate=2007-10-08}}&lt;/ref&gt; &lt;ref name=&quot;bayern&quot; /&gt;
* Six string quartets, opus 2 (in A, C, F major, E minor, D major, and B♭. about 1779.) &lt;ref name=&quot;nln&quot; /&gt;
* Three violin concertos, opus 3 (in D, G and B♭. 1779.) &lt;ref name=&quot;nln&quot; /&gt;
* Six trios concertans, opus 7 (in C, F, B♭, E♭, A and D. 1783.) &lt;ref name=&quot;nln&quot; /&gt;
* Three symphonies, opus 8 (in C, E♭ and D. 1784.) &lt;ref name=&quot;nln&quot; /&gt;
* Six duos for violin and viola, opus 10 (in C, G, D, B♭, F, E♭. 1784.) &lt;ref name=&quot;nln&quot; /&gt;
* Three quartets for flute, violin, viola, and violoncello, op. 12 (1787) &lt;ref name=&quot;bayern&quot; /&gt;
* Three string quartets, opus 13 (in A, B♭ and E♭. 1788.) &lt;ref name=&quot;nln&quot; /&gt;
* Three symphonies, opus 15 (in D, B♭ and C. 1790.) &lt;ref name=&quot;nln&quot; /&gt;
* Three duos, for violin and cello, opus 16 (Amadeus Edition edited by Bernhard Pauler, published in 2002)
* Twelve caprices for solo violin, opus 19 &lt;ref name=&quot;bayern&quot; /&gt;
* Three sonatas for solo violin with accompaniment of violin or viola, opus 23 &lt;ref name=&quot;bayern&quot;&gt;{{cite web|title=Bayern Gateway OPAC|url=http://bvba2.bib-bvb.de/V/|accessdate=2007-10-08}}&lt;/ref&gt;
* Symphonies for orchestra opus 24 &lt;ref name=&quot;nln&quot; /&gt;
* Sei fughe con un preludio fugato : per un violino solo &lt;ref name=&quot;bayern&quot; /&gt; (may be opus 41 &lt;ref name=&quot;nln&quot; /&gt;)
* Etude for the violin in the form of twelve caprices, opus 46 (about 1801) &lt;ref name=&quot;bayern&quot; /&gt;

== External links ==
&lt;references /&gt;
* {{IMSLP | id=Pichl%2C_Vaclav | cname=Wenzel Pichl}}

{{Seealso|Pichl}}

{{DEFAULTSORT:Pichl, Wenzel}}
[[Category:Czech composers]]
[[Category:Czech violinists]]
[[Category:Classical era composers]]
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[[Category:1805 deaths]]
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[[cs:Václav Pichl]]
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[[ja:ヴァーツラフ・ピフル]]</text>
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  </page>
  <page>
    <title>Rafael Antonio Castellanos</title>
    <id>12699884</id>
    <revision>
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      <comment>/* References */ - cats</comment>
      <text xml:space="preserve">'''Rafael Antonio Castellanos''' (ca. 1725-1791) was a [[Guatemala]]n classical [[composer]]. His  style is that of the late Spanish baroque, pre-classical, and classical periods, with frequent reference to Guatemalan folk music idioms. 

==Life==

From an early age, Castellanos trained as an apprentice under his uncle [[Manuel José de Quirós]], chapelmaster of the cathedral of Santiago de Guatemala. In [[1740]], the young Rafael signed a composition for voice and [[basso continuo]], on the [[Latin]] text of the Second Lamentation of Jeremiah. This piece reflects his mastery of [[baroque]] writing and an unusual expressive talent. 

In 1745 he became a journeyman and was admitted as a member of the cathedral orchestra as first [[violin]], sometimes also playing [[harp]] . During the 1750s he produced various of his own compositions for the [[matins]] services, along with those of his uncle. When Quirós died in 1765, Castellanos was appointed his succesor as chapel master, with the duties of conducting cathedral music during [[matins]], [[vespers]], and [[Mass]], and of composing suitable music for different liturgical occasions.

After the earthquake of [[1773]] life changed dramatically in the City of Santiago de [[Guatemala]], which would shortly move to the site of present-day [[Guatemala City]] by order of King [[Charles III of Spain]]. After 1775 the city would be known as [[Antigua Guatemala]]. Castellanos remained loyal to the [[Archbishop]], Pedro Cortés y Larraz, and only left with his musicians, the clergy, and the religious orders when they were forced to, arriving at the new site in November, [[1779]]. Despite the hardship of his new life, Castellanos kept up his work, composing four or five works every year. Among his pupils, several became able composers, such as Manuel Silvestre Pellegeros and Pedro Nolasco Estrada Aristondo, his eventual successor as [[maestro de capilla]].

==Works==

176 of his works are extant and have been catalogued. Some of them have been transcribed into modern score for performance and recording. All of his output is vocal, with [[villancico]]s  and [[cantata]]s for different feasts of the [[Catholic]] liturgical calendar, as well as sacred works on [[Latin]] texts.

Several of his compositions are available on CD, performed by [[Cristina Altamira]] and the Millennium Ensemble. [http://www.sophosenlinea.com/index.php?keyword=Joyas+del+Barroco+en+Guatemala&amp;Search=Buscar&amp;Itemid=1&amp;option=com_phpshop&amp;page=shop.browse]

==References==
* [[Dieter Lehnhoff]], &quot;The Villancicos of the Guatemalan Composer Rafael Antonio Castellanos (d. 1791): A Selective Edition and Critical Commentary.&quot; Ph.D. dissertation, Washington, D.C.: The Catholic University of America, 1990. 

* [[Dieter Lehnhoff]], ''Creación musical en Guatemala''. Guatemala: Editorial Galería Guatemala, 2005. [http://www.karnobooks.com/cgi-bin/karno/81112.html]

* [[Dieter Lehnhoff]], ''Rafael Antonio Castellanos: vida y obra de un músico guatemalteco.'' Guatemala City: Universidad Rafael Landívar, Instituto de Musicología, 1995. [http://www.url.edu.gt/PortalURL/Contenido.aspx?o=1676&amp;s=55]

* Alfred E. Lemmon, ed. ''Music from Eighteenth-Century Guatemala''. South Woodstock, Vermont: Plumsock Mesoamerican Studies, 1984.

* [[Robert Stevenson]], &quot;Guatemala Cathedral to 1803.&quot; ''Inter-American Music Review'' II/2 (Spring-Summer 1980):27-72.

{{Lifetime|1720s|1791|Castellanos, Rafael Antonio}}
[[Category: Guatemalan composers|Castellanos, Rafael Antonio]]
[[Category:Baroque composers|Castellanos, Rafael Antonio]]
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  </page>
  <page>
    <title>José Eulalio Samayoa</title>
    <id>12714049</id>
    <revision>
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      <minor/>
      <comment>typo: befor -&gt; before</comment>
      <text xml:space="preserve">'''José Eulalio Samayoa''' (1781–ca. 1866) was a [[Guatemala]]n classical composer.

==Biography==

José Eulalio Samayoa was educated within the system of guilds, progressing from [[apprentice]] to [[journeyman]] before becoming a [[Master craftsman|master]]. He founded the [[Philharmonic]] Society of the Sacred Heart of Jesus, with a series of musical and liturgical celebrations held on [[July 2]], [[1813]]. The same day he was admitted to the [[Guatemala]] [[Cathedral]] choir, as third [[tenor]], which he regarded as a heavenly grace for having established the [[Philharmonic]] Society. In 1842 he wrote the history of this Society, with an extended historical appendix on the development of Music in Guatemala since the earliest days of the Spanish missions, thus becoming the first music historian in [[Central America]] and perhaps all of [[Latin America]].

Samayoa is one of the first composers in the Americas to attempt the composition of larger instrumental forms that culminates in the symphony. Having been trained in the tradition of Spanish church music, he was taught how to write well for voices with instrumental accompaniment. The resulting forms, mainly those of the [[villancico]] and [[cantata]], were defined by the poetic form of the text. When the Cathedral [[chapter]] decided in 1804 that vernacular [[matins]] texts were not up to the standard, chapel master Vicente Sáenz tried to remedy the situation by substituting [[villancico]]s for movements of [[concerto]]s by [[Antonio Vivaldi]] and [[menuet]]s from symphonies by [[Joseph Haydn]]. Samayoa however was of the opinion that a new instrumental music of local invention and flavour should be used, and so he started with short pieces called &quot;sones&quot; that were part of the culture of the local Indians. Studying [[Haydn]], he taught himself European instrumental forms, writing first his brief &quot;Tocatas&quot;, and then expanding to ever larger movements, until he was able to sustain his musical discourse in full-fledged symphonies. The oldest extant work in this form is his Seventh Symphony finished in June, 1834, which he dedicated to te victory of the Federal Army at the battle of [[Jiquilisco]], in present-day [[El Salvador]]. It is structured, as would be expected, in four movements: [[allegro]], andante, [[minuet]], and a fast finale with programmatic elements such as a stylized military march and a &quot;son.&quot; It is scored for strings with pairs of [[oboe]]s and [[Horn (instrument)|horns]]. Two later symphonies, the &quot;Sinfonía cívica&quot; and the &quot;Sinfonía Histórica&quot; demand larger orchestral forces in expanded movements.

==Works==

'''Orchestral:''' Three extant symphonies: [[Symphony]] No. 7, dedicated to the victory of the Federal Army at Xiquilisco; &quot;Sinfonía Cívica&quot;; &quot;Sinfonía Histórica&quot;; &quot;Piezas para tocarse en la Iglesia,&quot; for larger orchestra; &quot;Piezas de Iglesia,&quot; for small orchestra; &quot;Tocatas de Iglesia&quot;, for strings and two horns.

'''Chamber:''' &quot;Tocatas&quot; for string trio.

'''Vocal-choral:''' 8 [[Mass]]es, including &quot;Misa del Señor San José&quot;, for three-part chorus and orchestra; &quot;Servicio de difuntos&quot; ([[Requiem]]); music for funerary services; music for [[vespers]]; and [[villancico]]s for [[matins]].

==References==

* [[Dieter Lehnhoff]], ''Creación musical en Guatemala''. Guatemala City: Editorial Galería Guatemala, 2005. [http://www.karnobooks.com/cgi-bin/karno/81112.html]

* [[Dieter Lehnhoff]], &quot;El «Plan de reformas piadosas para la música en los templos de Guatemala» y el «Apéndice histórico» (1843) de José Eulalio Samayoa: Primera Historia de la Música en Guatemala&quot;. ''Cultura de Guatemala'', Segunda Época, Anuario Musical (Septiembre-Diciembre 1996):55-111.

* Rafael Vásquez,''Historia de la Música en Guatemala''. Guatemala: Tipografía Nacional, 1950.

{{DEFAULTSORT:Samayoa, Jose Eulalio}}
[[Category:Guatemalan composers|Samayoa, José Eulalio]]
[[Category:1781 births]]
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[[es:José Eulalio Samayoa]]</text>
    </revision>
  </page>
  <page>
    <title>Pierre Vachon</title>
    <id>8088384</id>
    <revision>
      <id>298713941</id>
      <timestamp>2009-06-26T08:24:50Z</timestamp>
      <contributor>
        <username>SmackBot</username>
        <id>433328</id>
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      <minor/>
      <comment>/* External Links */Standard headings/general fixes</comment>
      <text xml:space="preserve">'''Pierre Vachon''' (1731 in [[Arles]] - [[October 7]], [[1803]] in [[Berlin]]) was a [[France|French]] composer.

Vachon wrote around 30 [[string quartet]]s, various chamber works, [[opera]]s, and orchestral pieces. He studied the [[violin]] with [[Carlo Chiabrano]] in [[Paris]] and first performed on [[December 24]], [[1756]], at the [[Concert Spirituel]], playing one of his own compositions. He also performed as first violinist in the orchestra of the [[Prince of Conti]].

== Selected works ==

* Op. 1, 6 sonatas for violin and [[basso continuo]] &lt;!-- source: Library of Congress has score --&gt;
* Op. 4, 6 trios for two violins and basso continuo &lt;ref name=&quot;bayern&quot; /&gt;
* Op. 5 (c. 1775), 6 string quartets &lt;ref name=&quot;nnl&quot;&gt;{{cite web|title=Netherlands National Library|url=http://www.kb.nl/menu/catalogi.html|accessdate=2007-08-24}}&lt;/ref&gt;
# In A major
# In G minor
# In F minor
# In B-flat major
# In A major
# In E-flat major
* Op. 6 (1776?), 6 string quartets, published in [[London]], different from the 1773 op. 6
# -
# -
# -
# -
# -
# In D major
* Op. 7 (1773), 6 string quartets &lt;ref name=&quot;nnl&quot; /&gt;
# In F major
# In D major
# In E-flat major
# In B-flat major
# In D minor
# In C minor
* Op. 9 (1774), 6 string quartets (lost)
* Op. 11 (1782), 6 string quartets
# In A major
# In E major
# In G major
# In B major
# In F minor
# In C minor
* Opera: Renaud D'Ast : (Comedy in two acts mixed with ariettes. Premiered October 12, 1765) &lt;ref name=&quot;gbv&quot;&gt;{{cite web|title=Hamburg GBV OPAC|url=http://gso.gbv.de/|accessdate=2007-09-22}}&lt;/ref&gt;
* Opera: Les femmes et le secret ([[November 9]], [[1767]]) &lt;ref name=&quot;bayern&quot; /&gt;
* Opera: Sara, La fermière écossaise (in two acts) ([[May 8]], 1773) &lt;ref name=&quot;bayern&quot;&gt;{{cite web|title=Gateway Bayern|url=http://bvba2.bib-bvb.de/V/|accessdate=2007-09-16}}&lt;/ref&gt; &lt;!--title includes date of premiere --&gt;

==References==
&lt;references /&gt;

==External links==
*[http://www.musicologie.org/Biographies/v/vachon_pierre.html musicolopgie.org] Biography, works, bibliography (french)

{{DEFAULTSORT:Vachon, Pierre}}
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[[de:Pierre Vachon]]</text>
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  </page>
  <page>
    <title>Domenico Alberti</title>
    <id>8299</id>
    <revision>
      <id>311446199</id>
      <timestamp>2009-09-02T10:27:54Z</timestamp>
      <contributor>
        <username>Alexbot</username>
        <id>5517884</id>
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      <minor/>
      <comment>robot Adding: [[sv:Domenico Alberti]]</comment>
      <text xml:space="preserve">'''Domenico Alberti''' (c. 1710 &amp;ndash; 1740) was an [[Italy|Italian]] [[singer]], [[harpsichord]]ist, and [[composer]] whose works bridge the [[Baroque Music|Baroque]] and [[Classical Music Era|Classical]] periods.

Alberti was born in [[Venice]] and studied [[music]] with [[Antonio Lotti]]. He wrote [[opera]]s, [[song]]s, and [[sonata (music)|sonatas]] for [[keyboard instrument]]s, for which he is best known today. These sonatas frequently employ a particular kind of [[arpeggio|arpeggiated]] [[accompaniment]] in the left hand that is now known as the ''[[Alberti bass]]''. It consists of regular broken [[chord (music)|chord]]s, with the lowest note sounding first, then the highest, then the middle and then the highest again. This pattern is repeated. Today, Alberti is regarded as a minor composer, and his works are played or recorded only irregularly. The Alberti bass was used by many later composers, and it became an important element in much keyboard music of the [[Classical music era]].

In his own lifetime, Alberti was known as a singer. He often used to accompany himself on the harpsichord. Little is known of his life, but he was [[Venice|Venetian]] [[Ambassador (diplomacy)|ambassador]] to [[Spain]] in 1736, where the famous [[castrato]] singer [[Farinelli]] heard him sing. Farinelli was said to have been impressed, although Alberti was an amateur.

Alberti's best known pieces are his keyboard sonatas, although even they are very rarely performed. It is thought he wrote around 36 sonatas, of which 14 have survived. They all have two movements, each in [[binary form]].

It is probable that [[Wolfgang Amadeus Mozart|Mozart]]'s first [[violin sonata]]s, written at the age of seven, were modeled on Alberti's work, although Mozart's examples are generally considered superior.

Alberti died in 1740 in [[Rome]].

==External links==
* {{IMSLP|id=Alberti, Domenico}}

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  <page>
    <title>Josef Reicha</title>
    <id>3414126</id>
    <revision>
      <id>310889379</id>
      <timestamp>2009-08-30T14:11:45Z</timestamp>
      <contributor>
        <username>FoxBot</username>
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      <comment>robot Adding: [[nl:Josef Rejcha]]</comment>
      <text xml:space="preserve">'''Josef Reicha''' (''Rejcha'') ([[12 February]], [[1752]] &amp;ndash; [[5 March]], [[1795]]) was a [[Czechs|Czech]] [[cellist]], [[composer]] and [[Conductor (music)|conductor]]. He was the [[uncle]] of composer and [[Music theory|music theorist]] [[Anton Reicha]].

Josef Reicha was born in [[Chudenice]]. In 1761 he moved to [[Prague]], where he was taught [[cello]] by [[Franz Joseph Werner]]. In 1771 Reicha became first cellist in the Kapelle of Prince (Fürst) Kraft Ernst von Oettingen-Wallerstein. Together with the famous [[violin]]ist [[Anton Janitsch]], who also played in the Kapelle, Reicha toured several European cities during late 1770s and visited [[Leopold Mozart]] in [[Salzburg]] in 1778.&lt;ref name=autogenerated1&gt;Československý hudební slovník II., p. 416 {{cs icon}}&lt;/ref&gt; In his letters to [[Wolfgang Amadeus Mozart|Wolfgang Amadeus]], Leopold praised Reicha's cello playing and compared the style of one of his cello concerts to those by Wolfgang Amadeus. 

He adopted his nephew [[Anton|Anton Reicha]] in 1780 (Josef married in 1779, but the marriage produced no children&lt;ref name=autogenerated1&gt;Československý hudební slovník II., p. 416 {{cs icon}}&lt;/ref&gt;) and subsequently taught him the [[violin]] and the [[piano]]. In 1785 Josef was made director of the Hofkapelle in [[Bonn]] by [[Maximilian Francis of Austria, Elector of Cologne]]; the whole family moved to [[Bonn]].&lt;ref name=autogenerated1&gt;Československý hudební slovník II., p. 416 {{cs icon}}&lt;/ref&gt; Anton became a member of the Hofkapelle through his uncle. Other members included the young [[Ludwig van Beethoven|Beethoven]], who played the [[viola]] and the [[organ (music)|organ]], and [[Nikolaus Simrock]], founder of the Simrock music publishing firm, who played the [[Horn (instrument)|horn]] in the orchestra. Simrock would later publish Josef's works. In 1789 Josef became director of the orchestra of the new theater, ''Bonner Nationaltheater''. Unfortunately, his musical career was cut short in 1791, when he contracted [[gout]]. He died four years later in Bonn.

== Style ==
Reicha wrote music for [[orchestra]] and [[Chamber music|chamber ensemble]]s of different kinds. His works include [[Symphony|symphonies]], various concertos including 10 for cello, twelve [[partita]]s for [[wind instrument]]s and miscellaneous other works. Most of Reicha's compositions were completed in [[Wallerstein]], before his Bonn years. His writing for strings and cello particularly is markedly virtuosic, reflecting his own skill. Music scholar Ludwig Schiedermair in 'Der junge Beethoven' (Leipzig, 1925) gave specific examples taken from Reicha's partitas and symphonies and has proven that these works influenced Beethoven. Other important admirers of Reicha included Leopold Mozart and [[Michael Haydn]].

== Notes ==
{{Reflist}}

== References ==
* Claus Reinländer. &quot;Reicha, Josef&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy, [http://www.grovemusic.com/ grovemusic.com] (subscription access).
*{{cite book |title=Československý hudební slovník II. M-Ž |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn= |pages= |url= }} {{cs icon}}

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  </page>
  <page>
    <title>Carlo d'Ordonez</title>
    <id>14723405</id>
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      <id>311597757</id>
      <timestamp>2009-09-03T04:14:56Z</timestamp>
      <contributor>
        <username>DavidRF</username>
        <id>1302553</id>
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      <comment>no ibids</comment>
      <text xml:space="preserve">{{Merge|Karl von Ordoñez|date=December 2008}}
'''Carlo d'Ordonez''' ('''Carlo d'Ordoñez'''.&quot;&lt;ref&gt;A. Peter Brown, &quot;Ordonez [Ordoñez, Ordonitz, Ordonetz], Carlo d' [Karl von]&quot; in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. New York: Macmillan Publishers Limited (1980): '''13''' 702 - 703. &quot;His surname (never apparently spelt with a tilde in 18th-century documents) is probably from his mother, who may have gone to Vienna as a member of the court of Charles VI.&quot;&lt;/ref&gt;, '''Karl von Ordonetz''') ([[April 19]], [[1734]] - [[September 16]], [[1786]]) Austrian violinist and composer.

Born in Vienna, Ordonez was a government bureaucrat and one of the founding members of the Tonkünstler-Sozietät and a Masonic lodge, and some of his music was conducted by [[Joseph Haydn]]. Not much is known about Ordonez' life because a 1927 fire at the Justizpalast probably destroyed many documents that could've been useful to musicologists interested in him.&lt;ref name=brown-ix&gt;A. Peter Brown, Introduction to Carlo d'Ordonez, ''The Symphony Series B Volume IV: Carlo d'Ordonez: Seven Symphonies'', ed. A. Peter Brown &amp; Peter M. Alexander. New York: Garland Publishing (1979): ix&lt;/ref&gt;

His opus 1 string quartets are credited as containing &quot;some of the most sophisticated pre-19th-century techniques of cyclic unification.&quot;&lt;ref name=brown-ix/&gt; His orchestral music gives greater prominence to the [[viola]] section than most of his contemporaries. Ordonez' music includes two stage works, a cantata, at least 70 symphonies, a violin concerto, various chamber music.

See also [[list of compositions by Carlo d'Ordonez]].

==References==
{{reflist}}

[[Category:Classical era composers]]</text>
    </revision>
  </page>
  <page>
    <title>Anton Eberl</title>
    <id>8213754</id>
    <revision>
      <id>289912907</id>
      <timestamp>2009-05-14T17:03:16Z</timestamp>
      <contributor>
        <username>Czerwony Towarzysz</username>
        <id>7192403</id>
      </contributor>
      <text xml:space="preserve">[[Image:Anton Eberl.jpg|right|thumb]]

'''Anton Eberl''' (13 June 1765 {{ndash}} 11 March 1807)&lt;ref&gt;{{cite book|title=The Cambridge Mozart Encyclopedia|last=Eisen|first=Cliff|date=2006|publisher=Cambridge University Press|isbn=0521856590|oclc=60245611|location=Cambridge, UK|accessdate=2008-01-12|page=152}}&lt;/ref&gt; was an Austrian [[composer]], [[teacher]] and [[pianist]].

==Biography==
Eberl was born in [[Vienna]] and studied [[piano]] and composition from several teachers, including [[Mozart]]. Besides being an outstanding composer, he was a pianist of the first rank and toured throughout Europe. He wrote well over 200 works in nearly every genre. The opus numbers given to his works bear no relation to reality. Unfortunately most of his works have disappeared and only his chamber music has continued to receive contemporary performance, though three symphonies by Eberl were recorded by Concerto Köln in 1999&lt;ref&gt;{{cite web|title=Concerto Köln Discography|url=http://gfhandel.org/bleissa/ckoeln/|accessdate=2008-01-12}}&lt;/ref&gt;. His Trio for [[Piano]], [[Clarinet]] &amp; [[Cello]], Op. 36 has been described by Professor [[Maurice Hinson]] as &quot;one of the most valuable trios written for this combination during the classical period.&quot;

There was no composer whose works were more frequently passed off as Mozart's than Eberl. Even more surprising was the documented fact that there was no protest from Mozart against the use of his name on Eberl's compositions. Eberl, a friend and student of the great man, did mind but was too timid to take action until after Mozart had died. Finally, he published the following notice in a widely read German newspaper, &quot;However flattering it may be that even connoisseurs were capable of judging these works to be the products of Mozart, I can in no way allow the musical public to be left under this delusion.&quot; Despite this, his works still continued to be published under Mozart's name. 

This in itself was a reliable indication as to the contemporary opinion of the quality of Eberl's works but we also have contemporary critical reviews of his works such as that of the influential ''Berlin Musical Journal'' which wrote in 1805, after a performance of his new symphony, &quot;Since the symphonies of Mozart, [[Haydn]] and [[Beethoven]], nothing but this symphony has been written which could be placed alongside theirs.&quot;

==References==
{{reflist}}
*''The New Grove Dictionary of Music &amp; Musicians,'' Macmillan 1980
*''The Piano in Chamber Ensemble,'' M. Hinson, Indiana University Press 1978
*Article for Ramee Records, Van Bruggen et al., 2006

==External links==
*{{IMSLP|id=Eberl, Anton|cname=Anton Eberl}}
*[http://www.editionsilvertrust.com/eberl-clarinet-trio.htm Anton Eberl Trio for Piano, Clarinet &amp; Cello Sound-bites]
*[http://www.editionhh.co.uk/shop/category.asp?catid=75 Eberl works published by Edition HH]

{{DEFAULTSORT:Eberl, Anton}}
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    </revision>
  </page>
  <page>
    <title>Friedrich Kuhlau</title>
    <id>1506354</id>
    <revision>
      <id>294043366</id>
      <timestamp>2009-06-02T22:40:11Z</timestamp>
      <contributor>
        <ip>72.160.197.12</ip>
      </contributor>
      <text xml:space="preserve">[[Image:Kuhlau Friedrich.jpg|thumb|200px|Friedrich Kuhlau]]
'''Friedrich Daniel Rudolf Kuhlau''' ([[September 11]], [[1786]]&amp;nbsp;– [[March 12]], [[1832]]) was a [[Germany|German]]-[[Denmark|Danish]] [[composer]] during the [[Classical period (music)|Classical]] and [[Romantic music|Romantic]] periods.

Born in [[Germany]], he studied the [[piano]] in [[Hamburg]]. He lost his right eye at the age of seven when he slipped on ice and fell into the street. His father, grandfather, and uncle were military [[oboe| oboists]]. Even though Kuhlau was born to a poor family, his parents managed to pay for pianoforte lessons.  

In 1810, he fled to [[Copenhagen]] to avoid conscription in the [[Napoleonic Wars|Napoleonic Army]], which overwhelmed the many small principalities and [[duchy| duchies]] of northern Germany, and in 1813 he became a [[Denmark| Danish]] citizen. Outside of several lengthy trips which he took, he resided there until his death. During his lifetime, he was known primarily as a concert pianist and composer of Danish [[opera]], but was responsible for introducing many of [[Ludwig van Beethoven|Beethoven]]'s works, which he greatly admired, to [[Copenhagen]] audiences. Considering that his house burned down destroying all of his unpublished manuscripts, he was a prolific composer leaving more than 200 published works in most [[genre]]s.

Beethoven, whom Kuhlau knew personally, exerted the greatest influence upon his music. Interestingly, few of Beethoven’s contemporaries showed greater understanding or ability to assimilate what he was doing than Kuhlau. Certainly with regard to form, Kuhlau was clearly able to make sense and use what Beethoven was doing in his Middle Period.

He wrote a [[piano concerto]], a [[string quartet]], several works for piano which included all the current genres of the day: [[sonata]]s, [[sonatina]]s, [[waltz]]es, [[rondo]]s and [[variation (music)| variations]]. He also created several works for the strings (three [[string quartet| quartets]] and two [[string quintet| quintets]], and several [[violin sonata]]s), works of [[incidental music]] and several [[opera]]s. However, his most-often recorded and played works are several piano sonatinas and numerous works for [[flute]].  It is because of these flute works that he was nicknamed &quot;the Beethoven of the flute&quot; during his lifetime.

While Kuhlau is generally regarded as a minor composer, in [[Denmark]] his opera ''[[Elverhøj]]'' is regarded as the national opera, and its [[overture]] enjoys particular popularity. It was used in the 1976 movie [[Olsen Gang|Olsen-banden ser rødt]] in the showdown of which, the Olsen gang bombs, drills, and hammers its way through the opera house's basement in synchronicity with the music.

{{seealso|1=List of compositions by Friedrich Kuhlau}}

==References==
Some of the information on this page appears on the website of Edition Silvertrust but permission has been granted to copy, distribute and/or modify this document under the terms of the [[GNU Free Documentation License]].

==External links==
* [http://www.kuhlau.gr.jp/e_index.html International Friedrich Kuhlau Society] Has worklist
&lt;!--* [http://www.carolinaclassical.com/articles/kuhlau.html Friedrich Daniel Rudolf Kuhlau 1786-1832]--&gt;
*[http://www.editionsilvertrust.com/kuhlau-string-quartet.htm Friedrich Kuhlau Grand String Quartet Op.122] Soundbites and short biography
* {{IMSLP|id=Kuhlau%2C_Friedrich_Daniel_Rudolf|cname=Friedrich Kuhlau}}
* {{WIMA|idx=Kuhlau|name=Friedrich Kuhlau}}

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  </page>
  <page>
    <title>Wolfgang Amadeus Mozart</title>
    <id>33163</id>
    <revision>
      <id>312794548</id>
      <timestamp>2009-09-09T15:27:43Z</timestamp>
      <contributor>
        <username>Opus33</username>
        <id>20726</id>
      </contributor>
      <comment>Rv, this material interrupts the narrative rather badly where it was inserted.  I suggest instead putting it with the article about the piano concerto in question.</comment>
      <text xml:space="preserve">{{redirect|Mozart}}
&lt;!-- please do not add an infobox, per [[Wikipedia:WikiProject_Composers#Biographical_infoboxes]]--&gt;
[[File:Croce-Mozart-Detail.jpg|thumb|Mozart circa 1780, by Johann Nepomuk della Croce]]
'''Wolfgang Amadeus Mozart''' ({{IPA-de|ˈvɔlfɡaŋ amaˈdeus ˈmoːtsart|lang}}, full baptismal name '''Johannes Chrysostomus Wolfgangus Theophilus Mozart'''&lt;ref&gt;Mozart's exact name involved many complications; for details see [[Mozart's name]].&lt;/ref&gt; (27 January 1756&amp;nbsp;– 5 December 1791), was a prolific and influential [[composer]] of the [[Classical period (music)|Classical era]]. He composed over six hundred [[Musical composition|works]], many acknowledged as pinnacles of [[symphony|symphonic]], [[concerto|concertante]], [[chamber music|chamber]], [[piano]], [[opera]]tic, and [[choir|choral]] [[music]]. He is among the most enduringly popular of [[classical music|classical]] composers. 

Mozart showed prodigious ability from his earliest childhood in [[Salzburg]]. Already competent on [[keyboard instrument|keyboard]] and [[violin]], he composed from the age of five and performed before European royalty; at seventeen he was engaged as a court musician in Salzburg, but grew restless and traveled in search of a better position, always composing abundantly. Visiting [[Vienna]] in 1781 he was dismissed from his Salzburg position and chose to stay in the capital, where over the rest of his life he achieved fame but little financial security. The final years in Vienna yielded many of his best-known symphonies, concertos, and operas, and the [[Requiem (Mozart)|''Requiem'']]. The circumstances of his early death have been much mythologized. He was survived by his wife [[Constanze Mozart|Constanze]] and two sons.

Mozart always learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate—the whole informed by a vision of humanity &quot;redeemed through art, forgiven, and reconciled with nature and the absolute&quot;.&lt;ref&gt;Till, p.&amp;nbsp;320&lt;/ref&gt; His influence on all subsequent Western art music is profound. [[Ludwig van Beethoven|Beethoven]] wrote his own early compositions in the shadow of Mozart, of whom [[Joseph Haydn]] wrote that &quot;posterity will not see such a talent again in 100 years&quot;.&lt;ref&gt;Robbins Landon, p.&amp;nbsp;171&lt;/ref&gt;

==Biography==
{{see also2|[[Biographies of Mozart]], for resources on Mozart's life}}

[[File:Mozart (5).JPG|thumb|left|Mozart's birthplace at Getreidegasse 9, Salzburg, Austria]]
===Family and early years===
Wolfgang Amadeus Mozart was born to [[Leopold Mozart|Leopold]] and [[Anna Maria Mozart|Anna Maria Pertl Mozart]] at 9&amp;nbsp;[[Getreidegasse]] in [[Salzburg]], capital of the sovereign [[Archbishopric of Salzburg]], in what is now [[Austria]], but then part of the [[Holy Roman Empire]]. His only sibling to survive past birth was [[Maria Anna Mozart|Maria Anna]] (1751–1829), called &quot;Nannerl&quot;. Wolfgang was [[baptism|baptized]] the day after his birth at [[Salzburg Cathedral|St. Rupert's Cathedral]]. The baptismal record gives his name in Latinized form as ''Joannes Chrysostomus Wolfgangus Theophilus Mozart''. He generally called himself &quot;Wolfgang Amadè Mozart&quot;&lt;ref&gt;{{harvnb|Deutsch|1965|p=9}}&lt;/ref&gt; as an adult, but [[Mozart's name|there were many variants]].
His father Leopold (1719–1787) was deputy [[Kapellmeister]] to the court orchestra of the Archbishop of Salzburg, and a minor composer. He was also an experienced teacher, and in the year of Mozart's birth published a successful violin textbook, ''[[Versuch einer gründlichen Violinschule]]''.

[[File:Wolfgang-amadeus-mozart 2.jpg|thumb|Anonymous portrait of the child Mozart, possibly by [[Pietro Antonio Lorenzoni]]; painted in 1763 on commission from [[Leopold Mozart|Leopold]]]]When Nannerl was seven she began keyboard lessons with her father, and her three-year-old brother would look on, evidently fascinated. Years later, after his death, she reminisced:
&lt;blockquote&gt;He often spent much time at the clavier, picking out thirds, which he was always striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five he was already composing little pieces, which he played to his father who wrote them down.&lt;ref&gt;{{harvnb|Deutsch|1965|p=455}}&lt;/ref&gt;&lt;/blockquote&gt;
Among these pieces were the [[Andante in C for Keyboard (Mozart)|Andante (K.&amp;nbsp;1a)]] and [[Allegro in C for Keyboard (Mozart)|Allegro in C (K.&amp;nbsp;1b)]].

Biographer [[Maynard Solomon]]&lt;ref name=&quot;solomon 1995 39&quot;&gt;{{harvnb|Solomon|1995|pp=39–40}}&lt;/ref&gt; notes that while Leopold was a devoted teacher to his children, there is evidence that Wolfgang was keen to make progress beyond what he was being taught. His first ink-spattered composition and his precocious efforts with the violin were on his own initiative, and came as a great surprise to Leopold. Father and son were close, and these childhood accomplishments brought tears to Leopold's eyes.&lt;ref&gt;{{harvnb|Deutsch|1965|p=453}}&lt;/ref&gt;

Leopold eventually gave up composing when his son's outstanding musical talents became evident.&lt;ref&gt;{{harvnb|Solomon|1995|p=33}}&lt;/ref&gt; He was Wolfgang's only teacher in his earliest years, and taught his children languages and academic subjects as well as music.&lt;ref name=&quot;solomon 1995 39&quot; /&gt;

[[File:Wolfgang Leopold Nannerl.jpg|left|thumb|The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor by [[Louis Carrogis Carmontelle|Carmontelle]], ca. 1763&lt;ref&gt;{{harvnb|Solomon|1995|p=44}}&lt;/ref&gt;]]

===1762–1773: Years of travel===
{{Main| Mozart family grand tour|Mozart in Italy}}
During Mozart's formative years, his family made several European journeys in which he and Nannerl were shown as [[Child prodigy|child prodigies]]. These began with an exhibition in 1762 at the court of the [[Prince-elector]] [[Maximilian III Joseph, Elector of Bavaria|Maximilian III]] of [[Bavaria]] in [[Munich]], then in the same year at the Imperial Court in [[Vienna]] and [[Prague]]. A long concert tour spanning three and a half years followed, taking the family to the courts of [[Munich]], [[Mannheim]], [[Paris]], [[London]], [[The Hague]], again to Paris, and back home via [[Zürich]], [[Donaueschingen]], and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was [[Johann Christian Bach]], whom Mozart visited in London in 1764 and 1765. The family again went to Vienna in late 1767 and remained there until December 1768. 

These trips were often arduous, because of the primitive conditions of travel at that time,&lt;ref&gt;Halliwell 1998, pp.&amp;nbsp;51, 53&lt;/ref&gt; the need to wait patiently for invitations and reimbursement from the nobility,&lt;ref&gt;Halliwell 1998, pp.&amp;nbsp;47–48&lt;/ref&gt; and long, near-fatal illnesses endured far from home: first Leopold (London, summer 1764)&lt;ref&gt;Halliwell 1998, pp.&amp;nbsp;82–83&lt;/ref&gt; then both children (The Hague, autumn 1765).&lt;ref&gt;Halliwell 1998, pp.&amp;nbsp;99–102&lt;/ref&gt;

After one year in Salzburg, Leopold and Wolfgang set off for [[Italy]], leaving Wolfgang's mother and sister at home. This travel lasted from December 1769 to March 1771, and like earlier journeys had the purpose of displaying the young man's abilities as a performer, and as a rapidly maturing composer. Mozart met [[Giovanni Battista Martini|G.B. Martini]] in [[Bologna]], and was accepted as a member of the famous ''[[Philharmonic Academy of Bologna|Accademia Filarmonica]]''. In Rome he heard [[Gregorio Allegri]]'s ''[[Miserere (Allegri)|Miserere]]'' once in performance in the [[Sistine Chapel]], then wrote it out in its entirety from memory, only returning to correct minor errors—thus producing the first illegal copy of this closely guarded property of the Vatican.

In Milan, Mozart wrote the opera ''[[Mitridate, re di Ponto]]'' (1770), which was performed with success. This led to further opera [[commission (art)|commissions]], and Wolfgang and Leopold later returned twice to Milan (August–December 1771; October 1772&amp;nbsp;– March 1773) for the composition and premieres of ''[[Ascanio in Alba]]'' (1771) and ''[[Lucio Silla]]'' (1772). Leopold hoped these visits would result in a professional appointment for his son in Italy, but these hopes were never fulfilled.&lt;ref&gt;Halliwell 1998, p.&amp;nbsp;172, pp.&amp;nbsp;183–185&lt;/ref&gt;

Toward the end of the final Italian journey Mozart wrote the first of his works that is still widely performed today, the solo [[cantata]] ''[[Exsultate, jubilate]]'', [[Köchel catalogue|K.]]&amp;nbsp;165.

===1773–1777: The Salzburg court===
After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg [[Count Hieronymus von Colloredo|Prince-Archbishop Hieronymus Colloredo]]. The composer was a favorite son in Salzburg, where he had a great number of friends and admirers,&lt;ref&gt;{{harvnb|Solomon|1995|p=106}}&lt;/ref&gt; and he had the opportunity to work in many genres, including symphonies, sonatas, string quartets, serenades, and a few minor operas. Several of these early works are performed today. Between April and December of 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), steadily increasing in their musical sophistication. The last three—[[Violin Concerto No. 3 (Mozart)|K.&amp;nbsp;216]], [[Violin Concerto No. 4 (Mozart)|K.&amp;nbsp;218]], [[Violin Concerto No. 5 (Mozart)|K.&amp;nbsp;219]]—are now staples of the repertoire. In 1776 he turned his efforts to [[Mozart piano concertos|piano concertos]], culminating in the E-flat concerto [[Piano Concerto No. 9 (Mozart)|K.&amp;nbsp;271]] of early 1777, considered by critics to be a breakthrough work.&lt;ref&gt;{{harvnb|Solomon|1995|p=103}}&lt;/ref&gt;

Despite these artistic successes, Mozart grew increasingly discontent with Salzburg and redoubled his efforts to find a position elsewhere. One reason appears to be his low salary, 150 florins per year;&lt;ref&gt;{{harvnb|Solomon|1995|p=98}}&lt;/ref&gt; but also, Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salzburg was largely reserved for visiting troupes.&lt;ref&gt;{{harvnb|Solomon|1995|p=107}}&lt;/ref&gt; 

Two long expeditions in search of work (both Leopold and Wolfgang were looking) interrupted this long Salzburg stay: they visited Vienna from 14 July to 26 September 1773, and [[Munich]] from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of the opera ''[[La finta giardiniera]]''.&lt;ref&gt;{{harvnb|Solomon|1995|p=109}}&lt;/ref&gt;

===1777–1778: The Paris journey===
[[File:Wolfgang01.jpg|thumb|300px|Family portrait from about 1780 by Johann Nepomuk della Croce: Nannerl, Wolfgang, Leopold. On the wall is a portrait of Mozart's mother, who had died in 1778.]]

In August 1777, Mozart resigned his Salzburg position&lt;ref&gt;Archbishop Colloredo responded to the request by dismissing both Wolfgang and Leopold, though the dismissal of the latter was not actually carried out. See Halliwell 1998, p.&amp;nbsp;225.&lt;/ref&gt; and on 23 September ventured out once more in search of employment, with visits to [[Augsburg]], [[Mannheim]], [[Paris]], and [[Munich]].&lt;ref&gt;Rushton (1992)&lt;/ref&gt; Since Archbishop Colloredo would not give Leopold leave to travel, Mozart's mother Anna Maria was assigned to accompany him.

Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with [[Aloysia Weber]], one of four daughters in a musical family. There were some prospects of employment in Mannheim, but they came to nothing; and Mozart left for Paris on 14 March 1778&lt;ref&gt;Deutsch 1965, p.&amp;nbsp;174&lt;/ref&gt; to continue his search. There his luck was hardly better; one of his letters home hints at a possible post as an organist at [[Versailles]], but Mozart was not interested in such an appointment.&lt;ref&gt;Solomon 1995, p.&amp;nbsp;149&lt;/ref&gt; He fell into debt and took to pawning valuables.&lt;ref&gt;Halliwell 1998, pp.&amp;nbsp;304–305&lt;/ref&gt; The nadir of the visit occurred when Mozart's mother took ill, and died on 3 July 1778.&lt;ref&gt;Abert (2007, 509)&lt;/ref&gt; There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.&lt;ref&gt;Halliwell 1998, p.&amp;nbsp;305&lt;/ref&gt;

While Wolfgang was in Paris, Leopold was energetically pursuing opportunities for him back in Salzburg,&lt;ref&gt;For details see Halliwell 1998, chs.&amp;nbsp;18–19.&lt;/ref&gt;, and with the support of local nobility secured him a better post as court organist and concertmaster. The yearly salary was 450 florins;&lt;ref&gt;Solomon 1995, p.&amp;nbsp;157&lt;/ref&gt; but Wolfgang was reluctant to accept,&lt;ref&gt;See for example Halliwell 1998, p.&amp;nbsp;322&lt;/ref&gt; and after leaving Paris on 26 September 1778 he tarried in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich he again encountered Aloysia, now a very successful singer: but she made it plain that she was no longer interested in him.&lt;ref name=&quot;rushton 1992 3&quot;&gt;{{harvnb|Rushton|1992|loc=&amp;sect;3}}&lt;/ref&gt;

Mozart finally reached home on 15 January 1779 and took up the new position, but his discontent with Salzburg was undiminished.

The [[Piano Sonata No. 8 (Mozart)|A minor piano sonata]] K.&amp;nbsp;310/300d and the [[Symphony No. 31 (Mozart)|&quot;Paris&quot; Symphony]] (no.&amp;nbsp;31) are among several well-known works from Mozart's time in Paris, where they were performed on 12 June and 18 June 1778.&lt;ref&gt;Deutsch 1965, p.&amp;nbsp;176&lt;/ref&gt;

[[File:Martini bologna mozart 1777.jpg|thumb|left|Mozart in 1777. Portrait requested by [[Giovanni Battista Martini|Padre Martini]] for his gallery.]]

===1781: Departure to Vienna===
In January 1781, Mozart's opera ''[[Idomeneo]]'' premiered with &quot;considerable success&quot; in [[Munich]].&lt;ref&gt;New Grove Vol. 12, p.&amp;nbsp;700&lt;/ref&gt; The following March the composer was summoned to [[Vienna]], where his employer, Archbishop Colloredo, was attending the celebrations for the accession of [[Joseph II, Holy Roman Emperor|Joseph II]] to the Austrian throne. Mozart, fresh from the adulation he had earned in Munich, was offended when Colloredo treated him as a mere servant, and particularly when the archbishop forbade him to perform before the Emperor at [[Maria Wilhelmine Thun|Countess Thun]]'s for a fee equal to half of his yearly Salzburg salary. The resulting quarrel came to a head in May: Mozart attempted to resign, and was refused. The following month permission was granted, but in a grossly insulting way: the composer was dismissed literally &quot;with a kick in the ass&quot;, administered by the archbishop's steward, Count Arco. In Vienna, though, Mozart had become aware of some rich opportunities, and he decided to settle there as a freelance performer and composer.&lt;ref name=&quot;rushton 1992 4&quot; /&gt;

The quarrel with the archbishop went harder for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Leopold exchanged intense letters with his errant son, urging him to be reconciled with their employer; but Wolfgang passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed, freeing him from the demands of an oppressive employer and of an over-solicitous father. Solomon characterizes Mozart's resignation as a &quot;revolutionary step&quot;, and it greatly altered the course of his life.&lt;ref&gt;{{harvnb|Solomon|1995|p=247}}&lt;/ref&gt;

===Early Vienna years===
Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with [[Muzio Clementi]] on 24 December 1781,&lt;ref name=&quot;rushton 1992 4&quot;&gt;{{harvnb|Rushton|1992|loc=&amp;sect;4}}&lt;/ref&gt; and he soon &quot;had established himself as the finest keyboard player in Vienna&quot;.&lt;ref name=&quot;rushton 1992 4&quot; /&gt; He also prospered as a composer, and in 1782 completed the opera ''[[Die Entführung aus dem Serail]]'' (&quot;The Abduction from the Seraglio&quot;), which premiered on 16 July 1782 to enormous acclaim. The work was soon being performed &quot;throughout German-speaking Europe&quot;,&lt;ref name=&quot;rushton 1992 4&quot; /&gt; and fully established Mozart's reputation as a composer.

[[File:Costanze Mozart by Lange 1782.jpg|thumb|1782 portrait of Constanze Mozart by her brother-in-law Joseph Lange]]
Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.&lt;ref&gt;{{harvnb|Solomon|1995|p=253}}&lt;/ref&gt; Aloysia, who had earlier rejected Mozart's suit, was now married to the actor [[Joseph Lange]], and Mozart's interest shifted to the third daughter, [[Constanze Mozart|Constanze]]. The couple were married on 4 August 1782, eventually securing Leopold's &quot;grudging consent&quot;.&lt;ref&gt;New Grove Vol. 12, p.&amp;nbsp;702&lt;/ref&gt; In the marriage contract, Constanze &quot;assigns to her bridegroom five hundred gulden which&amp;nbsp;[...] the latter has promised to augment with one thousand gulden&quot;, with the total &quot;to pass to the survivor&quot;. Further, all joint acquisitions during the marriage were to remain the common property of both.&lt;ref&gt;{{harvnb|Deutsch|1965|p=204}}&lt;/ref&gt;

The couple had six children: 
*Raimund Leopold (17 June – 19 August 1783)
*[[Karl Thomas Mozart]] (21 September 1784 – 31 October 1858)
*Johann Thomas Leopold (18 October – 15 November 1786)
*Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787&amp;nbsp;– 29 June 1788)
*Anna Maria (died soon after birth, 25 December 1789)
*[[Franz Xaver Wolfgang Mozart]] (26 July 1791 – 29 July 1844)

In the course of 1782 and 1783 Mozart became intimately acquainted with the work of [[Johann Sebastian Bach]] and [[George Frideric Handel]] as a result of the influence of [[Gottfried van Swieten]], who owned many manuscripts of the [[Baroque music|Baroque]] masters. Mozart's study of these scores inspired compositions in Baroque style, and later had a powerful influence on his own personal musical language: for example in [[fugue|fugal]] passages in ''[[The Magic Flute|Die Zauberflöte]]'' (&quot;The Magic Flute&quot;) and the finale of [[Symphony No. 41 (Mozart)|Symphony No.&amp;nbsp;41]].

In 1783, Wolfgang and Constanze visited his family in Salzburg. Leopold and Nannerl were, at best, only polite to Constanze; but the visit at least prompted the composition of one of Mozart's great liturgical pieces, the [[Great Mass in C minor (Mozart)|Mass in C minor]]. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.&lt;ref&gt;{{harvnb|Solomon|1995|p=270}}&lt;/ref&gt;

Mozart met [[Joseph Haydn]] in Vienna, and the two composers became friends (see [[Haydn and Mozart]]). When Haydn visited Vienna, they sometimes played together in an impromptu [[string quartet]]. Mozart's [[Haydn Quartets (Mozart)|six quartets dedicated to Haydn]] (K.&amp;nbsp;387, K.&amp;nbsp;421, K.&amp;nbsp;428, K.&amp;nbsp;458, K.&amp;nbsp;464, and K.&amp;nbsp;465) date from the period 1782 to 1785, and amount to a carefully considered response to Haydn's [[List of string quartets by Joseph Haydn#Opus 33 .281781.29|Opus 33]] set from 1781. He stood in awe of Mozart, whose sister recorded that in 1781 Haydn told the visiting Leopold: &quot;I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition.&quot;&lt;ref&gt;{{harvnb|Deutsch|1965|pp=461–462}}&lt;/ref&gt;

From 1782 to 1785 Mozart mounted concerts with himself as soloist, presenting three or four new piano concertos in each season. Since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building); and the ballroom of the Mehlgrube (a restaurant).&lt;ref name=&quot;solomon 1995 293&quot;&gt;{{harvnb|Solomon|1995|p=293}}&lt;/ref&gt; The concerts were very popular, and the concertos he premiered at them are still firm fixtures in the repertoire. Solomon writes that during this period Mozart created &quot;a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre&quot;.&lt;ref name=&quot;solomon 1995 293&quot; /&gt;

With substantial returns from his concerts and elsewhere, he and Constanze adopted a rather plush lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins.&lt;ref name=&quot;solomon 1995 298&quot;&gt;{{harvnb|Solomon|1995|p=298}}&lt;/ref&gt; Mozart also bought a fine [[fortepiano]] from Anton Walter for about 900 florins, and a [[Carom billiards|billiard]] table for about 300.&lt;ref name=&quot;solomon 1995 298&quot; /&gt; The Mozarts sent their son [[Karl Thomas Mozart|Karl Thomas]] to an expensive boarding school,&lt;ref&gt;{{harvnb|Solomon|1995|p=430}}&lt;/ref&gt;&lt;ref&gt;{{harvnb|Solomon|1995|p=578}}&lt;/ref&gt; and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.&lt;ref&gt;{{harvnb|Solomon|1995|loc=&amp;sect;27}}&lt;/ref&gt;&lt;ref&gt;{{harvnb|Solomon|1995|p=431}}&lt;/ref&gt;

On 14 December 1784, Mozart became a [[Freemasonry|Freemason]], admitted to the lodge Zur Wohltätigkeit (&quot;Beneficence&quot;).&lt;ref&gt;{{harvnb|Solomon|1995|p=321}}&lt;/ref&gt; Freemasonry played an important role in the remainder of Mozart's life: he attended many meetings, a number of his friends were Masons, and on various occasions he composed Masonic music. (See [[Mozart and Freemasonry]].)

===1786–1787: Return to opera===
Despite the great success of ''[[Die Entführung aus dem Serail]]'', Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act ''[[Der Schauspieldirektor]]''. He focused instead on his career as a piano soloist and writer of concertos. However, around the end of 1785, Mozart moved away from keyboard writing&lt;ref&gt;{{harvnb|Solomon|1995}}&lt;/ref&gt;{{page number}} and began his famous operatic collaboration with the [[Libretto|librettist]] [[Lorenzo Da Ponte]]. 1786 saw the successful premiere of ''[[The Marriage of Figaro]]'' in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera ''[[Don Giovanni]]'', which premiered in October 1787 to acclaim in Prague, and also met with success in Vienna in 1788. The two are esteemed among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by the composer's father, as Leopold had died on 28 May 1787.

In December 1787 Mozart finally obtained a steady post under aristocratic patronage. Emperor [[Joseph II, Holy Roman Emperor|Joseph II]] appointed him as his &quot;chamber composer&quot;, a post that had fallen vacant the previous month on the death of [[Christoph Willibald Gluck|Gluck]]. It was a part-time appointment, paying just 800 florins per year, and only required Mozart to compose dances for the annual balls in the [[Hofburg Imperial Palace|Redoutensaal]]. Mozart complained to Constanze that the pay was &quot;too much for what I do, too little for what I could do&quot;.&lt;ref name=&quot;solomon 1995 423&quot; /&gt; However, even this modest income became important to Mozart when hard times arrived. Court records show that Joseph's aim was to keep the esteemed composer from leaving Vienna in pursuit of better prospects.&lt;ref name=&quot;solomon 1995 423&quot;&gt;{{harvnb|Solomon|1995|pp=423–424}}&lt;/ref&gt;

In 1787 the young [[Ludwig van Beethoven]] spent two weeks in Vienna, hoping to study with Mozart. The evidence concerning this time is conflicting, and at least three hypotheses are in play: that Mozart heard Beethoven play and praised him; that Mozart rejected Beethoven as a student; and that they never even met. (See [[Mozart and Beethoven]].)

===1788–1790===
[[File:Mozart drawing Doris Stock 1789.jpg|thumb|Drawing of Mozart in [[silverpoint]], made by [[Dora Stock]] during Mozart's visit to Dresden, April 1789]]
Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank.&lt;ref name=&quot;rushton 1992 6&quot;&gt;{{harvnb|Rushton|1992|loc=&amp;sect;6}}&lt;/ref&gt; This was a difficult time for all musicians in Vienna because [[Austro-Turkish War (1787–1791)|Austria was at war]], and both the general level of prosperity and the ability of the aristocracy to support music had declined.&lt;ref&gt;{{harvnb|Solomon|1995}}&lt;/ref&gt;{{page number}}

By mid-1788, Mozart and his family had moved from central Vienna to the suburb of [[Alsergrund]].&lt;ref name=&quot;rushton 1992 6&quot; /&gt; Although it has been thought that Mozart reduced his rental expenses, recent research shows that by moving to the suburb Mozart had certainly not reduced his expenses (as claimed in his letter to [[Michael von Puchberg|Puchberg]]), but merely increased the housing space at his disposal.&lt;ref&gt;http://homepage.univie.ac.at/michael.lorenz/alsergrund Michael Lorenz, 'Mozart’s Apartment on the Alsergrund', published on the internet on 8 June 2009.&lt;/ref&gt; Mozart began to borrow money, most often from his friend and fellow Mason [[Michael von Puchberg|Michael Puchberg]]; &quot;a pitiful sequence of letters pleading for loans&quot; survives.&lt;ref&gt;New Grove Vol. 12, p. 710&lt;/ref&gt; Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed.&lt;ref&gt;{{harvnb|Steptoe|1988|p=208}}&lt;/ref&gt; Major works of the period include the last three symphonies (Nos.&amp;nbsp;[[Symphony No. 39 (Mozart)|39]], [[Symphony No. 40 (Mozart)|40]], and [[Symphony No. 41 (Mozart)|41]], all from 1788, and the last of the three Da Ponte operas, ''[[Così fan tutte]]'', premiered in 1790.

Around this time Mozart made long journeys hoping to improve his fortunes: to [[Leipzig]], [[Dresden]], and [[Berlin]] in the spring of 1789 (see [[Mozart's Berlin journey]]), and to [[Frankfurt am Main|Frankfurt]], [[Mannheim]], and other German cities in 1790. The trips produced only isolated success and did not relieve the family's financial distress.

===1791===
Mozart's last year was, until his final illness struck, a time of great productivity—and by some accounts a time of personal recovery.&lt;ref&gt;{{harvnb|Solomon|1995|loc=&amp;sect;30}}&lt;/ref&gt; He composed a great deal, including some of his most admired works: the opera ''[[The Magic Flute]]'', the final piano concerto ([[Piano Concerto No. 27 (Mozart)|K.&amp;nbsp;595 in B-flat]]), the [[Clarinet Concerto (Mozart)|Clarinet Concerto]] K.&amp;nbsp;622, the last in his great series of string quintets ([[String Quintet No. 6 (Mozart)|K.&amp;nbsp;614 in E-flat]]), the motet [[Ave verum corpus (Mozart)|Ave verum corpus]] K.&amp;nbsp;618, and the unfinished [[Requiem (Mozart)|''Requiem'']] K.&amp;nbsp;626. 

Mozart's financial situation, a source of extreme anxiety in 1790, finally began to improve. Although the evidence is inconclusive&lt;ref name=&quot;solomon 1995 477&quot;&gt;{{harvnb|Solomon|1995|p=477}}&lt;/ref&gt; it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart, in return for the occasional composition. He probably also benefited from the sale of dance music written in his role as Imperial chamber composer.&lt;ref name=&quot;solomon 1995 477&quot; /&gt; Mozart no longer borrowed large sums from Puchberg, and made a start on paying off his debts.&lt;ref name=&quot;solomon 1995 477&quot; /&gt;

He experienced great satisfaction in the public success of some of his works, notably ''The Magic Flute'' (performed many times in the short period between its premiere and Mozart's death)&lt;ref&gt;{{harvnb|Solomon|1995|p=487}}&lt;/ref&gt; and the Little Masonic Cantata K.&amp;nbsp;623, premiered on 15 November 1791.&lt;ref&gt;{{harvnb|Solomon|1995|p=490}}&lt;/ref&gt;

===Final illness and death===
{{main|Death of Mozart}}
[[Image:Wolfgang-amadeus-mozart 1.jpg|thumb|left|Posthumous painting by Barbara Krafft in 1819]]
Mozart fell ill while in Prague, for the premiere on 6 September of his opera ''[[La clemenza di Tito]]'', written in 1791 on commission for the Emperor's coronation festivities.&lt;ref&gt;{{harvnb|Solomon|1995|p=485}}&lt;/ref&gt; He was able to continue his professional functions for some time, and conducted the premiere of ''[[The Magic Flute]]'' on 30 September. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.&lt;ref&gt;Solomon 1995, 491&lt;/ref&gt;

Mozart was nursed in his final illness by Constanze and her youngest sister Sophie, and attended by the family doctor, Thomas Franz Closset. It is clear that he was mentally occupied with the task of finishing his ''[[Requiem (Mozart)|Requiem]]''. However, the evidence that he actually dictated passages to his student [[Franz Xaver Süssmayr|Süssmayr]] is very slim.&lt;ref&gt;{{harvnb|Solomon|1995|p=493}}&lt;/ref&gt;&lt;ref&gt;{{harvnb|Solomon|1995|p=588}}&lt;/ref&gt;

Mozart died at 1 a.m. on 5 December 1791. The [[Grove Dictionary of Music and Musicians|New Grove]] gives a matter-of-fact description of his funeral:
&lt;blockquote&gt;Mozart was buried in a common grave, in accordance with contemporary Viennese custom, at the St Marx cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.&lt;ref&gt;New Grove Vol 12, p.&amp;nbsp;716&lt;/ref&gt;&lt;/blockquote&gt;

The cause of Mozart's death cannot be known with certainty. The official record has it as &quot;hitziges Frieselfieber&quot; (&quot;severe miliary &lt;!--this is not a typo--&gt;fever&quot;, referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including [[trichinosis]], [[influenza]], [[mercury poisoning]], and a rare kidney ailment. The practice of [[bloodletting|bleeding]] medical patients, common at that time, is also cited as a contributing factor. The most widely accepted version, however, is that he died of acute [[rheumatic fever]]; he is known to have had three or even four attacks of it since his childhood, and this disease has a tendency to recur, with increasingly serious consequences each time, such as rampant infection and damage to the heart valves.&lt;ref&gt;{{harvnb|Solomon|1995|p=491}}&lt;/ref&gt; A 2009 paper suggested that Mozart may have died from acute [[nephritic syndrome]] arising from a [[streptococcus]] infection.&lt;ref&gt;Richard H.C. Zegers; Andreas Weigl; and Andrew Steptoe [http://www.annals.org/cgi/content/abstract/151/4/274 The Death of Wolfgang Amadeus Mozart: An Epidemiologic Perspective] ''Annals of Internal Medicine'' Volume 151 Issue 4, pp. 274–278&lt;/ref&gt;

Mozart's sparse funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended. Indeed, in the period immediately after his death Mozart's reputation rose substantially: Solomon describes an &quot;unprecedented wave of enthusiasm&quot;&lt;ref name=&quot;Solomonp499&quot;&gt;{{harvnb|Solomon|1995|p=499}}&lt;/ref&gt; for his work; biographies were written (first by [[Friedrich Schlichtegroll|Schlichtegroll]], [[Franz Niemetschek|Niemetschek]], and [[Georg Nikolaus von Nissen|Nissen]]; see [[Biographies of Mozart]]); and publishers vied to produce complete editions of his works.&lt;ref name=&quot;Solomonp499&quot;&gt;{{harvnb|Solomon|1995|p=499}}&lt;/ref&gt;

===Appearance and character===
[[File:Mozart (unfinished) by Lange 1782.jpg|thumb|Unfinished portrait of Mozart by his brother-in-law [[Joseph Lange]]]]
Mozart's physical appearance was described by tenor [[Michael Kelly (tenor)|Michael Kelly]], in his ''Reminiscences'': &quot;a remarkable small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain&quot;. As his early biographer [[Franz Xaver Niemetschek|Niemetschek]] wrote, &quot;there was nothing special about [his] physique. [...] He was small and his countenance, except for his large intense eyes, gave no signs of his genius.&quot; His facial complexion was pitted, a reminder of his [[Mozart and smallpox|childhood case of smallpox]]. He loved elegant clothing. Kelly remembered him at a rehearsal: &quot;[He] was on the stage with his crimson [[pelisse]] and gold-laced [[cocked hat]], giving the time of the music to the orchestra.&quot; Of his voice Constanze later wrote that it &quot;was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic&quot;.&lt;ref&gt;{{harvnb|Solomon|1995|p=308}}&lt;/ref&gt;

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts, though unlike Beethoven's these are mostly not preserved, Constanze having sought to destroy them after his death.&lt;ref&gt;{{harvnb|Solomon|1995|p=310}}&lt;/ref&gt; ''See: [[Mozart's compositional method]]''.

He was raised a [[Catholic Church|Roman Catholic]], and remained a loyal member of the Church throughout his life; see: [[Mozart and Roman Catholicism]].

Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow transplanted Salzburgers, and many aristocrats, including some acquaintance with the Emperor [[Joseph II, Holy Roman Emperor|Joseph II]]. Solomon considers his three closest friends to have been Gottfried Janequin, Count August Hatzfeld, and Sigmund Barisani; the many others included his older colleague [[Joseph Haydn]], singers [[Franz Xaver Gerl]] and [[Benedikt Schack]], and the horn player [[Joseph Leutgeb]]. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's [[practical joke]]s.&lt;ref&gt;{{harvnb|Solomon|1995|loc=&amp;sect;20}}&lt;/ref&gt;

He enjoyed [[billiards]] and dancing (see: [[Mozart and dance]]), and kept pets: a canary, a [[Mozart's starling|starling]], a dog, and also a horse for recreational riding.&lt;ref&gt;{{harvnb|Solomon|1995|p=319}}&lt;/ref&gt; Particularly in his youth, Mozart had a striking fondness for [[Scatology|scatological]] humor (not so unusual in his time), which is preserved in his many surviving letters, notably those written to his cousin [[Maria Anna Thekla Mozart]] around 1777–1778, but also in his correspondence with his sister Nannerl and his parents.&lt;ref&gt;{{harvnb|Solomon|1995|p=169}}&lt;/ref&gt; Mozart even wrote scatological music, the [[Canon (music)|canon]] &quot;[[Leck mich im Arsch]]&quot; (literally &quot;Lick me in the arse&quot;, sometimes idiomatically translated &quot;Kiss my arse&quot; or &quot;Get stuffed&quot;) K.&amp;nbsp;231.

==Works, musical style, and innovations==
{{seealso|List of compositions by Wolfgang Amadeus Mozart}}

===Style===
[[File:Mozart Sheet Music.jpg|thumb|A sheet of music from the Dies Irae movement of the &quot;[[Requiem (Mozart)|Requiem Mass in D Minor]]&quot; (K.&amp;nbsp;626) in Mozart's own handwriting. It is located at the Mozarthaus in Vienna.]]
Mozart's music, like [[Joseph Haydn|Haydn]]'s, stands as an archetypal example of the Classical style. At the time he began composing, European music was dominated by the ''[[galant|style galant]]'': a reaction against the highly evolved intricacy of the [[Baroque music|Baroque]]. But progressively, and in large part at the hands of Mozart himself, the [[counterpoint|contrapuntal]] complexities of the late Baroque emerged once more, moderated and disciplined by new [[Musical form|forms]], and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including [[symphony]], [[opera]], the solo [[concerto]], chamber music including [[string quartet]] and [[string quintet]], and the piano [[sonata]]. These forms were not new; but Mozart advanced the technical sophistication and emotional reach of them all. He almost single-handedly developed and popularized the Classical [[Mozart piano concertos|piano concerto]]. He wrote a great deal of [[religious music]], including large-scale [[mass (music)|masses]]: but also many dances, [[divertimento|divertimenti]], [[serenade]]s, and other forms of light entertainment.

The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but any simplistic notion of its delicacy masks the exceptional power of his finest masterpieces, such as the [[Piano Concerto No. 24 (Mozart)|Piano Concerto No. 24]] in C minor, K.&amp;nbsp;491, the [[Symphony No. 40 (Mozart)|Symphony No.&amp;nbsp;40]] in G minor, K.&amp;nbsp;550, and the opera ''[[Don Giovanni]]''. [[Charles Rosen]] makes the point forcefully:
&lt;blockquote&gt;It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.&lt;ref&gt;{{cite book|title=The Classical Style|author=[[Charles Rosen|Rosen, Charles]]|publisher=[[W. W. Norton &amp; Company]]|date=1998|isbn=0393317129|page=324}}&lt;/ref&gt;&lt;/blockquote&gt;
Especially during his last decade, Mozart exploited [[Chromaticism|chromatic]] harmony to a degree rare at the time, with remarkable assurance and to great artistic effect.

Mozart always had a gift for absorbing and adapting valuable features of others' music. His travels certainly helped in the forging of a unique compositional language.&lt;ref&gt;Solomon (1995, ch.&amp;nbsp;8) discusses the sources of style as well as his early imitative ability.&lt;/ref&gt; In London as a child, he met [[Johann Christian Bach|J.C. Bach]] and heard his music. In Paris, Mannheim, and Vienna he met with many other compositional influences, as well as the avant-garde capabilities of the [[Mannheim school|Mannheim orchestra]]. In Italy he encountered the [[Italian overture]] and [[opera buffa]], both of which deeply affected the evolution of his own practice. Both in London and Italy, the galant style was in the ascendent: simple, light music with a mania for [[cadence (music)|cadencing]]; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements.&lt;ref&gt;{{cite book | last = Heartz | first = Daniel | title = Music in European Capitals: The Galant Style, 1720–1780 | publisher = [[W. W. Norton &amp; Company]] | year= 2003 | url = http://books.google.com/books?id=Sq7rU0BGyREC | isbn = 0393050807 }}&lt;/ref&gt; Some of Mozart's early symphonies are [[Italian overture]]s, with three movements running into each other; many are [[homotonal]] (all three movements having the same key signature, with the slow middle movement being in the [[Relative key|relative minor]]). Others mimic the works of J.C. Bach, and others show the simple [[binary form|rounded binary forms]] turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the [[Symphony No. 29 (Mozart)|Symphony No.&amp;nbsp;29 in A Major]] K.&amp;nbsp;201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales: probably influenced by Haydn, who had included three such finales in his recently published Opus&amp;nbsp;20 set. The influence of the ''[[Sturm und Drang]]'' (&quot;Storm and Stress&quot;) period in music, with its brief foreshadowing of the [[Romanticism|Romantic era]] to come, is evident in the music of both composers at that time. Mozart's [[Symphony No. 25 (Mozart)|Symphony No.&amp;nbsp;25 in G minor]] K.&amp;nbsp;183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: [[opera buffa]], such as ''[[The Marriage of Figaro]]'', ''[[Don Giovanni]]'', and ''[[Così fan tutte]]''; [[opera seria]], such as ''[[Idomeneo]]''; and [[Singspiel]], of which ''[[The Magic Flute|Die Zauberflöte]]'' is the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, and [[Timbre|tone color]], for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.&lt;ref&gt;{{cite book|title=Mozart: His Character, His Work|author=[[Alfred Einstein|Einstein, Alfred]]|publisher=[[Oxford University Press]]|date={{Date|1965-12-31}}|isbn=0195007328}}&lt;/ref&gt;
[[File:Beethoven Riedel 1801.jpg|thumb|left|Portrait of Beethoven as a young man by Carl Traugott Riedel (1769–1832)]]

===Influence===
Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably [[Johann Nepomuk Hummel]], a transitional figure between Classical and Romantic eras.&lt;ref&gt;{{harvnb|Solomon|1995|p=574}}&lt;/ref&gt;

More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of the training of classical musicians. 

[[Ludwig van Beethoven]], Mozart's junior by fourteen years, esteemed and was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have played in the court orchestra at [[Bonn]] in performance of Mozart's operas,&lt;ref&gt;{{cite web | title=Mozart, Mozart's Magic Flute and Beethoven|url=http://www.raptusassociation.org/beethmoze.html|publisher=Raptus Association}}&lt;/ref&gt; and he traveled to Vienna in 1787 hoping to study the older composer (see above). Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote [[List of compositions by Ludwig van Beethoven#Instrumental works: WoO 1-86|cadenzas]] ([[WoO]]&amp;nbsp;58) to Mozart's D minor piano concerto [[Piano Concerto No. 20 (Mozart)|K.&amp;nbsp;466]].

A number of composers have paid homage to Mozart by writing sets of [[Variation (music)|variations]] on his themes. Beethoven wrote four such sets (Op.&amp;nbsp;66, WoO&amp;nbsp;28, WoO&amp;nbsp;40, WoO&amp;nbsp;46). Others include [[Frédéric Chopin]]'s [[List of compositions by Frédéric Chopin|Variations for Piano and Orchestra]] on &quot;Là ci darem la mano&quot; from ''[[Don Giovanni]]'' (1827) and [[Max Reger]]'s [[Variations and Fugue on a Theme by Mozart]] (1914), based on the variation theme in the piano sonata [[Piano Sonata No. 11 (Mozart)|K.&amp;nbsp;331]].&lt;ref&gt;{{cite book|title=The Penguin Guide to Compact Discs and DVDs 2005/06 Edition|author=March, Ivan|publisher=[[Penguin Books]]|date={{Date|2006-01-03}}|isbn=0141022620}}&lt;/ref&gt; [[Pyotr Ilyich Tchaikovsky]] wrote his Orchestral Suite No.&amp;nbsp;4 in G, [[Orchestral Suite No. 4 (Tchaikovsky)|&quot;Mozartiana&quot;]] (1887), as a tribute to Mozart.

===Köchel catalogue===
{{main|Köchel catalogue}}
For unambiguous identification of works by Mozart, a ''Köchel catalogue number'' is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation &quot;K.&quot; followed by this number. The first edition of the catalogue was completed in 1862 by [[Ludwig Ritter von Köchel|Ludwig von Köchel]]. It has repeatedly been updated since then, as scholarly research improves our knowledge of the dates and authenticity of individual works.

==Mozart in fiction==
Authors of fictional works have found Mozart's life a compelling source of raw material. For discussion of plays, films, operas, and other works incorporating Mozart as a character, see [[Mozart in fiction]].

==See also==
* [[Mozart family]]
* [[Mozart and Prague]]
* [[Mozart effect]]
* [[Mozart's name]]
* [[Mozartkugel]]
* [[The Complete Mozart Edition]] (Philips 1990, 1991)

==Notes==
{{reflist|colwidth=30em}}

==References==
*Abert, Hermann (2007) ''W. A. Mozart''. Translated by Stewart Spencer with additional notes by [[Cliff Eisen]]. New Haven: Yale University Press. ISBN 0300072236
*[[Otto Erich Deutsch|Deutsch, Otto Erich]] (1966) ''Mozart: A Documentary Biography'', Stanford University Press, ISBN 0804702330. 
*Halliwell, Ruth (1998) ''The Mozart Family: Four Lives in a Social Context'', Oxford: Oxford University Press, ISBN 0198163711.
*[[H. C. Robbins Landon|Robbins Landon, H. C.]] (1990) ''Mozart's Last Year'', London, Fontana Paperbacks, ISBN 0-00-654324-3 
*Rushton, Julian (1998) ''New Grove Dictionary of Opera'', London: Grove Publications, ISBN 0-333-73432-7 . 
*{{cite book|authorlink= Stanley Sadie|last= Sadie|first= Stanley (ed.)|title= New Grove Dictionary of Music and Musicians|publisher= Macmillan|location= London|year= 1980|isbn= 0-3333-23111}} 
*[[Maynard Solomon|Solomon, Maynard]] (1996) ''Mozart: A Life'', Harper Perennial, ISBN 0060926929.
*Steptoe, Andrew (1990) ''The Mozart—da Ponte Operas'', Oxford: Oxford University Press, ISBN 0198162219.
*Till, Nicholas (1994) ''Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas'', W. W. Norton &amp; Company, ISBN 0393313956.

==Further reading==
*[[David Cairns (writer)|Cairns, David]] (2006) ''Mozart and His Operas'', University of California Press, ISBN 0520228987. 
*[[Cliff Eisen|Eisen, Cliff]] (2006) ''The Cambridge Mozart Encyclopedia'', Cambridge University Press, ISBN 0521856590. 
*Gutman, Robert W. (2000), ''Mozart: A Cultural Biography'', Harvest Books, ISBN 0156011719, 
*[[Charles Rosen|Rosen, Charles]] (1998) ''The Classical Style: Haydn, Mozart, Beethoven'', W. W. Norton &amp; Company, ISBN 0393317129.

==External links==
{{Commons|Wolfgang Amadeus Mozart}}
{{commons cat|Compositions by Wolfgang Amadeus Mozart}}
{{wikiquote}}
* [http://dme.mozarteum.at/DME/nma/start.php?l=2 Online version] of the [[Neue Mozart-Ausgabe]] hosted by the [[Mozarteum University of Salzburg|Mozarteum]]
* {{dmoz|Arts/Music/Composition/Composers/M/Mozart,_Johann_Chrysostom_Wolfgang_Amadeus/}}
* {{IMSLP|id=Mozart, Wolfgang Amadeus}} 
* {{ChoralWiki}}
* {{WIMA|idx=Mozart|name=Wolfgang Amadeus Mozart}}
* Free typeset [http://cantorion.org/musicsearch/composer/mozart/ sheet music] of Mozart's works from ''Cantorion.org''
* {{MusicBrainz artist|id=b972f589-fb0e-474e-b64a-803b0364fa75|name=Wolfgang Amadeus Mozart}}
* [http://www.bl.uk/onlinegallery/ttp/ttpbooks.html Mozart's &quot;Catalogue of all my Works&quot;] digitised by the [[British Library]]
* [http://mozart-archiv.de The complete works of Mozart in MP3 and WMA (choose a server)] at the Mozart-Tower in [[Darmstadt]], [[Germany]].
* [http://www.librarything.com/profile/WolfgangAMozart Online catalog of Wolfgang Amadeus Mozart's personal library], online at [[LibraryThing]]
* [http://www.huffingtonpost.com/2009/08/02/new-mozart-pieces-unveile_n_249532.html New Mozart Pieces Unveiled] – report &amp; video from ''[[The Huffington Post]]'', August 2 2009

{{Wolfgang Amadeus Mozart}}

{{Persondata
|NAME=Mozart, Wolfgang Amadeus
|ALTERNATIVE NAMES=Mozart,_Johann_Chrysostom_Wolfgang_Amadeus (full name)
|SHORT DESCRIPTION=[[composer]]
|DATE OF BIRTH=January 27, 1756
|PLACE OF BIRTH=[[Salzburg]], [[Austria]]
|DATE OF DEATH=December 5, 1791
|PLACE OF DEATH=[[Vienna]], [[Austria]]
}}
[[Category:Wolfgang Amadeus Mozart|*]]
[[Category:Austrian composers]]
[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:Opera composers]]
[[Category:Organ improvisers]]
[[Category:Viennese composers]]
[[Category:Austrian classical pianists]]
[[Category:People from Salzburg]]
[[Category:Austrian Roman Catholics]]

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[[sco:Wolfgang Amadeus Mozart]]
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[[sr:Волфганг Амадеус Моцарт]]
[[sh:Volfgang Amadeus Mocart]]
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[[tl:Wolfgang Amadeus Mozart]]
[[ta:வொல்ஃப்கேங்க் அமதியுஸ் மோட்ஸார்ட்]]
[[th:โวล์ฟกัง อะมาเดอุส โมซาร์ท]]
[[tg:Mozart]]
[[tr:Wolfgang Amadeus Mozart]]
[[uk:Вольфґанґ Амадей Моцарт]]
[[vec:Wolfgang Amadeus Mozart]]
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[[vo:Wolfgang Amadeus Mozart]]
[[fiu-vro:Mozarti Wolfgang Amadeus]]
[[zh-classical:莫扎特]]
[[war:Wolfgang Amadeus Mozart]]
[[yi:וואלפגאנג אמאדעוס מאצארט]]
[[yo:Wolfgang Amadeus Mozart]]
[[zh-yue:莫札特]]
[[bat-smg:Wolfgang Amadeus Mozart]]
[[zh:沃尔夫冈·阿马德乌斯·莫扎特]]</text>
    </revision>
  </page>
  <page>
    <title>Erik Tulindberg</title>
    <id>2716638</id>
    <revision>
      <id>189302709</id>
      <timestamp>2008-02-05T18:07:36Z</timestamp>
      <contributor>
        <username>TBHecht</username>
        <id>219908</id>
      </contributor>
      <comment>/* Music */</comment>
      <text xml:space="preserve">[[Image:Eric_Tulindberg.png|thumb|300px|Silhouette of Eric Tulindberg by unknown artist]]
'''Erik Tulindberg''' ([[February 22]], [[1761]]&amp;mdash;[[September 1]], [[1814]]) was the first [[Finnish people|Finnish]] [[composer]] of [[european classical music|classical music]]. 

==Life==
 
Tulindberg was born in [[Vähäkyrö]] in [[Western Finland]]. He studied in [[Turku]] and then worked as a civil servant in [[Oulu]] from 1784 to 1809 and thereafter in Turku. He played the [[violin]] and [[cello]] and was appointed a member of the [[Royal Swedish Academy of Music]] in 1797. He died in Turku at the age of 53.

==Music==

From his compositions only a [[violin concerto]] in B-flat major and six [[string quartets]] remain. He wrote the violin concerto before 1784 during his youth in Turku. The work shows &quot;simplicity and occasional clumsiness&quot;[http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&amp;C6E1800737A5F419C22567750033C7F5] and the influences of Mozart, [[Joseph Haydn|Haydn]] and the [[Mannheim School]] of music. 

His string quartets are more mature works and are better known today than the violin concerto. The string quartets are in the tradition of Haydn. Interestingly, a copy of Haydn's string quartets was found among Tulindberg's possessions after his death.

==Perspective==

Tulindberg was a contemporary of [[Wolfgang Amadeus Mozart|Mozart]] and, like Mozart, he was part of the [[Classical period (music)|Classical era]] in music. His importance stems largely from his pioneering position in the music of Finland. No Finnish composer is known from the [[Rennaisance]] or [[Baroque]] eras.[http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&amp;C6E1800737A5F419C22567750033C7F5] The compositions of Tulindberg were not rediscovered until 100 years after his death.



==External links==
*[http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&amp;C6E1800737A5F419C22567750033C7F5 Finnish music information site] (in English)
*[http://www.rantatiekvartetti.com/english/discography/tulindberg/tulindberg.html About Tulindberg and the String Quartets], entry on Rantatie Quartet site
*[http://steglein.com/Database/DBgenres/Quartets/composer.php?cid=84 Steglein Database entry] to the string quartets of Tulindberg
*[http://de.wikipedia.org/wiki/Erik_Tulindberg Erik Tulindberg], entry in the German Wikipedia (in German)



{{Finland-musician-stub}}

{{DEFAULTSORT:Tulindberg, Erik}}
[[Category:1761 births]]
[[Category:1814 deaths]]
[[Category:Classical era composers]]
[[Category:Finnish composers]]
[[Category:Finnish classical violinists]]


[[de:Erik Tulindberg]]
[[ja:エリク・トゥリンドベリ]]
[[fi:Erik Tulindberg]]</text>
    </revision>
  </page>
  <page>
    <title>Georg Druschetzky</title>
    <id>14349215</id>
    <revision>
      <id>312933058</id>
      <timestamp>2009-09-10T06:22:52Z</timestamp>
      <contributor>
        <username>Derektamim</username>
        <id>10522765</id>
      </contributor>
      <comment>/* References */</comment>
      <text xml:space="preserve">'''Georg Druschetzky''' ([[April 7]], [[1745]] - [[June 21]], [[1819]]), [[Bohemia|Bohemian]] composer, oboist, and [[timpani|timpanist]], born {{lang-cs|'''Jiří Družecký'''}} in [[Jemníky]] near [[Pchery]].

He studied oboe with the noted oboist and composer [[Carlo Besozzi]] in [[Dresden]]. He then joined the band of an infantry regiment in [[Cheb|Eger]], with which he was later stationed (sequentially) in [[Vienna]], [[Enns]], [[Linz]], and [[Branau]]. In 1777 he was certified as a drummer. It is believed he started writing music in the 1770s, most of it for his band. He also wrote chamber music and music for orchestra, including 27 Symphonies and Concertos for various instruments. A couple of his operas survive, but one suite of incidental music and a ballet are lost. Druschetzky is credited with one of the earliest uses of the [[BACH motif]]. Druschetzky died in [[Buda]] &lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník I. A-L |last=[[Gracián Černušák|Černušák]] |first=Gracián (ed.) |authorlink= |coauthors=[[Bohumír Štědroň|Štědroň, Bohumír]]; [[Zdenko Nováček|Nováček, Zdenko]] (ed.) |year=1963 |publisher=[[Státní hudební vydavatelství]] |location=Prague |isbn= |pages=p. 267 |url= }} {{cs icon}}&lt;/ref&gt;.

== Discography ==
Some of Druschetzky's music has been recorded on the [[Naxos Records]] label, such as his Timpani Concerto on a disc titled ''Virtuoso Timpani Concertos''.

== Selected compositions ==
* ''Harmonia'' - for 21 wind instruments (1790)
* ''Sinfonia alla battaglia'' - for string and brass orchestra
* Partita in C major, for timpani and chamber orchestra
* Partita in F major
* ''Mechmet and Zemira'' - opera 
* ''Perseus and Andromeda'' - music to the play
* ''Inkle and Yariko'' - ballet
* ''Six sonatas for solo violin'' (Linz, 1783)&lt;ref name=autogenerated1&gt;{{cite book |title=Československý hudební slovník I. A-L |last=Černušák |first=Gracián (ed.) |authorlink= |coauthors=Štědroň, Bohumír; Nováček, Zdenko (ed.) |year=1963 |publisher=Státní hudební vydavatelství |location=Prague |isbn= |pages=p. 267 |url= }} {{cs icon}}&lt;/ref&gt;

== Notes ==
{{Reflist}}

== References ==
* [[Alexander Weinman]] &amp; [[Damian A. Frame]], ''&quot;Druschetzky, Georg&quot;'' in ''The New Grove Dictionary of Music and Musicians'', ed. [[Stanley Sadie]]. New York: [[Macmillan Publisher]]s Limited (2001): '''7''' 617 - 618

{{Lifetime|1745|1819|Druschetzky, Georg}}
[[Category:Classical era composers]]
[[Category:Czech composers]]
[[Category:Austrian composers]]
[[Category:Austrians of Czech descent]]
[[Category:People from Kladno District]]

[[de:Jiří Družecký]]
[[es:Georg Druschetzky]]
[[it:Georg Druschetzky]]
[[hu:Georg Druschetzky]]
[[nl:Jiří Družecký]]</text>
    </revision>
  </page>
  <page>
    <title>Joseph Martin Kraus</title>
    <id>393428</id>
    <revision>
      <id>311822887</id>
      <timestamp>2009-09-04T12:27:10Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century German people]] [[Category:18th-century Swedish people]]</comment>
      <text xml:space="preserve">[[File:Joseph Martin Kraus.jpg &lt;!-- commons --&gt;|thumb|TJoseph Martin Kraus|260px|right|Joseph Martin Kraus (1756-1792) as a student in Erfurt.]] 
'''Joseph Martin Kraus''' was a composer in the [[Classical period (music)|classical]] era who is sometimes referred to as &quot;the [[Sweden|Swedish]] [[Wolfgang Amadeus Mozart|Mozart]].&quot;&lt;ref&gt;NPR, &quot;[http://www.npr.org/templates/story/story.php?storyId=5350631 Music by the 'Swedish Mozart'].&quot; Posted April 19, 2006, retrieved October 27, 2008.&lt;/ref&gt; Kraus was born on [[June 20]], [[1756]] in [[Miltenberg|Miltenberg am Main]], Germany. He moved to Sweden at age 21 and died at the age of 36 on [[December 15]], [[1792]] in [[Stockholm]].

== Life ==
=== Childhood ===
Kraus was born in the central German town of [[Miltenberg]] in [[Franconia]], the son of Joseph Bernhard Kraus, a County clerk in the Archbishopric of Mainz, and Anna Dorothea née Schmidt. His father's family, originally from Augsburg, had a small restaurant in [[Weilbach]] near [[Amorbach]], while his mother was a daughter of the master-builder at Miltenberg [[Johann Martin Schmidt]]. Joseph had 13 brothers and sisters, but seven of them died during their childhood.

After a short stay in [[Osterburken]], the Kraus family moved to [[Buchen]] (Odenwald) (in [[Baden-Württemberg]]) in 1761, where the father Joseph Bernhard Kraus found a position as a clerk; Amtsschreiber. In Buchen Kraus started his earliest formal education. His first music teachers were rector [[Georg Pfister]] (1730-1807) and cantor [[Bernhard Franz Wendler]] (1702-1782), giving him mainly piano and violin lessons. Kraus showed his musical talent at a very early stage. At the age of 12, Kraus joined the Jesuit Gymnasium and Music Seminar at [[Mannheim]], where he studied German and Latin literature and music. He received a rigorous musical education, especially in violin technique, from P. [[Alexander Keck]] (1724-1804) and P. [[Anton Klein]] (1748-1810).

=== Studies ===
It was the wish of his parents that Joseph Martin Kraus should matriculate as a student of law at the university of [[Mainz]] in 1773. However, Kraus was not satisfied with the situation at that university, and even published a satire about it. After only one year, he applied to the [[University of Erfurt]], where he could attend music lessons too. Both [[Catholic]] and [[Evangelism|evangelistic]] music was flourishing in Erfurt, with a rich musical tradition. Very soon, Kraus neglected his studies of law and focused fully on music and literature.

A defamation trial against his father forced Kraus to interrupt his studies for one year and to move back to Buchen. He spent his time in Buchen writing his tragedy ''Tolon'', a drama in three acts, and several musical works for the town-church of St. Oswald. Among others, Kraus wrote a [[Te Deum]] in [[D major]] and the [[motet]] ''Fracto Demum Sacramento'' in D Major. After this one year break, he continued his studies of law in [[Göttingen]]. Although the [[Göttinger Hainbund]] (the German poet group that flourished 1772-74) no longer existed, Kraus found himself very much attracted to the ideas of this group of young poets that offered an almost fanatical devotion to the poet [[Friedrich Gottlieb Klopstock]]. In this period Kraus composed a book of poetry, named ''Versuch von Schäfersgedichte'', which is now lost, and consisted of nineteen poems. More and more, he became involved into the ''[[Sturm und Drang]]'' movement, which influenced both his writing and his music. 

In 1775, at the age of nineteen, Kraus wrote his [[Requiem]], one of his earliest compositions. There is no way to know for sure whether young Kraus was induced to compose this genre of church music for personal reasons, or whether his choice may have been influenced by his attraction to the ''[[Sturm und Drang]]'' movement. Although the signs of the composer's obvious inexperience are easily seen, the work is full of dramatic force and original, bold ideas.

The Requiem was followed by two [[oratorio]]s: ''Der Tod Jesu'' and ''Die Geburt Jesu'' (lost), and the musical treatise ''Etwas von und über Musik fürs Jahr 1777'' (''Something about Music, for the year 1777'').

The oratorio ''Der Tod Jesu'' differs from the oratorios of many other composers in that Kraus wrote both the music and the text of this work. As a librettist, Kraus showed a series of scenes that covered the full spectrum of human emotions, from sorrow and fear to joy. The work corresponds fully to a rhetoric question already raised in Kraus's treatise ''Etwas von und über Musik fürs Jahr 1777'':

&quot;Should not church music be mostly for the heart?&quot;&lt;br /&gt;
(&quot;Soll die Musik in den Kirchen nicht am meisten fürs Herz sein?&quot;)

During his stay in Göttingen, Kraus had become friendly with his Swedish fellow student [[Carl Stridsberg]], who persuaded Kraus to accompany him to [[Stockholm]] to apply for a position at the court of King [[Gustav III of Sweden|Gustav III]].

=== At the Swedish court ===
Kraus moved to Stockholm in 1778, at the age of not yet twenty-two. His first years there were not easy, and more than once he considered going back home. King Gustav's love for the fine arts had quickly become known in the rest of Europe and attracted musicians from many countries. It took Kraus three bitter years, often spent in extreme poverty, before the king noticed him. His opera ''Azire'' was rejected by the [[Royal Swedish Academy of Music]], but the Academy decided to give him a second chance. Gustav III himself drafted the opera libretto ''Proserpina'' which the poet [[Johan Henric Kellgren]] versified. Kraus’s music to this libretto was successfully premiered at [[Ulriksdal Palace]] on 6th of June 1781, before the king and the royal household. Kraus was appointed ''vice-Kapellmeister'' of the [[Royal Swedish Opera]] and director of the Royal Academy of Music.

It was the long-awaited breakthrough. Dizzy with the success, Kraus wrote to his parents:

&quot;Immediately after the music ended, the king talked to me for more than a quarter of an hour ... it had simply given him so much satisfaction. Yesterday I was engaged by him. Of course I was not granted any great title, but quite simple that of ''Kapellmeister''. What is worth much more to me than 600 guilders is the favour I have been granted, which is that I am to undertake a journey to Germany, France and Italy at the King's expense.&quot;

=== Grand Tour ===
Gustav III sent Kraus on a [[Grand Tour]] of Europe which was to last for five-years, to learn all he could about Theater abroad. On this trip, Kraus met [[Christoph Willibald Gluck]], [[Johann Georg Albrechtsberger]], [[Padre Martini]] and [[Joseph Haydn]], for whom he wrote a Symphony in D major (VB 143) for Haydn to play at [[Esterháza]]; it was first published under Haydn's name. Kraus's Symphony in E minor, VB 141 was first published in Paris in 1787, under the name of [[Giuseppe Cambini]], a very popular composer at the time. During this time, Kraus became a member of the same masonic lodge as [[Wolfgang Amadeus Mozart]].

During his journey, Kraus also wrote his famous flute [[quintet]] in D Major, that broke with all the erstwhile conventions that governed such pieces. The outer and inner form of that work were groundbreaking comparing with everything previously composed at the time, with the astoundingly long first movement of 306 bars.

After Vienna, his journey also took him throughout Italy, France, and England, where he witnessed the [[George Frideric Handel|Handel]] Centenary celebrations at Westminster Abbey in 1785. While in [[Paris]], he experienced difficulty with cabals back in Stockholm that sought to prevent his return, but their resolution in 1786 made it possible for him to become the leading figure in [[Gustavian musical life]].

=== Back to Sweden ===
When Kraus returned in 1787, he was appointed as director of curriculum at the [[Royal Academy of Music]], and the next year he succeeded [[Francesco Antonio Uttini]] as ''Kapellmästare'', eventually attaining a reputation as an innovative conductor, progressive pedagogue, and multi-talented composer. He also became a member of the literary circle that gathered round the Architect [[Erik Palmstedt]], a group that discussed intellectual and cultural life in the Swedish capital.

For the convening of the [[Riksdag of the Estates]] in 1789, Gustav III wanted to persuade the parliament to accede to his ongoing war with Russia, where he was opposed by the nobility but supported by the burghers and the peasantry. In order to further his aims, Gustav III intended to secure parliamentary approval of the Act of Union and Security that would give him broad powers over the administration of the government. The king asked Kraus to write [[Riksdagsmusiken]] for the opening ceremonies in St Nicolai Church on 9 March 1789. The music consists of a march based on the March of the Priests from Mozart's ''[[Idomeneo]]'', and a symphony (''Sinfonia per la chiesa''). The legislature approved the king's measures.

Kraus wrote an overture, a march and interludes for the staging of Voltaire's ''Olympie'' in January 1792. Although he was considered as a composer of stage music, his greatest work, ''Aeneas i Cartago'', remained unperformed during his lifetime.

16th of March 1792, Gustav III attended a [[masked ball]] at the opera, where he was assassinated. The death of Gustav III caused considerable turmoil in the cultural establishment that the monarch had nurtured. Kraus wrote a funeral cantata and the Symphonie funèbre, which were played at the burial ceremony on April 13.

Kraus's own health deteriorated shortly thereafter, and he died only a few months later in December 1792 from tuberculosis. He was buried outside Stockholm at Tivoli following a ceremony where his coffin was carried across the ice of the [[Brunsviken]] by torchlight. His tomb (c. 1833) bears the inscription: ''Här det jordiska af Kraus, det himmelska lefver i hans toner'' (which translates to: ''Here the earthly of Kraus; the heavenly lives in his music'')

=== Works ===
[[Bertil van Boer]] divides Kraus's sacred music into two periods. The first, from 1768 to 1777, comprises Kraus's music written as a [[Roman Catholic]] for Catholic services. For the second, from 1778 to 1790, Kraus was still Catholic, but wrote music for [[Lutheran]] services. Aside from short hymns and chorales, there was not much use for sacred music in Sweden at that time. There was also a debate going on regarding the role music should play in the church, and Kraus participated in that debate by writing three articles on the subject in the ''[[Post- och Inrikes Tidningar|Stockholm Post]]''.

Two different catalogues exist of Kraus's music, one by Karl Schreiber, ''Verzeichnis der Musikalischen Werke von Jos. Kraus'', which gives each composition an A number, and Bertil van Boer's ''Die Werke von Joseph Martin Kraus: Systematisch-thematisches Werkverzeichnis'', which gives each composition a VB number. See the [[list of compositions by Joseph Martin Kraus]].

Bertil van Boer also edited modern editions, on Artaria, recorded on 4 volumes of the [[Naxos Records]] complete set of Kraus symphonies, and also wrote the programme notes for those discs as well as the article on Kraus in the ''[[New Grove Dictionary of Music and Musicians]]''. Volume 1 won the Cannes Classical Award in 1999, while Volume 2 contains world première recordings of three of Kraus's symphonies. The orchestra [[Concerto Köln]] won several prizes for its recordings on period instruments of the complete symphonies of Joseph Martin Kraus.

=== Musical Style ===

Kraus's music is characterized by sudden dramatic contrasts in register, character, and most striking of all, harmony. His contrapuntal abilities were first-rate, but his motivic development does not seem as advanced as either Mozart's or Haydn's. Compared to other contemparies, his lyrical gifts are apparent.

=== Kraus' symphonies ===
Many of Kraus's symphonies have been lost, or attributed to other composers. Of those which are certainly of Kraus's authorship, only about a dozen remain. Most of Kraus's extant symphonies are in three [[movements|movement]], without a [[minuet]]. Most are scored for two horns and strings, many include two [[flute]]s and two [[oboe]]s, while the later ones also include two [[bassoon]]s, and two additional [[horn (instrument)|horns]]. The [[musicology|musicologist]] Bertil van Boer identifies Kraus's Symphony in C sharp minor as &quot;one of only two symphonies in this key written during the eighteenth century.&quot; It was later reworked in a more 'manageable' key as Symphony in C minor, VB 142.

It is still disputed as to whether the symphony dedicated to Haydn was Symphony in D major VB 143 or Symphony in C minor VB 142. The minor key and the mood of Symphony VB 142 seem to be a reminiscent of Haydn's ''&quot;Sturm und Drang&quot;'' period around 1770, comparable with his earlier minor key works, although based on the first measures of Gluck's overture to Iphigénie en Aulide. In any case, Haydn had a very high opinion of the work. Many years after Kraus's death, Haydn remarked to a common friend, Swedish diplomat [[Fredrik Samuel Silverstolpe]]:

&quot;The symphony he wrote here in Vienna especially for me will be regarded as a masterpiece for centuries to come; believe me, there are few people who can compose something like that.&quot;

== Chamber Music ==

Kraus' chamber music includes quartets, solo sonatas, and sonatas for violin and piano.

== See also ==
*[[Johan Helmich Roman]]
*[[Music of Sweden]]
*[[List of Swedes in music]]

== References ==

&lt;references/&gt;

== External links ==
{{Commonscat}}
{{wikiquote}}
* [http://www.kraus-gesellschaft.de Internationale Joseph-Martin-Kraus-Gesellschaft] (International Joseph Martin Kraus Society) {{de icon}}
*[http://www.nwsinfonietta.com/notes8Nov02.htm Jupiter in the Age of Enlightenment], a Kraus biography with notes on the Sinfonia Buffa, by [[Ron Drummond]]
* [http://www.haydn.dk/mhc_kraus.php Brief biography of Joseph Martin Kraus] on site devoted to [[Michael Haydn]] (brother of [[Joseph Haydn]])
* [http://english.buchen.de Homepage of the town of Buchen im Odenwald]
* [http://www.mozartforum.com MozartForum], a site exploring the world of classical-era music (1770-1827)
* [http://www.geocities.com/Mozartkraus Mozart - Kraus], site dedicated to W.A. Mozart (1756-1791) and J.M. Kraus (1756-1792)
* [http://www.eclassical.com/eclassic/eclassical?composer_id=358&amp;page=find_by_composer_list Brief biography and MP3s] on [http://www.eclassical.com/eclassic/eclassical?page=index eClassical.com site] (commercial)
* [http://www.cappellafede.com/MLK.html Brief biography]{{Dead link|date=June 2009}} on site of Mozart - Linley - Kraus 250th Anniversary Festival 
* {{IMSLP|id=Kraus, Joseph Martin}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;

{{Persondata
|NAME              = Kraus, Joseph Martin
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = German composer
|DATE OF BIRTH     = 20 June 1756
|PLACE OF BIRTH    = Miltenberg am Main, Germany
|DATE OF DEATH     = 15 December 1792
|PLACE OF DEATH    = Stockholm, Sweden
}}
{{DEFAULTSORT:Kraus, Joseph Martin}}
[[Category:1756 births]]
[[Category:1792 deaths]]
[[Category:University of Mainz alumni]]
[[Category:University of Erfurt alumni]]
[[Category:Swedes of German descent]]
[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:Swedish composers]]
[[Category:18th-century German people]]
[[Category:18th-century Swedish people]]

[[cs:Joseph Martin Kraus]]
[[da:Joseph Martin Kraus]]
[[de:Joseph Martin Kraus]]
[[es:Joseph Martin Kraus]]
[[fr:Joseph Martin Kraus]]
[[it:Joseph Martin Kraus]]
[[la:Iosephus Martinus Kraus]]
[[nl:Joseph Martin Kraus]]
[[ja:ヨーゼフ・マルティン・クラウス]]
[[pl:Joseph Martin Kraus]]
[[sl:Joseph Martin Kraus]]
[[fi:Joseph Martin Kraus]]
[[sv:Joseph Martin Kraus]]</text>
    </revision>
  </page>
  <page>
    <title>Louis-Emmanuel Jadin</title>
    <id>15549495</id>
    <revision>
      <id>285184481</id>
      <timestamp>2009-04-21T06:53:38Z</timestamp>
      <contributor>
        <username>Graham87</username>
        <id>194203</id>
      </contributor>
      <comment>add audio</comment>
      <text xml:space="preserve">[[Image:Louis-Emmanuel Jadin.jpg|thumb|right|200px|Louis-Emmanuel Jadin]]
'''Louis-Emmanuel Jadin''' ([[September 21]], [[1768]] in [[Versailles]] – [[April 11]], [[1853]] in [[Paris]]) was a French composer, pianist and [[harpsichord]]ist. He learned piano from his brother [[Hyacinthe Jadin]] and later worked at the &quot;Théâtre de Monsieur.&quot; His first opera was staged in [[Versailles]] in 1788. The following year he took the position of second keyboardist at the ''Théâtre de Monsieur''. In 1792 he became a musician in the National Guard. In 1802 he acted as a professor of music and in 1806 was director of the ''Théâtre Molière.'' He later won fame as a pianist and taught at the [[Paris Conservatory]]. He was made Chevalier of the [[Légion d’honneur]] in 1824. Many of his works were published in Paris.

== Selected works ==
=== Operas ===
* 1788 ''Guerre ouverte ou Ruse contre ruse'' 3 Acts
* 1790 ''Constance et Gernand'' 1 Act
* 1790 ''Joconde'' nach [[Jean de La Fontaine]] 3 Acts
* 1790 ''La Religieuse danoise ou La Communauté de Copenhague'' 3 Acts (also called ''Le Duce de Waldeza'')
* 1791 ''La Vengeance du bailli ou La Suite d'Annette et Lubin'' 2 Acts
* 1791 ''L'Heureux Stratagème'' 2 Acts
* 1792 ''Amélie de Monfort'' 3 Acts
* 1792 ''L'Avare puni'' 1 Act
* 1793 ''Les Talismans'' 3 Acts
* 1793 ''Le Coin de feu'' 1 Act
* 1793 ''Le Siège de Thionville'' 2 Acts
* 1794 ''Alisbelle ou Les Crimes de la féodalité'' 3 Akte
* 1794 ''L'Apothéose du jeune Barra'' 1 Act
* 1794 ''Agricol Viala ou Le Jeune Héros de la Durance'' 1 Act
* 1794 ''L'Ecolier en vacances'' 1 Act
* 1795 ''Le Cabaleur'' 1 Act
* 1795 ''Le Lendemain de noces'' 1 Act
* 1795 ''Loizerolles ou L'Héroïsme paternel'' 1 Act
* 1796 ''Le Mariage de la veille'' 1 Act
* 1796 ''Mélusine et Gerval (Méline et Ferval)''
* 1796 ''Le Négociant de Boston'' 1 Act
* 1796 ''Les Deux Lettres'' 1 Act
* 1796 ''Le Défi hasardeux'' 2 Acts
* 1797 ''Les Bons Voisins'' 1 Act
* 1798 ''Candos ou Les Sauvages du Canada'' 3 Acts
* 1798 ''La Paix ou Le Triomphe de l'humanité'' 
* 1803 ''Mahomet II'' 3 Acts
* 1804 ''Jean Bart et Patoulet'' 1 Act
* 1804 ''Mon cousin de Paris'' 1 Act
* 1804 ''La Grand-mère'' 2 Acts
* 1805 ''Les Trois Prétendus'' 1 Act
* 1805 ''Le Grand-père ou Les Deux Ages'' 1 Act
* 1805 ''Charles Coypel ou La Vengeance d'un peintre'' 1 Act
* 1806 ''Les Deux Aveugles de Tolède'' 1 Act
* 1807 ''Les Arts et l'amitié''
* 1810 ''La Partie de campagne'' 1 Act
* 1812 ''L'Auteur malgré lui ou La Pièce tombée'' 1 Act
* 1816 ''L'Inconnu ou Le Coup d'épée viager'' 3 Acts
* 1817 ''La Gueule du lion ou La Mère esclave'' 3 Acts
* 1822 ''Fanfan et Colas ou Les Frères de lait'' 1 Act
* ''Jean et Geneviève''

=== Orchestral ===
* ''Fantaisie concertante in g'' for Harp, Piano, and Orchestra
*# Allegro risoluto
*# Adagio
*# Allegro moderato
*4.Piano concert d-moll (1810)
*#Allegro maestoso
*#Siciliano. Larghetto
*#Finale. Chasse

=== Mass ===
* ''Requiem'' for 3 solo voices, 3 trombones, and double-bass

=== Chamber music ===
* ''Sonate en ré Majeur'' for harpsichord with flute obligée''
* ''Sonate en sol majeur'' opus X n° 3 for harpsichord or piano-forte, flute, and bass
* ''Sonate en sol majeur'' opus XIII n° 1 for piano-forte, flûte et basse
* ''Sonate en sol majeur'' for harpsichord or piano-forte with flute accompagnement 
* ''4 Arien for Horn and Harp''
* ''Duo for Harp and Piano''
* &quot;Trois Grands Quatuors for two violons, alto, and violoncelle&quot;

==Media==
{{listen
|filename=Louis-Emmanuel Jadin - Nocturne No. 3 in G minor - 1. Allegro - Adagio espressivo.ogg|title=Nocturne No. 3 in G minor - 1. Allegro - Adagio espressivo|description=Performed by the Soni Ventorum Wind Quintet|format=[[ogg]]
|filename2=Louis-Emmanuel Jadin - Nocturne No. 3 in G minor - 2. Allegro molto.ogg|title2=Nocturne No. 3 in G minor - 2. Allegro molto|description2=Performed by the Soni Ventorum Wind Quintet|format2=[[ogg]]
}}

==References==
Fend/Noiray, &quot;Louis-Emmanuel Jadin&quot;. ''The New Grove Dictionary of Opera'' online.

==External links==
* {{IMSLP|id=Jadin, Louis-Emmanuel}}

{{DEFAULTSORT:Jadin, Louis-Emmanuel}}
[[Category:1768 births]]
[[Category:1853 deaths]]
[[Category:French composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]
[[Category:French harpsichordists]]
[[Category:French conductors]]
[[Category:Music educators]]


{{France-composer-stub}}

[[de:Louis Emmanuel Jadin]]
[[fr:Louis Emmanuel Jadin]]
[[nl:Louis Emmanuel Jadin]]
[[ja:ルイ・エマニュエル・ジャダン]]</text>
    </revision>
  </page>
  <page>
    <title>Joseph Schuster (composer)</title>
    <id>15819670</id>
    <revision>
      <id>309727773</id>
      <timestamp>2009-08-24T05:05:07Z</timestamp>
      <contributor>
        <username>Inebriatedmind</username>
        <id>10300395</id>
      </contributor>
      <comment>wikify</comment>
      <text xml:space="preserve">'''Joseph Schuster''' (11 August 1748 [[Dresden]] {{ndash}} 24 July 1812 Dresden) was a [[Germany|German]] [[composer]]. He received his first musical training from his father, a court musician in [[Dresden]], and [[Johann Georg Schürer]]. Thanks to a scholarship from the Saxon [[Prince-elector]]s, Schuster was able to study with [[Giovanni Battista Martini]] and [[counterpoint]] in Venice with G. Pera from 1765 to 1768. In 1776 he completed his first [[opera seria]] ''Didone abbandonata,'' after a libretto by [[Metastasio]]. It was given at the [[Teatro San Carlo]] in Naples and by all accounts a great success. In the same year, the opera seria ''[[Demofoonte]]'' premiered in [[Forlì]]. In the following years, his position was solidified with operatic successes in Naples and Venice. He was also recognized in Germany as an accomplished composer and his ''[[singspiel]],'' ''[[Der Alchymist, oder Der Liebesteufel]]'' is considered one of the finest examples of the art form. Most of his works are assigned to the [[opera buffa]], but he also composed religious works, chamber music and orchestral music. Schuster's work is also found in the [[string quartet]]s appendix of the [[Köchel]] catalogue (No. 210 et seq,), and for a long time the &quot;Milan Quartets&quot; (1772-73) were viewed as [[Mozart]] works. Schuster composed these works around 1780, which were long considered to be copies of Mozart originals. The musicologist [[Ludwig Finscher]] was able to uncover the true origin (in ''The Music Research,'' 1966).&lt;ref&gt;[[:de:Joseph_Schuster]] {{de icon}}&lt;/ref&gt;

==References==
{{reflist}}

{{DEFAULTSORT:Schuster, Joseph}}
[[Category:1748 births]]
[[Category:1812 deaths]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:German composers]]

{{Germany-composer-stub}}

[[de:Joseph Schuster]]
[[it:Joseph Schuster]]
[[ja:ヨーゼフ・シュースター (作曲家)]]
[[ru:Шустер, Йозеф]]</text>
    </revision>
  </page>
  <page>
    <title>Luigi Gatti</title>
    <id>15573994</id>
    <revision>
      <id>300810824</id>
      <timestamp>2009-07-07T15:42:38Z</timestamp>
      <contributor>
        <ip>92.19.132.147</ip>
      </contributor>
      <comment>/* Famous works */</comment>
      <text xml:space="preserve">'''Luigi Gatti''' ([[June 11]]?, 1740 &amp;ndash; [[March 1]], [[1817]]) was a [[Classical period (music)|classical]] [[composer]]. He was born in [[Lazise]] in 1740, the son of an organist, Francesco della Gatta. He was ordained a priest in [[Mantua]]. In the 1780s he became [[Hofkapellmeister]] in [[Salzburg]]. Between 1801 and 1804 Gatti helped (and then hindered) [[Mozart]]'s sister, [[Nannerl Mozart|Nannerl]] to locate unknown pieces by Mozart. He died in Salzburg in 1817.

He is famous for writing oratorios, cantatas, sextets and septets.

==Famous works==
*Septet concertante in F for oboe, 2 horns, violin, viola, cello and double bass
*Sextet in E flat for English horn, bassoon, violin, viola, cello and double bass


{{DEFAULTSORT:Gatti, Luigi}}
[[Category:Classical era composers]]
[[Category:1740 births]]
[[Category:1817 deaths]]

[[de:Luigi Gatti]]
[[it:Luigi Gatti]]</text>
    </revision>
  </page>
  <page>
    <title>János Fusz</title>
    <id>11192341</id>
    <revision>
      <id>300963339</id>
      <timestamp>2009-07-08T10:05:47Z</timestamp>
      <contributor>
        <username>GravySpasm</username>
        <id>7408884</id>
      </contributor>
      <minor/>
      <text xml:space="preserve">'''János Fusz''' (Johann Evangelist Fuss) ([[15 June]], baptised on the 16th 1777 &lt;ref&gt;{{cite journal
  | last = Sas
  | first = Agnes
  | authorlink =
  | coauthors =
  | title = The Life and Work of Janos Fusz
  | journal = Studia Musicologica Academiae Scientiarum Hungaricae
  | volume = T. 40
  | issue = Fasc. 1/3
  | pages = 19–58
  | publisher = Akadémiai Kiadó
  | date = 1999
  | url = http://links.jstor.org/sici?sici=0039-3266%281999%2940%3A1%2F3%3C19%3ATLAWOJ%3E2.0.CO%3B2-T
  | doi = 10.2307/902551
  | id =
  | accessdate = 2007-06-12 }}&lt;/ref&gt; in Tolna, Hungary &amp;ndash; 1819) was a [[Hungarian people|Hungarian]] composer. Although he composed in many different genres, he was highly popular during his lifetime for his many songs, earning recognition from [[Ludvig van Beethoven|Beethoven]] among others.

==References==
*&lt;references /&gt;
*http://magyarzenetortenet.hu/er/erfj01.html

{{DEFAULTSORT:Fusz, Janos}}
[[Category:Classical era composers]]
[[Category:Hungarian composers]]
[[Category:1777 births]]
[[Category:1819 deaths]]


{{Euro-composer-stub}}

[[hu:Fusz János]]</text>
    </revision>
  </page>
  <page>
    <title>Fernando Sor</title>
    <id>463819</id>
    <revision>
      <id>310270167</id>
      <timestamp>2009-08-27T00:15:03Z</timestamp>
      <contributor>
        <username>Outriggr</username>
        <id>1158101</id>
      </contributor>
      <minor/>
      <comment>[[Category:Afrancesados]] per es:</comment>
      <text xml:space="preserve">{{Cleanup|date=September 2008}}
[[Image:Fernando Sor 1.jpg|border|300px|right|Fernando Sor]]

'''Josep Ferran Sorts i Muntades'''&lt;ref name=&quot;names&quot;&gt;{{cite web|url=http://www.enciclopedia.cat/fitxa_v2.jsp?NDCHEC=0063750|title=Josep Ferran Sorts i Muntades| publisher=Enciclopèdia Catalana}}&lt;/ref&gt;&lt;ref&gt;{{cite web|url=http://books.google.com/books?id=1YTjZFwpMPsC&amp;pg=PA37&amp;lpg=PA37&amp;dq=%22Ferran+Sorts+i+Muntades%22&amp;source=bl|title=El teatre de Serafí Pitarra|author=Carme Morell i Montadi|year=1995| publisher=L'Abadia de Montserrat}}&lt;/ref&gt;
(13 February? 1778 (baptised 14 February 1778) &amp;ndash; 10 July 1839, [[Paris]]) was a [[classical guitar|guitarist]] and composer born in [[Barcelona]] (in [[Catalonia]]).

He is also known by the names '''Joseph Fernando Macari Sors'''&lt;ref&gt;''Fernando Sor: composer and guitarist‎'' by Brian Jeffery&lt;/ref&gt;, '''Fernando Sor'''&lt;ref&gt;{{cite web|url=http://books.google.com/books?id=HNXHp345zgkC&amp;pg=PA59&amp;dq=fernando+sor&amp;lr=&amp;as_drrb_is=b&amp;as_minm_is=0&amp;as_miny_is=1800&amp;as_maxm_is=0&amp;as_maxy_is=1900|title=Reseña histórica de la escolanía ó colegio de música de la Vírgen de Montserrát|author=Baltasar Saldoni|publisher=Imprenta de Repullés|year=1856}}&lt;/ref&gt;, '''Ferran Sor'''&lt;ref name=&quot;names&quot; /&gt;, '''Ferdinand Sor'''&lt;ref&gt;{{cite web|url=http://books.google.com/books?id=m8EPAAAAYAAJ&amp;pg=PA24&amp;dq=%22Ferdinand+Sor%22&amp;as_brr=1|title=Revue musicale|author=F. J. Fétis|year=1810}}&lt;/ref&gt;&lt;ref&gt;{{cite web|url=http://books.google.com/books?id=T_Y4AAAAIAAJ&amp;pg=PA557&amp;dq=%22Ferdinand+Sor%22|title=Recensionen: Guitarre-Schule von Ferdinand Sor|publisher=Breitkopf und Härtel|year=1810}}&lt;/ref&gt;, or '''Ferdinando Sor'''&lt;ref&gt;{{cite web|url=http://en.wikipedia.org/wiki/File:Sor_Mozart.png|title=Cover of Sor's Op. 9 Mozart-Variations}}&lt;/ref&gt;, with the surname also written as '''Sors'''&lt;ref name=&quot;names&quot; /&gt;, '''Sort'''&lt;ref&gt;Gásser, Luis (ed.) Estudios sobre Fernando Sor. ICCMU. Madrid, 2003&lt;/ref&gt;, or '''Sorts'''&lt;ref&gt;{{cite web|url=http://books.google.com/books?id=JsEvFjpp44IC&amp;lpg=PA443&amp;dq=%22L'%C3%B2pera%20a%20Barcelona%22%20%22Ferran%20Sorts%22&amp;pg=PA443|title=L'òpera a Barcelona|author=Roger Alier Aixalà|publisher=Institut d'Estudis Catalans|year=1979}}&lt;/ref&gt;. The various spellings etc.; result from an adaption to different countries and languages.

== Biography ==
Born to a fairly well-off family, Sor was descended from a long line of career soldiers, and intended to continue that legacy, but was distracted from this when his father introduced him to Italian opera. He fell in love with music and abandoned a military career. Along with opera, Sor's father also introduced him to the guitar, which, at the time, was little more than an instrument played in taverns, thought to be inferior to orchestral instruments.

Sor studied music at a monastery on the slopes Montserrat, a mountain near Barcelona, until his father died. His mother couldn't afford to finance continued studies and withdrew him. It was at this monastery that he began to write his first pieces of music for the guitar.

In 1808, when Napoleon Bonaparte invaded Spain, he began to write nationalistic music for the guitar, often accompanied by patriotic lyrics. After the defeat of the Spanish army, Sor accepted an administrative post in the occupying government. After the Spanish repelled the French in 1813, Sor and many other artists and aristocrats who had befriended the French left Spain for fear of retribution. He went to Paris, and never returned to his home country again.

He began to gain renown in the Parisian art community for his skills of composition and for his ability at playing the guitar, and eventually began to tour across Europe, gaining considerable fame. In 1827, due partly to his advancing age, he settled down and decided to live out the rest of his life in Paris. It was during this retirement that he composed many of his better works.

His last work was a mass in honour of his daughter, who died in 1837. Her death sent the already sickly Sor into serious depression, and he died a miserable man in 1839. He died of tongue and throat cancer. &lt;ref&gt;Cecilia Ruiz de Ríos, Nicaraguan historian&lt;/ref&gt;

== Quotes ==
[[François-Joseph Fétis]] has called him &quot;le Beethoven de la guitare&quot; {{Citation needed|reason=Does someone know the name of the actual publication?|date=July 2009}}, though he has also remarked the Sor had failed to produce a good tone{{Citation needed|reason=Does someone know the detailed original publication?|date=July 2009}} on one occasion. &lt;ref&gt;{{cite web|url=http://www.guitarandluteissues.com/irish.htm#FN4REF|title= Leonhard Schulz: Recollections of Ireland Op. 41|publisher=Guitar And Lute Issues}}&lt;/ref&gt;

{{quote|
&quot;The creative worth of Sor's guitar [[sonata (music)|sonatas]] is high. The ideas, which grow out of the instrument yet stand up well enough apart from it, are fresh and distinctive. The [[harmony]] is skillful and surprisingly varied, with bold key changes and with rich [[modulation (music)|modulation]]s in the development sections. The texture is naturally of interest too, with the [[melody]] shifted from top to bottom, to middle, and frequent [[contrapuntal]] bits added. Among the extended forms, the first [[Allegro (music)|Allegro]] [[movement (music)|movements]] still show considerable flexibility in the application of 'sonata form', especially in the larger number of ideas introduced and recalled. For that matter, the style still goes back to that of [[Joseph Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]], especially in the first movement of Op. 22, which has all the neatness of syntax and accompaniment to be found in a classic [[symphony]], and its third and fourth movements, which could nicely pass as a [[Minuet]] and [[Rondo]] by Haydn.&quot;
|''The sonata in the classical era'' (published 1963) (p. 664) by [[William S. Newman]]}}

{{quote|
&quot;How should one perform Sor's music? I believe the answer is with considerably more freedom, expression and passion than has, for the most part, been done in the recent past. Sor, in his method of 1830 has much to say about the use of tone color on the guitar and even discusses how to imitate the various orchestral instruments. This use of color is something that is very uncommon amongst modern guitarists. Ironically Sor says very little about other aspects of expression, but other guitar methods from the era do recommend much use of portamento, arpeggiation of chords, and other expressive devices which most people today consider anachronistic and completely out of style in the interpretation of the guitar music from this very era! (It never ceases to amaze me how so many modern guitarists and musicologists [...] don't even consider the wealth of material and instruction from Sor's era which cries out that this music is meant to be expressed with such devices as dynamics, tone color, portamento, chordal arpeggiation [...]. These same modern guitarists with the conspiratorial support of supposedly enlightened musicologists will often perform this music, sometimes on a &quot;period&quot; guitar, and use practically none of the above-mentioned expressive devices.)&quot;
|''Fernando Sor - Master Composer For Guitar?''&lt;ref name=&quot;johnson&quot;&gt;{{cite web|url=http://www.crgrecordings.com/PDF-Files/essays.PDF|title= Fernando Sor - Master Composer For Guitar?|publisher=Lawrence Johnson}}&lt;/ref&gt;}}

== Works ==
[[Image:Sor Mozart2.png|border|240px|right|Variations Brillantes sur un Air Favori de Mozart de l'opera: La Flûte Enchantée - O cara Armonia]]
{{See also|1=List of compositions by Fernando Sor}}

One of Sor's most popular compositions is his &quot;Introduction and Variations on a Theme by Mozart&quot;, Op. 9, which was published in Paris as 
''&lt;div style=&quot;text-align: center;&quot;&gt;VARIATIONS&lt;br /&gt;Brillantes&lt;br /&gt;sur un Air Favori de Mozart&lt;br /&gt;de l'Opéra : la Flûte Enchantée&lt;br /&gt;(O CARA ARMONÍA)&lt;br /&gt;Pour Guitare Seule&lt;br /&gt;Exécutées par l'Auteur au Concert donné à l'Ecole R&lt;sup&gt;le&lt;/sup&gt; de Musique&lt;font color=&quot;red&quot;&gt;*&lt;/font&gt;&lt;br /&gt;et Dédiées à son Frère&lt;br /&gt;par&lt;br /&gt;FERDINANDO SOR.&lt;br /&gt;Op. 9 Prix: 3f.&lt;br /&gt;Nouvelle Edition augmentée par l'Auteur. &lt;br /&gt;À Paris, au Magazin de Musique de A MEISSONNIER, Boulevard Montmartre, № 25.&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: right;&quot;&gt;&lt;font color=&quot;red&quot;&gt;*&lt;/font&gt;l'Ecole Royale de Musique&lt;/div&gt;''

It is based on a melody &quot;Das klinget so herrlich, das klinget so schön!&quot;&lt;ref&gt;{{cite web|url=http://dme.mozarteum.at/DME/nma/scan.php?vsep=73&amp;l=&amp;p1=157#157|title=Mozart: Die Zauberflöte (Partita - see p. 157; bar 301 - Monostatos und Sklaven...)| author=Neue Mozart-Ausgabe}}&lt;/ref&gt; from ''[[The Magic Flute]]'', which Mozart composed in 1791.&lt;ref&gt;{{cite web|url=http://mysite.verizon.net/vzepq31c/musexx/id14.html|title=Fernando Sor's Mozart Variations, Op. 9| author=Arthur J. Ness}}&lt;/ref&gt;

=== Méthode pour la Guitare ===
Sor's ''[[Méthode pour la Guitare]]'' was first published in Paris in 1830 and translated into English by A Merrick in 1832 under the title ''Method for the Spanish Guitar'' .

=== Instructional material ===
Sor was a prolific and, in his time, quite popular composer—and there was a great demand for him to compose material that was approachable by less accomplished players. The resulting body of instructional studies he produced is not only noteworthy for its value to students of the guitar, but for its inherent musicality. Much of this work is organized in several opuses (in increasing order of difficulty): Opus 60 (25 lessons), Opus 44 (24 lessons), Opus 35 (24 exercises), Opus 31 (24 lessons), Opus 6 (12 studies) and Opus 29 (12 studies).

==References==
{{reflist}}

== External links ==
{{commons|Fernando Sor|Fernando Sor}}

===Sheet music===
*[https://rex.kb.dk/F?func=find-c&amp;ccl_term=(WRD=Sor%20AND%20WWW=http%20NOT%20WWW=sheetmusicnow%20NOT%20WWW=freehandmusic%20NOT%20WWW=hebeonline)&amp;local_base=mus01&amp;con_lng=ENG Rischel &amp; Birket-Smith's Collection of guitar music] Det Kongelige Bibliotek, Denmark
*[http://www.muslib.se/ebibliotek/boije/Boije_s.htm Boije Collection] The Music Library of Sweden
*[http://catalog.wustl.edu/search/X?(George%20C.%20Krick%20Collection%20of%20Guitar%20Music)+and+(Sor)+and+(Fernando)&amp;SORT=D George C. Krick Collection of Guitar Music] Washington University
*[http://creativeguitar.org/sheet-music/sor-fernando Fernando Sor] (creativeguitar.org - largely taken from the above sources)
*{{IMSLP|id=Sor, Fernando}}
*{{WIMA|idx=Sor}}

===Biography===
*[http://findarticles.com/p/articles/mi_gx5229/is_2003/ai_n19153026/ Fernando Sor] UXL Encyclopedia of World Biography, (2003)
*[http://www.musicweb-international.com/sor/ More detailed biography and performance notes] (www.musicweb-international.com)
*[http://www.classicalguitar.net/artists/sor/ Another biography] (www.classicalguitar.net)

===Publications===
*[http://www.tecla.com/authors/sor.htm Information] (Tecla Editions)
*[http://www.wolfmoser.net/buecher.htm ''Ich, Fernando Sor''] ''Versuch einer Autobiografie und gitarristische Schriften''; by Wolf Moser (Edition Saint-Georges, ISBN 30001552741)

===Historical sources===
*[http://books.google.com/books?id=T_Y4AAAAIAAJ&amp;pg=PA557&amp;dq=%22Ferdinand+Sor%22 ''Recensionen: Guitarre-Schule von Ferdinand Sor''] Allgemeine musikalische Zeitung; published by Breitkopf und Härtel, 1832
*[http://books.google.com/books?id=NHspAAAAYAAJ&amp;pg=PA261&amp;dq=%22Fernando+Sor%22 ''Diccionario biográfico-bibliográfico de efemérides de músicos españoles''] by Baltasar Saldoni
*[http://books.google.com/books?id=vnQPAAAAQAAJ&amp;pg=PA137&amp;vq=sor&amp;dq=sor historical source] ''Revue de Paris''; published by Demengeot &amp; Goodman, e.a., 1851
*[http://books.google.com/books?id=E2sPAAAAYAAJ&amp;pg=RA1-PA48&amp;dq=sor historical source] ''The Harmonicon'', 1823
*[http://books.google.com/books?id=XCkGAAAAQAAJ&amp;pg=PT633&amp;vq=sor&amp;dq=sor historical source] ''Dictionnaire des artistes de l'école française, au XIXe siècle''; by Charles Gabet; 1831
*[http://books.google.com/books?id=aw0tAAAAYAAJ&amp;pg=PA163&amp;dq=Sor historical source] ''Seven years of the King's theatre''; by John Ebers; published by Carey, Lea &amp; Carey, 1828
*[http://books.google.com/books?id=DcAPAAAAYAAJ&amp;pg=RA1-PA22&amp;dq=%22ferdinand+Sor%22 historical source] ''Revue musicale''; by F. J. Fétis; 1827
*[http://books.google.com/books?id=Ib0RAAAAYAAJ&amp;pg=PA609&amp;dq=ferdinand+sor&amp;lr=&amp;as_drrb_is=b&amp;as_minm_is=0&amp;as_miny_is=1780&amp;as_maxm_is=0&amp;as_maxy_is=1900&amp;as_brr=3 historical source] ''Bentley's miscellany''; by Charles Dickens, William Harrison Ainsworth, Albert Smith; published by Richard Bentley, 1844

===Photos===
* Fernando Sor's grave at the Cimetière de Montmartre: [http://www.paris.fr/portail/Parcs/Portal.lut?page_id=1704 paris.fr] ([http://www.paris.fr/portail/viewmultimediadocument?multimediadocument-id=30539 Plan of the cemetery] - Sor's grave is located at Division 24, number 1) (see also [http://www.landrucimetieres.fr/spip/spip.php?article182 landrucimetieres.fr], [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;GRid=3157 findagrave.com])

{{Classical guitar}}

{{DEFAULTSORT:Sor, Fernando}}
[[Category:1778 births]]
[[Category:1839 deaths]]
[[Category:Catalan composers]]
[[Category:Catalan musicians]]
[[Category:Classical era composers]]
[[Category:Composers for the classical guitar]]
[[Category:Deaths from throat cancer]]
[[Category:Opera composers]]
[[Category:Romantic composers]]
[[Category:Spanish classical guitarists]]
[[Category:Spanish composers]]
[[Category:Afrancesados]]

[[bg:Фернандо Сор]]
[[ca:Ferran Sor i Muntades]]
[[cs:Fernando Sor]]
[[da:Fernando Sor]]
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[[he:פרננדו סור]]
[[hu:Fernando Sor]]
[[nl:Fernando Sor]]
[[ja:フェルナンド・ソル]]
[[no:Fernando Sor]]
[[pl:Fernando Sor]]
[[pt:Fernando Sor]]
[[ru:Сор, Фернандо]]
[[sl:Fernando Sor]]
[[fi:Fernando Sor]]
[[sv:Fernando Sor]]
[[zh:費爾南多·索爾]]</text>
    </revision>
  </page>
  <page>
    <title>Andreas Lidel</title>
    <id>15148548</id>
    <revision>
      <id>298692801</id>
      <timestamp>2009-06-26T05:14:33Z</timestamp>
      <contributor>
        <username>Rigadoun</username>
        <id>773061</id>
      </contributor>
      <minor/>
      <comment>fix link</comment>
      <text xml:space="preserve">{{orphan|date=January 2008}}

'''Andreas Lidel''' (Liedl, Lidl) (c. 1740, Austria - c. 1789, London, England), composer and virtuoso performer on the [[baryton]] (viola di bardone) and [[viola da gamba]]. From 1769 to 1774 he was in service at the court of the Prince [[Nikolaus Esterházy]] where he might have studied composition with [[Joseph Haydn]]. By 1778 Lidel had settled in London. His printed compositions include mostly chamber music for string instruments (duos, trios, quartets, quintets, etc.) in the Viennese classical style. Schubart praised Lidel as the inventor (which was not true) and the most perfect virtuoso of baryton.

==References==
*Chr. Fr. D. Schubart, ''Ideen zu einer Ästhetik der Tonkunst,'' ed. by Jürgen Mainka. Leipzig: Philipp Reclam, 1977

==External links==
* {{IMSLP|id=Lidel, Andreas}}

{{DEFAULTSORT:Lidel}}
[[Category:1740s births]]
[[Category:1780s deaths]]
[[Category:Classical era composers]]</text>
    </revision>
  </page>
  <page>
    <title>Marianne von Martinez</title>
    <id>12814728</id>
    <revision>
      <id>294223789</id>
      <timestamp>2009-06-03T18:56:18Z</timestamp>
      <contributor>
        <username>Opus33</username>
        <id>20726</id>
      </contributor>
      <comment>Revert apparent vandalism</comment>
      <text xml:space="preserve">'''Marianne von Martines [Martinez]''' ([[May 4]] (baptized), 1744 &amp;ndash; [[December 13]], [[1812]]), was a singer, pianist and composer of the [[Classical period (music)|classical period]].

==Background==

Marianna's paternal grandfather was a Spanish soldier who had settled in [[Naples]].  Her father Nicolo Martines grew up there and for a time pursued a career as a soldier.  He later changed careers, serving in [[Vienna]] as Maestro di Camera (major-domo) at the papal nuncio; that is, the Pope's embassy to the [[Austrian Empire]].  For service to the Empire, Marianne's brothers in 1774 acquired a patent of nobility, hence the &quot;von&quot; in the family surname.&lt;ref&gt;Godt 1995, 539&lt;/ref&gt;

In his youth in Italy, Nicolo had befriended the poet Antonio Trapassi, who wrote under the name [[Metastasio]].  The latter had risen in eminence, to the point that in 1730 he was called to Vienna to serve as the [[Poet Laureate]] of the Empire.  Metastasio resided with the Martines family for the entire rest of his life (to 1782).  His presence would prove crucial to Marianne's career.

The Martines family lived in rooms in a large building on the Michaelerplatz, &quot;a stately building still standing in the Kohlmarkt.&quot;&lt;ref name=&quot;Godt 1995, 540&quot;&gt;Godt 1995, 540&lt;/ref&gt;  As was common in the days before elevators, the floors of the building corresponded to the social class of the inhabitant.  On the lowest floor were the rooms of the dowager princess of the wealthy [[House of Esterházy|Esterházy]] family.  The Martines family were on third floor.  Another resident of the middle floors was [[Nicola Porpora]], a well-known Italian singing teacher and composer.&lt;ref name=&quot;Godt 1995, 540&quot;/&gt; At the very top, in a cold and leaky attic room, lived a struggling young composer, [[Joseph Haydn]], who was trying to make his way as a freelance musician.  The lives of all of these people ultimately came to be connected, in part through Marianne.&lt;ref&gt;The only connection not related is that Haydn ultimately became the [[Kapellmeister]] for two Esterházy princes, the dowager's sons Anton and [[Nikolaus Esterházy|Nikolaus]].&lt;/ref&gt;

==Childhood and early training==

Marianna was born into this home in 1744.  She was baptized Anna Catherina,&lt;ref&gt;Godt, 540&lt;/ref&gt; but chose to go by the name Marianna.&lt;ref&gt;The explanation given by Godt is entirely pointless, because there is not a single primary source in Vienna where the name of the family is actually spelled &quot;Martinez&quot;. The composer always signed herself &quot;Marianna von Martines&quot;. See: Verlassenschaftsabhandlung Maria Theresia Martines, A-Whh, OMaA, Gruppe II, 54/1775. In accordance with the primary sources Godt always spells her name &quot;Marianna Martines&quot;. See also the [http://anno.onb.ac.at/cgi-content/anno?apm=0&amp;aid=wrz&amp;datum=17730804&amp;seite=6&amp;zoom=3 ''Wiener Diarium'' of 4 August 1773]&lt;/ref&gt;.

Metastasio, the family friend, made it a practice to help out with the raising and careers of the Martines children; for instance, at one point he helped Giuseppe obtain an important job as custodian of the Imperial Library.  In the case of Marianna, he noticed her precocious talents early, and thus came to oversee her education, musical and otherwise.

He first arranged for her to take keyboard lessons from Haydn, whom Metastasio had met as a result of their living in the same building.  Then, at age ten, Marianne began singing lessons with Porpora, who had also met Haydn and taken him on as his assistant; Haydn played the harpsichord while Porpora taught Marianne.

Soon after Marianna began her music lessons she demonstrated a talent for composition, so she began still further lessons with [[Johann Adolph Hasse]] and the Imperial court composer [[Giuseppe Bonno]].

Metastasio also saw to it that Marianna received a thorough general education, which far surpassed what was considered standard for women of her social class at that time.  She was a native speaker of both Italian and German, and in an autobiographical letter to [[Padre Martini]] indicated that she had good command of French.  The musicologist [[Charles Burney]], visiting Vienna, found that she also could speak English.&lt;ref&gt;Godt, 541&lt;/ref&gt;

==Career as performer and composer==

Already as a child Marianna was good enough to perform before the Imperial court, where according to the Helene Wessely, she &quot;attracted attention with her beautiful voice and her keyboard playing.&quot;&lt;ref&gt;Wessely, [[New Grove]], &quot;Marianne von Martinez&quot;, online edition cited below&lt;/ref&gt; The adult Marianne was frequently asked to perform before the Empress [[Maria Theresa]]&lt;ref&gt;Godt 1995, 538&lt;/ref&gt;.

An number of the works that Marianna composed are set for solo voice, and her biographers (Godt, Wessely) conjecture that the first singer of these works was their composer.  If so, they constitute further evidence for her ability, as the music shows a &quot;predilection for coloratura passages, leaps over wide intervals and trills indicat[ing] that she herself must have been an excellent singer.&quot; (Wessely).

Marianna wrote a number of secular cantatas and two oratorios to Italian texts.  These texts are, naturally enough, the work of her mentor Metastasio.

Surviving compositions include four [[mass]]es, six [[motet]]s, and three litanies for choir. She wrote in the Italian style, as was typical for the early [[classical music era|Classical]] period in Vienna.  Her harpsichord performance practice was compared to the style of [[Carl Philipp Emanuel Bach|C.P.E. Bach]].  Marianna’s compositions were well regarded in her time, and some scholars have suggested that Mozart modeled his 1768 Mass, K. 139, after the &quot;Christe&quot; of Martines’s Mass No. 1 in D major.  The Vienna court chapel, the Michaelerkirche (St. Michael’s Church, next door to the Martines home), saw a performance of her third mass in 1761.  Her fourth mass was completed in 1765.

==Later life==

Martines’s name and music were known throughout Europe, and she was admitted to the Accademia Filarmonica of Bologna in 1773. In 1782 the Wiener Tonkünstlersozietät premiered Martines’s oratorio &quot;Isacco figura del redentore&quot;.

Marianne and her sister, neither of whom ever married, looked after their family friend Metastasio until his death in 1782.  Upon his passing, Metastasio left his estate to the Martines family; Marianna received 20,000 florins, Metastasio’s harpsichord, and his music library.  Marianna and her sister hosted musical soirees at their home.  These weekly musical events attracted many distinguished guests, including Haydn and Irish tenor [[Michael Kelly (musician)|Michael Kelly]]. [[Wolfgang Amadeus Mozart|Mozart]] also was a frequent guest to the soirees and composed four-hand piano sonatas to perform with Marianne.

Though she was an active and highly accomplished performer and composer she never sought an appointed position; it would have been unacceptable for a woman in her social class to seek such employment.

Her last known public appearance was on March 27, 1808, attending a performance of Haydn’s oratorio [[The Creation (Haydn)|The Creation]] conducted by [[Antonio Salieri|Salieri]], in tribute to the now-elderly composer.  She died on 13 December 1812 and was buried in St. Mark’s Cemetery.

==List of works==

2 oratorios; 4 masses; 6 motets; psalm cantatas; secular cantatas; 3 keyboard sonatas, 1 keyboard concerto; and 1 symphony.

Several of her pieces have been published in recent years.  The three keyboard sonatas (in E Major, G Major and A Major) are available through Hildegard Publishing.  Many works are also available through Furore-Verlag, a German publisher that specializes in works by women composers.  They offer many first publications, including: the Keyboard Concerto in A; Dixit Dominus for Soli, Choir and Orchestra; In Exitu Israel de Agypto, Psalm for Soli, Choir and Orchestra; Laudate Pueri Dominum, Psalm 112, for SATB choir and orchestra; the Fourth Mass.

==Discography==

*Blankenburg, Elke Mascha, ''Marianna Martines: Psalm Cantatas''.  Koch Schwann B000001SOK, 1995.  Compact disc.
*Harbach, Barbara, ''18th Century Woman Composers''.  Gasparo Records: B000025YJJ, 1995.  Compact Disc.
*Jakuc, Monica, ''Haydn, Martines and Auenbrugger''.  Titanic, B000001I7X, 1993.  Compact disc.
*Rees, Leanne, ''Woman Composers and the Men in Their Live''s.  Fleur de Son, B0000479BH, 2000.  Compact disc.

==Notes==
{{Reflist}}

==References==

*Godt, Irving, &quot;Marianna in Italy: The International Reputation of Marianna Martines,&quot; ''The Journal of Musicology'', vol. XII/4, 1995, pp. 538-561.
*Godt, Irving, &quot;Marianna in Vienna: A Martines Chronology&quot;, ''The Journal of Musicology'', vol. XVI/1, 1998, pp. 136-58.
*Harer, Ingeborg, &quot;Martines, Marianna von&quot;, ''Die Musik in Geschichte und Gegenwart'', (Kassel: Bärenreiter, 2004), Personenteil vol. 11, 1188-89.
*Jackson, Barbara Garvey.  &quot;Musical Women of the Seventeenth and Eighteenth Centuries.&quot; In ''Women and Music: A History'', ed. Karin Pendle, 54-94. Bloomington: Indiana University Press, 1991.
*Neuls-Bates, Carol, ed.  ''Women in Music''.  Boston: Northeastern University Press, 1996.
*Pendle, Karin.  “Marianne von Martinez.” In ''Historical Anthology of Music by Women'', ed. James Briscoe, 88-89.  Bloomington: Indiana University Press, 1987.
*Wessely, Helene.  “Martinez, Marianne von,” Grove Music Online ed. L. Macy (Accessed 27 January 2007), &lt;http://www.grovemusic.com&gt;

{{DEFAULTSORT:Martinez, Marianne von}}
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[[Category:Women composers]]
[[Category:Joseph Haydn]]
[[Category:1744 births]]
[[Category:1812 deaths]]

[[ca:Marianne von Martínez]]
[[de:Marianna von Martines]]
[[eo:Marianna Martines]]
[[fr:Marianne de Martines]]
[[no:Marianna von Martines]]</text>
    </revision>
  </page>
  <page>
    <title>Bernhard Klein</title>
    <id>13656221</id>
    <revision>
      <id>310015910</id>
      <timestamp>2009-08-25T18:31:24Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>/* External links */ Added ChoralWiki link, persondata</comment>
      <text xml:space="preserve">{{Unreferenced|date=June 2008}}
'''Bernhard Klein''' ([[6 March]] [[1793]] &amp;ndash; [[9 September]] [[1832]]), was a [[Germany|German]] [[composer]].

Klein was born in [[Cologne]].  He married Lilly Parthey (born Berlin, [[2 October]] [[1800]] - died [[2 August]] [[1829]]), who was the sister of Gustav Parthey (1798-1832) and the nephew of [[Friedrich Nicolai]] (1733-1811). Their daughter, Elisabeth Klein (1828-1899) married [[Egyptologist]] [[Carl Richard Lepsius]] (1810-1883) on [[5 July]] [[1846]].

Klein was the director of music at [[Cologne Cathedral]] after studying at the [[Paris Conservatory]]. In 1819 at the request of [[Carl Friedrich Zelter]] he came to Berlin, where he spent the rest of his life.  In 1820 he became professor of composition at the Royal Institute for Church Music, as well as Music Director at the [[University of Berlin]]. Together with his friend, music critic [[Ludwig Rellstab]], he founded the Second Berlin Song Board (''Zweiten Berliner Liedertafel'').

Klein composed [[oratorio]]s, a [[Mass (music)|Mass]], a [[Magnificat]], a [[cantata]], [[psalm]]s, [[hymn]]s, and [[motet]]s, along with three [[opera]]s, songs, and piano pieces. His conservative style of composition was influenced by [[Anton Friedrich Justus Thibaut]].

==Works==
*Dido (after [[Ludwig Rellstab]]), Opera, 1823 
*Ariadne, Opera, 1824 
*Irene, Opera
*Jephtha, Oratorio
*David, Oratorio
*Hiob, Oratorio 
*Athalia, Oratorio

==External links==
*{{WIMA|idx=Klein}}
*{{ChoralWiki}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Klein, Bernhard
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = German composer
|DATE OF BIRTH     = 6 March 1793
|PLACE OF BIRTH    = Cologne
|DATE OF DEATH     = 9 September 1832
|PLACE OF DEATH    = Berlin
}}

{{DEFAULTSORT:Klein, Bernhard}}
[[Category:1793 births]]
[[Category:1832 deaths]]

[[Category:German composers]]
[[Category:Classical era composers]]
[[Category:People from Cologne]]
[[Category:Humboldt University of Berlin faculty]]

[[de:Bernhard Klein]]
[[fr:Bernhard Klein]]
[[ru:Клейн, Бернгард]]</text>
    </revision>
  </page>
  <page>
    <title>Johann Baptist Vanhal</title>
    <id>1847149</id>
    <revision>
      <id>311822222</id>
      <timestamp>2009-09-04T12:21:05Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">[[File:Vanhal353.jpg|thumb|upright|200px|Johann Baptist Vanhal]]
'''Johann Baptist Vanhal''' ('''Jan Křtitel Vaňhal''')&lt;ref&gt;&quot;He himself spelt his name Johann Baptist Wanhal; his Viennese contemporaries and most scholars until World War II used the spelling Wanhal, but later in the 20th century a modern Czech form, Jan Křtitel Vaňhal, was erroneously introduced.&quot; Paul R. Bryan, &quot;Vanhal, Johann Baptist [Jan Křtitel]&quot; in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie (New York: Macmillan Publishers Limited, 2001), '''19''':592.&lt;/ref&gt; also spelled '''Wanhal''', '''Waṅhall''' or '''Wanhall''' ([[May 12]], [[1739]]–[[August 20]], [[1813]]) was an important [[classical music]] [[composer]].  

== Biography ==
Born in [[Nechanice]], [[Bohemia]] to a [[Czech people|Czech]] peasant family, Vanhal received his early training from a local musician. From these humble beginnings he was able to earn a living as a village organist and choirmaster. The Countess [[Schaffgotsch]], who heard him playing the violin, took him to [[Vienna]] in 1760 where she arranged lessons in composition with [[Carl Ditters von Dittersdorf]]. Further patronage helped him to travel and gain further knowledge of music and by the age of 35, he was moving in exalted musical company: it is reported he played quartets with [[Joseph  Haydn|Haydn]], [[Mozart]] and [[Karl Ditters von Dittersdorf|Dittersdorf]].&lt;ref&gt;James Webster and Georg Feder, ''The New Grove Haydn'', first published in ''The New Grove Dictionary of Music and Musicians'', 2nd ed. 2001 (New York: Palgrave; London: Macmillan Publishers Ltd., 2002, ISBN 031223323X), 28.&lt;/ref&gt; He wrote three operas: ''Il Demofoonte'' (1770), ''Il trionfo di Clelia'' (1770), and ''The Princess of Tarento''.&lt;ref&gt;[http://opera.stanford.edu/composers/V.html Opera Glass]&lt;/ref&gt; In 1770s, Vanhal met the contrabassist [[Johannes Matthias Sperger]] and wrote a double bass concerto for him. The English music historian [[Frances Burney]] visited Vanhal in 1772.Mozart performed Vanhal's Violin Concerto in B flat in Augsburg in 1777. In circa 1774, Haydn, Dittersdorf, Mozart and Vanhal played String Quartets together. Haydn and Dittersdorf played the violins, Mozart the viola, and Vanhal on cello. The recorder of this event, the composer and tenor [[Michael Kelly]], stated that they played well but not outstanding together, but the image of four of the great composers of the time all joined in common music making is still one of the classic images of the Classical era.

He was reported to have suffered from an unspecified nervous disorder which eventually went away,&lt;ref&gt;Paul Bryan, ''Johann Wanhall, Viennese Symphonist: His Life and His Musical Environment'' Stuyvesant: Pendragon Press (1997): 18. Dlabacž said that Vanhal &quot;was overcome by a mental disturbance that hindered his musical work.&quot;&lt;/ref&gt; but which gave rise to the opinion held by Burney and others that the quality of Vanhal's compositions deteriorated with the disappearance of his condition.&lt;ref&gt;Bryan (1997), ibid: 18. In 1772 Burney opined that &quot;Wanhal's recent music lacks its former inspiration: because of his present cold, sedate, and wary disposition, his mind is now calm and tranquil. Therefore, his recent compositions are uninteresting because they lack the 'extravagance' they formerly had and are now limited by 'too great economy of thought.' The physicians who cured his 'insanity' did him a disservice.&quot;&lt;/ref&gt; Scholars such as Paul Bryan find that &quot;the quality and quantity of the serious works he [Vanhal] composed after 1770, ... belie that assertion.&quot;&lt;ref&gt;Bryan (1997), ibid: 19&lt;/ref&gt;

Vanhal tailored his output to economic realities of the day and ceased writing symphonies in the late-1770s. His fertile imagination not only created over 1300 works but also experimented in quite radical ways with musical style and structure.

== Style ==

{{Listen|filename=JBVanhalSimphPerN22Highlights.OGG|title=Johann Baptist Vanhal: Simphonie Periodique, N. 22: Highlights from the 3 movements: Allegro-Andante (Piano)-Presto. |description=Porticodoro / SmartCGArt Media Productions - Classical Orchestra. |format=[[Ogg]]}}

He had to be a prolific writer to meet the demands made upon him, and attributed to him are 100 quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal works. The symphonies, in particular, have been committed increasingly often to [[compact disc]] in recent times, and the best of them are comparable with many of Haydn's. Many of Vanhal's symphonies are in minor keys and are considered highly influential to the &quot;[[Sturm und Drang]]&quot; movement of his time. &quot;Vanhal makes use of repeated semiquavers, pounding quavers in the bass line, wide skips in the themes, sudden pauses (fermatas), silences, exaggerated dynamic marks ... and all these features ... appear in Mozart's first large-scale ''Sturm und Drang'' symphony, no. 25 in g minor (K. 183) of 1773.&quot;&lt;ref&gt;[[H. C. Robbins Landon]], ''Mozart and Vienna: Including Selections from Johann Pezzl's 'Sketch of Vienna' (1786–90)'' (London: Thames and Hudson; New York: Schirmer Books, 1991, ISBN 0500015066), 48.&lt;/ref&gt; This kind of style also appears in [[Joseph Haydn]]'s Symphony No. 83 in g minor, The Hen (1785), and 
[[Muzio Clementi]]'s Sonata in g minor, Op.34, No.2 (circa 1795).

{{Listen|filename=Vanhalop10n1highlights.OGG|title=Johann Baptist Vanhal: Sonata for Flute and Bass, Op. 10 N. 1: Highlights from the 4 movements: Allegro-Adagio-Presto-Minuetto and Variations. |description=Porticodoro / SmartCGArt Media Productions - Flute and Bassoon. |format=[[Ogg]]}}

Such was his success that within a few years of his symphonies being written, they were being performed around the world, and as far distant as the United States.&lt;ref&gt;Bryan (1997), ibid: 245. To give one example, a 19th Century manuscript set of all the parts (except the trumpet) of the Symphony in C major, Bryan C6, was found in the [[Library of Congress]] in Washington, D.C.&lt;/ref&gt; In later life, however, he rarely moved from Vienna where he was also an active teacher. 


== List of Selected Works ==
===Concertos===

====Published Concertos====
*4 ''Sinfonie Concertanti'' (Paris, 1775)
*''A favourite Concerto for the German flute or Vl.'' (London, ca. 1775)
*''6 concertos for Harspichord'':
    *1 Concerto for Harps. (Wien, 1785)
    *2 Concertos for Harps. (London, 1788)
    *1 Concerto for Harps. (Offenbach, 1789)
    *1 Concerto for Harps. (Mainz, 1880)
    *1 Concerto for Harps. (Wien, 1808)
*1 ''Concertino'' for Harpsichord (Wien, s.a.)
*5 Concertos for Flute (Paris, s.a.)

====Concertos: Manuscripts====
*1 Concerto for Harpsichord and Violin
*many concertos for Harpsichord or Piano (the exact number of which is still unknown)
*2 Concertos for Harpsichord or Organ
*1 Concerto for Organ
*1 Concerto for 2 Violins
*5 Concertos for Violin
*1 Concerto for Cello
*''2 Concertos for Flute:''
    *(MS 1-D major: Weinmann IIe:D1, ''Lund University Library''; now publ. ''Artaria'')
    *(MS 2-E flat major: Weinmann IIe:Eb1, ''The Danish Royal Library'' Mu.6304.2368; now publ. ''Artaria'')
*1 Concerto for Viola
*1 Concerto for Contrabass
*1 Concerto for Clarinet
*1 Concerto for 2 Bassoons
*1 Concerto for Basson (now publ. ''Breitkopf &amp; Härtel'')

====Concertos: selection of best known concertos====
*Cello concerto in A major 
*Concert for two bassoons and orchestras 
*Flute concerto No. 1 
*Flute concerto No. 2 
*Concerto for retort bass and orchestra 

===Symphonies===

Vanhal left 51 published symphonies. There are also another 81 symphonies which are preserved only in manuscripts. [according to the catalogue published by Civra Ferruccio, Torino 1985]. Even though the modern actual French spelling of ''Symphonie Périodique'' is ''Symphonie Périodique'', the original XVIII century French title of such works was ''Simphonie Periodique'', as it can be seen on the XVIII century frontispiece of Vanhal's published symphonies &quot;''a Amsterdam chez J.J. Hummel, Marchand &amp; Imprimeur de Musique''&quot;.

====Published Symphonies====
*4 Symphonies Op. 10 (Paris, 1771-72)
*3 Symphonies Op. 10 (Paris, 1773)
*3 Symphonies Op. 16 (Paris, 1773)
*2 Symphonies Op. 17 (Paris, 1773)
*1 Symphony (Paris, 1778)
*3 Symphonies Op. 10 (Amsterdam, ca. 1783)
*1 Symphony Op. 10 (Offenbach, s.a.)
*34 Symphonies Périodiques (Amsterdam)

====Symphonies: selection of best known symphonies====
*Symphony in A major Bryan A9 
*Symphony in A flat major Bryan As1 
*Symphony in B major Bryan B3 
*Symphony in C major Bryan C3 
*Symphony in C major (Comista) Bryan C11 
*Symphony in D major Bryan D2 
*Symphony in D major Bryan D4 
*Symphony in D major Bryan D17 
*Symphony in G major Bryan G6 
*Symphony in G major Bryan G8 
*Symphony in G major Bryan G11 
*Symphony in a minor Bryan a2 
*Symphony in c minor Bryan c2 
*Symphony in d minor Bryan d1 
*Symphony in d minor Bryan d2 
*Symphony in e minor Bryan e1 
*Symphony in g minor Bryan g1 
*Symphony in g minor Bryan g2 

===Chamber Music===
*Piano quartets: 
*Piano quartet in E flat major Op. 40 No. 1 
*Piano quartet in G major Op. 40 No. 2 
*Piano quartet Op. 40 No. 3 

*Oboe quartets:
*Oboe quartet Op. 7 No. 1 
*Oboe quartet Op. 7 No. 2 
*Oboe quartet Op. 7 No. 3 
*Oboe quartet Op. 7 No. 4 
*Oboe quartet Op. 7 No. 5 
*Oboe quartet Op. 7 No. 6 

*Caper quartet:
*Caper quartet in G major Op. 4 No. 1 

*Trio:
*Trio Op. 20 No. 1 
*Trio Op. 20 No. 2 
*Trio Op. 20 No. 3 

*Viola sonatas:
*Viola sonata Op. 5 No. 1 
*Viola sonata Op. 5 No. 2 
*Viola sonata Op. 5 No. 3 
*Viola sonata Op. 5 No. 4 

===Operas===
*''Il Demofoonte'' (Metastasio; Roma, 1770)
*''Il trionfo di Clelia'' (Metastasio; Roma, 1770)

===Sacred Music===

====Published Sacred Music====
*2 Masses (C major and G major, Wien, s.a.)
*2 Offertories (Wien, s.a.)
*''Pange Lingua'' (Wien, s.a.)
*''IV breves et faciles Hymni in honorem SS. Altari Sacramenti'' (Wien, s.a.)

====Sacred Music: Manuscripts====
*''58 Masses:''
    *(MS 1-G major ''Missa Pastoralis'' ca. 1782: Weinmann XIX: G4, ''Austrian National Library'' Mus.Hs.926) 
    *(MS 2-C major ''Missa Solemnis'' ca. 1778: Weinmann XIX: C7, ''Austrian National Library'' Mus.Hs.22290)
    *Both the Masses are now publ. ''Artaria''.
*1 ''Credo''
*''Kyrie'' and ''Gloria''
*54 Offertories
*16 ''Salve Regina''
*10 litanies
*14 motets
*''Stabat Mater''
*''Te Deum''
*''Tantum ergo''
*''Pange Lingua''
*''Quatro stationi''
*''Sacrum Solenne''
*31 arias

==References==

&lt;references/&gt;
{{reflist}}

==External links==
*{{WIMA|idx=Wanhal|name=Johann Baptist Vanhal}}
*[http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=WanhalJ Works by Vanhal] at the [[Mutopia project]]
*{{IMSLP|id=Vanhal, Johann Baptist|cname=Johann Baptist Vanhal}}
*[http://www.lib.duke.edu/music/vanhal/wanhal1.html Duke University website]
*[http://www.pendragonpress.com/books/bookdetail.php?PPNo=462 Dr. Paul Bryan: Thematic Catalog of Vanhal's music.]
*[http://www.klassika.info/Komponisten/Vanhal/wv_gattung.html www.klassika.info/Komponisten/Vanhal/wv_gattung.html]
*[http://www.klassika.info/Komponisten/Vanhal/index.html www.klassika.info/Komponisten/Vanhal/index.html]
*[http://www.naxos.com/composerinfo/Johann_Baptist_Vanhal/21127.htm Johann Baptist Vanhal on NAXOS.com]
*[http://www.mozartforum.com/Contemporary%20Pages/Vanhal%20Contemp.htm Johann Baptist Vanhal on mozartforum.com, Who's Who Page]
*[http://www.karadar.com/Dictionary/vanhal.html www.karadar.com/Dictionary/vanhal.html]Karadar Classical Music Dictionary
*[http://www.classical-composers.org/comp/vanhal www.classical-composers.org/comp/vanhal]
*[http://www.artaria.com/SystemLink_Composer_27 www.artaria.com/SystemLink_Composer_27]artaria.com

{{DEFAULTSORT:Vanhal, Johann Baptist}}
[[Category:Czech composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]
[[Category:1739 births]]
[[Category:1813 deaths]]
[[Category:18th-century Czech people]]

[[cs:Jan Křtitel Vaňhal]]
[[de:Johann Baptist Vanhal]]
[[eo:Jan Křtitel Vaňhal]]
[[fr:Jean-Baptiste Vanhal]]
[[it:Johann Baptist Vanhal]]
[[la:Ioannes Baptista Vanhal]]
[[nl:Johann Baptist Vanhal]]
[[ja:ヨハン・バプティスト・ヴァンハル]]
[[pl:Jan Křtitel Vaňhal]]
[[ru:Вангал, Иоганн Баптист]]
[[sl:Johann Baptist Vanhal]]
[[fi:Jan Křtitel Vaňhal]]</text>
    </revision>
  </page>
  <page>
    <title>Karl Kohaut</title>
    <id>15163843</id>
    <revision>
      <id>246782124</id>
      <timestamp>2008-10-21T19:17:07Z</timestamp>
      <contributor>
        <username>Fratrep</username>
        <id>4541225</id>
      </contributor>
      <comment>Repairing link to disambiguation page - [[Wikipedia:Disambiguation pages with links|You can help!]]</comment>
      <text xml:space="preserve">'''Karl Ignaz Augustin Kohaut''' (Carolus Ignatius Augustinus) (baptised [[August 26]], [[1726]] – [[August 6]], [[1784]]) was an [[Austrians|Austrian]] [[lutenist]] and [[composer]] of [[Czechs|Czech]] descent. He is considered (along with [[Bernhard Joachim Hagen]]) to be one of the last important composers of music for Baroque [[Lute]].

Born in [[Vienna]], Karl Kohaut pursued a dual career as a diplomat and musician. He entered the Austrian civil service in 1756 or 1757 as a minor official in the state chancellery, but by 1778 he had reached the position of court secretary. 

He was active as a violinist in performances organized by [[Gottfried van Swieten]] (in quartets by [[Haydn]] and [[Mozart]]), but he was most widely admired as a lutenist. He is recorded to have appeared as the soloist in a performance of one of his own lute concertos at the Tonkünstler-Societät on 17 March 1777, during which one of his symphonies was also performed.

Kohaut wrote seven lute concertos, which are fine examples of this rare genre. Kohaut’s eight masses were frequently performed at the monasteries of Melk and Göttweig, especially the Missa S Willibaldi, which was performed at Göttweig on 24 occasions, the last time as late as 1798. Kohaut's Symphony in f-minor was his best known work during the 20th century.

==Works==
Vocal: 
*Applausus Mellicensis (cant.), perf. 1764, A-M; 
*8 masses, A-GÖ, M, CZ-Bm, Pnm

Orchestral: 
*12 syms., A-M, CZ-Bu, Pnm; 
*7 lute concs., D-As, Bsb; Db Conc., A-Wgm, ed. D. Young (London, 1996)

Chamber: 
*3 divertimentos, lute, 2 vn, b, B-Br, D-As; 
*5 divertimentos, lute, B-Br; Sonata, lute, D-As; 
*7 trios, 1 for lute, vn, b, 6 for 2 vn, b, A-GÖ, M, Wgm, D-Bsb; 
*7 partitas, 2 vn, b, A-Wgm, Wn; Qt, 2 vn, va, b, Wn; Trio, fl, vn, b, D-Bsb; 
*works listed in Breitkopf catalogues, 1762–3, 1766–7

==Bibliography &amp; references==
*FétisB
*GerberL
*GerberNL
*MGG1 (J. Klima)
*J.A. Hiller, ed.: Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, i (Leipzig, 1766) 
*R. Freeman: The Practice of Music at Melk Monastery in the Eighteenth Century (diss., U. of California, 1971) 
*J. Klima: ‘Karl Kohaut, der letzte Wiener Lautenist’, ÖMZ, xxvi (1971), 141–3 [with bibliography]

{{DEFAULTSORT:Kohaut, Karl}}
[[Category:1726 births]]
[[Category:1784 deaths]]
[[Category:Classical era composers]]
[[Category:Composers for lute]]
[[Category:Austrian composers]]
[[Category:Czech composers]]
[[Category:Lutenists]]
[[Category:People from Vienna]]

{{Austria-bio-stub}}</text>
    </revision>
  </page>
  <page>
    <title>João Domingos Bomtempo</title>
    <id>7959459</id>
    <revision>
      <id>304281173</id>
      <timestamp>2009-07-26T11:57:36Z</timestamp>
      <contributor>
        <ip>85.246.85.254</ip>
      </contributor>
      <comment>/* External links */</comment>
      <text xml:space="preserve">[[Image:Bomtempo.gif|thumb|João Domingos Bomtempo|200px]] 

'''João Domingos Bomtempo''' ({{IPA-pt|ˈʒwãʊ dʊˈmĩɡʊʃ bõˈtẽpʊ}}; [[Lisbon]], [[December 28]], [[1775]] &amp;mdash; Lisbon, [[August 18]], [[1842]]) was a [[Portugal|Portuguese]] [[pianist|classical pianist]], [[classical composer|composer]] and pedagogue. 

==Biography==

Bomtempo was the son of an [[Italy|Italian]] musician in the Portuguese court orchestra, and studied at the Music Seminary of the Patriarchal See in Lisbon. Unlike most of his contemporaries, he was not interested in [[opera]] and, in 1801, instead of going to Italy, he traveled to [[Paris]], starting a career as a virtuoso pianist. He moved to [[London]] in 1810 and became acquainted with liberal circles. In 1822 he returned to Lisbon, founding a Philharmonic Society to promote public concerts of contemporary music. After the [[Liberal Wars|Portuguese civil war]] between liberals and absolutists, Bomtempo became a music teacher of Queen [[Maria II of Portugal]] and first Director of the National Conservatory, created in 1835 to replace the old Patriarchal Seminary, which had been abolished by the liberal régime. 

Bomtempo composed a vast amount of concertos, sonatas, variations and fantasies for the piano. His two known symphonies are the first to be produced by a Portuguese composer.  Bomtempo's masterpiece is his Requiem in memory of [[Luís de Camões]].

==Selected works==

Op. 1 \ Piano Sonata No. 1 in F major&lt;br /&gt;
Op. 2 \ Piano Concerto No.1 in E flat major&lt;br /&gt;
Op. 3 \ Piano Concerto No.2 in F minor&lt;br /&gt;
Op. 4 \ Fandango &amp; Variations for piano&lt;br /&gt;
Op. 5 \ Piano Sonata No. 2 in C major&lt;br /&gt;
Op. 6 \ Introduction, 5 variations &amp; fantasy on Paisiello's favorite air for piano&lt;br /&gt;
Op. 7 \ Piano Concerto No.3 in G minor&lt;br /&gt;
Op. 8 \ Capriccio &amp; Variations on ''God save the King'' for piano in E flat major&lt;br /&gt;
Op. 9 No.1 \ Piano Sonata No. 3 in E flat major&lt;br /&gt;
Op. 9 No.2 \ Piano Sonata No. 4 in C major&lt;br /&gt;
Op. 10 \ Hymno lusitano (cantata)&lt;br /&gt;
Op. 11 \ Symphony No.1 in E flat major&lt;br /&gt;
Op. 12 \ Piano Concerto No.4 in D major&lt;br /&gt;
Op. 13 \ Piano Sonata No. 5 in C major&lt;br /&gt;
Op. 14 \ Fantasia for piano in C minor&lt;br /&gt;
Op. 15 No.1 \ Piano Sonata No. 6 in A flat major&lt;br /&gt;
Op. 15 No.2 \ Piano Sonata No. 7 in G minor&lt;br /&gt;
Op. 15 No.3 \ Variations for piano on a popular French song&lt;br /&gt;
Op. 16 \ Piano Quintet in E flat major&lt;br /&gt;
Op. 17 \ A paz da Europa (cantata)&lt;br /&gt;
Op. 18 No.1 \ Piano Sonata No. 8 in G major&lt;br /&gt;
Op. 18 No.2 \ Piano Sonata No. 9 in F minor&lt;br /&gt;
Op. 18 No.3 \ Piano Sonata No.10 in E flat major&lt;br /&gt;
Op. 19 \ 12 Studies for piano&lt;br /&gt;
Op. 20 \ Piano Sonata No.11 in E flat major&lt;br /&gt;
Op. 21 \ Variations for piano on a theme from ''Die Zauberflöte'' in G minor&lt;br /&gt;
Op. 22 \ Variations for piano on a theme from ''Alessandro in Efeso'' in B flat major&lt;br /&gt;
Op. 23 \ Requiem in C minor

* 4 Absolutions
* Libera me Domine in C minor
* Serenata for piano and winds in F major
* Symphony No.2 in D major
* Te Deum in F major
* Variations for piano on a theme from La donna del Lago in E minor
* Waltz for piano
*''Alessandro in Efeso'', opera seria

== External links ==
*{{IMSLP|id=Bomtempo%2C_João_Domingos}}

*[http://sites.google.com/site/patrimoniomusical/bomtempo-joao-domingos Bio, Audio Files, List of Works, Links, Bibliography, Discography]
{{DEFAULTSORT:Bomtempo, Joao Domingos}}
[[Category:1775 births]]
[[Category:1842 deaths]]
[[Category:Portuguese composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:Portuguese classical pianists]]

[[de:João Domingos Bomtempo]]
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    </revision>
  </page>
  <page>
    <title>Alexey Nikolayevich Titov</title>
    <id>13487193</id>
    <revision>
      <id>253440904</id>
      <timestamp>2008-11-22T19:09:06Z</timestamp>
      <contributor>
        <username>Yobot</username>
        <id>7328338</id>
      </contributor>
      <minor/>
      <comment>substituting BD  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">'''Alexey Nikolayevich Titov''' ({{lang-ru|Алексей Николаевич Титов}}, born [[St. Petersburg]], [[July 23]], [[1769]] - St. Petersburg, [[November 20]], [[1827]]) was a [[Russia]]n composer and violinist.

Outside of music, Titov was a [[major general]] in the Russian [[cavalry]]. His music, most of which is for the stage ([[opera]]s, [[ballet]]s, and [[incidental music]]), was primarily written for local St. Petersburg theater and dance companies. Strong Russian themes run through his choice of [[libretto|libretti]], and his music makes copious use of [[Music of Russia|Russian folk music]]. His son, [[Nicolai Alexeyevich Titov]], was a composer, as were several other family members.

==Operas==
''Note:this list is incomplete.''
*''Andromeda and Perseus'' (1802)
*''King Solomon's Judgment'' (1803)
*''Judge Cupid, or The Argument of the Three Graces'' (1805)
*''Yam, or The Post Station'' (1805)
*''The Winter Party, or The Sequel to Yam'' (1808)
*''The Wedding Eve Party, or Filakin's Wedding'' (1809)
*''Polixena'' (1809)
*''The Cossack Woman'' (1810)
*''Maslenitsa'' (1813)

==Source==
*[[Don Randel]], ''The Harvard Biographical Dictionary of Music''. Harvard, 1996, p. 919.

{{DEFAULTSORT:Titov, Alexey Nikolayevich}}
[[Category:1769 births]]
[[Category:1827 deaths]]

[[Category:Russian composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:Opera composers]]
[[Category:Ballet composers]]
[[Category:People from Saint Petersburg]]

[[de:Alexei Nikolajewitsch Titow]]</text>
    </revision>
  </page>
  <page>
    <title>Giovanni Battista Pergolesi</title>
    <id>38099</id>
    <revision>
      <id>308464713</id>
      <timestamp>2009-08-17T11:52:18Z</timestamp>
      <contributor>
        <ip>151.56.10.15</ip>
      </contributor>
      <comment>/* External links */</comment>
      <text xml:space="preserve">[[Image:pergolesi.jpg|thumb|Alleged portrait of Pergolesi presented by his biographer Florimo to the Naples Conservatory]]

'''Giovanni Battista Pergolesi''' (4 January 1710 &amp;ndash; 16 or 17 March 1736) was an [[Italy|Italian]] [[composer]], [[violin]]ist and [[organ (music)|organist]].

==Biography==
Born at [[Jesi]], Pergolesi&lt;ref&gt;The family name was Draghi; they had come from [[Pergola, Italy|Pergola]], [[Marche]], to settle in Jesi.&lt;/ref&gt; studied [[music]] there under a local musician, Francesco Santini, before going to [[Naples]] in 1725, where he studied under [[Gaetano Greco]] and [[Francesco Feo]] among others. He spent most of his brief life working for aristocratic patrons like the principe di Stigliano and the duca di Maddaloni.

Pergolesi was one of the most important early composers of ''[[opera buffa]]'' (comic opera). His ''[[opera seria]]'' ''Il prigioner superbo'' contained the two act ''buffa'' [[intermezzo]], ''[[La Serva Padrona]]'' (''The Servant Mistress'', August 28, 1733), which became a very popular work in its own right. When it was performed in [[Paris]] in 1752, it prompted the so-called [[Querelle des Bouffons]] (&quot;quarrel of the comedians&quot;) between supporters of serious French opera by the likes of [[Jean-Baptiste Lully]] and [[Jean-Philippe Rameau]] and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years.

Among Pergolesi's other operatic works are his first opera ''La conversione e morte di San Guglielmo'' (1731), ''[[Lo frate 'nnamorato]]'' (''The brother in love'', 1732, to a Neapolitan text), ''L'Olimpiade'' (January 31, 1735) and ''Il Flaminio'' (1735). All his operas were premiered in Naples, apart from ''L'Olimpiade'', which was first given in [[Rome]].

Pergolesi also wrote sacred music, including a [[mass (music)|Mass]] in F. It is his [[Stabat Mater]] (1736), however, for male [[soprano]], male [[alto (voice)|alto]], and [[orchestra]], which is his best known sacred work. It was commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo (the monks of the brotherhood of [[San Luigi di Palazzo]]) as a replacement for the rather old-fashioned one by [[Alessandro Scarlatti]] for identical forces which had been performed each [[Good Friday]] in [[Naples]]. Whilst classical in scope, the opening section of the setting demonstrates Pergolesi's mastery of the Italian  baroque 'durezze e ligature' style, characterized by numerous suspensions over a faster, conjunct bassline. The work remained popular, becoming the most frequently printed work of the 18th century, and being arranged by a number of other composers, including [[Johann Sebastian Bach]], who used it as the basis for his [[psalm]] ''Tilge, Höchster, meine Sünden'', [[BWV]] 1083. 

Pergolesi wrote a number of secular instrumental works, including a [[violin sonata]] and a [[violin concerto]]. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be falsely attributed. Much of [[Igor Stravinsky]]'s [[ballet]] ''[[Pulcinella (ballet)|Pulcinella]]'', which ostensibly reworks pieces by Pergolesi, is actually based on spurious works. The Concerti Armonici are now known to have been composed by [[Unico Wilhelm van Wassenaer]]. Many colorful anecdotes related by his early biographer, Florimo, were later revealed as fabrication, though they furnished material for two nineteenth-century operas broadly based on Pergolesi's career.&lt;ref&gt;''Grove's Dictionary of Music''.&lt;/ref&gt;

Pergolesi died at the age of twenty-six in [[Pozzuoli]] from [[tuberculosis]].

==Notes==
{{reflist}}

==External links==
*{{ChoralWiki}}
*{{IckingArchive|idx=Pergolesi|name=Giovanni Battista Pergolesi}}
*{{IMSLP|id=Pergolesi, Giovanni Battista|cname=Giovanni Battista Pergolesi}}
*[http://www.fondazionepergolesispontini.com Fondazione Pergolesi Spontini of Jesi]
*{{CathEncy|wstitle=Giovanni Battista Pergolesi}}
*[http://www.domenicoscarlatti.it Istituto Internazionele per lo studio del '700 musicale napoletano]
*[http://www.livestream.com/radio700?referrer=mogulus listening to the music of Pergolesi on RADIO ‘700 ]

{{DEFAULTSORT:Pergolesi, Giovanni Battista}}
[[Category:1710 births]]
[[Category:1736 deaths]]
[[Category:People from the Province of Ancona]]
[[Category:Deaths from tuberculosis]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Opera composers]]

{{Link FA|it}}

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  </page>
  <page>
    <title>Józef Elsner</title>
    <id>1734957</id>
    <revision>
      <id>300570268</id>
      <timestamp>2009-07-06T10:20:12Z</timestamp>
      <contributor>
        <username>Woohookitty</username>
        <id>159678</id>
      </contributor>
      <minor/>
      <comment>Disambiguate [[Dominican]] to [[Dominican Order]] using [[:en:Wikipedia:Tools/Navigation_popups|popups]]</comment>
      <text xml:space="preserve">[[Image:Józef Elsner.PNG|thumb|200px|Józef Elsner.  Portrait by [[Maksymilian Fajans]], after 1853.]]
'''Józef Antoni Franciszek Elsner''' (often, also, '''Józef ''Ksawery'' Elsner''', born '''Joseph Xaver Elsner''')  [[June 1]], [[1769]] – [[April 18]], [[1854]], was a [[Poland|Polish]] [[composer]], music teacher and music theoretician, and a [[Freemason]].  

He taught [[Fryderyk Chopin]] and composed many symphonic, chamber, solo, and vocal-instrumental (about 120 religious) works, and 38 operas.&lt;ref&gt;''[[Encyklopedia Polski]]'', p. 154.&lt;/ref&gt;

==Life==
Józef Elsner was born Joseph Xaver Elsner in [[Grodków|Grottkau]] ([[Upper Silesia]]), near [[Wrocław|Breslau]], [[Kingdom of Prussia]], on [[June 1]], [[1769]], to [[Germans|German]] [[Roman Catholic Church|Catholic]] parents Franz Xaver Elsner and Anna Barbara Matzke. His mother was from the famous Matzke family of [[Kłodzko|Glatz]], which had intensive contacts with [[Czech language|Czech culture]] in [[Bohemia]], as well as with [[Polish language|Polish culture]] in the [[Racibórz|Ratibor]] region. Joseph Xaver Elsner was educated at Breslau's Dominican monastery school, St. Matthew's ''[[Gymnasium (school)|Gymnasium]]'', and a local [[Jesuit]] college. In 1832–37 he would compose nineteen religious pieces for [[Wrocław Cathedral |Breslau Cathedral]].

After completing his studies in [[Breslau]] and after a period of time working with the [[Lviv|Lwów]] theater, he went to [[Congress Poland]] and became the principal conductor at the [[National Theater, Warsaw|National Theater]] in [[Warsaw]].&lt;ref&gt;''[[Encyklopedia Polski]]'', p. 154.&lt;/ref&gt; During this time Elsner's name and family life [[Polonization|polonized]] gradually. Elsner's ethnicity should not be evaluated in terms of 19th and 20th century national identity, as he probably considered a [[Silesians|Silesian]] primarily.

Elsner taught the famous Polish composers [[Ignacy Feliks Dobrzyński]] and [[Fryderyk Chopin]]. Chopin dedicated to Elsner his celebrated ''Op. 2, Variations on &quot;La ci darem la mano&quot; from Mozart's Opera &quot;Don Giovanni&quot; in B-flat major'' (1827) and his [[Piano Sonata No. 1 (Chopin)|Piano Sonata No. 1]] (the ''Sonata in C minor, Op. 4'', of 1828) — both composed while Chopin was studying with Elsner.

In 1799-1824 Elsner was the principal conductor at [[Warsaw]]'s [[National Theater, Warsaw|National Theater]], where he premiered a number of his [[opera]]s. Elsner also taught at the [[Warsaw Lyceum]], housed in Warsaw's [[Kazimierz Palace]].

In 1823–29 Elsner taught Chopin [[music theory]] and composition. At the time, Elsner wrote of Chopin in his diary: &quot;Chopin, Frederic, third-year student, amazing capabilities, musical genius.&quot;

Elsner died at his estate in [[Elsnerów]], now within the city limits of [[Warsaw]], on [[April 18]], [[1854]].

==Works==
[[Image:Elsner-tablica.JPG|thumb|150px|Plaque on former [[Dominican Order|Dominican]] [[refectory]] at ''Plac Dominikański 2/4'', [[Wrocław]], commemorating Elsner's connections with [[Wrocław]].]]
Elsner's compositions included
* the operas, ''Leszek Biały'' ([[Leszek I the White|Leszek the White]]) and ''Król Łokietek'' ([[Władysław I the Elbow-High|Władysław the Elbow-High]]); 
*the [[oratorio]], ''Męka Pana Naszego Jezusa Chrystusa'' (The Passion of Our Lord Jesus Christ); 
*eight [[symphony|symphonies]]; 
*[[polonaise]]s, [[waltz]]es, [[march (music)|marches]]; 
*''Msza B-dur'' (Mass in B-flat major) and ''Msza F-dur'' (Mass in F major); and 
*''Nieszpory do NMP'' ([[Vespers]] for the Most Sacred Virgin Mary).

Elsner was one of the first Polish composers to weave elements of Polish [[folk music]] into his works.&lt;ref&gt;''[[Encyklopedia Polski]]'', p. 154.&lt;/ref&gt;

He also wrote ''Sumariusz moich utworów muzycznych'' (Summary of My Musical Works, published 1957).

==See also==
*[[List of Poles#Music|List of Poles]]

==Notes==
{{reflist|2}}

==References==
*&quot;Elsner, Józef,&quot; ''[[Encyklopedia Polski]]'', [[Kraków]], Wydawnictwo Ryszard Kluszczyński, 1996, p. 154.

{{Lifetime|1769|1854|Elsner, Jozef}}
[[Category:People from Grodków]]
[[Category:Polish composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]

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[[sv:Józef Elsner]]</text>
    </revision>
  </page>
  <page>
    <title>Antonio Salieri</title>
    <id>2241</id>
    <revision>
      <id>308971803</id>
      <timestamp>2009-08-20T00:01:34Z</timestamp>
      <contributor>
        <ip>96.3.79.118</ip>
      </contributor>
      <comment>/* Life */</comment>
      <text xml:space="preserve">{{Redirect|Salieri|the pornography director|Mario Salieri}}&lt;!-- please do not add an infobox, per [[Wikipedia:WikiProject_Composers#Biographical_infoboxes]]--&gt;[[Image:Joseph_Willibrod_Mähler_001.jpg|235px|thumb|''Painting by Joseph Willibrod Mähler'']]'''Antonio Salieri''' (18 August 1750 &amp;ndash; 7 May 1825) was a [[Republic of Venice|Venetian]] [[composer]] and [[Conducting|conductor]].  As the Austrian imperial ''[[Kapellmeister]]'' from 1788 to 1824, he was one of the most important and famous musicians of his time.

==Life==
Born and raised in a prosperous family of merchants in [[Legnago]], Salieri studied [[violin]], and, with his parents, he moved to [[Padua, Italy|Padua]], then to [[Venice]], where he studied [[thoroughbass]] with [[Giovanni Battista Pescetti]].  There, he met [[Florian Leopold Gassmann]] in 1766, who invited him to attend the court of [[Vienna]], and there trained him in composition based on [[Johann Joseph Fux]]'s ''Gradus ad Parnassum''.  Salieri remained in Vienna for the rest of his life.  In 1774, after Gassmann's death, Salieri was appointed court composer by [[Joseph II, Holy Roman Emperor|Emperor Joseph II]].  He married Therese von Helferstorfer on 10 October 1774.  The couple had eight children, only three of whom survived Salieri; his only son, Alois, died in 1805.  Salieri became Royal and Imperial [[Kapellmeister]] in 1788, a post that he held till 1824.  He was president of the &quot;Tonkünstler-Societät&quot; (society of musical artists) from 1788 to 1795, vice-president after 1795, and in charge of its concerts until 1818.   
    
Salieri attained an elevated social standing and was frequently associated with other celebrated composers, such as [[Joseph Haydn]] and [[Louis Spohr]].  He played an important role in late 18th and early 19th century [[European classical music|classical music]].  He was a teacher to many famous composers, including [[Ludwig von Beethoven]], [[Carl Czerny]], [[Johann Nepomuk Hummel]], [[Franz Liszt]], [[Giacomo Meyerbeer]], [[Ignaz Moscheles]], [[Franz Schubert]], and [[Franz Xaver Süssmayr]].  He also taught [[Wolfgang Amadeus Mozart]]'s younger son, [[Franz Xavier Wolfgang Mozart|Franz Xaver]], some years after Mozart's death.

Salieri died in Vienna and was buried in the Matzleinsdorfer Friedhof (his remains were later transferred to the [[Zentralfriedhof]]).  At his funeral service, his own Requiem in C minor - composed in 1804 - was performed for the first time.  His monument is adorned by a poem written by [[Joseph Weigl]], one of his pupils:   

&lt;blockquote&gt;
''Rest in peace! Uncovered by dust'' &lt;br /&gt;
''Eternity shall bloom for you.'' &lt;br /&gt;
''Rest in peace! In eternal harmonies'' &lt;br /&gt;
''Your spirit now is dissolved.'' &lt;br /&gt;
''It expressed itself in enchanting notes,'' &lt;br /&gt;
''Now it is floating to everlasting beauty.''&lt;/blockquote&gt;
Original German poem:&lt;br /&gt;
&lt;blockquote&gt;
''Ruh sanft! Vom Staub entblößt,''&lt;br /&gt;
''Wird Dir die Ewigkeit erblühen.''&lt;br /&gt;
''Ruh sanft! In ew’gen Harmonien''&lt;br /&gt;
''Ist nun Dein Geist gelöst.''&lt;br /&gt;
''Er sprach sich aus in zaubervollen Tönen,''&lt;br /&gt;
''Jetzt schwebt er hin zum unvergänglich Schönen.''&lt;br /&gt;
&lt;/blockquote&gt;

== Works ==

''See '''[[List of compositions by Antonio Salieri]]''' and '''[[List of operas by Salieri]]'''.''

During his time in Vienna, Salieri acquired great prestige as a composer and conductor, particularly of [[opera]], but also of [[chamber music|chamber]] and [[sacred music]].  The most successful of his more than forty operas included ''[[Europa riconosciuta]]'' (1778), ''[[Armida (Salieri)|Armida]]'' (1771), ''[[La scuola de' gelosi]]'' (1778), ''[[Der Rauchfangkehrer]]'' (1781), ''[[Les Danaïdes]]'' (1784), which was first presented as a work of [[Christoph Willibald Gluck|Gluck's]], ''[[Tarare (Salieri)|Tarare]]'' (1787), ''[[Axur, Re d'Ormus]]'' (1788), ''[[Palmira, regina di Persia]]'' (1795), and ''[[Falstaff (Salieri)|Falstaff]]'' (1799).  He wrote comparatively little instrumental music, however his limited output includes two [[piano concerto]]s and a concerto for [[organ (music)|organ]] written in 1773, a concerto for [[flute]], [[oboe]] and orchestra (1774), and a set of twenty-six variations on ''[[La follia di Spagna]]'' (1815).

== Salieri and Mozart ==
{{Refimprove|date=July 2007}}

In the 1780s while Mozart lived and worked in Vienna, he and his father Leopold wrote in their letters that several &quot;cabals&quot; of Italians led by Salieri were actively putting roadblocks in the way of Mozart's obtaining certain posts of staging his operas.  There is a lot of evidence of Salieri's having engaged in such conspiratorial acts.  At the beginning of the 19th century, increasing German [[nationalism]] led to a tendency to transfigure the [[Austria]]n Mozart's character, while the [[Republic of Venice|Venetian]] Salieri was given the role of his evil [[antagonist]].&lt;ref&gt;{{cite news | title=For Mozart's Archrival, an Italian Renaissance | author=Jason Horowitz | date=2004-12-28 | url=http://www.nytimes.com/2004/12/28/arts/music/28sali.html?ei=5088&amp;en=7d60688cd81285e2&amp;ex=1261976400&amp;adxnnl=1&amp;partner=rssnyt&amp;adxnnlx=1127322281-E5bLYNdgoI5tijOhmwxecA | work=The New York Times}}&lt;/ref&gt; As Mozart's music became more popular over the decades, Salieri's fame dropped.{{Fact|date=February 2009}} [[Carl Maria von Weber]], a relative of Mozart by marriage&lt;ref&gt;Braunbehrens, p. 5. &quot;Apparently Weber, who could claim family ties with Mozart, believed the rumors.&quot;&lt;/ref&gt; whom Wagner has characterized as the most German of German composers, is said to have refused to join Ludlams-Höhle, a social club of which Salieri was a member and avoided having anything to do with him.&lt;ref&gt;Braunbehrens, p. 220. &quot;Carl Maria von Weber was also invited to join the society, but is said to have refused as long as Salieri was a member.&quot;&lt;/ref&gt; These rumors then made their way into popular culture.  [[Albert Lortzing]]'s ''Singspiel'' ''Szenen aus Mozarts Leben'' LoWV28 (1832) uses the cliché of the jealous Salieri trying to hinder Mozart's career. 

Ironically, Salieri's music was much more in the tradition of [[Gluck]] and Gassmann than of the Italians like Paisiello or Cimarosa.  In 1772, Empress [[Maria Theresa of Austria|Maria Theresa]] commented on her preference of Italian composers over [[German people|Germans]] like Gassmann, Salieri or [[Gluck]]. While Venetian by birth, Salieri had lived in imperial Vienna for almost 60 years and was regarded by such people as the music critic Friedrich Rochlitz as a German composer. &lt;ref&gt;{{cite news | title=See his obituary reprinted in Alexander Wheelock Thayer, Salieri: Rival of Mozart (Kansas City 1989) }}&lt;/ref&gt; 

The biographer [[Alexander Wheelock Thayer]] believes that Mozart's suspicions of Salieri could have originated with an incident in 1781 when Mozart applied to be the music teacher of the Princess of Württemberg, and Salieri was selected instead because of his reputation as a singing teacher. In the following year Mozart once again failed to be selected as the Princess's piano teacher.

&quot;Salieri and his tribe will move heaven and earth to put it down&quot;, [[Leopold Mozart]] wrote to his daughter Nannerl. But at the time of the premiere of ''Figaro'', Salieri was busy with his new [[French language|French]] opera ''[[Les Horaces]]''.

In addition, when [[Lorenzo da Ponte]] was in [[Prague]] preparing the production of Mozart's setting of his ''[[Don Giovanni]]'', the poet was ordered back to Vienna for a royal wedding for which Salieri's ''Axur, re d'Ormus'' would be performed. Obviously, Mozart was not pleased by this. 

There is very little evidence of a contentious relationship between the two composers. For example, when Salieri was appointed Kapellmeister in 1788 he revived ''Figaro'' instead of bringing out a new opera of his own; and when he went to the coronation festivities for Leopold II in 1790 he had no fewer than three Mozart masses in his luggage. Salieri and Mozart even composed a cantata for voice and piano together, called ''Per la ricuperata salute di Ophelia'' which was celebrating the return to stage of the singer [[Nancy Storace]]. This work has been [[Lost work|lost]], although it had been printed by [[Artaria]] in 1785. Mozart's ''Davide penitente'' K.469 (1785), his piano concerto in E flat major K.482 (1785), the clarinet quintet K.581 (1789) and the great Symphony in G minor K.550 had been premiered on the suggestion of Salieri, who supposedly conducted a performance of it in 1791. In his last surviving letter from [[14 October]] [[1791]], Mozart tells his wife that he collected Salieri and [[Caterina Cavalieri]] in his carriage and drove them both to the opera, and about Salieri's attendance at his opera ''[[Die Zauberflöte]]'' K 620, speaking enthusiastically: ''&quot;He heard and saw with all his attention, and from the overture to the last choir there was no piece that didn't elicit a &quot;Bravo!&quot; or &quot;Bello!&quot; out of him [...].&quot;''&lt;ref&gt;[[Maynard Solomon|Solomon, Maynard]], Mozart: A life, Harper Perennial (February 14, 1996)&lt;/ref&gt;

Salieri's health declined in his later years, and he was hospitalized shortly before his death. It was shortly after he died that gossip first spread that he had confessed to Mozart's murder on his deathbed.{{Fact|date=October 2008}} Although Salieri's two nurses, Gottlieb Parsko and Georg Rosenberg, as well as his family doctor Joseph Röhrig, attested that he never said any such thing, this rumor is considered prevalent to this day.{{Fact|date=October 2008}} 

===Fictional treatments===
*Within a few months of Salieri's death in 1825, [[Aleksandr Pushkin]] wrote his &quot;little tragedy&quot; ''Mozart and Salieri'' (1831) as a dramatic study of the sin of [[envy]].  Russian composer [[Nikolai Rimsky-Korsakov|Nikolay Rimsky-Korsakov]] adapted Pushkin's play as an [[Mozart and Salieri|opera of the same name]] in 1898. 
*A popular perpetuation of the story was in [[Peter Shaffer]]'s play ''[[Amadeus]]'' (1979) and the [[Academy Awards|Oscar]]-winning [[Amadeus (film)|1984 film]] directed by [[Miloš Forman]] based upon it. Salieri was portrayed in this film by [[F. Murray Abraham]], who won the [[Academy Award for Best Actor]]. Salieri is characterized as both in awe of and insanely resentful towards Mozart, going so far as to renounce [[God]] for blessing his adversary. Salieri's later hospitalization is portrayed as a stay in a [[mental hospital]], where he announces himself as &quot;the [[Patron Saint]] of mediocrity&quot;.
*Salieri's supposed hatred for Mozart is also alluded to in a [[parody|spoof]] opera entitled ''[[A Little Nightmare Music]]'', by [[P.D.Q. Bach]].  In the opera, Salieri attempts to [[poison]] an [[anachronism|anachronistic]] Shaffer but is bumped by a &quot;clumsy oaf&quot;, which causes him to inadvertently poison Mozart instead and spill wine on his favorite coat.
*[[Patrick Stewart]] played Salieri in the 1985 production ''The Mozart Inquest''.

==Recent popularity==
More and more of Salieri's music is being recorded. Many of his overtures and most of his limited symphonic music have now been released on CD, though Salieri wrote primarily for the voice and much of his operatic music is only starting to be recorded. In 2003, [[mezzo-soprano]] [[Cecilia Bartoli]] released ''The Salieri Album'', a CD with 13 arias from Salieri's operas, most of which had never been recorded before. Patrice Michaels sang a number of his arias on the CD Divas of Mozart's Day.  In 2008, another female opera star, [[Diana Damrau]], released a CD with seven Salieri coloratura arias. Since 2000, there have also been complete recordings issued or re-issued of the operas ''Axur Re d'Ormus'', ''[[Falstaff (Salieri)|Falstaff]]'', ''[[Les Danaïdes]]'', ''La Locandiera'', ''[[La grotta di Trofonio]]'' and ''[[Prima la musica e poi le parole]]''. Salieri has yet to fully re-enter the general repertory, but performances of his works are progressively becoming more regular.

His operas ''Falstaff'' (1995 production) and ''Tarare'' (1987 production) have been released on DVD. In 2004, the opera ''[[Europa Riconosciuta]]'' was staged in Milan for the reopening of [[La Scala]] in [[Milan]], with soprano [[Diana Damrau]] in the title role. This production was also broadcast on television, with a future DVD release possible.

Salieri has even begun to attract some attention from Hollywood. In 2001, his triple concerto was used in the soundtrack of ''[[The Last Castle]]'', featuring Robert Redford and James Gandolfini. It is a story that builds on the rivalry between a meticulous but untested officer (Gandolfini) serving as the warden of a military prison and an imprisoned but much admired and highly decorated general (Redford). The Salieri piece is used as the warden's theme music, seemingly to invoke the image of jealousy of the inferior for his superior. In 2006, the movie ''[[Copying Beethoven]]'' referred to Salieri in a more positive light. In this movie a young female music student hired by Beethoven to copy out his Ninth Symphony is staying at a monastery. The abbess tries to discourage her from working with the irreverent Beethoven. She notes that she too once had dreams, having come to Vienna to study opera singing with Salieri. Most recently the 2008 movie ''[[Iron Man (film)|Iron Man]]'' used the Larghetto movement from Salieri's Piano Concerto In C Major. The scene where Obadiah Stane, the archrival of 'Tony' Stark, the wealthy industrialist turned Ironman, tells Tony that he is being ousted from his company by the board, Obadiah plays the opening few bars of the Salieri concerto on a piano in Stark's suite.

==Scores==
*{{ChoralWiki}}
*{{IMSLP|id=Salieri%2C_Antonio|cname=Salieri}}

==Notes==
{{reflist}}

== References ==
* Rudolph Angermüller, ''Antonio Salieri'' 3 Vol. (München 1971-74)
* Rudolph Angermüller, ''Antonio Salieri. Fatti e Documenti'' (Legnago 1985)
* Volkmar Braunbehrens, ''Maligned Master - the Real Story of Antonio Salieri'', transl. Eveline L. Kanes (New York 1992)
* A. Della Corte, ''Un italiano all'estero: Antonio Salieri'' (Torino 1936) 
* V. Della Croce/F. Blanchetti, ''Il caso Salieri'' (Torino 1994) 
* I. F. Edler v. Mosel, ''Über das Leben und die Werke des Anton Salieri'' (Vienna 1827)
* John A. Rice, ''Antonio Salieri and Viennese Opera'' (Chicago 1998), ISBN 0226711250 - ISBN 978-0-226-71125-6 ([http://books.google.com/books?id=8YOwT4hOUQAC&amp;printsec=frontcover preview at Google Book Search])
* Alexander Wheelock Thayer, ''Salieri: Rival of Mozart'' (Kansas City 1989)

== External links ==
* [http://classyclassical.blogspot.com/2005/08/antonio-salieri-truth-or-fiction.html Salieri: Truth or Fiction]
* [http://www.library.unt.edu/music/virtual/browse.html#S Works by Salieri] in the University of North Texas Music Library's Virtual Rare Book Room
* [http://reverent.org/mozart_or_salieri.html Quiz: Mozart or Salieri?]

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;

{{Persondata
|NAME= Salieri, Antonio
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|SHORT DESCRIPTION= [[Composer]], [[Conducting|conductor]] 
|DATE OF BIRTH= {{birth date|1750|8|18|mf=y}}
|PLACE OF BIRTH= [[Legnago]], [[Republic of Venice]]  
|DATE OF DEATH= {{death date|1825|5|7|mf=y}}
|PLACE OF DEATH=[[Vienna]], [[Austria]] 
}}
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  </page>
  <page>
    <title>Gaetano Pugnani</title>
    <id>2774819</id>
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      <comment>robot Adding: [[es:Gaetano Pugnani]]</comment>
      <text xml:space="preserve">'''Gaetano Pugnani''' ([[27 November]] [[1731]]&amp;ndash; [[15 July]] [[1798]], full name: Giulio Gaetano Gerolamo Pugnani) was born in [[Turin]]. He trained on the violin under [[Giovanni Battista Somis]] and [[Giuseppe Tartini]]. In 1752, Pugnani became the first violinist of the Royal Chapel in Turin. Then he went on a large tour that granted him great fame for his extraordinary skill on the [[violin]]. In 1754, he was very well-received at the [[Concert Spiritual]] in [[Paris]], but in 1768 he had an even more successful musical encounter in [[London]], directing the [[King's Theatre]] from 1767 to 1769.

In 1770, Pugnani returned home to Turin and became the director of the [[Royal Chapel]]. His fame as a composer began to grow, but it would never equal his fame as a violinist. During this time, he also taught the violin. His most famous pupil was [[Giovanni Battista Viotti]]; from 1780 to 1782 they performed in [[Switzerland]], [[Dresden]], [[Warsaw]] and [[St. Petersburg]]. Pugnani died in Turin.

[[Fritz Kreisler]] borrowed Pugnani's name in order to publish some of his pieces (such as Praeludium and Allegro and Tempo di Minuetto), but in 1935 Kreisler revealed that these works were actually his own. 

==References==
*{{cite book
 | last = Russell
 | first = Tom
 | coauthors = Churgin, B.; Moore, D.
 | editor = Johnson, J.
 | title = Antonio Brioschi 1725-50/Fortunato Chelleri 1690-1757/Antonio Sacchini 1730-86/Gaetano Pugnani 1731-1798
 | edition = Series A, Volume 3
 | month = June | year = 1985
 | publisher = Taylor &amp; Francis
 | isbn = 0-8240-3858-4
}}

==External links==
* {{IMSLP|id=Pugnani, Gaetano}} 
* [http://it.youtube.com/watch?v=9WGwswl72O0 Pugnani Kreisler: Praeludium und Allegro Violin: Guido Rimonda,Orchestra Camerata Ducale]

{{DEFAULTSORT:Pugnani, Gaetano}}
[[Category:1731 births]]
[[Category:1798 deaths]]
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Italian violinists]]
[[Category:People from the Province of Turin]]

{{Violinist-stub}}
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  <page>
    <title>Claude Balbastre</title>
    <id>4876138</id>
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      <text xml:space="preserve">[[Image:Claude balbastre.jpg|thumb|right|200px|Claude Balbastre. Miniature on ivory. Musée de Dijon.]]
'''Claude Balbastre''' ([[December 8]], [[1724]] – [[May 9]], [[1799]]) was a [[France|French]] [[composer]], [[organist]] and [[harpsichord]]ist. He was one of the most famous musicians of his time.

==Life==
Claude Balbastre was born in Dijon in 1724. Although his exact birthdate was disputed, discovery of his baptismal record has now made that date certain.&lt;ref&gt; [http://www.musimem.com/images/balbastre-bapteme.jpg Baptismal record of Claude Balbastre]&lt;/ref&gt;

Balbastre's father, a church organist in Dijon, had 18 children from two marriages and Claude was the 16th (three of his brothers were named Claude). He received his first music lessons from his father, then became a pupil of [[Claude Rameau]], the younger brother of [[Jean-Philippe Rameau]], the most famous French musician at the time and also a native of Dijon.

Balbastre settled in Paris in 1750 and studied there with [[Pierre Février]], whom he succeeded as organist of the [[Saint Roch]] church. [[Jean-Philippe Rameau]] helped and protected Claude when the latter settled in the city, so Balbastre was quickly and efficiently introduced to the Parisian musical circles and high society, and made a brilliant career: he played at the ''[[Concert Spirituel]]'' until 1782&lt;ref&gt; Sadie, S.(ed), The Norton/Grove Concise Encyclopaedia of Music, Norton, 1994, p.54&lt;/ref&gt;, became organist of the [[Notre Dame de Paris|Notre-Dame cathedral]] and of the ''Chapelle Royale'', harpsichordist to the French royal court (he taught queen [[Marie-Antoinette]]) and organist for Louis-Stanislas-Xavier, [[Count of Provence]] (who later became [[Louis XVIII]], [[King of France]]). His fame was so great that the [[archbishop of Paris]] had to forbid him to play at Saint Roch during some of the services, because the churches were always crowded when Balbastre played.

An account of one of these services at Saint Roch is provided by Dr [[Charles Burney]] who recounts that, on Sunday 17 June 1770, left a dinner early in order to hear the &quot;celebrated&quot; Balbastre play the organ at Saint Roch. Balbastre &quot;''performed in all styles in accompanying the choir. When the [[Magnificat]] was sung, he played likewise between each verse several minuets, fugues, imitations, and every species of music, even to hunting pieces and jigs, without surprising or offending the congregation, as far as I was able to discover.''&quot;&lt;ref&gt;Preface to Curtis (ed.), CB Balbastre : Pièces de Clavecin d'Orgue, de Forte Piano, Huegel, 1973, p. VIII&lt;/ref&gt;

Burney visited Balbastre at home and reported that the latter owned a very beautiful harpsichord by [[Ruckers]] : &quot;''After church M. Balbastre invited me to his house, to see a fine Rucker harpsichord which he has had painted inside and out with as much delicacy as the finest coach or even snuff-box I ever saw at Paris.''&quot; He also reported that he owned a &quot;''very large organ, with pedals, which it may be necessary for a French organist to have for practice; it is too large and coarse for a chamber, and the keys are as noisy as those at St. Roque (sic).''&quot; Burney reports that Balbastre was on very good terms with his fellow composer [[Armand-Louis Couperin]], to whom he introduced Burney, remarking &quot;''I was glad to see two eminent men of the same profession, so candid and friendly together.''&quot;&lt;ref&gt;Ibid.&lt;/ref&gt;

In 1763 he married Marie-Geneviève Hotteterre, who came from a famous French family of musicians. During the [[French Revolution]], Balbastre's connection with nobility and the royal court might have endangered his life, but apparently he somehow adapted to the new politital situation, so he survived the storm, playing the Revolution hymns and songs on his organ. He did lose his official jobs and, temporarily, his pension. He died in Paris in 1799.

==Works==
[[Image:Marche des Marseillois.jpg|thumb|right|175px|''Marche des Marseillois chantée sur diferans theatres'', London: W. Holland, 1792.]]
Balbastre's known compositions include the following:

* 14 organ concertos (all lost but one)
* [[quartet]] [[sonata (music)|sonatas]]
* two collections of harpsichord pieces (from 1748 and 1759)
* four ''noëls variés'' suites for the organ or [[fortepiano]] (1770).
* [[Variation (music)|variations]] on [[La Marseillaise]]: ''Marche des Marseillois et l’Air Ça-ira Arrangés pour le Forte Piano / Par le Citoyen C. Balbastre / Aux braves défenseurs de la République française l’an 1792 1er de la République''

==Media==
{{listen|filename=Balbastre Joseph est bien marié.ogg|title=Joseph est bien marié|description=from Pièce pour orgue pour le temps de Noël|format=[[ogg]]}}

==Records==
BALBASTRE: Premier Livre de Pieces de Clavecin (1759) - '''Jean-Patrice BROSSE''', clavecin Kroll 1774; (label: Pierre Verany) [1999]

==See also==
*[[List of French harpsichordists]]
*[[French organ school]]

Listen to [http://perso.wanadoo.fr/organ-au-logis/Musique/BBBBpetiteChasse.mp3 Petite chasse]

==References==
{{Reflist}}

==External links==
* {{IMSLP|id=Balbastre, Claude}} 
*{{WIMA|idx=Balbastre|name=Claude Balbastre}}

{{DEFAULTSORT:Balbastre, Claude}}
[[Category:French composers]]
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  <page>
    <title>Armand-Louis Couperin</title>
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      <text xml:space="preserve">'''Armand-Louis Couperin''' (25 February 1727 - 2 February 1789) was a [[France|French]] [[composer]], [[organist]], and [[harpsichord]]ist of the late [[Baroque (music)|Baroque]] and early [[Classical period (music)|Classical]] periods.  He was a member of the [[Couperin]] family of musicians, of which the most notable were his great uncle [[Louis Couperin|Louis]] and his cousin [[François Couperin|François]].

== Biography ==
Couperin was born in [[Paris]].  His mother died when he was only 17 months old and he was raised by his father, Nicolas, also a composer and the successor to François &quot;Le Grand&quot; as organist at [[St-Gervais-et-St-Protais Church|St. Gervais Church]] in 1748.  Nothing is known of Couperin's education, though his library at the time of death contained 885 books, unusual for a musician and evidence of scholarly interest.

At age 21, Couperin's father died without leaving a will, making him the sole heir of both his parents.  His inheritance included Nicolas's post at St. Gervais.  In 1752, Couperin married Elisabeth-Antoinette Blanchet, a professional musician and the daughter of the best harpsichord maker in France, [[François-Etienne Blanchet]].  They had four children, three of whom became musicians.

Couperin and his wife taught harpsichord lessons and she was the organist at the abbey of [[Montmartre]].  Following his departure from St. Gervais, Couperin's many posts included St. Barthélemy (to 1772), St Jean-en-Grève, the convent of the Carmes-Billettes, [[Notre Dame de Paris|Notre Dame]] (from 1755), the [[Sainte Chapelle]] (from 1760), Sainte Marguerite, and the royal chapel (from 1770).

Couperin died at 61 in Paris in a traffic accident while hurrying from [[Vespers]] at Ste. Chapelle to St. Gervais.

== Music ==

References to Couperin by his contemporaries, including [[Charles Burney]], laud his [[improvisation]]al virtuosity (often on the ''[[Te Deum]]'' hymn) and established his reputation as one of the two best organists of the era.  Nevertheless, only one piece for organ exists today.

Couperin did not publish his church music and he refused to write for the theater.  His surviving works are almost exclusively for the keyboard.

Unlike many of his contemporaries, Couperin remained attached stylistically to ''la grande tradition française'', and his pieces have been criticized for their lack of modernity. However, David Fuller cites his experimental impulse and urge to explore the possibilities of instruments. An example is his ''Simphonie de clavecins'', the only work in existence that requires two harpsichords with ''[[genouillère]]s'' (knee-levers that allowed [[Dynamics (music)|diminuendo]]s).

==Works==

* ''3 cantatilles'' (lost) : ''Le Printemps, La Jeunesse, La Vieillesse''
* ''Cantatille pour l’Amour Médecin'' (soprano, 2 violins, bass) (1750)
* ''Pièces de Clavecin'', Opus I (1751)
* ''Sonates en pièces de clavecin'', Opus II (1765)
* ''Sonates en trio'' (1770)
* ''Quatuors à deux clavecins'' (1773)
* ''Symphonie''
* ''Dialogue entre le chalumeau et le basson'', for organ (1775)
* ''Variations pour clavecin:
** sur l’air ''Vous l’ordonnez'' (1775)
** ''Aria con variazione'' (1781)
** sur l’air ''Richard Cœur de Lion'' (1784)
* Several motets of which only one remains: ''Motet au Saint Sacrement'' (1787)

===Pièces de Clavecin (1751)===
* ''La Victoire''
* ''Allemande''
* ''Courante, La de Croissy''
* ''Les Cacqueteuses''
* ''La Grégoire''
* ''L'Intrépide''
* ''Premier menuet, deuxième menuet''
* ''L'Arlequine ou la Adam, rondeau''
* ''La Blanchet''
* ''La de Boisgelou''
* ''La Foucquet''
* ''La Sémillante ou la Joly''
* ''La Turpin''
* ''Première gavotte, seconde gavotte''
* ''Premier menuet, second menuet''
* ''La du Breüil''
* ''La Chéron''
* ''L'Affligée''
* ''L'Enjouée''
* ''Les tendres Sentiments''
* ''Rondeau''
* ''Les quatre nations''
** ''L'Italienne''
** ''L'Angloise, rondeau''
** ''L'Allemande''
** ''La Françoise''

==References==
* David Fuller: &quot;Armand-Louis Couperin&quot;, Grove Music Online, ed. L. Macy (Accessed 1 August 2006), [http://www.grovemusic.com (subscription access)]

==External links==
* {{WIMA|idx=A.Couperin}}
* [http://hdl.handle.net/1802/3919 Les cacqueteuses] Score from Sibley Music Library Digital Scores Collection

{{DEFAULTSORT:Couperin, Armand-Louis}}
[[Category:French composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:French classical organists]]
[[Category:1727 births]]
[[Category:1789 deaths]]

[[de:Armand-Louis Couperin]]
[[fr:Armand-Louis Couperin]]
[[hu:Armand-Louis Couperin]]
[[nl:Armand-Louis Couperin]]
[[ja:アルマン＝ルイ・クープラン]]
[[no:Armand-Louis Couperin]]
[[pt:Armand-Louis Couperin]]</text>
    </revision>
  </page>
  <page>
    <title>Domenico Fischietti</title>
    <id>17860424</id>
    <revision>
      <id>293880193</id>
      <timestamp>2009-06-02T05:00:52Z</timestamp>
      <contributor>
        <username>TXiKiBoT</username>
        <id>3171782</id>
      </contributor>
      <minor/>
      <comment>robot  Adding: [[ca:Domenico Fischietti]]</comment>
      <text xml:space="preserve">'''Domenico Fischietti''' (1725 – 1810) was an Italian composer. 

He was born in [[Naples]], [[Italy]] and  studied at the Conservatory of Sant'Onofrio Porta Capuana under the leadership of [[Leonardo Leo]] and [[Francesco Durante]]. 

His first opera, ''Armindo'', premiered in 1742 at the Teatro dei Fiorentini in [[Naples]], though there are doubts about whether he could have started composing at such a young age - it may have been by his father. In 1755 he was in Venice to present ''Lo speziale'' (the apothecary), the first opera with a libretto by [[Carlo Goldoni]]. He followed this success with ''La ritornata a Londra'' (The Return to London) in 1756, ''Il mercato di Malmantile'' (The Market of Malmantile) in 1758, ''Il signor dottore'' (The Doctor) also in 1758, and ''La fiera di Sinigaglia'' in 1760. These works, all [[dramma giocoso]], represent Fiscietti's chief claim to fame.

In 1764, he moved to [[Prague]] where he directed a theatre. In 1766 he became the master of the chapel court and the director of sacred music in Dresden. Here he worked with [[Johann Gottlieb Naumann]]. In 1772, he left Dresden and first travelled to [[Vienna]] and then to [[Salzburg]] where he became a master of the chapel of the prince-archbishop, [[Count Hieronymus von Colloredo]]. He died in [[Salzburg]] in 1810. 

==Operas==
*''Armindo'' (libretto by [[Paolo Saracino]], 1742, [[Naples]])
*''L'abate Collarone'' (libretto by Pietro Trinchera, 1749, [[Naples]])
*''Il pazzo per amore'' (1752, [[Naples]])
*''La finta sposa'' (1753, [[Palermo]])
*''La Sulamitide'' (1753, [[Firenze]])
*''Artaserse'' (libretto by [[Pietro Metastasio]], 1754, [[Piacenza]])
*''[[Lo speziale (Fischietti)|Lo speziale]]'' (libretto by [[Carlo Goldoni]], 1755, [[Venice]])
*''Solimano'' (libretto by [[Gianambrogio Migliavacca]], 1755, [[Venice]])
*''La ritornata di Londra'' (libretto by [[Carlo Goldoni]], 1756, [[Venice]])
*''[[Il mercato di Malmantile]]'' (libretto by [[Carlo Goldoni]], 1758, [[Venice]])
*''[[Il signor dottore]]'' (libretto by [[Carlo Goldoni]], 1758, [[Venice]])
*''Semiramide'' (libretto by [[Pietro Metastasio]], 1759, [[Naples]])
*''La fiera di Sinigaglia'' (libretto by [[Carlo Goldoni]], 1760, [[Rome]])
*''Tetide'' (1760, [[Vienna]])
*''Siface'' (libretto by [[Pietro Metastasio]], 1761, [[Venice]])
*''Olimpiade'' (libretto by [[Pietro Metastasio]], 1763, [[Prague]])
*''La donna di governo'' (libretto by [[Carlo Goldoni]], 1763, [[Prague]])
*''Alessandro nell'Indie'' (libretto by [[Pietro Metastasio]], 1764, [[Prague]])
*''Volosego, re di Parti'' (libretto by [[Apostolo Zeno]], 1764, [[Prague]])
*''Il dottore'' (revision of ''Il signor dottore'', 1764, [[Crema]])
*''Nitteti'' (libretto by [[Pietro Metastasio]], 1765, [[Prague]])
*''Les metamorphoses de l'amour, ou Le tuteur dupé (1769)
*''Il bottanico novellista'' (revision of ''Lo speziale'', 1770, [[Treviso]])
*''Talestri, regina dell'amazzoni'' (libretto by [[Maria Antonia Walpurgis of Bavaria]], 1773, [[Salzburg]])
*''L'isola disabitata'' (libretto by [[Pietro Metastasio]], 1774, [[Salzburg]])
*''Gli orti esperidi'' (libretto by [[Pietro Metastasio]], 1775, [[Salzburg]])
*''Il creso'' (1776, [[Naples]])
*''Arianna e Teseo'' (libretto by Pietro Pariati, 1777, [[Naples]])
*''La molinara'' (libretto by Filippo Livigni, 1778, [[Venice]])

==References==
*Libby, Denis (1992), 'Fischietti, Domenico' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7

Some of the information in this article is taken from the [http://it.wikipedia.org/wiki/Domenico_Fischietti Italian Wikipedia article].

&lt;!-- a translation of Italian Wikipedia --&gt;

{{DEFAULTSORT:Fischietti, Domenico}}
[[Category:1725 births]]
[[Category:1810 deaths]]
[[Category:Italian composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]
[[Category:Neapolitan school composers]]

[[ca:Domenico Fischietti]]
[[cs:Domenico Fischietti]]
[[it:Domenico Fischietti]]</text>
    </revision>
  </page>
  <page>
    <title>Jakub Jan Ryba</title>
    <id>877270</id>
    <revision>
      <id>300704265</id>
      <timestamp>2009-07-07T00:45:21Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>Added persondata</comment>
      <text xml:space="preserve">{{refimprove|date=May 2009}}
[[File:JJryba.jpg|thumb|right|200px|Jakub Jan Ryba]]
'''Jakub Šimon Jan Ryba''' ([[October 26]], [[1765]] – [[April 8]] [[1815]]) was a [[Czech people|Czech]] teacher and composer of [[european classical music|classical music]]. His most famous work is ''[[Czech Christmas Mass|Czech Christmas Mass &quot;Hey, Master!&quot;]]'' (''Česká mše vánoční &quot;Hej mistře!&quot;'').

Ryba was born in [[Přeštice]] near [[Plzen|Plzeň]]. His father was a schoolteacher, which was a very poorly paid occupation at the time. In 1780 Ryba went to [[Prague]], where he studied at the Piarist [[Gymnasium (school)|gymnasium]]. His teacher [[Cassianus Hanel]] taught him music. Ryba was a very good student and he soon started to compose. He dreamt of being a famous composer. In 1784 his father ordered him to work as a teacher in [[Nepomuk]]. Ryba reluctantly obeyed, but he was soon fired. After wandering for a few months, he received a message that his mother had died. After a long illness, he moved to [[Mnisek pod Brdy|Mníšek pod Brdy]]. Being popular among local inhabitants for performing music, he was quite happy there, but after some hesitation he accepted a schoolteacher position in [[Rožmitál pod Třemšínem]].
[[File:JJRyba-grave.JPG|thumb|left|J. J. Ryba's monument near Voltuš]]

The school prospered under his superintendence, but he had constant conflicts with the local pastor and council. His frequent requests for funds for repairs of the school building were usually rejected. In 1796, he wrote his most famous work, ''Czech Christmas Mass &quot;Hey, Master!&quot;'' (named by him as ''Missa solemnis Festis Nativitatis D. J. Ch. accomodata in linguam bohemicum musicam''), also as a consequence of a reconciliation with the local pastor. This work continues to be frequently performed at Christmas time in Bohemia. 

An insufferable lack of money and the hostility of his superiors led him to suicide.&lt;ref&gt;{{cite web|url=http://www.accessmylibrary.com/coms2/summary_0286-24529409_ITM|title=Ryba: Missa Solemnis in C; Mass in E minor.|author=Bauman|work=American Record Guide|date=1 September 2003|accessdate=6 May 2009}}&lt;/ref&gt; On [[April 8]] [[1815]] Ryba attended morning mass. Later, he was found in a dense forest with his throat cut with a razor. He had ''Essay on peace of soul'' by [[Seneca the Younger]], his favourite author, with him. He was buried at a plague cemetery near Rožmitál pod Tremšínem. 

His works include many mainly pastorellas and [[Mass (music)|masses]], but few compositions beyond the Czech Christmas Mass are performed regularly today. This composition is popular in many countries. 

==Literature==
* Jiří Berkovec: ''Jakub Jan Ryba'', Prague, 1995, ISBN 80-85787-97-0
* Václav Spěváček: ''Jakub Jan Ryba, vychovatel našeho lidu'' &lt;nowiki&gt;[&lt;/nowiki&gt;''Jan Jakub Ryba, Educator of Our Nation''&lt;nowiki&gt;]&lt;/nowiki&gt;, Prague, 1984
* Jan Němeček: ''Jakub Jan Ryba: život a dílo'' &lt;nowiki&gt;[&lt;/nowiki&gt;''Jan Jakub Ryba, Life and Works''&lt;nowiki&gt;]&lt;/nowiki&gt;, Prague, 1963
* Jan Němeček: ''Školní deníky Jakuba Jana Ryby'' &lt;nowiki&gt;[&lt;/nowiki&gt;''School Diaries by Jakub Jan Ryba''&lt;nowiki&gt;]&lt;/nowiki&gt;, Prague, 1957 
* Irena Janáčková: ''Jakub Jan Ryba o svém hudebním životě'' &lt;nowiki&gt;[&lt;/nowiki&gt;''Jakub Jan Ryba About His Life With Music''&lt;nowiki&gt;]&lt;/nowiki&gt;, Prague, 1946. Translation of [[autobiography]] ''Mein musikalischer Lebenslauf'' (in German) from 1801.

==References==
&lt;references /&gt;

== External links ==
(all texts are in Czech language)
* Shgort online biographies: [http://zivotopisyonline.cz/jakub-jan-ryba.php], [http://www.riebel.cz/lkcr/tm/aa.asp?id=265], [http://www.pis.cz/cz/dalsi_informace/info_a_z/ryba_jakub_jan]
* [http://www.geocities.com/Vienna/Studio/1541/ryba.html Detailed biography] 
* [http://www.geocities.com/Vienna/Studio/1541/cmv_text.html Text of the Czech Christmas Mass]
* [http://epedagog.upol.cz/eped1.2003/mimo/clanek34.htm Overview of the diary written by Ryba]
* Parts of the Czech Christmas Mass: [http://www.sbor-strahov.cz/nahravky/Nahravky.htm MP3 format], [http://certik.ruk.cuni.cz/orchestr_UK/A-V/default.html MOV format]

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Ryba, Jakub Šimon Jan
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Czech composer and teacher
|DATE OF BIRTH     = 26 October 1765
|PLACE OF BIRTH    = [[Přeštice]], nr [[Plzeň]]
|DATE OF DEATH     = 8 April 1815
|PLACE OF DEATH    = [[Rožmitál pod Třemšinem]]
}}

{{DEFAULTSORT:Ryba, Jakub Jan}}
[[Category:Classical era composers]]
[[Category:Czech composers]]
[[Category:Composers who committed suicide]]
[[Category:Suicides by sharp instrument]]
[[Category:1765 births]]
[[Category:1815 deaths]]

[[cs:Jakub Jan Ryba]]
[[de:Jakub Jan Ryba]]
[[eo:Jakub Jan Ryba]]
[[nl:Jakub Šimon Jan Ryba]]
[[ja:ヤクプ・シモン・ヤン・リバ]]
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    </revision>
  </page>
  <page>
    <title>Giacomo Rust</title>
    <id>14195665</id>
    <revision>
      <id>291554884</id>
      <timestamp>2009-05-22T05:06:31Z</timestamp>
      <contributor>
        <username>Kleinzach</username>
        <id>547500</id>
      </contributor>
      <comment>/* Works */ rmv wrong number</comment>
      <text xml:space="preserve">'''Giacomo Rust''' or Rusti ([[Rome]], [[Italy]], 1741 – [[Barcelona]], [[Spain]], 1786) was an [[Italian opera]] [[composer]], probably of [[Germans|German]] ancestry.

Not a great deal is known about Rust. Between 1763 and 1777, Rust was active in [[Venice]], where his first opera, a [[dramma giocoso]], ''La contadina in corte'', on the [[libretto]] by Niccolò Tassi, was performed, in 1763. During this period, Rust acquired great fame as opera composer, not only in Italy, buy also abroad, which gained him an invitation to be employed in the service of the [[Archbishopric of Salzburg|archbishop of Salzburg]]. On 12 June, 1777, he was named a choir master at the Salzburg court, a post that he abandoned towards the end of the year. Some time later, Rust returned to Venice to continue his operatic activity. In 1783, he settled down in Barcelona, where he assumed the office of the 'maestro de capilla'.

== Works ==
The following is the list of the operas composed by Rust.

{| class=&quot;wikitable sortable&quot;
!|Title!!|Genre!!|Sub&amp;shy;divisions!!|Libretto!!|Première date!!|Place, theatre
|-
|{{Hs|contadina}}''La contadina in corte'' || [[dramma giocoso per musica]] || 3 acts ||{{Hs|Tassi}}Niccolò Tassi ||{{Hs|1763-00-00}}1763 || [[Venice]], [[Teatro San Moisè]]
|-
|{{Hs|finta}}''La finta semplice'' || dramma giocoso || 3 acts ||{{Hs|Mililotti}}Pasquale Mililotti ||{{Hs|1772-03-00}}spring 1772 || [[Bologna]], Formagliari
|-
|{{Hs|idolo}}''L'idolo cinese'' || dramma giocoso || 3 acts ||{{Hs|Lorenzi}}Giovanni Battista Lorenzi ||{{Hs|1773-12-28}}{{Nowrap|28 December 1773}}|| Venice, Teatro San Samuele
|-
|{{Hs|conte}}''Il conte Baccellone'' || dramma giocoso || 3 acts ||{{Hs|Coltellini}}[[Marco Coltellini]], from ''La contessina'' by [[Carlo Goldoni]] ||{{Hs|1774-09-91}}autumn 1774 || Venice, Teatro San Moisè
|-
|{{Hs|cavalieri}}''I cavalieri lunatici'' || [[farsa]] || 3 acts || ||{{Hs|1774-09-92}}autumn 1774 || Venice, San Cassiano
|-
|{{Hs|amor}}''L'amor bizzaro'' || dramma giocoso || 3 acts ||{{Hs|Bertati}}[[Giovanni Bertati]] ||{{Hs|1775-03-91}}carnival 1775 || Venice, Teatro San Moisè
|-
|{{Hs|due amanti}}''Li due amanti in inganno''&lt;br&gt;(Act 1, Act 3)&lt;br&gt;(Act 2 by Matteo Rauzzini) || dramma giocoso || 3 acts || ||{{Hs|1775-03-92}}carnival 1775 || Venice, San Cassiano
|-
| ''Alessandro nelle Indie'' || [[dramma per musica]] || 3 acts || [[Metastasio]] ||{{Hs|1775-05-99}}Ascension 1775 || Venice, Teatro San Samuele
|-
|{{Hs|baron}}''Il baron in terra asciuta'' || dramma giocoso ||{{Hs|0.08}}8 scenes || ||{{Hs|1775-12-26}}26 December 1775 || Venice, Teatro San Samuele
|-
|{{Hs|Socrate}}''Il Socrate immaginario'' || dramma giocoso ||{{Hs|0.15}}15 scenes ||{{Hs|Lorenzi}}Giovanni Battista Lorenzi ||{{Hs|1776-03-00}}carnival 1776 || Venice, Teatro San Samuele
|-
| ''Calliroe'' || dramma per musica || 3 acts ||{{Hs|Verazi}}Mattia Verazi ||{{Hs|1776-06-00}}June 1776 || [[Padua]], Nuovo
|-
|{{Hs|Giove}}''Il Giove di Creta'' || dramma giocoso || 3 acts || ||{{Hs|1776-09-00}}autumn 1776 || Venice, San Cassiano
|-
|{{Hs|due protetti}}''Li due protetti'' || dramma giocoso || 2 acts ||{{Hs|Bagliacca}}Pier Antonio Bagliacca ||{{Hs|1776-12-26}}26 December 1776 || Venice, Teatro San Moisè
|-
|{{Hs|Parnaso confusa}}''Il Parnaso confusa'' || [[festa teatrale]] || 1 act || Metastasio ||{{Hs|1778-05-17}}17 May 1778 || [[Salzburg]], Hof
|-
|''Vologeso, re de' Parti'' || dramma per musica || 2 acts ||{{Hs|Zeno}}A Zeno ||{{Hs|1778-12-28}}28 December 1778 || Venice, Teatro San Benedetto
|-
|{{Hs|talismano}}''Il talismano'' (Act 2, Act 3) (Act 1 by [[Antonio Salieri]]) || dramma giocoso || 3 acts ||{{Hs|Goldoni}}[[Carlo Goldoni]] ||{{Hs|1779-08-21}}21 August 1779 || [[Milan]]
|-
|{{Hs|isola}}''L'isola capricciosa'' || dramma giocoso || 2 acts ||{{Hs|Mazzola}}Caterino Mazzolà ||{{Hs|1780-03-00}}carnival 1780 || Venice, Teatro San Samuele
|-
|{{Hs|antiquari}}''Gli antiquari in Palmira'' || [[commedia per musica]] || 3 acts ||{{Hs|Carpani}}Giuseppe Carpani ||{{Hs|1780-09-91}}autumn 1780 || Milan, [[La Scala|Teatro alla Scala]]
|-
| ''Demofoonte'' || dramma per musica || 3 acts ||Metastasio ||{{Hs|1780-09-92}}autumn 1780 || [[Florence]], Pergola
|-
|{{Hs|castellano}}''Il castellano deluso'' || || || ||{{Hs|1781-03-00}}carnival 1781 || [[Parma]], Ducale
|-
| ''Artaserse'' || dramma per musica || 3 acts ||Metastasio ||{{Hs|1781-09-00}}autumn 1781 || [[Perugia]], Civico
|-
| ''Adriano in Siria'' || dramma per musica || 3 acts ||Metastasio ||{{Hs|1781-12-26}}26 December 1781 || [[Turin]], [[Teatro Regio di Torino|Teatro Regio]]
|-
|{{Hs|incognita}}''L'incognita fortunata'' || [[farsa]] || 1 act ||{{Hs|Ciliberti}}G. Ciliberti ||{{Hs|1782-06-00}}summer 1782 || [[Naples]], Fondo
|-
|{{Hs|incontri}}''L'incontri inaspettati'' || || || ||{{Hs|1783-02-00}}February 1783 || [[Rome]], Capranica
|-
|{{Hs|caccia}}''La caccia d'Enrico IV'' || dramma giocoso || 2 acts ||{{Hs|Dian}}A. Dian ||{{Hs|1783-09-00}}autumn 1783 || Venice, Teatro San Moisè
|-
|{{Hs|marito}}''Il marito indolente'' || dramma giocoso || 2 acrts ||{{Hs|Mazzola}}Caterino Mazzolà ||{{Hs|1784-00-00}}1784 || [[Vienna]], Hof
|-
| ''Berenice'' || dramma per musica || 3 acts ||{{Hs|Durandi}}Jacopo Durandi ||{{Hs|1786-03-00}}carnival 1786 || Parma
|}

==References==
*Bauman, Thomas and Hintermaier, Ernst (1992), 'Rust, Giacomo' in ''The [[New Grove Dictionary of Opera]]'', ed. Stanley Sadie (London) ISBN 0-333-73432-7

{{DEFAULTSORT:Rust, Giacomo}}
[[Category:Italian composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]

[[it:Giacomo Rust]]</text>
    </revision>
  </page>
  <page>
    <title>William Flackton</title>
    <id>13370033</id>
    <revision>
      <id>301095095</id>
      <timestamp>2009-07-09T00:17:23Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>Added birth date (Grove), persondata</comment>
      <text xml:space="preserve">'''William Flackton''' (bap. [[27 March]] [[1709]] – [[5 January]] [[1798]]) was an [[English people|English]] [[violist|viola player]] and composer who is perhaps best known today for his compositions for the [[viola]].

Flackton was born in [[Canterbury]] and was the eldest surviving son of John Flackton and Catharine Sharp. He demonstrated a talent for music from an early age and at the age of nine he was admitted as a [[choir|chorister]] at [[Canterbury Cathedral]].

He worked as an apprentice bookseller until 1730 when he set up his own business and was involved in publishing and second-hand and antiquarian book trade, simultaneously being the organist for the church of [[Faversham Parish Church|St Mary of Charity]] in [[Faversham]] between 1735 and 1752.

Flackton had a particular interest in [[Christian music|church music]] which is demonstrated by his collection of music manuscripts, now held in the [[British Library]]. One of the more significant of Flackton's church compositions is ''Hymns for Three Voices'' which was composed in support of the Sunday school movement. Non-church music composed by Flackton includes ''A Glorious Chase'' in F major for three voices and horn, which he composed for the Canterbury Catch Club. Many of his works are used as examination pieces by many music schools.

== Bibliography ==
*Sarah Gray, &quot;Flackton, William (bap. 1709, d. 1798)&quot;, in ''Oxford Dictionary of National Biography'', ed. H. C. G. Matthew and Brian Harrison (Oxford: OUP, 2004)

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Flackton, William
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = English viola player and composer
|DATE OF BIRTH     = bap. 27 March 1709
|PLACE OF BIRTH    = Canterbury
|DATE OF DEATH     = 5 January 1798
|PLACE OF DEATH    = Canterbury
}}

{{DEFAULTSORT:Flackton, William}}
[[Category:1709 births]]
[[Category:1798 deaths]]
[[Category:Classical era composers]]
[[Category:English composers]]</text>
    </revision>
  </page>
  <page>
    <title>František Brixi</title>
    <id>3237947</id>
    <revision>
      <id>311830376</id>
      <timestamp>2009-09-04T13:30:53Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">'''František Xaver Brixi''' ([[January 2]], [[1732]] – [[October 14]], [[1771]]) was a [[Czech Republic|Czech]] [[classical music era|classical]] [[composer]] of the 18th century. His first name is sometimes given, by reference works, in its Germanic form: ''Franz''.

==Biography==
Brixi was born in [[Prague]], the son of composer [[Simon Brixi]]. He received his musical education at the ''Piarist Gymnasium'' in [[Kosmonosy]]. His teachers included [[Václav Kalous]], a significant composer himself. 

In 1749 Brixi left Kosmonosy and returned to Prague, where he worked as an [[organist]] at several churches. In 1759 he was appointed ''Kapellmeister'' of [[St Vitus Cathedral]], thus attaining, at the age of only 27, the highest musical position in the city; this office he held till his early death. He wrote some 290 church works (of the most varied type), [[cantata]]s and [[oratorio]]s, [[chamber music|chamber composition]]s, and orchestral compositions. His organ concertos, which have been recorded several times each, are his best-known pieces today.

==Style==
Brixi's style is distinguished from that of his contemporaries by its fresh melodic writing, vivacious rhythm and lively bass lines, and from that of his predecessors by its simple yet effective instrumentation. During his lifetime his music was widely disseminated in [[Bohemia]] and [[Moravia]].

==Important compositions==
* ''Missa integra d minor''
* ''Opus patheticum de septem doloribus Beatae Marae Virginis''
* ''Concerto in D major''
* ''Judas Iscariothes'' - ''Oratorium pro die sacro Parasceves''
* ''Missa solemnis D major'' - mass for solo, choir, orchestra and organ
* ''Litanie de seto Benedieto''
* ''Confiteor Tibi Domine''
* ''Sinfonia in D''
* ''Bitevní sinfonie''
* ''Fuga in a minor''
* ''Pastoral in C major''
* ''Preludium C major''
* ''Regina coeli''

==External links==
* [http://zivotopisyonline.cz/frantisek-xaver-brixi-211732-14101771-vyznamny-predstavitel-raneho-hudebniho-klasicismu/ František Brixi] {{cs icon}}
* {{ChoralWiki|Franz Xaver Brixi}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Brixi, František Xaver
|ALTERNATIVE NAMES = Brixi, František; Brixi, Franz Xaver; Brixi, Franz
|SHORT DESCRIPTION = Czech composer
|DATE OF BIRTH     = 2 January 1732
|PLACE OF BIRTH    = Prague
|DATE OF DEATH     = 14 October 1771
|PLACE OF DEATH    = Prague
}}

{{DEFAULTSORT:Brixi, Frantisek}}
[[Category:1732 births]]
[[Category:1771 deaths]]
[[Category:Czech composers]]
[[Category:Classical era composers]]
[[Category:Czech classical organists]]
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[[cs:František Xaver Brixi]]
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[[sl:František Xaver Brixi]]</text>
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  </page>
  <page>
    <title>Franz Paul Rigler</title>
    <id>18329913</id>
    <revision>
      <id>264253795</id>
      <timestamp>2009-01-15T14:00:26Z</timestamp>
      <contributor>
        <username>Gene Nygaard</username>
        <id>146986</id>
      </contributor>
      <text xml:space="preserve">'''Franz Xaver Paul Rigler''' ('''Riegler''') or '''František Pavol Rigler''' (1747/1748 &amp;ndash; [[October 17]] [[1796]]) was an [[Austrians|Austrian]] piano virtuoso, composer, teacher and theoretist.

Rigler was probably born in Austria. In period from around 1775 to 1791, he was the music professor at the Hauptnazionalschule in [[Bratislava]]. Until interrupting his performances on keyboard in about 1785, he was regarded as one of the best keyboard players of his time.&lt;ref&gt;Rigler, Franz Paul from ''The Grove Dictionary of Music and Musicians''&lt;/ref&gt;

His piano compositions and songs were published in Wien and Bratislava. Among his works, the most important one is the ''Anleitung zum Gesange, und dem Klaviere'' (1779), which covers practically all areas of music. His writings are influenced by late 18th-century Viennese tendencies in music and they also present information on the Viennese, Slovak and Hungarian music culture relationships.

He died on October 17, 1796 in [[Wien]].

==References==
&lt;references/&gt;

==External links==
* [http://epub.oeaw.ac.at/ml/musik_R/Rigler_Franz.xml Entry in Oesterreichisches Musiklexikon]
* {{sk icon}} [http://ii.fmph.uniba.sk/~filit/fvr/rigler_f_p.html Entry in FILIT, Open philosophic encyclopedy]

{{DEFAULTSORT:Rigler, Franz Paul}}
[[Category:Classical era composers]]
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[[cs:František Pavel Rigler]]
[[sk:Franz Paul Rigler]]</text>
    </revision>
  </page>
  <page>
    <title>François-André Danican Philidor</title>
    <id>90447</id>
    <revision>
      <id>312497215</id>
      <timestamp>2009-09-08T00:37:55Z</timestamp>
      <contributor>
        <ip>173.26.239.146</ip>
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      <comment>/* Musical career */</comment>
      <text xml:space="preserve">{{chess notation}}
{{Infobox chess player
|playername = François-André Danican Philidor
|image = [[Image:André Philidor.jpg|220px]]
|caption= Portrait from ''L’analyze des échecs''. London, second edition, 1777.
|birthname = François-André Danican Philidor
|country = {{flagicon|France|early}} [[Early Modern France|France]]
|datebirth = [[September 7]], [[1726]]
|placebirth = [[Dreux]], [[France]]
|datedeath = [[August 31]], [[1795]]
|placedeath = [[London]], [[England]]
|title =
|worldchampion = ~1747–1795 (unofficial)
|womensworldchampion =
|rating =
|peakrating =
}}
'''François-André Danican Philidor''' ([[September 7]], [[1726]] - [[August 31]], [[1795]]) was a [[France|French]] [[chess]] player and [[composer]]. He was regarded as the best chess player of his age (see any of the [[#References|References]]), although the title of [[World Chess Champion]] was not yet in existence. Philidor's book ''Analyse du jeu des Échecs'' was considered a standard chess manual for at least a century. He was commonly referred to as '''André Danican Philidor''' during his lifetime.

==Musical family==
François-André Danican Philidor came from an extraordinary musical family, which included:

* Jean Danican Philidor (ca.1620-1679), André Danican Philidor's grandfather, was a musician at the ''Grande Écurie'' (literally, the Great Stable; figuratively, the Military Band) in [[Paris]]. The original name of his family was Danican (D'Anican) and was of Scottish origin (Duncan). Philidor was a later addition to the family name. Jean Danican Philidor was given the nickname of Philidor by [[Louis XIII]] because his oboe playing reminded the king of an Italian virtuoso [[oboist]] coming from [[Siena]] named Filidori.

* Michel Danican (died ca.1659), André Danican Philidor's great-uncle, was a renowned [[oboist]] and, together with [[Jean Hotteterre]], coinvented the [[oboe]] by modifying the [[shawm]] so that the bore was narrower and the reed near could be held near the end by the player's lips.

* André Danican Philidor (ca.1647-1730), François-André Danican Philidor's father, was also known as ''Philidor l'ainé'' (Philidor the Elder). He was an oboist and [[crumhorn]] player. He was a member of the Grande Écurie military band and later performed at the Court, at the Royal Chapel, in the employ of [[Louis XIV]].
* Jacques Danican Philidor (1657-1708) was the younger brother of André Danican Philidor (Philidor the Elder) and, being a musician, too, was logically known as ''Philidor le cadet'' (Philidor the Younger).
* Pierre Danican Philidor (1681-1731), also a musician, was the son of Jacques Danican Philidor.
* [[Anne Danican Philidor]] (1681-1728) was André Danican Philidor's oldest brother. Anne Danican Philidor is best remembered today for having founded the [[Concert Spirituel]], an important series of public concerts held in the palace of the [[Tuileries]] from 1725 to 1791.

François-André Danican Philidor was born to his father’s second wife, Elizabeth Le Roy, whom he wed in 1719 when she was 19 years old and he 72. When François-André was born, his father was 79 years old; he died 4 years later and left his son fatherless.

==Chess career==
Philidor started playing regularly around 1740 at the chess Mecca of France, the [[Café de la Régence]]. It was also there that he famously played with a  friend from 'New England', Mr. Benjamin Franklin. The best player in France at the time, [[Legall de Kermeur]], taught him. At first, Legall could give Philidor [[Chess handicap|rook odds]], a handicap in which the stronger player starts without one of his rooks, but in only three years, Philidor was his equal, and then surpassed him. Philidor visited England in 1747 and decisively beat the [[Syria]]n [[Phillip Stamma]] in a match +8 =1 -1, despite the fact Philidor let Stamma have White in every game, and scored all draws as wins for Stamma.&lt;ref&gt;[[H. J. R. Murray]], ''A History of Chess'', Oxford University Press, 1913, p. 862. ISBN 0-19-827403-3.&lt;/ref&gt; 

Philidor astounded his peers by playing three [[blindfold chess]] games simultaneously in the chess club of St. James Street in [[London]] on 9 May 1783. Philidor let all three opponents play white, and gave up a pawn for the third player. Some [[affidavit]]s were signed, because those persons who were involved doubted that future generations would believe that such a feat was possible. Today, three simultaneous blindfold games would be fairly unremarkable among many chess [[chess master|masters]]. Even when he was in his late years, when he was 67 years old (1793), he played and won two blindfold games simultaneously in London.

In 1749, Philidor published his famous book ''Analyse du jeu des Échecs''. He printed a second edition in 1777, and a third edition in 1790.&lt;ref&gt;Murray, p. 863.&lt;/ref&gt; The book was such an advance in chess knowledge that by 1871, it had gone through about 70 editions, and had been translated into English, German and Italian. In it, Philidor analyzed nine different types of game openings. Most of the openings of Philidor are designed to strengthen and establish a strong defensive center using pawns. He is the first one to realize the new role of the [[pawn (chess)|pawn]] in the chess game; and his most famous advice was the saying &quot;The pawns are the soul of chess&quot;. It was said that the reason why Philidor emphasized the pawns in the chess game was related to the political background during the eighteenth century of France, and that he regarded pawns as the &quot;Third rank&quot; on the chess board (citizens were regarded as the third rank of the society before the [[French Revolution]] started in 1789). He also included analysis of certain positions of [[Philidor position#Rook and bishop versus rook|rook and bishop versus rook]], such analysis being still current theory even today. He is most famous for showing an important drawing technique with a [[rook and pawn versus rook endgame]], in a position known as the [[Philidor position]]. The [[Philidor Defence|Philidor Defense]] (1. e4 e5 2. Nf3 d6) is named for him.

[[Andrew Soltis]] writes that Philidor &quot;was the best player in the world for 50 years. In fact, he was probably about 200 [[Elo rating|rating points]] better than anyone else yet alive&amp;mdash;set apart by the mysteries of the game he had solved.&quot;&lt;ref&gt;[[Andrew Soltis]], &quot;Tools of the Trade . . .&quot;, ''[[Chess Life]]'', July 1995, p. 14.&lt;/ref&gt;

==Musical career==

[[Image:Philidor Opera Paris.jpeg|180 px|left|thumb|Philidor's bust on the façade of the Opera Garnier in Paris]]
Philidor joined the Royal choir of [[Louis XV of France|Louis XV]] in 1732 at the age of six, and made his first attempt at the composition of a song at the age of 11. It was said that Louis XV wanted to listen to the choir almost every day, and the singers, while waiting for the king to arrive, played chess to relieve their boredom; this may have sparked Philidor's interest in chess.

From 1750 to 1770 Philidor was a leading opera composer in France, and during his musical career produced twenty-one music comedies and one serious opera. However, when he felt that he was being surpassed by other composers, such as [[André Ernest Modeste Grétry]], Philidor decided to concentrate on chess.

A bust of Philidor is placed on the façade of the Opera Garnier palace in Paris.

==Final years==
Philidor was stranded in England when the [[French Revolution]] occurred. Because of many of his social connections mentioned above, the Revolutionary Government put him on the banned list. He died on August 31, 1795, in London and was buried in St James, [[Piccadilly]]. A few days later, his relatives succeeded in getting his name removed from the list.

== Notable chess games ==
*[http://www.chessgames.com/perl/chessgame?gid=1257921 Captain Smith vs François André Philidor, London, England 1790, Bishop's Opening: Berlin Defense (C24), 0-1] Good sample of Philidor's ideas about pawns; plus a nice mating combination at the end
*[http://www.chessgames.com/perl/chessgame?gid=1259660 François André Philidor vs NN, Unknown 1749, Bishop's Opening: Boi Variation (C23), 1-0] This game—possibly a composition by Philidor—demonstrates the value of passed pawns

== Notes ==
{{reflist}}

== References ==
* ''World Chess Champions'' by [[Edward G. Winter]], editor. 1981 ISBN 0080241174
* ''Life of Philidor: Musician and Chess-Player'' by George Allen, Tassilo von Heydebrand und der Lasa; Da Capo Press; 1971. ISBN 0-306-70075-1
* ''The World's Great Chess Games'' by [[Reuben Fine]]; Dover; 1983. ISBN 0-486-24512-8
* ''The Batsford Encyclopedia of Chess'' by [[Nathan Divinsky]]; 1990. ISBN 0-7134-6214-0
{{No footnotes|date=April 2009}}

==External links==
{{Wikisourcepar|Chess History and Reminiscences#Philidor}}
* {{chessgames player|id=31576}}
* [http://www.resmusica.com/aff_articles.php3?num_art=3098] [http://www.resmusica.com/aff_articles.php3?num_art=3101] [http://www.resmusica.com/aff_articles.php3?num_art=3100] [http://www.resmusica.com/aff_articles.php3?num_art=3099] Philidor at Res musica {{fr icon}}
* [http://www.mjae.com/philidor.html Philidor at mjae.com] {{fr icon}}

{{DEFAULTSORT:Philidor, Francois-Andre Danican}}
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[[br:François Philidor]]
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[[zh:法蘭索瓦·菲利多爾]]</text>
    </revision>
  </page>
  <page>
    <title>Giovanni Valentini (classical composer)</title>
    <id>18997894</id>
    <revision>
      <id>307140341</id>
      <timestamp>2009-08-10T10:38:03Z</timestamp>
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        <username>Waacstats</username>
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      <minor/>
      <comment>Stub-sorting. [[Wikipedia:WikiProject Stub sorting|You can help!]]</comment>
      <text xml:space="preserve">{{about|the classical composer|the baroque composer|Giovanni Valentini}}

'''Giovanni Valentini''' (ca. 1730 &amp;ndash; 1804) was an [[Italy|Italian]] [[Classical period (music)|classical]] [[composer]], [[poet]] and [[Painting|painter]]. He is best remembered for his innovative instrumental music.&lt;ref&gt;[http://www.dolmetsch.com/cdefsv.htm dolmetsch.com]&lt;/ref&gt; Among his many works are two [[operas]], ''La statua matematica'' and ''Le nozze in contrasto'', the latter of which premiered at the [[Teatro San Moisè]], [[Venice]], in November of 1774.&lt;ref&gt;[http://opera.stanford.edu/composers/V.html Opera at Stanford University]&lt;/ref&gt;

==References==
{{reflist}}

{{DEFAULTSORT:Valentini, Giovanni}}
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  </page>
  <page>
    <title>Luka Sorkočević</title>
    <id>9500513</id>
    <revision>
      <id>295817126</id>
      <timestamp>2009-06-11T17:31:44Z</timestamp>
      <contributor>
        <ip>201.246.102.136</ip>
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      <text xml:space="preserve">[[Image:Luca de Sorgo.jpg|thumb|200px|right|Luca de Sorgo-Sorkočević.]]

'''Luka Sorkočević''', also '''Count Luca de Sorgo''' ([[January 13]], [[1734]]  - [[September 11]], [[1789]]) was a [[Ragusan]] [[composer]] from the [[Republic of Ragusa]] (now Croatia, Dubrovnik). 

Luka (Lukša) Sorkočević was born in [[Dubrovnik]] and received an extensive education. His music teacher was the Italian composer [[Giuseppe Valentini]], who was ''maestro di cappella'' of Dubrovnik Cathedral in the 1750s. He continued his education in [[Rome]] where he studied [[musical composition]] from [[Rinaldo di Capua]]. Later, Sorkočević married a girl from Luccari (Lukarević) family and held several posts in various branches of Dubrovnik politics and society. During his relatively brief stint in [[Vienna]] as the ambassador to the imperial court he met several leading composers of his time, like [[Gluck]] and [[Haydn]], and the famous poet [[Metastasio]] – a valuable experience for his later life and work. With serious health problems, he committed [[suicide]] by throwing himself from the third floor of his palace in Dubrovnik in 1789, at the age of 55.

He was an equal to the best European pre-[[Classical period (music)|Classical]] composers. His music can be described as being half way between the [[Baroque music]] and the [[Classical period (music)|Classical music]]. His music has been preserved, like other Sorkočević family possessions, in the archives of the Dubrovnik [[Franciscan]] [[convent]]. 

Although he also wrote a few vocal pieces, his most interesting works are the eight symphonies, the [[violin]] sonata and the overture trio for the [[flute]].
These instrumental works belong to the transitional period between baroque and classicism. They can neither be associated with the ''[[Sensitive style|empfindsamer Stil]]'' – indicated by the fact that they are exclusively written in major keys – nor with the modernism of the Mannheim school. Nevertheless, Sorkočević's music contains traces of both styles. The ''Largo'' of the Symphony no. 7 shows the kind of expression which is associated with the ''Empfindsamkeit'' and the first movement of the Symphony no. 1 contains the crescendi for which the Mannheim school was famous. The Sonata in A-major for piano was written in 1754.

==See also==

* [[Republic of Ragusa]]
* [[List of notable Ragusans]]
* [[Dubrovnik]]
* [[Dalmatia]]
* [[History of Dalmatia]]
* [[Antun Sorkočević]]
* [[House of Sorkočević]]

==External Sources==
*[http://www.musicweb.uk.net/classrev/2003/Aug03/Sorkocevic_SySer_Hofmusik_1.htm Sorkočević's music review]
*[http://www.croatianhistory.net/dubrovnik/audio/pjesme.html Samples of Sorkočević's music]

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  </page>
  <page>
    <title>Giovanni Marco Rutini</title>
    <id>19228409</id>
    <revision>
      <id>307140405</id>
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      <minor/>
      <comment>Stub-sorting. [[Wikipedia:WikiProject Stub sorting|You can help!]]</comment>
      <text xml:space="preserve">'''Giovanni Marco Rutini''' (25 April, 1723 - 22 December, 1797) was an [[Italian people|Italian]] composer.

== Biography ==
He was born in [[Florence]] and studied at the [[Naples]] conservatory. In 1748 he came to [[Prague]] and joined the [[Giovanni Battista Locatelli|Locatelli]] ensemble. In the beginnings of his career he devoted himself mainly to the [[kapellmeister]] activities, and composed  predominantly the [[cembalo]] [[sonata|sonatas]].&lt;ref name=autogenerated1&gt;{{cite journal |last=Jonášová |first=Milada |authorlink= |coauthors= |year=2008 |month=October |title=Italští operní skladatelé v Praze |journal=Harmonie |volume= |issue=9 |pages=10–12 |id= |url= |accessdate=2008-09-08 |quote= }} {{cs icon}}&lt;/ref&gt; Rutini performed his first &quot;Prague opera&quot;, ''Alessandro nell´Indie'', in 1750. Another opera, ''Semiramide riconosciuta'', was dedicated to the &quot;nobility of the Czech Kingdom&quot;.&lt;ref name=autogenerated1&gt;{{cite journal |last=Jonášová |first=Milada |authorlink= |coauthors= |year=2008 |month=October |title=Italští operní skladatelé v Praze |journal=Harmonie |volume= |issue=9 |pages=10–12 |id= |url= |accessdate=2008-09-08 |quote= }} {{cs icon}}&lt;/ref&gt; Rutini later moved with Locatelli and his group to the [[Russia|Russian]] [[St. Petersburg]]. He composed there the [[comic opera]]s, mainly to the [[libretto]]s of [[Carlo Goldoni]]. He was also the piano teacher of [[Catherine II of Russia|Catherine II]], the future Russian empress.&lt;ref name=autogenerated1&gt;{{cite journal |last=Jonášová |first=Milada |authorlink= |coauthors= |year=2008 |month=October |title=Italští operní skladatelé v Praze |journal=Harmonie |volume= |issue=9 |pages=10–12 |id= |url= |accessdate=2008-09-08 |quote= }} {{cs icon}}&lt;/ref&gt; Since early 1760s he came back to Florence, and continued in the opera composing. 

The manuscripts of his operas are stored in the ''Landesbibliothek'' in [[Dresden]], in the library of the Florence conservatory, and also in ''Civico Museo Bibliographico'' in [[Bologna]].

== Operas ==
*''Alessandro nell'Indie'' (to the libretto of [[Pietro Metastasio]], 1750, Prague)
*''Semiramide'' (to the libretto of Pietro Metastasio, 1752, Prague)
*''Il retiro degli dei'' (to the libretto of [[Giovanni Battista Locatelli]], 1757, St. Peterburgh)
*''Il negligente'' (to the libretto of [[Carlo Goldoni]], 1758, St. Peterburgh)
*''Il caffè di campagna'' (to the libretto of [[Pietro Chiari]], 1762, Bologna)
*''I matrimoni in maschera (Gli sposi in maschera; Il tutore burlato)'' (to the libretto of F. Casorri, 1763, [[Cremona]])
*''Ezio'' (to the libretto of Pietro Metastasio, 1763, [[Firenze]])
*''L'olandese in Italia'' (to the libretto of N. Tassoi, 1765, Firenze)
*''L'amore industrioso'' (to the libretto of G. Casorri, 1765, [[Venezia]])
*''Il contadino incivilito'' (to the libretto of O. Goretti, 1766, Firenze)
*''Le contese domestiche (Le contese deluse)'' (intermezzo, 1766, Firenze)
*''L'amor tra l'armi'' (to the libretto of N. Tassi, 1768, Siena)
*''Faloppa mercante (Gli sponsali di Faloppa)'' (1769, Firenze)
*''La Nitteti'' (to the libretto of Pietro Metastasio, 1770, [[Modena]])
*''L'amor per rigiro'' (to the libretto of N. Tassi, 1773, Firenze)
*''Vologeso re de' Parti'' (to the libretto of [[Apostolo Zeno]], 1775, Firenze)
*''Sicotencal'' (to the libretto of C. Olivieri, 1776, [[Torino]])
*''Il finto amante'' (1776, [[Pistoia]])
*''Gli stravaganti''

== References ==
{{Reflist}}

== External links ==

*http://www.operone.de/komponist/rutini.html {{de icon}} 

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  </page>
  <page>
    <title>Theodor von Schacht</title>
    <id>19316341</id>
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      <comment>layout and grammar</comment>
      <text xml:space="preserve">'''Theodor von Schacht''' (1748 in [[Strasbourg]] &amp;ndash; 20 June 1823 in [[Regensburg]]) was a [[German people|German]] composer.

After his studies in [[Stuttgart]] and [[Wetzlar]], von Schacht arrived in Regensburg as a knight (''Hofkavalier''). There he was appointed in 1773 director of the court music, and assigned also to direct Italian opera. 

In 1796 he was gifted with a lifetime pension for services rendered.

He composed at least 33 symphonies, one of them published in full in Angerer, {{Google books|KlnOMKHsthUC|Seven Symphonies from the court of Thurn and Taxis}} (pub. Garland, 1984).  His compositions also included music for clarinet, including three clarinet concertos (one of them written in 1781)&lt;ref&gt;Rice, Albert R. (2003). {{Google books|Tb016MPagT0C|The Clarinet in the Classical Period}}. Oxford University Press. page 250. ISBN 019514483X.&lt;/ref&gt;. One was recorded by [[Dieter Klöcker]].&lt;ref&gt;Orfeo C 290 931 A, 1993, with works for 1-3 clarinets and orchestra, Oliver Link the 2nd clarinetist. A copy is still at University of Virginia Libraries.&lt;/ref&gt;.

''Based mainly on http://de.wikipedia.org/w/index.php?title=Theodor_von_Schacht&amp;oldid=42844888 ''

==References==
{{reflist}}

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{{lifetime|1748|1823|Schacht, Theodor von}}
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  </page>
  <page>
    <title>Joan Baptista Pla</title>
    <id>19322962</id>
    <revision>
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      <comment>Robot-assisted fix [[WP:DPL|links to disambiguation page]] Violinist</comment>
      <text xml:space="preserve">'''Joan Baptista Pla''' (born c. 1720 in [[Catalonia]] - died 1773 likely in [[Paris]]) was a Spanish [[composer]] and [[oboist]].

Joan Baptista came from a Catalan family of musicians. In the years after 1751, he worked in many of the principal cities of Europe including [[Padua]],[[ Stuttgart]], [[Brussels]], Paris and 
[[London]] along with his brother, Josep Pla (1728-1762), a chamber musician. After Josep's death, Joan Baptista went to Lisbon as an oboist and [[bassoonist]]. 

The Pla brothers left hundreds of manuscripts including about 30 trio sonatas and some concertos for [[flute]] and strings. Another brother, Manuel Pla, was a [[violin]]ist and [[harpsichordist]] at the court of [[Madrid]].

==Sources==
* [http://de.wikipedia.org/wiki/Joan_Baptista_Pla Joan Baptista Pla], entry in the German Wikipedia

==External links==
*{{WIMA|idx=Ju.Pla|name=Joan Baptista Pla}}

{{DEFAULTSORT:Pla, Joan Baptista}}
[[Category:1720 births]]
[[Category:1773 deaths]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
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  </page>
  <page>
    <title>Niccolò Jommelli</title>
    <id>214105</id>
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      <comment>/* External links */ Added ChoralWiki link</comment>
      <text xml:space="preserve">[[Image:Niccolò Jommelli.jpg|thumb|right|Niccolò Jommelli]]

'''Niccolò Jommelli''' (10 September 1714 &amp;ndash; 25 August 1774) was an [[Italy|Italian]] [[composer]].  He was born in [[Aversa]] and died in [[Naples]]. Along with other composers mainly in the [[Holy Roman Empire]] and [[France]], he made important changes to [[opera]] and reduced the importance of star singers.

==Biographical information==

===Early life===
Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in [[Aversa]], a town some 20 kilometres north of [[Naples]]. He had one brother Ignazio, who became a Dominican monk and helped the composer in his old age, and three sisters. His father was a prosperous linen merchant, who entrusted Jommelli to the choir director of the cathedral, Canon Muzzillo. 

As he had shown talent for [[music]] Jommelli was enrolled after in 1725 at the [[Music Conservatories of Naples|Conservatorio di Santo Onofrio a Capuana]] in Naples, where he studied under [[Ignazio Prota]] and [[Francesco Feo]]. Three years later he was transferred to the Conservatorio di Santa Maria della Pietà dei Turchini, where he was trained under [[Niccolò Fago]], having Don [[Giacomo Sarcuni]] and [[Andrea Basso]], as second maestri, that is, singing teachers (maestri di canto).

Jommelli studied music under [[Canon (priest)|Canon]] Muzzillo, the director of the Aversa cathedral choir. In 1725 he was sent to the ''Conservatorio Sant'Onofrio'' at Naples, and studied alongside [[Francesco Feo]] and [[Tommaso Prota]]. In 1728 he moved to the ''Conservatorio dei Turchini'', and was taught by Nicola Fago (among others). He was greatly influenced by [[Hasse]], who was in Naples during this period. After completing his studies he began work, and wrote two [[opere buffe|opera buffa]], ''L’errore amorosa'' in early 1737 and ''Odoardo'' in late 1738. His first [[opera seria]], ''Ricimero re di Goti'', was such a success in [[Rome]] in 1740 that work was immediately commissioned from him by [[Henry Benedict Stuart]], the Cardinal-Duke of York.

When still studying at the conservatory, Jommelli was impressed with Hasse’s use of ''obbligato'' recitative to increase the tension at certain dramatic moments in his operas. Speaking of  obbligato recitative for Ricimero, [[Charles de Brosses]] says that Jommelli’s use of ''obbligato'' recitative was better than anything he had heard in France.&lt;ref&gt;Charles de Brosses, ''L'Italie il y a cent ans, ou lettres écrites d'Italie à quelques amis en 1739 et 1740''&lt;/ref&gt; 

===First operas===
His first opera, the comedy ''L’errore amoroso'', was presented, with great success, under the protection of the Marquis del Vasto, Giovanni Battista d’Avalos, the winter of 1737 in the Teatro Nuovo of Naples. It was followed in the next year by a second comic opera, ''Odoardo'', in the Teatro dei Fiorentini. His first serious opera ''Ricimero rè  de’ Goti'', presented in the Roman Teatro Argentina in January 1740, brought him to the attention and then the protection of the Duke of York, Henry Benedict. The duke would later be raised to the rank of cardinal and procure Jommelli an appointment at the Vatican. During the 1740s Jommelli wrote operas for many Italian cities: [[Bologna]], [[Venice]], [[Turin]], [[Padua]], [[Ferrara]], [[Lucca]], [[Parma]], along with Naples and [[Rome]].

===Studies with Padre Martini===
When in Bologna in 1741, for the production of his &quot;Ezio&quot;, Jommelli (in a situation blurred with anecdotes) met [[Padre Martini]]. [[Saverio Mattei]] said that Jommelli studied with Martini, and acknowledged to have learned with him ‘the art of escaping any anguish or aridity’. Nevertheless, Jommelli’s constant travelling in order to produce his many operas seems to have prevented him from ever having any lessons on a regular basis.  Moreover, Jommelli’s relationship with Martini was not without mutual criticism. The main result of his stay in Bologna and his acquaintance with Martini was to present to the [[Accademia Filarmonica]] of that city for the procedures of admission, his first known church music, a five-voice fugue a cappella, on the final words of the small doxology, the ‘Sicut Erat’. The musicologist [[Gustav Fellerer]], who examined several such works testifies that Jommelli’s piece, though being just ‘a rigid school work’, could well rank among the best admission pieces now stored in the Bolognese Accademia Filarmonica. During the early 1740s Jommelli wrote an increasing amount of religious music, mainly oratorios, and his first liturgical piece still extant, a very simple &quot;Lætatus sum&quot; in F major dated 1743, is held in the Santini collection in [[Münster]].

In 1741 Jommelli went to [[Bologna]] to compose the music for [[Metastasio]]'s ''Ezio'', studying for a time under the famous [[Franciscan]] [[Friar]] and musician, Father [[Giovanni Battista Martini]] and becoming a lifelong friend of his. He was admitted to the ''Accademia Filarmonica''. Shortly afterwards he moved to [[Venice]], and composed his opera ''Merope,'' which was the forerunner for the French style of opera later in the century. In the years immediately after this, he wrote operas for Venice, Turin, Bologna, Ferrara, and Padua, and two popular oratorios, ''Isacco figura del Redentore'' and ''Betulia liberata''.

===Venice===
Some time around 1745, Hasse recommended Jommelli for a position as the Director of Music at the Ospedale degli Incurabili in [[Venice]], one of that city's colleges for female musicians. This full-time employment required him to compose sacred music (mostly settings of the [[Mass]] and the [[Divine Office]]), but the financial security it gave him also allowed him to compose several other dramatic works.

The appointment of Jommelli, recommended by Hasse, as maestro di cappella to the [[Ospedale degl’ Incurabili]] in Venice is not definitively documented. However, in 1745 he did start writing religious works for women’s choir to be performed in the church of the Incurabili, San Salvatore, a duty that was—together with the tuition of the more advanced students of the institution—part of the chapel master’s obligations.  There are no autographs of Jommelli’s music composed for the Incurabili, but there are many copies of different versions of several of his works that may, with some certainty, be attributed to his period as maestro there. Among the music [[Helmut Hochstein]] lists as being composed for Venice, are to be found four oratorios: &quot;Isacco figura del Redentore&quot;, &quot;La Betulia liberata&quot;, &quot;Joas&quot;, &quot;Juda proditor&quot;; some numbers in a collection of solo motets called Modulamina Sacra; one Missa breve in F major with its Credo in D major, probably a second mass in G major,47 one Te Deum, and five psalms.

[[Image:Opera Garnier Jomelli.jpg|thumb|upright|Jommelli finds a place among the composers commemorated on the [[Opéra Garnier]], Paris]] 

Though some his earliest biographers, Mattei and Villarosa, give 1748 as the year when Jommelli gave up his employment in Venice, his last compositions for the Incurabili are from 1746. He must have left Venice at the very end of 1746 or at the beginning of the following year, because on 28 January 1747 Jommelli was staging at the Argentina theatre in Rome his first version of the &quot;Didone abbandonata&quot;, and in May at San Carlo theatre in Naples a second version of &quot;Eumene&quot;.

===Rome===
It was the need of an active chapel master for the basilica of Saint Peter’s in reaching for the Jubilee festival year that brought both Jommelli and [[David Perez]] to Rome in 1749. The Jubilee is a year-long commemoration which the Roman Catholic Church holds every fifty years. Therefore this was an important occasion for Roman aristocratic society to show off. Jommelli was summoned by the Cardinal Duke of York, Henry Benedict, for whom he wrote a Metastasian oratorio, &quot;La passione&quot; — that continued to be played yearly in Rome — and who presented him to Cardinal Alessandro Albani, an intimate of Pope Benedict XIV.

===Stuttgart and last years===
He subsequently visited [[Vienna]] before taking a post as [[Kapellmeister]] to Duke [[Karl-Eugen of Württemburg]] in [[Stuttgart]] in 1753. This period saw some of his greatest successes and the composition of what are regarded as some of his best works. Many were staged at the Duke's private theatres in the Palace of [[Ludwigsburg]], outside Stuttgart. [[Mozart]] and his father passed through Ludwigsburg in 1763 and met the composer. Jommelli returned to Naples in 1768, by which time ''[[opera buffa]]'' was more popular than Jommelli's ''[[opera seria]]'', and his last works were not so well received. He suffered a [[stroke]] in 1771 which partially paralysed him, but continued to work until his death three years later. He died in Naples.

==Works==
Jommelli wrote [[cantata]]s, [[oratorio]]s and other sacred works, but by far the most important part of his output were his operas, particularly his ''[[opera seria|opere serie]]'' of which he composed around sixty examples, several with ''[[libretti]]'' by [[Metastasio]]. In his work, he tended to concentrate more on the story and drama of the opera than on flashy technical displays by the singers, as was the norm in Italian opera at that time. He wrote more ensemble numbers and choruses, and, influenced by French opera composers such as [[Jean-Philippe Rameau]], he introduced [[ballet]]s into his work. He used the orchestra (particularly the [[wind instrument]]s) in a much more prominent way to illustrate the goings-on of the story, and wrote passages for the orchestra alone rather than having it purely as support for the singers. From [[Johann Adolph Hasse]], he learnt to write [[recitative]]s accompanied by the orchestra, rather than just by a [[harpsichord]]. His reforms are sometimes regarded as equal in importance to [[Christoph Willibald Gluck]]'s.

===Operas===
*''Demetrio'' (Parma, 1749)
*''Ciro riconosciuto'' (Venice, 1749)
*''[[L'uccellatrice]]'' (Venice, 1750)
*''Attilio Regolo'' (Rome, 1753)
*''[[L'Olimpiade (Jommelli)|L'Olimpiade]]'' (Stuttgart, 1761)
*''Demofoonte'' (Stuttgart, 1764)
*''Temistocle'' (Ludwigsburg, 1765)
*''[[Vologeso]]'' (Ludwigsburg 1766)
*''La critica'', (Ludwigsburg 1766)
*''[[Fetonte]]'' (Ludwigsburg 1768)
*''[[La schiava liberata]]'' (Ludwigsburg 1768)
*''[[Armida abbandonata]]'' (Naples, 1770)
*''[[Iphigenia en Tauride]]'' (Naples, 1771)

==References==
{{reflist}}
*Maurício Dottori. ''The Church Music of Davide Perez and Niccolò Jommelli''. Curitiba: DeArtes-UFPR, 2008.

==External links==
*[http://www.domenicoscarlatti.it Istituto Internazionale per lo studio del '700 musicale napoletano] 
*{{IckingArchive|idx=Jomelli|name=Niccolò Jommelli}}
*{{ChoralWiki}}

{{DEFAULTSORT:Jommelli, Niccolo}}
[[Category:1714 births]]
[[Category:1774 deaths]]
[[Category:People from the Province of Caserta]]
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Opera composers]]
[[Category:Neapolitan school composers]]
[[Category:People from Naples]]

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  <page>
    <title>André Grétry</title>
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      <text xml:space="preserve">[[Image:André Ernest Modeste Grétry.jpg|thumb|André Ernest Modeste Grétry]]

'''André Ernest Modeste Grétry''' (February 8, 1741 – September 24, 1813) was a 
composer from the [[Prince-Bishopric of Liège]] (present-day [[Belgium]]), who worked from 1767 onwards in [[France]] and took French nationality. He is most famous for his ''[[opéra comique|opéras comiques]]''.

==Biography==
He was born at [[Liège (city)|Liège]], his father being a poor [[musician]]. He was a choir-boy at the church of Saint-Denis.  [[Image:Andre Gretry 1.jpg|thumb|Grétry wearing his medal from the [[Légion d'honneur]] ]]
In 1753 he became a pupil of [[Leclerc]] and later of the organist at St-Pierre de Liège, Nicolas Rennekin, for keyboard and composition and of Henri Moreau, music master at the collegiate church of St. Paul. But of greater importance was the practical tuition he received by attending the performance of an [[Italy|Italian]] [[opera]] company. Here he heard the operas of [[Baldassarre Galuppi|Galuppi]], [[Giovanni Battista Pergolesi|Pergolesi]], and other masters; and the desire of completing his own studies in Italy was the immediate result. To find the necessary means he composed in 1759 a [[mass (liturgy)|mass]] which he dedicated to the [[canon (priest)|canons]] of the [[Liège cathedral]], and it was at the cost of Canon Hurley that he went to Italy in March 1759. In [[Rome]] he went to the [[Collège de Liège]]. Here Grétry resided for five years, studiously employed in completing his musical education under [[Giovanni Battista Casali|Casali]]. His proficiency in harmony and counterpoint was, however, according to his own confession, at all times very moderate.

His first great success was achieved by ''La vendemmiatrice'', an Italian intermezzo or [[operetta]], composed for the [[Aliberti theatre]] in [[Rome]] and received with universal applause. It is said that the study of the score of one of [[Pierre-Alexandre Monsigny|Monsigny]]'s operas, lent to him by a secretary of the French embassy in Rome, decided Grétry to devote himself to French comic opera. On New Year's day 1767 he accordingly left Rome, and after a short stay at [[Geneva]] (where he made the acquaintance of [[Voltaire]], and produced another operetta) went to [[Paris]].

There for two years he had to contend with the difficulties incident to poverty and obscurity. He was, however, not without friends, and by the intercession of [[Gustaf Philip Creutz|Count Creutz]], the Swedish ambassador, Grétry obtained a [[libretto]] from [[Jean-François Marmontel|Marmontel]], which he set to music in less than six weeks, and which, on its performance in August 1768, met with unparalleled success. The name of the opera was ''Le Huron''. Two others, ''Lucile'' and ''Le Tableau parlant'', soon followed, and thenceforth Grétry's position as the leading composer of comic opera was safely established. 

Altogether he composed some fifty operas. His masterpieces are ''[[Zémire et Azor]]'' and ''[[Richard Coeur-de-lion (opera)|Richard Coeur-de-lion]]'' - the first produced in 1771, the second in 1784. The latter in an indirect way became connected with a great historic event. In it occurs the celebrated romance, ''O Richard, O mon Roi, l'univers t'abandonne'', which was sung at the banquet&amp;mdash;&quot;fatal as that of [[Thyestes]],&quot; remarks [[Thomas Carlyle|Carlyle]]&amp;mdash;given by the bodyguard to the officers of the Versailles garrison on October 3, 1789. [[La Marseillaise]] not long afterwards became the reply of the people to the expression of loyalty borrowed from Grétry's opera. ''Richard Cœur de Lion'' was translated and adapted for the English stage by [[John Burgoyne]]. 

Grétry was the first to write for the &quot;tuba curva&quot;, an instrument that existed from Roman times as the [[cornu]].  He used the tuba curva in music that he composed for the funeral of [[Voltaire]].&lt;ref&gt;Grove's Dictionary of Music and Musicians, 5th ed, 1954&lt;/ref&gt;

His opera-ballet ''[[La caravane du Caire]]'', with modest ''turquerie'' exoticism in harp and triangle accompaniment, is a rescue adventure along the lines of ''Die Entführung aus dem Serail''; premiered at [[Château de Fontainebleau|Fontainebleau]] in 1783, it remained in the French repertory for fifty years.

The composer himself was not uninfluenced by the great events he witnessed, and the titles of some of his operas, such as ''La rosière républicaine'' and ''La fête de la raison'', sufficiently indicate the epoch to which they belong; but they are mere ''pièces de circonstance'', and the republican enthusiasm displayed is not genuine. Little more successful was Grétry in his dealings with classical subjects. His genuine power lay in the delineation of character and in the expression of tender and typically French sentiment. The structure of his concerted pieces on the other hand is frequently flimsy, and his instrumentation so feeble that the orchestral parts of some of his works had to be rewritten by other composers, in order to make them acceptable to modern audiences. During the [[French Revolution|Revolution]] Grétry lost much of his property, but the successive governments of France vied in favouring the composer, regardless of political differences. From the old court he received distinctions and rewards of all kinds; the republic made him an inspector of the conservatoire; [[Napoleon I of France|Napoleon]] granted him the cross of the [[Legion d'Honneur|legion of honour]] and a pension. 

Grétry died at the Hermitage in [[Montmorency (France)|Montmorency]], formerly the house of [[Jean-Jacques Rousseau|Rousseau]]. Fifteen years after his death Grétry's heart was transferred to his birthplace, permission having been obtained after a protracted lawsuit. In 1842 a large bronze statue of the composer was set up at Liège.

==Operas==

See [[List of operas by Grétry]].

== Discography == 

''Denys le tyran'', Nuova Era Records, Orchestra Internazionale d'Italia Conductor Francesco Vizioli. Cat: DR 3106 Released 1991

(see also articles on individual operas by Grétry )

==References==
{{Reflist}}
* See Michael Brenet, ''Vie de Grétry'' (Paris, 1884); Joach. le Breton, ''Notice historique sur la vie et les ouvrages de Grétry'' (Paris, 1814); A Grétry (his nephew), ''Grétry en famille'' (Paris, 1814); Felix van Hulst, ''Grétry'' (Liege, 1842); ''L. D. S. Notice biographique sur Grétry'' (Bruxelles, 1869).
* {{1911}}
*[http://www.musicologie.org/Biographies/g/gretry_andre.html Jean-Marc Warszawski, &quot;André Grétry&quot;]

== External links ==
* {{IMSLP|id=Gr%C3%A9try%2C_Andr%C3%A9_Ernest_Modeste|cname=Grétry}}

{{DEFAULTSORT:Gretry, Andre Ernest Modeste}}
[[Category:1741 births]]
[[Category:1813 deaths]]
[[Category:French composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Burials at Père Lachaise Cemetery]]

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  <page>
    <title>François Joseph Gossec</title>
    <id>325459</id>
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      <text xml:space="preserve">[[Image:Gossec-portrait.jpg|thumb|François Joseph Gossec, by [[Antoine Vestier]].]]
[[Image:Gossec-portrait-big-BW.jpg|thumb|François Joseph Gossec, by [[Antoine Vestier]].]]

'''François-Joseph Gossec''' ([[January 17]], [[1734]] – [[February 16]], [[1829]]) was a [[Belgium|Belgian]] composer of operas, string quartets, symphonies, and choral works who worked in [[France]].

==Life and Work==
The son of a small farmer, Gossec was born at the village of [[Vergnies]], in  [[Hainaut (province)|Hainaut]], then French, now Belgian. Showing an early taste for music, he became a choir-boy in [[Antwerp (city)|Antwerp]]. He went to Paris in 1751 and was taken on by the great composer, [[Jean-Philippe Rameau]]. He followed Rameau as the conductor of a private orchestra kept by the ''[[Tax farm|fermier général]]''  [[Alexandre Le Riche de La Poupelinière|Le Riche de La Poupelinière]], a wealthy amateur and great patron of music, and became gradually determined to do something to revive the study of instrumental music in France.

Gossec's own first [[symphony]] was performed in 1754, and as conductor to the [[Prince de Condé]]’s orchestra he produced several [[opera]]s and other compositions of his own. He imposed his influence on French music with remarkable success. He premiered his ''Requiem'' in 1760, a piece ninety minutes in length, which made him famous overnight. The piece was later admired by [[Wolfgang Amadeus Mozart]], who visited Gossec during a rather unsuccessful trip to Paris in 1778, and described him in a letter to his father as  &quot;a very good friend and a very dry man&quot;. 

Gossec founded the ''Concert des Amateurs'' in 1770 and in 1773 he reorganised the ''[[Concert Spirituel]]'' together with [[Simon Leduc]] and [[Pierre Gaviniès]]. In this concert series he presented and conducted his own symphonies as well as those by his contemporaries, especially works by [[Joseph Haydn]], whose music became more and more popular in Paris, and finally even superseded Gossec's symphonic work. In the 1780s, Gossec's symphonic output decreased and he concentrated on operas. He organized the ''École de Chant'' in 1784, together with [[Etienne Méhul]], was conductor of the band of the ''Garde Nationale'' at the [[French Revolution]], and was appointed (again with Méhul and [[Luigi Cherubini]]) inspector of the ''Conservatoire de Musique'' on its creation in 1795. He was an original member of the ''Institut'' and a ''[[chevalier]]'' of the [[Legion of Honour]]. In 1815, after the defeat of [[Napoleon]] at [[Battle of Waterloo|Waterloo]], the Conservatoire was closed for some time by [[Louis XVIII of France|Louis XVIII]], and the eighty-one year-old Gossec had to retire. Until 1817 he worked on his last composition, a third ''[[Te Deum]]'', and was supported by a pension granted by the Conservatoire.

He died in the Parisian suburb of [[Passy]]. The funeral service was attended by former colleagues, including [[Cherubini]], at the [[Père Lachaise]] cemetery in Paris. His grave is near those of Méhul and [[Grétry]].

Some of his techniques seem to have anticipated the innovations of the Romantic era: he wrote a ''Te Deum'' for 1200 singers and 300 wind instruments; several oratorios include instructions for physical separation of multiple choirs, including invisible ones behind the stage. He wrote several works in honor of the [[French revolution]], including ''Le Triomphe de la République'', and ''L'Offrande à la Liberté''.

Although most people would have difficulty recognizing Gossec's ''[[Gavotte]]'' by its title, the melody itself remains familiar in the United States and elsewhere because [[Carl Stalling]] used an arrangement of it in several [[Warner Brothers]] cartoons.

He was little known outside France, and his own numerous compositions, sacred and secular, were overshadowed by those of more famous composers; but he was an inspiration to many, and powerfully stimulated the revival of instrumental music.

==Works==
===For Orchestra===
*Sei sinfonie a più strumenti op. 4 (1759)
*Sei sinfonie a più strumenti op. 5 (1761)
*Six Symphonies op. 6 (1762)
*Six Symphonies à grand orchestre op. 12 (1769)
*Deux symphonies (1773)
*Symphonie n° 1 (c. 1771-1774)
*Symphonie n° 2 (c. 1771-1774)
*Symphonie en fa majeur (1774)
*Symphonie de chasse (1776)
*Symphonie en ré (1776)
*Symphonie en ré (1777)
*Symphonie concertante en fa majeur n° 2, à plusieurs instruments (1778)
*Symphonie en do majeur for wind orchestra (1794)
*Symphonie à 17 parties en fa majeur (1809)

===Chamber Music===
*Sei sonate a due violini e basso op. 1 (c. 1753) 
*Sei quartetti per flauto e violino o sia per due violini, alto e basso op. 14 (1769)
*Six Quatuors à deux violons, alto et basse op. 15 (1772)

===Vocal and Choral Works===
*Messe des morts (Requiem) (1760)
*''La Nativité'', oratorio (1774)
*Te Deum (1779)
*''Te Deum à la Fête de la Fédération'' for three voices, men's chorus and wind orchestra (1790) 
*''Hymne sur la translation du corps de [[Voltaire]] au [[Panthéon]]'' for three voices, men's chorus and wind orchestra (1791)
*''Le Chant du 14 juillet'' ([[Marie-Joseph Chénier]]) for three voices, men's chorus and wind orchestra (1791)
*Dernière messe des vivants, for four voices, chorus and orchestra (1813)

===Operas===
*''Le Tonnelier'', opéra comique (1765)
*''Le Faux Lord'', opéra comique (1765)
*''Les pêcheurs'', opéra comique en 1 act (1766)
*''Toinon et Toinette'', opéra comique (1767)
*''Le Double Déguisement'', opéra comique (1767)
*''Les Agréments d'Hylas et Sylvie'', pastorale (1768)
*''Sabinus'', tragédie lyrique (1773)
*''Berthe'', opera (1775, not extant)
*''Alexis et Daphné'', pastorale (1775)
*''Philémon et Baucis'', pastorale (1775)
*''La Fête de village'', intermezzo (1778)
*''Thésée'', tragédie lyrique (1782)
*''Nitocris'', opera (1783)
*''Rosine, ou L'Éposue abandonnée'', opera (1786)
*''Le triomphe de la République, ou Le camp de Grandpré'', divertissement-lyrique en 1 acte, (Chénier) (1794)
*''Les Sabots et le cersier'', opera (1803)

==References==
*{{1911}}
*Thibaut, W., ''François Joseph Gossec, Chantre de la Révolution française'', (1970)

==External links==
*[http://www.musicologie.org/Biographies/g/gossec.htm  Life and detailed work list] {{fr icon}}
*[http://members.klosterneuburg.net/handerle/GOSSEC.HTM François-Joseph Gossec: &quot;Le Tyrtée de la Révolution&quot; - the official composer of the French Revolution]
*{{IMSLP|id=Gossec, François Joseph}}
*{{ChoralWiki|Francois Joseph Gossec}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Gossec, François-Joseph
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Belgian composer
|DATE OF BIRTH     = 17 January 1734
|PLACE OF BIRTH    = Vergnies, Hainaut
|DATE OF DEATH     = 16 February 1829
|PLACE OF DEATH    = Passy, Paris
}}

{{DEFAULTSORT:Gossec, Francois Joseph}}
[[Category:1734 births]]
[[Category:1829 deaths]]
[[Category:Belgian composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]

[[ca:François-Joseph Gossec]]
[[de:François-Joseph Gossec]]
[[el:Φρανσουά Ζοζέφ Γκοσέκ]]
[[es:François-Joseph Gossec]]
[[fr:François-Joseph Gossec]]
[[ko:프랑수아조제프 고세크]]
[[it:François-Joseph Gossec]]
[[he:פרנסואה ז'וזף גוסק]]
[[la:Franciscus Iosephus Gossec]]
[[nl:François-Joseph Gossec]]
[[ja:フランソワ＝ジョセフ・ゴセック]]
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  <page>
    <title>Mateo Albéniz</title>
    <id>885930</id>
    <revision>
      <id>307372325</id>
      <timestamp>2009-08-11T15:06:26Z</timestamp>
      <contributor>
        <username>Waacstats</username>
        <id>1951353</id>
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      <minor/>
      <comment>Stub-sorting. [[Wikipedia:WikiProject Stub sorting|You can help!]]</comment>
      <text xml:space="preserve">{{Article issues
|orphan=July 2008
|do-attempt=July 2008
|unreferenced=April 2008
}}
'''Mateo Albéniz''', also known as
'''Mateo Antonio Pérez de Albéniz''' (1755 - [[23 June]] [[1831]]) - no relation to the better-known composer [[Isaac Albéniz]] - was a [[Spain|Spanish]] [[composer]] and [[priest]].

He held a post as [[Kapellmeister|Maestro de Capilla]] in [[Donostia|San Sebastián]] and in [[Logroño]] from 1800 to 1829.

Albéniz wrote chiefly for the [[harpsichord]] and [[fortepiano]]. The only work of his which has any relevance today is the ''[[Sonata (music)|Sonata]] in D major'', of which a popular transcription for [[classical guitar|guitar]] has been made.

==External links==
*{{WIMA|idx=M.Albeniz|name=Mateo Antonio Pérez de Albéniz}}

{{DEFAULTSORT:Albeniz, Mateo}}
[[Category:1755 births]]
[[Category:1831 deaths]]
[[Category:Spanish composers]]
[[Category:Classical era composers]]


{{Spain-composer-stub}}

[[es:Mateo Albéniz]]
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[[fi:Mateo Albéniz]]</text>
    </revision>
  </page>
  <page>
    <title>Johann Gottfried Müthel</title>
    <id>4266595</id>
    <revision>
      <id>262009799</id>
      <timestamp>2009-01-05T01:54:07Z</timestamp>
      <contributor>
        <username>Schissel</username>
        <id>116587</id>
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      <comment>de:</comment>
      <text xml:space="preserve">'''Johann Gottfried Müthel''' (January 17, [[1728]] &amp;ndash; July 14, [[1788]]) was a [[Germany|German]] composer and noted keyboard virtuoso. Along with [[C.P.E. Bach]], he represented the [[Sturm und Drang]] style of composition.

As far as is known, he was the first to use the term [[fortepiano]] in a published work, in the title of his ''Duetto für 2 Clavier, 2 Flügel, oder 2 Fortepiano'' (1771), which reflects the rising popularity of the fortepiano at that time.    

==Biography==

He was born in [[Mölln (Schleswig-Holstein)|Mölln]] in the [[Duchy of Lauenburg]], the fifth of nine children. His father was Christian Caspar, an organist and friend of [[Georg Philipp Telemann]]. He studied music with his father, and later Johann Paul Kunzen in [[Lübeck]]. In 1747, at age 19, he became a court organist and cembalist for Duke [[Christian Ludwig II]] of [[Mecklenburg-Schwerin]], in [[Schwerin]]. 

In 1750 he was given leave to study with [[Johann Sebastian Bach]] in [[Leipzig]]. He became Bach's last pupil, beginning study only three months before the master's death. In that time, he notated a number of the blind composer's final works, including the ''Chromatic Fantasia'' and parts of the ''[[Orgelbuchlein]]''. According to Bach's biographer [[Philipp Spitta]], he was present at Bach's deathbed, and took over his duties for nine weeks. Afterwards, he continued study with [[Johann Christoph Altnickol]], who had also been living and studying with Bach. Afterwards he took the opportunity to travel and meet other composers, the most notable of whom was [[C.P.E. Bach]] (then residing at the court of [[Frederick II of Prussia]] at [[Potsdam]]), with whom he maintained a lifelong friendship and correspondence. In 1751 he returned to the ducal court, where he remained for two more years, eventually being replaced by his younger brother.

In 1753 he moved to [[Riga]] (now in [[Latvia]], then part of the [[Russian Empire]]), where one of his brothers had moved. It was here that he published his first works, in 1756; he only published a few works in his lifetime. At first he worked as a conductor for a private orchestra; later, he was appointed organist at St. Peter's Church, which he served from 1767 until 1788, when he died in nearby [[Bienenhof]].

==Influence==

Riga was far from the established musical centers of Europe, and published few works, but he gained praise from a number of musicians for his virtuosity. The English music historian [[Charles Burney]], who mentioned him several times in his writings, held him in high esteem. The German [[Christian Friedrich Daniel Schubart]] wrote of his harpsichord skill that &quot;connoisseurs that have heard him cannot praise enough the quickness, correctness and lightness with which he conquers mountains of difficulties.&quot;&lt;ref name=&quot;a&quot;&gt;http://www.harpsichord-sd.com/clavichord/muethel.html. Liner notes by Peter Reidemeister. Accessed on May 12, 2006&lt;/ref&gt;

He is believed to have been a skilled improviser on the keyboard. He seems to have preferred the [[clavichord]].&lt;ref name=&quot;a&quot; /&gt;

==Compositions==

Most of his works remained unpublished in his lifetime, and some known works are still without official publication. None of the works for his principal instrument, the organ, were published in his lifetime, nor were any for non-keyboard instruments.

===For keyboard===

His known works include a total of seven concerti, nine sonatas, and numerous other shorter pieces. 

* ''Concerto in B flat major'' (printed 1767)
* ''Concerto for Harpsichord in D minor'' (printed 1767)
* ''Sonata No. 1 in F major'' (printed in 1756)
* ''Sonata No. 2 in G major'' (printed in 1756)
* ''Sonata No. 3 in C major'' (printed in 1756)
* ''Duetto für 2 Clavier, 2 Flügel, oder 2 Fortepiano'' (printed in 1771)
* ''Duetto in E-flat major'' (printed in 1771)
* ''Arioso with 12 Variations, No. 1 in G major'' (printed in 1756)
* ''Arioso with 12 Variations, No. 2 in C minor'' (printed in 1756)
* ''12 Variations for Clavichord''
* ''Minuet with 6 variations''
* ''Tempo di Minuetto con Variazioni''
* ''Fantasy in F for Organ''

===For voice===

* ''45 Choice Odes and Songs from Various Poets (45 Auserlesene Oden und Lieder van verschiedenen Dichtern)'' (printed in 1759)
* A [[cantata]]

===For other instruments===

* ''Concerto for Bassoon in C major''
* ''Concerto for 2 Bassoons in E-flat major''
* ''Sonata in D major for Flute and Basso Continuo''

==Trivia==
Müthel is greatly talked about in the short story [http://www.newyorker.com/printables/fiction/051010fi_fiction &quot;Early Music&quot;] by [[Jeffrey Eugenides]].  

==References==

&lt;references/&gt;

==External links==
* [http://www.hoasm.org/XIE/Muethel.html HOASM: Johann Gottfried Müthel]
* [http://idrs.colorado.edu/www.idrs/publications2/journal2/jnl12/muthel.html Analysis of Concerto for 2 Bassoons in E-flat]
* [http://www.harpsichord-sd.com/clavichord/muethel.html Liner notes from clavichord recording, by Peter Reidemeister]

{{DEFAULTSORT:Muthel, Johann Gottfried}}
[[Category:German composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:1728 births]]
[[Category:1788 deaths]]

[[de:Johann Gottfried Müthel]]</text>
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  </page>
  <page>
    <title>Marcos Portugal</title>
    <id>4299748</id>
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      <minor/>
      <comment>robot  Adding: [[sv:Marco Portogallo]]</comment>
      <text xml:space="preserve">[[Image:Portugal.jpg|thumb|right|200px|Marcos Portugal]]
'''Marcos António da Fonseca Portugal''' ([[March 24]], [[1762]] &amp;ndash; [[February 17]], [[1830]]) was a [[Portugal|Portuguese]] [[European classical music|classical composer]], who achieved great international fame for his [[opera]]s in [[Italian language|Italian]].

Portugal was born in [[Lisbon]]. He first studied music at the Patriarchal Seminary in Lisbon where, as a 14 year old student, he wrote his first work, a ''Miserere''. He later worked as composer and organist at the Patriarchal See, and was ''maestro'' at the Theatre of Salitre in Lisbon. He lived in Italy from late 1792 to 1800, possibly funded by the [[Prince Regent]], [[John VI of Portugal|D. João]]. He wrote 21 operas for various Italian theatres, the first being ''I due gobbi'', premiered in [[Florence]] in the spring of 1793. 

Marcos Portugal returned to his home country in 1800. The huge success that his ''opere buffe'' had earned him, assure him a still unsurpassed international fame in Portugal's music history. He became ''maestro'' at the [[Teatro Nacional de São Carlos]] in Lisbon, and was appointed music master at the Patriarchal Seminary in Lisbon. He continued to write operas, mainly ''opere serie'', and a large number of religious works, until moving to [[Brazil]] in 1811, from where the Prince Regent had called him. Upon arriving, Marcos Portugal was appointed music master to the sons and daughters of the Prince Regent, and became the official Royal Composer. 

He wrote mainly religious music until at least 1824, date of his last known surviving autograph. In Portugal and Brazil, his reputation rests mainly on his religious music output, a ''genre'' cultivated throughout his composing life. He remained in Rio de Janeiro when the Portuguese Court returned to Portugal, in 1821, continuing to serve his pupil, the [[Empire of Brazil|First Emperor of Brazil]], [[Pedro I of Brazil|D. Pedro]], as he had previously served his father, king [[John VI of Portugal]]. He died in [[Rio de Janeiro]] in 1830.

==External links==
*[http://www.naxos.com/mainsite/default.asp?pn=Composers&amp;char=P&amp;ComposerID=1221 Composer´s biography and excerpts of &quot;Le Donne Cambiate&quot;.]
*[http://www.cpdl.org/wiki/index.php/Requiem_%28Marcos_Portugal%29 Requiem (1816)]
*[http://lanic.utexas.edu/project/etext/llilas/cpa/spring05/missa/marques.pdf D. João VI and Marcos Portugal: The Brazilian Period, by António Jorge Marques]

{{DEFAULTSORT:Portugal, Marcos Antonio da Fonseca}}
[[Category:1762 births]]
[[Category:1830 deaths]]
[[Category:Classical era composers]]
[[Category:Portuguese composers]]

{{Portugal-bio-stub}}

[[de:Marcos António Portugal]]
[[it:Marcos António Portugal]]
[[nl:Marcos Portugal]]
[[pt:Marcos Portugal]]
[[fi:Marcos Antônio Portugal]]
[[sv:Marco Portogallo]]</text>
    </revision>
  </page>
  <page>
    <title>Vicente Martín y Soler</title>
    <id>4876339</id>
    <revision>
      <id>305580883</id>
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      <text xml:space="preserve">[[Image:Martin y Soler1.jpg|thumb|300px|left|Vicente Martín y Soler]]
'''Vicente Martín y Soler''' ([[May 2]], [[1754]] - [[January 30]], [[1806]]) was a [[Spain|Spanish]] composer of [[opera]] and [[ballet]]. Although relatively obscure today, in his own day he was compared favorably with his contemporary, [[Wolfgang Amadeus Mozart]], as a composer of [[opera buffa]]. He has been called ''the Valencian Mozart''.

He was born in [[Valencia (city in Spain)|Valencia]] and studied music in [[Bologna]] under [[Giovanni Battista Martini]]. His first opera was ''Il tutore burlato'' (1775), an adaptation of [[Giovanni Paisiello]]'s ''La frascatana'', which in turn was based on a play of the same title by [[Filippo Livigni]]. He had the libretto translated into [[Spanish language|Spanish]] and adapted it to the [[zarzuela]] form as ''La Madrileña o el tutor burlado'', under which title it premiered in [[Madrid]] in 1778.

Martín y Soler is best known for the comic operas that he composed in [[Vienna]] with librettist [[Lorenzo Da Ponte]]: ''[[Una cosa rara]]'' (1786, based on the play ''La luna de la sierra'' by [[Luis Vélez de Guevara]]), ''[[Il burbero di buon cuore]]'' (1786, based on the play by [[Carlo Goldoni]]), ''[[L'arbore di Diana]]'' (1787). He is also credited with introducing, in ''Una cosa rara'', the [[waltz]] to Vienna.

In 1777, he traveled to [[Naples]], to compose his first ballet for the [[Teatro di San Carlo]]. During this period, he worked with choreographer [[Charles le Picq]] to compose four ''ballets d’action'': ''La Griselda'' (1779, derived from the libretto by [[Apostolo Zeno]]), ''I ratti sabini'' (1780), ''La bella Arsene'' (1781), and ''Tamas Kouli-Kan'' (1781, an interpretation of [[Vittorio Amedeo Cigna-Santi]]'s libretto). He also worked with Zeno on an [[opera seria]], ''[[Andromaca]]'', in 1780. In addition, he composed two ''mezzocarattere'' ballets, ''La sposa persiana'' (1778) and ''Il barbiere di Siviglia'' (1781, based on the play by [[Beaumarchais]]). 

At Naples he also worked with court librettist, Luigi Serio, on the composition of [[opera seria]], producing ''Ifigenia'' (1779) and ''Ipermestra'' (1780).

In 1785, he moved to Vienna, where he enjoyed great international success in operas composed with texts by Lorenzo Da Ponte, who was simultaneously collaborating with Mozart and [[Antonio Salieri]]. A melody from ''Una cosa rara'' was quoted by Mozart in the banquet scene in the final act of ''[[Don Giovanni]]'' (1787).

In 1788, he was invited to the [[Imperial Russia|Russian court]] at [[St. Petersburg]], where he completed the [[Russian language]] operas, ''The Unfortunate Hero Kosmetovich'' (1789, libretto written in part by [[Catherine II of Russia|Catherine the Great]]), ''Melomania'' (1790), and ''Fedul and his Children'' (1791, with [[Vasili Pashkevich]]). During this period, he also completed two more [[Italian language]] operas: ''La capricciosa corretta'' (1795, libretto by  Lorenzo Da Ponte, possibly adapted from [[Shakespeare]]'s ''[[The Taming of the Shrew]]'') and ''La festa del villaggio'' (1798).

He also wrote a number of tragic ballets during his residence in St. Petersburg, including ''Didon abandonée'' (1792), ''Amour et Psyché'' (1793, based on ''Psyché'' by [[Molière]], [[Corneille]] and [[Philippe Quinault]]), ''Tancrède'' (1799) and ''Le retour de Poliorcète'' (1799).

He died at his post of court composer in 1806.

==External links==
* [http://www.goldbergweb.com/en/magazine/composers/2004/08/23338_print.php Biographical article]
* [http://www.operone.de/komponist/soler.html List of works]
* [http://operetta.stanford.edu/composers/M.html Operas]

{{DEFAULTSORT:Martin y Soler, Vicente}}
[[Category:1754 births]]
[[Category:1806 deaths]]
[[Category:Classical era composers]]
[[Category:Spanish composers]]
[[Category:Opera composers]]

[[ca:Vicent Martín i Soler]]
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[[la:Vincentius Martín y Soler]]
[[nl:Vicente Martín y Soler]]
[[ja:ビセンテ・マルティーン・イ・ソレル]]
[[pt:Vicente Martín y Soler]]
[[ru:Мартин-и-Солер, Висенте]]</text>
    </revision>
  </page>
  <page>
    <title>Antonín Kraft</title>
    <id>7417676</id>
    <revision>
      <id>307700927</id>
      <timestamp>2009-08-13T06:57:20Z</timestamp>
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        <username>DSisyphBot</username>
        <id>8260451</id>
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      <minor/>
      <comment>robot Modifying: [[fr:Antonín Kraft]]</comment>
      <text xml:space="preserve">'''Antonín Kraft''' ([[December 30]], [[1749]]? – [[28 August]]?, [[1820]]) was an [[Czech people|Czech]] [[cello|cellist]] and [[composer]]. He was a close friend of [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], and [[Ludwig van Beethoven|Beethoven]].

Kraft was possibly born in the [[Bohemia]]n town [[Rokycany]]. He received early musical education on the cello from his father before going to university in [[Vienna]] to study law. He soon obtained a position in the Imperial Hofkapelle. In 1778 he was appointed cellist in Prince [[Nikolaus Esterházy]]'s orchestra, where he met and studied composition with [[Joseph Haydn|Haydn]]. After Esterházy died in 1790, he went to Vienna and became a founding member of the [[Ignaz Schuppanzigh|Schuppanzigh]] quartet, where he helped establish the traditions of [[string quartet]] playing. He played in the [[Grassalkowicz]] court and from 1796 was employed in Prince [[Lobkowicz]]'s orchestra. He died sometime in August, 1820 in Vienna.

Kraft was considered one of the greatest cellists of his time and both Haydn's [[Cello Concerto No. 2 in D (Haydn)|Cello Concerto No. 2 in D]] and the cello part in [[Beethoven]]'s [[Triple Concerto (Beethoven)|Triple Concerto]] were written for him, though his son [[Nikolaus Kraft]] is also claimed to have played the premiere of the latter.

As a composer, he wrote cello [[sonata]]s (six for cello with bass published as [[Opus number|Op.]] 1 and 2) and a cello concerto (Op. 4). He also wrote various duos: for [[violin]] and cello (Op. 3), for cello and [[double bass]] and for two cellos (Op. 5 and 6).

==Works==
* [[Cello Concerto (Kraft)|Cello Concerto, Op.4, in C major]]
* [[Cello sonata|Cello Sonatas]]
* Cello Duets
* Duets for Cello and Guitar

==References==
*[http://musicbase.h11.ru/PPS2/sd_2261.htm About Grassalkowicz]
*{{IMSLP|id=Kraft, Antonin}}

{{DEFAULTSORT:Kraft, Antonin}}
[[Category:Czech composers]]
[[Category:Czech classical cellists]]
[[Category:Classical era composers]]
[[Category:1749 births]]
[[Category:1820 deaths]]

[[fr:Antonín Kraft]]</text>
    </revision>
  </page>
  <page>
    <title>Johann André</title>
    <id>11947276</id>
    <revision>
      <id>312770755</id>
      <timestamp>2009-09-09T12:41:14Z</timestamp>
      <contributor>
        <username>Lady Whistler</username>
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      <minor/>
      <comment>/* External links */</comment>
      <text xml:space="preserve">'''Johann André''' ([[March 28]], [[1741]] – [[June 18]], [[1799]], both in [[Offenbach am Main]]) was a [[Germany|German]] [[musician]], [[composer]] and [[publisher of sheet music|music publisher]].

In 1774, as the patriarch of a [[Huguenot]] family, André founded one of the first music publishing houses to be independent of a bookshop, in Offenbach am Main. Among his closest friends in Offenbach were [[Goethe]], at the time of his engagement to [[Anna Elisabeth Schönemann]], and he is pictured in the seventeenth book of Goethe's autobiography ''[[Dichtung und Wahrheit]]'' with an Offenbach am Main background in 1775.

In 1777, André was appointed musical director at the German Theatre in [[Berlin]], without having to abandon Offenbach am Main. He composed some 30 operas, ballads and songs.

His son, [[Johann Anton André]] (1775-1842), followed his footsteps into [[composing]] and [[music theory]]. After taking over the music publishing business from his father in 1799, Johann Anton André acquired [[Wolfgang Amadeus Mozart|Mozart]]s musical legacy from Constanze Mozart in Vienna. He developed the music publishers continually and introduced [[lithography]] for printing of [[musical notes|notes]]. ''Musikhaus André'' and the ''Musikverlag Johann André'', with their wide-ranging musical archive, still exist today in the centre of Offenbach.

==Works ([[Singspiel]]e)==
*''[[Der Töpfer]]'' ([[Hanau]], 1773)
*''[[Erwin und Elmire (André)|Erwin und Elmire]]'' ([[Frankfurt]], 1775)
*''Laura Rosetti'' (Berlin, 1778)
*''Claudine von Villa Bella'' (Berlin, 1778)
*''Belmonte und Constanze'' (Berlin, 1781)
*''Der Barbier von Bagdad'' (Berlin, 1783)

==Sources==
Much of the content of this article comes from [http://de.wikipedia.org/wiki/Johann_André the equivalent German-language wikipedia article] (retrieved June 25, 2007).

== External links ==
* {{PND|11601198X}}
* [http://musik-andre.de Musikhaus André]
* {{IMSLP|id=Andr%C3%A9%2C_Johann|cname=Johann André}}

{{DEFAULTSORT:Andre, Johann}}
[[Category:1741 births]]
[[Category:1799 deaths]]
[[Category:Classical era composers]]
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[[Category:Opera composers]]
[[Category:German music publishers (people)]]
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{{Opera-bio-stub}}

[[de:Johann André]]
[[fr:Johann André]]</text>
    </revision>
  </page>
  <page>
    <title>Jan Křtitel Kuchař</title>
    <id>11991341</id>
    <revision>
      <id>303580307</id>
      <timestamp>2009-07-22T18:54:41Z</timestamp>
      <contributor>
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      <minor/>
      <comment>et</comment>
      <text xml:space="preserve">'''Jan Křtitel Kuchař''' or also '''Johann Baptist Kucharz''' ([[March 5]], [[1751]] [[Choteč (Jičín District)|Choteč]] - [[February 18]] [[1829]] [[Prague]]) was a [[Czechs|Czech]] organist, harpsichordist, music composer and teacher.

== Biography ==
Soon after his birth, Kuchař's parents moved to [[Mlázovice]], where he lived out his childhood. He achieved basic music knowledge in [[Vrchlabí]] with the organist Alex Thám. Later he studied at [[jesuit]] gymnasia in [[Hradec Králové]] and [[Jičín]]. He was a student of organist Josef Seger. From 1772 he acted as organist in the Kostel sv. Jindřicha v Praze (Church of St. Jindrich in Prague). In Prague, he also began teaching music in the noble Hartig, Buquoy and Příchovský families. He was active in the teaching of singing, piano and composition.

Kuchař was among the first to recognize the genius of [[W. A. Mozart]] and started to propagate it. In the year 1786, he most likely played in the ''Stavovské divadlo'' at the premiere of ''[[The Marriage of Figaro]]'' and in January 1787 he became acquainted with Mozart on his Prague visit. On [[October 28]] in the same year, he played together with Mozart on [[harpsichord]] at the premiere performance of ''[[Don Giovanni]]''. He wrote piano excerpts from both operas, as well as from the opera ''[[Così fan tutte]]''. In addition, he composed recitatives for an Italian version of ''[[The Magic Flute]]''.

In 1790, Kuchař left the church after being nominated as organist of the Monsastery at [[Strahov]], in the Kostel Nanebevzetí Panny Marie (Church of the Assumption), on [[September 1]]. He also began to perform stand-alone concerts. The influence of Mozart, who in 1787 improvised on the Strahov organ, is perceptible in Kuchař's music and it also led Kuchař to [[Freemasonry]] in Prague. From 1791, he performed as harpsichordist of the ''Pražská operní společnost'' (Prague Opera Society). On [[September 6]] 1791, he likely played at the premiere of Mozart's opera ''[[La clemenza di Tito]]''. In this period he composed a series of organ and chamber compositions, especially for the Strahov choir.

== Works ==
Despite his contemporary success, he is not a notable composer of [[Classical period (music)|Classical period]]. However a few organ works include hints of early [[Romanticism]].

His most known works are two organ concertos, concert [[fantaisie]]s, [[fugue]]s, [[toccata]]s and others.

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Kuchař, Jan Křtitel
|ALTERNATIVE NAMES = Kucharz, Johann Baptist
|SHORT DESCRIPTION = Czech organist, harpsichordist, composer and teacher
|DATE OF BIRTH     = 5 March 1751
|PLACE OF BIRTH    = [[Choteč (Jičín District)|Choteč]]
|DATE OF DEATH     = 18 February 1829
|PLACE OF DEATH    = [[Prague]]
}}

{{Wikisourcelang|de|ADB:Kucharz, Johann Baptist}}

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  </page>
  <page>
    <title>Ignaz Pleyel</title>
    <id>1141589</id>
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      <text xml:space="preserve">[[Image:Ignace Joseph Pleyel.jpg|thumb|150px|right|Ignace Joseph Pleyel]]

'''Ignace Joseph Pleyel''' ([[June 18]], [[1757]]&amp;ndash;[[November 14]], [[1831]]) was an [[Austria|Austrian-born]] [[France|French]] [[composer]] of the [[Classical period (music)|Classical period]]. 

==Life==

===Early years===

He was born in [[Ruppersthal]] in Lower Austria, the son of a schoolmaster named Martin Pleyel.  While still young he probably studied with [[Johann Baptist Vanhal]], and from 1772 he became the pupil of [[Joseph Haydn]] in [[Eisenstadt]].  As with [[Ludwig van Beethoven|Beethoven]], born 13 years later, Pleyel benefited in his study from the sponsorship of aristocracy, in this case Count Ladislaus Erdődy (1746-1786).  Pleyel evidently had a close relationship with Haydn, who considered him to be a superb student.  

Among Pleyel's apprentice work from this time was a [[puppet]] opera ''Die Fee Urgele'', (1776) performed in the marionette theater at the palace of [[Eszterházy|Eszterháza]] and in Vienna.  Pleyel apparently also wrote at least part of the overture of Haydn's opera ''Das abgebrannte Haus'', from about the same time.

Pleyel's first professional position may have been as [[Kapellmeister]] for Count Erdődy, although this is not known for certain.  Among his early publications was a set of six [[string quartet]]s, his Opus 1.

[[Image:IgnazPleyelMuseum.jpg|thumb|150px|[http://www.pleyel.at Pleyel Museum] and his birthplace, Ruppersthal, Lower Austria]]

In the early 1780s, Pleyel visited Italy, where he composed an opera (''Ifigenia in Aulide'') and works commissioned by the King of Naples.

===Strasbourg 1783-1795===

Attracted to the benefits associated with an organist position, Pleyel moved to [[Strasbourg]], France in 1783 to work alongside [[Franz Xaver Richter]] the [[Kapellmeister|mâitre de chapelle]] at the Strasbourg Cathedral.&lt;ref&gt;Mathorez, Jules. Les Allemands, les Hollandais, les Scandinaves. Histoire de la formation de la population française : les étrangers en France sous l'ancien régime, 2. Paris: Champion, 1921.&lt;/ref&gt; The Cathedral was extremely appealing to Pleyel as it possessed a full orchestra, a choir, and a large budget devoted to performances. &lt;ref&gt;Tiersot, Julien. Histoire de la Marseillaise. Paris: Librairie Delagrave, 1915.&lt;/ref&gt;After establishing himself in France, Pleyel voluntarily called himself by the French version of his name, Ignace.  While he was the assistant mâitre de chapelle at Strasbourg Cathedral, he wrote more works than any other period in his musical career (1783-1793).&lt;ref&gt;Sitzmann, Édouard. Dictionnaire de biographie des hommes célèbres de l'Alsace depuis les temps les plus reculés jusqu'à nos jours, 2. Rixheim: Sutter, 1909.&lt;/ref&gt; At the cathedral, he would organize concerts that featured his [[symphonie concertante|symphonies concertantes]] and liturgical music.&lt;ref&gt;Tiersot 1915.&lt;/ref&gt; After Richter's death in 1789, Pleyel assumed the function of full mâitre de chapelle. In 1788 Pleyel married Françoise-Gabrielle Lefebvre, the daughter of a Strasbourg carpet weaver.  The couple had four children, the oldest being their son Camille. Maria Pleyel, née Moke (1811-1875), the wife of Camille, was one of the most accomplished pianists of her time.

In 1791, the [[French Revolution]] abolished musical performances in church as well as public concerts.  Seeking alternative employment, Pleyel traveled to London, where he led the &quot;Professional Concerts&quot; organized by [[Wilhelm Cramer]].  In this capacity Pleyel inadvertently played the role of his teacher's rival, as Haydn was at the same time leading the concert series organized by [[Johann Peter Salomon]].  Although the two composers were rivals professionally, they remained on good terms personally.

Just like Haydn, Pleyel made a fortune from his London visit.  On his return to Strasbourg, he bought a large house, the Château d’Ittenwiller in nearby St. Pierre.

With the onset of the [[Reign of Terror]] in 1793 and 1794, life in France became dangerous for many, not excluding Pleyel. Pleyel was brought before the [[Committee of Public Safety]] a total of seven times due to the following: his foreign status, his recent purchase of a château, and his ties with the Strasbourg Cathedral.&lt;ref&gt;Honegger 1987&lt;/ref&gt; He was conveniently labeled a Royalist collaborator.  The outcome of the Committee's attentions could easily have been imprisonment or even execution. With prudent opportunism, Pleyel preserved his future by writing compositions in honor of the new republic. All were written in Strasbourg at times surrounding the Terror. Below are the pieces composed with dates of publication and details:&lt;ref&gt;Honegger 1987&lt;/ref&gt;

#''La Prise de Toulon'' (&quot;The [[Siege of Toulon|capture of Toulon]]&quot;) for solo and 3 voice choir with piano accompaniment. (19 February 1794)
#''Hymne de Pleyel chanté au Temple de la Raison'' (&quot;Hymn sung in the Temple of Reason&quot;) for choir with piano accompaniment. (1793 or 1794; dates disputed)
#''Hymne à l'Être Suprême'' (&quot;Hymn to the Supreme Being&quot;) two part cantata (performed 8 June 1794)
#''La Révolution du 10 août'' (&quot;[[10 August (French Revolution)|The Revolution of August 10]]&quot;) for soloists, choir, and orchestra (10 August 1794)&lt;ref&gt;The dates of the composition were originally given in the [[French revolutionary calendar]].  19 February 1794 was the 1st of [[Ventose]]; 8 June 1791 was 20 [[Prairial]], and 10 August 1794 was 23 [[Thermidor]].  All were in revolutionary Year II.&lt;/ref&gt;

Most of these compositions debuted at the Strasbourg Cathedral. However, during the Terror, churches were outlawed and the Strasbourg Cathedral was known as the ''Temple de l'Être Suprême'' (Temple of the Supreme Being). He became a naturalized French citizen and thus came to be known as Citoyen (citizen) Pleyel.&lt;ref&gt;Honegger 1987&lt;/ref&gt; With his involvement in artistic propaganda and loyalism to the new regime, Pleyel can be seen as the ultimate musical champion of Strasbourg republicanism.&lt;ref&gt;Honegger 1987&lt;/ref&gt;

In addition to composing the above works for the Strasbourg public, Pleyel also contributed to the Parisian music scene during the Revolution. One example is ''Le Jugement de Pâris'' , a pantomime-ballet by Citoyen (Citizen) Gardel and performed with Pleyel's music (along with that of Haydn, and [[Étienne Méhul]]) on 5 March 1793.&lt;ref&gt;Tourneux, Maurice. Bibliographie de l'histoire de Paris pendant la révolution française 3. Monuments, moeurs et institutions. Paris: Impr. Nouvelle, 1900.&lt;/ref&gt;

===Pleyel as businessman===

Pleyel moved to Paris in 1795.  In 1797 he set up a business as a music publisher (&quot;Maison Pleyel&quot;), which among other works produced a complete edition of Haydn's string quartets (1801), as well as the first miniature scores for study (the ''Bibliothèque Musicale,'' &quot;musical library&quot;).  The publishing business lasted for 39 years and published about 4000 works during this time, including compositions by [[Luigi Boccherini]], [[Ludwig van Beethoven]], [[Muzio Clementi]], [[Johann Baptist Cramer]], [[Johann Ladislaus Dussek]], [[Johann Nepomuk Hummel]] and [[Georges Onslow]].

Pleyel visited Vienna on business in 1805, meeting his now elderly mentor Haydn for a final time and hearing Beethoven play.

In 1807, Pleyel became a manufacturer of pianos; for more on the Pleyel piano firm, see [[#Pleyel pianos|below]].

===Old age===

Pleyel retired in 1824 and moved to the countryside about 50 km outside Paris.  He died in 1831, apparently quite aware that his own musical style had been fully displaced by the new [[Romantic music|Romanticism]] in music.  He was buried in the [[Père Lachaise]] cemetery in [[Paris]].

==Pleyel's music==

Pleyel was prolific, composing 41 symphonies, 70 [[string quartet]]s and several [[string quintet]]s and operas.  Many of these works date from the Strasbourg period; Pleyel's production tailed off after he had become a businessman.

Recent scholarship has suggested that the theme for the ''[[Variations on a Theme by Joseph Haydn]]'', by [[Johannes Brahms]], opus 56a, was probably composed not by Haydn but by Ignaz Pleyel.

==Reputation and assessment==

Pleyel is one instance of the phenomenon of a composer (others include [[Luigi Cherubini|Cherubini]], [[Giacomo Meyerbeer|Meyerbeer]], and [[Sigismond Thalberg|Thalberg]]) who was very famous in his own time but presently obscure.  Keefe (2005) describes a &quot;craze for his music c. 1780-1800&quot;, and quotes a number of contemporary witnesses to this surge.  For instance [[François-Joseph Fétis]] wrote, &quot;What composer ever created more of a craze than Pleyel?  Who enjoyed a more universal reputation or a more absolute domination of the field of instrumental music?  Over more than twenty years, there was no amateur or professional musician who did not delight in his genius.&quot;&lt;ref&gt;Keefe (2005, vii)&lt;/ref&gt;  

Pleyel's fame even reached the then-remote musical regions of America:  there was a Pleyel Society on the island of [[Nantucket]] off the coast of [[Massachusetts]], and tunes by Pleyel made their way into the then-popular [[shape note]] hymnals.  Pleyel's work is twice represented in the principal modern descendant of these books, [[Sacred Harp|''The Sacred Harp'']].

In his own time, Pleyel's reputation rested at least in part on the undemanding character of his music.  A reviewer writing in the ''Morning Herald'' of London (1791) said that Playel &quot;is becoming even more popular then his master [Haydn], as his works are characterized less by the intricacies of science&lt;ref&gt;&quot;Science&quot; was often used at the time to mean &quot;sophisticated knowledge&quot;, rather than in its more narrow modern sense.&lt;/ref&gt; than the charm of simplicity and feeling.&quot;&lt;ref&gt;Keefe (2005, vii)&lt;/ref&gt;

Pleyel continues to be known today as a composer of didactic music:  generations of beginning violin and flute students, for example, learn to play the numerous duets he wrote for those instruments.

==Pleyel pianos==&lt;!-- This section is linked from [[Frédéric Chopin]] --&gt;

''Main article:  [[Pleyel et Cie]]

The piano firm ''Pleyel et Cie'' was founded by Ignace Pleyel and continued by Pleyel's son Camille (1788-1855), a piano virtuoso who became his father's business partner as of 1815. The firm provided pianos used by [[Frédéric Chopin]], and also ran a concert hall, the Salle Pleyel, in which Chopin performed his first — and also his last — Paris concerts.  

==Pronunciation==

&quot;Pleyel&quot; is pronounced in German as, approximately, &quot;plile&quot;.  In French it is (again roughly) &quot;play-yell&quot;.  English speakers generally follow the French pronunciation.

==Notes==

&lt;references/&gt;

==References==

*Careful coverage of Pleyel's life and work may be found in the [[New Grove Dictionary of Music and Musicians]], available in print and on line as a fee site.
*Honegger, Geneviève. (1987) &quot;Pleyel À Strasbourg Durant La Terreur.&quot; ''Revue de Musicologie'' 73, no. 1 (1987): 113-119.
*Keefe, Simon P. (2005) &quot;Preface&quot;, in ''Ignaz Pleyel:  Six String Quartets, Opus 1''.  Ann Arbor, MI:  Steglein publishing.
*Mathorez, Jules. Les Allemands, les Hollandais, les Scandinaves. Histoire de la formation de la population française : les étrangers en France sous l'ancien régime, 2. Paris: Champion, 1921.
*Sitzmann, Édouard. Dictionnaire de biographie des hommes célèbres de l'Alsace depuis les temps les plus reculés jusqu'à nos jours, 2. Rixheim: Sutter, 1909.
*Tiersot, Julien. Histoire de la Marseillaise. Paris: Librairie Delagrave, 1915.
*Tourneux, Maurice. Bibliographie de l'histoire de Paris pendant la révolution française 3. Monuments, moeurs et institutions. Paris: Impr. Nouvelle, 1900.

==External links==
* {{IMSLP|id=Pleyel, Ignace Joseph}} 
*{{WIMA|idx=Pleyel|name=Ignaz Pleyel}}
*[http://www.pleyel.fr Pleyel pianos]
*[http://www.iht.com/articles/2007/10/10/business/piano.php] 21st century update on pianos &amp; company
*[http://www.sallepleyel.fr/ Salle Pleyel], a Paris concert hall built in the late 1920s
*[http://www.artaria.com/SystemLink_ComposerFB_20 A biography from Artaria Publishers]
*[http://real.uwaterloo.ca/~sbirkett/pleyel_info.htm A web site on Pleyel pianos] by Stephen Birkett of the University of Waterloo; includes pictures of Pleyel and of historical Pleyel pianos
*[http://www.pleyel.at Web site] of the Ignaz Pleyel Museum (in German); includes biography
*[http://www.hammerfluegel.net/viewer.php?albid=58&amp;stage=2 Pleyel in the grand piano - Photoarchive]
*[http://www.pleyel.com Salle Pleyel Renewed] with biography
*[http://www.haydn.dk/mhc_pleyel.php Pleyel page at the Michael Haydn project]
*[http://www.pianolist.org/pianola/factsheets/pleyela.cfm http://www.pianolist.org/pianola/factsheets/pleyela.cfm]Pianola Institute Factsheet - The Pleyela Piano 
*[http://www.annales.org/archives/x/lyon.html http://www.annales.org/archives/x/lyon.html]
*[http://www.soudoplatoff.org/musique http://www.soudoplatoff.org/musique]
*[http://www.soudoplatoff.net/pianos/piano.php?cpno=278 http://www.soudoplatoff.net/pianos/piano.php?cpno=278]
*[http://www.naxos.com/composerinfo/Ignaz_Joseph_Pleyel/22774.htm www.naxos.com/composerinfo/Ignaz_Joseph_Pleyel/22774.htm]
*[http://www.classical-composers.org/comp/pleyel www.classical-composers.org/comp/pleyel]
*[http://www.1911encyclopedia.org/Ignaz_Joseph_Pleyel www.1911encyclopedia.org/Ignaz_Joseph_Pleyel]1911 Encyclopedia Britannica 
*[http://www.karadar.com/Dictionary/pleyel.html www.karadar.com/Dictionary/pleyel.html]Karadar Classical Music Dictionary




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  <page>
    <title>Johannes Matthias Sperger</title>
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      <comment>/* Notes and references */ [[Category:18th-century Austrian people]]</comment>
      <text xml:space="preserve">{{Infobox_Person 
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| residence = [[Vienna]], [[Pressburg]], [[Kohfidisch]], [[Ludwigslust]]
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'''Johannes Matthias Sperger''' ([[March 23]], [[1750]], [[Feldsberg]]&lt;ref&gt;At the time of his birth, Feldsberg was part of [[Lower Austria]]&lt;/ref&gt; - [[May 13]], [[1812]], [[Schwerin]]) was an [[Austria]]n [[Bassist|contrabassist]] and [[composer]].

Sperger trained from 1767 in [[Vienna]] as a contrabassist and composer. He worked from 1777 in the [[Hofkapelle]] of the [[Archbishop]] of [[Pressburg]]. From 1778 he was also a member in the [[Wiener Tonkünstlersozietät]], in whose concerts he appeared several times with his own works and as soloist. From 1783 to 1786 Sperger was a member of the Hofkapelle of [[count]] [[Ludwig von Erdödy]] in [[Kohfidisch]]. From 1789 he was employed as first contrabassist of the [[Mecklenburgische Staatskapelle|Mecklenburg Schwerin Hofkapelle]] in [[Ludwigslust]]. The extremely productive composer wrote more than 44 [[symphonies]], numerous instrumental concertos, among them 18 contrabass concertos, [[sonatas]], rondos and dances, [[cantata]]s, choral works and airs.

==External links==
*{{IMSLP|id=Sperger%2C_Johann_Matthias}}

==Notes and references==
{{reflist|1}}
&lt;div class=&quot;references-small&quot;&gt;
:* {{cite web|url=http://www.sperger-gesellschaft.de/|title=International Johann Matthias Sperger society (ISG)|accessdate=2007-01-03|language=German}}
:* {{cite web|url=http://www.sperger-wettbewerb.de/ergebnisse.htm|title=Results of the 3. International Sperger competition 2004|accessdate=2007-01-03|language=German}}
:* {{cite web|url=http://www.sperger-wettbewerb.de/ausschreibung1.htm|title=Ausschreibung zum 4. Advertisement to 4. International Sperger competition 2006|accessdate=2007-01-03|language=German}}
&lt;/div&gt;

{{Lifetime|1750|1812|Sperger, Johannes Matthias}}

{{Austria-bio-stub}}
{{Europe-composer-stub}}

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|NAME              = Sperger, Johannes, Matthias
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|SHORT DESCRIPTION = Austrian contrabassist and composer
|DATE OF BIRTH     = 23 March 1750
|PLACE OF BIRTH    = [[Feldsberg]]
|DATE OF DEATH     = 13 May 1812
|PLACE OF DEATH    = [[Schwerin]]
}}

[[Category:Austrian composers]]
[[Category:Classical era composers]]
[[Category:18th-century Austrian people]]

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  </page>
  <page>
    <title>Gaetano Brunetti</title>
    <id>5248918</id>
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      <text xml:space="preserve">'''Gaetano Brunetti''' (1744 in [[Fano]]&amp;ndash;[[December 16]], 1798 near [[Madrid]]) was a prolific [[Italy|Italian]] composer active in [[Spain]] under kings Charles III and IV.  Though he was musically influential at court and, to a lesser extent, throughout parts of western Europe, very little of his music was published during his lifetime, and not much more has been published since his death.

The majority of Brunetti's output (451 pieces) consists of chamber music designed for small ensembles and symphonies for the royal chamber orchestra.  His music, with its graceful melodies and periodic phrasing, respects early classical forms and conventions but also incorporates some more progressive and eclectic elements.

The dearth of modern editions of Brunetti's compositions has helped limit the number of recordings of his work to a mere handful of releases, including a collection of three symphonies performed by [[Concerto Köln]] on the Capriccio record label and a group of string quartets performed by the Schuppanzigh Quartet for [[Classic Produktion Osnabrück|CPO]].

==Further reading==
*{{cite book|last=Brunetti|first=Gaetano|coauthors=Jenkins, Newell, editor|isbn=0-8240-3801-0|title=Nine symphonies : 9, 16, 20, 21, 26, 28, 34, 35, 36|oclc=5838860|location=New York|publisher=Garland Publishing|date=1979}}

==Sources==
* Belgray, Alice B. and Newell Jenkins. &quot;Brunetti [Bruneti], Gaetano [Caetano, Cayetano]&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]''

{{Lifetime|1744|1798|Brunetti, Gaetano}}
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  <page>
    <title>Garret Wesley, 1st Earl of Mornington</title>
    <id>1155941</id>
    <revision>
      <id>307373478</id>
      <timestamp>2009-08-11T15:12:29Z</timestamp>
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        <username>Waacstats</username>
        <id>1951353</id>
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      <minor/>
      <comment>Stub-sorting. [[Wikipedia:WikiProject Stub sorting|You can help!]]</comment>
      <text xml:space="preserve">[[Image:Dangan Castle, Co Meath, Ireland, 1840.jpg|thumb|Dangan Castle, c. 1840]]
'''Garret Wesley, 1st Earl of Mornington''' (19 July 1735 &amp;ndash; 22 May 1781) (also ''Garret Colley Wellesley'') was an [[Anglo-Irish]] [[politician]] and [[composer]], best known today for fathering several distinguished [[British people|British]] military commanders and politicians.  

==Life==
He was born at the family estate of Dangan, near [[Summerhill, County Meath|Summerhill]], a village near [[Trim, County Meath|Trim]] in [[County Meath]], [[Ireland]], to [[Richard Wesley, 1st Baron Mornington]], and Elizabeth Sale. He was educated at [[Trinity College, Dublin]] and was elected its first Professor of Music in 1764.  As a composer he is remembered chiefly for [[glee (music)|glee]]s such as ''Here in cool grot'' (words by [[William Shenstone]]) and for a double [[Anglican chant]]. 

Wesley represented [[Trim (Parliament of Ireland constituency)|Trim]] in the [[Irish House of Commons]] from 1757 until 1758, when succeeded his father as 2nd Baron Mornington. In 1760, in recognition of his musical and philanthropic achievements, he was created '''Viscount Wellesley''', of Dangan Castle in the County of Meath, and '''Earl of Mornington'''.

==Family==
He married The Hon. Anne Hill-Trevor, eldest daughter of the banker Arthur Hill-Trevor, 1st [[Viscount Dungannon|Lord Dungannon]], and wife Anne Stafford in 1759. 
His children were:

* [[Richard Wellesley, 1st Marquess Wellesley|Richard, Viscount Wellesley, later 1st Marquess Wellesley, 2nd Earl of Mornington]] (20 June 1760 &amp;ndash; 26 September 1842)
* [[William Wellesley-Pole, 3rd Earl of Mornington|Hon. William, later Wellesley-Pole and 3rd Earl of Mornington, 1st Baron Maryborough]] (20 May 1763 &amp;ndash; 22 February 1845)
* [[Arthur Wellesley, 1st Duke of Wellington|Hon. Arthur, later 1st Duke of Wellington]] (c. 1 May 1769 &amp;ndash; 14 September 1852)
* The Revd and Hon. Gerald Valerian (7 December 1770 &amp;ndash; 24 October 1848)
* [[Henry Wellesley, 1st Baron Cowley|Hon. Henry, later 1st Baron Cowley]] (20 January 1773 &amp;ndash; 27 April 1847)
* [[Lady Anne Smith|Lady Anne]] (1775 &amp;ndash; 16 December 1844), married (1) Hon. Henry FitzRoy (younger son of [[Charles FitzRoy, 1st Baron Southampton]]), (2) Charles Culling Smith.

Four of Lord Mornington's five sons were created peers in the [[Peerage]]s of [[Peerage of Great Britain|Great Britain]] and the [[Peerage of the United Kingdom|United Kingdom]]. The Barony of Wellesley (held by the [[Marquess Wellesley]]) and the [[Baron Maryborough|Barony of Maryborough]] are now extinct, whilst the [[Duke of Wellington|Dukedom of Wellington]] and [[Earl Cowley|Barony of Cowley]] are extant. The [[Earl of Mornington|Earldom of Mornington]] is held by the Dukes of Wellington, and the Barons Cowley have since been elevated to be [[Earl Cowley|Earls Cowley]].
Garret Wesley, Lord Mornington, died in 1781.
He is also a direct ancestor of [[Elizabeth II of the United Kingdom|Queen Elizabeth II of Britain]] through her late mother, [[Lady Elizabeth Bowes-Lyon|Queen Elizabeth, the British Queen Mother]].

== External links ==
* [http://www.thepeerage.com/p10256.htm#i102557 Article from thepeerage.com]

{{start box}}
{{s-par|ie}}
{{s-bef| before = [[Chichester Fortescue (1718–1757)|Chichester Fortescue]] &lt;br/&gt; [[Joseph Ashe]] }}
{{s-ttl| title  = [[Member of Parliament]] for [[Trim (Parliament of Ireland constituency)|Trim]] 
       | with   = [[Joseph Ashe]]
       | years  = 1757 – 1758 }}
{{s-aft| after  = [[William Francis Crosbie]] &lt;br/&gt; [[Joseph Ashe]] }}

{{s-npo|mason}}
{{s-bef
 | before  = [[George Rochfort, 2nd Earl of Belvidere|The Earl of Belvidere]]}}
{{s-ttl
 | title   = Grand Master of the [[Grand Lodge of Ireland]]
 | years   = 1776&amp;ndash;1777}}
{{s-aft
 | after   = [[William FitzGerald, 2nd Duke of Leinster|The Duke of Leinster]]}}

{{s-reg|ie}}
{{succession box two to one
 | title2  = [[Earl of Mornington|Baron Mornington]]
 | before2 = [[Richard Wesley, 1st Baron Mornington|Richard Wesley]]
 | after   = [[Richard Wellesley, 1st Marquess Wellesley|Richard Wellesley]]
 | title1  = [[Earl of Mornington]]
 | before1 = New Creation
 | years2  = 1758&amp;ndash;1781
 | years1  = 1760&amp;ndash;1781 }}
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{{Wellesley}}

{{DEFAULTSORT:Mornington, Garret Wesley, 1st Earl of}}
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[[Category:House of Wellesley|Garret Wesley, 1st Earl of Mornington]]
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[[Category:Irish MPs 1727-1760|Wesley, Garret]]
[[Category:Members of the pre-1801 Parliament of Ireland]]

{{Ireland-composer-stub}}

[[it:Garret Wesley]]</text>
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  <page>
    <title>Joseph Haydn</title>
    <id>16094</id>
    <revision>
      <id>312935270</id>
      <timestamp>2009-09-10T06:39:29Z</timestamp>
      <contributor>
        <username>DavidRF</username>
        <id>1302553</id>
      </contributor>
      <comment>rv - this is already discussed at some length in the [[Gott erhalte Franz den Kaiser]] article... how often should it be repeated?</comment>
      <text xml:space="preserve">{{redirect|Haydn}}

[[File:Haydn portrait by Thomas Hardy (small).jpg|thumb|215px|Haydn portrait by [[Thomas Hardy (English painter)|Thomas Hardy]], 1792]]
'''(Franz) Joseph Haydn'''&lt;ref&gt;Although he is sometimes called &quot;Franz Joseph Haydn&quot;, the name &quot;Franz&quot; was not used in the composer's lifetime and is avoided by scholars. (Webster, James: &quot;Haydn, Joseph&quot;, ''Grove Music Online'' ed. L. Macy (Accessed 18 January 2007), http://www.grovemusic.com)&lt;/ref&gt;&lt;ref&gt;{{IPA-de|ˈjoːzɛf ˈhaɪdn̩}}; {{IPA-en|ˈdʒoʊzəf ˈhaɪdən|lang}}&lt;/ref&gt; ([[March 31]] [[1732]] &amp;ndash; [[May 31]] [[1809]]) was an [[Austrians|Austrian]] composer. He was one of the most important, prolific and prominent [[composer]]s of the [[classical music era|classical period]]. He is often called the &quot;Father of the [[Symphony]]&quot; and &quot;Father of the [[String Quartet]]&quot; because of his important contributions to these genres. He was also instrumental in the development of the [[piano trio]] and in the evolution of [[sonata form]].&lt;ref&gt;{{Harvnb |Rosen|1997|pp=43-54}}&lt;/ref&gt;&lt;ref&gt;{{cite book| first=Basil|last= Smallman | title=The Piano Trio: Its History, Technique, and Repertoire | publisher= Oxford University Press | year= 1992 |pages=16-19 |isbn=0193183072 }}&lt;/ref&gt; 

A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic [[House of Esterházy|Esterházy]] family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, &quot;forced to become original&quot;.&lt;ref&gt;{{Harvnb|Griesinger|1963|pp=24–25}}&lt;/ref&gt; At the time of his death, he was one of the most celebrated composers in Europe.&lt;ref&gt;{{cite book | first=Bernard | last=Harrison |title=Haydn, the &quot;Paris&quot; symphonies | publisher= Cambridge University Press| year=1998| pages= 20ff | isbn=0521471648 }}&lt;/ref&gt; 

Joseph Haydn was the brother of [[Michael Haydn]], himself a highly regarded composer, and [[Johann Evangelist Haydn]], a [[tenor]]. He was also a close friend of [[Wolfgang Amadeus Mozart]] and a teacher of [[Ludwig van Beethoven]].

== Life ==
=== Childhood ===
[[File:WhereHaydnLived.PNG|thumb|right|300px|Map showing locations where Haydn lived or visited. For discussion, see [[List of residences of Joseph Haydn]].]]
Joseph Haydn was born in [[Rohrau (Austria)|Rohrau]], [[Archduchy of Austria|Austria]], a village near the border with [[Hungary]]. His father was [[Mathias Haydn]], a [[wheelwright]] who also served as &quot;Marktrichter&quot;, an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of [[Aloys Thomas Raimund, Count Harrach|Count Harrach]], the presiding aristocrat of Rohrau. Neither parent could read music;&lt;ref&gt;Haydn reported this in his 1776 [[Autobiographical sketch (Haydn)|Autobiographical sketch]].&lt;/ref&gt; however, Mathias was an enthusiastic [[folk music]]ian, who during the journeyman period of his career had taught himself to play the [[harp]]. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours.&lt;ref&gt;{{Harvnb|Dies|1963|pp=80–81}}&lt;/ref&gt;

Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in [[Hainburg an der Donau|Hainburg]], that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg (seven miles away) and never again lived with his parents. He was six years old.

Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry&lt;ref&gt;{{Harvnb|Griesinger|1963|p=9}}&lt;/ref&gt; as well as constantly humiliated by the filthy state of his clothing.&lt;ref&gt;{{Harvnb|Dies|1963|p=82}}&lt;/ref&gt; However, he did begin his musical training there, and soon was able to play both [[harpsichord]] and [[violin]]. The people of Hainburg were soon hearing him sing [[Boy soprano|treble]] parts in the church [[choir]].

There is reason to think that Haydn's singing impressed those who heard him, because he was soon&lt;ref&gt;Probably in 1739; {{Harvnb|Finscher|2000| p=12}}&lt;/ref&gt; brought to the attention of [[Georg von Reutter]], the director of music in [[St. Stephen's Cathedral, Vienna|St. Stephen's Cathedral]] in [[Vienna]], who was touring the provinces looking for talented [[choirboy]]s. Haydn passed his audition with Reutter, and in 1740 moved to Vienna, where he worked for the next nine years as a chorister, after 1745 in the company of his younger brother [[Michael Haydn|Michael]].  

Haydn lived in Reutter's home with the other five choirboys.  He was instructed in Latin and other school subjects as well as voice, violin, and keyboard.&lt;ref&gt;{{Harvnb|Finscher|2000|p=12}}&lt;/ref&gt;  Reutter was of little help to Haydn in the areas of music theory and composition, giving him only two lessons in his entire time as chorister.&lt;ref&gt;{{Harvnb|Griesinger|1963|p=10}}&lt;/ref&gt;  However, since St. Stephen's was one of the leading musical centers in Europe, Haydn was able to learn a great deal simply by serving as a professional musician there.&lt;ref&gt;{{Harvnb|Landon|Jones|1988|p=27}}&lt;/ref&gt;

Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed.  As he later told his biographer [[Albert Christoph Dies]], Haydn was motivated to sing very well, in hopes of gaining more invitations to perform before aristocratic audiences—where the singers were usually served refreshments.&lt;ref&gt;{{Harvnb|Dies|1963|p=87}}&lt;/ref&gt; 

[[File:Eduard Gurk Sankt Stephan.jpg|left|thumb|220px|[[Stephansdom|St. Stephen's Cathedral]], [[Vienna]]]]

=== Struggles as a freelancer ===
By 1749, Haydn had finally matured physically to the point that he was no longer able to sing high choral parts. On a weak pretext, he was summarily dismissed from his job. He was sent into the streets with no home to go to.&lt;ref&gt;{{Harvnb|Geiringer|1982|p=27}}&lt;/ref&gt; However, he had the good fortune to be taken in by a friend, Johann Michael Spangler, who for a few months shared with Haydn his family's crowded garret room. Haydn was able to begin immediately his pursuit of a career as a freelance musician.

During this arduous time, Haydn worked at many different jobs: as a music teacher, as a street serenader, and eventually as valet&amp;ndash;accompanist for the Italian composer [[Nicola Porpora]], from whom he later said he learned &quot;the true fundamentals of composition&quot;.&lt;ref&gt;{{Harvnb|Larsen|1980|p=8}}&lt;/ref&gt;

When he was a [[choirboy|chorister]], Haydn had not received serious training in music theory and composition, which he perceived as a serious gap. To fill it, he worked his way through the [[counterpoint]] exercises in the text ''Gradus ad Parnassum'' by [[Johann Joseph Fux]], and carefully studied the work of [[Carl Philipp Emanuel Bach]], whom he later acknowledged as an important influence.&lt;ref name=&quot;Geiringer30&quot;&gt;{{Harvnb|Geiringer|1982|p=30}}&lt;/ref&gt;

As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, [[Der krumme Teufel]] &quot;The Limping Devil&quot;, written for the comic actor [[Johann Joseph Felix Kurz]], whose stage name was &quot;Bernardon&quot;. The work was premiered successfully in 1753, but was soon closed down by the censors.&lt;ref&gt;{{Harvnb|Geiringer|1982|pp=30–32}}&lt;/ref&gt; Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops.&lt;ref&gt;{{Harvnb|Griesinger|1963|p=15}}&lt;/ref&gt; Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the ''Hofkapelle'') in Lent and Holy Week.&lt;ref&gt;Dexter Edge, 'New Sources for Haydn’s Early Biography', unpublished paper given at the AMS Montréal, 7 November 1993, (see ''The New Grove Dictionary of Music and Musicians'' (2001), vol. 11, p. 265).&lt;/ref&gt; 

With the increase in his reputation, Haydn eventually was able to obtain aristocratic patronage, crucial for the career of a composer in his day. Countess Thun,&lt;ref&gt;Various individuals bore the title &quot;Countess Thun&quot; over time.  Candidates for the countess who engaged Haydn are (a) &quot;the elder Countess Maria Christine Thun&quot;, {{Harv|Webster|2002}}; (b) [[Maria Wilhelmine Thun]] (later a famous salon hostess and patroness of Mozart), (Volkmar Braunbehrens, 1990, ''Mozart in Vienna'').&lt;/ref&gt; having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher.&lt;ref&gt;{{Harvnb|Webster|2002|p=8}}.  Webster expresses doubts, since the source is the early biography of [[Nicolas-Étienne Framery]], judged {{Harv|Webster|2002|p=1}} the least reliable of Haydn's early biographers.&lt;/ref&gt; Baron [[Carl Josef Fürnberg]] employed Haydn at his country estate, [[Weinzierl]], where the composer wrote his first string quartets. Fürnberg later recommended Haydn to [[Count Morzin]], who in 1757&lt;ref&gt;This date is uncertain, since the early biography of {{Harvtxt|Griesinger|1963}} gives 1759.  For the evidence supporting the earlier date see {{Harvtxt|Landon|Jones|1988|p=34}} and {{Harvtxt|Webster|2002|p=10}}.&lt;/ref&gt; became his first full time employer.&lt;ref&gt;Source for this paragraph: {{Harvnb|Geiringer|1982|pp=34–35}}&lt;/ref&gt;

=== The years as Kapellmeister ===
[[File:Haydnportrait.jpg|thumb|Haydn portrait by [[Ludwig Guttenbrunn]], painted ca. 1791-2, depicts Haydn ca. 1770]] Haydn's job title under [[Count Morzin]] was [[Kapellmeister]], that is, music director. He led the count's small orchestra and wrote his first symphonies for this ensemble. In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Aloysia Apollonia Keller (1729–1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage,&lt;ref&gt;See, e.g., {{Harvnb|Geiringer|1982|pp=36–40}}&lt;/ref&gt; from which the laws of the time permitted them no escape; and they produced no children.  Both took lovers.&lt;ref&gt;Mrs. Haydn's paramour (1770) was Ludwig Guttenbrunn, an artist who produced the portrait of Haydn seen above {{Harv|Landon|Jones| 1988|p=109}}. Joseph Haydn had a long relationship, starting in 1779, with the singer [[Luigia Polzelli]], and was probably the father of her son Antonio {{Harv|Landon|Jones|1988|p=116}}.&lt;/ref&gt; 

Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as Vice Kapellmeister to the [[House of Esterházy|Esterházy family]], one of the wealthiest and most important in the [[Austrian Empire]]. When the old Kapellmeister, [[Gregor Werner]], died in 1766, Haydn was elevated to full Kapellmeister.

[[File:Fertőd - The Eszterházy Castle or Palace.jpg|thumb|left|View of [[Eszterháza]]]]
As a &quot;house officer&quot; in the Esterházy establishment, Haydn wore [[livery]] and followed the family as they moved among their various palaces, most importantly the family's ancestral seat [[Schloss Esterházy]] in [[Eisenstadt]] and later on [[Eszterháza]], a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing [[chamber music]] for and with his patrons, and eventually the mounting of operatic productions. Despite this workload, the job was in artistic terms a superb opportunity for Haydn.&lt;ref&gt;This view is given, for instance, by {{Harvtxt|Webster|2002|p=13}} and {{Harvtxt|Landon|Jones|1988|p=37}}.&lt;/ref&gt; The Esterházy princes (first [[Paul II Anton Esterházy|Paul Anton]], then most importantly [[Nikolaus Esterházy|Nikolaus I]]) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra.

[[File:Nikolaus Esterhazy.jpg|Prince [[Nikolaus Esterházy]], Haydn's most important patron|right|thumb]]
During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the [[Paris symphonies]] (1785&amp;ndash;1786) and the original orchestral version of [[The Seven Last Words of Christ]] (1786), were [[commission (art)|commissions]] from abroad.

Haydn also gradually came to feel more isolated and lonely, particularly as the court came to spend most of the year at Esterháza, far from Vienna, rather than the closer-by Eisenstadt.&lt;ref&gt;{{Harvnb|Geiringer|1982|p=60}}&lt;/ref&gt; Haydn particularly longed to visit Vienna because of his friendships there.&lt;ref&gt;For details see {{Harvnb|Geiringer|1982|loc=Chapter 6}}&lt;/ref&gt;

Of these, a particularly important one was with [[Maria Anna von Genzinger]] (1750–93), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic, relationship with the composer in 1789.  Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Eszterháza and his happiness for the few occasions on which he was able to visit her in Vienna; later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his [[Variations in F minor|F minor variations]] for piano, Hob. XVII:6, may have been written in response to her death.&lt;ref&gt;{{Harvnb|Geiringer|1982|p=316}}, citing Robbins Landon&lt;/ref&gt;

[[File:Mozart Lange.png|Portrait of Mozart by [[Joseph Lange]]|left|150px|thumb]]
Another friend in Vienna was [[Wolfgang Amadeus Mozart]], whom Haydn met sometime around 1784.  According to later testimony by [[Michael Kelly (musician)|Michael Kelly]] and others, the two composers occasionally played in [[string quartet]]s together.  Haydn was hugely impressed with Mozart's work and praised it unstintingly to others.  Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the [[Haydn Quartets (Mozart)|&quot;Haydn&quot; quartets]], to his friend.  For further details see [[Haydn and Mozart]].

=== The London journeys ===
In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical establishment and put Haydn on a pension. Freed of his obligations, Haydn was able to accept a lucrative offer from [[Johann Peter Salomon]], a German [[impresario]], to visit England and conduct new symphonies with a large orchestra.

The visit (1791&amp;ndash;1792), along with a repeat visit (1794&amp;ndash;1795), was a huge success. Audiences flocked to Haydn's concerts; Haydn augmented his fame and made large profits, thus becoming financially secure. [[Charles Burney]] reviewed the first concert thus: &quot;Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England.&quot;&lt;ref&gt;From Burney's memoirs; quoted from {{Harvtxt|Landon|Jones|1988|p=234}}&lt;/ref&gt; 

Musically, the visits to England generated some of Haydn's best-known work, including the ''[[Symphony No. 94 (Haydn)|Surprise]]'', ''[[Symphony No. 100 (Haydn)|Military]]'', ''[[Symphony No. 103 (Haydn)|Drumroll]]'', and ''[[Symphony No. 104 (Haydn)|London]]'' symphonies, the ''[[List of string quartets by Joseph Haydn#Opus 71.2C 74 .281793.29|Rider]]'' quartet, and the [[Piano Trio No. 39 (Haydn)|&quot;Gypsy Rondo&quot;]] piano trio.  The only misstep in the venture was an opera, ''Orfeo ed Euridice'', also called ''L'Anima del Filosofo'', which Haydn was contracted to compose, but whose performance was blocked by intrigues.&lt;ref&gt;The premier performance occurred only in 1951, at the Florence May Festival with Maria Callas in the role of Euridice. The opera and its history are discussed in {{Harvnb|Geiringer|1982|pp=342-343}}.&lt;/ref&gt;  Haydn made many new friends and was involved for a time in a romantic relationship with [[Rebecca Schroeter]].

[[File:Beethoven Riedel 1801.jpg|thumb|150px|right|Portrait of Beethoven as a young man by [[Carl Traugott Riedel]] (1769 &amp;ndash; 1832)]]
Between visits, Haydn taught [[Ludwig van Beethoven]]. Beethoven found him unsatisfactory as a teacher and sought help from others; the relationship between the two was sometimes rather tense. For discussion of their relationship, see [[Beethoven and his contemporaries]].&lt;ref&gt;{{Harvnb|Geiringer|1982|pp=131&amp;ndash;135}}&lt;/ref&gt;

=== Final years in Vienna ===
Haydn returned to Vienna in 1795, moved into a large house in the suburb of [[Gumpendorf]],&lt;ref&gt;The house, at Haydngasse 19, has since 1899 been a Haydn museum ([http://www.planetware.com/vienna/haydn-museum-a-w-hayd.htm], [http://www.wienmuseum.at/de/standorte/ansicht.html?tx_wxlocation_pi2[showUid&amp;#93;=27&amp;cHash=0a55f69cfa]).&lt;/ref&gt; and turned to the composition of large religious works for chorus and orchestra. These include his two great oratorios ([[The Creation (Haydn)|The Creation]] and [[The Seasons (Haydn)|The Seasons]]) and six [[Mass (music)|masses]] for the Eszterházy family, which by this time was once again headed by a musically-inclined prince. Haydn also composed instrumental music:  the popular [[Trumpet Concerto (Haydn)|Trumpet Concerto]] and the last nine in his long series of string quartets, including the ''[[String Quartets, Op. 76 (Haydn)#Opus 76 No. 2|Fifths]]'', ''[[String Quartets, Op. 76 (Haydn)#Opus 76 No. 3|Emperor]]'', and ''[[String Quartets, Op. 76 (Haydn)#Opus 76 No. 4|Sunrise]]'' quartets.

In 1802, an illness from which Haydn had been suffering for some time had increased in severity to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing [[Gott erhalte Franz den Kaiser]], which he had composed himself as a patriotic gesture in 1797.&lt;ref&gt;{{Harvnb|Geiringer|1982|pp=161–2}}&lt;/ref&gt; This melody later was used for the Austrian and German [[national anthems]].

Haydn died at the end of May in 1809, shortly after an attack on Vienna by the French army under [[Napoleon]]. He was 77. Among his last words was his attempt to calm and reassure his servants when cannon shot fell in the neighborhood.&lt;ref&gt;{{Harvnb|Geiringer|1982|p=189}}&lt;/ref&gt; &quot;My children, have no fear, for where Haydn is, no harm can fall.&quot; Two weeks later, a memorial service was held in the [[Schottenkirche, Vienna|Schottenkirche]] on June 15, 1809, at which Mozart's [[Requiem (Mozart)|Requiem]] was performed.

== Character and appearance ==
[[James Webster (musicologist)|James Webster]] writes of Haydn's public character thus:  &quot;Haydn's public life exemplified the [[Age of Enlightenment|Enlightenment]] ideal of the ''honnête homme'' (''honest man''):  the man whose good character and worldly success enable and justify each other.  His modesty and probity were everywhere acknowledged.  These traits were not only prerequisites to his success as [[Kapellmeister]], entrepreneur and public figure, but also aided the favourable reception of his music.&quot;&lt;ref&gt;{{Harvnb|Webster|2002|p=44}}&lt;/ref&gt;  Haydn was especially respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see [[Papa Haydn]] and the tale of the [[Symphony No. 45 (Haydn)|&quot;Farewell&quot; Symphony]].  

Haydn had a robust sense of humor, evident in his love of [[practical joke]]s&lt;ref&gt;{{Harvnb|Griesinger|1963|p=20}}; {{Harvnb|Dies|1963|pp=92–93}}&lt;/ref&gt; and often apparent in his music, and he had many friends.  For much of his life he benefited from a &quot;happy and naturally cheerful temperament&quot;,&lt;ref&gt;{{Harvnb|Dies|1963|p=91}}&lt;/ref&gt; but in his later life, there is evidence for periods of depression, notably in the correspondence with [[Maria Anna von Genzinger|Mrs. Genzinger]] and in Dies's biography, based on visits made in Haydn's old age.  

Haydn was a devout [[Roman Catholicism|Catholic]] who often turned to his [[rosary]] when he had trouble composing, a practice that he usually found to be effective.&lt;ref&gt;{{Harvnb|Griesinger|1963|p=54}}&lt;/ref&gt; He normally began the manuscript of each composition with &quot;in nomine Domini&quot; (&quot;in the name of the Lord&quot;) and ended with &quot;Laus Deo&quot; (&quot;praise be to God&quot;).&lt;ref&gt;{{Harvnb|Larsen|1980|p=81}}&lt;/ref&gt;

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of [[smallpox]], his face being pitted with the scars of this disease.  His biographer [[Albert Christoph Dies|Dies]] wrote, &quot;he couldn't understand how it happened that in his life he had been loved by many a pretty woman.  'They couldn't have been led to it by my beauty'&quot;.&lt;ref&gt;{{Harvnb|Dies|1963|p=157}}; translation taken from Robbins Landon and Jones 1988&lt;/ref&gt; 

Haydn also suffered from [[nasal polyps|nasal polyposis]] for much of his adult life; this was an agonizing and debilitating disease in the 18th century, and at times it prevented him from writing music.&lt;ref&gt;Discussed in &quot;The Agony of Nasal Polyps and the Terror of Their Removal 200 Years Ago&quot; by Jack Cohen, MD. This article appeared in The Laryngoscope, 108(9): 1311-1313, September 1998.  No free online text available.&lt;/ref&gt;  

[[File:Gutenberg.net 13504 illus6.jpg|thumbnail|right|250px|Portion of an original [[manuscript]] by Haydn, in the [[British Museum]], from a biography of Haydn available from [[Project Gutenberg]]]]

== Works ==
[[James Webster (musicologist)|James Webster]] summarizes Haydn's role in the history of classical music as follows:&lt;ref&gt;Online edition, article &quot;Joseph Haydn&quot;; downloaded Feb. 3, 2007&lt;/ref&gt; ''&quot;He excelled in every musical genre… He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres.&quot;''

=== Structure and character of the music ===
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical [[Motif (music)|motifs]], often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.&lt;ref&gt;{{Harvtxt|Sutcliffe|1989|p=343}} mentions this in a criticism of contemporary Haydn performance practice:  &quot;[Haydn's] music sometime seems to 'live on its nerves' ... It is above all in this respect that Haydn performances often fail, whereby most interpreters lack the mental agility to deal with the ever-changing 'physiognomy' of Haydn's music, subsiding instead into an ease of manner and a concern for broader effects that they have acquired in their playing of Mozart.&quot;&lt;/ref&gt;

Haydn's work was central to the development of what came to be called [[sonata form]].  His practice, however, differed in some ways from that of [[Wolfgang Amadeus Mozart|Mozart]] and [[Ludwig van Beethoven|Beethoven]], his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called [[Sonata form#Monothematic expositions|&quot;monothematic exposition&quot;]], in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his [[Recapitulation (music)|recapitulation]] sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.&lt;ref&gt;{{Harvtxt|Hughes|1970|p=112}} writes: &quot;Having begun to 'develop', he could not stop; his recapitulations begin to take on irregular contours, sometimes sharply condensed, sometimes surprisingly expanded, losing their first tame symmetry to regain a balance of a far higher and more satisfying order.&quot; &lt;/ref&gt;

Haydn's formal inventiveness also led him to integrate the [[fugue]] into the classical style and to enrich the rondo form with more cohesive tonal logic (see [[sonata rondo form]]). Haydn was also the principal exponent of the [[double variation]] form – variations on two alternating themes, which are often major- and minor-mode versions of each other.

Perhaps more than any other composer's, Haydn's music is known for its humor.&lt;ref&gt;See, for instance, {{Harvtxt|Brendel|2001}}, which focuses on the humor of Haydn and Beethoven.&lt;/ref&gt; The most famous example is the sudden loud chord in the slow movement of his [[Symphony No. 94 (Haydn)|&quot;Surprise&quot; symphony]]; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets [[String Quartets, Op. 33 (Haydn)|Op. 33 No. 2]] and [[List of string quartets by Joseph Haydn#Opus 50 (1787)|Op. 50 No. 3]]), and the remarkable rhythmic illusion placed in the trio section of the third movement of [[List of string quartets by Joseph Haydn#Opus 50 (1787)|Op. 50 No. 1]].

Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat.{{Fact|date=September 2007}} This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's &quot;rollicking&quot; finale type are found in the [[Symphony No. 104 (Haydn)|&quot;London&quot; symphony]] No. 104, the string quartet Op. 50 No. 1, and the piano trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, [[Symphony No. 102 (Haydn)|symphony No. 102]], and piano trio Hob XV: 23. The [[minuets]] tend to have a strong downbeat and a clearly popular character. As early as Op. 33 (1781) Haydn turned some of his minuets into &quot;scherzi&quot; which are much faster, at one beat to the bar.

=== Evolution of Haydn's style ===
Haydn's early work dates from a period in which the compositional style of the High [[Baroque music|Baroque]] (seen in [[Johann Sebastian Bach|Bach]] and [[Handel]]) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time.&lt;ref&gt;{{Harvtxt|Rosen|1997|p=57}} writes, &quot;the period from 1750 to 1775 was penetrated by eccentricity, hit-or-miss experimentation, resulting in works which are still difficult to accept today because of their oddities.&quot;  Similar remarks are made by {{Harvtxt|Hughes|1970|pp=111–112}}&lt;/ref&gt; An older contemporary whose work Haydn acknowledged as an important influence was [[Carl Philipp Emanuel Bach]].&lt;ref name=&quot;Geiringer30&quot;/&gt;

Tracing Haydn's work over the six decades in which it was produced (roughly, 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style.

In the late 1760s and early 1770s Haydn entered a stylistic period known as &quot;[[Sturm und Drang]]&quot; (storm and stress). This term is taken from a [[Sturm und Drang|literary movement]] of about the same time, though it appears that the musical development actually preceded the literary one by a few years.&lt;ref&gt;See {{Harvtxt|Webster|2002|p=18}}:  &quot;the term has been criticized:  taken from the title of a play of 1776 by [[Friedrich Maximilian Klinger|Maximilian Klinger]], it properly pertains to a literary movement of the middle and late 1770s rather than a musical one of about 1768–1772.&quot;&lt;/ref&gt; The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys.  James Webster describes the works of this period as &quot;longer, more passionate, and more daring.&quot;&lt;ref&gt;{{Harvnb|Webster|2002|p=18}}&lt;/ref&gt; Some of the most famous compositions of this time are the [[Symphony No. 45 (Haydn)|&quot;Farewell&quot; Symphony]] No. 45, the piano sonata in C minor (Hob. XVI/20, L. 33), and the [[String Quartets, Op. 20 (Haydn)|six string quartets of Op. 20]] (the &quot;Sun&quot; quartets), all from 1772. It was also around this time that Haydn became interested in writing [[fugue]]s in the [[Baroque music|Baroque]] style, and three of the Op. 20 quartets end with such fugues.

Following the climax of the &quot;Sturm und Drang&quot;, Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes [[trumpet]]s and [[timpani]]. These changes are often related to a major shift in Haydn's professional duties, which moved him away from &quot;pure&quot; music and toward the production of [[Opera buffa|comic operas]], which were very popular in 18th Century Italy. Several of the operas were Haydn's own work (see [[List of operas by Joseph Haydn]]); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works,&lt;ref&gt;Webster and Feder 2001, section 3.iii&lt;/ref&gt; which helped him continue his career as a symphonist during this hectic decade.

In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of &quot;pure&quot; music. The change made itself felt most dramatically in 1781, when Haydn published the [[String Quartets, Op. 33 (Haydn)|six string quartets of Opus 33]], announcing (in a letter to potential purchasers) that they were written in &quot;a completely new and special way&quot;. [[Charles Rosen]] has argued that this assertion on Haydn's part was not just sales talk, but meant quite seriously; and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the [[Classical music era|Classical]] style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of &quot;Classical [[counterpoint]]&quot; in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Opus 33.&lt;ref&gt;Rosen's case that Opus 33 represents a &quot;revolution in style&quot; (1971 and 1997, 116) can be found in chapter III.1 of (Rosen 1971 and 1997). For dissenting views, see {{Harvtxt|Larsen|1980|p=102}} and {{Harvtxt|Webster|1991}}.&lt;/ref&gt;

In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his &quot;popular style&quot;, a way of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure.&lt;ref&gt;Rosen discusses the popular style in ch. VI.1 of Rosen (1971 and 1997).&lt;/ref&gt; An important element of the popular style was the frequent use of [[folk music|folk]] or folk-like material, as discussed in the article [[Haydn and folk music]]. Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure.&lt;ref&gt;Rosen (1997 and 2001), 333–337&lt;/ref&gt; Haydn's popular style can be heard in virtually all of his later work, including the twelve [[London symphonies]], the late quartets and piano trios, and the two late [[oratorio]]s.

[[File:HaydnsHouseInVienna.PNG|thumbnail|right|250px|The house in Vienna where Haydn lived in the last years of his life, now a museum]]
The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of [[The Creation (Haydn)|The Creation]] (1798) and [[The Seasons (Haydn)|The Seasons]] (1801), which address such weighty topics as the meaning of life and the purpose of humankind, and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on ''The Creation'' so long because he wanted it to last.&lt;ref&gt;{{Harvnb|Geiringer|1982|p=158}}&lt;/ref&gt; 

The change in Haydn's approach was important in the [[history of music]], as other composers soon were following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.&lt;ref&gt;For discussion, see [[Antony Hopkins]] (1981) ''The Nine Symphonies of Beethoven'', Heinemann, London, pp. 7–8.&lt;/ref&gt;

=== Identifying Haydn's works ===

Haydn's works are listed in a comprehensive catalogue prepared by [[Anthony van Hoboken]].  This [[Hoboken-Verzeichnis|Hoboken catalogue]] provides each work with an identifying number, called its Hoboken number (abbreviation:  H. or Hob.).  The string quartets also have Hoboken numbers, but are usually identified instead by their [[opus number]]s, which have the advantage of indicating the groups of six quartets that Haydn published together; thus for example the string quartet [[String Quartets, Op. 76 (Haydn)#Opus 76 No. 3|Opus 76, No. 3]] is the third of the six quartets published in 1799 as Opus 76.

== Media ==

{{listen 
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 | description  = 
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 | description5 = 
 | format5      = [[Ogg]]
 | filename6    = CELLO LIVE PERFORMANCES JOHN MICHEL-HAYDN CELLO CONCERTO in D 1 recapcad.ogg
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 | format6      = [[Ogg]]
 | filename7    = CELLO LIVE PERFORMANCES JOHN MICHEL-Haydn Cello Concerto in D 3rd mvt .ogg
 | title7       = Cello Concerto in D, 3rd movement
 | description7 = 
 | format7      = [[Ogg]]
}}
== See also ==
=== Works ===
* [[List of concertos by Joseph Haydn]]
* [[List of masses by Joseph Haydn]]
* [[List of operas by Joseph Haydn]]
* [[List of piano trios by Joseph Haydn]]
* [[List of solo piano compositions by Joseph Haydn]]
* [[List of string quartets by Joseph Haydn]]
* [[List of symphonies by Joseph Haydn]]
* [[Gott erhalte Franz den Kaiser]] (''God save Franz, the Emperor''; the melody was later used in ''[[Das Lied der Deutschen]]'', which is still [[Germany]]'s [[national anthem]]).
* [[The Creation (Haydn)|The Creation]]
* [[The Seasons (Haydn)|The Seasons]]
* [[Baryton]], for the baryton trios Haydn wrote for prince Nikolaus Esterházy

=== Contemporaries ===
* [[Marianne von Martinez]] — as a child one of Haydn's first students; as an adult a friend and an eminent musician in her own right
* [[Johann Peter Salomon]] - organizer of the London journeys
* [[Gottfried van Swieten]] - the librettist of *[[The Creation (Haydn)|The Creation]] and [[The Seasons (Haydn)|The Seasons]]
* [[List of Austrians in music]]

=== Other topics ===
* [[Haydn and folk music]]
* [[Haydn's head]] - how it was stolen after his death
* [[Joseph Haydn's ethnicity]] - an old controversy:  was Haydn a Croatian?
* [[Papa Haydn|&quot;Papa&quot; Haydn]]
* [[Mannersdorf am Leithagebirge]] - where Haydn visited and built his career during summer 1753

== Notes ==
{{Reflist|3}}

== References ==
=== Biography ===
* {{cite book|title=Haydn: Two Contemporary Portraits|editor-last=Gotwals|editor-first=Vernon, translator and editor | place=Milwaukee | year= 1963 | publisher=University of Wisconsin Press|isbn=0299027910 | last=Dies | first=Albert Christoph | authorlink=Albert Christoph Dies | chapter=Biographical Accounts of Joseph Haydn}} A translation from the original German: &quot;Biographische Nachrichten von Joseph Haydn nach mündlichen Erzählungen desselben entworfen und herausgegeben&quot; (&quot;Biographical accounts of Joseph Haydn, written and edited from his own spoken narratives&quot;) (1810). Camesinaische Buchhandlung, Vienna. One of the first biographies of Haydn, written on the basis of 30 interviews carried out during the composer's old age.
* {{cite book |last=Finscher | first= Ludwig | year=2000|title=Joseph Haydn und seine Zeit|publisher= Laaber-Verlag |place=Laaber|isbn=3921518946}} Highly detailed discussion of life and work; in German.
* {{cite book|last= Geiringer |first= Karl |last2= Geiringer |first2=Irene |title= Haydn: A Creative Life in Music |publisher= University of California | edition= 3rd |year= 1982 |isbn= 0520043162 |ref= CITEREFGeiringer1982 }} The first edition was published in 1946 with Karl Geiringer as the sole author.
* {{cite book|title=Haydn: Two Contemporary Portraits|editor-last=Gotwals|editor-first=Vernon, translator and editor | place=Milwaukee | year= 1963 | publisher=University of Wisconsin Press|isbn=0299027910 | last=Griesinger| first=Georg August| authorlink=Georg August Griesinger| chapter=Biographical Notes Concerning Joseph Haydn}} A translation from the original German: &quot;Biographische Notizen über Joseph Haydn&quot; (1810). Leipzig. Like Dies's, a biography produced from interviews with the elderly Haydn.
* {{cite book| last=Hughes | first=Rosemary | year=1970| title= Haydn|place=New York|publisher=Farrar Strauss and Giroux|edition=Revised}} Originally published in 1950. Gives a sympathetic and witty account of Haydn's life, along with a survey of the music.
* {{cite book|last=Landon | first= H.C. Robbins | year=1976-1980|title=Haydn: Chronicle and Works |place= Bloomington, IN|publisher= Indiana University Press}} An extensive compilation of original sources in five volumes.
* {{cite book|last= Landon |first= H. C. Robbins |authorlink= H. C. Robbins Landon | last2=Jones | first2= David Wyn |title= Haydn: His Life and Music |publisher= Indiana University Press |date= 1988 |isbn= 978-0253372659 }} Biography chapters by Robbins Landon, excerpted from Robbins Landon (1976-1980) and rich in original source documents.  Analysis and appreciation of the works by Jones. 
* {{cite encyclopedia | last=Larsen | first=Jens Peter | year=1980 | encyclopedia=[[New Grove Dictionary of Music and Musicians]] | title=Joseph Haydn}} Published separately as {{cite book | title=The New Grove: Haydn | year=1982 | publisher= Norton | place= New York | isbn=0-393-01681-1 |CITEREFLarsen1982}}
* {{cite encyclopedia | last=Webster | first=James | last2=Feder | first2=Georg | year=2001 |title=Joseph Haydn | encyclopedia=[[The New Grove Dictionary of Music and Musicians]] }} Published separately as a book: {{cite book | title=The New Grove Haydn| place=New York | publisher=Macmillan| year=2002| isbn=0-19-516904-2 | ref= CITEREFWebster2002 }} Up-to-date scholarship with little subjective interpretation.

=== Criticism and analysis ===
*{{cite book | last=Brendel | first=Alfred | author-link=Alfred Brendel | year=2001 | chapter=Does classical music have to be entirely serious? | editor-last=Margalit | editor-first=Edna| editor2-last=Margalit | editor2-first=Avishai | title=Isaiah Berlin: A Celebration | pages=193–204| publisher=University of Chicago Press | place=Chicago | isbn=0-226-84096-4 }} On jokes in Haydn and Beethoven.
*{{cite book | editor-last=Clark | editor-first=Caryl | year=2005 | title=The Cambridge Companion to Haydn | publisher=Cambridge University Press | place=Cambridge | isbn=0-521-83347-7 }} Covers each of the genres Haydn composed in as well as stylistic and interpretive contexts and performance and reception.
*{{cite book | last=Griffiths | first=Paul | year=1983 | title=The String Quartet | publisher=Thames and Hudson | place=New York | isbn=0-500-01311-X }}
*{{cite book | last=Hughes | first=Rosemary | year=1966 | title=Haydn String Quartets | publisher=BBC | place=London }} A  brief (55 page) introduction to Haydn's string quartets.
*{{cite book |last=Rosen | first=Charles | author-link=Charles Rosen |title=The classical style: Haydn, Mozart, Beethoven |publisher=Norton |location=New York |year=1997 |isbn=0-393-31712-9 | edition=2nd}} First edition published in 1971. Covers much of Haydn's output and seeks to explicate Haydn's central role in the creation of the classical style. The work has been influential, provoking both positive citation and work (e.g., Webster 1991) written in reaction.
*{{ cite journal |last=Sutcliffe | first=W. Dean | title=Haydn's Musical Personality | journal=The Musical Times | year=1989 | volume=130 | pages=341-344}}
*{{cite book |last=Sutcliffe | first=W. Dean |title=Haydn, string quartets, op. 50 |publisher=Cambridge University Press |location=Cambridge |year=1992 |isbn=0-521-39103-2 }} Covers not just Op. 50 but also its relevance to Haydn's other output as well as his earlier quartets.
*{{cite book | last=Webster | first=James | year=1991| title= Haydn’s &quot;Farewell&quot; symphony and the idea of classical style: through-composition and cyclic integration in his instrumental music | publisher=Cambridge University Press | place=Cambridge | isbn=0-521-38520-2}} This book focuses on a single work, but contains many observations and opinions about Haydn in general.

&lt;/div&gt;

== External links ==
* Albert Christoph Dies: (German) ''[http://www.donjuanarchiv.at/archiv/bestaende/ernestea-sezzatense/oesterreich/wien/biographische-nachrichten-von-joseph-haydn.html Biographische Nachrichten von Joseph Haydn. Wien: Camesinaische Buchhandlung]'', 1810.
{{commons|Joseph Haydn}}{{wikiquote}}
* [http://www.earlymusicworld.com/id26.html Haydn's Late Oratorios: The Creation and The Seasons by Brian Robins]
* Full text of the biography ''[http://www.gutenberg.net/etext/3788 Haydn]'' by J. Cuthbert Hadden, 1902, from [[Project Gutenberg]]. The end of book contains documentary material including a number of Haydn's letters. Alternatively scanned copy ''[http://www.archive.org/details/haydn00haddgoog Haydn]'' at archive.org.
* [http://www.classical.net/music/comp.lst/articles/haydnfj/noroyal.html No Royal Directive: Joseph Haydn and the String Quartet] by [[Ron Drummond]]
* [http://www.musicologie.org/Biographies/h/haydn.html ''musicologie.org''], with biography {{fr icon}}
* [http://www.youtube.com/watch?v=13GHrPNJzNQ Haydn Cello Concerto in C] - last movement
* [http://www.gresham.ac.uk/event.asp?PageId=45&amp;EventId=683 'Haydn - Quartet in F minor, Op.20 No.5'], Lecture by Professor [[Roger Parker]], with the Badke Quartet, [[Gresham College]], 8 April 2008  (available for video, audio and text download). 
* [http://www.magazzini-sonori.it/esplora_contenuti/autori_esecutori/haydn_franz_joseph.aspx Haydn Franz Joseph: listen tracks] on [http://www.magazzini-sonori.it/ Magazzini-Sonori] {{it icon}}
 
=== Scores and Recordings ===
* {{IMSLP|id=Haydn, Joseph}}
* {{ChoralWiki|Franz Joseph Haydn}}
* {{WIMA|idx=Haydn}}
* [http://kreusch-sheet-music.net/eng/?page=show&amp;query=Joseph%20Haydn&amp;order=op www.kreusch-sheet-music.net] - Free Scores by Haydn
* {{gutenberg author| id=Haydn+Joseph | name=Joseph Haydn}}
* Kunst der Fuge: [http://www.kunstderfuge.com/haydn.htm Franz Joseph Haydn - Hundreds of MIDI files]
* [http://www.classicalarchives.com/haydn.html Haydn's page] at [[Classical Archives]]
* [http://www.naxos.com/composerinfo/462.htm Franz Joseph Haydn] on [[Naxos Records]]
* [http://sounds.bl.uk/Browse.aspx?category=Classical-music&amp;collection=Haydn Haydn Symphonies] from the British Library Sound Archive

{{Haydn}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME= Haydn, Joseph
|ALTERNATIVE NAMES=Haydn, Franz Joseph; &quot;Father of the [[Symphony]]&quot;; &quot;Father of the [[String Quartet]]&quot;
|SHORT DESCRIPTION= Austrian [[composer]]
|DATE OF BIRTH=[[March 31]] [[1732]]
|PLACE OF BIRTH=[[Rohrau (Austria)|Rohrau]]
|DATE OF DEATH=[[May 31]] [[1809]]
|PLACE OF DEATH=Vienna
}}
{{DEFAULTSORT:Haydn, Joseph}}
[[Category:Joseph Haydn|*]]
[[Category:Austrian composers]]
[[Category:Austrian musicians]]
[[Category:Classical era composers]]
[[Category:Composers for cello]]
[[Category:Composers for lute]]
[[Category:Composers for pipe organ]]
[[Category:The Enlightenment]]
[[Category:Viennese composers]]
[[Category:National anthem writers]]
[[Category:1732 births]]
[[Category:1809 deaths]]

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  </page>
  <page>
    <title>Leopold Mozart</title>
    <id>70095</id>
    <revision>
      <id>312406265</id>
      <timestamp>2009-09-07T16:00:19Z</timestamp>
      <contributor>
        <username>Opus33</username>
        <id>20726</id>
      </contributor>
      <comment>revert proliferation of categories</comment>
      <text xml:space="preserve">[[Image:Leopold Mozart.jpg|thumb|300px|Leopold Mozart, about 1765.  Portrait in oils attributed to [[Pietro Antonio Lorenzoni]]]]
'''Johann Georg Leopold Mozart''' (November 14, 1719 &amp;ndash; May 28, 1787) was a composer, conductor, teacher, and violinist. Mozart is best known today as the father and teacher of [[Wolfgang Amadeus Mozart]], and for his [[violin]] textbook ''[[Versuch einer gründlichen Violinschule]]''.

==Life==
===Childhood and student years===
He was born in [[Prince-Bishopric of Augsburg|Augsburg]], son of [[Johann Georg Mozart]] (1679-1736), a [[bookbinding|bookbinder]], and his second wife [[Anna Maria Sulzer]] (1696-1766).&lt;ref&gt;Solomon 1995, 21&lt;/ref&gt; From an early age he sang as a choirboy.  He attended a local [[Jesuit]] school, the St. Salvator Gymnasium, where he studied logic, science, theology, graduating ''magna cum laude'' in 1735.  He then moved on to a more advanced school, the  St. Salvator Lyceum.&lt;ref name=&quot;Solomon 1995, 22-23&quot;&gt;Solomon 1995, 22-23&lt;/ref&gt;

While a student in Augsburg, he appeared in student theatrical productions as an actor and singer,&lt;ref&gt;Solomon 1995&lt;/ref&gt; and became a skilled violinist and organist.&lt;ref&gt;Grove (cited below), section 1&lt;/ref&gt; He also developed an interest, which he retained, in microscopes and telescopes.&lt;ref&gt;Records of the high-quality English instruments, made by [[History of telescopes|Dollond]] of London, that he owned in later life appear in the public announcement of his estate sale, 15 September 1787, published in Deutsch 1965, 296-297.&lt;/ref&gt;  Although his parents had planned a career for Leopold as a Catholic priest, this apparently was not Leopold's own wish.  An old school friend told Wolfgang Amadeus Mozart in 1777, &quot;Ah he [Leopold] was a great fellow.  My father thought the world of him.  And how he hoodwinked the clerics about becoming a priest!&quot;&lt;ref name=&quot;Solomon 1995, 23&quot;&gt;Solomon 1995, 23&lt;/ref&gt;

He withdrew from the St. Salvator Lyceum after less than a year.  Following a year's delay, he moved to Salzburg to resume his education, enrolling in November 1737 at the [[University of Salzburg|Benedictine University]] to study philosophy and jurisprudence.&lt;ref name=&quot;Solomon 1995, 22-23&quot;/&gt; At the time Salzburg was the capital of an independent state with [[Holy Roman Empire]] (the [[Archbishopric of Salzburg|Prince-Archbishopric of Salzburg]]), now part of [[Austria]].  Except for periods of travel, Leopold spent the rest of his life there. 

Leopold received the degree of Bachelor of Philosophy in 1738.&lt;ref name=&quot;Grove, section 1&quot;&gt;Grove, section 1&lt;/ref&gt;  However, in September 1739 he was expelled from the university for poor attendance, having &quot;hardly attended Natural Science more than once or twice&quot;&lt;ref&gt;From his expulsion record, quoted in Solomon 1995, 23&lt;/ref&gt;

===Early career as musician===

In 1740, he began his career as a professional musician, becoming violinist and valet to one of the university's canons, Johann Baptist, Count of [[Thurn und Taxis|Thurn-Valsassina and Taxis]], in 1740. This was also the year of his first musical publication, the six Trio Sonatas, Opus 1.&lt;ref name=&quot;Solomon 1995, 23&quot;/&gt;  These were entitled ''Sonate sei da chiesa e da camera''; Leopold did the work of copper engraving himself.&lt;ref name=&quot;Grove, section 1&quot;/&gt; He continued to compose, producing a series of German Passion cantatas.&lt;ref name=&quot;Grove, section 1&quot;/&gt;&lt;ref&gt;In music a [[Passion music|Passion]] tells the story of the last days of Jesus, as in [[Johann Sebastian Bach|J. S. Bach]]'s [[St Matthew Passion (Bach)|St. Matthew Passion]]&lt;/ref&gt;  

[[Image:Anna Maria Mozart.jpg|thumb|250px|left|Anna Maria Pertl Mozart, wife of Leopold]]
In 1747 he married [[Anna Maria Pertl Mozart|Anna Maria Pertl]], who bore him seven children, although only two of them survived: [[Maria Anna Mozart|Maria Anna Wallburga Ignatia]] (called &quot;Nannerl&quot;) and [[Wolfgang Amadeus Mozart]].&lt;ref&gt;Wolfgang was christened &quot;Joannes Chrysostomus Wolfgangus Theophilus Mozart&quot;; for discussion of his christening name and later versions of his name, see [[Mozart's name]].&lt;/ref&gt;

In 1743 Leopold Mozart was appointed to a position (fourth violinist) in the musical establishment of [[Leopold Anton Freiherr von Firmian]], the ruling [[Prince-Archbishop of Salzburg]].&lt;ref name=&quot;Grove, section 1&quot;/&gt;  His duties included composition and the teaching of violin (later, piano) to the choirboys of the Salzburg cathedral.  He was promoted to second violinist in 1758 and in 1763 to deputy [[Kapellmeister]].&lt;ref&gt;Leopold is sometimes described as having had the post of &quot;court composer&quot; at Salzburg.  The Grove Dictionary, addressing this, says &quot;the title 'Hofkomponist' [court composer], used to describe Mozart in a 1757 report on Salzburg published in F.W. [[Marpurg]]'s ''Historisch-kritische Beyträge zur Aufnahme der Musik'', had no official sanction.&quot;&lt;/ref&gt;  He rose no further; others were repeatedly promoted over him to the head position of Kapellmeister.&lt;ref&gt;Solomon 1995, 28&lt;/ref&gt;

The question of whether Leopold was successful as a composer (either in terms of artistic success or fame) is debated.  The Grove Dictionary says that as of 1756, &quot;Mozart was already well-known. His works circulated widely in German-speaking Europe.&quot;  However, biographer [[Maynard Solomon]] asserts that he &quot;failed to make his mark as a composer,&quot;&lt;ref name=&quot;Solomon 1995, 32&quot;&gt;Solomon 1995, 32&lt;/ref&gt;, and [[Alfred Einstein]] &quot;judged him to be an undistinguished composer&quot;.&lt;ref&gt;Characterization from Solomon 1995, 33&lt;/ref&gt; For discussion of Leopold's musical works, see below.

Scholars agree, however, that Leopold was successful as a pedagogue.  In 1755, he wrote his ''[[Versuch einer gründlichen Violinschule]]'', a comprehensive treatise on [[Playing the violin|violin playing]]. This work was published in 1756 (the year of Wolfgang's birth), and went through two further German editions (1769, 1787), as well as being translated into Dutch (1766) and French (1770).&lt;ref name=&quot;Solomon 1995, 32&quot;/&gt; Today, the work is consulted by musicians interested in 18th century performance practice; see [[Historically informed performance]].  This work made a reputation in Europe for Leopold, and his name begins to appears around this time in music dictionaries and other works of musical pedagogy.&lt;ref name=&quot;Solomon 1995, 32&quot;/&gt;

[[Image:Wolfgang Leopold Nannerl.jpg|right|thumb|250px|The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor by [[Carmontelle]], ca. 1763&lt;ref&gt;Solomon 1995&lt;/ref&gt;]]

===As teacher of Nannerl and Wolfgang===

Leopold discovered that his two children were musically gifted in about 1759, when he began with keyboard lessons for the seven-year-old Nannerl.  The toddler Wolfgang immediately began imitating his sister, at first picking out thirds on the keyboard&lt;ref&gt;From Nannerl's reminiscences, composed 1792 and printed in Deutsch 1965&lt;/ref&gt; and then making rapid progress under Leopold's instruction.  By 1762, the children were ready to work as concert performers, and Leopold began taking the family on extensive concert tours, performing for both aristocracy and public, throughout central and western Europe.  This tour included Munich, Vienna, Presburg, Paris and the Hague together with a lengthy stay in London;&lt;ref&gt;{{CathEncy|wstitle=Johann Chrysostomus Wolfgang Amadeus Mozart}}&lt;/ref&gt; see [[Mozart family Grand Tour]].

The discovery of his children's talent is considered to have been a life-transforming event for Leopold.  He once referred to his son as the &quot;miracle which God let be born in Salzburg&quot;.&lt;ref name=&quot;Grove, section 1&quot;/&gt;  Of Leopold's attitude, the Grove Dictionary says:

:''The recognition of this 'miracle' must have struck Leopold with the force of a divine revelation and he felt his responsibility to be not merely a father's and teacher's but a missionary's as well.''&lt;ref name=&quot;Grove, section 1&quot;/&gt;

By &quot;missionary&quot;, the Grove refers to the family's concert tours.

Scholars differ on whether the tours made substantial profits.  To be sure, often the children performed before large audiences and took in large sums, but the expenses of travel were also very high, and no money at all was made during the various times that Leopold and the children suffered serious illnesses.  Mozart biographer [[Maynard Solomon]] (1995) takes the view that the tours were lucrative and produced long-term profits for Leopold; Ruth Halliwell (1998) states to the contrary that their income generally only covered their travel and living expenses.

Since the instruction took much of his time, and the touring kept him away from Salzburg for long periods, Leopold cut down his activities in other areas.  Nannerl later claimed that he &quot;entirely gave up both violin instruction and composition in order to direct that time not claimed in service to the prince to the education of his two children.&quot;&lt;ref name=&quot;Grove, section 1&quot;/&gt;
After 1762, his compositional efforts seem to have been limited to revising his earlier work; and after 1771 he composed not at all.&lt;ref&gt;Sources:  Wolfgang Plath and Cliff Eisen, cited in Solomon 1997, 33&lt;/ref&gt;

The touring continued into the early 1770s.  The last three trips were to Italy, with only Leopold accompanying Wolfgang.  The failure of Leopold to advance above his Vice-Kapellmeister position at Salzburg is attributed by the Grove&lt;ref name=&quot;Grove, section 1&quot;/&gt; to the great amount of time that the journeys kept him away from Salzburg (the longest journey was about three and a half years).  After the final return from Italy in 1773, Leopold was repeatedly passed over for the Kapellmeister post.

===Family life in Salzburg===

Although Leopold is portrayed (notably by Halliwell 1998) as generally quite worried about money, the Mozart family by 1773 evidently felt prosperous enough to upgrade their living quarters.  They left the home in the Getreidegasse where the children had been born and moved to rooms in the ''Tanzmeisterhaus'' (&quot;Dancing-Master's House&quot;), which had been the home of the recently-deceased dancing master Franz Karl Gottlieb Speckner.  As tenants of Speckner's cousin and heir Maria Anna Raab, the Mozarts had eight rooms, including the quite large room that Speckner had used for dancing lessons. This the Mozarts used for teaching, for domestic concerts, for storing keyboard instruments sold by Leopold, and for ''Bölzlschiessen'', a form of recreation in which family and their guests shot airguns at humorously-designed paper targets.&lt;ref&gt;Source for this paragraph:  Halliwell (1998, 202)&lt;/ref&gt;

Starting around this time, a major preoccupation of Leopold was the lengthy and frustrating struggle to find a professional position for his son.  Leopold was widowed in 1778 when Maria Anna died in Paris while accompanying Wolfgang on a job-hunting tour.

===Relations with his offspring as adults===

Leopold Mozart is a controversial figure among his biographers, with the largest disagreements arising concerning his role as the parent of adult children.  Mozart biographer [[Maynard Solomon]] has taken a particularly harsh view of Leopold, treating him as tyrannical, mendacious, and possessive; [[Ruth Halliwell]] adopts a far more sympathetic view, portraying his correspondence as a sensible effort to guide the life of a grossly irresponsible Wolfgang.

====Relations with Nannerl====

Wolfgang left home permanently in 1781 (see below), and from this time until 1784, Leopold lived in Salzburg with just Nannerl (now in her early thirties) and their servants.  Nannerl had a number of suitors,&lt;ref&gt;See Solomon 1995, 403-404&lt;/ref&gt; of whom the most important was Franz Armand d'Ippold, with whom she was evidently in love.  In the end she did not marry him, and the reason for this is unknown.  One possibility, frequently entertained by biographers,&lt;ref&gt;See, for instance, Solomon 1995.  Other biographers who assert similar views are cited in Halliwell (1998, 365-366).&lt;/ref&gt; is that the marriage was blocked by Leopold, who liked having Nannerl at home as the lady of the house.  However, Halliwell &lt;ref&gt;Halliwell (1998, 366)&lt;/ref&gt; observes that no written evidence on this point survives and insists that we simply do not know why Nannerl married so late.

Nannerl finally did marry in August 1784, at age 33.  She moved to the home of her new husband, Johann Baptist Franz von Berchtold zu Sonnenburg, in the small rural town of St. Gilgen, roughly six hours journey east of Salzburg.&lt;ref&gt;Halliwell, 476&lt;/ref&gt;   

During his remaining years, Leopold spent a fair amount of his time trying to help Nannerl at a distance, as her new marriage situation, involving five apparently ill-educated stepchildren, was apparently not easy.  According to Halliwell, Nannerl depended on Leopold in many ways:  he did &quot;shopping [and] the engagement of servants. ... He relayed news from Salzburg, Munich, and Vienna to divert her, did his best to organize the maintenance of her [[fortepiano]], paid for Wolfgang's music to be copied and arranged for her to receive it; collected musicians together when she had visited him so that she could play it with most of the parts; .. tried to look after her health; and encouraged her to stand up to her husband when he was being unreasonable.&quot;&lt;ref&gt;Halliwell 544; verb tenses changed&lt;/ref&gt; Following Leopold's death in 1787, Nannerl had to do without this support, and Halliwell asserts that &quot;there is every reason to believe that Leopold's death was devastating&quot; to her.&lt;ref&gt;Halliwell, 544&lt;/ref&gt;

====Raising Nannerl's child====

In July 1785, Nannerl came to Salzburg to give birth to her first child, a son. The infant stayed behind with Leopold when Nannerl went home, and with the assistance of his servants, Leopold raised the child, keeping him in his home until his death in May 1787.  He frequently sent letters to Nannerl (at least one per week) that usually began with the sentence &quot;Little Leopold is healthy&quot; and offered a full report on the child.&lt;ref&gt;Braunbehrens 1990, 290-291&lt;/ref&gt;  Leopold apparently found raising his grandson, called &quot;Leopoldl&quot; (&quot;Little Leopold&quot;) a happy experience.  Halliwell relates one repeated episode:

:&quot;(As a toddler) [Leopoldl] was developing a will of his own, had to be cajoled into doing what Leopold wanted--Leopold's strategem  for persuading him to go to bed was to pretend to climb into Leopoldl's bed, whereupon Leopoldl would gleefuly try to push him away and get in himself.&quot;&lt;ref&gt;Halliwell, 535&lt;/ref&gt;

Maynard Solomon suggests that in keeping his grandson in his home, Leopold may have hoped to train yet another musical prodigy.  Halliwell notes a different possibility, that conditions for child-rearing in the Berchtold household were distinctly suboptimal.  For further details of this episode, see [[Maria Anna Mozart]].

====Relations with Wolfgang====

Wolfgang left home for good in 1781, when instead of returning from a stay in Vienna with his employer [[Count Hieronymus von Colloredo|Archbishop Colloredo]] he remained in the city to pursue a freelance career.  This effort was to a fair degree successful; Wolfgang achieved great fame and was for a time quite prosperous (though poor planning later changed this status).  The move almost certainly aided Wolfgang's musical development; the great majority of his most celebrated works were composed in Vienna.

As indicated by Mozart's return letters (which alone survive), Leopold was strongly opposed to the Vienna move, wanting Wolfgang to return to Salzburg.  A fairly harsh family quarrel resulted.  Leopold was also strongly opposed to Wolfgang's marriage to [[Constanze Mozart|Constanze Weber]] in 1782, and gave his permission late, reluctantly, and under duress.&lt;ref&gt;Halliwell (1998, 383) suggests that Constanze had already moved in with Wolfgang before marriage, a potential disastrous situation given the mores of the time.&lt;/ref&gt; Biographers differ on the extent that Constanze was later snubbed by Leopold, if at all, during her visit with Wolfgang (July-October 1783) to Salzburg; the [[Grove Dictionary of Music and Musicians|Grove Dictionary]] calls the visit &quot;not entirely happy&quot;.&lt;ref&gt;Grove, &quot;Mozart&quot;, section 4&lt;/ref&gt;

In 1785 Leopold visited Wolfgang and Constanze in Vienna, at a time when his son's career success was at its peak.  He witnessed first hand his son's success as a performer, and on February 12 heard [[Joseph Haydn]]'s widely-quoted words of praise, upon hearing the [[Haydn Quartets (Mozart)|string quartets Wolfgang dedicated to him]], &quot;Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition.&quot;&lt;ref&gt;Letter from Leopold Mozart to his daughter Maria Anna from February 16, 1785. In the original: &quot;Ich sage ihnen vor gott, als ein ehrlicher Mann, ihr Sohn ist der größte Componist, den ich von Person und den Nahmen nach kenne: er hat geschmack, und über das die größte Compositionswissenschaft.&quot;  For more details of the occasion, see [[Haydn and Mozart]]&lt;/ref&gt; The visit was the last time that Leopold saw his son, though they continued to correspond, and Wolfgang sometimes sent copies of his piano concertos and string quartets for Leopold and Nannerl to perform with friends.&lt;ref&gt;Halliwell, ch. 24&lt;/ref&gt;

Later in 1785, when Leopold took in Nannerl's child, Wolfgang was not informed.&lt;ref&gt;Halliwell, 526&lt;/ref&gt;  However, in the following year Wolfgang found this out from a mutual acquaintance in Vienna.  At this time, Wolfgang wrote to Leopold to ask if he would be willing to take care of his own two children while he and Konstanze went on concert tour.  Leopold turned him down, probably with harsh words.  His letter to Wolfgang does not survive, but his summary to Nannerl of it does (17 November 1786):

:&quot;Today I had to answer a letter from your brother ''which cost me a lot of writing'', so I can write very little to you ... You'll readily understand that I had to write a very ''emphatic letter'', because he made no lesser suggestion than that I should take ''his 2 children'' into my care, since he would like to make a journey through Germany to England ... The good honest [[silhouette]] maker H[err] Müller had sung ''Leopoldl's'' praises to your brother, so he found out that the child is with me, which I'd never told him:  so this was how the good idea occurred to him or perhaps his wife.  that would certainly not be bad, -- They could travel in peace, -- could die, -- -- could stay in England, -- -- then I could run after them with the children etc:  as for the payment he's offering me for the children, for servants and the children etc: -- Basta!&lt;ref&gt;Italian:  &quot;enough&quot;&lt;/ref&gt; my excuse is forceful and instructive, if he cares to profit from it.&quot;&lt;ref&gt;Translation from Halliwell, 526-527&lt;/ref&gt;

For interpretations of this letter, see Halliwell (1998, 528), which takes a viewpoint sympathetic to Leopold, and Solomon (1995, 396), which takes a viewpoint sympathetic to Wolfgang.

[[Image:Sebastiansfriedhof05.jpg|300px|thumb|left|Leopold Mozart's grave in Salzburg, with headstone identifying him as a Vice-Kapellmeister. Others buried here are Jeannette Berchtold von Sonnenburg (Nannerl's daughter), Genovefa Weber (aunt of his daughter-in-law Constanze), Constanze Mozart Nissen (his daughter-in-law), and Euphrosina Pertl (his mother-in-law).]]

Starting around the time he wrote this letter and continuing through the first part of 1787, Leopold's health was failing.  He had become seriously ill by April 4.  On this day, Wolfgang wrote to him in alarm at the news, though he did not travel to Salzburg to see him.  When Leopold died on 28 May (see below),
Wolfgang was unable to attend the funeral, the travel time to Salzburg being too long.&lt;ref&gt;Braunbehrens (1990, 445) notes:  &quot;mail from Salzburg took at least three days.  Leopold Mozart was already buried by the time his son learned of his death. Mozart could not have arrived in Salzburg for at least six or seven days.&quot;&lt;/ref&gt;

Little information is available on how Wolfgang took Leopolds' death, but a postscript he included in a letter to his friend [[Gottfried von Janequin]] suggests that, despite the quarrels and partial estrangement, his father's death was a blow to him:  &quot;I inform you that on returning home today I received the sad news of my most beloved father's death.  You can imagine the state I am in.&quot;&lt;ref&gt;Braunbehrens 1990 291-292.&lt;/ref&gt;

===Assessment===

The assessment of Leopold Mozart as a person and as a father brings forth serious disagreement among scholars.  The [[Grove Dictionary of Music and Musicians|Grove Dictionary]] article, by [[Cliff Eisen]], denounces &quot;his misrepresentation at the hands of later biographers&quot;:

:''A man of broad cultural achievement ... Leopold Mozart may have been haughty, difficult to please and at times intractable, ... but there is no compelling evidence that Mozart was excessively manipulative, intolerant, autocratic or jealous of his son’s talent. On the contrary, a careful reading in context of the family letters reveals a father who cared deeply for his son but who was frequently frustrated in his greatest ambition: to secure for Wolfgang a worldly position appropriate to his genius.''&lt;ref&gt;Grove, &quot;Mozart&quot;, section 1&lt;/ref&gt;

A harsher view is taken by Maynard Solomon, who portrays Leopold as a man who loved his children but was unwilling to give them their independence when they reached adulthood, resulting in considerable hardship for them.

[[Image:LeopoldMozartPortraitFromViolinschule.jpg|right|thumb|250px|The first edition of Leopold Mozart's ''Violinschule'' included this portrait of the author. Some aspects of violin playing in his day can be seen:  the lightweight, concave bow and the absence of any chin rest or shoulder rest.]]

==Musical works==

:''See [[:Category:Compositions by Leopold Mozart]]''
Leopold Mozart's music is inevitably overshadowed by the work of his son Wolfgang, and in any case the father willingly sacrificed his own career to promote his son's. But Leopold's ''Cassation in G for Orchestra and Toys'' ([[Toy Symphony]]), once attributed to [[Joseph Haydn]], remains popular, and a number of symphonies, a [[Trumpet Concerto (Leopold Mozart)|trumpet concerto]], and other works also survive.

A contemporary report described what Leopold had composed prior to 1757:&lt;ref&gt;Title:  ''Nachricht von dem gegenwärtigen Zustande der Musik Sr. Hochfürstl. Gnaden des Erzbischoffs zu Salzburg'', &quot;Report on the present state of music [at the court of] his Princely Grace the Archbishop of Salzburg'; Grove&lt;/ref&gt;

:''many [[counterpoint|contrapuntal]] and other church items; further a great number of symphonies, some only à 4&lt;ref&gt;This would mean:  four string parts only; violin I, violin II, viola, cello/bass.&lt;/ref&gt; but others with all the customary instruments; likewise more than 30 large [[serenade]]s in which solos for various instruments appear. In addition he has brought forth many concertos, in particular for the transverse flute,&lt;ref&gt;This is the ordinary flute, played by blowing across it (&quot;tranversely&quot;), as opposed to the [[recorder]].&lt;/ref&gt;, oboe, bassoon, [[Waldhorn]], trumpet etc.: countless trios and [[divertimento]]s for various instruments; 12 [[oratorio]]s and a number of theatrical items, even pantomimes, and especially certain occasional pieces such as martial music … [[Turkish music (style)|Turkish music]], music with 'steel keyboard' and lastly a musical sleigh ride; not to speak of marches, so-called 'Nachtstücke'&lt;ref&gt;German:  &quot;night pieces&quot;&lt;/ref&gt; and many hundreds of [[minuet]]s, opera dances and similar items.''&lt;ref&gt;Quoted from the New Grove, &quot;Leopold Mozart&quot;&lt;/ref&gt;

Leopold Mozart was much concerned with a naturalistic feel to his compositions, his ''[[Jagdsinfonie]]'' (or ''Sinfonia da Caccia'' for four horns and strings) calls for dogs and shotguns, and his ''Bauernhochzeit'' (Peasant Wedding) includes [[bagpipes]], [[hurdy gurdy|hurdy-gurdy]], a [[Hammered dulcimer|dulcimer]], whoops and whistles (ad. lib.), and pistol shots.

His oeuvre was extensive, but it has only been until recently that scholars have begun to  assess the scope or the quality of it; much is lost and it is not known how representative the surviving works are of his overall output. [[Cliff Eisen]], who wrote a doctoral dissertation on Leopold Mozart's symphonies, finds in a Symphony in G major examples of his &quot;sensitivity to orchestral colour&quot; and a work that &quot;compares favourably with those of virtually any of Mozart’s immediate contemporaries.&quot;&lt;ref&gt;Cliff Eisen, &quot;About this Recording&quot; Catalogue No.: 8.570499 Naxos.com&lt;/ref&gt;

Some of his work was erroneously attributed to Wolfgang and some pieces attributed to Leopold were subsequently shown to be the work of Wolfgang. Much of what survives is light music but some more significant work survives including his ''Sacrament Litany in D'' (1762) and three [[fortepiano]] sonatas, all published in his lifetime.

==Notes==

{{reflist|3}}

==References==

*Braunbehrens, Volkmar (1990) ''Mozart in Vienna''.  New York:  Grove Weidenfeld.
*''Grove Dictionary of Music and Musicians'', &quot;(Johann Georg) Leopold Mozart&quot;, which is part of the major article &quot;Mozart&quot;.  The section about Leopold is written by Cliff Eisen.  Copyright 2007 by Oxford University Press.
*Halliwell, Ruth (1998) ''The Mozart Family:  Four Lives in a Social Context'', Oxford University Press.
*Solomon, Maynard (1995) ''Mozart:  A Life''.  Harper Collins.

== External links ==
* [http://www.otago.ac.nz/DeepSouth/vol2no3/nancy1.html A French Edition of Leopold Mozart's Violinschule]
* {{IckingArchive|idx=L.Mozart|name=Leopold Mozart}}
* {{IMSLP|id=Mozart, Leopold}}
{{Wolfgang Amadeus Mozart}}

{{DEFAULTSORT:Mozart, Leopold}}
[[Category:Classical era composers]]
[[Category:Mozart's relatives]]
[[Category:German composers]]
[[Category:Austrian composers]]
[[Category:German classical violinists]]
[[Category:Austrian classical violinists]]
[[Category:Violin pedagogues]]
[[Category:Music educators]]
[[Category:People from Augsburg]]
[[Category:People from Salzburg]]
[[Category:Austrians of German descent]]
[[Category:1719 births]]
[[Category:1787 deaths]]

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    </revision>
  </page>
  <page>
    <title>Jean-Frédéric Edelmann</title>
    <id>15524494</id>
    <revision>
      <id>300423616</id>
      <timestamp>2009-07-05T15:43:38Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>Added persondata; according to Grove, date of death is 17 July - removed ?; some other changes</comment>
      <text xml:space="preserve">{{Unreferenced|date=February 2008}}
'''Jean-Frédéric Edelmann''' (Johann Friedrich Edelmann, [[May 5]], [[1749]] &amp;ndash; [[July 17]], 1794) was a [[France|French]] [[Classical period (music)|classical]] [[composer]]. He was born in [[Strasbourg]] but, after studying law and music, he moved to [[Paris]] in 1774 where he played and taught the piano. It is possible that Edelmann worked for some time in [[London]]. During the French Revolution he was appointed administrator of the [[Bas-Rhin]]. In July 1794 he was arrested and executed by guillotine.

Edelmann composed two operas, an oratorio and various pieces of chamber music.

==Works list==

* Published Works
Op. 1 No. 1 \ Keyboard Sonata in E flat major&lt;br /&gt;
Op. 1 No. 2 \ Keyboard Sonata in E major&lt;br /&gt;
Op. 1 No. 3 \ Keyboard Sonata in D major&lt;br /&gt;
Op. 1 No. 4 \ Keyboard Sonata in A major&lt;br /&gt;
Op. 1 No. 5 \ Keyboard Sonata in D major&lt;br /&gt;
Op. 1 No. 6 \ Keyboard Sonata in F sharp major&lt;br /&gt;
Op. 2 No. 1 \ Keyboard Sonata in C major&lt;br /&gt;
Op. 2 No. 2 \ Keyboard Sonata in F major&lt;br /&gt;
Op. 2 No. 3 \ Keyboard Sonata in C major&lt;br /&gt;
Op. 2 No. 4 \ Keyboard Sonata in G major&lt;br /&gt;
Op. 2 No. 5 \ Keyboard Sonata in E major&lt;br /&gt;
Op. 2 No. 6 \ Keyboard Sonata in B flat major&lt;br /&gt;
Op. 3 No. 1 \ Keyboard Sonata in E flat minor&lt;br /&gt;
Op. 3 No. 2 \ Keyboard Sonata in F major&lt;br /&gt;
Op. 4 \ Keyboard Concerto in D major&lt;br /&gt;
Op. 5 No. 1 \ Keyboard Sonata in A major&lt;br /&gt;
Op. 5 No. 2 \ Keyboard Sonata in G minor&lt;br /&gt;
Op. 5 No. 3 \ Keyboard Sonata in C minor&lt;br /&gt;
Op. 5 No. 4 \ Keyboard Sonata in D minor&lt;br /&gt;
Op. 6 No. 1 \ Keyboard Sonata in G minor&lt;br /&gt;
Op. 6 No. 2 \ Keyboard Sonata in D minor&lt;br /&gt;
Op. 6 No. 3 \ Keyboard Sonata in C major&lt;br /&gt;
Op. 7 No. 1 \ Keyboard Sonata in E flat major&lt;br /&gt;
Op. 7 No. 2 \ Keyboard Sonata in G minor&lt;br /&gt;
Op. 8 No. 1 \ Keyboard Sonata in C minor&lt;br /&gt;
Op. 8 No. 2 \ Keyboard Sonata in E minor (Mlle Edelmann)&lt;br /&gt;
Op. 8 No. 3 \ Keyboard Sonata in D major&lt;br /&gt;
Op. 9 No. 1 \ Keyboard Quartet in E flat major&lt;br /&gt;
Op. 9 No. 2 \ Keyboard Quartet in C minor&lt;br /&gt;
Op. 9 No. 3 \ Keyboard Quartet in G minor&lt;br /&gt;
Op. 9 No. 4 \ Keyboard Quartet in D major&lt;br /&gt;
Op. 10 No. 1 \ Keyboard Sonata in F minor&lt;br /&gt;
Op. 10 No. 2 \ Keyboard Sonata in E flat major&lt;br /&gt;
Op. 10 No. 3 \ Keyboard Sonata in C minor&lt;br /&gt;
Op. 10 No. 4 \ Keyboard Sonata in E major&lt;br /&gt;
Op. 11 \ Opera ''La bergère des Alpes'' (Paris, Tuileries 20 July 1781)&lt;br /&gt;
Op. 12 \ Keyboard Concerto in A minor&lt;br /&gt;
Op. 13 No. 1 \ Keyboard Quartet in C major&lt;br /&gt;
Op. 13 No. 2 \ Keyboard Quartet in B flat major&lt;br /&gt;
Op. 13 No. 3 \ Keyboard Quartet in C minor&lt;br /&gt;
Op. 13 No. 4 \ Keyboard Quartet in D major&lt;br /&gt;
Op. 14 No. 1 \ Keyboard Concerto in F minor&lt;br /&gt;
Op. 14 No. 2 \ Keyboard Concerto in F major&lt;br /&gt;
Op. 14 No. 3 \ Keyboard Concerto in E major&lt;br /&gt;
Op. 15 No. 1 \ Keyboard Quartet in A major &quot;Le rendez-vous&quot;&lt;br /&gt;
Op. 15 No. 2 \ Keyboard Quartet in E major &quot;La toilette de Vénus&quot;&lt;br /&gt;
Op. 15 No. 3 \ Keyboard Quartet in G minor &quot;Les regrets d'Herminie&quot;&lt;br /&gt;
Op. 15 No. 4 \ Keyboard Quartet in E flat major &quot;La partie de chasse&quot;&lt;br /&gt;
Op. 16 \ Airs for keyboard&lt;br /&gt;
&lt;br /&gt;
* Unpublished Works
Oratorio ''Esther'' (Paris, [[Concert Spirituel]], 8 April 1781) lost&lt;br /&gt;
Opera ''Ariane dans l’isle de Naxos'' (Paris, Opéra, 24 Sept 1782)&lt;br /&gt;
Ballet ''Feu'' (Paris, Opéra, 24 Sept 1782)&lt;br /&gt; 
Opera ''Diane et l’amour''

==References==
{{reflist}}

*Rita Benton: &quot;Jean-Frédéric Edelmann, a Musical Victim of the French Revolution&quot;, ''Musical Quarterly'', l (1964), 165–187&lt;br /&gt;
*Rita Benton: &quot;The Instrumental Music of Jean-Frédéric Edelmann: a Thematic Catalogue and List of Early Editions&quot;, ''Fontes Artis Musicae'', xi (1964), 79–88 &lt;br /&gt;
*Sylvie Pécot-Douatte: ''A la recherche d'Edelmann le musicien guillotiné'', l'Harmattan, Paris (2001)

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Edelmann, Jean-Frédéric
|ALTERNATIVE NAMES = Edelmann, Johann Friedrich
|SHORT DESCRIPTION = French composer
|DATE OF BIRTH     = 5 May 1749
|PLACE OF BIRTH    = Strasbourg
|DATE OF DEATH     = 17 July 1794
|PLACE OF DEATH    = Paris
}}

{{DEFAULTSORT:Edelmann, Jean Frederic}}
[[Category:Classical era composers]]
[[Category:French composers]]
[[Category:People from Strasbourg]]
[[Category:1749 births]]
[[Category:1794 deaths]]

[[de:Jean-Frédéric Edelmann]]
[[fr:Jean-Frédéric Edelmann]]
[[ja:ジャン・フレデリック・エデルマン]]
[[ru:Эдельман, Жан Фредерик]]</text>
    </revision>
  </page>
  <page>
    <title>Ernst Wilhelm Wolf</title>
    <id>20571183</id>
    <revision>
      <id>267046732</id>
      <timestamp>2009-01-28T21:00:03Z</timestamp>
      <contributor>
        <username>Deb</username>
        <id>1219</id>
      </contributor>
      <comment>DOD</comment>
      <text xml:space="preserve">'''Ernst Wilhelm Wolf''' (1735 – December 1, 1792) was a [[German people|German]] composer of [[classical music]], from [[Thuringia]].

Wolf was born in Gross Behringen&lt;ref name=&quot;upd&quot;&gt;Thomas, Joseph (1915). {{Google books|9HwVAAAAYAAJ|Universal Pronouncing Dictionary of Biography and Mythology}}. volume 2. J. B. Lippincott Co. page 2488.&lt;/ref&gt;, where he was baptized on February 25th of that year. 

He spent much of his life in [[Weimar]], where he was Court [[Kapellmeister]]. He died in 1792 after a [[stroke]]&lt;ref name=&quot;naxosbio&quot; /&gt;.  His compositions include at least thirty-five symphonies, of which twenty-six survive&lt;ref name=&quot;naxosbio&quot;&gt;{{cite web|title=Notes to Naxos Recording of Four Symphonies by Wolf, with Biography|url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.557132&amp;catNum=557132&amp;filetype=About%20this%20Recording&amp;language=English#|accessdate=2008-12-06|last=Brockmann|first=Cornelia|year=2005}}&lt;/ref&gt;.

There are also [[harpsichord concerto]]s, one in [[B-flat major]] from 1785&lt;ref&gt;{{cite web|year=1785 (1992 edition)|accessdate=2009-01-01|title=Publisher of 1785 Concerto by Wolf|publisher=Edition Parnassus Harmonicus|url=http://members.klosterneuburg.net/handerle/musikver.htm|last=Fuller|first=Richard}}&lt;/ref&gt;&lt;ref name=&quot;moore&quot;&gt;Moore, John W. (John Weeks) (1854). {{Google books|zwcQAAAAYAAJ|Complete Encyclopaedia of Music: Elementary, Technical, Historical, Biographical, Vocal and Instrumental}}. O. Ditson. page 995.&lt;/ref&gt;, piano sonatas including one in [[E major]]&lt;ref&gt;Hinson, Maurice (2000). {{Google books|3fjQGJqPM_MC|Guide to the Pianist's Repertoire}}. Indiana University Press.  pp. 848, 856. ISBN 0253336465.&lt;/ref&gt;, and church music and [[opera]]&lt;ref name=&quot;moore&quot; /&gt;.

Wolf helped collect subscriptions for [[Carl Philipp Emanuel Bach]]'s ''für Kenner und Liebhaber'' (for Connoisseurs and Amateurs) works (piano sonatas and rondos).&lt;ref&gt;Daub, Peggy; in Stauffer, George, ed. (1996) {{Google books|N1Ga4rdo0HQC|Bach Perspectives: J. S. Bach, the Breitkopfs, and Eighteenth-Century Music Trade}}. (article: The Publication Process and  Audience for C. P. E. Bach's ''Sonaten für Kennen und Liebhaber'') University of Nebraska Press. page 60.  ISBN 0803210442.&lt;/ref&gt;

==References==
{{reflist}}

{{Lifetime|1735|1792|Wolf, Ernst Wilhelm}}
[[Category:People from Thuringia]]
[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:Deaths from stroke]]

{{Germany-composer-stub}}

[[de:Ernst Wilhelm Wolf]]
[[fr:Ernst Wilhelm Wolf]]</text>
    </revision>
  </page>
  <page>
    <title>Carl Friedrich Abel</title>
    <id>16790</id>
    <revision>
      <id>311822017</id>
      <timestamp>2009-09-04T12:19:12Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">[[Image:Abel Gainsborough 1777.jpg|thumb|right|200px|Portrait of Carl Friedrich Abel by Thomas Gainsborough, 1777]]

'''Carl Friedrich Abel''' (22 December 1723 &amp;ndash; 20 June 1787) was a [[Germany|German]] composer of the [[Classical period (music)|Classical era]]. (The [[Chambers Biographical Dictionary]] gives his year of birth as 1725.)&lt;ref name=&quot;CBD&quot;&gt;[[Chambers Biographical Dictionary]], ISBN 0-550-18022-2, page 3&lt;/ref&gt;  He was a fine player on the [[viol|viola da gamba]], and composed important music for that instrument.

==Life==
Abel was born in [[Köthen (Anhalt)|Cöthen]], the son of [[Christian Ferdinand Abel]], the principal [[viol|viola da gamba]] and [[cello]] player in the court orchestra of [[Johann Sebastian Bach]]. There is no proof that Abel studied at the [[Thomasschule Leipzig]], but it was on Bach's recommendation that in 1748 he was able to join [[Johann Adolph Hasse]]'s court orchestra at [[Dresden]] where he remained for ten years. In 1759 (or 1758 according to Chambers)&lt;ref name=&quot;CBD&quot; /&gt;, he went to [[England]] and became chamber-musician to Queen [[Charlotte of Mecklenburg-Strelitz|Charlotte]]. He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by [[John Joseph Merlin]].&lt;ref&gt;Freiberg, Sarah. [http://www.cello.org/Newsletter/Articles/merlin.htm Conversation with Magical Merlin], Internet Cello Society. Retrieved 29 January 2009.&lt;/ref&gt; 

In 1762, [[Johann Christian Bach]], the eleventh son of J.S. Bach, joined him in [[London]], and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and the works of [[Haydn]] received their first English performance. 

For ten years the concerts were organized by Mrs. Teresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in [[Soho Square]], then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in [[Soho]].  Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787.

One of the most widely known works of Abel became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of [[Wolfgang Amadeus Mozart]], was catalogued as his ''Symphony no. 3 in E flat,'' [[Köchel-Verzeichnis|K]]. 18, and was published as such in the [[Alte Mozart-Ausgabe|first complete edition of Mozart's works]] by [[Breitkopf &amp; Härtel]]. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart--evidently for study purposes--while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's ''Six Symphonies, Op. 7.''  

==Works list==
{{collapse top|Collapsed list}}
*Symphony Op. 1 No.1 in B flat major, WK 1
*Symphony Op. 1 No.2 in C major, WK 2
*Symphony Op. 1 No.3 in D major, WK 3
*Symphony Op. 1 No.4 in E flat major, WK 4
*Symphony Op. 1 No.5 in F major, WK 5
*Symphony Op. 1 No.6 in G major, WK 6
*Symphony Op. 4 No.1 in D major, WK 7
*Symphony Op. 4 No.2 in B flat major, WK 8
*Symphony Op. 4 No.3 in E flat major, WK 9
*Symphony Op. 4 No.4 in C major, WK 10
*Symphony Op. 4 No.5 in G major, WK 11
*Symphony Op. 4 No.6 in D major, WK 12
*Symphony Op. 7 No.1 in G major, WK 13
*Symphony Op. 7 No.2 in B flat major, WK 14
*Symphony Op. 7 No.3 in D major, WK 15
*Symphony Op. 7 No.4 in F major, WK 16
*Symphony Op. 7 No.5 in C major, WK 17
*Symphony Op. 7 No.6 in E flat major, WK 18
*Symphony Op. 10 No.1 in E major, WK 19
*Symphony Op. 10 No.2 in B flat major, WK 20
*Symphony Op. 10 No.3 in E flat major, WK 21
*Symphony Op. 10 No.4 in C major, WK 22
*Symphony Op. 10 No.5 in D major, WK 23
*Symphony Op. 10 No.6 in A major, WK 24
*Symphony Op. 14 No.1 in C major, WK 25
*Symphony Op. 14 No.2 in E flat major, WK 26
*Symphony Op. 14 No.3 in D major, WK 27
*Symphony Op. 14 No.4 in B flat major, WK 28
*Symphony Op. 14 No.5 in G major, WK 29
*Symphony Op. 14 No.6 in E flat major, WK 30
*Symphony Op. 17 No.1 in E flat major, WK 31
*Symphony Op. 17 No.2 in B flat major, WK 32
*Symphony Op. 17 No.3 in D major, WK 33
*Symphony Op. 17 No.4 in C major, WK 34
*Symphony Op. 17 No.5 in B flat major, WK 35
*Symphony Op. 17 No.6 in G major, WK 36
*Symphony in C major, WK 37
*Symphony in B flat major, WK 38
*Symphony in E flat major, WK 39
*Symphony in B flat major, WK 40
*Symphony in D major, WK 41
*Sinfonia concertante for oboe quartet in B flat major, WK 42
*Sinfonia concertante for oboe quartet in D major, WK 43
*Periodical Overture in D major, WK 44
*Overture to 'Love in a village' in D major, WK 45a
*Overture to 'The summer's tale' in B flat major, WK 45b
*Flute Concerto No.1 in C major, WK 46
*Flute Concerto No.2 in E minor, WK 47
*Flute Concerto No.3 in D major, WK 48
*Flute Concerto No.4 in C major, WK 49
*Flute Concerto No.5 in G major, WK 50
*Flute Concerto No.6 in C major, WK 51
*Cello Concerto in B flat major, WK 52
*Keyboard Concerto Op. 11 No.1 in F major, WK 53
*Keyboard Concerto Op. 11 No.2 in B flat major, WK 54
*Keyboard Concerto Op. 11 No.3 in E flat major, WK 55
*Keyboard Concerto Op. 11 No.4 in D major, WK 56
*Keyboard Concerto Op. 11 No.5 in G major, WK 57
*Keyboard Concerto Op. 11 No.6 in C major, WK 58
*Flute Concerto No.7 in D major, WK 59
*Cello Concerto in C major, WK 60
*String Quartet Op. 8 No.1 in F major, WK 61
*String Quartet Op. 8 No.2 in B flat major, WK 62
*String Quartet Op. 8 No.3 in E flat major, WK 63
*String Quartet Op. 8 No.4 in D major, WK 64
*String Quartet Op. 8 No.5 in A major, WK 65
*String Quartet Op. 8 No.6 in F major, WK 66
*Flute Quartet Op. 12 No.1 in C major, WK 67
*Flute Quartet Op. 12 No.2 in A major, WK 68
*Flute Quartet Op. 12 No.3 in F major, WK 69
*Flute Quartet Op. 12 No.4 in D major, WK 70
*Flute Quartet Op. 12 No.5 in B flat major, WK 71
*Flute Quartet Op. 12 No.6 in G major, WK 72
*String Quartet Op. 15 No.1 in E major, WK 73
*String Quartet Op. 15 No.2 in C major, WK 74
*String Quartet Op. 15 No.3 in E flat major, WK 75
*String Quartet Op. 15 No.4 in G major, WK 76
*String Quartet Op. 15 No.5 in F major, WK 77
*String Quartet Op. 15 No.6 in A major, WK 78
*Raccolta for keyboard in C major, WK 79a
*Raccolta for keyboard in B flat major, WK 79b
*Trio Sonata Op. 3 No.1 in G major, WK 80
*Trio Sonata Op. 3 No.2 in C major, WK 81
*Trio Sonata Op. 3 No.3 in B flat major, WK 82
*Trio Sonata Op. 3 No.4 in D major, WK 83
*Trio Sonata Op. 3 No.5 in A major, WK 84
*Trio Sonata Op. 3 No.6 in E flat major, WK 85
*Trio Sonata Op. 9 No.1 in A major, WK 86
*Trio Sonata Op. 9 No.2 in C major, WK 87
*Trio Sonata Op. 9 No.3 in G major, WK 88
*Trio Sonata Op. 9 No.4 in B flat major, WK 89
*Trio Sonata Op. 9 No.5 in D major, WK 90
*Trio Sonata Op. 9 No.6 in F major, WK 91
*Trio Sonata Op. 16a No.1 in G major, WK 92
*Trio Sonata Op. 16a No.2 in D major, WK 93
*Trio Sonata Op. 16a No.3 in C major, WK 94
*Trio Sonata Op. 16a No.4 in A major, WK 95
*Trio Sonata Op. 16a No.5 in D major, WK 96
*Trio Sonata Op. 16a No.6 in G major, WK 97
*Trio Sonata Op. 16b No.1 in G major, WK 98
*Trio Sonata Op. 16b No.2 in D major, WK 99
*Trio Sonata Op. 16b No.3 in C major, WK 100
*Trio Sonata Op. 16b No.4 in G major, WK 101
*Trio Sonata for 2 violins &amp; cello in A major, WK 102
*Trio Sonata for 2 violins &amp; cello in A major, WK 103
*Trio Sonata for 2 flutes &amp; cello in G major, WK 104
*Trio Sonata for 2 flutes &amp; cello in D major, WK 105
*Trio Sonata for 2 flutes &amp; cello in G major, WK 106
*Trio Sonata for 2 flutes &amp; cello in F major, WK 107
*Trio Sonata for 2 flutes &amp; cello in C minor, WK 108
*Trio Sonata for 2 flutes &amp; cello in G major, WK 109
*Trio Sonata for 2 flutes &amp; cello in G major, WK 110
*Trio Sonata for 2 flutes &amp; cello in D major, WK 110a
*Trio Sonata for 2 flutes &amp; cello in G major, WK 110b
*Trio Sonata for 2 flutes &amp; cello in C major, WK 110c
*Trio Sonata for 2 flutes &amp; cello in B flat major, WK 110d
*Trio Sonata for 2 flutes &amp; cello in C major, WK 110e
*Trio Sonata for 2 flutes &amp; cello in C major, WK 110f
*Keyboard Trio Op. 2 No.1 in C major, WK 111
*Keyboard Trio Op. 2 No.2 in F major, WK 112
*Keyboard Trio Op. 2 No.3 in D major, WK 113
*Keyboard Trio Op. 2 No.4 in B flat major, WK 114
*Keyboard Trio Op. 2 No.5 in G major, WK 115
*Keyboard Trio Op. 2 No.6 in E flat major, WK 116
*Keyboard Trio Op. 5 No.1 in B flat major, WK 117
*Keyboard Trio Op. 5 No.2 in G major, WK 118
*Keyboard Trio Op. 5 No.3 in E major, WK 119
*Keyboard Trio Op. 5 No.4 in C major, WK 120
*Keyboard Trio Op. 5 No.5 in A major, WK 121
*Keyboard Trio Op. 5 No.6 in F major, WK 122
*Flute Sonata Op. 6 No.1 in C major, WK 123
*Flute Sonata Op. 6 No.2 in G major, WK 124
*Flute Sonata Op. 6 No.3 in G major, WK 125
*Flute Sonata Op. 6 No.4 in E major, WK 126
*Flute Sonata Op. 6 No.5 in F major, WK 127
*Flute Sonata Op. 6 No.6 in G major, WK 128
*Violin Sonata Op. 13 No.1 in G major, WK 129
*Violin Sonata Op. 13 No.2 in F major, WK 130
*Violin Sonata Op. 13 No.3 in A major, WK 131
*Violin Sonata Op. 13 No.4 in B flat major, WK 132
*Violin Sonata Op. 13 No.5 in C major, WK 133
*Violin Sonata Op. 13 No.6 in E flat major, WK 134
*Violin Sonata Op. 18 No.1 in G major, WK 135
*Violin Sonata Op. 18 No.2 in A major, WK 136
*Violin Sonata Op. 18 No.3 in C major, WK 137
*Violin Sonata Op. 18 No.4 in E flat major, WK 138
*Violin Sonata Op. 18 No.5 in B flat major, WK 139
*Violin Sonata Op. 18 No.6 in F major, WK 140
*Violin Sonata in C major, WK 140a
*Keyboard Sonata in B flat major, WK 140b
*Sonata for viola da gamba No. 1 in C major, WK 141
*Sonata for viola da gamba No. 2 in A major, WK 142
*Sonata for viola da gamba No. 3 in D major, WK 143
*Sonata for viola da gamba No. 4 in G major, WK 144
*Sonata for viola da gamba No. 5 in A major, WK 145
*Sonata for viola da gamba No. 6 in E minor, WK 146
*Sonata for viola da gamba No. 7 in G major, WK 147
*Sonata for viola da gamba No. 8 in A major, WK 148
*Sonata for viola da gamba No. 9 in G major, WK 149
*Sonata for viola da gamba No.10 in E minor, WK 150
*Sonata for viola da gamba No.11 in C major, WK 151
*Sonata for viola da gamba No.12 in G major, WK 152
*Sonata for viola da gamba No.13 in G major, WK 153
*Sonata for viola da gamba No.14 in D major, WK 154
*Sonata for viola da gamba No.15 in G major, WK 155
*Sonata for viola da gamba No.16 in D major, WK 156
*Sonata for viola da gamba No.17 in E minor, WK 157
*Sonata for viola da gamba No.18 in D major, WK 158
*Sonata for viola da gamba No.19 in G major, WK 159
*Sonata for viola da gamba No.20 in D major, WK 160
*Sonata for viola da gamba No.21 in D major, WK 161
*Sonata for viola da gamba No.22 in C major, WK 162
*Sonata for viola da gamba No.23 in A major, WK 163
*Sonata for viola da gamba No.24 in A major, WK 164
*Sonata for viola da gamba No.25 in D major, WK 165
*Sonata for viola da gamba No.26 in D major, WK 166
*Sonata for viola da gamba No.27 in G major, WK 167
*Sonata for viola da gamba No.28 in D major, WK 168
*Sonata for viola da gamba No.29 in D major, WK 169
*Sonata for viola da gamba No.30 in C major, WK 170
*Sonata for viola da gamba No.31 in G major, WK 171
*Sonata for viola da gamba No.32 in D major, WK 172
*Sonata for viola da gamba No.33 in A major, WK 173
*Sonata for viola da gamba No.34 in G major, WK 174
*Sonata for viola da gamba No.35 in A minor, WK 175
*Sonata for viola da gamba No.36 in F minor, WK 176
*Sonata for viola da gamba No.37 in A major, WK 177
*Sonata for viola da gamba No.38 in G major, WK 178
*Sonata for viola da gamba No.39 in A major, WK 179
*Sonata for viola da gamba No.40 in D major, WK 180
*Sonata for viola da gamba No.41 in D major, WK 181
*Sonata for viola da gamba No.42 in G major, WK 182
*Sonata for viola da gamba No.43 in A major, WK 183
*Sonata for viola da gamba No.44 in C major, WK 184
*Arpeggio for viola da gamba in D major, WK 185
*Allegro for viola da gamba in D major, WK 186
*Piece for viola da gamba in D major, WK 187
*Tempo fi minuetto for viola da gamba in D major, WK 188
*Adagio for viola da gamba in D major, WK 189
*Vivace for viola da gamba in D major, WK 190
*Andante for viola da gamba in D major, WK 191
*Piece for viola da gamba in D major, WK 192
*Piece for viola da gamba in D major, WK 193
*Piece for viola da gamba in D major, WK 194
*Piece for viola da gamba in D major, WK 195
*Fuga for viola da gamba in D major, WK 196
*Piece for viola da gamba in D major, WK 197
*Allegro for viola da gamba in D major, WK 198
*Piece for viola da gamba in D major, WK 199
*Tempo di minuetto for viola da gamba in D major, WK 200
*Tempo di minuetto for viola da gamba in D major, WK 201
*Piece for viola da gamba in D major, WK 202
*Piece for viola da gamba in D major, WK 203
*Con variatione for viola da gamba in D major, WK 204
*Piece for viola da gamba in D minor, WK 205
*Piece for viola da gamba in D minor, WK 206
*Allegro for viola da gamba in D minor, WK 207
*Piece for viola da gamba in D minor, WK 208
*Adagio for viola da gamba in D minor, WK 209
*Minuetto for viola da gamba in D major, WK 210
*Allegretto for viola da gamba in A major, WK 211
*Allegro for viola da gamba in A major, WK 212
*Minuet for keyboard in C major, WK 213
*Minuet for keyboard in D major, WK 214
*Minuet for keyboard in G major, WK 215
*Minuet for keyboard in G major, WK 216
*March in F major, WK 217
*March in F major, WK 218
*March in F major, WK 219
*March in F major, WK 220
*March in F major, WK 221
*March in B flat major, WK 222
*March in F major, WK 223
*Andante for string quartet in E flat major, WK 224
*Flute Quartet in F major, WK 225
*Flute Quartet in D major, WK 226
*Flute Quartet with viola da gamba in G major, WK 227
*Cello Duet in D major, WK 228
*Concertino for 2 clarinets in E flat major (lost), WK 229
*5 adagios for string quartet, WK 230
*Dolly's eyes are so bright, WK 231
*4 soli for flute (lost), WK 232
*Frena le belle lagrime, WK deest
{{collapse bottom}}

==Selected works by opus number==
''(adapted from the listing in the [http://fr.wikipedia.org/wiki/Karl_Friedrich_Abel article on Abel] at fr.wikipedia.org)''

*Op. 1: 6 Overtures or Sinfonias (1761)
*Op. 2: 6 Sonatas for Keyboard and Violin and Cello (ad libitum) (1760)
*Op. 3: 6 Trio Sonatas for 2 Violins and Basso Continuo (1762)
*Op. 4: 6 Overtures or Sinfonias (1762)
*Op. 5: 6 Sonatas for Keyboard and Violin and Cello (ad libitum) (1762)
*Op. 6: 6 Sonatas for Keyboard and Flute (1763)
*Op. 7: 6 Symphonies (1767)
*Op. 8: 6 String Quartets (1768)
*Op. 9: 6 Trio Sonatas for Violin, Cello and Basso Continuo (1771)
*Op. 10: 6 Symphonies (1771)
*Op. 11: 6 Concerti for Keyboard and Strings (1771)
*Op. 12: 6 Flute Quartets (1774)
*Op. 13: 6 Sonatas for Keyboard and Violin (1777)
*Op. 14: 6 Symphonies (1778)
*Op. 15: 6 String Quartets (1780)
*Op. 16: 4 Trio Sonatas for 2 Flutes and Basso Continuo (1781)
*Op. 16: 6 Trio Sonatas for Violin, Viola and Cello (1782)
*Op. 17: 6 Symphonies (1785)
*Op. 18: 6 Sonatas for Keyboard and Violin (1784)

==Notes==
{{reflist}}

==References==
*{{Wikisource1911Enc Citation|Abel, Karl Friedrich}}
*S. M. Helm: ''Carl Friedrich Abel, Symphonist''.  London 1953

==External links==
{{commons|Category:Carl_Friedrich_Abel|Carl Friedrich Abel}}
*{{IckingArchive|idx=Abel|name=Carl Friedrich Abel}}
*{{IMSLP|id=Abel, Carl Friedrich|cname=Carl Friedrich Abel}}

{{DEFAULTSORT:Abel, Carl Friedrich}}
[[Category:1723 births]]
[[Category:1787 deaths]]
[[Category:People from Anhalt-Bitterfeld]]
[[Category:People from Anhalt]]
[[Category:German composers]]
[[Category:Classical era composers]]
[[Category:Viol players]]
[[Category:18th-century German people]]
[[ca:Karl Friedrich Abel]]
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[[el:Καρλ Φρίντριχ Άμπελ]]
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[[nn:Carl Friedrich Abel]]
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[[ru:Абель, Карл Фридрих]]
[[sl:Karl Friedrich Abel]]
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  </page>
  <page>
    <title>Étienne Méhul</title>
    <id>376771</id>
    <revision>
      <id>299944589</id>
      <timestamp>2009-07-02T19:46:36Z</timestamp>
      <contributor>
        <username>Eusebeus</username>
        <id>587813</id>
      </contributor>
      <comment>/* Operas */ rewrite + add cite for addition</comment>
      <text xml:space="preserve">[[Image:Mehul by von Winter.jpg|thumb|Étienne Méhul, by H.E. von Winter]]
'''Etienne Henri''' (or '''Nicolas''') '''Méhul''' ([[June 22]], [[1763]] - [[October 18]], [[1817]]) was a [[France|French]] [[composer]], &quot;the most important opera composer in France during the [[French Revolution|Revolution]].&quot;&lt;ref&gt;Bartlet p.vii&lt;/ref&gt; He was also the first composer to be called a &quot;[[Romanticism|Romantic]]&quot;.&lt;ref&gt;Cairns p.220; Orga (2002).&lt;/ref&gt;

==Life==
Méhul was born at [[Givet]] in [[Ardennes]], to a poor family.  His first music lessons came from a blind local organist, but he had innate aptitude, and at the age of ten was appointed organist of the convent of the [[Récollets]]. In 1775 a German musician and organist, Wilhelm Hauser, was hired at the monastery of Lavaldieu, a few miles from Givet, and Méhul became his occasional pupil.

In 1778 or 1779 he went to Paris and began to study with [[Jean-Frédéric Edelmann]], a [[harpsichord]] player and friend of Méhul's idol [[Christoph Willibald von Gluck]]. Méhul's first published composition was a book of harpsichord pieces  in 1783. He also arranged airs from popular operas and by the late 1780s he had begun to think about an operatic career for himself. 

In 1787, the writer Valadier offered Méhul one of his libretti, ''Cora'', which had been rejected by Glück in 1785.&lt;ref&gt;Arthur Searle, &quot;Manuscripts and printed music&quot;, ''Early Music'' '''19'''.2 (1991:269-274).&lt;/ref&gt; Méhul's ''Cora'' did not premiere until 1791, however,  In the meantime, Méhul found an ideal collaborator in the librettist [[François-Benoît Hoffman]], who provided the words to the first of Méhul's operas to be performed, ''Euphrosine''. Its premiere in 1790 was an immense success and marked the composer out as a new talent. It was also the start of his long relationship with the Comédie Italienne theatre (soon to be renamed the Opéra-Comique). 

In spite of the failure of ''Cora'' in 1791 and the banning of ''Adrien'' for political reasons the year after that, Méhul consolidated his reputation with works such as ''[[Stratonice (opera)|Stratonice]]'' and ''Mélidore et Phrosine''. During the [[French Revolution]], Méhul composed many patriotic songs and propaganda pieces, the most famous of which is the ''[[Chant du départ]]''. Méhul was rewarded by becoming the first composer named to the newly founded Institut de France in 1795. He also held a post as one of the five inspectors of the [[Conservatoire de Paris]]. Mehul was on friendly terms with [[Napoleon]] and became one of the first Frenchmen to receive the [[Légion d'honneur]]. 

Méhul's operatic success was not as great in the first decade of the nineteenth century as it had been in the 1790s, although works such as ''Joseph'' (1807) became famous abroad, particularly in Germany. The failure of his opera ''Les Amazones'' in 1811 was a severe blow and virtually ended his career as a composer for the theatre. In spite of his friendship with Napoleon, Méhul's public standing survived the transition to the [[Bourbon Restoration]] intact. However, the composer was now seriously ill with [[tuberculosis]] and he died on [[October 18]] [[1817]].&lt;ref&gt;General biography from Bartlet (1997) pp.vii-ix&lt;/ref&gt;His grave is at the cemetery of [[Père Lachaise]], near the grave of another French composer, his contemporary [[François-Joseph Gossec]].

==Works==
====Operas====
:See '''[[List of operas by Méhul]]'''.

Méhul's most important contribution to music was his operas. He led the generation of composers who emerged in France in the 1790s, which included his friend and rival [[Luigi Cherubini]] and his outright enemy [[Jean-François Lesueur]]. Méhul followed the example of the operas which [[Gluck]] had written for Paris in the 1770s and applied Gluck's &quot;reforms&quot; to [[opéra comique]] (a genre which mixed music with spoken dialogue and was not necessarily at all &quot;comic&quot; in mood). But he pushed music in a more [[Romanticism|Romantic]] direction, showing an increased use of dissonance and an interest in psychological states such as anger and jealousy, thus foreshadowing later Romantic composers such as [[Carl Maria von Weber|Weber]] and [[Berlioz]]. Indeed, Méhul was the very first composer to be styled a Romantic; the Marquis de [[Condorcet]] used the term when reviewing Méhul's ''Le jeune sage et le vieux fou'' in ''La chronique de Paris'' on [[April 1]] [[1793]].&lt;ref&gt;Orga (2002)&lt;/ref&gt; 

Méhul's main musical concern was that everything should serve to increase the dramatic impact. As his admirer Berlioz wrote:&lt;blockquote&gt;[Méhul] was fully convinced that in truly dramatic music, when the importance of the situation deserves the sacrifice, the composer should not hesitate as between a pretty musical effect that is foreign to the scenic or dramatic character, and a series of accents that are true but do not yield any surface pleasure. He was convinced that musical expressiveness is a lovely flower, delicate and rare, of exquisite fragrance, which does not bloom without culture, and which a breath can wither; that it does not dwell in melody alone, but that everything concurs either to create or destroy it - melody, harmony, modulation, rhythm, instrumentation, the choice of deep or high registers for the voices or instruments, a quick or slow tempo, and the several degrees of volume in the sound emitted.&lt;ref&gt;Berlioz p.354&lt;/ref&gt;&lt;/blockquote&gt;

One way in which Méhul increased dramatic expressivity was to experiment with orchestration. For example, in ''[[Uthal (opera)|Uthal]]'', an opera set in the Highlands of [[Scotland]], he eliminated violins from the orchestra, replacing them with the darker sounds of violas in order to add local colour.&lt;ref&gt;Charlton (1993) p.644&lt;/ref&gt; Méhul's ''La chasse du jeune Henri'' (Young Henri's Hunt) provides a more humorous example, with its expanded horn section portraying yelping hounds as well as giving hunting calls.  (Sir [[Thomas Beecham]] frequently programmed this piece to showcase the Philharmonia horn section.)  

Méhul's key works of the 1790s were ''Euphrosine'', ''[[Stratonice (opera)|Stratonice]]'', ''Mélidore et Phrosine'' and ''[[Ariodant]].''&lt;ref&gt;Charlton (1994) p.127&lt;/ref&gt; ''Ariodant'', though a failure at its premiere in 1799, has come in for particular praise from critics. Elizabeth Bartlet calls it &quot;Mehul's best work of the decade and a highpoint of Revolutionary opera&quot;.&lt;ref name=&quot;Bartlet p.x&quot;&gt;Bartlet p.x&lt;/ref&gt; It deals with the same tale of passion and jealousy as [[Handel]]'s 1735 opera ''[[Ariodante]]''. As in many of his other operas, Mehul makes use of a structural device called the &quot;reminiscence motif&quot;, a musical theme associated with a particular character or idea in the opera. This device looks forward to the [[leitmotif]]s in [[Richard Wagner]]'s music dramas. In ''Ariodant'', the reminiscence motif is the ''cri de fureur'' (&quot;cry of fury&quot;), expressing the emotion of jealousy.&lt;ref name=&quot;Bartlet p.x&quot;/&gt;

Around 1800, the popularity of such stormy dramas began to wane, replaced by a fashion for the lighter [[opéra comique]]s of composers such as [[Boieldieu]]. In addition, Mehul's friend Napoleon told him he preferred a more comic style of opera. As a [[Corsica]]n, Napoleon's cultural background was Italian, and he loved the [[opera buffa]] of composers like [[Paisiello]] and [[Cimarosa]]. Méhul responded with ''L'Irato'' (&quot;The Angry Man&quot;), a one-act comedy premiered as the work of the Italian composer &quot;Fiorelli&quot; in 1801. When it became an immediate success, Méhul revealed the hoax he had played.&lt;ref&gt;Berlioz p.352&lt;/ref&gt; Méhul also continued to compose works in a more serious vein. ''Joseph'', based on the [[Bible|Biblical]] story of [[Joseph (Hebrew Bible)|Joseph]] and his brothers, is the most famous of these later operas, but its success in France was short-lived. In Germany, however, it won many admirers throughout the nineteenth century, including Wagner.&lt;ref&gt;Charlton (1993)&lt;/ref&gt; A melody from ''Joseph'' is very similar to a popular folk melody widely known in Germany which was used as a song in the [[German Imperial Navy]], and adapted, notoriously, as the tune for the co-national anthem of [[Nazi Germany]], the [[Horst-Wessel-Lied]]. It is unclear, however, whether Méhul's melody was the actual provenance of the melody.&lt;ref&gt;George Broderick, Das Horst-Wessel-Lied: A Reappraisal, International Folklore Review Vol. 10 (1995): 100-127&lt;/ref&gt;

====Symphonies and other works====
Besides operas, Méhul composed a number of songs for the festivals of the republic (often commissioned by the emperor Napoleon), [[cantata]]s, and five symphonies in the years 1797 and 1808 to 1810.The First Symphony was revived in one of [[Felix Mendelssohn]]'s concerts with the [[Leipzig Gewandhaus Orchestra]] in 1838 and 1846 to an audience including [[Robert Schumann]], who was impressed by the piece. In all four movements there are some stylistic similarities with [[Ludwig van Beethoven|Beethoven]]'s  [[Symphony No. 5 (Beethoven)|Symphony No.5]] (including the dissonant, furious mood of the first movement and the string pizzicatos in the third), which were also noted by Schumann. Actually at this date only Beethoven's Symphonies No.1 and 2 (1799/1800 and 1802) had been performed in France and both Beethoven's Fifth and Mehul's First were composed in the same year, 1808, were published in the following, 1809. In his mature symphonies, Mehul continued the path [[Haydn]] (the Paris Symphonies, 1785-86, for example), [[Mozart]] ([[Symphony No. 40 (Mozart)|Symphony No. 40]], K.550, 1788) had taken, two composers who enjoyed great popularity in France in the early 19th century. A fifth symphony was never completed - &quot;as disillusionment and tuberculosis took their toll&quot;, as David Charlton pointed out. The Symphonies nos.3 and 4 were only rediscovered by Charlton in 1979.

* '''For Piano''' 
**3 Sonates for Piano, op. 1 (1783)
**3 Sonates for Piano, op. 2 (1788)

* '''Orchestral Music'''  
**Ouverture burlesque (1794)
**Ouverture pour instruments à vent (1794)
**Symphony in C (1797, only parts are surviving)
**Symphony No.1 in G minor (1808/09)
**Symphony No.2 in D major (1808/09)
**Symphony No.3 in C major (1809)
**Symphony No.4 in E major (1810)
**Symphony No.5 (1810, only a first movement survives)

* '''Vocal Music''' 
**[[Chant du départ]] (1794)
**{{lang|fr|Chant des Victoires}} (1794)
**{{lang|fr|Messe Solennelle pour soli, chœurs et orgue}} (1804)
**{{lang|fr|Chant du retour pour la Grande Armée}} (1808)
**{{lang|fr|Chant lyrique pour l'inauguration de la statue de Napoléon}} (1811)

* '''Ballets''' 
**{{lang|fr|Le Jugement de Pâris}} (1793)
**{{lang|fr|La Dansomanie}} (1800)

* '''Incidental music for plays'''
**''{{lang|fr|Timoléon}}'' (by [[Marie-Joseph Chénier]])
**''{{lang|fr|Les Hussites}}'' (by Alexandre Duval)

==Discography==
* ''The Complete Symphonies (Symphonies No.1-No.4)''. Lisbon Gulbenkian Foundation Orchestra, Michel Swierczewski (including the Ouvertures ''La Chasse du jeune Henri'' and ''Le Trésor supposé''), Nimbus Records, 1992
* ''Symphonies Nos 1 and 2''. Les Musiciens du Louvre, Marc Minkowski, Erato/Apex, 2003
* ''Overtures'': Mélidore et Phrosine; Ariodant; Joseph; Horatius Coclès; Bion; Le jeune sage et le vieux fou; Le trésor supposé; Les deux aveugles de Tolède; La chasse du jeune Henri. Orchestre de Bretagne/ Stefan Sanderling, ASV, 2003
* ''Stratonice''. [[Patricia Petibon|Petibon]]/Beuron/Lescoart/Daymond, Corona Coloniensis, Cappella Coloniensis, William Christie, Erato 1996
* ''Joseph'' (as ''Joseph in Aegypten''), two versions of the work in German both recorded in 1955: (a) Alexander Welitsch/Libero di Luca/ Horst Guenter/Ursula Zollenkopf, Symphony Orchestra and Choir of NWDR, Wilhelm Schuechter; (b) Alexander Welitsch/Josef Traxel/Bernhard Michaelis/Friederike Sailer, Stuttgart Radio Symphony Orchestra, Suedfunk Chor, Alfons Rischner. Gala, 2004.
* ''Joseph'' (in French): Nathalie Dessay, soprano ; Brigette Lafon, mezzo-soprano ; Laurence Dale, Antoine Normand, Philippe Pistole, tenors ; René Massis, baritone ; Frédéric Vassar, Philippe Jorquera, basses ; Abbi Patrix, speaker ; Ensemble choral &quot;Intermezzo&quot; ; Orchestre régional de Picardie &quot;Le Sinfonietta&quot; ; Claude Bardon, conductor. Chant du monde, c. 1989.
* ''La Chasse du jeune Henri'', ''Le Trésor supposé'' and ''Timoléon'' Royal Philharmonic Orchestra/Sir Thomas Beecham, Sony, 2002.
* ''L'Irato'' Turk/Auvity/Courtin/Buet/Chamber Choir Bonn, L'arte del mondo, Walter Ehrhardt, Capriccio, 2006.
* ''Piano Sonatas'' opp. 1 (nos. 1-3) &amp; 2 (nos. 4-6). Brigitte Haudebourg, piano. Arcobaleno, c. 1990.
* ''Le chant du départ; Chant Funèbre à la Mémoire de Féraud; Hymne pour la Fête des Epoux; Ouverture.'' Edwige Perfetti, soprano ; Tibère Raffali, Christian Papis, tenors ; Gilles Cachemaille, baritone -- Orchestre d'Harmonie des Gardiens de la Paix de Paris ; Claude Pichaureau, conductor -- Chœur de l'Armée Française ; Serge Zapolski, chorus-master -- Chorale a Chœur Joie la Gondoire ; Daniel Catenne, chorus-master -- Chorale Populaire de Paris ; Jean-Claude Chambard, chorus-master. Musifrance, n.d.
* ''Chant national du 14 juillet 1800; Hymne à la raison; Le chant du départ'' Chœur et Orchestre du Capitole de Toulouse ; Michel Plasson, conductor. EMI, 1990.

==Notes==
{{reflist}}

==References==
* Berlioz ''Evenings with the Orchestra'', translated by Jacques Barzun ([[University of Chicago Press]], 1953)
* Booklet notes by David Charlton to the recording &quot;The Complete Symphonies&quot; (Nimbus, 1989)
* Booklet notes by Ates Orga to the recording of Méhul's &quot;Overtures&quot; (ASV, 2002).
* David Cairns ''Berlioz: the Making of an Artist'' (André Deutsch, 1989).
* David Charlton, section on Méhul in ''The Viking Opera Guide'' ed.Holden (1993)
* David Charlton, chapter on &quot;French Opera 1800-1850&quot; in ''The Oxford Illustrated History of Opera'' ed. Roger Parker (OUP, 1994)
* Introduction to the edition of Méhul's opera ''[[Stratonice]]'' by M.Elizabeth C. Bartlet (Pendragon Press, 1997)

==External links==
{{Commons}}
* {{WIMA|idx=Mehul|name=Étienne Méhul}}
* {{IMSLP|id=Méhul, Etienne Nicolas|cname=Etienne Méhul}}
* {{MutopiaComposer|id=MehulEN}}
* [http://www.insecula.com/oeuvre/photo_ME0000065285.html] A portrait of Méhul by [[Antoine-Jean Gros]]
* [http://www.diplomatie.gouv.fr/fr/actions-france_830/politique-artistique_1031/musique_11415/galerie-compositeurs_12379/mehul-etienne-nicolas-1763-1817_27786.html Biography and Works, France Diplomatie Culture]
* [http://www.laphil.org/resources/piece_detail.cfm?id=434 Notes on the Symphony No.1 by Herbert Glass, Los Angeles Philharmonic Website]
* [http://www.hberlioz.com/Predecessors/mehul.htm  Berlioz and Méhul, The Hector Berlioz Site]

{{DEFAULTSORT:Mehul, Etienne}}
[[Category:1763 births]]
[[Category:1817 deaths]]
[[Category:French composers]]
[[Category:Classical era composers]]
[[Category:Romantic composers]]
[[Category:Opera composers]]
[[Category:Members of the Académie des beaux-arts]]
[[Category:Légion d'honneur recipients]]

[[ca:Étienne Nicolas Méhul]]
[[cs:Étienne-Nicolas Méhul]]
[[de:Étienne-Nicolas Méhul]]
[[es:Étienne Nicolas Méhul]]
[[fr:Étienne Nicolas Méhul]]
[[it:Étienne Nicolas Méhul]]
[[he:אטיין מאול]]
[[nl:Étienne Nicolas Méhul]]
[[ja:エティエンヌ＝ニコラ・メユール]]
[[pt:Étienne Méhul]]
[[fi:Étienne Méhul]]</text>
    </revision>
  </page>
  <page>
    <title>John Stanley (composer)</title>
    <id>192635</id>
    <revision>
      <id>290239289</id>
      <timestamp>2009-05-16T04:38:31Z</timestamp>
      <contributor>
        <username>D6</username>
        <id>75561</id>
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      <minor/>
      <comment>fix unicode in templates ([[Wikipedia:WikiProject_Check_Wikipedia|WikiProject Check Wikipedia]] check #16</comment>
      <text xml:space="preserve">{{otherpersons|John Stanley}}
[[Image:J.Stanley.jpg|thumb|John Stanley]]

'''Charles John Stanley''' (17 January 1712 &amp;ndash; 19 May 1786) was an [[England|English]] [[composer]] and [[organist]].

==Biography==
Stanley, who was [[blindness|blind]] from an early age, studied music with [[Maurice Greene (composer)|Maurice Greene]] and held a number of organist appointments in [[London]], such as [[St Andrew's, Holborn]] from 1726. He was a friend of [[George Frideric Handel]], and following Handel's death, Stanley joined first with [[John Christopher Smith]] and later with [[Thomas Linley the elder|Thomas Linley]] to continue the series of [[oratorio]] concerts Handel had established, and succeeded him as a governor of the [[Foundling Hospital]] (continuing his tradition of performing &quot;Messiah&quot; for them).

In 1779, Stanley succeeded [[William Boyce]] as [[Master of the King's Musick]].

Stanley's works include the [[opera]] ''Teraminta'', the dramatic [[cantata]] ''The Choice of Hercules'', twelve other cantatas with texts by [[John Hawkins]], the [[oratorio]]s ''Jephtha'', ''The Fall of Egypt'' and ''Zimri'', and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called [[Trumpet Voluntary|trumpet voluntaries]]) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet.

==Works==
*Opus 1 ''Eight Solos for Flute and Continuo'' (1740)
*Opus 2 ''Six Concertos for strings (or organ &amp; strings or flute &amp; continuo)'' (1742/1745)
*Opus 3 ''Six Cantatas'' (1742)
*Opus 4 ''Six Solos for Flute and Continuo'' (1745)
*Opus 5 ''Ten Voluntaries for Organ'' (1748)
*Opus 6 ''Ten Voluntaries for Organ'' (1752)
*Opus 7 ''Ten Voluntaries for Organ'' (1754)
*Opus 8 ''Six Cantatas'' (1751)
*Opus 9 ''Three Cantatas'' (1751)
*Opus 10 ''Six Concertos for Organ or Harpsichord'' (1775)

{{start box}}
{{s-court}}
{{succession box|title=[[Master of the Queen's Music|Master of the King's Music]]|before=[[William Boyce]]|after=[[Master of the Queen's Music|William Parsons]]|years=1779&amp;ndash;1786}}
{{end box}}

==Media==
{{listen
 | filename     = Stanley_voluntary_op5_08_01.ogg
 | title        = ''Voluntary in D minor I.'' for organ
 | description  = John Stanley: Voluntary in D minor op. 5 No. 8 - Allegro 1st mvt. Played by Tibor Pinter on the sample set of the Hart organ (1809) in Little Waldingfield, England.
 | format       = [[Ogg]]
 | filename2    = Stanley_voluntary_op5_08_02.ogg
 | title2       = ''Voluntary in D minor II.'' for organ
 | description2 = John Stanley: Voluntary in D minor op. 5 No. 8 - Adagio 2nd mvt. Played by Tibor Pinter on the sample set of the Hart organ (1809) in Little Waldingfield, England.
 | format2      = [[Ogg]]
 | filename3    = Stanley_voluntary_op5_op.08_no.03.ogg
 | title3       = ''Voluntary in D minor III.'' for organ
 | description3 = John Stanley: Voluntary in D minor op. 5 No. 8 - Allegro 3rd mvt. Played by Tibor Pinter on the sample set of the Hart organ (1809) in Little Waldingfield, England.
 | format3      = [[Ogg]]
}}

==External links==
*{{WIMA|idx=Stanley|name=John Stanley}}
*[http://www.rslade.co.uk/stanley/ Bio] at the [http://www.rslade.co.uk/index.html &quot;18th Century English Music&quot; pages at rslade.co.uk].
*[http://www.hoasm.org/VIIJ/Stanley.html Bio] at [http://www.hoasm.org/index.html &quot;Here of a Sunday Morning&quot; website].
*[http://www.baroquemusic.org/bqxstanley.html Bio and music samples] at the [http://www.baroquemusic.org/index.html BaroqueMusic.org site].
*{{dmoz|Arts/Music/Composition/Composers/S/Stanley,_John/|John Stanley}}
*{{IMSLP|id=Stanley%2C_John|cname=John Stanley}}

{{DEFAULTSORT:Stanley, John}}
[[Category:1712 births]]
[[Category:1786 deaths]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Blind musicians]]
[[Category:English composers]]
[[Category:Opera composers]]
[[Category:Masters of the Queen's Music]]
[[Category:English classical organists]]

[[de:John Stanley]]
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    </revision>
  </page>
  <page>
    <title>Johann Friedrich Doles</title>
    <id>20785693</id>
    <revision>
      <id>296333825</id>
      <timestamp>2009-06-14T11:11:42Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>Added ChoralWiki link</comment>
      <text xml:space="preserve">'''Johann Friedrich Doles''' (23 April 1715 {{ndash}} 8 February 1797) was a German [[composer]] and pupil of [[J.S. Bach]]. He attended the [[University of Leipzig]]. He was Kantor at the Leipzig [[Thomasschule]] from 1755 to 1789; in that year (1789) he directed the performance of Bach's motet ''[[Singet dem Herrn]]'' that reportedly made such a deep impression on [[Mozart]]. Doles wrote a manuscript treatise on singing which may preserve some elements of Bach's own methods.

==References==
*''Oxford Composer Companions, J.S. Bach'' (1999), p. 140

==External links==
* {{ChoralWiki}}

[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:University of Leipzig alumni]]
{{Lifetime|1715|1797|Doles, Johann Friedrich}}

[[de:Johann Friedrich Doles]]
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[[sv:Johann Friedrich Doles]]</text>
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  </page>
  <page>
    <title>Johann Nikolaus Forkel</title>
    <id>214019</id>
    <revision>
      <id>270350229</id>
      <timestamp>2009-02-13T01:45:56Z</timestamp>
      <contributor>
        <username>Eastlaw</username>
        <id>1046972</id>
      </contributor>
      <comment>Added {{1911}} per [[Wikipedia:Templates for deletion/Log/2009 February 4]]. Feel free to remove if not applicable. using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">[[Image:Johann nikolaus forkel-1.jpg|thumb|right|Johann Nikolaus Forkel]]

'''Johann Nikolaus Forkel''' (22 February 1749 in [[Meeder]] &amp;ndash; 20 March 1818 in [[Göttingen]]), was a [[Germany|German]] [[musician]], [[musicologist]] and [[music theory|music theorist]]. 

==Biography==
He was born at [[Meeder]] in [[Coburg]]. He was the son of a cobbler, and received early musical training, especially in keyboard playing, from [[Johann Heinrich Schulthesius]], who was the local Kantor. In other aspects of his music education he was self-taught, especially as regards theory. As a teenager he served as a singer in [[Lüneburg]], and studied law for two years at the [[University of Göttingen]]; he remained associated with the University for more than fifty years, where he held varied positions, including instructor of music theory, organist, keyboard teacher, and eventually director of all music at the university.  In 1787 he received an honorary doctorate of philosophy from the institution.

Forkel is often regarded as the founder of Historical [[Musicology]], for it is with him that the study of music history and theory became an academic discipline with rigorous standards of scholarship.

He was an enthusiastic admirer of [[Johann Sebastian Bach]], whose music he did much to popularize. He also wrote the first biography of Bach (in 1802), one which is of particular value today, as he was still able to correspond directly with Bach's sons [[Carl Philipp Emanuel Bach]] and [[Wilhelm Friedemann Bach]], and thereby obtained much valuable information that would otherwise have been lost.

His library, which was accumulated with care and discrimination at a time when rare books were cheap, forms a valuable portion of the royal library in [[Berlin]] and also of the library of the Königliche Institut für Kirchenmusik&lt;!-- [where are those books now?] [mostly reprinted in the 1960s in German, not all trans into English]--&gt;.

He died at Göttingen.

==Selected works==
*''Über die Theorie der Musik'' (Göttingen, 1777)
*''Musikalisch kritische Bibliothek'' (Gotha, 1778)
*[http://num-scd-ulp.u-strasbg.fr:8080/view/authors/Forkel,_Johann_Nikolaus.html ''Allgemeine Geschichte der Musik'' (Leipzig, 1788, 1801)] at Universities of Strasbourg Digital Library.

The last is his other most important work. He also wrote a ''Dictionary of Musical Literature'', which is full of valuable material.

To his musical compositions, which are numerous, little interest is to be attached today. However it is worth noting that he wrote variations on the English national anthem &quot;[[God Save the King]]&quot; for the clavichord, and that [[Georg Joseph Vogler]] wrote a sharp criticism on them, which appeared at [[Frankfurt]] in 1793 together with a set of variations as he conceived they ought to be written.

{{1911}}
{{DEFAULTSORT:Forkel, Johann Nikolaus}}
[[Category:1749 births]]
[[Category:1818 deaths]]
[[Category:German composers]]
[[Category:Classical era composers]]
[[Category:German music historians]]
[[Category:German musicologists]]
[[Category:German music theorists]]
[[Category:People from the District of Coburg]]

[[bg:Йохан Форкел]]
[[de:Johann Nikolaus Forkel]]
[[es:Johann Nikolaus Forkel]]
[[fr:Johann Nikolaus Forkel]]
[[it:Johann Nikolaus Forkel]]
[[hu:Johann Nikolaus Forkel]]
[[nl:Johann Nikolaus Forkel]]
[[pt:Johann Nikolaus Forkel]]
[[ru:Форкель, Иоганн Николаус]]
[[fi:Johann Nikolaus Forkel]]</text>
    </revision>
  </page>
  <page>
    <title>Baldassare Galuppi</title>
    <id>343999</id>
    <revision>
      <id>303524057</id>
      <timestamp>2009-07-22T12:48:13Z</timestamp>
      <contributor>
        <username>Tomaxer</username>
        <id>3686472</id>
      </contributor>
      <comment>/* External links */ Added ChoralWiki link, defaultsort, list items are sentence fragments - do not end with comma</comment>
      <text xml:space="preserve">[[Image:Baldassare Galuppi Memorial.jpeg|thumb|200px|A statue of Galuppi on Burano.]]

'''Baldassare Galuppi''' (18 October 1706 &amp;ndash; 3 January 1785) was an [[italian people|Italian]] [[composer]] from [[Venice]], noted for his [[opera]]s, and particularly [[opera buffa]].

He was born on the island of [[Burano]] in the [[Venetian Lagoon]], and as a result, he became known as ''Il Buranello.'' His first attempt at opera, ''La fede nell'incostanza ossia gli amici rivali'' (1722), was a spectacular failure, having been hissed off the stage. He subsequently studied [[music]] with [[Antonio Lotti]], and after a brief period in [[Florence]] working as a [[harpsichord]]ist, returned to [[Venice]] for another attempt at opera. This time, his [[opera seria]] ''Dorinda'' (1729) was a success and launched his theatrical career.

In 1740, he was appointed music director of the [[Ospedale dei Mendicanti]], and he worked at [[San Marco di Venezia|St. Mark's]] in Venice from 1748, being appointed ''maestro di cappella'' (considered Venice's top musical post) there in 1762. He lived and worked for most of his life in Venice, though from 1741 to 1743 he worked in [[London]], and from 1765 to 1768 he worked for [[Catherine the Great]] in [[St. Petersburg]].

His first opera buffa was ''L'Arcadia in Brenta'' (1749). This was also his first collaboration with [[librettist]] [[Carlo Goldoni]], with whom he produced a number of operas. These works were very popular, with ''Il filosofo di campagna'' (1754) a particular success. Goldoni's libretto ''Il mondo della luna'', first set by Galuppi, was later used by a number of other composers, including [[Joseph Haydn]] and [[Giovanni Paisiello]]. Subsequent operas include ''L'amante di tutte'' (1760) and ''I tre amanti ridicoli'' (1761), written on libretti by the composer's son Antonio Galuppi, who wrote under the name &quot;A. Liteo.&quot;

In his later years, his operatic output decreased somewhat. Among his nonoperatic works are a large number of pieces for [[harpsichord]] and several [[oratorio]]s. By the time of his death, in Venice, Galuppi was one of the best-known and most respected figures in the Venetian musical establishment. A [[requiem mass]] was held in his memory at St Mark's.

At least two sacred choral works by [[Antonio Vivaldi]] have been attributed to Galuppi, a ''Beatus Vir'' and a ''Nisi Dominus.''; musicologist Janice Stockigt believes that a ''Dixit Dominus'' might be another such work.

[[Robert Browning]]'s poem &quot;[[A Toccata of Galuppi's]]&quot; refers to Galuppi and his work, although no such Toccata exists.&lt;ref&gt;{{cite news|title=Research regarding the fictional toccata by Galuppi of Browning's poem|publisher=[[The Musical Times]]|date=May 1, 1923|pages=314–316|author=Charles Van Den Borren}}&lt;/ref&gt;

The [[England|English]] [[pianist]] [[Peter Seivewright]] is currently recording all of Galuppi's 90 keyboard [[sonata]]s in what will be a projected ten-[[compact disc|CD]] set for The Divine Art record label; he is also publishing them.[http://www.musicweb-international.com/classrev/oct99/galuppi.htm]

==References==
{{reflist}}

==External links==
*H. Cunningham, [http://www.gramophone.co.uk/newsMainTemplate.asp?storyID=2423&amp;newssectionID=1 'New' Vivaldi work receives first modern-day performance], The Gramophone, August 9, 2005.
*{{IMSLP|id=Galuppi, Baldassare}}
*{{IckingArchive|idx=Galuppi|name=Baldassare Galuppi}}
*{{ChoralWiki}}
*[https://urresearch.rochester.edu/handle/1802/4423 Harpsichord Sonata No. 18 in C minor, arranged for organ] from the Sibley Music Library Digital Scores Collection
*The first track on [[singer-songwriter]] [[Kris Delmhorst]]'s 2006 album &quot;[http://www.krisdelmhorst.com/albums/strange.html Strange Conversation]&quot; is entitled &quot;[http://www.krisdelmhorst.com/albums/music/galuppi%20baldassare.mp3 Galuppi Baldassare]&quot;; according to [http://www.krisdelmhorst.com/press/press13.html an article posted on Delmhorst's website], it was inspired by the above-mentioned Browning poem

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Galuppi, Baldassare
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Italian composer
|DATE OF BIRTH     = 18 October 1706
|PLACE OF BIRTH    = Burano, Venetian Lagoon
|DATE OF DEATH     = 3 January 1785
|PLACE OF DEATH    = Venice
}}

{{DEFAULTSORT:Galuppi, Baldassare}}
[[Category:1706 births]]
[[Category:1785 deaths]]
[[Category:People from Venice (city)]]
[[Category:Baroque composers]]
[[Category:Italian composers]]
[[Category:Opera composers]]
[[Category:Classical era composers]]

[[bg:Балтасаре Галупи]]
[[ca:Baldassare Galuppi]]
[[cs:Baldassare Galuppi]]
[[cy:Baldassare Galuppi]]
[[da:Baldassare Galuppi]]
[[de:Baldassare Galuppi]]
[[es:Baldassare Galuppi]]
[[fr:Baldassare Galuppi]]
[[hr:Baldassare Galuppi]]
[[it:Baldassare Galuppi]]
[[he:בלדאסארה גאלופי]]
[[la:Balthasar Galuppi]]
[[lb:Baldassare Galuppi]]
[[hu:Baldassare Galuppi]]
[[ja:バルダッサーレ・ガルッピ]]
[[pl:Baldassare Galuppi]]
[[pt:Baldassare Galuppi]]
[[ru:Галуппи, Бальдассаре]]
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[[sv:Baldassare Galuppi]]</text>
    </revision>
  </page>
  <page>
    <title>Georg Reutter II</title>
    <id>1943847</id>
    <revision>
      <id>311830980</id>
      <timestamp>2009-09-04T13:35:34Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>[[Category:18th-century Austrian people]]</comment>
      <text xml:space="preserve">'''Johann Adam Joseph Karl Georg Reutter''' (the Younger) (6 April 1708 [[Vienna]] {{ndash}} 11 March 1772 Vienna) was an [[Austrians|Austrian]] [[composer]]. His father [[Georg Reutter]] (the Elder) was also a notable composer. He was the 11th of 14 children and received his early musical training from his father, assisting him as court [[organist]]. A period of more formal instruction from [[Antonio Caldara]] ensued, leading to the composition of an [[oratorio]] in 1726 and, in 1727, his first [[opera]] for the imperial court, ''Archidamia''. On three separate occasions during this period, Reutter applied for a position as court organist and was each time rejected by [[Johann Joseph Fux]]. At his own expense he travelled to Italy in 1730 (possibly in 1729); in February 1730 he was in Venice and in April 1730 in Rome. He returned to Vienna in autumn 1730, and early in the following year he successfully applied for a post as court composer, the formal beginning of a lifetime of service at the [[Habsburg]] court. After his father's death he became [[kapellmeister]] of [[Stephansdom|St. Stephen's Cathedral]] in 1738. 

While touring the provinces in a search for new choristers, Reutter auditioned [[Joseph Haydn]] as a child in 1740. Both Joseph and his brother [[Michael Haydn|Michael]] sang in Reutter's ensemble during their childhood and teenage years. The memoirs dictated by Joseph to biographers in his old age indicate that Reutter's choristers often were underfed, thanks to Reutter's reluctance to spend money on them.

Reutter later advanced to the position of court Kapellmeister, and Empress [[Maria Theresia]] gave him the sole management of the court orchestra in 1751. Reutter died in Vienna on [[11 March]] [[1772]].

Reutter worked as a composer of church music, and is thought to have written a setting of the ''[[Psalm 130|De profundis]]'', [[Köchel catalogue|KV]] 93, formerly ascribed to [[Wolfgang Amadeus Mozart]].

{{DEFAULTSORT:Reutter, Georg}}
[[Category:1708 births]]
[[Category:1772 deaths]]
[[Category:Austrian composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Joseph Haydn]]
[[Category:Articles lacking sources (Erik9bot)]]
[[Category:18th-century Austrian people]]
{{europe-composer-stub}}

[[de:Georg Reutter der Jüngere]]
[[fr:Georg Reutter le jeune]]
[[it:Georg Reutter (figlio)]]</text>
    </revision>
  </page>
  <page>
    <title>Christoph Schaffrath</title>
    <id>4631600</id>
    <revision>
      <id>311821727</id>
      <timestamp>2009-09-04T12:16:37Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* Types of music */ [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">'''Christoph Schaffrath''' (born 1709 in [[Hohenstein]] {{ndash}} died 7 February 1763 in [[Berlin]]) is best known as a musician and composer of [[European classical music|classical]] western music of the late [[Baroque]] to Classical transition era.

==Career==
He applied to be organist at the Sophienkirche in [[Dresden]], but did not receive this position ([[Wilhelm Friedemann Bach]] was favoured for it). He did serve in the court of the Crown Prince Frederick ([[Frederick the Great]]) as a [[harpsichord]]ist in the orchestra. From 1741, however, he was strictly the musician to the King's sister, [[Princess Anna Amalia of Prussia|Amalia]].

As a composer Schaffrath limited himself to instrumental music including symphonies, keyboard pieces, sonatas and concertos. The harpsichord sonatas were almost all fast-slow-fast settings and the opening movements were most often scored in ABA form. Many of the keyboard compositions were simple two-part formulations with the left hand playing the lesser role. Schaffrath's music can be considered transitional, pieces which are stylistically galant between the Baroque and the Classical, characteristically melodious comprised of short phrases utilizing triplets and steady rhythms. He composed [[counterpoint]] well as found in his orchestral music but most of his music lacked an expressive fervor. The majority of his works may now be found in the state library in Berlin.

==Types of music==
He composed many types of music. He was most notable for: overtures, symphonies, harpsichord concerti, quartets, trios, duets for a solo instrument and obligato harpsichord, and sonatas for harpsichord.

{{DEFAULTSORT:Schaffrath, Christoph}}
[[Category:1709 births]]
[[Category:1763 deaths]]
[[Category:Baroque composers]]
[[Category:German composers]]
[[Category:Classical era composers]]
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{{Germany-composer-stub}}

[[de:Christoph Schaffrath]]
[[pl:Christoph Schaffrath]]</text>
    </revision>
  </page>
  <page>
    <title>Carl Stamitz</title>
    <id>193617</id>
    <revision>
      <id>310475528</id>
      <timestamp>2009-08-28T02:06:21Z</timestamp>
      <contributor>
        <username>辩明君</username>
        <id>10130257</id>
      </contributor>
      <text xml:space="preserve">'''Karl Stamic''' (baptized May 8, 1745 - November 9, 1801), who took the German form of his name '''Karl Philipp Stamitz''' and is now better known as '''Carl''', was a Czech-German [[composer]], [[violin]], [[viola]] and [[viola d'amore]] [[virtuoso]]. He was the most prominent of the second generation of the so-called [[Mannheim school]].

The exact date of Stamitz's birth is not known, but he was baptised on May 8, 1745.&lt;ref name=&quot;golding&quot;/&gt; He was born in [[Mannheim]] and was first taught music by [[Johann Stamitz]], his father and founder of the Mannheim school. He played in the [[orchestra]] at Mannheim from 1762, and in 1770 he moved to [[Paris]] where he became known as a violinist. In Paris he was court composer and conductor to the Duc de Noailles. He and his younger brother, [[Anton Stamitz|Anton]], were recurring performers in the [[Concert Spirituel]]. He moved to the Hague in 1779 or 1780 and found work as a violist at the court of [[William V, Prince of Orange]]. Between 1788 and 1790 he spent a lot of time touring. The last years of his life were spent in [[Jena]], where he was [[Kapellmeister]] and a teacher at the University.&lt;ref name=&quot;golding&quot;&gt;{{cite web|format=PDF|url=http://www.chandos.nt/pdf/CHAN%209358.pdf|last=Golding|first=Robin|year=1995|title=Carl Stamitz: Four Symphonies. Liner Notes to Chandos 9358|publisher=Chandos Records|accessdate=20 March 2009}}&lt;/ref&gt;

Some time prior to 1789, he married Maria Josepha Pilz, and they had four children, who all died in infancy. 

Stamitz wrote over fifty [[symphonies]] and about as many [[concerto]]s for various instruments, as well as a quantity of [[chamber music]]. His earliest symphonies come from his years with the Mannheim orchestra; his last known symphony is from 1791, the year of Mozart's death.&lt;ref name=&quot;golding&quot;/&gt; His viola concerto and his first string quartets were first published in 1774. He also wrote two operas, ''Der verliebte Vormond'' (1787) and ''Dardanus'' (1780), which have both been lost.&lt;ref&gt;[http://opera.stanford.edu/composers/S.html Opera Glass]&lt;/ref&gt; 

== Recordings ==
*''Symfonies concertante,'' Vienna Symphony Orchestra, Henry Swoboda, dir., Westminster, WL 50-17 (WL-17 A--WL-17 B), 1950.
*''Four Quartets for Winds and Strings,'' Nonesuch Records, H-71125, c1966.
*''Chamber music. Selections,'' Musical Heritage Society, MHS 1403, 1972.
*''Carl Stamitz: Four Symphonies,'' London Mozart Players, Matthias Bamert, dir., Chandos Records, Chan 9358, 1995.

== References ==

&lt;references/&gt;

== External links ==

* [http://www.viola-in-music.com/Carl-Stamitz.html Viola in music] – Carl Stamitz
* [http://www.mozartforum.com/Contemporary%20Pages/Carl_Stamitz_Contemp.htm Carl Stamitz] Brief ''vita'' and discography
* [http://beethovenkoden.no/gahl.htm The Beethoven Code] – with the film ''Brødrene Gahl og jakten på Beethovenkoden'', which features ''violism'', inspired by Stamitz
* {{IMSLP|id=Stamitz%2C_Carl_Philipp|cname=Carl Stamitz}} 

{{CzechRepublic-musician-stub}}
{{Germany-musician-stub}}
{{Violinist-stub}}

{{DEFAULTSORT:Stamitz, Carl}}

[[Category:1745 births]]
[[Category:German composers]]
[[Category:Czech composers]]
[[Category:Opera composers]]
[[Category:1801 deaths]]
[[Category:Classical era composers]]

[[ca:Carl Stamitz]]
[[cs:Karel Stamic]]
[[de:Carl Stamitz]]
[[es:Carl Stamitz]]
[[fr:Carl Stamitz]]
[[ko:칼 슈타미츠]]
[[id:Carl Stamitz]]
[[it:Carl Stamitz]]
[[he:קרל שטאמיץ]]
[[nl:Karel Filip Stamic]]
[[ja:カール・シュターミッツ]]
[[pt:Carl Stamitz]]
[[sk:Karel Stamic]]
[[sl:Karl Philipp Stamitz]]
[[fi:Karel Stamic]]
[[tr:Carl Stamitz]]
[[zh:卡尔·斯塔米茨]]</text>
    </revision>
  </page>
  <page>
    <title>Jean Balthasar Tricklir</title>
    <id>18435479</id>
    <revision>
      <id>271731436</id>
      <timestamp>2009-02-19T02:55:02Z</timestamp>
      <contributor>
        <username>Addbot</username>
        <id>6569922</id>
      </contributor>
      <minor/>
      <comment>[[User:Addbot|Bot:]] Adding Orphan Tag ([[Wikipedia_talk:WikiProject_Orphanage|Questions]]) ([[User_Talk:Addbot|Report Errors]])</comment>
      <text xml:space="preserve">{{Orphan|date=February 2009}}
'''Jean Balthasar Tricklir''' (1750 &amp;ndash; 29 November 1813) was a French cellist and composer of German descent.

Born in [[Dijon]], he studied at [[Mannheim]], and became a court musician in [[Dresden]] in 1783, remaining there until his death. He was regarded as one of the finest cellist of his days.

Tricklir wrote a number of [[cello]] concertos and sonatas, as well as solo and duet works for cello, however, his works are mostly unknown today. He is also an author of two theoretical treatises - ''Le microcosme musical'' and ''Discours analytique''.

==Works==
* ''Adagio and Rondo for Cello and Piano''
* ''Six grand solos for the violoncello Op. 3''
* 13 cello concertos (survived)

==External links==
* [http://www.emusic.com/album/Alexander-Rudin-Tricklir-4-Concertos-for-Cello-and-Orchestra-MP3-Download/11091260.html Tricklir: 4 Concertos for Cello and Orchestra by Alexander Rudin]
* {{IMSLP|id=Tricklir, Jean Balthasar}}
* [http://www.classical-composers.org/comp/tricklir Detailed biography]

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Tricklir, Jean Balthasar
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = French cellist and composer
|DATE OF BIRTH     = 1750
|PLACE OF BIRTH    = [[Dijon]], French
|DATE OF DEATH     = 29 November 1813
|PLACE OF DEATH    = [[Dresden]], Germany
}}

{{DEFAULTSORT:Tricklir, Jean Balthasar}}
[[Category:1750 births]]
[[Category:1813 deaths]]
[[Category:French classical cellists]]
[[Category:Classical era composers]]</text>
    </revision>
  </page>
  <page>
    <title>Franz Benda</title>
    <id>3508606</id>
    <revision>
      <id>311830218</id>
      <timestamp>2009-09-04T13:29:39Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">[[File:Frantisek Benda 2.jpg|thumb|Franz Benda.]]  
'''Franz Benda''' (in [[Czech language|Czech]]: ''František Benda'')  (baptised 22 November 1709 &amp;ndash; 7 March 1786) was a [[Bohemia]]n [[violin]]ist and [[composer]]. He was the brother of [[Georg Benda]], and he worked for much of his life at the court of [[Frederick the Great]].

Benda was born in Bohemia at the village of Altbenatky.  Benda himself claimed to have been born 25 November, but baptism records show he was baptised three days earlier, on 22 November.  His actual date of birth seems not to have been recorded, but it was probably no more than a day or two earlier than 22 November.&lt;ref&gt;[http://books.google.com.au/books?id=11pv_P5YkOcC&amp;pg=PP9&amp;lpg=PP9&amp;dq=franz+benda+baptised+november+1709&amp;source=web&amp;ots=5VTZp9-Otj&amp;sig=cHis1lAcq9iZ1KszhZ7sgh_45YA&amp;hl=en&amp;sa=X&amp;oi=book_result&amp;resnum=1&amp;ct=result#PPP1,M1 Six sonatas for solo violin and continuo: with embellished versions By Franz Benda, Douglas A. Lee]&lt;/ref&gt;  

Benda became the founder of a German school of violin playing. In his youth he was a chorister at [[Prague]] and afterward in the Chapel Royal at [[Dresden]]. At the same time he began to study the violin, and soon joined a company of strolling musicians who attended fetes, fairs, etc. At eighteen years of age Benda abandoned this wandering life and returned to Prague, going thence to [[Vienna]], where he pursued his study of the violin under [[Carl Heinrich Graun]], a pupil of [[Tartini]]. After two years he was appointed chapel master at [[Warsaw]], and eventually he became a member of the Prince Royal of [[Prussia]]'s band, and then concert master to the king.

Benda was a master of all the difficulties of violin playing, and the rapidity of his execution and the mellow sweetness of his highest notes were unequalled. He had many pupils and wrote a number of works, chiefly
exercises and studies for the violin.[http://www.closelinks.com/facts.php?id=2179&amp;name=Franz&amp;surname=Benda]

More recently there was a František Benda who was a composer of film scores and other works during the 20th century.

The [[Benda Chamber Orchestra]] carrying and honoring the name of the Benda musicians family, was founded in 1956 in [[Usti nad Labem]], North Bohemia, [[Czech Republic]]. 

==Notes==
{{reflist}}

==Works list==
'''Symphonies'''&lt;br /&gt;
L I:1 \ Symphony No. 1 in C major&lt;br /&gt;
L I:2 \ Symphony No. 2 in C major&lt;br /&gt;
L I:3 \ Symphony No. 3 in D major&lt;br /&gt;
L I:4 \ Symphony No. 4 in D major&lt;br /&gt;
L I:5 \ Symphony No. 5 in F major&lt;br /&gt;
L I:6 \ Symphony No. 6 in G major&lt;br /&gt;
L I:7 \ Symphony No. 7 in G major&lt;br /&gt;
L I:8 \ Symphony No. 8 in A major&lt;br /&gt;
L I:9 \ Symphony No. 9 in B flat major&lt;br /&gt;
L I:10 \ Symphony No.10 in B flat major&lt;br /&gt;
L I:11 \ Symphony No.11 in E flat major&lt;br /&gt;
L I:12 \ Symphony No.12 in F major&lt;br /&gt;
L I:13 \ Symphony No.13 in G major&lt;br /&gt;
L I:14 \ Symphony No.14 in A major&lt;br /&gt;
L I:15 \ Symphony in C major&lt;br /&gt;
L I:16 \ Symphony in F major&lt;br /&gt;
L I:17 \ Symphony in G major

'''Concertos'''&lt;br /&gt;
L II:1 \ Violin Concerto in C major&lt;br /&gt;
L II:2 \ Violin Concerto in D major&lt;br /&gt;
L II:3 \ Violin Concerto in D major&lt;br /&gt;
L II:4 \ Violin Concerto in D minor&lt;br /&gt;
L II:5 \ Violin Concerto in E flat major&lt;br /&gt;
L II:6 \ Violin Concerto in E major&lt;br /&gt;
L II:7 \ Violin Concerto in E major (mostly lost)&lt;br /&gt;
L II:8 \ Violin Concerto in E major&lt;br /&gt;
L II:9 \ Violin Concerto in F major&lt;br /&gt;
L II:10 \ Violin Concerto in G major&lt;br /&gt;
L II:11 \ Flute Concerto in G major&lt;br /&gt;
L II:12 \ Violin Concerto in A flat major&lt;br /&gt;
L II:13 \ Violin Concerto in A major&lt;br /&gt;
L II:14 \ Violin Concerto in A major&lt;br /&gt;
L II:15 \ Violin Concerto in A major&lt;br /&gt;
L II:16 \ Flute Concerto in A minor&lt;br /&gt;
L II:17 \ Violin Concerto in B flat major&lt;br /&gt;
L II:18 \ Violin Concerto in B flat major&lt;br /&gt;
L II:19 \ Violin Concerto in C major (Georg Benda)&lt;br /&gt;
L II:20 \ Violin Concerto in B flat major (Joseph Riepel)&lt;br /&gt;
L II:21 \ Violin Concerto in B flat major (Johann Benda)&lt;br /&gt;
L II:22 \ Violin Concerto in G major (Johann Gottlieb Graun)&lt;br /&gt;
L II:23 \ Violin Concerto in E major (lost)&lt;br /&gt;
L II:24 \ Violin Concerto in E minor (lost)&lt;br /&gt;
L II:25 \ Violin Concerto in G major (lost)&lt;br /&gt;
L II:26 \ Violin Concerto in B flat major (lost)&lt;br /&gt;
L II:27 \ Violin Concerto in B flat major (lost)&lt;br /&gt;
L II:28 \ Violin Concerto in B minor (lost)

'''Sonatas for instrument &amp; basso continuo'''&lt;br /&gt;
L III:1 \ Violin Sonata Op. 1 No.3 in C major&lt;br /&gt;
L III:2 \ Violin Sonata in C major&lt;br /&gt;
L III:3 \ Violin Sonata in C major&lt;br /&gt;
L III:4 \ Violin Sonata in C major&lt;br /&gt;
L III:5 \ Violin Sonata in C major&lt;br /&gt;
L III:6 \ Flute Sonata in C major&lt;br /&gt;
L III:7 \ Violin Sonata in C major&lt;br /&gt;
L III:8 \ Violin Sonata in C minor&lt;br /&gt;
L III:9 \ Violin Sonata in C minor&lt;br /&gt;
L III:10 \ Violin Sonata in C minor&lt;br /&gt;
L III:11 \ Violin Sonata in C minor&lt;br /&gt;
L III:12 \ Violin Sonata in C minor&lt;br /&gt;
L III:13 \ Violin Sonata in C minor&lt;br /&gt;
L III:14 \ Violin Sonata in C minor&lt;br /&gt;
L III:15 \ Violin Sonata in C minor&lt;br /&gt;
L III:16 \ Violin Sonata in D major&lt;br /&gt;
L III:17 \ Violin Sonata in D major&lt;br /&gt;
L III:18 \ Violin Sonata in D major&lt;br /&gt;
L III:19 \ Violin Sonata in D major&lt;br /&gt;
L III:20 \ Violin Sonata in D major&lt;br /&gt;
L III:21 \ Violin Sonata in D major&lt;br /&gt;
L III:22 \ Flute Sonata in D major&lt;br /&gt;
L III:23 \ Violin Sonata in D major&lt;br /&gt;
L III:24 \ Flute Sonata in D major&lt;br /&gt;
L III:25 \ Violin Sonata in D major&lt;br /&gt;
L III:26 \ Violin Sonata in D major&lt;br /&gt;
L III:27 \ Violin Sonata in D major&lt;br /&gt;
L III:28 \ Violin Sonata in D major&lt;br /&gt;
L III:29 \ Violin Sonata in D minor&lt;br /&gt;
L III:30 \ Violin Sonata in D minor&lt;br /&gt;
L III:31 \ Violin Sonata in D minor&lt;br /&gt;
L III:32 \ Violin Sonata in D minor&lt;br /&gt;
L III:33 \ Violin Sonata in E flat major&lt;br /&gt;
L III:34 \ Violin Sonata in E flat major&lt;br /&gt;
L III:35 \ Violin Sonata in E flat major&lt;br /&gt;
L III:36 \ Violin Sonata in E flat major&lt;br /&gt;
L III:37 \ Violin Sonata in E flat major&lt;br /&gt;
L III:38 \ Violin Sonata in E flat major&lt;br /&gt;
L III:39 \ Violin Sonata in E flat major&lt;br /&gt;
L III:40 \ Violin Sonata in E flat major&lt;br /&gt;
L III:41 \ Violin Sonata in E flat major&lt;br /&gt;
L III:42 \ Violin Sonata in E flat major&lt;br /&gt;
L III:43 \ Violin Sonata in E flat major&lt;br /&gt;
L III:44 \ Violin Sonata in E major&lt;br /&gt;
L III:45 \ Violin Sonata in E major&lt;br /&gt;
L III:46 \ Violin Sonata in E major&lt;br /&gt;
L III:47 \ Violin Sonata Op. 1 No.1 in E major&lt;br /&gt;
L III:48 \ Violin Sonata in E major&lt;br /&gt;
L III:49 \ Violin Sonata in E major&lt;br /&gt;
L III:50 \ Violin Sonata in E major&lt;br /&gt;
L III:51 \ Violin Sonata Op. 1 No.5 in E major&lt;br /&gt;
L III:52 \ Violin Sonata in E major&lt;br /&gt;
L III:53 \ Violin Sonata in E major&lt;br /&gt;
L III:54 \ Violin Sonata in E major&lt;br /&gt;
L III:55 \ Violin Sonata in E major&lt;br /&gt;
L III:56 \ Flute Sonata in E minor&lt;br /&gt;
L III:57 \ Flute Sonata in E minor&lt;br /&gt;
L III:58 \ Violin Sonata in E minor&lt;br /&gt;
L III:59 \ Violin Sonata in E minor&lt;br /&gt;
L III:60 \ Violin Sonata in E minor&lt;br /&gt;
L III:61 \ Violin Sonata in E minor&lt;br /&gt;
L III:62 \ Violin Sonata in F major&lt;br /&gt;
L III:63 \ Violin Sonata in F major&lt;br /&gt;
L III:64 \ Violin Sonata in F major&lt;br /&gt;
L III:65 \ Violin Sonata in F major&lt;br /&gt;
L III:66 \ Violin Sonata in F major&lt;br /&gt;
L III:67 \ Violin Sonata in F major&lt;br /&gt;
L III:68 \ Violin Sonata in F major&lt;br /&gt;
L III:69 \ Violin Sonata in F major&lt;br /&gt;
L III:70 \ Violin Sonata in F major&lt;br /&gt;
L III:71 \ Violin Sonata in F major&lt;br /&gt;
L III:72 \ Violin Sonata in F major&lt;br /&gt;
L III:73 \ Violin Sonata in F minor&lt;br /&gt;
L III:74 \ Violin Sonata in G major&lt;br /&gt;
L III:75 \ Violin Sonata in G major&lt;br /&gt;
L III:76 \ Violin Sonata in G major&lt;br /&gt;
L III:77 \ Violin Sonata in G major&lt;br /&gt;
L III:78 \ Violin Sonata in G major&lt;br /&gt;
L III:79 \ Violin Sonata in G major&lt;br /&gt;
L III:80 \ Violin Sonata in G major&lt;br /&gt;
L III:81 \ Violin Sonata in G major&lt;br /&gt;
L III:82 \ Violin Sonata in G major&lt;br /&gt;
L III:83 \ Violin Sonata in G major&lt;br /&gt;
L III:84 \ Violin Sonata in G major&lt;br /&gt;
L III:85 \ Violin Sonata in G major&lt;br /&gt;
L III:86 \ Violin Sonata in G major&lt;br /&gt;
L III:87 \ Violin Sonata in G major&lt;br /&gt;
L III:88 \ Violin Sonata in G major&lt;br /&gt;
L III:89 \ Violin Sonata in G minor&lt;br /&gt;
L III:90 \ Violin Sonata in G minor&lt;br /&gt;
L III:91 \ Violin Sonata in G minor&lt;br /&gt;
L III:92 \ Violin Sonata in A flat major&lt;br /&gt;
L III:93 \ Violin Sonata in A major&lt;br /&gt;
L III:94 \ Violin Sonata in A major&lt;br /&gt;
L III:95 \ Violin Sonata Op. 1 No.6 in A major&lt;br /&gt;
L III:96 \ Violin Sonata in A major&lt;br /&gt;
L III:97 \ Violin Sonata in A major&lt;br /&gt;
L III:98 \ Violin Sonata Op. 1 No.2 in A major&lt;br /&gt;
L III:99 \ Violin Sonata in A major&lt;br /&gt;
L III:100 \ Violin Sonata in A major&lt;br /&gt;
L III:101 \ Violin Sonata in A major&lt;br /&gt;
L III:102 \ Violin Sonata in A major&lt;br /&gt;
L III:103 \ Violin Sonata in A major&lt;br /&gt;
L III:104 \ Violin Sonata in A major&lt;br /&gt;
L III:105 \ Violin Sonata in A major&lt;br /&gt;
L III:106 \ Violin Sonata in A major&lt;br /&gt;
L III:107 \ Violin Sonata in A major&lt;br /&gt;
L III:108 \ Violin Sonata in A major&lt;br /&gt;
L III:109 \ Violin Sonata in A major&lt;br /&gt;
L III:110 \ Violin Sonata in A major&lt;br /&gt;
L III:111 \ Violin Sonata in A major&lt;br /&gt;
L III:112 \ Violin Sonata in A major&lt;br /&gt;
L III:113 \ Violin Sonata in A major&lt;br /&gt;
L III:114 \ Violin Sonata in A major&lt;br /&gt;
L III:115 \ Violin Sonata in A major&lt;br /&gt;
L III:116 \ Violin Sonata in A minor&lt;br /&gt;
L III:117 \ Violin Sonata in A minor&lt;br /&gt;
L III:118 \ Violin Sonata in A minor&lt;br /&gt;
L III:119 \ Violin Sonata in A minor&lt;br /&gt;
L III:120 \ Violin Sonata in A minor&lt;br /&gt;
L III:121 \ Violin Sonata Op. 1 No.4 in A minor&lt;br /&gt;
L III:122 \ Violin Sonata in A minor&lt;br /&gt;
L III:123 \ Violin Sonata in B flat major&lt;br /&gt;
L III:124 \ Violin Sonata in B flat major&lt;br /&gt;
L III:125 \ Violin Sonata in B flat major&lt;br /&gt;
L III:126 \ Violin Sonata in B flat major&lt;br /&gt;
L III:127 \ Violin Sonata in B flat major&lt;br /&gt;
L III:128 \ Violin Sonata in B flat major&lt;br /&gt;
L III:129 \ Violin Sonata in B flat major&lt;br /&gt;
L III:130 \ Violin Sonata in B flat major&lt;br /&gt;
L III:131 \ Violin Sonata in B flat major&lt;br /&gt;
L III:132 \ Violin Sonata in B flat major&lt;br /&gt;
L III:133 \ Violin Sonata in B flat major&lt;br /&gt;
L III:134 \ Violin Sonata in B flat major&lt;br /&gt;
L III:135 \ Violin Sonata in B flat major&lt;br /&gt;
L III:136 \ Violin Sonata in B flat major&lt;br /&gt;
L III:137 \ Violin Sonata in B flat major&lt;br /&gt;
L III:138 \ Violin Sonata in B flat minor&lt;br /&gt;
L III:139 \ Violin Sonata in B minor&lt;br /&gt;
L III:140 \ Violin Sonata in C major&lt;br /&gt;
L III:141 \ Violin Sonata in D major&lt;br /&gt;
L III:142 \ Flute Sonata in D major&lt;br /&gt;
L III:143 \ Violin Sonata in D major&lt;br /&gt;
L III:144 \ Violin Sonata in E flat major&lt;br /&gt;
L III:145 \ Violin Sonata in E flat major&lt;br /&gt;
L III:146 \ Violin Sonata in E major&lt;br /&gt;
L III:147 \ Violin Sonata in F major&lt;br /&gt;
L III:148 \ Violin Sonata in G major&lt;br /&gt;
L III:149 \ Violin Sonata in G major&lt;br /&gt;
L III:150 \ Violin Sonata in G minor&lt;br /&gt;
L III:151 \ Violin Sonata in G minor&lt;br /&gt;
L III:152 \ Violin Sonata in A major&lt;br /&gt;
L III:153 \ Violin Sonata in A major&lt;br /&gt;
L III:154 \ Violin Sonata in A major&lt;br /&gt;
L III:155 \ Violin Sonata in A major&lt;br /&gt;
L III:156 \ Oboe Sonata in B flat major&lt;br /&gt;
L III:157 \ Violin Sonata in B flat major&lt;br /&gt;
L III:158 \ Violin Sonata in B flat major&lt;br /&gt;
L III:159 \ Violin Sonata in B flat major&lt;br /&gt;
L III:160 \ Sonata for keyboard &amp; flute Op. 5 No.2 in C major&lt;br /&gt;
L III:161 \ Sonata for keyboard &amp; flute Op. 5 No.3 in E major&lt;br /&gt;
L III:162 \ Sonata for keyboard &amp; flute Op. 5 No.1 in F major&lt;br /&gt;
L III:163 \ Violin Sonata in G major (Friedrich Ludwig Benda)&lt;br /&gt;
L III:164 \ Violin Sonata in A major (Joseph Benda)&lt;br /&gt;
L III:165 \ Violin Sonata in F major (lost)&lt;br /&gt;
L III:166 \ Violin Sonata in A major (lost)&lt;br /&gt;
L III:167 \ Violin Sonata in A minor (lost)&lt;br /&gt;
L III:168 \ Violin Sonata in C minor (lost)&lt;br /&gt;
L III:169 \ Violin Sonata in D major (lost)&lt;br /&gt;
L III:170 \ Flute Sonata in D major (lost)&lt;br /&gt;
L III:171 \ Violin Sonata in D major (lost)&lt;br /&gt;
L III:172 \ Oboe Sonata in D minor (lost)&lt;br /&gt;
L III:173 \ Violin Sonata in E flat major (lost)&lt;br /&gt;
L III:174 \ Bassoon Sonata in F major (lost)&lt;br /&gt;
L III:175 \ Violin Sonata in A major (lost)&lt;br /&gt;
L III:176 \ Violin Sonata in A major (lost)&lt;br /&gt;
L III:177 \ Violin Sonata in A major (lost)&lt;br /&gt;
L III:178 \ Violin Sonata in A major (lost)&lt;br /&gt;
L III:179 \ Violin Sonata in A minor (lost)&lt;br /&gt;
L III:180 \ Oboe Sonata in B flat major (lost)&lt;br /&gt;
L III:181 \ Bassoon Sonata in B flat major (lost)&lt;br /&gt;
L III:182 \ Bassoon Sonata in B flat major (lost)

'''Trio Sonatas'''&lt;br /&gt;
L IV:1 \ Sonata for 2 flutes &amp; continuo in G major&lt;br /&gt;
L IV:2 \ Sonata for 2 violins &amp; continuo in A major&lt;br /&gt;
L IV:3 \ Sonata for 2 violins &amp; continuo in D major (Graun)&lt;br /&gt;
L IV:4 \ Sonata for 2 violins &amp; continuo in G major (Graun)&lt;br /&gt;
L IV:5 \ Sonata for violin, keyboard &amp; continuo in D major (lost)&lt;br /&gt;
L IV:6 \ Sonata for violin, bassoon &amp; continuo in F major (lost)&lt;br /&gt;
L IV:7 \ Sonata for flute &amp; keyboard obligato in G major&lt;br /&gt;
L IV:8 \ Sonata for violin, flute &amp; continuo in G major (lost)&lt;br /&gt;
L IV:9 \ Sonata for 2 violins &amp; continuo in B flat major (lost)&lt;br /&gt;
L IV:10 \ Sonata for violin &amp; keyboard in B flat major (lost)

'''Duets for 2 violins'''&lt;br /&gt;
L V:1 \ Violins Duet No. 1 in C major&lt;br /&gt;
L V:2 \ Violins Duet No. 5 in C major&lt;br /&gt;
L V:3 \ Violins Duet No. 2 in C major&lt;br /&gt;
L V:4 \ Violins Duet No. 8 in C major&lt;br /&gt;
L V:5 \ Violins Duet No.11 in C major&lt;br /&gt;
L V:6 \ Violins Duet No. 4 in C major&lt;br /&gt;
L V:7 \ Violins Duet No. 9 in C major&lt;br /&gt;
L V:8 \ Violins Duet No. 3 in C major&lt;br /&gt;
L V:9 \ Violins Duet No.22 in C minor&lt;br /&gt;
L V:10 \ Violins Duet No.21 in C minor&lt;br /&gt;
L V:11 \ Violins Duet No.19 in D major&lt;br /&gt;
L V:12 \ Violins Duet No.20 in D major&lt;br /&gt;
L V:13 \ Violins Duet No.18 in D minor&lt;br /&gt;
L V:14 \ Violins Duet No.13 in E minor&lt;br /&gt;
L V:15 \ Violins Duet No.17 in F major&lt;br /&gt;
L V:16 \ Violins Duet No.10 in G major&lt;br /&gt;
L V:17 \ Violins Duet No.16 in G major&lt;br /&gt;
L V:18 \ Violins Duet No.12 in G major&lt;br /&gt;
L V:19 \ Violins Duet No. 6 in G major&lt;br /&gt;
L V:20 \ Violins Duet No. 7 in G major&lt;br /&gt;
L V:21 \ Violins Duet No.14 in A minor&lt;br /&gt;
L V:22 \ Violins Duet No.15 in A minor&lt;br /&gt;
L V:23 \ Violins Duet in C major&lt;br /&gt;
L V:24 \ Violins Duet in C major&lt;br /&gt;
L V:25 \ Violins Duet in C major&lt;br /&gt;
L V:26 \ Violins Duet in E flat major&lt;br /&gt;
L V:27 \ Violins Duet in E minor&lt;br /&gt;
L V:28 \ Violins Duet in F major&lt;br /&gt;
L V:29 \ Violins Duet in F major&lt;br /&gt;
L V:30 \ Violins Duet in G major&lt;br /&gt;
L V:31 \ Violins Duet in A minor

'''Solo Violin'''&lt;br /&gt;
L VI:1 \ Violin Capriccio No.62 in C major&lt;br /&gt;
L VI:2 \ Violin Capriccio No. 1 in C major&lt;br /&gt;
L VI:3 \ Violin Capriccio No.39 in C major&lt;br /&gt;
L VI:4 \ Violin Capriccio No.69 in C minor&lt;br /&gt;
L VI:5 \ Violin Capriccio No. 6 in C minor&lt;br /&gt;
L VI:6 \ Violin Capriccio No.48 in C minor&lt;br /&gt;
L VI:7 \ Violin Capriccio No.61 in C minor&lt;br /&gt;
L VI:8 \ Violin Capriccio No.70 in C minor&lt;br /&gt;
L VI:9 \ Violin Capriccio No.41 in C minor&lt;br /&gt;
L VI:10 \ Violin Capriccio No.18 in C sharp major&lt;br /&gt;
L VI:11 \ Violin Capriccio No.20 in D flat major&lt;br /&gt;
L VI:12 \ Violin Capriccio No.15 in C sharp minor&lt;br /&gt;
L VI:13 \ Violin Capriccio No.42 in D major&lt;br /&gt;
L VI:14 \ Violin Capriccio No. 4 in D major&lt;br /&gt;
L VI:15 \ Violin Capriccio in D major (fragment)&lt;br /&gt;
L VI:16 \ Violin Capriccio No.92 in D major&lt;br /&gt;
L VI:17 \ Violin Capriccio No.94 in D major&lt;br /&gt;
L VI:18 \ Violin Capriccio No.25 in D minor&lt;br /&gt;
L VI:19 \ Violin Capriccio No.30 in E flat major&lt;br /&gt;
L VI:20 \ Violin Capriccio No.28 in E flat major&lt;br /&gt;
L VI:21 \ Violin Capriccio No.65 in E flat major&lt;br /&gt;
L VI:22 \ Violin Capriccio No.91 in E flat major&lt;br /&gt;
L VI:23 \ Violin Capriccio No. 7 in E flat major&lt;br /&gt;
L VI:24 \ Violin Capriccio No.90 in E flat major&lt;br /&gt;
L VI:25 \ Violin Capriccio No.64 in E flat major&lt;br /&gt;
L VI:26 \ Violin Capriccio No.36 in E flat minor&lt;br /&gt;
L VI:27 \ Violin Capriccio No.34 in E major&lt;br /&gt;
L VI:28 \ Violin Capriccio No.14 in E major&lt;br /&gt;
L VI:29 \ Violin Capriccio No.13 in E minor&lt;br /&gt;
L VI:30 \ Violin Capriccio No.71 in F major&lt;br /&gt;
L VI:31 \ Violin Capriccio No.33 in F major&lt;br /&gt;
L VI:32 \ Violin Capriccio No.24 in F major&lt;br /&gt;
L VI:33 \ Violin Capriccio No.29 in F major&lt;br /&gt;
L VI:34 \ Violin Capriccio No.95 in F major&lt;br /&gt;
L VI:35 \ Violin Capriccio No.72 in F major&lt;br /&gt;
L VI:36 \ Violin Capriccio No.27 in F minor&lt;br /&gt;
L VI:37 \ Violin Capriccio No.93 in F minor&lt;br /&gt;
L VI:38 \ Violin Capriccio No.96 in F minor&lt;br /&gt;
L VI:39 \ Violin Capriccio No.22 in F minor&lt;br /&gt;
L VI:40 \ Violin Capriccio No.17 in F sharp major&lt;br /&gt;
L VI:41 \ Violin Capriccio No.37 in G flat major&lt;br /&gt;
L VI:42 \ Violin Capriccio No.16 in F sharp minor&lt;br /&gt;
L VI:43 \ Violin Capriccio in G major&lt;br /&gt;
L VI:44 \ Violin Capriccio No.51 in G major&lt;br /&gt;
L VI:45 \ Violin Capriccio No.11 in G major&lt;br /&gt;
L VI:46 \ Violin Capriccio No.12 in G major&lt;br /&gt;
L VI:47 \ Violin Capriccio in G major&lt;br /&gt;
L VI:48 \ Violin Capriccio No.35 in G major&lt;br /&gt;
L VI:49 \ Violin Capriccio No.89 in G minor&lt;br /&gt;
L VI:50 \ Violin Capriccio No.40 in G minor&lt;br /&gt;
L VI:51 \ Violin Capriccio No. 8 in G minor&lt;br /&gt;
L VI:52 \ Violin Capriccio No.38 in A major&lt;br /&gt;
L VI:53 \ Violin Capriccio No. 9 in A major&lt;br /&gt;
L VI:54 \ Violin Capriccio No.26 in A major&lt;br /&gt;
L VI:55 \ Violin Capriccio No.31 in A major&lt;br /&gt;
L VI:56 \ Violin Capriccio No.98 in A major&lt;br /&gt;
L VI:57 \ Violin Capriccio No.97 in A major&lt;br /&gt;
L VI:58 \ Violin Capriccio No.10 in A major&lt;br /&gt;
L VI:59 \ Violin Capriccio No. 3 in A minor&lt;br /&gt;
L VI:60 \ Violin Capriccio No.21 in A minor&lt;br /&gt;
L VI:61 \ Violin Capriccio No. 2 in A minor&lt;br /&gt;
L VI:62 \ Violin Capriccio No.23 in B flat major&lt;br /&gt;
L VI:63 \ Violin Capriccio No.32 in B flat major&lt;br /&gt;
L VI:64 \ Violin Capriccio No.57 in B flat major&lt;br /&gt;
L VI:65 \ Violin Capriccio No.47 in B flat major&lt;br /&gt;
L VI:66 \ Violin Capriccio No.19 in B flat minor&lt;br /&gt;
L VI:67 \ Violin Capriccio No. 5 in B minor&lt;br /&gt;
L VI:68 \ Violin Capriccio in G major&lt;br /&gt;
L VI:69 \ Violin Capriccio in G major&lt;br /&gt;
L VI:70 \ Violin Capriccio No.59 in C major (lost)&lt;br /&gt;
L VI:71 \ Violin Capriccio No.84 in C major (lost)&lt;br /&gt;
L VI:72 \ Violin Capriccio No.75 in C major (lost)&lt;br /&gt;
L VI:73 \ Violin Capriccio No.68 in C major (lost)&lt;br /&gt;
L VI:74 \ Violin Capriccio No.83 in C major (lost)&lt;br /&gt;
L VI:75 \ Violin Capriccio No.60 in C major (lost)&lt;br /&gt;
L VI:76 \ Violin Capriccio No.55a in D major (lost)&lt;br /&gt;
L VI:77 \ Violin Capriccio No.81 in D major (lost)&lt;br /&gt;
L VI:78 \ Violin Capriccio No.80 in D major (lost)&lt;br /&gt;
L VI:79 \ Violin Capriccio No.74 in D major (lost)&lt;br /&gt;
L VI:80 \ Violin Capriccio No.78 in D major (lost)&lt;br /&gt;
L VI:81 \ Violin Capriccio No.56 in D major (lost)&lt;br /&gt;
L VI:82 \ Violin Capriccio No.66 in D minor (lost)&lt;br /&gt;
L VI:83 \ Violin Capriccio No.58 in E flat major (lost)&lt;br /&gt;
L VI:84 \ Violin Capriccio No.67 in E minor (lost)&lt;br /&gt;
L VI:85 \ Violin Capriccio No.53 in E minor (lost)&lt;br /&gt;
L VI:86 \ Violin Capriccio No.63 in F major (lost)&lt;br /&gt;
L VI:87 \ Violin Capriccio No.50 in F minor (lost)&lt;br /&gt;
L VI:88 \ Violin Capriccio No.82 in G major (lost)&lt;br /&gt;
L VI:89 \ Violin Capriccio No.79 in G major (lost)&lt;br /&gt;
L VI:90 \ Violin Capriccio No.73 in G major (lost)&lt;br /&gt;
L VI:91 \ Violin Capriccio No.76 in G major (lost)&lt;br /&gt;
L VI:92 \ Violin Capriccio No.52 in G minor (lost)&lt;br /&gt;
L VI:93 \ Violin Capriccio No.54 in G minor (lost)&lt;br /&gt;
L VI:94 \ Violin Capriccio No.44 in A major (lost)&lt;br /&gt;
L VI:95 \ Violin Capriccio No.49 in A major (lost)&lt;br /&gt;
L VI:96 \ Violin Capriccio No.88 in A major (lost)&lt;br /&gt;
L VI:97 \ Violin Capriccio No.43 in A major (lost)&lt;br /&gt;
L VI:98 \ Violin Capriccio No.46 in A minor (lost)&lt;br /&gt;
L VI:99 \ Violin Capriccio No.55 in B flat major (lost)&lt;br /&gt;
L VI:100 \ Violin Capriccio No.77 in B flat major (lost)&lt;br /&gt;
L VI:101 \ Violin Capriccio No.86 in B flat major (lost)&lt;br /&gt;
L VI:102 \ Violin Capriccio No.87 in B flat major (lost)&lt;br /&gt;
L VI:103 \ Violin Capriccio No.85 in B flat major (lost)&lt;br /&gt;
L VI:104 \ Violin Capriccio No.45 in B minor (lost)&lt;br /&gt;
L VI:105 \ Violin Capriccio in D major (lost)&lt;br /&gt;
L VI:106 \ Violin Capriccio in E flat major (lost)&lt;br /&gt;
L VI:107 \ Violin Capriccio in A major (lost)&lt;br /&gt;
L VI:108 \ Violin Capriccio in A major (lost)&lt;br /&gt;
L VI:109 \ Violin Capriccio in B flat major (lost)&lt;br /&gt;
L VI:110 \ Violin Capriccio in B flat major (lost)

'''Miscellaneous works'''&lt;br /&gt;
L VII:1 \ Dragonermarsch in D major&lt;br /&gt;
L VII:2 \ Piece for mechanical clock in G major&lt;br /&gt;
L VII:3 \ 3 Odes&lt;br /&gt;
L deest \ Harp Sonata in D major

==External links==
*[http://www.closelinks.com/facts.php?id=2179&amp;name=Franz&amp;surname=Benda www.closelinks.com Free Family Tree]
*[http://www.hoasm.org/XID/Benda.html Brief HOASM biography]
*[http://www.musicweb-international.com/classrev/2002/Aug02/Benda_concertos.htm Review of disc with concertos by both brothers]

{{DEFAULTSORT:Benda, Franz}}
[[Category:1709 births]]
[[Category:1786 deaths]]
[[Category:German violinists]]
[[Category:German composers]]
[[Category:Baroque composers]]
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[[Category:18th-century Czech people]]
[[ca:František Benda]]
[[cs:František Benda]]
[[de:Franz Benda]]
[[fr:Franz Benda]]
[[gl:Franz Benda]]
[[it:Franz Benda]]
[[he:פרנץ בנדה]]
[[hu:Franz Benda]]
[[nl:Franz Benda]]
[[ja:フランツ・ベンダ]]
[[pt:Franz Benda]]
[[uk:Бенда Франтішек]]</text>
    </revision>
  </page>
  <page>
    <title>Joseph Gibbs</title>
    <id>14723920</id>
    <revision>
      <id>310218265</id>
      <timestamp>2009-08-26T19:10:55Z</timestamp>
      <contributor>
        <ip>200.169.41.23</ip>
      </contributor>
      <text xml:space="preserve">[[File:Joseph Gibbs by Thomas Gainsborough.jpg|thumb|Portrait of Joseph Gibbs by [[Thomas Gainsborough]], circa 1755]]
'''Joseph Gibbs''' (1699, [[Dedham]], [[Essex]] {{ndash}} 12 December 1788), was an [[England|English]] [[composer]].

Joseph Gibbs was not a prolific composer, but he was a not entirely unknown. He was born in Dedham, Essex in 1699, though not much more has been traced of Gibbs until 1748. In that year, he was appointed organist at the Church of St. Mary-le-Tower, [[Ipswich]], and his first published work EIGHT SOLOS FOR VIOLIN WITH A THOROUGH BASS, also appeared.

Only one other (six quartettos) is known to have been published in the remaining forty years of his active musical life.

The purchase a Gainsborough in 1928 by the [[National Portrait Gallery (London)|National Portrait Gallery]] created a renewed interest in Joseph Gibbs.&lt;ref&gt;[http://www.npg.org.uk/live/search/portrait.asp?search=ss&amp;sText=Joseph+Gibbs&amp;LinkID=mp01760&amp;rNo=0&amp;role=sit NPG 2179: Joseph Gibbs]&lt;/ref&gt; This painting of Gibbs was hitherto unknown and handed down through generations of Gibbs’s family who were the only ones aware of its existence. Ipswich had a lively Music Club in which [[Thomas Gainsborough]] (1727-1788) was a keen and passionate member. It is during this period that Gainsborough painted a portrait of his friend Joseph Gibbs. In the background of this portrait are two volumes. One is titled Corelli and the other… Gem…presumably [[Geminiani]]. Acknowledgement of these names in a portrait speaks profoundly of the sitters projections towards the violin. It seems fitting that the recordings of the Eight Violin Sonatas should coincide with the bi-centenary year of Joseph Gibbs as well as that of Thomas Gainsborough. At Christchurch Mansion is another painting attributed to Gainsborough. This is on the case of the grandfather clock, assumedly of the convivial Music Club, amongst whom one can recognize Joseph Gibbs in sober grey, seated at a table with a glass in front of him. The Music Club met in the home of a Mr. Sparrowe, which is now known as the Ancient House in the Buttermarket.

Gibbs was often called upon as the local musician of standing for various occasions. A newly erected Organ at Eye in Suffolk was to be opened in 1749 by “…Mr. Joseph Gibbs, Organist of Ipswich…And in the Evening will be a CONCERT of Vocal and Instrumental Musick…And after the CONCERT there will be a BALL.”

At the time of Gibbs’s appointment as organist, Ipswich was an important and flourishing centre. It was also garrisoned by the Scots Greys. Undoubtedly, with his active musical and social life, Gibbs was in contact with the Scots Greys and their music-making, for his Sonatas contain many references to Scottish song.

Joseph Gibbs was accorded a Civic funeral and a band of the Scots Greys and East Suffolk Militia played the Dead March in ‘Saul’ with their instruments draped in black crepe. The published obituary stated…”His corpse was deposited in a grave in front of the organ”. (Gentleman’s Magazine Dec. 1788) Unfortunately, since the restoration of the Church in the 1860’s no trace of his gravestone has been found. However, a dedication reads…

In Memory of Mr. Joseph Gibbs, who was forty years Organist of this Church.
He was eminently distinguished in his profession both as a Composer and Performer.
Having brought up a large Family and seen his Children’s Children to the fourth Generation,
after a life of meekness and integrity.
He died December 12th 1788, Aged 89 years.

Sergei Bezkorvany

==Major works==
*''EIGHT SOLOS FOR A VIOLIN WITH A THOROUGH BASS''
*''Six Quartettos''

==Discography==
* [http://www.claudiorecords.com/gibbs.html The Eight Violin Sonatas: Portrait, Review &amp; List of the pieces]
* [http://www.musicweb-international.com/classrev/2007/May07/Gibbs_CR3606.htm Music Web Review by Jonathan Woolf]

==References==
{{reflist}}
Sergei Bezkcorvany (violinist) Colin Attwell ''[[Grove Dictionary of Music and Musicians]]''

{{DEFAULTSORT:Gibbs, Joseph}}
[[Category:1699 births]]
[[Category:1788 deaths]]
[[Category:English composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:People from Essex]]

[[pt:Joseph Gibbs]]</text>
    </revision>
  </page>
  <page>
    <title>Jiří Antonín Benda</title>
    <id>4290190</id>
    <revision>
      <id>311830318</id>
      <timestamp>2009-09-04T13:30:27Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">[[Image:Georg Benda (c. 1752).jpg|thumb|right|Georg Benda]]

'''Jiří Antonín Benda''', also '''Georg Benda''' (30 June 1722 {{ndash}} 6 November 1795) was a [[Czechs|Czech]] [[kapellmeister]], violinist and [[composer]].

Born in [[Benátky nad Jizerou|Staré Benátky]], [[Bohemia]], he studied at the [[Piarists|Piarist]] Gymnasium (grammar school) in [[Kosmonosy]] and at the [[Society of Jesus|Jesuit]] Gymnasium in [[Jičín]] from 1735 to 1742&lt;ref&gt;Vysloužil, p. 33&lt;/ref&gt;. Benda was 19 when [[Frederick II of Prussia]] bestowed upon him in 1741 the position of second violinist in the chapel of [[Berlin]]. The following year Benda was summoned to [[Potsdam]] as a composer and [[Musical arrangement|arranger]] for his older brother [[Franz Benda|Franz]], himself an illustrious composer and violinist. Seven years later, in 1749, he entered the service of the [[Frederick III, Duke of Saxe-Gotha-Altenburg|Duke of Gotha]] as [[chapel master]], where he constantly cultivated his talents for [[Musical composition|composition]], specializing in religious music.

A stipend from the Duke allowed him to take a study trip to [[Italy]].

Benda had particular success with a form of musical stage entertainment, the [[melodrama]], which influenced [[Mozart]]. The [[melodrama#Melodrama in opera and song|melodrama]] ''[[Ariadne auf Naxos (Benda)|Ariadne auf Naxos]]'' is generally considered his best work. At its debut in 1775, the opera received enthusiastic reviews in Germany and afterwards, in the whole of Europe, with music critics calling attention to its originality, sweetness and ingenious execution. Besides that he wrote many instrumental pieces including a few sonatinas.

Benda died in [[Köstritz]], [[Gotha]] at the age of 73, leaving his son, [[Friedrich Ludwig Benda]] (1752–1796), who briefly carried on the family musical tradition, serving as a music director in [[Hamburg]] and later in [[Mecklenburg]], before finally becoming the [[Concertmaster]] in [[Königsberg]]. He died less than a year after his father.

==Opera compositions==
*''[[Xindo riconosciuto]]'' (libretto by [[Giovanni Andrea Galletti]], [[opera seria]], 1765, [[Gotha (town)|Gotha]])
*''[[Il buon marito]]'' (libretto by Galletti, [[Intermezzo]], 1766, Gotha) 
*''[[Il nuove maestro di capella]]'' (Intermezzo, 1766, Gotha) 
*''[[Ariadne auf Naxos (Benda)|Ariadne auf Naxos]]'' (libretto by [[Johann Christian Brandes]], [[melodrama]], 1775, Gotha) 
*''[[Der Jahrmarkt]]'' (''Der Dorfjahrmarkt/Lukas und Bärbchen'') (libretto by [[Friedrich Wilhelm Gotter]], [[Singspiel]], 1775, Gotha) 
*''[[Medea (Benda)|Medea]]'' (libretto by Gotter, melodrama, 1775, [[Leipzig]]) 
*''[[Walder]]'' (libretto by  Gotter, Singspiel, 1776, Gotha) 
*''[[Romeo und Julie]]'' (libretto by Gotter, Singspiel, 1776, Gotha) 
*''[[Der Holzhauer oder Die drey Wünsche]]'' (libretto by  Gotter, Singspiel, 1778, Gotha) 
*''[[Pygmalion (opera)|Pygmalion]]'' (libretto by  Gotter, melodrama, 1779, Gotha)
*''[[Das tartarische Gesetz]]'' (libretto by  Gotter, Singspiel, 1787, [[Mannheim]])

==Notes==
{{Reflist}}

==References==
*Vysloužil, Jiří: Hudební slovník pro každého II. Vizovice: Lípa, 2001.ISBN 80-86093-23-9

*The information in this article is based on a translation of its German equivalent.

==External links==
*{{IMSLP|id=Benda, Jiří Antonín|cname=Jiří Antonín Benda}}
*[http://www.google.com/Top/Arts/Music/Composition/Composers/Benda_Family/ family composers] 
*[http://www.naxos.com/composer/btm.asp?fullname=Benda,+Jan+Jiri Information]
*[http://www.hoasm.org/XID/BendaG.html Biography]

{{DEFAULTSORT:Benda, Georg}}
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{{czech-bio-stub}}
{{Germany-composer-stub}}

[[cs:Jiří Antonín Benda]]
[[de:Georg Anton Benda]]
[[es:Jiří Antonín Benda]]
[[eo:Jiří Antonín Benda]]
[[fr:Jiří Antonín Benda]]
[[it:Jirí Antonín Benda]]
[[he:גאורג בנדה]]
[[hu:Georg Anton Benda]]
[[nl:Georg Benda]]
[[ja:ゲオルク・ベンダ]]
[[pt:Jiří Antonín Benda]]</text>
    </revision>
  </page>
  <page>
    <title>Timofiy Bilohradsky</title>
    <id>12830218</id>
    <revision>
      <id>312202419</id>
      <timestamp>2009-09-06T16:00:06Z</timestamp>
      <contributor>
        <username>Bandurist</username>
        <id>387133</id>
      </contributor>
      <text xml:space="preserve">'''Timofy Bilohradsky ''' ({{lang-uk|Тимофій Білоградський}}) also ([[Belogradsky]], [[Pelogradsky]]) (approximately 1710 — c. 1782) was a Ukrainian [[lutenist]], [[composer]] and [[kobzar]]-[[bandurist]] who was active in [[St. Petersburg]] and [[Königsberg]].

Little is known about his childhood. He is thought to have been born in or near [[Cherkasy]] and that he learned to play the [[kobza]] and [[lute]] at the [[Hlukhiv Music Academy]] in [[Ukraine]]. He had an excellent voice and great musical aptitude. In 1725 he was invited to [[St Petersburg]] to sing in the Imperial Church Capella. In 1733 [[Tsarina Anna]] sent Bilohradsky to [[Dresden]] in the retinue of the ambassador Count [[Keyserlinck]] to perfect his lute playing under the tutelage of [[Silvius Leopold Weiss]] - the most important lutenist-composer of the 18th century. He also studied voice with [[Faustina Bordoni]]-Hasse, and [[castrato]] [[Annibali]]. Bilohradsky as a result became one of the highest trained musicians in the Russian Court Cappella.

In 1739 Bilohradsky returned to St Petersburg, where he continued to work as a court musician. In 1741 he returned to [[Germany]] where he became known as a virtuoso lutenist and singer and for some time lived in [[Königsberg]] where he had a number of students - notably Johann [[Reichardt]] (father of [[Johann Friedrich Reichardt]]), and [[Johann Georg Hamann]], the [[Sturm-und-Drang]] [[philosopher]].

In his last years he lived in Petersburg. The so-called [[&quot;Moscow Weiss Manuscript&quot;]] is ascribed to Bilohradsky or his circle.

As a composer Bilohradsky is known for a set of songs and romances to the texts by [[Sumarokov]] that enjoyed considerable popularity in the 18th century.

Bilohradsky's daughter [[Yelizaveta Belogradsky]] (Elizabeth) became a famous opera-singer of the [[Mariinsky Theatre|Imperial St. Petersburg opera]].

==References==
*http://print.biografija.ru/?id=9466


{{DEFAULTSORT: Bilohradsky, Timofy}}
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[[Category:Ukrainian classical musicians]]
[[Category:Ukrainian composers]]
[[Category:Classical era composers]]
{{Ukraine-bio-stub}}

[[de:Tymofij Bilohradskyj]]
[[uk:Білоградський Тимофій]]</text>
    </revision>
  </page>
  <page>
    <title>Giovanni Ricordi</title>
    <id>13377535</id>
    <revision>
      <id>263322136</id>
      <timestamp>2009-01-11T05:21:21Z</timestamp>
      <contributor>
        <username>Schissel</username>
        <id>116587</id>
      </contributor>
      <comment>lifetime temp. +category. still a stub.</comment>
      <text xml:space="preserve">&lt;!-- Unsourced image removed: [[Image:Giovanni ricordi.jpg|frame|Giovanni Ricordi]] --&gt;
'''Giovanni Ricordi''' (1785, [[Milan]]–15 March [[1853]], Milan) was an [[Italian people|Italian]] [[violin]]ist and the founder of the classical music publishing company [[Casa Ricordi]].

Unlike his father who was a [[glass]]maker, Giovanni Ricordi studied the violin from an early age and became the leader of a small theatre's orchestra in Milan. From 1803–1808, Ricordi worked as a music copyist and dealer in printed music and instruments. In 1807 he studied printing techniques for several months with [[Breitkopf &amp; Härtel]] in [[Leipzig]] and when he returned to Milan he founded his publishing company.

Ricordi befriended many major Italian operatic composers of his time, including [[Gioachino Rossini|Rossini]], [[Vincenzo Bellini|Bellini]], [[Gaetano Donizetti|Donizetti]] and [[Giuseppe Verdi|Verdi]] whose works he published. Ricordi's correspondence with Verdi is studied to gain a full insight into the latter's activities.

== Bibliography ==
*James J. Fuld, ''The Book of World-Famous Music: Classical, Popular, and Folk'', Dover Publications; 5th edition (March 20, 2000)
*[http://www.giuseppeverdi.it/ing/page.asp?IDCategoria=162&amp;IDSezione=580&amp;ID=21189 Portale Guseppe Verdi Ing: Giovanni Ricordi]
*[http://www.ricordi.it/company/casa-ricordi-the-history/the-ricordi The Ricordi — Casa Ricordi]

{{Lifetime|1785|1853|Ricordi, Giovanni}}
[[Category:Classical era composers]]
[[Category:Italian composers]]
[[Category:Italian classical violinists]]
[[Category:People from Milan]]

[[it:Giovanni Ricordi]]
{{Italy-composer-stub}}</text>
    </revision>
  </page>
  <page>
    <title>Egidio Duni</title>
    <id>3542574</id>
    <revision>
      <id>303943662</id>
      <timestamp>2009-07-24T14:56:14Z</timestamp>
      <contributor>
        <username>Voceditenore</username>
        <id>836656</id>
      </contributor>
      <comment>better image</comment>
      <text xml:space="preserve">[[File:Egidio Duni by Carmontelle circa 1760.jpg|thumb|250 px|Egidio Duni at his keyboard, circa 1760]] 

'''Egidio Romualdo Duni''' (also Egide Romuald Duny) (11 February 1708 {{ndash}} 11 June 1775) was an [[Italy|Italian]] [[composer]] who studied in [[Naples]] and worked in [[Italy]], [[France]] and [[London]], writing both Italian and French [[opera]]s and one English opera. He was one of the most important [[opéra comique]] composers in the third quarter of the 18th century and was particularly influential in creating a new style in that genre, the ''comédie mêlée d’ariettes'', which blended Italian opera elements with traditional French ones.&lt;ref name=&quot;Warrack&quot;&gt;{{cite book 
|title= The Oxford Dictionary of Opera
|last= Warrack 
|first= John
|coauthor= Ewan West
|year= 1992
|publisher= Oxford University Press 
|isbn=0-19-869164-5}}&lt;/ref&gt;

==Biography==
===Early life and education===
Egidio Duni was born in [[Matera]] and was the fourth child of Francesco Duni, the [[maestro di cappella]] in that city. His older brother, [[Antonio Duni]], was also a successful composer and both men along with their two sisters received their earliest musical training from their father. There is some controversy regarding the exact nature of Duni's later training. Some sources indicate that at the age of nine he was accepted at the ''Conservatorio di Santa Maria di Loreto'' near Naples, where he worked with [[Giovanni Battista Pergolesi]], [[Giovanni Paisiello]], [[Leonardo Vinci]], and other masters of Italian opera. Others, however, indicate that he was a private pupil of [[Francesco Durante]]. Regardless, little is known or certain about his musical training other than it took place in Naples.&lt;ref name=&quot;Grove&quot;&gt;{{wikicite|id=idGroveMusicOnline|reference=Kent M. Smith/Elisabeth Cook: &quot;Egidio Duni&quot;, ''Grove Music Online'' ed. L. Macy (Accessed January 18, 2009), [http://www.grovemusic.com (subscription access)]}}&lt;/ref&gt;

===Early career===
Duni's first opera, ''Nerone'', was presented at the [[Rome]] [[Carnival]] in 1735 which was followed by operas for Rome and [[Milan]] in Carnival 1736. Shortly thereafter he traveled to London where his opera ''Demofoonte'', which used an English translation of [[Metastasio]]'s [[libretto]], premiered in May 1737. He remained in England until October 1738 when he traveled to the [[Netherlands]] to study at [[Leiden University]]. He returned to Italy only a few months later and his opera ''La Didone abbandonata'' premiered in Milan in January 1739. This was followed by further operas for [[Florence]] in 1740, 1743, and 1744. On 16 December 1743 Duni was appointed [[maestro di cappella]] of [[San Nicola]] in [[Bari]], a position he held for the next several years. In 1748 two of his operas premiered in [[Genoa]] to great success: ''Ipermestra'' and ''Ciro riconosciuto''. These operas drew the attention of the [[Duke of Richelieu]] and [[Philip, Duke of Parma]], and in 1749 he was appointed court maestro di cappella in Parma and music teacher to the duke’s daughter [[Princess Isabella Maria of Parma]], the future wife of [[Joseph II, Holy Roman Emperor|Archduke Joseph of Austria]].&lt;ref name=&quot;Grove&quot;/&gt;

Up until this point, Duni had composed entirely in the Italian [[opera seria]] genre. However, his work in this area soon came to an end with his last opera seria being ''Olimpiade'' in 1755. This was followed by his last opera in the Italian language, ''La buona figliuola'', which was a [[melodramma giocoso]] and used a libretto by [[Carlo Goldoni]]. From this point on Duni’s attention turned to the [[opéra comique]], largely due to the French atmosphere of the Parma court. Some sources indicate that he wrote two such operas, ''La chercheuse d’esprit'' and ''Ninette à la cour'' while still in Parma but the evidence for such an assertion is questionable. Also uncertain is the inclusion of some of his music in the pastiche ''Ninette à la cour'' performed in Paris in 1755.&lt;ref name=&quot;Grove&quot;/&gt;

In Autumn 1756, Duni wrote a letter to [[Jean Monnet]], the director of the Paris [[Opéra-Comique]], to request a French libretto for an opera to be performed in Paris. This resulted, after some initial hesitation from Monnet, in Duni's groundbreaking setting of Louis Anseaume’s ''[[Le peintre amoureux de son modèle]]''. Duni went to Paris for the works premiere performance on the 26 July 1757. The opera was extremely successful and critics at the time used it as a refute for [[Rousseau]]’s claim that the French language was unsuitable for music. The opera's unique blend of vaudeville tunes and natural French expressive declamation within an Italian musical idiom became for several years the model for opéra comique, and is considered one of the first [[comédie mêlée d'ariettes]] operas.&lt;ref name=&quot;Grove&quot;/&gt;

===Later career===
After the success of ''Le peintre amoureux de son modèle'', Duni returned to Parma where he continued to work for three more years. During this time he returned to Paris periodically to stage a few more operas in the ''comédie mêlée d'ariettes'' genre. After he was released with a pension from his post, Duni moved to Paris, married, and remained in France for the rest of his career. His son, Jean Pierre Duni, was born on 21 September 1759 and would grow up to become a musician and a minor composer.&lt;ref name=&quot;Grove&quot;/&gt;

From 1758-1760 Duni produced several more successful opéras comiques which further solidified his high reputation. In 1761 he became the music director of the [[Comédie-Italienne]] where his initial operas were not well received. Letters from this time reveal that Duni was in conflict with the company's main librettist, [[Charles-Simon Favart]], during this time and modern scholars speculate that this tension may have contributed to the failure of these works. In August 1761 Duni wrote a letter which was published by Tiersot that defended his opera ''La bonne fille'' from the harsh criticism in the ''Mercure de France''.&lt;ref name=&quot;Grove&quot;/&gt;

Duni next composed several ''comédie mêlée d'ariettes'' with librettist [[Louis Anseaume]] which proved to be much more successful. These included such works as ''Mazet'' (1761), ''Le milicien'' (1762) and ''Les deux chasseurs et la laitière'' (1763). They also wrote two much more dramatic works ''[[L'école de la jeunesse]]'' (1765) and La clochette (1766) which were very popular. Duni also partnered successfully with Favart again in the immensly successful ''[[La fée Urgèle]]'' (1765) and ''Les moissonneurs'' (1768) which both held the stage in France until nearly the end of the century. All of the operas were published in Paris and many were adapted, translated, and imitated all over Europe.&lt;ref name=&quot;Grove&quot;/&gt;

Between July 1766 and January 1768, Duni returned to Italy where he took some time away from composing. Upon his return he staged the popular ''Les moissonneurs'' and collaborated with librettist [[Michel-Jean Sedaine]] on his last two operas, ''Les sabots'' (1768) and ''Themire'' (1770), which were both modest successes. He was given a pension by the Comédie-Italienne in 1768 and in 1770 Duni retired. He spent the last five years of his life teaching and judging musical competitions. He died in [[Paris]] in 1775.&lt;ref name=&quot;Grove&quot;/&gt;

==Works==
===Operas===
====Italian operas====
*''Nerone'' (Rome, 1735) 
*''Adriano in Siria'' (1735-1736)
*''Giuseppe riconosciuto'' (1736)
*''La tirannide debellata'' (1736)
*''Demofoonte'' (London, 1737)
*''Didone abbandonata'' (1739)
*''Catone in Utica'' (1740)
*''Bajazet'' (1743)
*''Antaserse'' (1744)
*''Ipermestra'' (1748)
*''Ciro riconosciuto'' (1748)
*''L'Olimpiade'' (Parma, 1755)
*''La buona figliuola'' (Parma, 1756)
*''Alessandro nelle Indie''
*''Adriano''
*''Demetrio''

====French operas====
*''Ninette à la cour'', [[Parma]], (1755)
*''La chercheuse d'esprit'', Paris, (1756)
*''[[Le peintre amoureux de son modèle]]'', Paris, (1757)
*''Le docteur Sangrado'', Saint Germain, (1758)
*''La fille mal gardée'', Paris, (1758)
*''La veuve indécise'', Paris, (1759)
*''L’isle de foux'', Paris, (1760)
*''Nina et Lindor'', (1761)
*''Mazet'', Paris, (1761)
*''La bonne fille'', Paris, (1762)
*''Le retour au village'', Paris, (1762)
*''La plaidreuse et le procés'', Paris, (1763)
*''Le milicien'', Versailles, (1763)
*''Les deux chasseurs et la laitière'', (1763)
*''Le rendez-vous'', Paris, (1763)
*''[[La fée Urgèle]]'', [[Fontainebleau]], (1765)
*''[[L'école de la jeunesse]]'', Paris, (1765)
*''La clochette'', Paris, (1766)
*''Les moissonneurs'', Paris, (1768)
*''Les sabots'', Paris, (1768)
*''Themire'', Fontainebleau, (1770)

===Sacred music===
*''Gios re di Giuda'' ([[oratorio]], 1749)
*''Giuseppe riconosciuto'' (oratorio, 1759)
*''Athalie (oratorio, ?)
*''Le sacrifice d’Issac (oratorio, 17?)
*''Mass'' (for five voices and orchestra, 17?)
*''Te Deum'' (for four voices and instruments, 17?)
*''Litany'' (for four voices and instruments, 17?)
*''Tantum ergo'' (for soprano, contralto, two violins, and organ, 17?)  

===Instrumental music===
*''6 trio sonatas, op.1'' (Rotterdam, 1738)
* ''Minuetti e contridanze'' (London, 1738)

==References==
{{reflist}}

==External links==
*[http://www.festivalduni.it/duni.html Festival Duni 2008 (in Italian)]
*[http://www.haendel.it/compositori/duni.htm Haendel.it biography (in Italian)]
*[http://www.sassiweb.it/bioegidioduni/ Sassi Web biography (in Italian)]

{{DEFAULTSORT:Duni, Egidio Romualdo}}
[[Category:1708 births]]
[[Category:1775 deaths]]
[[Category:People from Matera]]
[[Category:Italian composers]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]

[[de:Egidio Duni]]
[[es:Egidio Romualdo Duni]]
[[fr:Egidio Romualdo Duni]]
[[it:Egidio Romualdo Duni]]
[[he:אג'ידיו דוני]]
[[pl:Egidio Romualdo Duni]]</text>
    </revision>
  </page>
  <page>
    <title>François Francoeur</title>
    <id>2231117</id>
    <revision>
      <id>295174819</id>
      <timestamp>2009-06-08T14:20:46Z</timestamp>
      <contributor>
        <ip>85.1.253.141</ip>
      </contributor>
      <comment>/* Selected works */</comment>
      <text xml:space="preserve">{{otheruses|Francoeur (disambiguation)}}
[[Image:Francois Francoeur.jpg|thumb|200px|François Francoeur.]]

'''François Francoeur''' (8 September 1698 &amp;ndash; 5 August 1787) was a [[France|French]] [[violin]]ist and [[composer]].  

==Biography==
He was born in [[Paris]], the son of Joseph Francoeur, a [[basse de violon]] player and member of the ''[[24 violons du roy]]''. Francoeur was instructed in music by his father and joined the [[Académie Royale de Musique]] as a violinist at age 15. After travel and performances in the principal European culture centres, he returned to Paris as a member of the [[Concert Spirituel]]. Francoeur was appointed to the ''24 violons du roy'' in 1730; music instructor to the Opera in 1739; and (with [[François Rebel]]) Opera Inspector, in 1744. In 1753 Rebel and Francoeur took over management of the Paris Opera&amp;mdash;which was a centre point for French music. In 1760 Francoeur was appointed Music Master to the King. Dying in 1787 at age 89, he was spared the fate of his nephew, Louis-Joseph Francoeur, Master of the King's Chamber music and orchestra director, who was imprisoned during the [[French Revolution]] until the fall of [[Maximilien Robespierre|Robespierre]] in 1794.

==Compositions==
His surviving compositions, published in ''Propylaen der Musik, V. 2'' (1989), include two books of [[violin sonata]]s, 10 [[opera]]s (including one about the life of [[Skanderbeg]]) and some [[ballet]]s, created jointly with François Rebel. Thus he is often quoted as a rare case of collaboration in musical composition. A sicilienne and rigaudon were initially attributed to him, in a publication by [[Fritz Kreisler]], but were eventually revealed to be the work of Kreisler himself.

Recordings of Francoeur's works include a noteworthy LP, ''Music for the Wedding of the [[Comte d'Artois|Count d'Artois]]'', on the Music Heritage label, and the Cypres CD 1626 ''Suites de Simphonies'', including what may be the same set of works by Francoeur.  Hugo Reyne and La Simphonie Du Marais also recorded the ''Symphonies pour le Festin Royal du Comte d'Artois'' &lt;ref&gt;[http://www.simphonie-du-marais.org/spip.php?article97 Simphonie du Marais]&lt;/ref&gt;.  There is a 2003 recording of Francoeur's Sonata in E for Cello and Piano on Delos by Zuill Bailey which shows off this composer to advantage.

==Musicological and stylistic notes==
Especial emphasis is placed on the above recordings for [[musicology|musicological]] as well as aesthetic reasons. In the transition from ages relatively little interested in earlier music (19th and early 20th Century) to an age where a professional specialization in &quot;[[early music|ancient music]]&quot; has arisen,  composers like Francoeur, who had relatively modest instrumental production or did not in other ways attract special professional attention, have often remained in obscurity. It is easy to see from Francoeur's inventiveness and infectious rhythmic drive why he was esteemed in his lifetime. Had [[Louis XVI of France|Louis XVI]] had him as a music instructor earlier in his life instead of, as biographers suggest, a musical mediocrity who chilled his interest in the violin, he might have become a royal composer like [[Frederick II of Prussia|Frederick the Great of Prussia]]. 

Francoeur is sometimes categorised amongst the  &quot;Classical-era&quot; composers who avoided the &quot;classical style of [[Joseph Haydn|Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]]&quot;. The surviving music of Francoeur (supposedly composed close to 1773), though contemporary with that of Haydn and Mozart, shows relatively few of the courtly mannerisms that abound in classical music directly sponsored by royalty. Rather, it has more of an &quot;advanced [[Rococo]]&quot; character, spicing strings with creative use of wind instruments. This kind of music seems to have been especially favoured by the rising bourgeoisie and lesser aristocracy in mercantile centres like [[London]], [[Hamburg]], [[Frankfurt]] as well as Paris, who provided an increasing market for  musical composition.

==Selected works==
* ''Premier Livre de sonates à violon seul et basse continue'' (1720)
* ''Pyrame et Thisbé'', [[tragédie lyrique]] (1726)
* ''Deuxième Livre de sonates à violon seul et basse continue'' (1730)
* ''Scanderbeg'', tragédie lyrique (1735), 33 performances (see [[Skanderbeg]])
* ''Zélindor, Roi des Silphes'' (1745)
* ''Le Prince de Noisy'', ballet héroïque in 3 acts, with [[François Rebel]], book by Charles-Antoine Leclerc de La Bruère, f.p. Versailles, Théâtre des petits appartements, 13 March 1749
* ''Symphonies pour le Festin Royal du Comte d'Artois'' (1773)
* ''La Symphonie du Marais''

==References==
{{Reflist}}
*{{GroveOnline|Francoeur|Fillion, Michelle, Catherine Cessac, and Lois Rosow|16 July|2007}}

==External links==
{{IMSLP|id=Francoeur, François}}

{{DEFAULTSORT:Francoeur, Francois}}
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[[Category:French classical violinists]]
[[Category:1698 births]]
[[Category:1787 deaths]]

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  <page>
    <title>Florian Leopold Gassmann</title>
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      <comment>/* External links */ [[Category:18th-century German people]] [[Category:18th-century Austrian people]] [[Category:18th-century Czech people]]</comment>
      <text xml:space="preserve">[[File:Gassmann481.jpg|thumb|200px|upright|Florian Leopold Gassmann, engraving (1775)]]
'''Florian Leopold Gassmann''' ([[Most]], 3 May 1729 &amp;ndash; 21 January 1774 in [[Vienna]]) was a [[German language|German-speaking ]] [[Bohemian]] [[opera]] [[musical composition|composer]] of the transitional period between the [[baroque music|baroque]] and [[classical music era|classical]] eras.  He was one of the principal composers of [[dramma giocoso]] immediately before Mozart.

== Biography ==
From 1757 until 1762, he wrote an opera every year for the [[carnival]] season in [[Venice]], and was also made choirmaster in the girls’ conservatory in Venice in 1757.  Many of the librettos he set were by the great Venetian playwright [[Carlo Goldoni]].

In 1763 he was called to be court [[ballet]] composer in [[Vienna]], where he was held in great affection by [[Emperor Joseph II]].  In 1764, Gassmann became chamber composer to the Emperor, and in 1772 court conductor.

In 1766, Gassmann met the young [[Antonio Salieri]] in Venice, who he invited to return to Vienna with him, and who, based on [[Johann Joseph Fux]]’s textbook ''Gradus ad Passarnum'', he taught composition.  Salieri remained in Vienna, and succeeded Gassman as chamber composer to the Emperor upon the latter's death in 1774.  Another [[Italy|Italian]] composer, [[Giuseppe Bono]], succeeded him as court conductor.

In 1771, Gassman founded the ''Tonkünstlersozietät'' (Society of Musical Artists), which organised the first musical events for the general public in Vienna.  This social institution was particularly concerned with widows and orphans of its deceased members.  He composed his [[oratorio]] ''La Betulia liberata'' because of the founding of this society.

In 1774 Gassman died of long-term consequences of an accident he had suffered while on his final visit to Italy.

Gassmann's two daughters, [[Anna Fux]] and [[Therese Rosenbaum]], were both famous singers trained by Salieri; the younger, Therese, made a particular name for herself as a Mozart interpreter.

[[Charles Burney]], in one of his published tours, mentions traveling to Joseph II, meeting Gassmann and finding him very obliging; Gassmann showed Burney his manuscripts, of which Burney found the chamber works distinctive and most worthy of his praise (but Burney was either not exposed to, or said nothing about, Gassmann's orchestral music.)&lt;ref name=&quot;heartz&quot;&gt;Heartz, Daniel (1995). {{Google books|3k5T_S91BE0C|Haydn, Mozart, and the Viennese School, 1740-1780}}. W. W. Norton &amp; Co. pp. 411-2.  ISBN 0393037126.&lt;/ref&gt;

[[Johann Baptist Vanhal]] is described by author Daniel Heartz as Gassmann's &quot;protégé&quot;.&lt;ref&gt;Heartz, p. 411.&lt;/ref&gt;

==Major works==
====Operas====
See '''[[List of operas by Gassmann]]'''.

====Cantatas====
*Amore, e venere (1768)
*L’amor timido

====Oratorios====
*La Betulia Liberata (1772)

====Sacred music====
*Five masses

====Instrumental music====
*32 symphonies&lt;ref&gt;Hill (1981), p. xxvii &quot;32 concert symphonies, ... and 5 questionable [Q] and 8 spurious [S] symphonies and overtures.&quot;&lt;/ref&gt;
*26 overtures&lt;ref&gt;Hill (1981), p. xxvii &quot;26 opera overtures, ... and 5 questionable [Q] and 8 spurious [S] symphonies and overtures.&quot;&lt;/ref&gt;
*Six string quartets
*Two trios for flute, violin and viola

==Notes==
{{reflist}}

==Sources==
*Hill, George R.: &quot;Thematic Index&quot; in ''The Symphony 1720 - 1840 Series B - Volume X'', ed. Barry S. Brooks (New York &amp; London, 1981) ISBN ?-???-?????-?
*Kosman, Joshua: ''Gassmann, Florian Leopold''  in 'The [[New Grove Dictionary of Opera]]', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7

==Further reading==
*{{cite book|last=Hill|first=George Robert|title=A thematic catalog of the instrumental music of Florian Leopold Gassmann|location=Hackensack, N.J.|publisher=J. Boonin|date=1976|isbn=0913574120|oclc=2900431}}

==External links==
*{{WIMA|idx=Gassmann|name=Florian Leopold Gassmann}}
*{{cite web|url=http://www.mumost.cz/mesto/osobnosti/gassmann.htm|title=Detailed biography, painting|language=Czech|accessdate=2009-01-09}} &lt;!-- gives different birth and deathdate --&gt;
*{{IMSLP|id=Gassmann, Florian Leopold}}

{{DEFAULTSORT:Gassmann, Florian Leopold}}
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[[Category:18th-century Czech people]]

[[ca:Florian Leopold Gassmann]]
[[cs:Florian Leopold Gassmann]]
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  <page>
    <title>William Hayes (organist)</title>
    <id>18456631</id>
    <revision>
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      <contributor>
        <username>Baroqueperson</username>
        <id>8788706</id>
      </contributor>
      <text xml:space="preserve">'''William Hayes''' (December 1706 - July 27, 1777) was an [[England|English]] composer and [[organ (music)|organist]] at [[Magdalen College, Oxford]]. 

Hayes was born in [[Hanbury, Worcestershire]].  His son, [[Philip Hayes (organist)|Philip Hayes]], was also an organist, and succeeded him at Magdalen College.&lt;ref&gt;''The Biographical Dictionary of Musicians'', [[Blue Ribbon Books]], Garden City, New York. (Original Editor [[Rupert Hughes]])&lt;/ref&gt;

He composed a harpsichord concerto in G major in the 1730s, which was apparently very popular in [[Oxford]], so much so that it was revised for performance on [[1791-05-18]] for a benefit concert that [[Joseph Haydn]] was supposed to attend, but missed.&lt;ref&gt;''Haydn in Oxford'', [[BBC Radio 3]], in which the concerto is played by [[Trevor Pinnock]] and [[The English Concert]].&lt;/ref&gt;  Hayes died in Oxford.

==References==
{{reflist}}

==See also==
*Heighes, Simon. ''The lives and works of William and Philip Hayes'',  Garland Press (Outstanding Dissertations in Music from British Universities), New York, 1995.

==External links==
*{{WIMA|idx=Hayes|name=William Hayes (organist)}}

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  <page>
    <title>Johann Peter Kellner</title>
    <id>11749926</id>
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      <contributor>
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        <id>160806</id>
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      <comment>layout</comment>
      <text xml:space="preserve">'''Johann Peter Kellner''' (variants: '''Keller, Kelner''') (28 September 1705 &amp;ndash; 19 April 1772) was a German [[pipe organ|organist]] and [[composer]]. He was the father of [[Johann Christoph Kellner]].

==Biography==
He was born in [[Gräfenroda]], [[Thuringia]], and was intended by his parents to follow his father into a career as a [[lamp-black]] [[merchant]]. He was devoted to music from childhood, and first learnt [[singing]] from the [[cantor]] [[Johann Peter Nagel]] and [[keyboard instrument|keyboard]] from [[Johann Heinrich Nagel]], the son of the former. He studied for a year from 1720 with organist [[Johann Schmidt (organist)|Johann Schmidt]] in [[Zella]], followed by a year with organist [[Hieronymous Florentius Quehl]] (or Kehl) in [[Suhl]], during which he also studied composition. He knew [[Johann Sebastian Bach]], though it is not known whether he was taught by him, and also knew [[George Frideric Handel]]. In 1722, he returned to tutor at Gräfenroda for three years. He was appointed cantor of [[Frankenhain]] in October 1725, returning to Gräfenroda in December 1727 as assistant cantor. He became cantor after Nagel's death in 1732, and remained in the post for the rest of his life; his pupils included [[Johann Philipp Kirnberger]], [[Johannes Ringk]], and [[J.E. Rembt]]. He was admired as an organist, and performed for the Dukes of [[Coburg]] and [[Weimar]] and the Prince of [[Sondershausen]].  

He has played an important role in the dissemination of music by [[Johann Sebastian Bach]], through the many [[manuscript]] copies made by him and his circle, particularly of [[keyboard instrument|keyboard]] and [[pipe organ|organ]] works. These are the earliest or only source of many works, and provide information on their chronology, compositional history, and authenticity. There is evidence that he transcribed Bach's [[trio sonata]] [[BWV 1027]]/[[BWV 1039]] for organ (it was originally for [[viola da gamba]] and [[harpsichord]] or two [[flute (Western concert)|flutes]] and [[continuo]]), though only the first movement survives in his hand; movement four (BWV 1027a) survives in a copy made by his student [[Johann Nicolaus Mempel]] and movement two in another hand.

==Compositions==
His keyboard music is in typical [[galante music|galant]] style, though also shows influences of Bach's ''[[Well-Tempered Clavier]]''.

Published in [[Arnstadt]].

===Organ===
*[[Fugue]] in D minor, [[BWV Anh]] 180
*[[Prelude]] and Fugue in D minor
*2 [[Piano trio|trio]]s, D major, G major, in ''Die Orgel'' II/7 (Lippstadt, 1958)
*Prelude in C major, in ''Orgelmusik um Johann Sebastian Bach'' (Wiesbaden, 1985)
*2 fugues in C minor and D major
*3 preludes in C major, C major, and G minor
*2 preludes and fugues in G major

====Chorale settings====
*''Herzlich tut mich verlangen'', BWV Anh 47 (Leipzig, 1907)
*''Was Gott tut, das ist wohlgetan'' (Leipzig, 1907)
*''Wer nur den lieben Gott lässt walten'' (Wiesbaden, 1985)
*''Lobt Gott, ihr Christen, allzugleich; Nun danket alle Gott''
*''Allein Gott in der Höh sei Ehr''

===Keyboard===
*''Certamen musicum, bestehend aus Präludien, Fugen, Allemanden, Couranten, Sarabanden, Giguen, wie *auch Menuetten'', 6 [[suite]]s (1739–1749)
*''3 Sonates'' (1752)
*''Manipulus musices, oder Eine Hand voll kurzweiliger Zeitvertreib'', 4 suites (1752–1756)
*[[Concerto]] in F major (Leipzig, 1956)
*2 fugues in A minor and C major
*[[Minuet|Menuet]] in A minor
*3 preludes and fugues in A minor, C major, and G major
*2 [[sonata]]s
*''12 [[variation (music)|Variationes]]''

===Vocal===
*36 church [[cantata]]s, in Stadt- und Universitätsbibliothek, [[Frankfurt]]
*Annual cycle of church cantatas with organ, 1753 (lost)

==Further reading==
*His autobiography is in [[F.W. Marpurg]]: ''Historische-kritische Beyträge zur Aufnahme der Musik'' (Berlin, 1754–1778)
*''Gedenkschrift anlässlich der Johann-Peter-Kellner-Festwoche in Gräfenroda'' (Gräfenroda, 1955)
*M. Fechner: ''Die Klavier- und Orgelwerke Johann Peter Kellners'' (Diplomarbeit, University of Leipzig, 1965)
*H.J. Schulze: ''Bach-Dokumente'' III (Kassel and Leipzig, 1972)
*Russell Stinson: ''The Bach Manuscripts of Johann Peter Kellner and his Circle: a Case Study in Reception History'' (Durham, North Carolina, 1989)
*Russell Stinson: ''Keyboard Transcriptions from the Bach Circle'', (Madison, Wisconsin, 1992)

==Sources==
*Russell Stinson: 'Kellner [Keller, Kelner], Johann Peter', Grove Music Online ed. L. Macy (Accessed [[2007-06-13]]), http://www.grovemusic.com/

==External links==
*{{WIMA|idx=Kellner|name=Johann Peter Kellner}}
*{{IMSLP|id=Kellner%2C_Johann_Peter|cname=Johann Peter Kellner}}
*http://www.johann-peter-kellner.de/

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  <page>
    <title>Giovanni Battista Martini</title>
    <id>214106</id>
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      <text xml:space="preserve">[[Image:Padre Martini 1.jpg|thumb|right|Professor [[Padre Martini]].]]

'''Giovanni Battista Martini''', also known as '''Padre Martini''' (24 April 1706 – 3 August 1784) was an [[Italy|Italian]] [[musician]].

==Biography==
Martini was born at [[Bologna]].

His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin; later he learned singing and [[harpsichord]] playing from Padre Pradieri, and counterpoint from Antonio Riccieri and Giacomo Antonio Perti. Having received his education in classics from the fathers of the oratory of San Filippo Neri, he afterwards entered upon a noviciate at the Franciscan monastery at Lago, at the close of which he was received as a ''Minorite'' on September 11, 1722.

In 1725, though only nineteen years old, he received the appointment of chapel-master in the [[Franciscan]] church at Bologna, where his compositions attracted attention. At the invitation of amateurs and professional friends he opened a school of composition at which several celebrated musicians were trained; as a teacher he consistently declared his preference for the traditions of the old Roman school of composition. Padre Martini was a zealous collector of musical literature, and possessed an extensive musical library. [[Charles Burney|Burney]] estimated it at 17,000 volumes; after Martini's death a portion of it passed to the Imperial library at [[Vienna]], the rest remaining in Bologna, now in the [http://www.museomusicabologna.it/ Museo Internazionale della Musica] (ex Civico Museo Bibliografico Musicale).

Most contemporary musicians speak of Martini with admiration, and [[Leopold Mozart]] consulted him with regard to the talents of his son, [[Wolfgang Amadeus Mozart]]. [[Georg Joseph Vogler|Abt Vogler]], however, makes reservations in his praise, condemning his philosophical principles as too much in sympathy with those of Fox, which had already been expressed by P. Vallotti. His ''Elogio'' was published by Pietro della Valle at Bologna in the same year.

In 1758 he was invited to teach at the [[Accademia Filarmonica di Bologna]]. 

Among Martini's pupils: the [[Belgium|Belgian]] [[André Ernest Modeste Grétry]], the [[Bohemia|Bohemian]] [[Josef Mysliveček]], the [[Ukraine|Ukrainian]]/[[Russia|Russian]] [[Maksym Berezovsky]], the young [[Wolfgang Amadeus Mozart]], [[Johann Christian Bach]] and the famous [[Italy|Italian]] cellist [[Giovanni Battista Cirri]].

The greater number of Martini's sacred compositions remain unprinted. The Liceo of Bologna possesses the manuscripts of two oratorios; and a requiem, with some other pieces of church music, are now in Vienna. ''Litaniae atque antiphonae finales B. V. Mariae'' were published at Bologna in 1734, as also twelve ''Sonate d'intavolalura''; six ''Sonate per l'organo ed il cembalo'' in 1747; and ''Duetti da camera'' in 1763. Martini's most important works are his ''Storia della musica'' (Bologna, 1757-1781) and his ''Esemplare di contrappunto'' (Bologna, 1774-1775). The former, of which the three published volumes relate wholly to ancient music, and thus represent a mere fragment of the author's vast plan, exhibits immense reading and industry, but is written in a dry and unattractive style, and is overloaded with matter which cannot be regarded as historical. At the beginning and end of each chapter occur puzzle-canons, wherein the primary part or parts alone are given, and the reader has to discover the canon that fixes the period and the interval at which the response is to enter. Some of these are exceedingly difficult, but [[Maria Luigi Carlo Zenobio Salvatore Cherubini|Luigi Cherubini]] solved the whole of them.

The ''Esemplare'' is a learned and valuable work, containing an important collection of examples from the best masters of the old Italian and Spanish schools, with excellent explanatory notes. It treats chiefly of the tonalities of the plain chant, and of counterpoints constructed upon them. Besides being the author of several controversial works, Martini drew up a ''Dictionary of Ancient Musical Terms'', which appeared in the second volume of GB Doni's Works; he also published a treatise on ''The Theory of Numbers as Applied to Music''. His celebrated canons, published in London, about 1800, edited by Pio Cianchettini, show him to have had a strong sense of musical humour.

Professor Peter Shickele, in his satirical &quot;study&quot; of the life of the fictitious P.D.Q. Bach has &quot;found&quot; that P.D.Q. Bach's second phase of life, the soused period, was shaped in part by Padre Martini (and further by his association with Thomas Collins).  

==External links==
*{{IckingArchive|idx=Martini|name=Giovanni Battista Martini}}
*More information, including full text, of Martini's [http://www.library.unt.edu/music/virtual/Martini_Storia/background.html Storia della musica] in the University of North Texas Music Library's Virtual Rare Book Room
*{{IMSLP|id=Martini, Giovanni Battista}}

==References==
*{{1911}}

==Sources==
*Sadie, S. (ed.) (1980) ''The New Grove Dictionary of Music &amp; Musicians'', [vol. # 11].
*Elisabetta Pasquini, ''Gimbattista Martini''. Palermo, L'Epos, 2007. ISBN 978-88-8302-343-9

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[[de:Giovanni Battista Martini]]
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  <page>
    <title>Antoine-Frédéric Gresnick</title>
    <id>15560861</id>
    <revision>
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      <contributor>
        <username>Dmr2</username>
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      <comment>rv to last version by BenzolBot</comment>
      <text xml:space="preserve">'''Antoine-Frédéric Gresnick''' ([[March 2]], [[1755]] - [[October 16]], [[1799]]) was a [[Belgium|Belgian]] [[Classical period (music)|classical]] [[composer]]. He was born in [[Liège]] in [[1755]] before studying music in [[Naples]]. By [[1780]] Gresnick was working in [[Lyons]] and, after visiting [[Berlin]] and [[London]], he moved in [[1794]] to [[Paris]] where he died in [[1799]]. He is chiefly remembered for writing [[opera buffa]], of which he wrote at least 23.

==Famous works==
*''Alceste'', a 1786 opera
*''L'amour de Cythère exilé'', a 1793 opera

{{DEFAULTSORT:Gresnick, Antoine-Frederic}}
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  <page>
    <title>François Rebel</title>
    <id>16086165</id>
    <revision>
      <id>280469669</id>
      <timestamp>2009-03-29T18:48:49Z</timestamp>
      <contributor>
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      <minor/>
      <comment>Disambiguate [[Paris Opera]] to [[Académie Royale de Musique]], rm defaultsort (handled by Lifetime template)</comment>
      <text xml:space="preserve">:''For Rebel's father, also a composer, see [[Jean-Féry Rebel]]''

'''François Rebel''' (19 June 1701{{ndash}} 7 November 1775) was a [[France|French]] composer of the [[Baroque music|Baroque]] era. Born in [[Paris]], the son of the leading composer [[Jean-Féry Rebel]], he was a child prodigy who became a violinist in the orchestra of the [[Académie Royale de Musique|Paris Opera]] at the age of 13. As a composer he is best known for his close collaboration with [[François Francoeur]] (see that page for further details of their works).

==Sources==
*''The Viking Opera Guide'' ed. Holden (1993)

==External links==
* [http://www.hoasm.org/VIIC/RebelF.html Biography at hoasm.org]
* [http://www.speedylook.com/Fran%C3%A7ois_Rebel.html Biography at speedylook.com]

{{France-composer-stub}}

{{Lifetime|1701|1775|Rebel, Francois}}
[[Category:French composers]]
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[[fr:François Rebel]]
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  <page>
    <title>Christoph Willibald Gluck</title>
    <id>99636</id>
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      <id>312276893</id>
      <timestamp>2009-09-07T00:13:32Z</timestamp>
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      <comment>/* Early years */ wfy family</comment>
      <text xml:space="preserve">{{redirect|Gluck}}
[[Image:Joseph-Sifrède Duplessis 001.jpg|thumb|right|Gluck, detail of a portrait by [[Joseph Duplessis]], dated 1775 ([[Kunsthistorisches Museum]], [[Vienna]])]]

'''Christoph Willibald Ritter von Gluck''' (2 July 1714 &amp;ndash; 15 November 1787) was an [[opera]] [[composer]] of the early classical period. After many years at the [[House of Habsburg|Habsburg]] court at [[Vienna]], Gluck brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them ''[[Orfeo ed Euridice]]'' and ''[[Alceste (Gluck)|Alceste]]'', he broke the stranglehold that [[Metastasio|Metastasian]] ''[[opera seria]]'' had enjoyed for much of the century.

The strong influence of [[French opera]] in these works encouraged Gluck to move to Paris, which he did in November 1773. Fusing the traditions of [[Italian opera]] and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages. One of the last of these, ''[[Iphigénie en Tauride]]'', was a great success and is generally acknowledged to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute, and after the poor reception of his ''[[Echo et Narcisse]]'', he left Paris in disgust and returned to Vienna to live out the remainder of his life.

==Early years==
Gluck was born in [[Erasbach]] (now a district of [[Berching]], Bavaria) the first of 6 surviving children. His father, Alexander Johannes, came from a long line of foresters, and married Gluck's mother, Maria Walburga, in about 1711. During 1717 the family moved to [[Bohemia]], where the father became head forester in the service of Prince Philipp Hyazinth [[House of Lobkowicz|von Lobkowitz]] in 1727. According to J.C. von Mannlich, who shared rooms with Gluck in Paris, it was as a Bohemian schoolboy that Gluck received his first musical training, both as a singer in the church choir and by learning. Gluck later wrote:{{quote|My father was a head forester in [Eisenberg] in Bohemia and he had brought me up to follow in his footsteps. At that time music was all the rage. Unfortunately, inflamed with a passion for this art, I soon made astounding progress and was able to play several instruments. My whole being became obsessed with music and I left all thoughts of a forester's life behind.&quot;}}

A childhood flight from home to [[Vienna]] is included in several contemporary accounts of Gluck's life, including Mannlich's, but recent scholarship has cast doubt on Gluck's picturesque tales of earning food and shelter by his singing as he travelled. Most now claim that, if this incident happened at all, it occurred later, and the object of Gluck's journeying was not Vienna but [[Prague]], and connected to his studies at the University of Prague, where according to early biographies he began studying logic and mathematics in 1731. At this time the University boasted a flourishing musical scene that included performances of both Italian opera and [[oratorio]]. Gluck eventually left Prague without taking a degree, and vanishes from the historical record until 1737, a possible year (likely to have been 1736) in Vienna apart.

==Italy==
In 1737 Gluck arrived in [[Milan]], where he studied under [[Giovanni Battista Sammartini|G.B. Sammartini]], who, according to Carpani, taught Gluck &quot;practical knowledge of all the instruments&quot;. Apparently this relationship lasted for several years. Sammartini was not, primarily, a composer of opera, his main output being of sacred music and symphonies, but Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming [[opera house]]s, the [[Teatro Regio Ducal]], where his first opera, ''Artaserse'', was performed on 26 December 1741. Set to a libretto by Metastasio, the opera opened the Milanese Carnival of 1742. According to one anecdote, the public would not accept Gluck's style until he inserted an [[aria]] in the lighter Milanese manner for contrast.

Nevertheless, Gluck composed an opera for each of the next four Carnivals at Milan, with renowned [[castrato]] [[Giovanni Carestini]] appearing in many of the performances, so the reaction to ''Artaserse'' is unlikely to have been completely unfavourable. He also wrote operas for other cities of Northern Italy in between Carnival seasons, including [[Turin]] and [[Venice]], where his ''Ipermestra'' was given during November 1744 at the [[Teatro San Giovanni Grisostomo]]. Nearly all of his operas in this period were, like ''Artaserse'', set to Metastasio's texts, despite the poet's dislike for his style of composition.

==Travels: 1745–1752==
In 1745 Gluck accepted an invitation to become house composer at [[London]]'s King's Theatre, probably travelling to England via Frankfurt. The timing was poor, as the [[Jacobite rising|Jacobite Rebellion]] had caused much panic in London, and for most of the year the King's Theatre was shut. Gluck's two London operas, (''La caduta de'giganti'' and ''Artamene'') eventually performed in 1746, contained much borrowing from his earlier works, a method that was to re-occur throughout his career. Six trio sonatas were the other immediate fruits of his time in London. A more long-term benefit was exposure to the music of [[George Frideric Handel|Handel]], whom he later accounted a great influence on his style, and the naturalistic acting style of [[David Garrick]]. Handel's own experience of Gluck pleased that composer less — [[Charles Burney]] reports Handel as saying that &quot;he [Gluck] knows no more of contrapunto, as mein cook, Waltz&quot;.

The years 1747 and 1748 brought Gluck two highly prestigious engagements. First came a commission to produce an opera for Dresden, performed by [[Pietro Mingotti]]'s troupe, to celebrate a royal double wedding that would unite the ruling families of Bavaria and Saxony. ''Le nozze d'Ercole e d'Ebe'', a ''[[festa teatrale]]'', borrowed heavily from earlier works, and even from Gluck's teacher Sammartini. The success of this work brought Gluck to the attention of the Viennese court, and, ahead of such a figure as [[Johann Adolph Hasse]], he was selected to set Metastasio's ''Semiramide riconosciuta'' to celebrate [[Maria Theresa of Austria|Maria Theresa]]'s birthday. [[Vittoria Tesi]] took the title role. On this occasion Gluck's music was completely original, but the displeasure of Metastasio, the court poet, who called the opera &quot;''archvandalian'' music&quot;, probably explains why Gluck did not remain long in Vienna despite the work's enormous popular success (it was performed 27 times to great acclaim). For the remainder of 1748 and 1749 Gluck travelled with Mingotti's troupe, contracting a venereal disease from the ''prima donna'' and composing the opera ''La contesa de' numi'' for the court at [[Copenhagen]].

In 1750 he abandoned Mingotti's group for another company established by a former member of the Mingotti troupe, [[Giovanni Battista Locatelli]]. The main effect of this was that Gluck returned to Prague on a more consistent basis. For the Prague Carnival of 1750 Gluck composed a new opera, ''Ezio'' (again set to one of Metastasio's works), and his ''Ipermestra'' was also performed in the same year. The other major event of Gluck's stay in Prague, on 15 September 1750, was his marriage to Maria Anna Bergin, aged 18 years old, the daughter of a long-dead rich Viennese merchant. The marriage brought Gluck financial security, and he seems to have spent most of 1751 commuting between Prague and Vienna.

The year 1752 brought another major commission to Gluck, when he asked to set Metastasio's ''La clemenza di Tito'' (the specific libretto was the composer's choice) for the nameday celebrations of King [[Charles III of Spain]], held at [[Naples]]. The opera was performed on 4 November at the [[Teatro di San Carlo]], and the world-famous [[mezzo-soprano]] [[castrato]] [[Caffarelli (castrato)|Caffarelli]] (Gaetano Majorano) took the role of Sextus. For Caffarelli Gluck composed the famous, but notoriously dissident, aria &quot;Se mai senti spirarti sul volto&quot;, that provoked widespread admiration and equally widespread vituperation in equal measure. Gluck later reworked this aria for his ''[[Iphigénie en Tauride]]'', which, according to one account, the Neapolitan composer Francesco Durante claimed that his fellow composers &quot;should have been proud to have conceived and written&quot;. Durante simultaneously declined to comment concerning whether the aria was within the boundaries of the accepted compositional rules of the time.

==Vienna==
Gluck finally settled in Vienna where he became [[Kapellmeister]]. He wrote ''Le Cinesi'' for a festival in 1754 and ''La Danza'' for the birthday of the future [[Leopold II, Holy Roman Emperor|Emperor Leopold II]] the following year. After his opera ''Antigono'' was performed in [[Rome]] in February, 1756, Gluck was made a [[Order of the Golden Spur|Knight of the Golden Spur]] by [[Pope Benedict XIV]]. From that time on, Gluck used the title &quot;Ritter von Gluck&quot; or &quot;Chevalier de Gluck&quot;.

Gluck turned his back on Italian [[opera seria]] and began to write [[opéra comique]]s. In 1761, Gluck produced the groundbreaking ballet ''[[Don Juan (Gluck)|Don Juan]]'' in collaboration with the choreographer [[Gasparo Angiolini]]. The climax of Gluck's [[opéra comique]] writing was ''[[La rencontre imprévue]] ''of 1764. By that time, Gluck was already engaged in his operatic reforms.

==Operatic reforms==
Gluck had long pondered the fundamental problem of form and content in opera. He thought both of the main Italian operatic genres — [[opera buffa]] and [[opera seria]] — had strayed too far from what opera should really be. They seemed unnatural, the singing in opera seria was devoted to superficial effects, the content was uninteresting and fossilised. Opera buffa had long lost its original freshness, its jokes were threadbare, the repetition of the same characters made them seem no more than stereotypes. In opera seria too, the singers were effectively absolute masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions, and making words and music of equal importance.

In Vienna, Gluck met likeminded figures in the operatic world: Count [[Giacomo Durazzo]], the head of the court theatre, who was a passionate admirer of French stage music; the librettist [[Ranieri de' Calzabigi]], who wanted to attack the dominance of [[Metastasio|Metastasian]] [[opera seria]]; the innovative choreographer [[Gasparo Angiolini]]; and the London-trained [[castrato]] [[Gaetano Guadagni]]. 

The first result of the new thinking was Gluck's reformist ballet ''Don Juan'', but a more important work was soon to follow. On [[5 October]] [[1762]], ''[[Orfeo ed Euridice]]'' was given its first performance, with music by Gluck to words by Calzabigi. The dances were arranged by Angiolini and the title role was taken by Guadagni. ''Orfeo'' showed the beginnings of Gluck's reforms and the opera has never left the standard repertory. Gluck's idea was to make the drama of the work more important than the star singers who performed it, and to do away with dry [[recitative]] (recitativo secco, accompanied only by [[Figured bass|continuo]]) which broke up the action. The more flowing and dramatic style which resulted has been seen as a precursor to the music dramas of [[Richard Wagner]].

Gluck and Calzabigi followed ''Orfeo'' with ''[[Alceste (Gluck)|Alceste]] ''(1767) and ''[[Paride ed Elena]] ''(1770), pushing their innovations even further. Calzabigi wrote a preface to Alceste, which Gluck signed, setting out the principles of their reforms.

==Paris==
Gluck now began to spread his ideas to France. Under the patronage of his former music pupil, [[Marie Antoinette]], who had married the future French king [[Louis XVI]] in 1770, Gluck signed a contract for six stage works with the management of the Paris Opéra. He began with ''[[Iphigénie en Aulide]]'' ([[19 April]] [[1774]]). The premiere sparked a huge controversy, almost a war, such as had not been seen in the city since the [[Querelle des Bouffons]]. Gluck's opponents brought the leading Italian composer, [[Niccolò Piccinni]], to Paris to demonstrate the superiority of [[Naples|Neapolitan]] opera and the &quot;whole town&quot; engaged in an argument between &quot;Gluckists&quot; and &quot;Piccinnists&quot;. The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to ''[[Roland (Lully)|Roland]]'', on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point. 

On 2 August 1774 the French version of ''[[Orfeo ed Euridice]]'' was performed, with the title role transposed from the castrato to the tenor voice. This time Gluck's work was better received by the Parisian public. In the same year Gluck returned to Vienna where he was appointed composer to the imperial court. Over the next few years the now internationally famous composer would travel back and forth between Paris and Vienna. On 23 April 1776, the French version of ''[[Alceste (Gluck)|Alceste]] ''was given. 

Gluck also wrote ''[[Armide (Gluck)|Armide]]'' (1777), ''[[Iphigénie en Tauride]] ''(1779) and ''[[Echo et Narcisse]]'' for Paris. During the rehearsals for ''[[Echo et Narcisse]]'' , Gluck suffered his first stroke. Since the opera itself was a complete failure, Gluck decided to return to Vienna.

His musical heir in Paris was the composer [[Antonio Salieri]], who had been Gluck's [[protegé]] since he arrived in Vienna in 1767, and later had made friends with Gluck. Gluck brought Salieri to Paris with him and bequeathed him the libretto for ''[[Les Danaïdes]]'' by Leblanc du Roullet and Baron Tschudi. The opera was announced as a collaboration between the two composers; however, after the overwhelming success of its premiere on [[26 April]] [[1784]], Gluck revealed to the prestigious ''Journal de Paris'' that the work was wholly Salieri's.

==Last years==
In Vienna Gluck wrote a few more minor works but he generally lived in retirement. In 1781 he brought out a German version of ''[[Iphigénie en Tauride]]'' and other operas of his enjoyed great popularity in Vienna.

On 15 November 1787, in [[Vienna]], Gluck suffered another stroke and died a few days later. At a formal commemoration on 8 April 1788 his friend and pupil Salieri conducted Gluck's ''[[Psalm 130|De profundis]]'' and a [[requiem]] by the Italian composer [[Niccolò Jommelli]] was given. Like many other prominent musicians and painters, Gluck was buried in the Matzleinsdorfer Friedhof. When this cemetery was turned into a park in 1923, Gluck's remains were transferred to a tomb in the Vienna [[Zentralfriedhof]].

Gluck's musical legacy was around 35 complete operas, together with numerous ballets and instrumental works. His reforms influenced [[Wolfgang Amadeus Mozart|Mozart]], particularly his opera ''[[Idomeneo]]'' (1781). Gluck left behind a flourishing school of disciples in Paris, who would dominate the French stage throughout the Revolutionary and Napoleonic period. As well as Salieri, they included [[Antonio Sacchini|Sacchini]], [[Luigi Cherubini|Cherubini]], [[Étienne Méhul|Méhul]] and [[Gaspare Spontini|Spontini]]. Gluck's greatest French admirer would be [[Hector Berlioz]], whose epic ''[[Les Troyens]]'' may be seen as the culmination of the Gluckian tradition. Though Gluck wrote no operas in German, his example influenced the German school of opera, particularly [[Carl Maria von Weber|Weber]] and [[Richard Wagner|Wagner]], whose concept of music drama was not so far removed from Gluck's own.

==Works==
===Operas===
See '''[[List of operas by Gluck]]'''

===Ballets===
See '''[[List of ballets by Christoph Willibald Gluck|List of ballets by Gluck]]'''

==Sources==
*{{GroveOnline|Christoph Willibald Ritter von Gluck|Bruce Alan Brown, Julian Rushton|11 November|2007}}
* Bruce Alan Brown: ''Gluck and the French Theatre in Vienna.'' Oxford: [[Clarendon Press]] 1991
*This article incorporates material from the German version of Wikipedia

==Further reading==
*A. A. Abert: Christoph Willibald Gluck (Munich, 1959)
*P. Howard: Gluck and the Birth of Modern Opera (London, 1963)
*W. Felix: Christoph Willibald Gluck (Leipzig, 1965)
*D. Heartz: &quot;From Garrick to Gluck: the Reform of Theatre and Opera in the Mid-Eighteenth Century&quot;, PRMA, xciv (1967–8), 111–27
*J. Rushton: &quot;The Musician Gluck&quot;, MT, cxxvi (1987), 615–18
*J. Kerman: Opera as Drama (New York, 1956, 2/1989)
*F. W. Sternfeld: &quot;Expression and Revision in Gluck&quot;s Orfeo and Alceste&quot;, Essays Presented to Egon Wellesz (Oxford, 1966), 114–29
*P. Howard: &quot;“Orfeo” and “Orphée”&quot;, MT, cviii (1967), 892–4
*P. Howard: &quot;Gluck&quot;s Two Alcestes: a Comparison&quot;, MT, cxv (1974), 642–3
*O. F. Saloman: Aspects of Gluckian Operatic Thought and Practice in France (diss., Columbia U., 1970)
*J. Rushton: &quot;Iphigénie en Tauride: the Operas of Gluck and Piccinni&quot;, ML, liii (1972), 411–30
*M. Noiray: Gluck&quot;s Methods of Composition in his French Operas &quot;Iphigénie en Aulide&quot;, &quot;Orphée&quot;, &quot;Iphigénie en Tauride&quot; (diss., U. of Oxford, 1979
*P. Howard: &quot;Armide: a Forgotten Masterpiece&quot;, Opera, xxx (1982), 572–6
*J. Rushton: &quot;“Royal Agamemnon”: the Two Versions of Gluck&quot;s Iphigénie en Aulide&quot;, Music and the French Revolution, ed. M. Boyd (Cambridge, 1992), 15–36
*P. Howard: ''Christoph Willibald Gluck: A Guide to Research''. (London, Routledge, 2003)

==External links==
{{Commonscat|Christoph Willibald Gluck}}
*{{ChoralWiki}}
*{{IckingArchive|idx=Gluck|name=Christoph Willibald Gluck}}
*{{IMSLP|id=Gluck%2C_Cristoph_Willibald|cname=Christoph Willibald Gluck}}

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  <page>
    <title>Jan Zach</title>
    <id>313208</id>
    <revision>
      <id>271644387</id>
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      <contributor>
        <username>J.delanoy</username>
        <id>2372780</id>
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      <minor/>
      <comment>Reverted edits by [[Special:Contributions/170.211.97.189|170.211.97.189]] to last revision by RussBot ([[WP:HG|HG]])</comment>
      <text xml:space="preserve">'''Jan Zach''' (13 November 1699 [[Čelákovice]] &amp;ndash; 24 May 1773 [[Ellwangen]])&lt;ref name=&quot;artabio&quot;&gt;{{cite web|title=Zach Biography|publisher=Arta Records|url=http://arta.cz/index.php?p=f10033en&amp;site=en|accessdate=2007-12-31}}&lt;/ref&gt; was a [[Czech people|Czech]] [[composer]], [[violin]]ist and [[organist]].

In 1737 Zach applied for the position of music director at [[St. Vitus Cathedral]] in [[Prague]].  He was not accepted for this position, and in 1745&lt;ref name=&quot;artabio&quot; /&gt; he left Prague to become [[kapellmeister]] for [[Mainz|Mainz's]] Prince Elector.  He was suspended from this position in 1750&lt;ref name=&quot;artabio&quot; /&gt;, though he still had employment with the court for six years.

From 1756 onwards, Zach did not have steady employment, and supported himself by traveling through [[Europe]], particularly [[Italy]], [[Germany]], and [[Austria]], selling his compositions.

Zach's early compositions were written in the [[Baroque music|Baroque]] style.  Later, however, Zach's preference tended toward the style of the emerging [[Classical music era]].

==Compositions==
*At least 36 [[symphony|symphonies]] &lt;ref name=&quot;artabio&quot; /&gt;&lt;ref name=&quot;haendel&quot;&gt;{{cite web|title=Biography with Worklist and Discography|language=Italian|publisher=Haendel.it|url=http://www.haendel.it/compositori/zach.htm|date=2004|accessdate=2007-12-31}}&lt;/ref&gt;  
*14 [[concerto]]s, including five for keyboard&lt;ref name=&quot;haendel&quot; /&gt;
*various [[chamber music|chamber pieces]]
*approximately 30 [[Mass (music)|masses]]
*other religious works.

==References==
{{reflist}}

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  <page>
    <title>Johann Friedrich Agricola</title>
    <id>15963</id>
    <revision>
      <id>310922752</id>
      <timestamp>2009-08-30T18:02:38Z</timestamp>
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        <username>Xqbot</username>
        <id>8066546</id>
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      <comment>robot Modifying: [[he:יוהאן פרידריך אגריקולה]]</comment>
      <text xml:space="preserve">'''Johann Friedrich Agricola''' (4 January 1720 &amp;ndash; 2 December 1774) was a [[Germany|German]] [[composer]], [[organist]], [[singer]], [[pedagogue]], and [[writer]] on music. He sometimes wrote under the pseudonym '''Flavio Anicio Olibrio'''.

==Biography==
Agricola was born in [[Dobitschen]], [[Thuringia]]. While a student of law at [[Leipzig]] he studied music under [[Johann Sebastian Bach]]. In 1741 he went to [[Berlin]], where he studied musical composition under [[Johann Joachim Quantz]]. 

He was soon generally recognized as one of the most skillful organists of his time. The success of his comic opera, ''Il Filosofo convinto in amore'', performed at [[Potsdam]] in 1750, led to an appointment as court composer to [[Frederick the Great]]. In 1759, on the death of [[Karl Heinrich Graun]], he was appointed conductor of the royal orchestra. He married the noted operatic soprano Benedetta Emilia Molteni, a marriage of which the king apparently disapproved. Agricola died in Berlin at 54. 

During his lifetime, Agricola wrote a number of Italian operas, as well as ''[[lieder]],'' [[chorale]] preludes, various other keyboard pieces and church music, especially [[oratorio]]s and [[cantata]]s. His reputation chiefly rests, however, on his theoretical and critical writings on musical subjects. In 1754 he co-wrote with [[Carl Philipp Emanuel Bach]] an obituary for J.S. Bach. His 1757 ''Anleitung zur Singekunst'' (''Introduction to the Art of Singing'') is a translation of [[Pier Francesco Tosi]]'s 1723 treatise ''Opinioni de' cantori antichi e moderni'' with Agricola's own extensive comments.

==External links==
*{{WIMA|idx=J.F.Agricola|name=Johann Friedrich Agricola}}
*{{1911|url=http://www.1911encyclopedia.org/Johann_Friedrich_Agricola}}

{{Berlin State Opera conductors}}

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  <page>
    <title>Franz Ignaz von Beecke</title>
    <id>3746956</id>
    <revision>
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      <comment>add [[Category:Articles lacking sources (Erik9bot)]]</comment>
      <text xml:space="preserve">'''Franz Ignaz von Beecke''' (October 28, 1733 &amp;ndash; January 2, 1803) was a [[European classical music|classical]] music [[composer]] born in [[Wimpfen am Neckar]], Germany.

Von Beecke served in the Bavarian Dragoon Regiment of [[Zollern]] from 1756, during which time he fought in the [[Seven Years' War]]. He was known at the time chiefly for his great skill in playing the [[harpsichord]], although he composed a wide range of music as well, having studied with [[Christoph Willibald Gluck]]. He died in [[Wallerstein]], Germany.

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    <title>Leopold Kozeluch</title>
    <id>5551845</id>
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      <comment>/* Works */[[WP:CHECKWIKI|WikiProject Check Wikipedia]] cleanup (break in list) and general fixes</comment>
      <text xml:space="preserve">[[File:Kozeluh349.jpg|thumb|upright|200px|Portrait of Leopold Koželuh by W. Ridley]]
'''Leopold Kozeluch''' (born ''Jan Antonín Koželuh'', alternatively also ''Leopold Koželuh'', ''Leopold Kotzeluch'') ([[June 26]] [[1747]] &amp;ndash; [[May 7]] [[1818]]) was a [[Czech people|Czech]] composer and teacher of [[classical music]].  He was born in the city of [[Velvary]], in [[Bohemia]] (present-day [[Czech Republic]]).

==Life==

Kozeluch was the son of the shoemaker Antonín Bartholomäus Koželuh.  The composer [[Jan Antonín Koželuh]] was his cousin and for a while his teacher. Later, the pianist Katharina Kozeluch was his daughter. To avoid confusion with his cousin, he changed his name in 1774. His teachers in the 1770s also included [[František Xaver Dušek]].

In 1771 he contributed his first work, a ballet, to the National Theater in Prague, and in the coming seasons wrote 25 works for them. In 1778 he went to Vienna, and was likely for a short while a student of [[Johann Georg Albrechtsberger]].

Already after this short while, Kozeluch had also entered the ranks of acclaimed pianists. The imperial court gave him the position that had belonged to [[Georg Christoph Wagenseil]] as teacher to the Archduchess Elisabeth, the daughter of [[Maria Theresa of Austria]]. He was offered [[Wolfgang Amadeus Mozart|Wolfgang Mozart]]'s position in Salzburg when Mozart left that office in 1781, but refused. He did however accept the position of court composer in Prague that Mozart's death left open in 1792.

Kozeluch also joined [[Freemasonry]] around the 1790s, in a lodge in Vienna.
He experienced during his lifetime acceptance of his work in all of Europe; in his last years however the criticism that he was too prolific became heard more often. Criticisms of his work by Mozart and Beethoven are still remembered. Many works of his point in the direction of musical [[romantic music|romanticism]], while there is a deliberately reactionary thread running through other works as shown by his continuing use of the term &quot;[[trio sonata]]&quot; to describe his [[piano trio]]s.

==Works==

Kozeluch left around 400 compositions. Among these there are about thirty [[symphony|symphonies]], twenty-two [[piano concerto]]s, including a concerto for piano four-hands, arguably one of the best examples of this rare genre, two [[clarinet concerto]]s, twenty-four [[violin sonata]]s, sixty-three [[piano trio]]s, six [[string quartet]]s, two [[oratorio]]s (one of which, ''Moses in Ägypten'', has recently been produced and recorded), nine [[cantata]]s and various liturgical works.  Among his music there are also operas and works for ballet, which-- with the exception of one opera &lt;!--(the site from which this information seems to be available is down, but a Google cache suggests that it is ''Gustav Wasa'' - the other operas are listed as lost, but the prelude to Gustav Wasa, written around 1792, has been recorded and is sometimes broadcast)--&gt; -- have yet to be heard in recent years.  Numerous arrangements by him of Scottish songs for the Edinburgh collector George Thomson were popular, and some of these have also been recorded.

His works are currently cataloged using Postolka numbers, after the work of the musicologist Milan Poštolka.

'''Symphonies &amp; Overtures'''
* P I: 1 \ Symphony in D major &quot;L'Arlechino&quot;
* P I: 2 \ Symphony in C major
* P I: 3 \ Symphony in D major Op. 22 No. 1
* P I: 4 \ Symphony in F major Op. 22 No. 2
* P I: 5 \ Symphony in G minor Op. 22 No. 3
* P I: 6 \ Symphony in C major Op. 24 No. 1
* P I: 7 \ Symphony in A major Op. 24 No. 2
* P I: 8 \ Symphony in G major Op. 24 No. 3
* P I: 9 \ Symphony in C major
* P I:10 \ Symphony in A major &quot;A la Française&quot;
* P I:11 \ Symphony in B flat major &quot;L'irresoluto&quot;
* P I:A1 \ Symphony in A major
* P I:D1 \ Symphony in D major (lost)
* P I:D2 \ Symphony in D major
* P I:D3 \ Symphony in D major
* P I:E1 \ Symphony in E major
* P I:F1 \ Symphony in F major
* P I:G1 \ Symphony in G major
* P II:1 \ Sinfonia concertante in E flat major
* P II:2 \ Sinfonia concertante in C major
* P III:1 \ Overture in G major
* P III:1 \ Overture Op. 9 in G major
* P III:2 \ Overture in D major

'''Concertos'''
* P IV: 1 \ Keyboard Concerto Op. 12 in F major
* P IV: 2 \ Keyboard Concerto Op. 13 in B flat major
* P IV: 3 \ Keyboard Concerto Op. 11 in G major
* P IV: 4 \ Keyboard Concerto Op. 16 in A major
* P IV: 5 \ Keyboard Concerto Op. 15 in E flat major
* P IV: 6 \ Keyboard Concerto in C major
* P IV: 7 \ Keyboard Concerto Op. 25 in D major
* P IV: 8 \ Concerto for keyboard 4 hands in B flat major
* P IV: 9 \ Harpsichord Concerto in D major
* P IV:10 \ Harpsichord Concerto in D major
* P IV:11 \ Rondo Concerto for harpsichord in E flat major
* P IV:12 \ Harpsichord Concerto in E major
* P IV:13 \ Harpsichord Concerto in F major
* P IV:14 \ Keyboard Concerto in F major
* P IV:15 \ Keyboard Concerto Op. 36 in C major
* P IV:16 \ Keyboard Concerto Op. 45 in E flat major
* P IV:17 \ Piano Concerto in C major
* P IV:18 \ Piano Concerto in C major
* P IV:19 \ Fantasia for piano &amp; orchestra in D minor
* P IV:20 \ Harpsichord Concerto in E major
* P IV:D1 \ Harpsichord Concerto in D major
* P IV:D2 \ Piano Concerto in D major
* P IV:F1 \ Harpsichord Concerto in F major
* P V: 1 \ Clarinet Concerto in E flat major
* P V: 2 \ Clarinet Concerto in E flat major
* P V: 3 \ Sonata for clarinet &amp; orchestra in E flat major
* P V:B1 \ Bassoon Concerto in B flat major
* P V:C1 \ Bassoon Concerto in C major

'''Serenades &amp; Parthias'''
* P VI: 1 \ Serenade Op. 11 No. 1 in D major
* P VI: 2 \ Serenade Op. 11 No. 2 in E flat major
* P VI: 3 \ Parthia in F major
* P VI: 4 \ Divertimento for wind quintet in D major
* P VI: 5 \ Divertimento for wind quintet in D major
* P VI: 6 \ Notturno in D major
* P VI: 7 \ Divertimento for wind quintet in E flat major
* P VI: 8 \ Parthia in F major
* P VI: 9 \ Divertimento for piano &amp; winds in E flat major
* P VI:10 \ Divertimento for piano &amp; winds in E flat major
* P VI:B1 \ Parthia a la Camera in B flat major
* P VI:B2 \ Parthia a la Camera in B flat major
* P VI:B3 \ Parthia a la Camera in B flat major
* P VI:c1 \ Parthia a la Camera in C minor
* P VI:d1 \ Parthia a la Camera in D minor
* P VI:D1 \ Wind Symphony in D major
* P VI:d2 \ Parthia a la Camera in D minor
* P VI:Es1 \ Cassation in E flat major
* P VI:Es2 \ Wind quintet in E flat major
* P VI:Es3 \ Parthia in E flat major
* P VI:F1 \ Parthia in F major (lost)

'''Dances &amp; Marches'''
* P VII:1 \ 6 Contredanses
* P VII:2 \ 12 German Dances
* P VII:3 \ 15 German Dances
* P VII:4 \ 15 German Dances
* P VII:5 \ 12 German Dances
* P VII:6 \ March for Wiener Freykorps in C major

'''String Quartets'''
* P VIII:1 \ String Quartet Op. 32 No. 1 in B flat major
* P VIII:2 \ String Quartet Op. 32 No. 2 in G major
* P VIII:3 \ String Quartet Op. 32 No. 3 in E flat major
* P VIII:4 \ String Quartet Op. 33 No. 1 in C major
* P VIII:5 \ String Quartet Op. 33 No. 2 in A major
* P VIII:6 \ String Quartet Op. 33 No. 3 in F major

'''Keyboard Trios'''
* P IX: 1 \ Piano Trio Op. 3 No. 1 in D major
* P IX: 2 \ Piano Trio Op. 3 No. 2 in F major
* P IX: 3 \ Piano Trio Op. 3 No. 3 in E flat major
* P IX: 4 \ Piano Trio Op. 6 No. 1 in C major
* P IX: 5 \ Piano Trio Op. 6 No. 2 in G major
* P IX: 6 \ Piano Trio Op. 6 No. 3 in B flat major
* P IX: 7 \ Piano Trio Op. 21 No. 1 in C major
* P IX: 8 \ Piano Trio Op. 21 No. 2 in A major
* P IX: 9 \ Piano Trio Op. 21 No. 3 in E flat major
* P IX:10 \ Piano Trio Op. 23 No. 1 in G major
* P IX:11 \ Piano Trio Op. 23 No. 2 in C minor
* P IX:12 \ Piano Trio Op. 23 No. 3 in F major
* P IX:13 \ Piano Trio Op. 27 No. 1 in B flat major
* P IX:14 \ Piano Trio Op. 27 No. 2 in A major
* P IX:15 \ Piano Trio Op. 27 No. 3 in G minor
* P IX:16 \ Piano Trio Op. 28 No. 1 in E flat major
* P IX:17 \ Piano Trio Op. 28 No. 2 in D major
* P IX:18 \ Piano Trio Op. 28 No. 3 in E minor
* P IX:19 \ Piano Trio in G major
* P IX:20 \ Piano Trio in E flat major
* P IX:21 \ Piano Trio in C major
* P IX:22 \ Piano Trio in E flat major
* P IX:23 \ Piano Trio in F major
* P IX:24 \ Piano Trio Op. 34 No. 1 in B flat major
* P IX:25 \ Piano Trio Op. 34 No. 2 in G major
* P IX:26 \ Piano Trio Op. 34 No. 3 in C major
* P IX:27 \ Piano Trio Op. 36 in C major
* P IX:28 \ Piano Trio Op. 37 No. 1 in D major
* P IX:29 \ Piano Trio Op. 37 No. 2 in F major
* P IX:30 \ Piano Trio Op. 37 No. 3 in G major
* P IX:31 \ Piano Trio Op. 40 No. 1 in F major
* P IX:32 \ Piano Trio Op. 40 No. 2 in C major
* P IX:33 \ Piano Trio Op. 40 No. 3 in E minor
* P IX:34 \ Piano Trio Op. 41 No. 1 in B flat major
* P IX:35 \ Piano Trio Op. 41 No. 2 in D major
* P IX:36 \ Piano Trio Op. 41 No. 3 in G major
* P IX:37 \ Piano Trio Op. 44 No. 1 in F major
* P IX:38 \ Piano Trio Op. 44 No. 2 in G major
* P IX:39 \ Piano Trio Op. 44 No. 3 in D major
* P IX:40 \ Piano Trio Op. 46 No. 1 in G major
* P IX:41 \ Piano Trio Op. 46 No. 2 in B flat major
* P IX:42 \ Piano Trio Op. 46 No. 3 in F major
* P IX:43 \ Piano Trio Op. 47 No. 1 in C major
* P IX:44 \ Piano Trio Op. 47 No. 2 in A major
* P IX:45 \ Piano Trio Op. 47 No. 3 in G minor
* P IX:46 \ Piano Trio Op. 48 No. 1 in E flat major
* P IX:47 \ Piano Trio Op. 48 No. 2 in A major
* P IX:48 \ Piano Trio Op. 48 No. 3 in B flat major
* P IX:49 \ Piano Trio Op. 49 No. 1 in D major
* P IX:50 \ Piano Trio Op. 49 No. 2 in E flat major
* P IX:51 \ Piano Trio Op. 49 No. 3 in C major
* P IX:52 \ Piano Trio Op. 50 No. 1 in B flat major
* P IX:53 \ Piano Trio Op. 50 No. 2 in D major
* P IX:54 \ Piano Trio Op. 50 No. 3 in E flat major
* P IX:55 \ Piano Trio Op. 63 No. 1 in B flat major
* P IX:56 \ Piano Trio Op. 63 No. 2 in F major
* P IX:57 \ Piano Trio Op. 63 No. 3 in C major
* P IX:58 \ Piano Trio Op. 64 No. 1 in D major
* P IX:59 \ Piano Trio Op. 64 No. 2 in G major
* P IX:60 \ Piano Trio Op. 64 No. 3 in E flat major
* P IX:61 \ Piano Trio Op. 52 No. 1 in D major
* P IX:62 \ Piano Trio Op. 52 No. 2 in C major
* P IX:63 \ Piano Trio Op. 52 No. 3 in B flat major
* P IX:A1 \ Piano Trio in A major
* P IX:D1 \ Piano Trio in D major
* P IX:F1 \ Piano Trio in F major
* P IX:G1 \ Piano Trio in G major

'''Keyboard Sonatas'''
* P X: 1 \ Keyboard Sonata with violin in D major
* P X: 2 \ Keyboard Sonata with violin in F major
* P X: 3 \ Keyboard Sonata with violin in E flat major
* P X: 4 \ Keyboard Sonata with violin Op. 10 No. 1 in E flat major
* P X: 5 \ Keyboard Sonata with violin Op. 10 No. 2 in C major
* P X: 6 \ Keyboard Sonata with violin Op. 17 No. 1 in F minor
* P X: 7 \ Keyboard Sonata with violin Op. 17 No. 2 in A major
* P X: 8 \ Keyboard Sonata with violin Op. 17 No. 3 in E flat major
* P X: 9 \ Keyboard Sonata with violin in A major
* P X:10 \ Keyboard Sonata with violin Op. 20 No. 1 in D major (lost)
* P X:11 \ Keyboard Sonata with violin Op. 20 No. 2 in C major (lost)
* P X:12 \ Keyboard Sonata with violin Op. 20 No. 3 in G major (lost)
* P X:13 \ Keyboard Sonata with violin Op. 18 No. 1 in G minor
* P X:14 \ Keyboard Sonata with violin Op. 18 No. 2 in C major
* P X:15 \ Keyboard Sonata with violin Op. 18 No. 3 in A flat major
* P X:16 \ Keyboard Sonata with violin Op. 16 No. 1 in G major
* P X:17 \ Keyboard Sonata with violin Op. 16 No. 2 in C minor
* P X:18 \ Keyboard Sonata with violin Op. 16 No. 3 in F major
* P X:19 \ Keyboard Sonata with violin Op. 23 No. 1 in E major
* P X:20 \ Keyboard Sonata with violin Op. 23 No. 2 in G major
* P X:21 \ Keyboard Sonata with violin Op. 23 No. 3 in D major
* P X:22 \ Keyboard Sonata with violin Op. 23 No. 4 in B flat major
* P X:23 \ Keyboard Sonata with violin Op. 23 No. 5 in F minor
* P X:24 \ Keyboard Sonata with violin Op. 23 No. 6 in G major
* P XI:1 \ Sonata for keyboard 4 hands Op. 4 in F major
* P XI:2 \ Sonata for keyboard 4 hands Op. 8 No. 3 in B flat major
* P XI:3 \ Sonata for keyboard 4 hands Op. 19 in F major
* P XI:4 \ Sonata for keyboard 4 hands Op. 29 in B flat major
* P XI:5 \ Sonata for keyboard 4 hands Op. 12 No. 1 in C major
* P XI:6 \ Sonata for keyboard 4 hands Op. 12 No. 2 in F major
* P XI:7 \ Sonata for keyboard 4 hands Op. 12 No. 3 in D major
* P XII: 1 \ Harpsichord Sonata in F major
* P XII: 2 \ Keyboard Sonata in A major
* P XII: 3 \ Keyboard Sonata Op. 13 No. 1 in E flat major
* P XII: 4 \ Keyboard Sonata in F major
* P XII: 5 \ Keyboard Sonata in C major
* P XII: 6 \ Keyboard Sonata Op. 13 No. 3 in E minor
* P XII: 7 \ Keyboard Sonata Op. 13 No. 2 in G major
* P XII: 8 \ Keyboard Sonata Op. 1 No. 1 in F major
* P XII: 9 \ Keyboard Sonata Op. 1 No. 2 in E flat major
* P XII:10 \ Keyboard Sonata Op. 1 No. 3 in D major
* P XII:11 \ Keyboard Sonata Op. 2 No. 1 in B flat major
* P XII:12 \ Keyboard Sonata Op. 2 No. 2 in A major
* P XII:13 \ Keyboard Sonata Op. 2 No. 3 in C minor
* P XII:14 \ Keyboard Sonata in D major
* P XII:15 \ Keyboard Sonata Op. 8 No. 1 in E flat major
* P XII:16 \ Keyboard Sonata Op. 8 No. 2 in C major
* P XII:17 \ Keyboard Sonata Op. 15 No. 1 in G minor
* P XII:18 \ Keyboard Sonata Op. 15 No. 2 in C major
* P XII:19 \ Keyboard Sonata Op. 15 No. 3 in A flat major
* P XII:20 \ Keyboard Sonata Op. 17 No. 1 in F minor
* P XII:21 \ Keyboard Sonata Op. 17 No. 2 in A major
* P XII:22 \ Keyboard Sonata Op. 17 No. 3 in E flat major
* P XII:23 \ Keyboard Sonata Op. 20 No. 1 in F major
* P XII:24 \ Keyboard Sonata Op. 20 No. 2 in C major
* P XII:25 \ Keyboard Sonata Op. 20 No. 3 in D minor
* P XII:26 \ Keyboard Sonata Op. 26 No. 1 in D major
* P XII:27 \ Keyboard Sonata Op. 26 No. 2 in A minor
* P XII:28 \ Keyboard Sonata Op. 26 No. 3 in E flat major
* P XII:29 \ Keyboard Sonata Op. 30 No. 1 in B flat major
* P XII:30 \ Keyboard Sonata Op. 30 No. 2 in G major
* P XII:31 \ Keyboard Sonata Op. 30 No. 3 in C minor
* P XII:32 \ Keyboard Sonata Op. 35 No. 1 in F major
* P XII:33 \ Keyboard Sonata Op. 35 No. 2 in A major
* P XII:34 \ Keyboard Sonata Op. 35 No. 3 in G minor
* P XII:35 \ Keyboard Sonata Op. 38 No. 1 in E flat major
* P XII:36 \ Keyboard Sonata Op. 38 No. 2 in C major
* P XII:37 \ Keyboard Sonata Op. 38 No. 3 in F minor
* P XII:38 \ Piano Sonata Op. 51 No. 1 in E flat major
* P XII:39 \ Piano Sonata Op. 51 No. 2 in C minor
* P XII:40 \ Piano Sonata Op. 51 No. 3 in D minor
* P XII:41 \ Harpsichord Sonata in C major
* P XII:42 \ Harpsichord Sonata in E flat major
* P XII:43 \ Piano Sonata in B flat major (lost)
* P XII:44 \ Piano Sonata in A major (lost)
* P XII:45 \ Piano Sonata in E minor (lost)
* P XII:46 \ Keyboard Sonata in G major (lost)
* P XII:47 \ Keyboard Sonata in F major (lost)
* P XII:48 \ Keyboard Sonata in E flat major (lost)
* P XII:49 \ Piano Sonata in G major (lost)
* P XII:50 \ Piano Sonata in G major
* P XII:C1 \ Harpsichord Sonata in C major
* P XII:D1 \ Harpsichord Sonata in D major
* P XII:Es1 \ Harpsichord Sonata in E flat major
* P XII:Es2 \ Harpsichord Sonata in E flat major
* P XII:G1 \ Harpsichord Sonata in G major
* P XII:G2 \ Harpsichord Sonata in G major

'''Keyboard Pieces'''
* P XIII: 1 \ Andante &amp; March for harpsichord
* P XIII: 2 \ La Chasse for keyboard Op. 5 in B flat major
* P XIII: 3 \ Caprice for piano Op. 45 No. 1 in E flat major
* P XIII: 4 \ Caprice for piano Op. 45 No. 2 in B flat major
* P XIII: 5 \ Caprice for piano Op. 45 No. 3 in C minor
* P XIII: 6 \ Piece for piano Op. 43 No. 1 in A minor
* P XIII: 7 \ Piece for piano Op. 43 No. 2 in C major
* P XIII: 8 \ Piece for piano Op. 43 No. 3 in C major
* P XIII: 9 \ Piece for piano Op. 43 No. 4 in C major
* P XIII:10 \ Piece for piano Op. 43 No. 5 in F major
* P XIII:11 \ Piece for piano Op. 43 No. 6 in G major
* P XIII:12 \ Piece for piano Op. 43 No. 7 in G major
* P XIII:13 \ Piece for piano Op. 43 No. 8 in C major
* P XIII:14 \ Piece for piano Op. 43 No. 9 in A minor
* P XIII:15 \ Piece for piano Op. 43 No. 10 in B minor
* P XIII:16 \ Piece for piano Op. 43 No. 11 in D minor
* P XIII:17 \ Piece for piano Op. 43 No. 12 in E flat major
* P XIII:a1 \ Sicilienne for keyboard in A minor
* P XIII:C1 \ Bernoise for keyboard in C major
* P XIII:F1 \ La chasse au sanglier for keyboard in F major
* P XIII:g1 \ Pastorale for keyboard in G minor
* P XIII:G1 \ Romance for keyboard in G major
* P XIII:G2 \ Air cosaque for keyboard in G major
* P XIV: 1 \ 13 Menuets for harpsichord
* P XIV: 2 \ Menuetto angloise for harpsichord in F major
* P XIV: 3 \ Polonese for harpsichord in C major
* P XIV: 4 \ 9 Menuets for harpsichord
* P XIV: 5 \ 6 Contredanses for keyboard
* P XIV: 6 \ Wachtel Menuett for keyboard in F sharp minor
* P XIV: 7 \ 12 Menuets for keyboard
* P XIV: 8 \ 15 German Dances for keyboard
* P XIV: 9 \ 15 German Dances &amp; 6 Ecossaises for piano
* P XIV:10 \ Marsch für das Corps der Freywilligen des Handelstandes von Wien in C major
* P XIV:11 \ 12 German Dances for piano
* P XIV:C1 \ 12 Ländler for keyboard in C major
* P XIV:D1 \ 10 German Dances &amp; 12 Ländler for piano
* P XIV:Es1 \ 10 Ländler &amp; Coda for piano in E flat major
* P XIV:F1 \ 7 Polonaises for piano

'''Other Chamber Music'''
* P XV:1 \ Violin Duet in D major
* P XV:2 \ Violin Duet in B flat major
* P XV:3 \ Violin Duet in G major
* P XV:4 \ Trio for flute, violin &amp; cello in G major
* P XV:5 \ Hunting Fanfare for 3 horns in C major
* P XV:6 \ Duet for violin &amp; viola in D major
* P XV:7 \ Duet for flute &amp; cello in E minor
* P XV:8 \ Duet for flute &amp; cello in C major
* P XV:9 \ Duet for flute &amp; cello in D major

'''Oratorios'''
* P XVI:1 \ Moisè in Egitto
* P XVI:2 \ La Giuditta (lost)

'''Choral Pieces &amp; [[Part song|Part-songs]]'''
* P XVII:1 \ Chorus for La Galatea P XIX:7 in C major
* P XVIII:1 \ Notturno Op. 42 No. 1 in C minor
* P XVIII:2 \ Notturno Op. 42 No. 2 in G minor
* P XVIII:3 \ Notturno Op. 42 No. 3 in B flat major
* P XVIII:4 \ Notturno Op. 42 No. 4 in D minor
* P XVIII:5 \ Notturno Op. 42 No. 5 in E flat major
* P XVIII:6 \ Notturno Op. 42 No. 6 in C major
* P XVIII:B1 \ Quartet: Dum ti dum in B flat major

'''Secular Cantatas &amp; Arias'''
* P XIX:1 \ Denis Klage auf den Todt Marien Theresien
* P XIX:2 \ Cantata Op. 7: Quanto è mai tormentosa
* P XIX:3 \ Cantata Op. 11: Joseph, der Menschheit Segen
* P XIX:4 \ Cantata to Maria Theresia Paradis
* P XIX:5 \ Cantata Op. 8: Chloe, siehst du nicht voll grausen
* P XIX:6 \ Cantata for the Coronation of Leopold II
* P XIX:7 \ La Galatea (lost)
* P XIX:8 \ In un fiero contrasto
* P XIX:9 \ Cantata pastorale per la Natività di Nostro Signor Gesù Christo (lost)
* P XX:1 \ Caro bene in E flat major
* P XX:2 \ Misero me! che veggo in E flat major
* P XX:3 \ Se mai senti in G major

'''Songs'''
* P XXI: 1 \ 15 Lieder
* P XXI: 2 \ 12 Lieder
* P XXI: 3 \ The happy Pair in A flat major
* P XXI: 4 \ 12 Ariette Op. 31
* P XXI: 5 \ De l'arbre ces fruits in G major
* P XXI: 6 \ Marschlied für das Wiener Freycorps in C major
* P XXI: 7 \ Marschlied für das akademische Bürgercorps in B flat major
* P XXI: 8 \ 3 Airs François
* P XXI: 9 \ Hört! Maurer, auf der Weisheit lehren in A major
* P XXI:10 \ In questa tomba oscura in C minor
* P XXI:11 \ 12 Canzonette
* P XXI:12 \ Mein Mädchen in D major
* P XXI:13 \ Des Kriegers Abschied in C major
* P XXI:14 \ Leiser nannt' ich deinen Namen in C minor
* P XXI:15 \ Let the declining damask rose in G major
* P XXI:C1 \ Aufruf an die Böhmen in C major
* P XXI:C2 \ 27 Solfeggi
* P XXII:1 \ Scottish, Irish &amp; Welsh Songs
* P XXII:2 \ Welsh Songs
* P XXII:A1 \ Scottish Melodies arranged for keyboard

'''Operas'''
* P XXIII:1 \ Le Muzet (lost)
* P XXIII:2 \ Debora e Sisara (lost)
* P XXIII:3 \ Didone abbandonata (lost)
* P XXIII:4 \ Télémaque dans l'île de Calypso (opera) (lost)
* P XXIII:5 \ Judith und Holofernes (lost)
* P XXIII:6 \ Gustav Vasa (lost)

'''Ballets'''
* P XXIV:1 \ Ballet Op. 39: La ritrovata figlia di Ottone II
* P XXIV:2 \ Arlechino (lost)
* P XXIV:3 \ Ballet in C major
* P XXIV:4 \ Ballet in F major
* P XXIV:5 \ Pantomime in A minor
* P XXIV:6 \ Télémaque dans l'île de Calypso (ballet) (lost)

'''Sacred Music'''
* P XXV: 1 \ Mass in C major
* P XXV: 2 \ Tantum ergo in F major
* P XXV: 3 \ Mandavit Deus in E flat major
* P XXV: 4 \ Quaeso ad me veni in E flat major
* P XXV: 5 \ Umbra noctis orbem tangit in B flat major
* P XXV: 6 \ Domine non sul dignus in E flat major
* P XXV: 7 \ Gottes Liebe in C sharp minor
* P XXV:A1 \ Mass in A major
* P XXV:A2 \ Offertory in A major
* P XXV:A3 \ Aeh quanta vis amoris in A major
* P XXV:A4 \ Mater dolorosa in A major
* P XXV:B1 \ Ad hoc festum chori in B flat major
* P XXV:B2 \ Omni die Mariae in B flat major
* P XXV:B3 \ Magne Deus audi in B flat major
* P XXV:C1 \ Missa brevis in C major
* P XXV:D1 \ Missa brevis in D major
* P XXV:D2 \ Amati quaeso montes in D major
* P XXV:Es1 \ Cernis o anima in E flat major
* P XXV:g1 \ Mass in G minor

==Sources==
*Flamm-Harten, C.: ''Leopold Kozeluch'' (1968)
*Kennedy, Michael and Bourne, Joyce, eds. ''The Concise Oxford Dictionary of Music''. Fourth edition, 1996 (2004 reprint). Oxford, New York: Oxford University Press. ISBN 0-19-860884-5.
*Sondheimer, Robert: ''Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18. Jahrhunderts''. Leipzig: Breitkopf &amp; Härtel, 1925.

==Further reading==
*[[Otto Erich Deutsch|Deutsch, Otto Erich]]. ''Kozeluch Ritrovato''. ''Music and letters.'' London. v. 26 no. 1, Jan. 1945, p. 47-50. 
*Poštolka, Milan. ''Leopold Koželuh : život a dílo''. Praha : Státní hudební vydavatelství, 1964. 387pp. with bibliography pp. 379-87 and 10 pp. illustrations. 

==External links==
*[http://www.operone.de/komponist/kozeluhleo.html Operone list of works]
*[http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=kozeluh Classical-composers.org page on Kozeluch]
*[http://www.haydn.dk/mhc_kozeluch.php Michael Haydn and His Contemporaries page on Kozeluch]
*[http://www.mozartforum.com/Contemporary%20Pages/Kozeluch%20Contemp.htm Kozeluch page in &quot;Contemporaries of Mozart&quot; section of mozartforum.com]
*{{IMSLP|id=Koželuh, Leopold|cname=Leopold Kozeluch}}

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  <page>
    <title>Antonio Brioschi</title>
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'''Antonio Brioschi''' (''fl.'' ''c.'' 1725–1750)  was an [[Italy|Italian]] [[symphony]] [[composer]] who wrote at least twenty six [[symphony|symphonies]].

Brioschi was a pioneer in symphonic music in the early [[Classical period (music)|Classical period]] which traditionally starts around 1730. He appears to have been a more prolific symphonic composer during this period than even the better-known [[Giovanni Battista Sammartini]] and seems to have been active in or near [[Milan]], as opposed to the major composers of the era such as [[Wolfgang Amadeus Mozart|Mozart]], [[Joseph Haydn|Haydn]], [[Ludwig van Beethoven|Beethoven]], and [[Franz Schubert|Schubert]] who worked at least for a time in [[Vienna]].

==References==
* [http://www.biu.ac.il/HU/mu/ims/Min-ad/vol_1/brioschi.htm The Symphonies of Antonio Brioschi], {{ISSN|1565618}}
* {{cite book|title=Six Symphonies|last=Brioschi|first=Antonio|editor=Sarah Mandel-Yehuda|series=Recent Researches in the Music of the Classical Era|url=http://www.areditions.com/rr/rrc/c051.html|isbn=0895794039|
accessdate=2008-01-13|date=1998|publisher=A-R Editions|location=Madison, Wisconsin}} &lt;!-- one can also link to a Google Books limited preview as well as to the A-R Editions description page --&gt; 
==Notes==
&lt;div class=&quot;references-small&quot; style=&quot;-moz-column-count:2; column-count:2;&quot;&gt;&lt;references /&gt;&lt;/div&gt;&lt;br /&gt;

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  <page>
    <title>Franz Schubert</title>
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      <text xml:space="preserve">{{redirect|Schubert}}
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[[Image:Franz Schubert by Wilhelm August Rieder 1875.jpg|210px|thumb|1875 oil painting by Wilhelm August Rieder, after his own 1825 watercolor portrait]]

'''Franz Peter Schubert''' ({{IPA-de|fʁants ʃuːbɛɐ̯t}}; January 31, 1797 – November 19, 1828) was an [[Austria]]n [[composer]]. He wrote some 600 [[Lieder]], nine [[symphonies]] (including the famous &quot;[[Symphony No. 8 (Schubert)|Unfinished Symphony]]&quot;), [[liturgy|liturgical]] music, [[opera]]s, some [[incidental music]], and a large body of [[chamber music|chamber]] and solo [[piano]] music. He is particularly noted for his original melodic and harmonic writing.

Schubert was born into a musical family, and received formal musical training through much of his childhood.
While Schubert had a close circle of friends and associates who admired his work (amongst them the prominent singer [[Johann Michael Vogl]]), wide appreciation of his music during his lifetime was limited at best. He was never able to secure adequate permanent employment, and for most of his career he relied on the support of friends and family. He made some money from published works, and occasionally gave private musical instruction. In the last year of his life he began to receive wider acclaim. He died at the age of 31, apparently of complications from [[syphilis]].

Interest in Schubert's work increased dramatically in the decades following his death. Composers like [[Franz Liszt]], [[Robert Schumann]] and [[Felix Mendelssohn]] discovered, collected, and championed his works in the 19th century, as did musicologist Sir [[George Grove]]. Franz Schubert is now widely considered to be one of the greatest composers in the Western tradition.

{{Listen|header=[[Schubert's last sonatas#Sonata in B-flat major, D. 960|Piano sonata in B{{music|flat}}, D.&amp;nbsp;960]] (composed in 1828)
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}}
==Biography==
===Early life and education===
Schubert was born in [[Vienna]] on January 31, 1797. His father, Franz Theodor Schubert, the son of a [[Moravia]]n peasant, was a [[parish]] schoolmaster; his mother, Elisabeth Vietz, was the daughter of a [[Silesia]]n master [[locksmith]], and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783),&lt;ref&gt;Rita Steblin, &quot;Franz Schubert – das dreizehnte Kind&quot;, ''Wiener Geschichtsblätter'', 3/2001, pp. 245–265.&lt;/ref&gt; nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's [[Alsergrund|9th district]], was well attended.&lt;ref name=&quot;KreissleWilber2&quot;&gt;[[#Wilberforce|Wilberforce (1866)]], p. 2 &quot;the school was much frequented&quot;&lt;/ref&gt; He was not a famous musician, but he taught his son what he could of music.&lt;ref name=&quot;Duncan3&quot;&gt;[[#Duncan|Duncan (1905)]], p. 3&lt;/ref&gt;

[[Image:Wien Geburtshaus Franz Schubert.jpg|thumb|250px|The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna.]]

At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's Himmelpfortgrund school. His formal musical education also began around the same time. His father continued to teach him the basics of the [[violin]],&lt;ref name=&quot;Duncan3&quot;/&gt; and his brother Ignaz gave him piano lessons.&lt;ref name=&quot;GibbsLife25&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 25&lt;/ref&gt; At seven, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration&lt;ref&gt;Maurice J. E. Brown, ''The New Grove Schubert'', ISBN 0-393-30087-0, pp. 2–3&lt;/ref&gt; and the boy gained more from his acquaintance with a friendly [[joiner]]'s apprentice who used to take him to a neighboring [[pianoforte]] warehouse where he had the opportunity to practice on better instruments.&lt;ref name=&quot;Wilberforce3&quot;&gt;[[#Wilberforce|Wilberforce (1866)]], p. 3&lt;/ref&gt; He also played the [[viola]] in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.&lt;ref name=&quot;GibbsLife26&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 26&lt;/ref&gt;

Schubert first came to the attention of [[Antonio Salieri]], then Vienna's leading musical authority, in 1804, when his vocal talent was recognized.&lt;ref name=&quot;GibbsLife26&quot;/&gt; In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the [[overture]]s and symphonies of [[Wolfgang Amadeus Mozart|Mozart]].&lt;ref name=&quot;Duncan5&quot;&gt;[[#Duncan|Duncan (1905)]], pp. 5-7&lt;/ref&gt; His exposure to these pieces and various lighter compositions, combined with his occasional visits to the [[opera]] set the foundation for his greater musical knowledge.&lt;ref name=&quot;Duncan7&quot;/&gt; One important musical influence came from the songs of [[Johann Rudolf Zumsteeg]], who was an important [[Lied]] composer of the time, which, his friend Joseph von Spaun reported, he &quot;wanted to modernize&quot;.&lt;ref name=&quot;GibbsLife29&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 29&lt;/ref&gt; Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.&lt;ref name=&quot;Duncan7&quot;&gt;[[#Duncan|Duncan (1905)]], p. 7&lt;/ref&gt;

Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and [[music theory|theory]] in these years.&lt;ref name=&quot;Duncan9&quot;&gt;[[#Duncan|Duncan (1905)]], p. 9&lt;/ref&gt; It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a ''[[Kyrie]]'' (D.&amp;nbsp;31) and ''[[Salve Regina]]'' (D.&amp;nbsp;27), an [[octet (music)|octet]] for wind instruments (D.&amp;nbsp;72/72a, said to commemorate the 1812 death of his mother),&lt;ref name=&quot;Frost9&quot;&gt;[[#Frost|Frost]], p. 9&lt;/ref&gt; a cantata for guitar and male voices (D.&amp;nbsp;110, in honor of his father's birthday in 1813), and his [[Symphony No. 1 (Schubert)|first symphony]] (D.&amp;nbsp;82).&lt;ref name=&quot;Duncan10&quot;&gt;[[#Duncan|Duncan (1905)]], p. 10&lt;/ref&gt;

{{Listen
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===Teacher at his father's school===
At the end of 1813 he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814 he entered his father's school as teacher of the youngest students. For over two years the young man endured the drudgery of the work, which he performed with very indifferent success.&lt;ref name=&quot;Duncan13&quot;&gt;[[#Duncan|Duncan (1905)]], pp. 13–14&lt;/ref&gt; There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.&lt;ref name=&quot;Duncan9&quot;/&gt;

In 1814 Schubert met a young soprano named [[Therese Grob]], the daughter of a local silk manufacturer. Several of his songs (''Salve Regina'' and ''Tantum Ergo'') were composed for her voice, and she also performed in the premiere of his first Mass (D.&amp;nbsp;105) in October 1814.&lt;ref name=&quot;Duncan13&quot;/&gt; In 1994 musicologist Rita Steblin discovered the marriage petition of Schubert's brother Karl on the attic floor of the Lichtental church. She interpreted this document to show that Schubert had wanted to marry Grob, but was hindered by the harsh marriage consent law of 1815,&lt;ref name=&quot;SteblinMarry&quot;&gt;[[#SteblinCM|Steblin]]&lt;/ref&gt; which required the ability to show the means to support a family.&lt;ref name=&quot;GibbsLife39&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 39&lt;/ref&gt; In November 1816, after failing to gain a position at [[Ljubljana|Laibach]], Schubert sent Grob a collection of songs, which were retained by her family into the 20th century.&lt;ref name=&quot;Newbould64&quot;&gt;[[#Newbould|Newbould (1999)]], p. 64&lt;/ref&gt; (Some scholars, such as Maynard Solomon, have suggested that Schubert was erotically attracted to men,&lt;ref&gt;Solomon, M. (1989) Franz Schubert and the peacocks of Benvenuto Cellini. '19th-Century Music,' 12:193-206.&lt;/ref&gt; a thesis that has at times been heatedly debated.)&lt;ref&gt;Schubert: Music, Sexuality, Culture. '19th-Century Music', 1993, 17:3-101.&lt;/ref&gt;
 
Schubert's most prolific year was probably 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder.&lt;ref name=&quot;Newbould40&quot;&gt;[[#Newbould|Newbould (1999)]], p. 40&lt;/ref&gt; His schoolfriend Joseph von Spaun once surprised him amid composition of &quot;[[Der Erlkönig|Erlkönig]]&quot; (D.&amp;nbsp;328, published as Op.&amp;nbsp;1.)&lt;ref name=&quot;Duncan138&quot;&gt;[[#Duncan|Duncan (1905)]], p. 138&lt;/ref&gt; In that year he was also introduced to [[Anselm Hüttenbrenner]] and Franz von Schober, who would become his lifelong friends. Another friend, [[Johann Mayrhofer]], was introduced to him by Spaun in 1814.&lt;ref name=&quot;CambridgeCompanion108&quot;&gt;[[#CambridgeCompanion|Gibbs (1997)]], p. 108&lt;/ref&gt;

===Supported by friends===
[[Image:Franz Schubert.jpg|thumb|left|Posthumous lithograph by [[Joseph Kriehuber]]]]

Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of [[Kapellmeister]] at [[Ljubljana|Laibach]], and he had also decided not to resume teaching duties at his father's school. By the end of the year he became a guest in Schober's lodgings. For a time he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. &quot;I compose every morning, and when one piece is done, I begin another.&quot;&lt;ref name=&quot;Duncan26&quot;&gt;[[#Duncan|Duncan (1905)]], p. 26&lt;/ref&gt; During this year, he focused on orchestral and choral works, although he also continued to write Lieder.&lt;ref name=&quot;McKayBio56&quot;&gt;[[#McKayBio|McKay]], p. 56&lt;/ref&gt; Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.&lt;ref name=&quot;GibbsLife44&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 44&lt;/ref&gt;

In early 1817, Schober introduced Schubert to [[Johann Michael Vogl]], a prominent baritone 20 years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music.&lt;ref name=&quot;Newbould66&quot;&gt;[[#Newbould|Newbould (1999)]], p. 66&lt;/ref&gt; These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.&lt;ref name=&quot;Duncan90&quot;&gt;[[#Duncan|Duncan (1905)]], pp. 90–93&lt;/ref&gt;

In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818 he was rejected for membership in the prestigious [[Gesellschaft der Musikfreunde]], something that might have furthered his musical career.&lt;ref name=&quot;Newbould69&quot;/&gt; However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praised from the press in Vienna and abroad.&lt;ref name=&quot;GibbsLife59&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 59&lt;/ref&gt;

Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl [[Eszterházy]] at their chateau in [[Želiezovce|Zseliz]], [[Hungary]]. His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay relatively good. As a result, he happily continued to compose during this time. On his return from Zseliz, he took up residence with his friend Mayrhofer.&lt;ref name=&quot;Newbould69&quot;&gt;[[#Newbould|Newbould (1999)]] pp. 69–72&lt;/ref&gt; The respite at Zseliz led to a succession of compositions for piano duet.&lt;ref name=&quot;Newbould235&quot;&gt;[[#Newbould|Newbould (1999)]], p. 235&lt;/ref&gt;

The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert's friends, [[Johann Senn]], was put on trial, imprisoned for over a year, and then permanently banned from Vienna. The other four, including Schubert, were &quot;severely reprimanded&quot;, in part for &quot;inveighing against [officials] with insulting and opprobrious language&quot;.&lt;ref name=&quot;GibbsLife67&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 67&lt;/ref&gt; While Schubert never saw Senn again, he did set some of his poems, &quot;Selige Welt&quot; and &quot;Schwanengesang&quot;, to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.&lt;ref name=&quot;GibbsLife68&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 68&lt;/ref&gt;

{{Listen|header=The ''Wanderer Fantasy'' D.&amp;nbsp;760|help=no
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}}

===Musical maturity===
The compositions of 1819 and 1820 show a marked advance in development and maturity of style&lt;ref&gt;{{cite encyclopedia
  | last = Hadow
  | first = William Henry
  | authorlink = 
  | title = Franz Schubert
  | encyclopedia = Encyclopedia Britannica
  | volume = 24
  | pages = 380
  | publisher = The Encyclopedia Britannica Company
  | location = London, New York
  | date = 1911 }}&lt;/ref&gt;. The unfinished oratorio &quot;Lazarus&quot; (D.&amp;nbsp;689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D.&amp;nbsp;706), the ''Gesang der Geister'' (D.&amp;nbsp;705/714), the ''[[Quartettsatz (Schubert)|Quartettsatz]]'' in C minor (D.&amp;nbsp;703), and the &quot;[[Wanderer Fantasy]]&quot; for piano (D.&amp;nbsp;760). Of most notable interest is the staging in 1820 of two of Schubert's operas: ''Die Zwillingsbrüder'' (D.&amp;nbsp;647) appeared at the [[Theater am Kärntnertor]] on June 14, and ''Die Zauberharfe'' (D.&amp;nbsp;644) appeared at the [[Theater an der Wien]] on August 21.&lt;ref name=&quot;Austin46&quot;&gt;[[#Austin|Austin (1873)]], pp. 46–47&lt;/ref&gt; Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position,  addressing a wider public.&lt;ref name=&quot;Austin46&quot;/&gt; Publishers, however, remained distant, with [[Anton Diabelli]] hesitantly agreeing to print some of his works on commission.&lt;ref name=&quot;Wilberforce90&quot;&gt;[[#Wilberforce|Wilberforce (1866)]], pp. 90–92&lt;/ref&gt; The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang &quot;Der Erlkönig&quot; at a concert that was extremely well received.&lt;ref name=&quot;Wilberforce25&quot;&gt;[[#Wilberforce|Wilberforce (1866)]], p. 25&lt;/ref&gt;  That month, he composed a variation on a waltz by [[Anton Diabelli]] (D. 718), being one of the 50 composers who contributed to ''[[Vaterländischer Künstlerverein]]''.

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, ''[[Alfonso und Estrella]]'' was refused, partly owing to its libretto.&lt;ref name=&quot;Newbould173&quot;&gt;[[#Newbould|Newbould (1999)]], p. 173&lt;/ref&gt; ''[[Fierrabras (opera)|Fierrabras]]'' (D.&amp;nbsp;796) was rejected in the fall of 1823, but this was largely due to the popularity of [[Rossini]] and the Italian operatic style, and the failure of [[Carl Maria von Weber]]'s ''[[Euryanthe]]''.&lt;ref name=&quot;CambridgeCompanion228&quot;&gt;[[#CambridgeCompanion|Gibbs (1997)]], p. 228&lt;/ref&gt; ''Die Verschworenen'' (D.&amp;nbsp;787) was prohibited by the censor (apparently on the grounds of its title),&lt;ref name=&quot;Gibbs111&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 111&lt;/ref&gt; and ''[[Rosamunde]]'' (D.&amp;nbsp;797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works the two former are written on a scale which would make their performances exceedingly difficult (''Fierrabras'', for instance, contains over 1,000 pages of manuscript score), but ''Die Verschworenen'' is a bright attractive comedy, and ''Rosamunde'' contains some of the most charming music that Schubert ever composed. In 1822 he made the acquaintance of both Weber and [[Ludwig van Beethoven|Beethoven]], but little came of it in either case. Beethoven cordially acknowledged his genius on several occasions, saying, &quot;Truly, the spark of divine genius resides in this Schubert!&quot;&lt;ref name=&quot;lvbv1&quot;&gt;[[#Thayer|Thayer]], pp. 299–300&lt;/ref&gt;

===Last years and masterworks===

In 1823 Schubert, in addition to ''Fierrabras'', also wrote his first [[song cycle]], ''[[Die schöne Müllerin]]'' (D.&amp;nbsp;795), setting poems by [[Wilhelm Müller]]. This work, together with the later cycle &quot;[[Winterreise]]&quot; (D.&amp;nbsp;911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of [[Lied]]er.&lt;ref name=&quot;Newbould215&quot;&gt;[[#Newbould|Newbould (1999)]], p. 215&lt;/ref&gt; He also composed the song ''Du bist die Ruh'' (&quot;You are stillness/peace&quot;) D.&amp;nbsp;776 during this year. Also in that year, symptoms of [[syphilis]] first appeared.&lt;ref name=&quot;Newbould210&quot;&gt;[[#Newbould|Newbould (1999)]], p. 210&lt;/ref&gt;

[[Image:Franz Schubert by Wilhelm August Rieder.jpeg|thumb|Schubert in 1825 (watercolor by Wilhelm August Rieder)]]
In the spring of 1824 he wrote the [[Octet (Schubert)|Octet in F]] (D.&amp;nbsp;803), &quot;A Sketch for a Grand Symphony&quot;; and in the summer went back to Zseliz. There he became attracted to [[Hungary|Hungarian]] musical idiom, and wrote the ''Divertissement à l'Hongroise'' (D.&amp;nbsp;818) for piano duet and the [[String Quartet No. 13 (Schubert)|String Quartet in A minor]] (D.&amp;nbsp;804). 

It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his [[Fantasia in F minor for piano four-hands|Fantasie in F minor]] (D.&amp;nbsp;940) for piano duet.&lt;ref name=&quot;Newbould218&quot;&gt;[[#Newbould|Newbould (1999)]], p. 218&lt;/ref&gt; His friend Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:
&lt;blockquote&gt;
 In love with a Countess of youthful grace,&lt;br /&gt;
 &amp;mdash;A pupil of Galt's; in desperate case&lt;br /&gt;
 Young Schubert surrenders himself to another,&lt;br /&gt;
 And fain would avoid such affectionate pother&lt;ref name=&quot;Duncan99&quot;&gt;[[#Duncan|Duncan (1905)]], p. 99&lt;/ref&gt;
&lt;/blockquote&gt;

Despite his preoccupation with the stage, and later with his official duties, he found time during these years for a significant amount of composition. He completed the ''Mass in A flat'' (D.&amp;nbsp;678) and, in 1822, began the &quot;Unfinished Symphony&quot; ([[Symphony No. 8 (Schubert)|Symphony No. 8 in B minor]], , D.&amp;nbsp;759). Why the symphony was &quot;unfinished&quot; has been debated endlessly without resolution. In 1824 he wrote the variations for flute and piano on &quot;Trockne Blumen&quot;, from the cycle ''[[Die schöne Müllerin]]'', and several string quartets. He also wrote the [[Arpeggione Sonata (Schubert)|Arpeggione Sonata]] (D.&amp;nbsp;821), at a time when there was a minor craze over [[arpeggione|that instrument]].&lt;ref name=&quot;Newbould221225&quot;&gt;[[#Newbould|Newbould (1999)]], pp. 221–225&lt;/ref&gt;

{{Listen|help=no|filename=Ellens_dritter_Gesang.ogg|title=Ellens dritter Gesang (Ave Maria), D.&amp;nbsp;839|description=Performed by Dorothea Fayne (voice) and Uwe Streibel (piano)|format=[[Ogg]]}}
The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in [[Upper Austria]], where Schubert was welcomed with enthusiasm. It was during this tour that he produced his &quot;''Songs from Sir Walter Scott''&quot;. This cycle contains ''[[Ellens dritter Gesang]]'' (D.&amp;nbsp;839), a setting of [[Adam Storck]]'s German translation of [[Walter Scott|Scott]]'s hymn from ''The Lady of the Lake'', which is widely, though mistakenly, referred to as &quot;Schubert's ''Ave Maria''&quot;. It opens with the greeting ''Ave Maria'', which recurs in the refrain; the entire Scott/Storck text in Schubert's song has occasionally been substituted with the complete Latin text of the traditional [[Hail Mary|Ave Maria]] prayer.&lt;ref name=&quot;AveMariaSetting&quot;&gt;[[#Emmons|Emmons]], p. 38&lt;/ref&gt; In 1825 Schubert also wrote the [[Piano Sonata in A minor, D. 845 (Schubert)|Piano Sonata in A minor]] (Op.&amp;nbsp;42, D.&amp;nbsp;845), and began the &quot;Great&quot; C major Symphony ([[Symphony No. 9 (Schubert)|Symphony No. 9]], D.&amp;nbsp;944), which was completed the following year.&lt;ref name=&quot;Newbould228&quot;&gt;[[#Newbould|Newbould (1999)]], p. 228&lt;/ref&gt;

[[Image:Franz Schubert c1827.jpg|thumb|left|Schubert in 1827 (oil on canvas, by Anton Depauly)]]
From 1826 to 1828 Schubert resided continuously in Vienna, except for a brief visit to [[Graz, Austria|Graz]] in 1827. The history of his life during these three years was relatively uneventful, and is little more than a record of his compositions. In 1826, he dedicated [[Symphony No. 9 (Schubert)|a symphony]] (D.&amp;nbsp;944, that later came to be known as the &quot;Great&quot;) to the ''Gesellschaft der Musikfreunde'' and received an honorarium in return.&lt;ref&gt;[[#Newbould|Newbould (1999)]], p. 254&lt;/ref&gt; In the spring of 1828 he gave, for the first and only time in his career, a public concert of his own works, which was very well received.&lt;ref&gt;[[#Newbould|Newbould (1999)]], pp. 265–266&lt;/ref&gt; The compositions themselves are a sufficient biography. The [[Death and the Maiden Quartet|String Quartet in D minor]] (D.&amp;nbsp;810), with the variations on ''[[Death and the Maiden song|Death and the Maiden]]'', was written during the winter of 1825–1826, and first played on January 25, 1826. Later in the year came the [[String Quartet No. 15 (Schubert)|String Quartet in G major, (D.&amp;nbsp;887, Op.&amp;nbsp;161)]], the &quot;Rondeau brilliant&quot; for piano and violin (D.&amp;nbsp;895, Op.&amp;nbsp;70,), and the [[Piano Sonata in G major, D. 894 (Schubert)|Piano Sonata in G (D.&amp;nbsp;894, Op.&amp;nbsp;78)]] (first published under the title &quot;Fantasia in G&quot;). To these should be added the three Shakespearian songs, of which &quot;''Hark! Hark! the Lark''&quot; (D.&amp;nbsp;889) and &quot;''An Silvia''&quot; (D.&amp;nbsp;891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.&lt;ref name=&quot;SmithCarlson78&quot;&gt;[[#SmithCarlson|Smith &amp;amp; Carlson]], p. 78&lt;/ref&gt;

In 1827 Schubert wrote the song cycle ''[[Winterreise]]'' (D.&amp;nbsp;911), a colossal peak of the art of art song (&quot;remarkable&quot; was the way it was described at the ''[[Schubertiade]]s''), the ''Fantasia'' for piano and violin in C (D.&amp;nbsp;934), the [[Impromptus (Schubert)|Impromptus]] for piano, and the two piano trios ([[Piano Trio No. 1 (Schubert)|the first]] in B flat (D.&amp;nbsp;898), and [[Piano Trio No. 2 (Schubert)|the second]] in E flat, D.&amp;nbsp;929);&lt;ref name=&quot;Newbould261&quot;&gt;[[#Newbould|Newbould (1999)]] pp. 261–263&lt;/ref&gt; in 1828 the ''Mirjams Siegesgesang'' (''Song of Miriam'', D.&amp;nbsp;942) on a text by [[Franz Grillparzer]], the Mass in E-flat (D.&amp;nbsp;950), the ''Tantum Ergo'' (D.&amp;nbsp;962) in the same key, the [[String Quintet (Schubert)|String Quintet in C]] (D.&amp;nbsp;956), the second Benedictus to the Mass in C, the [[Schubert's last sonatas|last three piano sonatas]], and the collection of songs published posthumously as ''[[Schwanengesang]]'' (&quot;Swan-song&quot;, D.&amp;nbsp;957).&lt;ref name=&quot;Newbould270&quot;&gt;[[#Newbould|Newbould (1999)]] pp. 270–274&lt;/ref&gt; This collection, while not a true song cycle, retains a unity of style amongst the individual songs, touching unwonted depths of tragedy and the morbidly supernatural. Six of these are to words by [[Heinrich Heine]], whose ''Buch der Lieder'' appeared in the autumn. The [[Symphony No. 9 (Schubert)|Symphony No.&amp;nbsp;9]] (D.&amp;nbsp;944) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–6, and was revised for prospective performance in 1828.&lt;ref name=&quot;CambridgeCompanion202&quot;&gt;[[#CambridgeCompanion|Gibbs (1997)]], p. 202&lt;/ref&gt; This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for many of his larger-scale works during his lifetime. In the last weeks of his life he began to sketch three movements for a new Symphony in D (D.&amp;nbsp;936A).&lt;ref name=&quot;Newbould385&quot;&gt;[[#Newbould|Newbould (1999)]], p. 385&lt;/ref&gt; 

{{Listen|help=no|filename=Schubert- Impromptu B-flat.ogg|title=Impromptu in B{{music|flat}} D.&amp;nbsp;935 No.&amp;nbsp;3|description = This [[Impromptus (Schubert)|Impromptu]] is a theme and variations based on a theme from [[Rosamunde]]. Performed by Randolph Hokanson.|pos=left|format = [[Ogg]]}}
The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond', reaching extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song ''[[Der Doppelgänger]]'' reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death, and yet able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint.&lt;ref name=&quot;Schonberg130&quot;&gt;[[#Schonberg|Schonberg]], p. 130&lt;/ref&gt;

===Final illness and death===
[[Image:Schubert-m.JPG|thumb|right|border|Franz Schubert memorial in [[Vienna]]'s [[Stadtpark, Vienna|Stadtpark]]]]
In the midst of this creative activity, his health deteriorated. The [[syphilis]] he had contracted in 1822 was taking its toll. The final illness may have been [[typhoid fever]], though other causes have been proposed; some of his final symptoms match those of [[mercury poisoning]] ([[mercury (element)|mercury]] was then a common treatment for syphilis).&lt;ref name=&quot;Gibbs168&quot;&gt;[[#GibbsLife|Gibbs (2000)]], pp. 168–169&lt;/ref&gt; His solace in his final illness was reading, and he had become a passionate fan of the writings of [[James Fenimore Cooper]].&lt;ref name=&quot;Duncan75&quot;&gt;[[#Duncan|Duncan (1905)]], p. 75&lt;/ref&gt; He died aged 31 on Wednesday November 19, 1828 at the apartment of his brother Ferdinand in Vienna. By his own request, he was buried next to [[Ludwig van Beethoven|Beethoven]], whom he had adored all his life, in the village cemetery of [[Währing]].&lt;ref name=&quot;Duncan79&quot;/&gt;

In 1872, a memorial to Franz Schubert was erected in Vienna's [[Stadtpark, Vienna|Stadtpark]].&lt;ref name=&quot;Duncan79&quot;&gt;[[#Duncan|Duncan (1905)]], pp. 79–80&lt;/ref&gt; In 1888, both Schubert's and Beethoven's graves were moved to the [[Zentralfriedhof]], where they can now be found next to those of [[Johann Strauss II]] and [[Johannes Brahms]].&lt;ref name=&quot;Gibbs197&quot;&gt;[[#GibbsLife|Gibbs (2000)]], p. 197&lt;/ref&gt; The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his old gravesite was marked by a bust.

==Music==
{{see also|List of compositions by Franz Schubert}}

Schubert wrote almost 1000 works in a remarkably short career. The largest number (over 600) of these are songs. He wrote seven complete symphonies, as well as the two movements of the &quot;Unfinished&quot; Symphony, a complete sketch (with partial orchestration) of a ninth, and arguable fragments of a 10th. There is a large body of music for solo piano, including 21 complete sonatas and many short dances, and a relatively large set of works for piano duet. There are nearly 30 chamber works, including some fragmentary works. His choral output includes six masses. He wrote only five operas, and no concertos.&lt;ref name=&quot;Ewen384&quot;&gt;[[#Ewen|Ewen]], p. 384&lt;/ref&gt;

===Style===
In July 1947 the twentieth-century composer [[Ernst Krenek]] discussed Schubert's style, abashedly admitting that he at first &quot;shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as [[J.S. Bach|Bach]] or [[Ludwig van Beethoven|Beethoven]]&quot;. Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of friend and fellow composer [[Eduard Erdmann]]. Krenek pointed to the piano sonatas as giving &quot;ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition.&quot; Each sonata then in print, according to Krenek, exhibited &quot;a great wealth of technical finesse&quot; and revealed Schubert as &quot;far from satisfied with pouring his charming ideas into conventional molds; on the contrary he was a thinking artist with a keen appetite for experimentation.&quot;&lt;ref name=&quot;Lev&quot;&gt;[[#Lev|Lev]].&lt;/ref&gt; 

That &quot;appetite for experimentation&quot; manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, [[liturgical music]], chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the [[String Quintet (Schubert)|String Quintet]], where he modulates from C major, through E major, to reach the tonic key of C{{music|sharp}} major.&lt;ref name=&quot;Gammond117&quot;&gt;[[#Gammond|Gammond (1982)]], p. 117&lt;/ref&gt; It also appears in unusual choices of instrumentation, as in the [[Arpeggione Sonata]] or the unconventional scoring of the [[Trout Quintet]]. If it not infrequently led Schubert up blind alleys, resulting in fragmentary works, it also enabled him to create music unlike anything that had come before, such as his two song cycles of unprecedented scope.{{fact|date=November 2008}}

{{Listen|help=no|header=The ''[[Arpeggione Sonata]]'', D.&amp;nbsp;821
|filename=Schubert - Arpeggione Sonata - 1. Allegro Moderato.ogg|title=I. Allegro Moderato|description=|format=[[ogg]]
|filename2=Schubert - Arpeggione Sonata - 2. Adagio and 3. Allegretto.ogg|title2=2. Adagio and 3. Allegretto|description2=Performed by Hans Goldstein (cello) and Clinton Adams (piano)|format2=[[ogg]]
}}
While he was clearly influenced by the Classical [[sonata form]]s of Beethoven and [[Wolfgang Amadeus Mozart|Mozart]] (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama.&lt;ref name=&quot;Gammond76&quot;&gt;[[#Gammond|Gammond (1982)]], pp. 76–81&lt;/ref&gt; This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by [[Robert Schumann]] as running to &quot;heavenly lengths&quot;.&lt;ref name=&quot;Brown630&quot;&gt;[[#Brown|Brown]], p. 630&lt;/ref&gt; His harmonic innovations include movements in which the first section ends in the key of the [[subdominant]] rather than the [[Dominant (music)|dominant]] (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end.{{fact|date=November 2008}}

It was in the genre of the [[Lied]], however, that Schubert made his most indelible mark. Plantinga remarks, &quot;In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him.&quot;&lt;ref&gt;{{cite book|first=Leon|last=Plantinga|title=Romantic Music: A History of Musical Style in Nineteenth-Century Europe|publisher=Norton|year=1984|ref=Plantinga|pages=117}}&lt;/ref&gt; Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of [[Romantic nationalism]].&lt;ref&gt;Plantinga, pp. 107–117&lt;/ref&gt; Among Schubert's treatments of the poetry of [[Goethe]], his settings of ''[[Gretchen am Spinnrade]]'' and ''[[Der Erlkönig]]'' are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in ''Gretchen'' and the furious and ceaseless gallop the right hand in ''Erlkönig''.&lt;ref name=&quot;Swafford211&quot;&gt;[[#Swafford|Swafford]], p. 211&lt;/ref&gt; Also of particular note are his two [[song cycles]] on the poems of [[Wilhelm Müller]], [[Die schöne Müllerin]] and [[Winterreise]], which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. The ''Theaterzeitung'', writing about ''Winterreise'' at the time, commented that it was a work that &quot;none can sing hear with out being deeply moved&quot;.&lt;ref name=&quot;Gammond153&quot;&gt;[[#Gammond|Gammond (1982)]], pp. 153–156&lt;/ref&gt; [[Antonín Dvořák]] wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: &quot;The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps.&quot;&lt;ref name=&quot;CentIll345&quot;&gt;[[#CentIllv48no3|Dvořák, Century Illustrated, July 1894]], pp. 344–345&lt;/ref&gt;

Schubert's compositional style progressed rapidly throughout his short life.&lt;ref name=&quot;Gammond143&quot;&gt;[[#Gammond|Gammond (1982)]], p. 143, discussing in particular his chamber music&lt;/ref&gt; The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his tombstone written by the poet [[Franz Grillparzer]], &quot;Here music has buried a treasure, but even fairer hopes.&quot;&lt;ref name=&quot;Duncan80&quot;&gt;[[#Duncan|Duncan (1905)]], p. 80&lt;/ref&gt;

===Posthumous history of Schubert's music===
[[Image:Schubert Haus00.jpg|thumb|left|Interior of museum at Schubert's birthplace, Vienna, 1914]]
Some of his smaller pieces were printed shortly after his death, but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers.&lt;ref name=&quot;GroveAppendix&quot;/&gt; Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the &quot;prince of song&quot;, although there was recognition of some of his larger-scale efforts.&lt;ref name=&quot;GibbsLife61&quot;&gt;[[#GibbsLife|Gibbs (2000)]], pp. 61–62&lt;/ref&gt; In 1838 [[Robert Schumann]], on a visit to Vienna, found the dusty manuscript of the [[Symphony No. 9 (Schubert)|C major symphony]] (the &quot;Great&quot;, D.&amp;nbsp;944) and took it back to [[Leipzig]], where it was performed by [[Felix Mendelssohn]] and celebrated in the [[Neue Zeitschrift für Musik|Neue Zeitschrift]]. The most important step towards the recovery of the neglected works was the journey to Vienna which [[George Grove|Sir George Grove]] (widely known for the ''[[Grove Dictionary of Music and Musicians]]'') and [[Arthur Sullivan]] made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the ''Rosamunde'' incidental music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs.&lt;ref name=&quot;GroveAppendix&quot;&gt;[[#Kreissle|Kreissle]], pp. 297–332, in which Grove recounts his visit to Vienna.&lt;/ref&gt; This led to more widespread public interest in Schubert's work.&lt;ref name=&quot;WideInterest&quot;&gt;See e.g. [[#Kreissle|Kreissle]], p. 324, where Grove describes current (1860s) interest in Schubert's work, and [[#CambridgeCompanion|Gibbs (1997)]], pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.&lt;/ref&gt;

From the 1830s through the 1870s, [[Franz Liszt]] transcribed and arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was &quot;the most poetic musician who ever lived.&quot;&lt;ref name=&quot;Suttoni&quot;&gt;[[#Suttoni|Liszt (1989)]], p. 144&lt;/ref&gt; Schubert's symphonies were of particular interest to [[Antonín Dvořák]], with [[Hector Berlioz]] and [[Anton Bruckner]] acknowledging the influence of the &quot;Great&quot; Symphony.&lt;ref name=&quot;Newbould404&quot;/&gt;

In 1897, the publisher [[Breitkopf &amp; Härtel]] released a critical edition of Schubert's works, under the general editing of [[Johannes Brahms]], enabling a wider dissemination of his music. In the 20th century, composers such as [[Benjamin Britten]], [[Richard Strauss]], and [[George Crumb]] either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.&lt;ref name=&quot;Newbould404&quot;&gt;[[#Newbould|Newbould (1999)]], pp. 403–404&lt;/ref&gt;

====Numbering of symphonies====
Confusion arose quite early over the numbering of Schubert's symphonies, in particular the &quot;Great&quot; C Major Symphony. George Grove, who rediscovered many of Schubert's symphonies, assigned the following numbering after his 1867 visit to Vienna:
*Number 7: E major D.&amp;nbsp;729 (completely sketched but not completely scored by Schubert, with multiple historic and modern completions)
*Number 8: B minor ''Unfinished'' D.&amp;nbsp;759
*Number 9: C major ''Great'' D.&amp;nbsp;944
Breitkopf &amp; Härtel, when preparing the 1897 complete works publication, originally planned to only publish complete works (which would have given the ''Great'' number 7), with &quot;fragments&quot;, including the ''Unfinished'' and the D.&amp;nbsp;729 sketch, receiving no number at all. When Johannes Brahms became general editor of that project, he assigned the following numbers:&lt;ref name=&quot;Lindmayr56&quot;&gt;[[#Lindmayr|Lindmayr]], p. 56&lt;/ref&gt;
*Number 7: C major ''Great''
*Number 8: B minor ''Unfinished''
*no number: E major D.&amp;nbsp;729

&lt;!-- PLEASE DISCUSS ON TALK PAGE BEFORE ADDING MORE MEDIA HERE: THERE IS ALREADY TOO MUCH IN THIS ARTICLE. --&gt;
{{Listen|header=Examples of Works for violin and piano
|filename=Franz Schubert - Rondeau brillant.ogg|title=Rondeau brillant, D. 895, Op. 70|description=|format=[[ogg]]
|filename2=Franz Schubert - Fantasy in C major for violin and piano.ogg|title2=Fantasia in C major, D. 934|description2=Performed by Denes Zsigmondy (violin) and Annaliese Nissen(piano)|format2=[[Ogg]]
}}
Some of the disagreement continued into the 20th century.  George Grove in his 1908 ''Dictionary of Music and Musicians'', assigned the ''Great'' as number 10, and the ''Unfinished'' as number 9. (It is unclear from his article which symphonies, fragmentary or otherwise, are numbers 7 and 8.)&lt;ref name=&quot;Grove1908p320&quot;&gt;[[#Grove1908|Grove (1908)]], pp. 320–328&lt;/ref&gt;&lt;!-- TODO what did Deutsch's 1951 catalog assign? a cite from it would be great here --&gt; However, the ''Unfinished'' is now generally referred to as number 8 in the English-speaking world, with the ''Great'' at number 9. Number 10 is generally acknowledged to be the D.&amp;nbsp;936a fragment, for which a completion by Brian Newbould exists. The 1978 revision to the Deutsch catalog leaves D.&amp;nbsp;827 without a number (in spite of numerous completions), and assigns number 7 to the ''Unfinished'' and number 8 to the ''Great''.&lt;ref name=&quot;Catalog1978&quot;&gt;[[#Catalog1978|1978 Deutsch Catalog]]&lt;/ref&gt; As a consequence, generally-available scores for the later symphonies may be published using conflicting numbers.&lt;ref name=&quot;U7Numbering&quot;&gt;See [[#Symphony numbers|references below]] for citations containing different numbers for the ''Unfinished'' Symphony.&lt;/ref&gt;

Grove and Sullivan also suggested that there may have been a &quot;lost&quot; symphony.  Immediately before Schubert's death, his friend [[Eduard von Bauernfeld]] recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the &quot;Letzte&quot; or &quot;Last&quot; symphony. Brian Newbould&lt;ref name=&quot;Newbould385&quot;/&gt; believes that the &quot;Last&quot; symphony refers to a sketch in D major (D.&amp;nbsp;936A), identified by Ernst Hilmar in 1977, and which was realised by Newbould as the [[Symphony No. 10 (Schubert)|Tenth Symphony]]. The fragment was bound with other symphony fragments (D.&amp;nbsp;615 and D.&amp;nbsp;708a) that Schubert had apparently intended to combine.&lt;ref name=&quot;Newbould385&quot;/&gt;

==Commemorations==
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor [[Franz Joseph I of Austria|Franz Joseph]] gave a speech recognizing Schubert as the creator of the art song, and one of Austria's favorite sons.&lt;ref name=&quot;Rodenberg118&quot;&gt;[[#Rodenberg|Rodenberg]], p. 118&lt;/ref&gt;&lt;ref name=&quot;MT189702&quot;&gt;[[#MusicalTimes189702|Musical Times, February 1897]], p. 113&lt;/ref&gt;
[[Karlsruhe]] saw the first production of his opera ''Fierrabras''.&lt;ref name=&quot;CambridgeCompanion318&quot;&gt;[[#CambridgeCompanion|Gibbs (1997)]], p. 318&lt;/ref&gt;

In 1928, Schubert week was held in Europe and the United states to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the [[Columbia Records|Columbia Phonograph Company]], was held for &quot;original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory&quot;.&lt;ref name=&quot;time1928&quot;/&gt; The winning entry was [[Kurt Atterberg]]'s sixth symphony.&lt;!--I can't find a reliable source for the number of the symphony, but it seems to be confirmed by sites like Amazon.--&gt;&lt;ref name=&quot;time1928&quot;&gt;{{cite news|url=http://www.time.com/time/magazine/article/0,9171,928288,00.html|title=Schubert Ecstasy|publisher=[[Time (magazine)|Time]]|date=3 December 1928|accessdate=8 April 2009}}&lt;/ref&gt;

In 1977, the German [[electronic music|electronic]] band [[Kraftwerk]] recorded a tribute song called &quot;Franz Schubert&quot;, which can be found on the album [[Trans-Europe Express (album)|''Trans-Europe Express'']].&lt;ref name=&quot;TEERecord&quot;&gt;[[#TEERecord|Trans-Europe Express track listing]]&lt;/ref&gt;

==Catalogue==
Since relatively few of his works were published in Schubert's lifetime, only a small number of them have [[opus number]]s assigned, and, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist [[Otto Erich Deutsch]] published a &quot;thematic catalogue&quot; of Schubert's works that lists his compositions numerically by their composition date.
*Catalogue by Deutsch number: [[Schubert compositions D number 1-504|D 1 to 504]] &amp;mdash; [[Schubert compositions D number 505-998|D 505 to 998]]
*[[List of compositions by Franz Schubert]] &amp;mdash; by musical genre
*[[:Category:Compositions by Franz Schubert|Wikipedia articles about Schubert's compositions]]

==Notes==
{{reflist|colwidth=30em}}
{{clear}}&lt;!-- fixes formatting issues --&gt;
==References==
{{wikisourcepar|University_Musical_Encyclopedia/Great_Composers:_A_Series_of_Biographical_Studies/Franz Schubert|Franz Schubert}}
{{refbegin}}
*{{cite book|title=Franz Schubert|last=Kreissle von Hellborn|first=Heinrich|publisher=Carl Gerold's Sohn|year=1865|url=http://www.google.de/books?id=QbwTAAAAYAAJ|ref=KreissleGerman}} The first significant biography of Schubert. This edition is available at [http://books.google.com?hl=de German Google Books]. English translations and abridgements of this biography from the 1860s are available at [http://books.google.com/ Google Books]. The second volume is notable in that it contains Sir George Grove's description of the trip to Vienna in which he recovered a number of Schubert's works.
*{{cite book|last=Kreissle von Hellborn|first=Heinrich|coauthors=Wilberforce, Edward (translator)|title=Franz Schubert, a musical biography, from the German (abridged)|year=1866|ref=Wilberforce|url=http://books.google.com/books?id=zEgBAAAAQAAJ}} (roughly, volume 1 of Kreissle)
*{{cite book|title=The Life of Franz Schubert, Vol. 2|last=Kreissle von Hellborn|first=Heinrich|coauthors=Coleridge, Arthur Duke (translator); Grove, George (appendix)|publisher=Longmans, Green, and Co|year=1869|ref=Kreissle|url=http://books.google.com/books?id=hpcPAAAAYAAJ}} (roughly, volume 2 of Kreissle)
{{refend}}

===Nineteenth and early 20th-century scholarship===
{{refbegin}}
*{{cite book|title=The Life of Franz Schubert|first=George Lowell|last=Austin|publisher=Shepard and Gill|year=1873|ref=Austin|url=http://books.google.com/books?id=Ka4NAAAAYAAJ|oclc=4450950}}
*{{cite book|first=Edmondstoune|last=Duncan|title=Schubert|year=1905|publisher=J.M. Dent|url=http://books.google.com/books?id=CldMAAAAMAAJ|ref=Duncan|oclc=2058050}}
*{{cite journal|first=Antonín|last=Dvořák|title=Franz Schubert|volume=Volume 48|year=1894|journal=Century Illustrated Magazine|month=July|publisher=Cairns Collection of American Women Writers|issue=3|url=http://books.google.com/books?id=qHcAAAAAYAAJ|ref=CentIllv48no3|oclc=4279873}}
*{{cite book|title=Schubert|first=Henry Frederic|last=Frost|publisher=Scribner|year=1915|ref=Frost|url=http://books.google.com/books?id=npc5AAAAIAAJ|oclc=45465176}}
*{{cite book|title=Grove's Dictionary of Music and Musicians, volume 4|first=George|last=Grove|coauthors=Fuller-Maitland,John Alexander|publisher=Macmillan|year=1908|url=http://books.google.com/books?id=FBsPAAAAYAAJ|ref=Grove1908|oclc=407077}}
*{{cite book|title=Deutsche Rundschau, volume 102 (Jan-Mar 1900)|first=Julius|last=Rodenberg|coauthors=Pechel, Rudolf|lang=German|publisher=Gebrüder Paetel|year=1900|ref=Rodenberg|url=http://books.google.de/books?id=7UEVAAAAYAAJ|oclc=1566444}}
*{{cite book|title=The Life of Ludwig Van Beethoven: vol 3|url=http://books.google.com/books?id=rRkUAAAAYAAJ|last=Thayer|first=Alexander Wheelock|coauthors=Krehbiel, Henry E.;Deiters, Hermann; Riemann, Hugo
|year=1921|city=New York|publisher=The Beethoven Association|ref=Thayer|oclc=422583}}
*{{cite journal|title=Musical Times|publisher=Novello|year=1897|volume=Volume 38|month=February|url=http://books.google.com/books?id=aco7mI9EM50C&amp;pg=PA242&amp;dq=Mottl+Fierrabras#PPA113,M1|ref=MusicalTimes189702|oclc=1608351}}
*{{Wikisource1911Enc Citation|Schubert, Franz Peter}}
*{{CathEncy|wstitle=Franz Schubert}}
{{refend}}

===Modern scholarship===
{{refbegin}}
*{{cite book|title=The Symphonic Repertoire|first=A. Peter|last=Brown|publisher=Indiana University Press|year=2002|isbn=9780253334879|ref=Brown}}
*{{cite book|title=Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge|first=Otto Erich|last=Deutsch|coauthours=et al.|publisher=Bärenreiter|year=1978|ref=Catalog1978|isbn=9783761805718}}
*{{cite book|title=Researching the Song: A Lexicon|first=Shirlee|last=Emmons|coauthors=Lewis,Wilbur Watkin|publisher=Oxford University Press US|year=2006|isbn=9780195152029|ref=Emmons}}
*{{cite book|title=Composers of Yesterday|first=David|last=Ewen|publisher=READ BOOKS|year=2007|isbn=9781406759877|ref=Ewen}}
*{{cite book|first=Peter|last=Gammond|title=Schubert|publisher=Methuen|city=London|year=1982|isbn=0-413-46990-5|ref=Gammond}}
*{{cite book|first=Christopher H.|last=Gibbs|title=The Life Of Schubert|publisher=Cambridge University Press|year=2000|isbn= 0-521-59512-6|ref=GibbsLife}}
*{{cite book|first=Christopher H. [ed.]|last=Gibbs|title=The Cambridge Companion to Schubert|publisher=Cambridge University Press|year=1997|ref=CambridgeCompanion|isbn=9780521484244}}
*{{cite album-notes |title= Franz Schubert — Piano Sonata no. 15 in C Major (Unfinished); Allegretto in C Minor — Ray Lev, Pianist|albumlink= |bandname= |year=1947|first=Ray |last=Lev|format=78 RPM |publisher=Concert Hall Society |publisherid=Release B3|location=United States |ref=Lev}}
*{{cite book|title=Franz Schubert: Das fragmentarische Werk|first=Andrea|last=Lindmayr-Brandl|publisher=Franz Steiner Verlag|year=2003|isbn=9783515082501|url=http://books.google.de/books?id=cUgvGaSYCJ8C|language=German|ref=Lindmayr}}
*{{cite book|last=Liszt|first=Franz|coauthors=Suttoni, Charles (translator, contributor)|title=An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835-1841|year=1989|publisher=University of Chicago Press|isbn=0226485102|url=http://books.google.com/books?id=bXpPOj-Y7nkC|ref=Suttoni}}
*{{cite book|first=Brian|last=Newbould|title=Schubert: The Music and the Man|publisher=University of California Press|year=1999|isbn=0-520-21957-0|ref=Newbould}}
*{{cite book|title=The Lives of the Great Composers|first=Harold C|last=Schonberg|publisher=W. W. Norton|year=1997|isbn=9780393038576|ref=Schonberg|url=http://books.google.com/books?id=VawrK1CRFJgC}}
*{{cite book|title=The Gift of Music: Great Composers and Their Influence|first=Jane Stuart |last=Smith|coauthors=Carlson, Betty; Schaeffer, Francis A|publisher=Good News Publishers|year=1995|isbn=9780891078692|ref=SmithCarlson}}
*{{cite book|first=Rita|last=Steblin|editor-last=Newbould|editor-first=Brian|chapter=Schubert's Relationship with Women: An Historical Account|title=Schubert Studies|publisher=Ashgate|year=1998|pages=159–182|isbn=9781859282533}}
*{{cite journal|first=Rita|last=Steblin|title=In Defense of Scholarship and Archival Research: Why Schubert's Brothers Were Allowed to Marry|year=1998|pages=7–17|journal=Current Musicology|volume=62|ref=SteblinCM}}
*{{cite book|title=The Vintage Guide to Classical Music|first=Jan|last=Swafford|publisher=Vintage Books|year=1992|ref=Swafford|isbn=0-679-72805-8}}
*{{cite web|url=http://www.discogs.com/Kraftwerk-Trans-Europe-Express/release/1631474|title=Trans-Europe Express track listing|accessdate=2009-04-09|ref=TEERecord}}
{{refend}}

===Symphony numbers===
The following citations illustrate the confusion around the numbering of Schubert's late symphonies. The B minor ''Unfinished'' Symphony is variously published as Number 7 and Number 8, in both German and English. All of these editions appeared to be in print (or at least somewhat readily available) in 2008.
{{refbegin}}
*{{cite book|language=German|title=Symphony, No 7, D 759, B Minor, &quot;Unfinished&quot;|first=Franz|last=Schubert|publisher=Bärenreiter|year=1996|ref=Unfinished7German|oclc=39794412}} German-language publication of the ''Unfinished'' Symphony score as Number 7.
*{{cite book|title=Symphony No. 7 in B Minor D 759 Unfinished Symphony|series=Eulenburg Audio+Score Series|first=Franz|last=Schubert|publisher=Eulenburg|year=2008|isbn=978-3795765293|ref=Unfinished7English}} English-language publication of the ''Unfinished'' Symphony score as Number 7.
*{{cite book|first=Franz|last=Schubert|coauthors=Reichenberger, Teresa|title=Symphony No. 8 in B minor, D. 759 Unfinished |format=Paperback|year=1986|isbn=978-3795762780|ref=Unfinished8English}} English-language publication of the ''Unfinished'' Symphony score as Number 8.
{{refend}}

==Further reading==
[[Otto Erich Deutsch]], working in the first half of the 20th century, was probably the preeminent scholar of Schubert's life and music. In addition to the catalog of Schubert's works, he collected and organized a great deal of material about Schubert, some of which is still in print.
{{refbegin}}
*{{cite book|title=The Schubert Thematic Catalogue|first=Otto Erich|last=Deutsch|coauthors=Wakeling, Donald R.|publisher=Courier Dover Publications|year=1995|isbn=9780486286853}}
*{{cite book|title=Schubert: A Documentary Biography|first=Otto Erich|last=Deutsch|coauthors=[[Eric Blom|Blom, Eric]] (translator)|publisher=Da Capo Press|year=1977|isbn=9780306774201}}
*{{cite book|title=Schubert: Memoirs by His Friends|first=Otto Erich|last=Deutsch|publisher=Oxford University Press|year=1998|isbn=9780198164364|notes=This is a reprint of Deutsch's 1958 work}}
*{{cite book|title=Franz Schubert's Letters and Other Writings|first=Franz|last=Schubert|coauthors=Deutsch, Otto Erich; Savile, Venetia (translator)|publisher=A. A. Knopf|year=1928|oclc=891887}}
{{refend}}

Elizabeth Norman McKay and Brian Newbould have done a great deal of research on the life and music of Schubert in recent years, including scholarly journal articles and books. Newbould made a completion Schubert's fragmentary 10th symphony.
{{refbegin}}
*{{cite book|title=Franz Schubert's music for the theatre|first=Elizabeth Norman|last=McKay|publisher=H. Schneider|year=1991|isbn=978-3795206642}}
*{{cite book|title=Franz Schubert: A Biography|first=Elizabeth Norman|last=McKay|publisher=Oxford University Press|year=1996|isbn=9780198166818|ref=McKayBio}}
*{{cite book|title=Schubert: The Music and the Man|first=Brian|last=Newbould|publisher=University of California Press|year=1997|isbn=9780520219571}}
*{{cite book|title=Schubert Studies|first=Brian|last=Newbould|publisher=Ashgate|year=1998|isbn=9781859282533}}
*{{cite book|title=Schubert and the Symphony: A New Perspective|first=Brian|last=Newbould|publisher=Toccata Press|year=1992|isbn=9780907689263}}
*{{cite book|title=Schubert the Progressive: History, Performance Practice, Analysis|first=Brian|last=Newbould|publisher=Ashgate|year=2003|isbn=9780754603689}}
{{refend}}

==External links==
{{commons|Franz Schubert}}
*[http://www.recmusic.org/lieder/s/schubert.html The Lied and Arts Song Texts Page]
*{{musicbrainz artist|id=f91e3a88-24ee-4563-8963-fab73d2765ed|name=Franz Schubert}}
*{{ibdb name|id=12366|name=Franz Schubert}}
*{{imdb name|id=0006280|name=Franz Schubert}}
*[http://www.trovar.com/Deutsch.html Catalogue of Works by Franz Schubert]
*[http://www.schubert-online.at/activpage/index_en.htm Digital reproductions of score manuscripts and letters by Franz Schubert]
*[http://www.notesonfranzschubert.com/schubert.htm Notes on Franz Schubert] by pianist [[Bart Berman]]
*[http://www.franzschubert.org.uk/index.html The Schubert Institute (UK)], detailed time-line, biography, work list and (flawed) family tree
*[http://www.schubertsocietyusa.org/ The Schubert Society of the USA]
*[http://www.schubertsociety.com The Franz Schubert Society of Victoria]
*[http://www.schubert-institut.at/home.htm Franz-Schubert-Institut in Baden bei Wien]
*{{worldcat id|id=lccn-n50-561}}

===Recordings and MIDI files===
*[http://www.schubertsongs.com/index.php?lang=en www.schubertsongs.com] - free Recordings of all works by Schubert for voice and piano (mp3)
*[http://cylinders.library.ucsb.edu/search.php?query=schubert%2C+franz&amp;queryType=%40attr+1%3D1 Schubert cylinder recordings], from the [[Cylinder Preservation and Digitization Project]] at the [[University of California, Santa Barbara]] Library.
*[http://www.impresario.ch/karaoke/index.php?query=Schubert Selected Lieder (MIDI)]
*Kunst der Fuge: [http://www.kunstderfuge.com/schubert.htm Franz Schubert - MIDI files]
*[http://www.mootnotes.com/music/schubert Schubert selected works (MP3)]

===Sheet music===
* [http://kreusch-sheet-music.net/eng/index.php?action=search&amp;page=show&amp;order=op&amp;query=franz+schubert www.kreusch-sheet-music.net] Schubert's Piano Works
* http://www.schubertline.co.uk - about 250 of Schubert's Songs (Schubertline edition)
* {{IMSLP|id=Schubert%2C_Franz|cname=Franz Schubert}}
* {{ChoralWiki}}
* {{WIMA|idx=Schubert|name=Franz Schubert}}
* {{gutenberg author| id=Franz+Peter+Schubert | name=Franz Schubert}}
* [http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=SchubertF&amp;preview=1 Schubert's Sheet Music] by [[Mutopia Project]]
* [http://www.dlib.indiana.edu/variations/scores/bhs2046/index1.html Lieder sheet music]
&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;

{{Romanticism}}

{{Persondata
|NAME= Schubert, Franz Peter
|ALTERNATIVE NAMES=
|SHORT DESCRIPTION=[[Austria]]n [[composer]]
|DATE OF BIRTH=January 31, 1797
|PLACE OF BIRTH=[[Vienna, Austria]]
|DATE OF DEATH=November 19, 1828
|PLACE OF DEATH=[[Vienna, Austria]]
}}
{{DEFAULTSORT:Schubert, Franz}}
[[Category:Austrian composers]]
[[Category:Austrian Roman Catholics]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:Romantic composers]]
[[Category:Viennese composers]]
[[Category:People from Vienna]]
[[Category:Burials at the Zentralfriedhof]]
[[Category:Austrians of Moravian German descent]]
[[Category:Austrians of Silesian German descent]]
[[Category:1797 births]]
[[Category:1828 deaths]]
[[Category:19th-century Austrian people]]

[[ar:فرانز شوبرت]]
[[an:Franz Schubert]]
[[az:Frans Şubert]]
[[be:Франц Шуберт]]
[[be-x-old:Франц Шубэрт]]
[[bs:Franz Schubert]]
[[br:Franz Schubert]]
[[bg:Франц Шуберт]]
[[ca:Franz Schubert]]
[[cs:Franz Schubert]]
[[cy:Franz Schubert]]
[[da:Franz Schubert]]
[[de:Franz Schubert]]
[[et:Franz Schubert]]
[[el:Φραντς Σούμπερτ]]
[[es:Franz Schubert]]
[[eo:Franz Schubert]]
[[eu:Franz Schubert]]
[[fa:فرانتس شوبرت]]
[[hif:Franz Schubert]]
[[fr:Franz Schubert]]
[[gl:Franz Schubert]]
[[ko:프란츠 슈베르트]]
[[hr:Franz Schubert]]
[[io:Franz Schubert]]
[[id:Franz Schubert]]
[[is:Franz Schubert]]
[[it:Franz Schubert]]
[[he:פרנץ שוברט]]
[[ka:ფრანც შუბერტი]]
[[kk:Шуберт, Франц]]
[[sw:Franz Schubert]]
[[la:Franciscus Petrus Schubert]]
[[lv:Francis Šūberts]]
[[lb:Franz Schubert]]
[[lt:Franz Schubert]]
[[lij:Franz Schubert]]
[[hu:Franz Schubert]]
[[mk:Франц Шуберт]]
[[ml:ഫ്രാൻസ് ഷൂബർട്ട്]]
[[mt:Franz Schubert]]
[[arz:فرانتس شوبيرت]]
[[mn:Франц Шуберт]]
[[nl:Franz Schubert]]
[[ja:フランツ・シューベルト]]
[[no:Franz Schubert]]
[[pms:Franz Schubert]]
[[nds:Franz Schubert]]
[[pl:Franz Schubert]]
[[pt:Franz Schubert]]
[[ro:Franz Schubert]]
[[ru:Шуберт, Франц]]
[[simple:Franz Schubert]]
[[sk:Franz Schubert]]
[[sl:Franz Schubert]]
[[sr:Франц Шуберт]]
[[sh:Franz Schubert]]
[[fi:Franz Schubert]]
[[sv:Franz Schubert]]
[[ta:பிராண்ஸ் சூபேர்ட்]]
[[th:ฟรานซ์ ปีเตอร์ ชูเบิร์ต]]
[[tr:Franz Schubert]]
[[uk:Франц Петер Шуберт]]
[[vi:Franz Schubert]]
[[vo:Franz Schubert]]
[[war:Franz Schubert]]
[[yi:פראנז שובערט]]
[[zh-yue:舒伯特]]
[[bat-smg:Francos Šoberts]]
[[zh:弗朗茨·舒伯特]]</text>
    </revision>
  </page>
  <page>
    <title>Georg Christoph Wagenseil</title>
    <id>582934</id>
    <revision>
      <id>311811040</id>
      <timestamp>2009-09-04T10:28:13Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Austrian people]]</comment>
      <text xml:space="preserve">'''Georg Christoph Wagenseil''' ([[29 January]] [[1715]] &amp;ndash; [[1 March]] [[1777]]) was an [[Austria]]n [[composer]].

He was born in [[Vienna]], and became a favorite pupil of the Vienna court's 
[[Kapellmeister]], [[Johann Joseph Fux]].&lt;ref&gt;Kucaba, John.: &quot;Introduction: Life&quot; in ''The Symphony 1720 - 1840'' Series B - Volume III, ed. Barry S. Brooks (New York &amp; London, 1981) p. xi&lt;/ref&gt; Wagenseil himself composed for the 
court from 1739 to his death. He also held positions as [[harpsichord]]ist and 
[[organist]]. His pupils included [[Johann Baptist Schenk]] (who was to teach 
[[Ludwig van Beethoven]]), and [[Marie Antoinette]]. He traveled little, and died in Vienna having spent most of his life there.

Wagenseil was a well-known musical figure in his day &amp;mdash; both [[Joseph Haydn]] and [[Wolfgang Amadeus Mozart]] are known to have been familiar with his works. His early works are [[Baroque music|Baroque]], while later pieces are in the lighter [[galant]] style. He composed a number of [[opera]]s, [[choir|choral]] works, [[symphony|symphonies]],&lt;ref&gt;Kucaba, John.: &quot;Thematic Index&quot; in ''The Symphony 1720 - 1840'' Series B - Volume III, ed. Barry S. Brooks (New York &amp; London, 1981) pp. xxxvii - l&lt;/ref&gt; [[concerto]]s, 
[[chamber music]] and [[keyboard instrument|keyboard]] pieces. 

==Operas==
*''La generosità trionfante'' (1745) 
*''Ariodante'' (1745 ) 
*''La clemenza di Tito'' (1745) 
*''Demetrio'' (1746) 
*''Alexander der Grosse in Indien'' (1748)  
*''Il Siroe'' (1748) 
*''L'olimpiade'' (1749) 
*''Andromeda'' (1750) 
*''Antigono'' (1750)  
*''Euridice'' (1750) 
*''Armida placata'' (1750) 
*''Vincislao'' (1750) 
*''Le cacciatrici amanti'' (1755) 
*''Prometeo assoluto'' (1762) 
*''Catone'' (?) 
*''Merope'' (1766)

==References==

{{reflist}}

==External links==
*[http://www.hoasm.org/XIIC/Wagenseil.html HOASM]
* {{IMSLP|id=Wagenseil, Georg Christoph}} 
*[http://hdl.handle.net/1802/4963 Sonatas Op.2] Score from Sibley Music Library Digital Scores Collection

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;
{{Persondata
|NAME              = Wagenseil, Georg Christoph
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Austrian composer
|DATE OF BIRTH     = 29 January 1715
|PLACE OF BIRTH    = [[Vienna]]
|DATE OF DEATH     = 1 March 1777
|PLACE OF DEATH    = Vienna
}}

{{DEFAULTSORT:Wagenseil, Georg Christoph}}
[[Category:1715 births]]
[[Category:1777 deaths]]
[[Category:Austrian composers]]
[[Category:Classical era composers]]
[[Category:Opera composers]]
[[Category:18th-century Austrian people]]

{{Austria-bio-stub}}

[[de:Georg Christoph Wagenseil]]
[[fr:Georg Christoph Wagenseil]]
[[it:Georg Christoph Wagenseil]]
[[hu:Georg Christoph Wagenseil]]
[[ja:ゲオルク・クリストフ・ヴァーゲンザイル]]
[[pl:Georg Christoph Wagenseil]]
[[sl:Georg Christoph Wagenseil]]
[[fi:Georg Christoph Wagenseil]]</text>
    </revision>
  </page>
  <page>
    <title>William Herschel</title>
    <id>33971</id>
    <revision>
      <id>311346661</id>
      <timestamp>2009-09-01T21:04:05Z</timestamp>
      <contributor>
        <ip>204.100.183.49</ip>
      </contributor>
      <comment>/* Early life and musical activities */</comment>
      <text xml:space="preserve">{{Citations missing|date=January 2008}}
{{otheruses}}
{{Infobox Scientist
|name              = William Herschel
|box_width         =
|image             = William Herschel01.jpg|100px
|image_width       = 
|caption           = 
|birth_date        = {{birth date|df=yes|1738|11|15}}
|birth_place       = [[Hanover]], [[Germany]]
|death_date        = {{death date and age|df=yes|1822|08|25|1738|11|15}}
|death_place       = [[Slough]], then in [[Buckinghamshire]], [[England]]
|residence         = 
|nationality       = [[British people|British]]
|ethnicity         = 
|field             = [[Astronomy]]
|work_institutions = 
|alma_mater        = 
|doctoral_advisor  = 
|doctoral_students = 
|known_for         = Discovery of [[Uranus]]
|author_abbrev_bot = 
|author_abbrev_zoo = 
|influences        = 
|influenced        = 
|prizes            = [[Copley Medal]]
|footnotes         = 
|signature         =}}
'''Sir Frederick William Herschel''', [[Royal Guelphic Order|KH]], [[Fellow of the Royal Society|FRS]], ''German: Friedrich Wilhelm Herschel'',&lt;ref&gt;Caroline Herschel's autobiographies (M. Hoskin ed., 2003) page 13&lt;/ref&gt; (15 November 1738 – 25 August 1822) was a German-born [[English people|English]] [[astronomer]], technical expert and [[composer]] who became famous for discovering [[Uranus]]. He also discovered [[Infrared|infrared radiation]] and made many other discoveries in astronomy.

==Early life and musical activities==
He was born '''Friedrich Wilhelm Herschel''' in [[Hanover]], [[Electorate of Hanover]], now [[Lower Saxony]], [[Germany]], as one of ten children (of whom four died very young).  According to his biographer, Holden, both his grandfather, who  was named Abraham, and his father, Isaac Herschel (1708-1768), an [[oboist]] of the Hanover Military Band, were Jewish . However , his mother, Anna Ilse Moritzen, does not appear to have been Jewish.  In 1755 the Hanoverian Guards regiment, in whose band William and his brother Jacob were engaged as oboists, was ordered to England. At the time, the crowns of England and [[House of Hanover|Hannover]] were united under [[George II of Great Britain|George II]]. This brief visit made an impression, and the next year the brothers resigned from the Guards band and moved to London. William learned English quickly and, at age nineteen, he changed his name to '''Frederick William Herschel'''.

He played the [[cello]] besides the [[oboe]] and, later, the [[organ (music)|organ]]. During a concert in 1767, Herschel showed off his versatility by performing an oboe concerto, violin concerto and harpsichord sonata.&lt;ref name=&quot;Bath&quot;&gt;{{cite web|url=http://www.dcs.warwick.ac.uk/bshm/zingaz/B.html#bath|title=Bath|publisher=The British Society for the History of Mathematics|accessdate=2009-07-18}}&lt;/ref&gt; He composed numerous musical works, including 24 [[symphonies]] and many [[concerto]]s, as well as some church music. Apart from a few oboe concertos, his music is largely forgotten today. 

Herschel moved to Sunderland in 1761 when [[Charles Avison]] immediately engaged him as first violin and soloist for his Newcastle orchestra, where he played for one season. In ‘Sunderland in the County of Durham April 20 1761’  he wrote his symphony no. 8 in C minor. He was head of the Durham Militia band 1760-61 and visited the home of Sir [[Ralph Milbanke]] at Halnaby Hall in 1760, where he wrote two symphonies, as well as giving performances himself. 

After Newcastle he moved to Leeds and [[Halifax, West Yorkshire|Halifax]] where he was organist at St John the Baptist church. He became organist of the [[Octagon Chapel, Bath|Octagon Chapel]], [[Bath, Somerset|Bath]], in which town he was also Director of Public Concerts. He was appointed as the organist in 1766 and gave his introductory concert on January 1, 1767. As the organ was still incomplete he performed his own compositions including a [[violin]] [[concerto]], an [[oboe]] concerto and a [[harpsichord]] [[sonata]]. The organ was completed in October 1767.&lt;ref name=&quot;Bath&quot;/&gt; His sister [[Caroline Herschel|Caroline]] came to England in 1772 and lived with him there in New King Street. His brothers Dietrich, Alexander and Jacob (1734-1792) also appeared as musicians of Bath. In 1780, Herschel was appointed director of the Bath orchestra, with his sister often appearing as soprano soloist.

==Astronomy==
{| align=&quot;right&quot; style=&quot;border:1px solid #CCC; margin-left:15px;&quot; cellpadding=&quot;5&quot;
|+ '''[[Planet]]s discovered: 1'''
| [[Uranus]] || 13 March 1781
|}
{| align=&quot;right&quot; style=&quot;border:1px solid #CCC; margin-left:15px;&quot; cellpadding=&quot;5&quot;
|+ '''[[Moon]]s discovered: 4'''
| [[Oberon (moon)|Oberon]] || 11 January 1787
|-
| [[Titania (moon)|Titania]] ||  11 January 1787
|-
| [[Enceladus (moon)|Enceladus]] || 28 August 1789
|-
| [[Mimas (moon)|Mimas]] || 17 September 1789
|}
===Discoverer of Uranus===
Herschel's music led him to an interest in [[mathematics]], and thence to [[astronomy]]. This interest grew stronger after 1773, and he built some telescopes and made the acquaintance of [[Nevil Maskelyne]]. In the spring of 1781, William Herschel discovered the planet Uranus, using a homemade telescope in the back garden of his house in New King Street, in Bath. He called the new planet the 'Georgian star' after [[King George III]], which also brought him favour; the name didn't stick, however: in France, where reference to the British king was to be avoided if possible, the planet was known as 'Herschel' until the name 'Uranus' was universally adopted. The same year, Herschel was awarded the [[Copley Medal]] and elected a Fellow of the [[Royal Society]]. In 1782, he was appointed &quot;The King’s Astronomer&quot; and he and his sister subsequently moved to [[Datchet]] (then in [[Buckinghamshire]] but now in [[Berkshire]]) on 1 August 1782. He continued his work as a telescope maker, selling a number of them to other astronomers.

===Work with his sister Caroline===
In 1783 he gave [[Caroline Herschel|Caroline]] a telescope and she began to make astronomical discoveries in her own right, particularly [[comet]]s. She discovered eight comets, three nebulae and, at her brother's suggestion, updated &amp; corrected Flamsteed's work detailing the position of stars.  This was published as the British Catalogue of Stars.  She was honored by the Royal Astronomical Academy for this work. Caroline also continued to serve as his assistant, often taking notes while he observed at the telescope. 

In June 1785, owing to damp conditions, he and Caroline moved to Clay Hall in [[Windsor, Berkshire|Old Windsor]]. Clay Hall (or Clayhall Farm) had been owned by Samuel Foote, father of Topham Foote whose bust by [[Peter Scheemakers]] is in Windsor Parish Church. On 3 April 1786, William Herschel moved his family to a new residence on Windsor Road in [[Slough]]. He lived the rest of his life in this residence, which came to be known as [[Observatory House]]. It is no longer standing, having been demolished in 1963 to make way for a high-rise office building.

On 7 May 1788, he married the widow Mary Pitt (née Baldwin) at [[St Laurence's Church, Slough|St Laurence's Church]], Upton in Slough. His sister Caroline then moved to separate lodgings, but continued to work as his assistant.

[[Image:William Herschel.jpg|right|thumb|William Herschel]]

===Herschel's telescopes===
[[Image:HerschelTelescope.jpg|left|thumb|200px|Replica of the telescope with which Herschel discovered [[Uranus]] in the [[William Herschel Museum]], [[Bath, Somerset|Bath]]]]
{{seealso|40 foot telescope}}
During the course of his career, he constructed more than four hundred telescopes. The largest and most famous of these was a [[reflecting telescope]] with a 40&amp;nbsp;ft (12&amp;nbsp;m) [[focal length]] and an aperture 49½ inches (126&amp;nbsp;cm) in diameter. On 28 August 1789, his first night of observation using this instrument, he discovered a new [[Moons_of_Saturn#Table_of_known_moons|moon]] of [[Saturn]]. A second moon followed within the first month of observation. The 40 ft (12 m) telescope proved very cumbersome, however, and most of his observations were done with a smaller telescope of 20&amp;nbsp;ft (6.1&amp;nbsp;m) focal length. Herschel discovered that unfilled telescope apertures can be used to obtain high angular resolution, something which became the essential basis for interferometric imaging in astronomy (in particular [[Aperture Masking Interferometry]] and [[hypertelescope]]s).

===Further discoveries===
In his later career, Herschel discovered two moons of Saturn, [[Mimas (moon)|Mimas]] and [[Enceladus (moon)|Enceladus]]; as well as two moons of Uranus, [[Titania (moon)|Titania]] and [[Oberon (moon)|Oberon]]. He did not give these moons their names; rather, they were named by his son [[John Herschel|John]] in 1847 and 1852, respectively, well after his death.
[[Image:Herschel 40 foot.jpg|right|200px|thumb|The [[40 foot telescope|40 foot (12 m) telescope]]]]
He worked on creating an [[Catalogue of Nebulae|extensive catalogue]] of [[nebula]]e. He continued to work on double stars, and was the first to discover that most [[double star]]s are not mere [[optical double]]s as had been supposed previously, but are true [[binary star]]s, thus providing the first evidence that [[Isaac Newton|Newton's]] [[Newton's law of universal gravitation|laws of gravitation]] apply outside the [[solar system]].  He also had a part in discovering the [[ice caps]] on [[Mars]]. 

From studying the [[proper motion]] of stars, he was the first to realize that the [[solar system]] is [[stellar kinematics|moving]] through [[space]], and he determined the approximate direction of that movement. He also studied the structure of the [[Milky Way]] and concluded that it was in the shape of a [[spiral galaxy|disk]].

He also coined the word &quot;[[asteroid]]&quot;, meaning ''star-like'' (from the [[Greek language|Greek]] ''asteroeides'', ''aster'' &quot;star&quot; + ''-eidos'' &quot;form, shape&quot;), in 1802 (shortly after [[Heinrich Wilhelm Olbers|Olbers]] discovered the second [[minor planet]], [[2 Pallas]], in [[March 28|late March]] of the same year), to describe the star-like appearance of the small moons of the [[gas giant|giant planets]] and of the minor planets; the planets all show discs, by comparison. However, it was not until the 1850s that 'asteroid' became a standard term from describing certain minor planets.

As part of his attempts to determine if there was a link between [[solar variation|solar activity]] and the terrestrial climate, Herschel also collected records of the price of [[wheat]] as direct meteorological measurements were not available for a sufficient period. He theorised that the price of wheat would be [[causality|linked]] to the harvest and hence to the [[weather]] over the year. This attempt was unsuccessful due to the lack of previous solar observations against which to compare the wheat prices but similar techniques were used later with success.&lt;ref&gt;{{Harvnb|Holden|1881|pp=201-2}}&lt;/ref&gt;

Despite his numerous important scientific discoveries, Herschel was not averse to wild speculation. In particular, he believed every planet was inhabited&lt;ref&gt;[''The idea of life on our neighbour planet [Mars] has inspired humans for a long time. The British astronomer Sir William Herschel (1738-1822) assumed that there are intelligent beings not only on Mars, but on all planets in our solar system (see http://science.orf.at/science/news/86466)&lt;/ref&gt;, even the [[Sun]]: he believed that the Sun had a cool, solid surface protected from its hot [[atmosphere]] by an opaque layer of cloud, and that a race of beings adapted to their strange environment lived there and had enormous heads. He believed the creatures' heads must be exceptionally large because his calculations showed that under those conditions a normal sized head would effectively explode. The original belief of life-forms inhabiting the Sun came from the sight and movement of [[sunspots]] on the surface of the Sun.{{Fact|date=June 2007}}

== Discovery of infrared radiation ==
On February 11, 1800, Herschel was testing filters for the sun so he could observe sun spots.  When using a red filter he found there was a lot of heat produced.  Herschel discovered [[infrared radiation]] by passing [[sunlight]] through a [[triangular prism (optics)|prism]] and holding a [[thermometer]] just beyond the [[red]] end of the [[visible spectrum]].  This thermometer was meant to be a control to measure the ambient air temperature in the room.  He was [[serendipity|shocked when it showed a higher temperature]] than the [[visible spectrum]]. Further experimentation led to Herschel's conclusion that there must be an [[visual perception|invisible]] form of [[light]] beyond the [[visible spectrum]].

==Family and death==
William Herschel and Mary had one child, [[John Herschel|John]], born at Observatory House on 7 March 1792. In 1816, William was made a Knight of the [[Royal Guelphic Order]] by the [[George IV of the United Kingdom|Prince Regent]] entitling him to the prefix 'Sir'. He helped to found the Astronomical Society of London in 1820, which in 1831 received a royal charter and became the [[Royal Astronomical Society]].

On August 25, 1822, Herschel died at Observatory House, Windsor Road, Slough, and is buried at nearby St Laurence's Church, Upton. Coincidentally, he died in his 84th year, which is the same number of years which Uranus takes to orbit the Sun.

His son [[John Herschel]] also became a famous astronomer.  One of William's brothers, Alexander Herschel, moved permanently to England, near Caroline and John.

His sister Caroline returned to [[Hanover]], [[Germany]] after the death of her brother. She died on 9 January 1848.&lt;ref&gt;[http://www.manfredholl.de/hersch.htm]&lt;/ref&gt;

His house at 19 New King Street in [[Bath, Somerset]] where he made many [[telescope]]s and first observed Uranus, is now home to the [[Herschel Museum of Astronomy]].

==Named after Herschel==
* [[Mu Cephei]], Two of the largest known stars in the universe, is also known as Herschel's Garnet Star
* [[Herschel (lunar crater)|Herschel]], a crater on the [[Moon]]
* [[Herschel (Martian crater)|Herschel]], a large [[Impact crater|impact basin]] on [[Mars]]
* The enormous crater [[Herschel (crater on Mimas)|Herschel]] on [[Saturn]]'s moon [[Mimas (moon)|Mimas]]
* [[2000 Herschel]], an asteroid
* The [[William Herschel Telescope]] on [[La Palma]]
* The [[Herschel Space Observatory]], successfully launched by the European Space Agency on May 14, 2009.  It will be the largest [[space telescope]] of its kind
* [[Herschel Grammar School]], Slough
* [[Rue Herschel]], a street in Paris, France bears his name.
* The [[Herschel building]] at [[Newcastle University]], Newcastle, United Kingdom
* [[Herschel Museum of Astronomy]]
* [[Herschel Girls School]], Cape Town
* [[Herschelschule]], Hanover, Germany, a grammar school
* [[Herschel, Saskatchewan]], Canada is a small, rural village that is home to the [[Ancient Echoes Interpretive Centre]]
* The Herschel Observatory, from the school Universitas in Santos, Brazil.
* The lunar crater [[C. Herschel (crater)|C. Herschel]], the asteroid [[281 Lucretia]], and the comet [[35P/Herschel-Rigollet]] are named after his sister [[Caroline Herschel]].
* The lunar crater [[J. Herschel (crater)|J. Herschel]] is named after his son John.
* A public house in Slough is named after him and is quite close to the site of Observatory House. Herschel Arms, 22, Park St, Slough, Berkshire SL1 1PS
* [[Herschel Astronomical Society]] who operate the Herschel Memorial Observatory based in Eton, Berkshire.

==See also==
*[[List of astronomical instrument makers]]
*[[German inventors and discoverers]]

==Notes==
{{reflist}}

==References==
* [http://adsabs.harvard.edu//full/seri/JRASC/0074//0000134.000.html Biography: JRASC '''74''' (1980) 134]
* &quot;William Herschel&quot;by Michael Hoskin. ''New dictionary of Scientific Biography'' Scribners, 2008. v. 3, pp.&amp;nbsp;289-291.
* {{citation|last=Holden|first=Edward S.|title=Sir William Herschel His Life and Works|year=1881|publisher=Charles Scribner's Sons|location=New York}}

==External links==
{{commons|William Herschel}}
* [http://www.seds.org/messier/xtra/similar/herschel.html William Herschel's Deep Sky Catalog]
* Full text of ''[http://www.gutenberg.net/etext/12340 The Story of the Herschels]'' (1886) from [[Project Gutenberg]]
* [http://www.npg.org.uk/live/search/person.asp?search=ss&amp;sText=herschel&amp;LinkID=mp02166 Portraits of William Herschel] at the [[National Portrait Gallery (London)|National Portrait Gallery (United Kingdom)]]
* [http://www.bath-preservation-trust.org.uk/ Herschel Museum of Astronomy] located in his [[Bath, Somerset|Bath]] home
* [http://www.williamherschel.org.uk/ William Herschel Society]
* [http://books.google.com/books?id=Ml6DwyLbxdIC ''The Oboe Concertos of Sir William Herschel'', Wilbert Davis Jerome ed.] ISBN 0871692252 
*{{worldcat id|id=lccn-n79-83314}}
*[http://contentdm.lindahall.org/u?/classics,4720 A notebook of Herschel's, dated from 1759] is available in the digital collections of the Linda Hall Library.

{{s-start}}
{{s-ach}}
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{{s-ttl|title=[[Copley Medal]]|years=1781}}
{{s-aft|after=[[Richard Kirwan]]}}
{{s-end}}

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[[Category:1822 deaths]]
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[[Category:German astronomers]]
[[Category:Uranus]]
[[Category:British composers]]
[[Category:Classical era composers]]
[[Category:Discoverers of moons]]
[[Category:Fellows of the Royal Society]]
[[Category:English people of German descent]]
[[Category:People from Bath]]
[[Category:People from Hanover]]
[[Category:People from Old Windsor]]
[[Category:People from Slough]]
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[[Category:Knights of the Royal Guelphic Order]]
[[Category:Recipients of the Copley Medal]]
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  </page>
  <page>
    <title>Carl Philipp Emanuel Bach</title>
    <id>58237</id>
    <revision>
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'''Carl Philipp Emanuel Bach''' (8 March 1714 &amp;ndash; 14 December 1788) was a [[Germany|German]] musician and composer, the second of five sons of [[Johann Sebastian Bach]] and [[Maria Barbara Bach]]. He was a crucial composer in the transition between the [[Baroque Music|Baroque]] and [[Classical Music|Classical]] periods, and one of the founders of the Classical style, composing in the [[Galante music|Rococo]] and Classical periods.

==Life and works== 
Carl Philipp Emanuel Bach was born in Weimar, Germany. When he was ten years old he entered the St. Thomas School at Leipzig, where his father had become [[Cantor (church)|cantor]] in 1723, and continued his education as a student of [[jurisprudence]] at the universities of [[University of Leipzig|Leipzig]] (1731) and of [[Viadrina European University|Frankfurt (Oder)]] (1735). In 1738, at the age of 24, he took his degree, but at once abandoned his prospects of a legal career and determined to devote himself to music. 

A few months later (armed with a recommendation by [[Sylvius Leopold Weiss]]) he obtained an appointment in the service of [[Frederick II of Prussia]] (&quot;Frederick the Great&quot;), the then [[crown prince]], and upon Frederick's accession in 1740 Carl Philipp became a member of the royal orchestra. He was by this time one of the foremost [[keyboard instrument|clavier]]-players in Europe, and his compositions, which date from 1731, include about thirty [[sonata (music)|sonatas]] and concert pieces for harpsichord and clavichord.
 
In Berlin he continued to write numerous musical pieces for solo keyboard, including a series of character pieces- the so-called &quot;Berlin Portraits&quot; including [[La Caroline (Bach)|La Caroline]].

His reputation was established by the two sets of sonatas which he dedicated respectively to Frederick the Great and to the grand duke of [[Württemberg]]; in 1746 he was promoted to the post of chamber musician, and for twenty-two years shared with [[Carl Heinrich Graun]], [[Johann Joachim Quantz]], and [[Johann Gottlieb Naumann]] the continued favour of the king. 

During his residence in [[Berlin]], he wrote a fine setting of the [[Magnificat]] (1749), in which he shows more traces than usual of his father's influence; an [[Easter]] [[cantata]] (1756); several [[symphony|symphonies]] and concerted works; at least three volumes of songs; and a few secular cantatas and other occasional pieces. But his main work was concentrated on the clavier, for which he composed, at this time, nearly two hundred sonatas and other solos, including the set ''Mit veränderten Reprisen'' (1760-1768) and a few of those ''für Kenner und Liebhaber''. Meanwhile he placed himself in the forefront of European critics by his ''Versuch über die wahre Art das Clavier zu spielen'', a systematic and masterly treatise which by 1780 had reached its third edition, and which laid the foundation for the methods of [[Muzio Clementi]] and [[Johann Baptist Cramer]]. 

In 1768 Bach succeeded [[Georg Philipp Telemann]] (his godfather) as ''[[Kapellmeister]]'' at [[Hamburg]], and in consequence of his new office began to turn his attention more towards church music. The next year he produced his [[oratorio]] ''[[Die Israeliten in der Wüste]]'' (The Israelites in the Desert), a composition remarkable not only for its great beauty but for the resemblance of its plan to that of [[Felix Mendelssohn]]'s ''[[Elijah (oratorio)|Elijah]]'', and between 1768 and 1788 wrote [[The Passions of C.P.E. Bach|twenty-one settings]] of the [[Passion music|Passion]], and some seventy cantatas, [[litany|litanies]], [[motet]]s, and other liturgical pieces. At the same time, his genius for instrumental composition was further stimulated by the career of [[Joseph Haydn]]. He died in Hamburg on 14 December 1788. He was buried in the [[St. Michaelis Church, Hamburg|Michaeliskirche]] (Church of St. Michael) in Hamburg.

He married Johanna Maria Dannemann in 1744. Only three of their children lived to adulthood – Johann Adam (1745–89), Anna Carolina Philippina (1747–1804) and Johann Sebastian (1748–78). None became musicians.

==Legacy and musical style==
Through the latter half of the 18th century, the reputation of C.P.E. Bach stood very high. [[Wolfgang Amadeus Mozart]] said of him, &quot;He is the father, we are the children.&quot;&lt;ref&gt;Rochlitz, Friedrich, Für Freunde der Tonkunst, 4 vols. (Leipzig, 1824-32), pp. 308f. n. Quoted in: Ottenberg, Hans-Günter, Carl Philipp Emanuel Bach (trans. PJ Whitmore), OUP, 1987, ISBN 0 19 315246 0, p.191.&lt;/ref&gt;  The best part of Joseph Haydn's training was derived from a study of his work. [[Ludwig van Beethoven]] expressed for his genius the most cordial admiration and regard.{{Fact|date=November 2007}} This position he owes mainly to his keyboard sonatas, which mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from both the [[Italy|Italian]] and the [[Vienna|Viennese]] schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later. 

The content of his work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work, a style that may be categorised as ''[[Sensitive style|Empfindsamer Stil]]''. It is no less sincere in thought than polished and felicitous in phrase. He was probably the first composer of eminence who made free use of harmonic colour for its own sake since the time of [[Orlando di Lasso|Lassus]], [[Claudio Monteverdi|Monteverdi]], and [[Carlo Gesualdo|Gesualdo]].{{Fact|date=February 2007}} In this way, he compares well with the most important representatives of the [[First Viennese School]]. In fact he exerted enormous influence on the North German School of composers, in particular [[Georg Anton Benda]], [[Bernhard Joachim Hagen]], [[Ernst Wilhelm Wolf]], [[Johann Gottfried Müthel]], Friedrich Wilhelm Rust and many others. His influence was not limited to his contemporaries, and extended to Felix Mendelssohn and [[Carl Maria von Weber]]. Considered by many to be the foremost composer of the `Empfindsamer Stil`,often stating that `Music should come from the Heart`

His name fell into neglect during the 19th century, with [[Robert Schumann]] notoriously opining that &quot;as a creative musician he remained very far behind his father&quot;&lt;ref&gt;Hubeart Jr., T. L. (14 July 2006). [http://members.aol.com/basfawlty/cpe_bach.htm#_edn18 A Tribute to C. P. E. Bach]. Retrieved on 2008-05-17&lt;/ref&gt;; in contrast, [[Johannes Brahms]] held him in high regard and edited some of his music. The revival of C.P.E. Bach's works has been underway since Helmuth Koch's rediscovery and recording of his symphonies in the 1960s, and [[Hugo Ruf (musician)|Hugo Ruf]]'s recordings of his keyboard sonatas. There is an ongoing effort to record his complete works, led by Miklos Spanyi on the Swedish record label BIS.

==Works list==
{{main|List of compositions by Carl Philipp Emanuel Bach}}

==Media==
{{multi-listen start}}
{{multi-listen item|filename=Carl Philipp Emanuel Bach - Sonata in Bb major.ogg|title=Flute Sonata in B flat major|description=Performed by Alex Murray (flute) and [[Martha Goldstein]] (harpsichord)|format=[[Ogg]]}}
{{multi-listen item|filename=Carl Philipp Emanuel Bach - Sonata in G major.ogg|title=Flute Sonata in G major|description=Performed by Alex Murray (flute) and Martha Goldstein (harpsichord)|format=[[Ogg]]}}
{{multi-listen item|filename=Carl Phillipe Emanuel Bach - Freie Fantasie, F Sharp minor.ogg|title=Freie Fantasie, F sharp minor|description=Performed by Joan Benson (clavichord)|format=[[Ogg]]}}
{{multi-listen item|filename=Carl Philipp Emanuel Bach- Flute Concerto Gmaj - 1. Allegro.ogg|title=Flute Concerto in G major - 1. Allegro|description=Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)|format=[[ogg]]}}
{{multi-listen item|filename=Carl Philipp Emanuel Bach- Flute Concerto Gmaj - 2. Largo.ogg|title=Flute Concerto in G major - 2. Largo|description=Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)|format=[[ogg]]}}
{{multi-listen item|filename=Carl Philipp Emanuel Bach- Flute Concerto Gmaj - 3. Presto.ogg|title=Flute Concerto in G major - 3. Presto|description=Performed by the Advent Chamber Orchestra with Constance Schoepflin (flute)|format=[[ogg]]}}
{{multi-listen item|filename=CPE Bach193.11.ogg|title=Piece for Mechanical Clock, H. 635, No. 11|description=Performed on an organ by Ulrich Metzner|format=[[ogg]]}}
{{audio|LaCarolineGalKoren.mid|MIDI of La Caroline by Gal koren}}
{{multi-listen end}}

==See also==
*[[:Category:Compositions by Carl Philipp Emanuel Bach]]

==Notes==
{{reflist}}

==Further reading==
*A list and critical account of his voluminous compositions may be found in the ''[[New Grove Dictionary of Music and Musicians]] ''(1980). A complete edition entitled ''[[Carl Philipp Emanuel Bach: The Complete Works]]'' is under way and scheduled to be completed by 2014.

==References==
*{{1911}}

==External links==
*[http://www.pennuto.com/music/cpe_bach.htm A Tribute to Carl Philipp Emanuel Bach] - Sketch of the composer's life with extensive references.
*[http://infopuq.uquebec.ca/~uss1010/catal/baccp/baccp.html#Inst1 Complete Catalogue] of C.P.E. Bach's oeuvre (French)
*[http://www.cpebach.org/ Website of the edition ''Carl Philipp Emanuel Bach: The Complete Works.'']
*[http://www.wgbh.org/pages/bostonarts/2001/bach_manuscripts.html Finding the Lost Manuscripts of C.P.E. Bach] ''Greater Boston Arts''

===Scores===
{{Wikiquote}}
*{{ChoralWiki}}
*{{IMSLP|id=Bach%2C_Carl_Philipp_Emanuel|cname=C.P.E. Bach}}
*{{IckingArchive|idx=C.P.E.Bach|name=Carl Philipp Emanuel Bach}}
*[http://hdl.handle.net/1802/4652 Trio sonata in C minor, H. 579], first edition (From the Sibley Music Library Digital Score Collection)
*[http://hdl.handle.net/1802/4581 Fantasia e fuga in C minor, H. 75.5], for keyboard instrument (From the Sibley Music Library Digital Score Collection)

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  </page>
  <page>
    <title>Joseph Borremans</title>
    <id>22524051</id>
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      <id>297724158</id>
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        <username>Mitch Ames</username>
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      <comment>Repairing links to disambiguation pages - [[Wikipedia:Disambiguation pages with links|You can help!]]</comment>
      <text xml:space="preserve">'''Joseph Borremans''' ([[Brussels]], [[November 25]] [[1775]] - [[Brussels]], [[May 15]] [[1858]]) was a [[composer]], [[organist]] and [[conducting|conductor]] in the [[United Kingdom of the Netherlands]].  

In Brussels, he was [[Kapellmeister]] at the [[St. Michael and St. Gudula Cathedral]] (until [[1835]]?),&lt;ref&gt;''Muziekhandschriften van Sint-Goedele. Tentoonstelling georganiseerd door de Koninklijke Bibliotheek, Afdeling Muziek, van 7 februari tot 5 maart [[1997]]'', exhibition catalogue, [[Royal Library of Belgium]], Brussels, 1997, p. 27.&lt;/ref&gt; organist of the Saint Nicholas' Church and second conductor of the [[La Monnaie|Theatre of the Mint]] where, amongst others, the next works were performed:  

* ''Klapperman ou le Crieur de nuit d'Amsterdam'', [[Opéra comique]] in one act performed on [[October 31]] [[1804]];  
* ''La Femme impromptue'', [[Opera buffa]] performed in [[1808]];  
* ''Offrande à Vlujmen'', ''scène lyrique'' performed on [[October 31]] [[1816]].  
  
As an organist, he was noticed for his real improvisational abilities; as a religious composer, he left us [[Mass]]es, [[Te Deum]]’s, [[motet]]s, etc. with orchestral accompaniment.  
  
The composer [[Charles Borremans]] was his eldest brother.&lt;ref&gt;[http://www.archive.org/stream/biographieuniver187801ft/biographieuniver187801ft_djvu.txt François - Joseph Fétis &amp; Arthur Pougin, ''Biographie universelle des musiciens et de la musique bibliographie générale. Supplément et complément,'']Paris, Firmin-Didot, [[1878]]. &lt;/ref&gt;   
  
==References==  
{{reflist}}  
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  <page>
    <title>Willoughby Bertie, 4th Earl of Abingdon</title>
    <id>2447731</id>
    <revision>
      <id>309626031</id>
      <timestamp>2009-08-23T17:09:50Z</timestamp>
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        <username>Tassedethe</username>
        <id>7098284</id>
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      <minor/>
      <comment>Removed category [[:Category:People from Abingdon|People from Abingdon]]; Quick-adding category [[:Category:People from Abingdon, Oxfordshire|People from Abingdon, Oxfordshire]] (using [[WP:HOTCAT|HotCat]])</comment>
      <text xml:space="preserve">'''Willoughby Bertie, 4th Earl of Abingdon''' ([[16 January]] [[1740]] &amp;ndash; [[26 September]] [[1799]]) was an English [[peerage|peer]] and music patron.

Bertie was born in [[Gainsborough, Lincolnshire]], the son of [[Willoughby Bertie, 3rd Earl of Abingdon]] and Anna Maria Collins. 

Bertie was a music [[patronage|patron]] and composer, as well as a political writer. His brother-in-law [[Giovanni Gallini]] brought him into contact with [[J.C. Bach]] and [[Carl Friedrich Abel]], and he was subsequently very involved in their careers. He was a friend of [[Haydn]]'s, who may have encouraged him to compose.&lt;ref&gt;[[Simon Towneley]] (with Derek McCulloch). &quot;4th Earl of Abingdon&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[May 20]] [[2006]]), [http://www.grovemusic.com/ grovemusic.com] (subscription access).&lt;/ref&gt;. He and his family lived at [[Rycote]] in [[Oxfordshire]] and in 1769 he funded the construction of the [[Swinford Toll Bridge]] across the [[River Thames]] near [[Eynsham]].&lt;ref&gt;Fred. S. Thacker ''The Thames Highway: Volume II Locks and Weirs'' 1920 - republished 1968 David &amp; Charles&lt;/ref&gt; 

He married Charlotte Warren, daughter of [[Peter Warren (admiral)|Peter Warren]] on the [[7 July]] [[1768]]. With her he had at least four sons:

*Willoughby Bertie, Lord Norreys ([[8 February]] [[1779]] &amp;ndash; [[20 February]] [[1779]])
*Willoughby Bertie, Lord Norreys ([[9 April]] [[1781]] &amp;ndash; 1810), married Catherine Jane Saunders on [[26 November]] [[1808]], died without issue
*[[Montagu Bertie, 5th Earl of Abingdon]] ([[30 April]] [[1784]] &amp;ndash; [[16 October]] [[1854]])
*Hon. Peregrine Bertie ([[30 July]] [[1790]] &amp;ndash; [[17 October]] [[1849]])
*Rev. Hon. Frederic Bertie ([[12 February]] [[1793]] &amp;ndash; [[4 February]] [[1868]])
*Lady Caroline Bertie (d. [[12 March]] [[1870]]), married [[Charles John Baillie-Hamilton]] on [[23 January]] [[1821]]

==References==
* ''[[Dictionary of National Biography]]''
&lt;references/&gt;

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  <page>
    <title>John Bennett (composer)</title>
    <id>12237706</id>
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      <timestamp>2009-05-29T05:29:58Z</timestamp>
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        <username>Woohookitty</username>
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      <comment>disam</comment>
      <text xml:space="preserve">{{Cleanup|date=September 2008}}
'''John Bennett''' (c 1735–1784) was an English [[organ (music)|organ]]ist and [[composer]].

==Biography==

Very little is known about him. While we{{Who|date=February 2009}} do not know the date of his birth we do know he died in September 1784 after serving as organist at St Dionis Backchuch Fenchurch, London for over thirty years. He was a pupil of [[Pepusch]]. Beechey 1969 provides more detail than can be found in [[Groves]] about him. 

He has been referred to{{Fact|date=September 2008}} as the typical versatile eighteenth-century English musician, playing the organ, teaching the [[harpsichord]], playing the [[viola]], and performing at [[Drury Lane Theatre]] as a singer in the chorus and as a ballet dancer. According to Mortimer’s ''The Universal Director'' (1763) he lived at Queen-square [[Bloomsbury]], and succeeded [[Burney]] as organist at St.{{Vague|date=February 2009}} in 1752.  Unfortunately the church was demolished in 1878.

An interesting aside for organists is the information provided in the church minutes for July 27, 1749: 
&quot;. . . that the Salary of Organist be Thirty pounds p. Ann and that he be annually chose. . . .That the person who shall be chosen Organist shall attend in Person twice on every Sunday and on other usual Festivals, and to have no Deputy but in case of sickness.&quot;&lt;ref name=Beechey&gt;Beechey  G 1969 Ten Eighteenth century voluntaries [Vol 6 or Recent Researches in the music of the baroque era] A-R Editions, Madison 1969&lt;/ref&gt;

[[Beechey]] suggested that in 1760 Bennett must have been suffering financial difficulty as he applied for a second organist’s post (with permission from St Dionis) which he was unsuccessful in gaining. It was common in that period for organists to serve more than one church simultaneously.

== The 10 Voluntaries ==
 
The 10 Voluntaries for Organ or Harpsichord were published in 1758 since which time the voluntaries have been published a number of times. In the last fifty years various selections from them have seen the light of day. H. Diack Johnstone published numbers 9 and 10 in 1966 (Novello, London). Beechey published 2,5,7,8,9 10 in 1969 and [[Diack Johnstone]] also published 6 of them in 1988. A new edition has been published in 2002 of the entire set in Cambridge (UK).

Five copies survive in the British Isles&lt;ref name=Beechey/&gt;: in the British Museum, the Oxford university Faculty Library, the Euing Library at Glasgow University, the Gerald Finzi Collection at St. Andrews University, and the Shaw – Hellier Collection, Wombourne House, Staffordshire. The British Museum and the collection at Oxford contain the subscription list which lists no less than 227 names including Boyce, Stanley and George Fredrick Handel.

== Ornamentation of the ten voluntaries ==
{{Essay-like|section|date=September 2008}}
In this section three ornaments will be considered, the trill (shake), the Beat (modern equivalent the lower [[mordent]]) and the [[appoggiatura]].

'''The trill or shake'''&lt;ref&gt;[http://www.robin-beaumont.co.uk/musicweb/home/organ/bennett/preface/ornamentation1%20for%20web.gif Robin Beaumont Musicweb]&lt;/ref&gt;

While the interpretation above is the standard one and should always be tried first{{Fact|date=September 2008}}, alternatives are indicated depending upon the context. Which involves taking into account both the speed and pitch of adjacent notes. If the music is fast the number of shakes will be reduced, or even converted to a modern day [[acciaccatura]]. 

If the trill occurs in a descending passage Diack Johnston, (1966B) quotes the following additional interpretations: &lt;ref&gt;[http://www.robin-beaumont.co.uk/musicweb/home/organ/bennett/preface/ornamentation2.gif Robin Beaumont Musicweb]&lt;/ref&gt;

'''The Beat (modern equivalent to the lower mordent)''' &lt;br /&gt;
For the beat you play the written note and the note (or half note, according to the key you play in&lt;ref&gt;Ferguson 1987 pp. 152&lt;/ref&gt;) beneath it.

According to Diack Johnstone &quot;this seems generally to be regarded as the exact inversion of the trill, beginning on the note below the principal note. However, several authorities table the beat as beginning on the principal note, and it is impossible to tell from the music which interpretation is intended.&quot;&lt;ref&gt;H.D. Johnstone, 1966B (ed.) Preface to John Stanley: Voluntary in A minor Op.6 No.2 for Organ Novello, London&lt;/ref&gt;&lt;ref&gt;Ferguson H 1987 Keyboard Interpretation: from the 14th to the 19th century. Oxford university press [now out of print]&lt;/ref&gt;. The interesting thing{{Fact|date=September 2008}} is that even if you decide to start on the note below rather than ‘falling’ onto it. How long should you hold this first note for?

'''The Appoggiatura'''
This was interpreted the normal way taking half the value for a un-dotted note and two-thirds the value when the note is dotted. These occur frequently in Bennett in semi-quaver runs, in which case they are written out in full (indicating the editing by the use of a slur).

'''The voluntaries as teaching pieces'''
The voluntaries of Bennett provide excellent pieces for those just starting to learn the organ:

# The frequent manual changes provide experience in using multiple manuals
# The slow movements provide practice in part playing
# The fast movements provide experience in articulation and ornamentation

It must not also be forgotten that the pieces are also very pleasant, while most organists find them rather superficial most non organists find them particularly pleasant and refreshing to listen to{{Fact|date=September 2008}}.

==References==
{{reflist}}

* H.D. Johnstone, 1966 (ed.) Preface to John Bennett: Voluntaries IX and X for Organ Novello, London
* H.D. Johnstone, 1988 (ed.) Preface to John Bennett: Six Voluntaries for Organ London
* Mortimer Thomas 1763 The universal Director;  or, the Nobleman and Gentleman’s True Guide to the Masters and Professors of the Liberal and Polite Arts and Sciences

==External links==
*{{IMSLP|id=Bennett, John}}

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  <page>
    <title>João de Sousa Carvalho</title>
    <id>11069892</id>
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      <timestamp>2009-06-21T10:26:01Z</timestamp>
      <contributor>
        <username>GuillaumeTell</username>
        <id>689100</id>
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      <minor/>
      <comment>/* Some compositions */ link</comment>
      <text xml:space="preserve">'''João de Sousa Carvalho''' ([[22 February]] [[1745]] - c.[[1799]]) was the foremost [[Portuguese people|Portuguese]] [[composer]] of his generation.

He was born in [[Estremoz]]. He studied music from 1753 at the [[Colégio dos Santos Reis]] in [[Vila Viçosa]], then from 1761 at the [[Conservatorio di S Onofrio]] in [[Naples]]. In 1766 his setting of [[Metastasio]]’s ''La Nitteti'' was performed in Rome. In 1767, he joined the [[Irmandade de S Cecília]] at [[Lisbon]] and was appointed professor of [[counterpoint]] in the [[Seminário da Patriarcal]], where he later served as ''mestre'' (1769–1773) and ''mestre de capela'' (1773–1798). In 1778 he became music teacher to the royal family. He died in [[Alentejo]]. 

His numerous church works are written in the style of [[Jommelli]]. His [[opera seria]] and  [[serenata]]s were performed at the royal palaces of [[Ajuda]] and [[Queluz]].

==Some compositions==

*''L’amore industrioso'', 1769 (revived 1943, 1967)
*''Eumene'' (dramma serio per musica), 1773
*''L’Angelica'' (serenata), 1778
*''Perseo'' (serenata), 1779
*''Testoride'' argonauta (dramma), 1780 (revived 1987)
*''Seleuco, re di Siria'' (dramma), 1781
*''Everardo II, re di Lituania'' (dramma), 1782
*''Penelope nella partenza da Sparta'' (dramma per musica), 1782
*''L’Endimione'' ([[dramma per musica]]), 1783
*''Tomiri'' (dramma per musica), 1783
*''Adrasto, re degli Argivi'' (dramma per musica), 1784
*''Nettuno ed Egle'' (favola pastorale), 1785
*''Alcione'' (dramma per musica), 1787
*''Numa Pompilio II, re dei romani'' (serenata), 1789

*[[Mass (music)|Masses]], 1769, 1789, 1792

==Bibliography==
*Robert Stevenson/Manuel Carlos de Brito: ''Carvalho, João de Sousa'', Grove Music Online ed. L. Macy (Accessed [[[2007-05-05]]), http://www.grovemusic.com
*Manuel Carlos de Brito: ''Opera in Portugal in the Eighteenth Century'' (Cambridge, 1989)

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  <page>
    <title>Giovanni Battista Ferrandini</title>
    <id>3675279</id>
    <revision>
      <id>312242490</id>
      <timestamp>2009-09-06T20:23:44Z</timestamp>
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        <ip>213.3.125.27</ip>
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      <comment>[[la:Ioannes Baptista Ferrandini]]</comment>
      <text xml:space="preserve">{{Refimprove|date=August 2008}}

'''Giovanni Battista Ferrandini''' (1710 &amp;ndash; 25 October 1791), an [[Italy|Italian]] [[composer]] of the [[Baroque music|Baroque]] and [[Classical period (music)|Classical]] eras, was born in [[Venice]], Italy and died in [[Munich]], at the age of 81.

The newly constructed Bavarian Court Theatre (Residenztheater) in Munich opened on 12 October 1753 with Ferrandini's opera &quot;Catone in Utica&quot;.  A recording of the opera made 250 years later in the same theatre is available (Oehms Classics OC 901).

Other operas: Giordo 1727, Il Sacrifico Invalido 1729, Adriano in Siria 1737.
Cantata &quot;Il Pianto di Maria&quot; 1739
Music for the crowning of emperor [[Karl. VII.]] in Frankfurt 1742.

In 1755, Ferrandini retired to [[Padua]].

In 1771, [[Wolfgang Amadeus Mozart]] and his father [[Leopold Mozart]] visited Ferrandini in [[Padua]].

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  <page>
    <title>John Garth (composer)</title>
    <id>17258276</id>
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      <id>305499355</id>
      <timestamp>2009-08-01T18:50:10Z</timestamp>
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      <comment>Masonic affiliation added</comment>
      <text xml:space="preserve">'''John Garth''' (1721 &amp;ndash; 1810) was an [[England|English]] [[composer]], born in Harperley, near [[Witton-le-Wear]],[[Co. Durham]]. 

On 23 June 1742 Garth became a freemason at the lodge meeting at the ''The Bird and Bush'' in Saddler Street, Durham.&lt;ref&gt;See 'Harmony and brotherly love: musicians and Freemasonry in 18th-century Durham City' by Simon Fleming in ''The Musical Times'', 2008 (Autumn), 69-80&lt;/ref&gt;

Little else is known of his early life, but in September 1745 and August 1746 he promoted  concerts in [[Stockton]]. In the latter year he was living in Durham city, where he organised a concert series until 1772, selling tickets from his house, first in Sadler Street, thereafter in North Bailey, where he lived until after 1791. It appears that the Durham concerts were in alternate weeks to those organized by his friend [[Charles Avison]] in Newcastle, where Garth played the cello. Garth's fame spread and he taught music to leading families in the region, as well as giving organ recitals. 

Garth is chiefly remembered for his eight-volume edition with English text of The First Fifty Psalms Set to Music by Benedetto Marcello (1757–65). He also composed a set of cello concertos (op. 1, 1760) and five sets of harpsichord sonatas (opp. 2, 4–7, 1768–82), among other works.

In Darlington, in 1794, he married Nancy (Nanny) Wrightson (1749/50–1829) and died at his home, Cockerton Hall on 29 March 1810. Garth was buried on 5 April 1810 in the north aisle of St Cuthbert's, [[Darlington]].

== References ==
{{reflist|2}}

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  <page>
    <title>Johann Kirnberger</title>
    <id>2553884</id>
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      <timestamp>2009-08-17T01:02:57Z</timestamp>
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      <text xml:space="preserve">[[Image:Johann Philipp Kirnberger.jpg|thumb|right|Johann Kirnberger]]

'''Johann Philipp Kirnberger''' (born [[Saalfeld]], April 1721; died [[Berlin]], 27 July 1783) was a musician, composer (primarily of [[fugue]]s), and [[Music theory|music theorist]]. A pupil of [[Johann Sebastian Bach]], he became a violinist at the court of [[Frederick II of Prussia]] in 1751. He was the music director to the Prussian [[Princess Anna Amalia of Prussia|Princess Anna Amalia]] from 1758 until his death. Kirnberger greatly admired J.S. Bach, and sought to secure the publication of all of Bach's [[chorale]] settings, which finally appeared after Kirnberger's death; see [[List of compositions by Johann Sebastian Bach#Chorale Preludes V: Kirnberger chorale preludes (690–713)|Kirnberger chorale preludes (BWV 690–713)]]. Many of Bach's manuscripts have been preserved in Kirnberger's library (the &quot;Kirnberger collection&quot;).

He is known today primarily for his theoretical work ''Die Kunst des reinen Satzes in der Musik'' (''The Art of Strict Composition in Music'', 1774, 1779). The [[well temperament|well-tempered]] tuning systems known as &quot;Kirnberger II&quot; and &quot;Kirnberger III&quot; are associated with his name (see [[Kirnberger temperament]]), as is a rational version of [[equal temperament]] (see [[schisma]]).

==References==
*[http://www.bach-cantatas.com/Lib/Kirnberger-Johann-Philipp.htm Biography] &lt;!--reference, since used in edit --&gt;

==External links==
More information, including full text, of Kirnberger's [http://www.library.unt.edu/music/virtual/Kirnberger_Grundsatze/background.html Grundsätze des Generalbasses (178?)] in the University of North Texas Music Library Virtual Rare Book Room
*{{IckingArchive|idx=Kirnberger|name=Johann Philipp Kirnberger}}
*{{IMSLP|id=Kirnberger%2C_Johann_Philipp|cname=Johann Kirnberger}}
*[http://www-personal.umich.edu/~jkibbie/schou.htm Larry Schou: The Kirnberger Chorales], The University of Michigan School of Music, Theatre &amp; Dance

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  <page>
    <title>F.L.Æ. Kunzen</title>
    <id>21480091</id>
    <revision>
      <id>291021794</id>
      <timestamp>2009-05-19T20:37:00Z</timestamp>
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        <id>631887</id>
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'''Friedrich Ludwig Æmilius Kunzen''' (September 24, 1761 - January 28, 1817) was a [[Germany|German]] [[composer]] and [[Conducting|conductor]] who lived and worked for much of his life in [[Denmark]].

He was born in [[Lübeck]], where his father, Adolph Carl Kunzen, was an organist and his grandfather, Johann Paul Kunzen (1696-1757), had composed for the Hamburg opera in the 1720s. In 1781 he began studying law in [[Kiel]], but his true love was music, and in 1784, encouraged by the composer [[Johann Abraham Peter Schulz]] and the publisher [[Carl Friedrich Cramer]] (1752-1807), both of whom would be important throughout his life, he moved to [[Copenhagen]] to pursue a musical career. He performed as a pianist at court and in clubs, and in the next few years had successes with a memorial cantata for Count Otto Thott and music for the marriage of Crown Princess [[Princess Louise Auguste of Denmark|Louise Auguste]] to [[Frederik Christian II, Duke of Augustenborg]], as well as theater music. In 1788 he met the young author [[Jens Baggesen]], and the two collaborated on the opera ''[[Holger Danske (opera)|Holger Danske]]'', which premiered the following year, causing the &quot;Holger Feud,&quot; as a result of which Kunzen temporarily left the country. For the next two years he lived in [[Berlin]]; then from 1792 to 1794 he worked as musical director of the new [[Frankfurter National-Theater]], where he put on [[Mozart]]'s ''[[Don Giovanni]]'' and ''[[The Magic Flute]]''. During his stay in [[Frankfurt]] he married one of the foremost singers of the era, Johanna Margaretha Antonetta Zuccarini (1766-1842). In 1794 he and his wife moved to [[Prague]], where he worked as an opera director; the following year he was offered the position of musical director of the Royal Orchestra in Copenhagen; &quot;he immediately accepted and returned with his wife to his beloved city in 1795. His obligations were numerous, his salary poor, and his enthusiasm about Mozart was met with indigenous scepticism. As a consequence, [[Cosi fan tutte]] failed spectacularly in 1798.&quot;&lt;ref&gt;Kellner, &quot;From the Prince of Denmark.&quot;&lt;/ref&gt; However, he had successes with ''Don Giovanni'' (1807) and ''[[Die Entführung aus dem Serail]]'' (1813). Besides occasional compositions for the court and city, he composed the oratorio ''Opstandelsen'' (The Resurrection, 1796), the grand opera ''Erik Ejegod'' (1798), and various hymns and [[Singspiele]]. In 1809 he was appointed professor, and in 1811 he was honored as a Knight of the Order of the Dannebrog and appointed a member of the [[Royal Swedish Academy of Music]]. On January 28, 1817, he suffered a stroke and died after an argument with Jens Baggesen over a plagiarism controversy concerning the opera ''Trylleharpen'' (The Magic Harp).

==References==
{{reflist}}

==Sources==
* Hans-Peter Kellner, &quot;From the Prince of Denmark in the Sultan's Harem to Don Juan in the Royal Danish Chambers: The forgotten Composer Friedrich Ludwig Aemilius Kunzen (1761-1817),&quot;  [http://www.donjuanarchiv.at/verlag/symposia/symposia-2008/symposia-full-programm.html Don Juan Archiv symposium]
* Libretto booklet accompanying Dacapo CD release of opera ''Holger Danske'', Copenhagen, 1995.

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  <page>
    <title>John Field (composer)</title>
    <id>229134</id>
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      <comment>/* Biography */</comment>
      <text xml:space="preserve">[[Image:John field.jpg|thumb|200px|right|John Field]]
'''John Field''' (26 July 1782, Dublin &amp;ndash; 23 January 1837, Moscow) was an Irish [[composer]] and [[pianist]]. He is best known for being the first composer to write [[nocturne]]s in the modern sense of the term.

==Biography==
Feild was born in 
Golden gate, [[Dublin]] in 1782 the eldest son of Protestant Irish parents. His father, Robert Field, earned his living by playing the violin in Dublin theatres. Field first studied the [[piano]] under his grandfather (also named John Field), who was a professional organist, and later under [[Tommaso Giordani]]. He made his debut at the age of nine, a performance that was well-received, on 24 March 1792 in Dublin.&lt;ref&gt;''Between perfect technique and soulful playing: John Field's piano concertos'', by Regula Rapp, in booklet edited by Jens Schünemeyer, produced by Teldec and DeutschlandRadio, Cologne, 1998&lt;/ref&gt;  His family moved to [[Bath, Somerset|Bath]] in 1793, and later that same year went to London.  Field's father there secured for him an apprenticeship with the pianist and piano manufacturer [[Muzio Clementi]].  He attracted favourable comment from [[Joseph Haydn]] for his performances. By the time he was seventeen, Field had already premiered his First Piano Concerto (he wrote seven of them); it was one of the last acts of his apprenticeship. He was lionized as a performer for several years before turning to composition, beginning with his first set of piano sonatas, dedicated to Clementi, published in 1801.

In 1801 Field accompanied Clementi on a tour of Paris and Vienna (where he studied briefly with [[Johann Georg Albrechtsberger]]).  When Clementi moved to Russia, Field followed him there, continuing his employment demonstrating his pianos.  Field established his own concert career in Russia, and by 1806 was dividing his time between Moscow and [[Saint Petersburg]], settling in the latter city after his marriage to a French woman in a Catholic ceremony in 1810.  His teaching proved lucrative, and his lifestyle became somewhat extravagant; he was something of a ''bon vivant'', and fathered an illegitimate son. 

By 1831 his health deteriorated, and suffering from a painful cancer of the rectum he travelled back to London for medical attention.  After treatment he returned to Russia by way of France (where, after first hearing one of [[Franz Liszt]]'s performances on the keyboard, he asked his neighbour, &quot;Does he bite?&quot;) and Italy, spending nine months in a hospital in [[Naples]].  Helped by a Russian aristocratic family, he returned to Moscow in 1835, and gave three concerts in Vienna en route, as a guest of [[Carl Czerny]]. In Moscow, he composed his last few nocturnes in the sixteen months remaining to him.

He died in Moscow two years later. Because Field's faith was unclear -- his parents were nominally Protestant, but he had had a Catholic wedding -- there is a legend that when he was questioned on his deathbed by a priest his friends had procured about which religion he practiced, he said, &quot;I am a pianist&quot; (''Je suis claveciste'').&lt;ref&gt;[http://www.search.com/reference/John_Field_(composer) John Field biography from Search.com]&lt;/ref&gt;&lt;ref&gt;[http://www.encyclopediefrancaise.com/Champ_de_John_(compositeur).html Encyclopedie Francaise]&lt;/ref&gt; John Field is buried in the [[Vvedenskoye Cemetery]].

==Music==
Field is best remembered for his eighteen nocturnes which are single movement [[impromptu]] compositions for piano that maintain a single mood throughout.  He is also the founder of the piano nocturne.  The first three of these date from 1812.  These pieces are further notable for their influence on [[Frédéric Chopin]], who went on to write 21 nocturnes himself.

==Works list==
H 1 \ Variations for piano on &quot;Fal Lal La&quot; in A major&lt;br /&gt;
H 2 \ Rondo &quot;Favorite Hornpipe&quot; for piano in A major&lt;br /&gt;
H 3 \ Rondo &quot;Go the devil&quot; for piano in C major&lt;br /&gt;
H 4 \ Variations for piano on &quot;Since then I'm doom'd&quot; in C major&lt;br /&gt;
H 5 \ Rondo &quot;Slave, bear the sparkling goblet&quot; for piano (lost)&lt;br /&gt;
H 6 \ Rondo &quot;The two slaves dances&quot; for piano in G major&lt;br /&gt;
H 7 \ Variations for piano on &quot;Logie of Buchan&quot; in C major&lt;br /&gt;
H 8 \ Piano Sonata Op. 1 No. 1 in E flat major&lt;br /&gt;
H 8 \ Piano Sonata Op. 1 No. 2 in A major&lt;br /&gt;
H 8 \ Piano Sonata Op. 1 No. 3 in C minor&lt;br /&gt;
H 9 \ Pleyel's Concertante for piano, violin &amp; cello in F major&lt;br /&gt;
H 10 \ Air russe varié for piano 4 hands in A minor&lt;br /&gt;
H 11 \ Andante for piano 4 hands in C minor&lt;br /&gt;
H 12 \ Danse des ours for piano 4 hands in E flat major&lt;br /&gt;
H 13 \ Divertissement No. 1 for piano in E major&lt;br /&gt;
H 13 \ Nocturne for piano (12) in E major&lt;br /&gt;
H 14 \ Divertissement No. 2 for piano in A major&lt;br /&gt;
H 14 \ Nocturne for piano (7) in A major&lt;br /&gt;
H 15 \ Fantasia for piano Op. 3 on &quot;Guardami un poco&quot; in A major&lt;br /&gt;
H 16 \ Marche triomphale for piano in E flat major&lt;br /&gt;
H 17 \ Piano Sonata in B flat major&lt;br /&gt;
H 18 \ Rondeau for piano in A flat major&lt;br /&gt;
H 18 \ Waltz for piano in A flat major&lt;br /&gt;
H 19 \ Grande valse for piano 4 hands in A major&lt;br /&gt;
H 20 \ Variations for piano on &quot;Vive Henry IV&quot; in A minor&lt;br /&gt;
H 21 \ Polonaise for piano in E flat major&lt;br /&gt;
H 22 \ Variations for piano on &quot;Kamarinskaya&quot; in B flat major&lt;br /&gt;
H 23 \ Rondo &quot;Speed the Plough&quot; for piano in B major&lt;br /&gt;
H 24 \ Nocturne for piano No. 1 in E flat major&lt;br /&gt;
H 25 \ Nocturne for piano No. 2 in C minor&lt;br /&gt;
H 26 \ Nocturne for piano No. 3 in A flat major&lt;br /&gt;
H 27 \ Piano Concerto No. 1 in E flat major (1799)&lt;br /&gt;
H 27 \ Rondo from Piano Concerto No. 1 in E flat major&lt;br /&gt;
H 27 \ Variations for piano on &quot;Within a mile&quot; in B flat major&lt;br /&gt;
H 28 \ Piano Concerto No. 4 in E flat major (1814, revised 1819)&lt;br /&gt;
H 28 \ Rondo from Piano Concerto No. 4 in E flat major&lt;br /&gt;
H 29 \ Rondo from Piano Concerto No. 3 in E flat major&lt;br /&gt;
H 30 \ Nocturne for piano No. 9 (8) in E flat major&lt;br /&gt;
H 31 \ [[Piano Concerto No. 2 in A flat (John Field)|Piano Concerto No. 2 in A flat major]] (1811)&lt;br /&gt;
H 31 \ Poco adagio from Piano Concerto No. 2 in E flat major&lt;br /&gt;
H 31 \ Rondo from Piano Concerto No. 2 in A flat major&lt;br /&gt;
H 32 \ Piano Concerto No. 3 in E flat major (1811)&lt;br /&gt;
H 33 \ Exercice modulé sur tous les tons majeurs et mineurs for piano &lt;br /&gt;
H 34 \ Piano Quintet in A flat major&lt;br /&gt;
H 35 \ Fantasia for piano on &quot;Ah! quel dommage&quot; in G major&lt;br /&gt;
H 36 \ Nocturne for piano No. 4 in A major&lt;br /&gt;
H 37 \ Nocturne for piano No. 5 in B flat major&lt;br /&gt;
H 38 \ Rondo for piano in A major&lt;br /&gt;
H 39 \ Piano Concerto No. 5 in C major &quot;L'incendie par l'orage&quot; (1817)&lt;br /&gt;
H 39 \ Rondo from Piano Concerto No. 5 in C major&lt;br /&gt;
H 40 \ Nocturne for piano No. 6 in F major&lt;br /&gt;
H 41 \ Variations for piano on a Russian folksong in D minor&lt;br /&gt;
H 42 \ 6 Dances for piano&lt;br /&gt;
H 43 \ Rondo for piano 4 hands in G major&lt;br /&gt;
H 44 \ Exercice nouveau No. 1 for piano in C major&lt;br /&gt;
H 45 \ Nocturne for piano No. 7 (13) in C major&lt;br /&gt;
H 46 \ Nocturne for piano No. 8 (9) in E minor&lt;br /&gt;
H 47 \ The Maid of Valdarno (lost)&lt;br /&gt;
H 48 \ Exercice nouveau No. 2 for piano in C major&lt;br /&gt;
H 49 \ Piano Concerto No. 6 in C major (1819, revised 1820)&lt;br /&gt;
H 49 \ Rondo from Piano Concerto No. 6 in C major&lt;br /&gt;
H 50 \ 2 Songs&lt;br /&gt;
H 51 \ Sehnsuchts-Walzer for piano in E major&lt;br /&gt;
H 52 \ Rondoletto for piano in E flat major&lt;br /&gt;
H 53 \ Rondo &quot;Come again, come again&quot; for piano in E major&lt;br /&gt;
H 54 \ Nocturne for piano No. 10 in E major&lt;br /&gt;
H 55 \ Nocturne for piano in C major &quot;Le troubadour&quot;&lt;br /&gt;
H 56 \ Nocturne for piano No. 11 in E flat major&lt;br /&gt;
H 57 \ Fantasia for piano on &quot;We met&quot; in G major&lt;br /&gt;
H 58 \ Nocturne for piano No. 12 (14) in G major&lt;br /&gt;
H 58 \ Piano Concerto No. 7 in C minor (1822, revised 1822-32)&lt;br /&gt;
H 59 \ Nocturne for piano No. 13 (15) in D minor&lt;br /&gt;
H 60 \ Nocturne for piano No. 14 (16) in C major&lt;br /&gt;
H 61 \ Nocturne for piano No. 15 (17) in C major&lt;br /&gt;
H 62 \ Nocturne for piano No. 16 (18) in F major&lt;br /&gt;
H 63 \ Nocturne for piano in B flat major&lt;br /&gt;
H 64 \ Andante inedit for piano in E flat major&lt;br /&gt;
H 65 \ Pastorale for piano (lost)&lt;br /&gt;
H 66 \ Nocturne for piano &quot;Dernière pensée&quot; (lost)&lt;br /&gt;
H 67 \ 88 passages doigtés for piano (lost)&lt;br /&gt;
H deest \ Exercice for piano in A flat major&lt;br /&gt;
H deest \ Fantasia for piano on &quot;Dans le jardin&quot; in A minor&lt;br /&gt;
H deest \ Largo for piano in C minor&lt;br /&gt;
H deest \ Prelude for piano in C minor

== Discography ==
There are now over 50 recordings&lt;ref&gt;[http://www.arkivmusic.com/classical/Namedrill?&amp;name_id=3766&amp;name_role=1]&lt;/ref&gt; devoted in part or in full to the music of John Field,  including:
* ''Nocturnes and Sonatas'' - played by [[Benjamin Frith]] (1999) [[Naxos Records|Naxos]] 8550761
* ''Sonatas, Nocturnes'' - played by [[John O'Conor]] (2002) [[Telarc]] 80290   
* ''Piano Concertos Nos. 1 &amp; 2'' - played by [[Mícéal O'Rourke]] with the [[London Mozart Players]] conducted by [[Matthias Bamert]] (1995) [[Chandos]] 9368    
* ''Piano Concertos Nos. 2 &amp; 3'' - played by John O'Conor accompanied by the [[Scottish Chamber Orchestra]] conducted by Sir [[Charles Mackerras]] (1994) Telarc 80370
* ''Nocturnes'' (18) - played by Veronica McSwiney (1972) [[Claddagh Records]] CSM50-51CD

==References==
* Keith Anderson, notes for recording ''Field: Piano Music, Vol. 1'', Benjamin Frith (piano), Naxos 8.550761
* Track listing for CD ''Field: Piano Music, Volume 2'', Benjamin Frith (piano), Naxos 8.550762

==Footnotes==
{{reflist|2}}

==External links==
{{Wikisource1911Enc|Field, John}}
*[http://www.web-helper.net/PDMusic/Biographies/FieldJohn/ An article on Field originally published in ''The Etude'', 1915]{{Dead link|url=http://www.web-helper.net/PDMusic/Biographies/FieldJohn/|date=May 2009}}&lt;!-- be careful when using automated tools with dead links - some are cybersquatted so are stale rather than fully dead, but archive.org usually retains the useful versions; consider [[WebCite]] to forestall the new domain owners requesting removal from archive.org --&gt;
* {{cite web |last=Moss |first=Charles K. |title=John Field: The Irish Romantic |date=2003-11-04 |publisher=Carolina Classical Connection |url=http://classicalmus.hispeed.com/articles/field.html |archiveurl=http://web.archive.org/web/20031206055753/http://classicalmus.hispeed.com/articles/field.html |archivedate=2003-12-06}} Biography including index of works
*[http://chopin.seppi.easynet.ws/l_johnfield.php John Fields influence on Frédéric Chopin]{{Dead link|url=http://chopin.seppi.easynet.ws/b_8.php|date=May 2009}}
* {{PND|118683578}}
* {{IMSLP|id=Field%2C_John|cname=John Field}}
* {{WIMA|idx=Field|name=John Field}}
* [http://openlibrary.org/b/OL7239812M John Field of Dublin, 1920 biography by W.H. Grattan Flood (from Open Library)]

{{Romanticism}}

&lt;!-- Metadata: see [[Wikipedia:Persondata]] --&gt;

{{Persondata
|NAME              = Field, John
|ALTERNATIVE NAMES = 
|SHORT DESCRIPTION = Irish composer and pianist
|DATE OF BIRTH     = 26 July 1782
|PLACE OF BIRTH    = Dublin
|DATE OF DEATH     = 23 January 1837
|PLACE OF DEATH    = Moscow
}}
{{DEFAULTSORT:Field, John}}
[[Category:Classical era composers]]
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[[Category:Irish classical pianists|Field]]
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[[Category:1837 deaths]]
[[Category:People from County Dublin]]

[[ca:John Field]]
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[[mk:Џон Филд]]
[[nl:John Field]]
[[ja:ジョン・フィールド]]
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  <page>
    <title>Daniel Gottlob Türk</title>
    <id>20810931</id>
    <revision>
      <id>298891358</id>
      <timestamp>2009-06-27T06:12:24Z</timestamp>
      <contributor>
        <username>Auntof6</username>
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      <comment>/* External links */Rm special chars from DEFAULTSORT (WP Check error 6) and/or general cleanup using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">'''Daniel Gottlob Türk''' (August 10, 1756 – August 26, 1813) was a notable composer, organist, and music professor of the [[Classical music|Classical Period]].

Born in [[Claußnitz]], [[Saxony]], Türk became Director of Music at [[University of Halle-Wittenberg|Halle University]], in [[Halle, Saxony-Anhalt|Halle]], [[Germany]] in 1779, and became the University's professor of music theory and acoustics in 1809. &lt;ref&gt; [http://www.jstor.org/pss/841924 The Galpin Society Journal]&lt;/ref&gt;

Several of Türk's dances and minuets for the piano are still popular today. His most notable contribution to the classical music canon is the ''Klavierschule,'' a teaching guide for the keyboard.

==Teaching==
Türk was first taught music by his father, and later studied with [[Gottfried August Homilius]] in [[Dresden]], who was a pupil of [[Johannes Sebastian Bach]]. Türk was a gifted teacher in his own right, with students such as [[Hermann Uber]].

==References==
{{reflist}}

==External links==
* {{WIMA|idx=Turk}}

[[Category:People from Mittelsachsen]]
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  <page>
    <title>Ignaz von Seyfried</title>
    <id>2248413</id>
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      <text xml:space="preserve">[[Image:Seyfried.jpg|thumb|250px|Ignaz von Seyfried. 1829 lithograph by Josef Kriehuber]]
'''Ignaz Xaver Ritter von Seyfried''' ([[August 15]], [[1776]] – [[August 27]], [[1841]]) was an [[Austria]]n musician, [[conducting|conductor]] and [[composer]].  

Von Seyfried was born in [[Vienna]].  According to a statement in his handwritten memoirs&lt;ref&gt;David J. Buch, &quot;Three posthumous Reports concerning Mozart in his late Viennese Years&quot;, ''Eighteenth-Century Music'' 2/1, (Cambridge University Press, 2005), 127.&lt;/ref&gt; he was a pupil of both [[Wolfgang Amadeus Mozart]] and [[Johann Albrechtsberger]].  He published Albrechtsberger's complete written works after his death.  His own pupils included [[Franz von Suppé]], [[Heinrich Wilhelm Ernst]], and [[Eduard Marxsen]].  

==As conductor==

In his youth Seyfried served as the assistant conductor for [[Emanuel Schikaneder]]'s opera troupe at the [[Theater auf der Wieden]] in Vienna, becoming musical director in 1797 and serving (in its new building, the [[Theater an der Wien]]) until 1826.&lt;ref&gt;Grove&lt;/ref&gt;.  His memoirs offer accounts of the first production, under Schikaneder's auspices, of Mozart's ''[[The Magic Flute]]'', as well as a curious anecdote concerning the composer's death a few weeks later; see [[Death of Mozart]].&lt;ref&gt;Excerpts from the memoirs as they concern Mozart are given in Deutsch 1965.&lt;/ref&gt;

In 1805, von Seyfried conducted the première of the original version of [[Ludwig van Beethoven|Beethoven]]'s ''[[Fidelio]]''.  Seyfried's memoirs also include some striking tales about Beethoven; see [[Piano Concerto No. 3 (Beethoven)]] and [[Choral Fantasy (Beethoven)]].

==As composer==

Of his musical works, the ''Grove Dictionary'' says:  &quot;his versatility won him a unique place in Vienna's musical life; however, almost none of his music is marked by real originality or distinction.&quot;

==Notes==

&lt;references/&gt;

==References==

*Deutsch, Otto Erich (1965) ''Mozart:  A Documentary Biography''.  Stanford, CA:  Stanford University Press.
*''Grove Dictionary of Music and Musicians'', online edition.  Copyright 2008 by Oxford University Press.  Article &quot;Ignaz Seyfried&quot;, written by Peter Branscombe.

{{DEFAULTSORT:Seyfried, Ignaz Von}}
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[[ru:Зайфрид, Игнац Ксавер фон]]</text>
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  <page>
    <title>Johann Christoph Friedrich Bach</title>
    <id>250977</id>
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      <text xml:space="preserve">[[Image:Johann Christoph Friedrich Bach.jpg|thumb|Johann Christoph Friedrich Bach]]

'''Johann Christoph Friedrich Bach''' (21 June 1732 &amp;ndash; 26 January 1795), the ninth son of [[Johann Sebastian Bach]], sometimes referred to as the &quot;Bückeburg Bach&quot;. He is not to be confused with Bach's [[first cousin once removed]], [[Johann Christoph Bach]].

Born in [[Leipzig]], [[Germany]], he was taught music by his father, and also tutored by his distant cousin [[Johann Elias Bach]]. He studied at the [[Thomasschule|St. Thomas School]], and some believe he studied law at the [[University of Leipzig|university]] there, but there is no record of that. In 1750, Count [[Wilhelm von Schaumburg-Lippe]] appointed Johann Christoph harpsichordist at [[Bückeburg]], and in 1759, he became Konzertmeister. While there, Bach collaborated with [[Johann Gottfried Herder]], who provided the texts for six vocal works; the music survives for only four of these.

Bach wrote keyboard [[sonata (music)|sonatas]], [[symphony|symphonies]], [[oratorio]]s, liturgical [[choir]] pieces and [[motets]], [[operas]] and songs. Because of Count Wilhelm's predilection for Italian music, Bach had to adapt his style accordingly, but he retained stylistic traits of the music of his father and of his brother, [[Carl Philipp Emanuel Bach|C. P. E. Bach]].

He married the singer Lucia Elisabeth Munchhusen (1728-1803) in 1755 and the Count stood as godfather to his son [[Wilhelm Friedrich Ernst Bach]]. J.C.F. educated his son in music as his own father had, and Wilhelm Friedrich Ernst went on to become music director to [[Frederick William II of Prussia]].

In April 1778 he and Wilhelm travelled to England to visit [[Johann Christian Bach]].
 
The [[Encyclopædia Britannica Eleventh Edition|1911 ''Encyclopedia Britannica'']] says of him &quot;He was an industrious composer, ... whose work reflects no discredit on the family name.&quot; He was an outstanding virtuoso of the keyboard, with a reasonably wide repertory of surviving works, including twenty symphonies, the later ones influenced by [[Haydn]] and [[Mozart]]; and hardly a genre of vocal music was neglected by him&lt;ref&gt;New Grove, p 312&lt;/ref&gt;

Professor [[Peter Schickele]], in comparing his alter ego, the fictitious composer [[P. D. Q. Bach]], to Johann Sebastian's other sons, said that P.D.Q. possessed &quot;the obscurity of Johann Christoph Friedrich.&quot;

Sadly, a significant portion of J. C. F. Bach's output was lost in the [[World War II|WWII]] destruction of the [[Staatliches Institut für Musikforschung in Berlin]], where the scores had been on deposit since 1917.  Bach's work shows him to have been a transitional figure in the mold of his half-brother [[Carl Philipp Emanuel Bach|C. P. E.]], his brother [[Johann Christian Bach|Johnn Christian]], the [[Graun]]s, and [[Georg Philipp Telemann]], with some works in the style of the high [[Baroque]], some in a [[galant]] idiom, and still others which combine elements of the two, along with traits of the nascent [[classical music|classical]] style.

==Works list==
'''Keyboard Works'''&lt;br /&gt;
BR A 1 \ Keyboard Sonata in F major (Wf XI:1)&lt;br /&gt;
BR A 2 \ Keyboard Sonata in C major (Wf XI:2)&lt;br /&gt;
BR A 3 \ Keyboard Sonata in C major (Wf XI:3/1)&lt;br /&gt;
BR A 4 \ Keyboard Sonata in F major (Wf XI:3/2)&lt;br /&gt;
BR A 5 \ Keyboard Sonata in E major (Wf XI:3/3)&lt;br /&gt;
BR A 6 \ Keyboard Sonata in D major (Wf XI:3/4)&lt;br /&gt;
BR A 7 \ Keyboard Sonata in A major (Wf XI:3/5)&lt;br /&gt;
BR A 8 \ Keyboard Sonata in E flat major (Wf XI:3/6)&lt;br /&gt;
BR A 9 \ Keyboard Sonata in C major (Wf XI:4)&lt;br /&gt;
BR A 10 \ Keyboard Sonata in G major (Wf XI:5)&lt;br /&gt;
BR A 11 \ Keyboard Sonata in F major (Wf XI:6)&lt;br /&gt;
BR A 12 \ Keyboard Sonata in A minor (Wf XI:7)&lt;br /&gt;
BR A 13 \ Keyboard Sonata in D major (Wf XI:8/1)&lt;br /&gt;
BR A 14 \ Keyboard Sonata in A major (Wf XI:8/2)&lt;br /&gt;
BR A 15 \ Keyboard Sonata in E major (Wf XI:8/3)&lt;br /&gt;
BR A 16 \ Keyboard Sonata in D major&lt;br /&gt;
BR A 17 \ Keyboard Sonata in A major&lt;br /&gt;
BR A 18 \ Keyboard Sonata in F major (Wf XI:9)&lt;br /&gt;
BR A 19 \ Keyboard Sonata in B flat major&lt;br /&gt;
BR A 20 \ Keyboard Sonata in G major&lt;br /&gt;
BR A 21 \ Keyboard Sonata in E flat major&lt;br /&gt;
BR A 22-25 \ 4 Keyboard Sonatas (lost)&lt;br /&gt;
BR A 26 \ Keyboard Sonata in E flat major&lt;br /&gt;
BR A 27 \ Keyboard Sonata in F major&lt;br /&gt;
BR A 28-30 \ 3 Keyboard Sonatas (lost) (I)&lt;br /&gt;
BR A 31 \ Keyboard Sonata in D major&lt;br /&gt;
BR A 32-34 \ 3 Keyboard Sonatas (lost) (II)&lt;br /&gt;
BR A 35-37 \ 3 Keyboard Sonatas (lost) (III)&lt;br /&gt;
BR A 38-39 \ 2 Keyboard Sonatas (lost)&lt;br /&gt;
BR A 40 \ Sonata for keyboard-4 hand in A major (Wf XIII:1)&lt;br /&gt;
BR A 41 \ Sonata for keyboard-4 hand in C major (Wf XIII:2)&lt;br /&gt;
BR A 42-43 \ 2 Sonatas for 2 keyboards (lost)&lt;br /&gt;
BR A 44 \ Variations in A major (Wf XII: 1) (lost)&lt;br /&gt;
BR A 45 \ Variations on &quot;Ah vous dirais-je Maman&quot; in G major (Wf XII: 2)&lt;br /&gt;
BR A 46 \ Menuet in D major (Wf XII: 3)&lt;br /&gt;
BR A 47 \ Menuet in F major (Wf XII: 4)&lt;br /&gt;
BR A 48 \ 2 Menuets in D major (Wf XII: 5)&lt;br /&gt;
BR A 49 \ Alla polacca in F major (Wf XII: 6)&lt;br /&gt;
BR A 50 \ Alla polacca in G major (Wf XII: 7)&lt;br /&gt;
BR A 51-119 \ 69 pieces for keyboard (Wf XII:13)&lt;br /&gt;
BR A120 \ Fughette on HCFBBACH in C major (Wf XII:14)&lt;br /&gt;
BR A121 \ Polonaise in G major (Wf XII: 8)&lt;br /&gt;
BR A122 \ Menuet in F major (Wf XII: 9)&lt;br /&gt;
BR A123 \ Polonaise in F major (Wf XII:10)&lt;br /&gt;
BR A124 \ Menuet in G major (Wf XII:11)&lt;br /&gt;
BR A125 \ Menuet in A major (Wf XII:12)&lt;br /&gt;
BR AInc1 \ Partia for keyboard in C major&lt;br /&gt;
BR AInc2 \ Fugue for keyboard in G minor (lost)&lt;br /&gt;
BR AInc3 \ Fugue for keyboard in E minor (lost)&lt;br /&gt;
BR AInc4 \ Fugue for keyboard in C major (lost)&lt;br /&gt;
BR AInc5 \ Fugue for keyboard in F major&lt;br /&gt;
BR AInc6 \ Fugue for keyboard in D major (lost)&lt;br /&gt;
BR AInc7 \ Fugue for keyboard in C major (lost)&lt;br /&gt;
BR AInc8 \ Galanterie-Stücke for keyboard&lt;br /&gt;

'''Chamber Music'''&lt;br /&gt;
BR B 1 \ Cello Sonata in A major (Wf X:3)&lt;br /&gt;
BR B 2 \ Cello Sonata in G major (Wf X:1)&lt;br /&gt;
BR B 3 \ Trio Sonata for flute, violin &amp; bc in A major (Wf VII:1)&lt;br /&gt;
BR B 4 \ Trio Sonata for flute, viola &amp; bc in E minor&lt;br /&gt;
BR B 5-10 \ 6 Sonatas for 2 flutes &amp; continuo (lost)&lt;br /&gt;
BR B11 \ Trio Sonata for 2 violins &amp; b.c. in A major (Wf VII:2)&lt;br /&gt;
BR B12 \ Trio Sonata for 2 violins &amp; b.c. in F major (Wf VII:3)&lt;br /&gt;
BR B13 \ Trio Sonata for 2 violins &amp; b.c. (lost)&lt;br /&gt;
BR B14 \ Flute Sonata in E flat major (Wf VIII:2)&lt;br /&gt;
BR B15 \ Flute Sonata No.1 in D minor (Wf VIII:3/1)&lt;br /&gt;
BR B16 \ Flute Sonata No.2 in D major (Wf VIII:3/2)&lt;br /&gt;
BR B17 \ Flute Sonata No.3 in D major (Wf VIII:3/3)&lt;br /&gt;
BR B18 \ Flute Sonata No.4 in C major (Wf VIII:3/4)&lt;br /&gt;
BR B19 \ Flute Sonata No.5 in A major (Wf VIII:3/5)&lt;br /&gt;
BR B20 \ Flute Sonata No.6 in C major (Wf VIII:3/6)&lt;br /&gt;
BR B21 \ Violin Sonata in G major (Wf IX:2)&lt;br /&gt;
BR B22 \ Violin Sonata in D major (Wf IX:3)&lt;br /&gt;
BR B23-24 \ 2 Flute Sonatas (lost)&lt;br /&gt;
BR B25 \ Flute Sonata in F major (Wf VIII:1)&lt;br /&gt;
BR B26 \ Violin Sonata in F major&lt;br /&gt;
BR B27 \ Violin Sonata in D major&lt;br /&gt;
BR B28 \ Violin Sonata in G major (Wf IX:1) (lost)&lt;br /&gt;
BR B29 \ Keyboard Trio in D major (Wf VII:4)&lt;br /&gt;
BR B30 \ Keyboard Trio No.1 (lost)&lt;br /&gt;
BR B31 \ Keyboard Trio No.2 in G major (Wf VII:5)&lt;br /&gt;
BR B32 \ Keyboard Trio No.3 in A major (Wf VII:6)&lt;br /&gt;
BR B33 \ Keyboard Trio No.4 (lost)&lt;br /&gt;
BR B34 \ Keyboard Trio No.5 in C major (Wf VII:7)&lt;br /&gt;
BR B35 \ Keyboard Trio No.6 (lost)&lt;br /&gt;
BR B36 \ Cello Sonata in A major (Wf X:4) (lost)&lt;br /&gt;
BR B37 \ Flute Quartet No.1 in C major (Wf VI:1)&lt;br /&gt;
BR B38 \ Flute Quartet No.2 in G major (Wf VI:2)&lt;br /&gt;
BR B39 \ Flute Quartet No.3 in C major (Wf VI:3)&lt;br /&gt;
BR B40 \ Flute Quartet No.4 in A major (Wf VI:4)&lt;br /&gt;
BR B41 \ Flute Quartet No.5 in F major (Wf VI:5)&lt;br /&gt;
BR B42 \ Flute Quartet No.6 in B major (Wf VI:6)&lt;br /&gt;
BR B43 \ String Quartet No.1 in E flat major&lt;br /&gt;
BR B44 \ String Quartet No.2 in B flat major&lt;br /&gt;
BR B45 \ String Quartet No.3 in A major&lt;br /&gt;
BR B46 \ String Quartet No.4 in D major&lt;br /&gt;
BR B47 \ String Quartet No.5 in G major&lt;br /&gt;
BR B48 \ String Quartet No.6 in F major&lt;br /&gt;
BR B49 \ Wind Septet in E flat major (Wf IV) (lost)&lt;br /&gt;
BR B50-53 \ 4 Marches for wind band (lost)&lt;br /&gt;
BR BInc1 \ Trio Sonata for 2 violins &amp; b.c. in B major (Wf XX:3)&lt;br /&gt;
BR BInc2 \ Trio Sonata for 2 flutes &amp; b.c. in C major (lost)&lt;br /&gt;
BR BInc3 \ Cello Sonata in D major (Wf X:2) (lost)&lt;br /&gt;
BR BInc4 \ Violin Sonata (lost)&lt;br /&gt;

'''Orchestral Works'''&lt;br /&gt;
BR C 1 \ Symphony in D major (Wf I: 5) (lost)&lt;br /&gt;
BR C 2-3 \ 2 Symphonies (1765) (lost)&lt;br /&gt;
BR C 4 \ Symphony in D minor (Wf I: 3) (by 1768)&lt;ref name=&quot;Ewald&quot;&gt;Johann Christoph Friedrich Bach in Nolte, Ewald V., ed., {{Google books|S5UgX2BSs2UC|Four early sinfonias}}. Dates based on early copies by [[Johann Friedrich Peter]]. Madison, Wis.: A-R Editions, 1982. Preface page xi. ISBN 0895791706. {{OCLC|9203471}}.&lt;/ref&gt;&lt;br /&gt;
BR C 5 \ Symphony in F major (Wf I: 1) (by 1768)&lt;ref name=&quot;Ewald&quot;/&gt;&lt;br /&gt;
BR C 6 \ Symphony in B flat major (Wf I: 2) (by 1768)&lt;ref name=&quot;Ewald&quot;/&gt;&lt;br /&gt;
BR C 7 \ Symphony in E major (Wf I: 4) (by 1769)&lt;ref name=&quot;Ewald&quot;/&gt;&lt;br /&gt;
BR C 8-9 \ 2 Symphonies (1770) (lost)&lt;br /&gt;
BR C10 \ Symphony in C major (Wf I: 6)&lt;br /&gt;
BR C11 \ Symphony in D major (Wf I: 7) (lost)&lt;br /&gt;
BR C12 \ Symphony in G major (Wf I: 8) (lost)&lt;br /&gt;
BR C13 \ Symphony in D major (Wf I: 9) (lost)&lt;br /&gt;
BR C14 \ Symphony in E flat major (Wf I:10)&lt;br /&gt;
BR C15-17 \ 3 Symphonies (lost)&lt;br /&gt;
BR C18 \ Symphony (lost)&lt;br /&gt;
BR C19 \ Symphony in D major (Wf I:11) (lost)&lt;br /&gt;
BR C20 \ Symphony in F major (Wf I:12) (lost)&lt;br /&gt;
BR C21 \ Symphony in D major (Wf I:13) (lost)&lt;br /&gt;
BR C22 \ Symphony in C major (Wf I:14) (lost)&lt;br /&gt;
BR C23 \ Symphony in G major (Wf I:15) (lost)&lt;br /&gt;
BR C24 \ Symphony in E flat major (Wf I:18) (lost)&lt;br /&gt;
BR C25 \ Symphony in E flat major (Wf I:19) (lost)&lt;br /&gt;
BR C26 \ Symphony in D minor (Wf I:16) (lost)&lt;br /&gt;
BR C27 \ Symphony in C major (Wf I:17) (lost)&lt;br /&gt;
BR C28 \ Symphony in B flat major (Wf I:20)&lt;br /&gt;
BR C29 \ Keyboard Concerto in E flat major&lt;br /&gt;
BR C30 \ Keyboard Concerto in A major&lt;br /&gt;
BR C31 \ Keyboard Concerto &quot;London No.1&quot; in G major&lt;br /&gt;
BR C32 \ Keyboard Concerto &quot;London No.2&quot; in F major&lt;br /&gt;
BR C33 \ Keyboard Concerto &quot;London No.3&quot; in D major&lt;br /&gt;
BR C34 \ Keyboard Concerto &quot;London No.4&quot; in E flat major&lt;br /&gt;
BR C35 \ Keyboard Concerto &quot;London No.5&quot; in B flat major&lt;br /&gt;
BR C36 \ Keyboard Concerto &quot;London No.6&quot; in C major&lt;br /&gt;
BR C37 \ Keyboard Concerto in E major (Wf II:1)&lt;br /&gt;
BR C38 \ Keyboard Concerto (1766) (lost)&lt;br /&gt;
BR C39 \ Keyboard Concerto (1788) (lost)&lt;br /&gt;
BR C40 \ Keyboard Concerto in F major (Wf II:4)&lt;br /&gt;
BR C41 \ Keyboard Concerto in D major (Wf II:2)&lt;br /&gt;
BR C42 \ Keyboard Concerto in A major (Wf II:3) (lost)&lt;br /&gt;
BR C43 \ Keyboard Concerto in E flat major (Wf II:5)&lt;br /&gt;
BR C44 \ Concerto for piano &amp; viola in E flat major&lt;br /&gt;
BR C45 \ Concerto for piano &amp; oboe in E flat major (Wf III)&lt;br /&gt;

'''Oratorios'''&lt;br /&gt;
BR D 1 \ Die Pillgrimme auf Golgatha&lt;br /&gt;
BR D 2 \ Der Tod Jesu (Wf XIV:1)&lt;br /&gt;
BR D 3 \ Die Auferstehung und Himmelfahrt Jesu (Wf XIV:10) (lost)&lt;br /&gt;
BR D 4 \ Die Hirten bey der Krippe Jesu (Wf XIV:9) (lost)&lt;br /&gt;
BR D 5 \ Die Kindheit Jesu (Wf XIV:2)&lt;br /&gt;
BR D 6 \ Die Auferweckung Lazarus (Wf XIV:3)&lt;br /&gt;
BR D 7 \ Der Fremdling auf Golgotha (Wf XIV:7) (lost)&lt;br /&gt;
BR D 8 \ Mosis Mutter und ihre Tochter (Wf XVII:3) (fragment)&lt;br /&gt;

'''Liturgical Works'''&lt;br /&gt;
BR E 1 \ Miserere&lt;br /&gt;

'''Sacred Works'''&lt;br /&gt;
BR F 1 \ Pfingskantate (Wf XIV:4) (lost)&lt;br /&gt;
BR F 2 \ Sieh, Bückeburg, was Gott an Dir getan (lost)&lt;br /&gt;
BR F 3 \ Himmelfahrts-Musik (Wf XIV:8)&lt;br /&gt;
BR F 4 \ Michaels Sieg (Wf XIV:5)&lt;br /&gt;
BR F 5 \ Nun, teures Land, der Herr hat dich erhört (lost)&lt;br /&gt;
BR F 6 \ Singet dem Herrn ein neues Lied (Wf XIV:11) (lost)&lt;br /&gt;
BR F 7 \ Gott wird deinen Fuss nicht gleiten lassen (Wf XIV:12)&lt;br /&gt;
BR FInc1 \ Funeral Music for Count Philipp Ernst (lost)&lt;br /&gt;
BR FInc2 \ Heut ist der Tag des Dankens, ihr Völker (lost)&lt;br /&gt;

'''Arias, Cantatas &amp; Incidental Music'''&lt;br /&gt;
BR G 1 \ Luci amate ah non piangete (Wf XVIII:8)&lt;br /&gt;
BR G 2-11 \ 10 Italian Arias (lost)&lt;br /&gt;
BR G12-26 \ 15 Italian Cantatas (lost)&lt;br /&gt;
BR G27 \ L'Inciampo (Wf XVIII:2)&lt;br /&gt;
BR G28-44 \ 18 Italian Cantatas (lost)&lt;br /&gt;
BR G45 \ Scenes for Il pastor fido (lost)&lt;br /&gt;
BR G46 \ Cassandra (Wf XVIII:1)&lt;br /&gt;
BR G47 \ Die Amerikanerin (Wf XVIII:3)&lt;br /&gt;
BR G48 \ Ino (Wf XVIII:4)&lt;br /&gt;
BR G49 \ Prokris und Cephalus (Wf XVIII:6)&lt;br /&gt;
BR G50 \ Pygmalion (Wf XVIII:5)&lt;br /&gt;
BR G51 \ Ariadne auf Naxos (lost)&lt;br /&gt;
BR G52 \ Brutus (Wf XVII:1) (lost)&lt;br /&gt;
BR G53 \ Philoktetes (Wf XVII:2) (lost)&lt;br /&gt;
BR GInc1 \ Stimmt an, greift rasch in eure Saiten (lost)&lt;br /&gt;
BR GInc2 \ Va crescendo il mio tormento&lt;br /&gt;

'''Songs'''&lt;br /&gt;
BR H 1 \ Lied: Ein dunkler Feind (Wf XIX:1/1)&lt;br /&gt;
BR H 2 \ Lied: Die Gespenster (Wf XIX:1/2)&lt;br /&gt;
BR H 3 \ Lied: Die Zeit (Wf XIX:1/3)&lt;br /&gt;
BR H 4 \ Lied: Der Sieg über sich selbst (Wf XIX:1/4)&lt;br /&gt;
BR H 5 \ Lied: Der Nachbarin Climene (Wf XIX:1/5)&lt;br /&gt;

'''Other Works in Wohlfarth's catalogue'''&lt;br /&gt;
Wf V \ Sextet for piano, winds &amp; strings in C major (lost)&lt;br /&gt;
Wf XV:1 \ Ich lieg und schlafe ganz mit Frieden&lt;br /&gt;
Wf XV:2 \ Wachet auf, ruft uns die Stimme&lt;br /&gt;
Wf XV:3 \ Dem Erlöser&lt;br /&gt;
Wf XV:4 \ Unsere Auferstehung durch die Auferstehung Jesu&lt;br /&gt;
Wf XVI:1 \ 5 Geistliche Lieder&lt;br /&gt;
Wf XVI:2 \ 50 Geistliche Lieder&lt;br /&gt;
Wf XVIII:7 \ O, wir bringen gerne dir&lt;br /&gt;
Wf XVIIII:2 \ 24 Lieder&lt;br /&gt;
Wf XX:1 \ Keyboard Concerto in C minor&lt;br /&gt;
Wf XX:2 \ Keyboard Concerto in G major&lt;br /&gt;
Wf XX:4 \ Fugue for keyboard in C minor&lt;br /&gt;
Wf XXI:1 \ Arrangement of CPE Bach's &quot;Weynachtslied&quot;&lt;br /&gt;
Wf XXI:2 \ Arrangement of CPE Bach's &quot;Dancklied&quot;&lt;br /&gt;
Wf XXI:3 \ Arrangement of CPE Bach's &quot;Der thätige Glaube&quot;

'''Works not referenced in any catalogue'''&lt;br /&gt;
Cello Sonata in G major&lt;br /&gt;

==Notes==
{{reflist}}

==References==
*Ulrich Leisinger, &quot;Johann Christoph Friedrich Bach,&quot; ''Grove Music Online'', accessed 26 August 2006, &lt;http://www.grovemusic.com&gt;.
*Eugene Helm, &quot;Johann Christoph Friedrich Bach&quot; ''The New Grove Bach Family'' Macmillan 1985 pp309-314 

==External links==
*{{IckingArchive|idx=J.C.F.Bach|name=Johann Christoph Friedrich Bach}}
* {{IMSLP|id=Bach%2C_Johann_Christoph_Friedrich|cname=Johann Christoph Friedrich Bach}}

{{DEFAULTSORT:Bach}}
[[Category:1732 births]]
[[Category:1795 deaths]]
[[Category:Classical era composers]]
[[Category:German composers]]
[[Category:Bach family|Johann Christoph Friedrich]]
[[Category:People from Leipzig]]
[[Category:People from the Electorate of Saxony]]

[[bg:Йохан Кристоф Фридрих Бах]]
[[ca:Johann Christoph Friedrich Bach]]
[[de:Johann Christoph Friedrich Bach]]
[[et:Johann Christoph Friedrich Bach]]
[[es:Johann Christoph Friedrich Bach]]
[[fr:Johann Christoph Friedrich Bach]]
[[it:Johann Christoph Friedrich Bach]]
[[la:Ioannes Christophorus Fridericus Bach]]
[[hu:Johann Christoph Friedrich Bach]]
[[nl:Johann Christoph Friedrich Bach]]
[[ja:ヨハン・クリストフ・フリードリヒ・バッハ]]
[[no:Johann Christoph Friedrich Bach]]
[[nds:Johann Christoph Friedrich Bach]]
[[pl:Johann Christoph Friedrich Bach]]
[[pt:Johann Christoph Friedrich Bach]]
[[ru:Бах, Иоганн Христоф Фридерик]]
[[sr:Јохан Кристоф Фридрих Бах]]
[[sv:Johann Christoph Friedrich Bach]]
[[zh:约翰·克里斯托弗·弗里德里希·巴赫]]</text>
    </revision>
  </page>
  <page>
    <title>Carl Ditters von Dittersdorf</title>
    <id>570302</id>
    <revision>
      <id>311822366</id>
      <timestamp>2009-09-04T12:22:14Z</timestamp>
      <contributor>
        <ip>85.226.46.178</ip>
      </contributor>
      <comment>/* External links */ [[Category:18th-century Czech people]] [[Category:18th-century Austrian people]] [[Category:18th-century German people]]</comment>
      <text xml:space="preserve">{{Unreferenced|date=October 2007}}
[[Image:Dittersdorf.jpg|thumb|right|Carl Ditters von Dittersdorf]]
[[Image:Karl Ditters von Dittersdorf-tablica.JPG|thumb|right|200px|The plaque for Karl Ditters von Dittersdorf in Jeseník]]
'''August Carl Ditters von Dittersdorf''' ([[November 2]], [[1739]] &amp;ndash; [[October 24]], [[1799]]) was an [[Austria]]n [[composer]] and [[violin]]ist.

==Life==
Carl Ditters von Dittersdorf was born in [[Vienna, Austria]], as '''August Carl Ditters'''. His father was a military tailor, serving in the Austrian Imperial Army of [[Karl VI]], in a number of German-speaking regiments.  Having retired successfully from his martial obligations, he was provided with Royal Letters of Reference and a sinecure with the Imperial Theatre.  In 1745, the six-year-old August Carl was introduced to the violin and his father's moderate financial position allowed him to take violin lessons.  By 1750, August Carl had obtained a post with the Viennese Schottenkircheorchestra.  

Prince Joseph Friedrich von Sachsen-Hildburghausen noticed him and hired him for his court orchestra. At the princely demesne he studied violin with [[Francesco Trani]] and composition with [[Giuseppe Bonno]]. It was during this period that he became acquainted with [[Christoph Willibald Gluck|Gluck]] and [[Joseph Haydn]]. In 1761 he was made violinist for the Imperial Theatre, and in 1763 he traveled to Bologna with Gluck. It was this &quot;Italian Tour&quot; that was to leave the greatest impression on his musical opus, as his early compositions are Gluckian in structure but do not exhibit the courtly style then popular in Germany and Austria.{{Fact|date=August 2008}}  Ditters' early work was a prefiguration of his serious output that was to come in later years - an almost Italianate style focused on melodic development without the overt flourishes characteristic of ''le style français''.  

In 1764, Ditters assumed the post of ''Kapellmeister'' at the court of Ádám Patachich, Hungarian nobleman and Bishop of Nagyvárad ([[Oradea]], Romania). The following year he was introduced to [[Philipp Gotthard von Schaffgotsch]], the [[Prince-Bishop of Breslau]], who wished to create a cultural center around his court at château [[Jánský Vrch Château|Jánský Vrch]] (Johannesberg) in [[Javorník (Jeseník District)|Javorník]], (today [[Czech Republic]]). In 1771 Ditters accepted the post of ''Hoffkomponist'' (court composer), and it was during his tenure at Johannesberg that most of his creative output was produced. Over the next twenty years, he composed symphonies, chamber music, and ''opere buffe''. In 1773 the [[prince-bishop]] made Ditters ''Amtshauptmann'' of nearby [[Jeseník]] (Freiwaldau), one of several measures to help entice the cosmopolitan composer to remain at isolated Johannesberg. Since this new post required a noble title, Ditters was sent to [[Wien|Vienna]] and received a noble title ''von Dittersdorf''.  His surname became &quot;Ditters von Dittersdorf&quot;, but he is usually referred to simply as &quot;Dittersdorf&quot;. 

Dittersdorf was the music teacher of [[Johann Baptist Vanhal]]. In circa 1774, Haydn, Dittersdorf, Mozart and Vanhal played String Quartets together. Haydn and Dittersdorf played the violins; Mozart, the viola; and Vanhal; the cello. The recorder of this event, the composer and tenor [[Michael Kelly]], stated that they played well but not outstanding together, but the image of four of the great composers of the time all joined in common music making is still one of the classic images of the Classical era.

In 1794, after twenty-four years at Johannesberg, von Dittersdorf experienced a serious clash with von Schaffgotsch and was expelled from the palace. Next year he was invited by Baron Ignaz von Stillfried to live at his spare castle Červená Lhota in southern Bohemia. His final decade was occupied with overseeing operatic productions and with compiling and editing his own music for publication.

With the exception of his pieces for the [[double bass]] and his concerto for harp, his works are seldom performed today.{{Fact|date=August 2008}} He was well known in his day, though, and is still considered{{Who|date=August 2008}} an important composer of the [[classical music era|Classical era]]. After some early Italian [[opera buffa]], he composed a number of German [[Singspiel]]e, with ''Der Apotheker und der Doktor'' (1786, generally known today as ''Doktor und Apotheker'') in particular being a tremendous success in his lifetime, playing in houses all over Europe. His [[symphony|symphonies]] (around 120 of them) are also considered{{Who|date=August 2008}} fine pieces with their folk-like melodies and witty passages; they include twelve based on [[Ovid]]'s ''[[Metamorphoses (poem)|Metamorphoses]]'' (six of which have survived to the present day). He also wrote [[oratorio]]s, [[cantata]]s, [[concerto]]s (including two for the double bass and one for the viola), [[chamber music]], [[piano]] pieces and other works. His memoirs, ''Lebenbeschreibung'', were published in Leipzig in 1801.

He died in estate Nový Dvůr (Neuhof) at château [[Červená Lhota Castle|Červená Lhota]], [[Southern Bohemia]]. His grave lies in [[Deštná]] town. Three days before he died, he finished the writing of his autobiography. 


== Works ==

===Concertos===
* ''Grosses Concert'' per 11 strum. (1766)
* 18 concertos for Violin
* 3 concertos for 2 Violins
* 5 concertos for Viola
* 1 concerto for Cello
* 2 concertos for Contrabass
* 1 concerto for Viola and Contrabass
* 1 concerto for Piano
* 4 concertos for Oboe
* 5 concertos for Harpsichord
* 2 concertos for Quartet
* 2 concertinos

====Concertos: Manuscripts====

* Concerto for Oboe (in C major) (MS: Dittersdorf 32; now publ. ''Artaria'')
* Concerto for Flute (in e minor) (MS: Dittersdorf 36; now publ. ''Artaria'')
* Concerto for 2 Violins (in D major) (MS: mu6402.2532; now publ. ''Artaria'')
* Concerto for 2 Violins (in C major) (MS: mu6402.2530; now publ. ''Artaria'')

====Concertos: selection of best known concertos====

* Concerto for Oboe in G major (''Breitkopf &amp; Härtel'')
* Concerto for Oboe in C major (''The Danish Royal Library'')
* Concerto for Flute in e minor (''The Danish Royal Library'')
* Concerto for Cello in D major (''The Danish Royal Library'')
* Concerto for Contrabass (Double Bass Concerto) No.1 in E major (''The Danish Royal Library'')
* Concerto for Contrabass (Double Bass Concerto) No.2 in D major (''The Danish Royal Library'')
* Concerto for Contrabass (Double Bass Concerto) in E flat major (''The Danish Royal Library'')
* Concerto for Contrabass, Viola and Orchestra (''The Danish Royal Library'')
* Concerto for Viola and Orchestra in F major (''The Danish Royal Library'')
* Concerto for Violin and Orchestra in C major (''The Danish Royal Library'')
* Concerto for Violin and Orchestra in G major (''The Danish Royal Library'')
* Concerto for Harp (''The Danish Royal Library'')
* Concerto for Cembalo/Harpsichord in B major (''The Danish Royal Library'')
* Concertino for 2 Violins, 2 Violas, 2 Oboes, 2 Horns, Basson and Bass

===Symphonies===

Dittersdorf left about 120 symphonies with solid attribution. There are about another 90 symphonies which may be Dittersdorf's work. [according to the catalogue published by Geyer Helen, Torino 1985]. Most of the symphonies are preserved only in manuscripts. Many manuscripts are inscribed ''di Carlo de Dittersdorf'' or similar, however they are copies of now lost original scores.

* ''Sinfonia nel gusto di cinque nazioni'' (Paris, 1767)
* 6 Symphonies Op. 1 (Amsterdam, 1768?)
* 6 Symphonies Op. 4 (Paris, 1769?)
* ''The Periodical Ouverture'' (London, 1769)
* 3 Symphonies Op. 5 (Paris, 1769?)
* ''Symphonies Périodiques'' (Amsterdam, 1770-72)
* 3 Symphonies Op. 6 (Paris, 1773?)
* 4 Symphonies Op. 7 (Paris, 1773?)
* 3 Symphonies Op. 8 (Paris, 1773?)
* 6 Symphonies Op. 13 (Paris, 1781)
* ''3 symphonies exprimant 3 métamorphoses d'Ovide: Les 4 âges du monde, La chûte de Phaéton, Actéon changé en cerf'' (Wien, 1785)

====Symphonies: Manuscripts====
* ''Grande symphonie: Le carnaval ou La redoute'' (MS)
* Symphony (in a minor) ''Il deliro delli compositori, ossia Il gusto d’oggidi’'' (MS: Ser.H Fasc.34 Nr.317; now publ. ''Artaria'')
* Symphony (in A major) ''Nazionale nel gusto'' (MS: Ser.H. Fasc.39 Nr.76; now publ. ''Artaria'')
* Symphony (in D major) ''Il combattimento delle passioni umane'' (MS: Ser.H Fasc.34 Nr.315; now publ. ''Artaria'')
* Symphony (in F major) (Grave F7) (MS: Ser.H Fasc.34 Nr.312; now publ. ''Artaria'')
* Symphony (in d minor) (Grave d1) (MS: R.M.21.a.13.(3.); now publ. ''Artaria'')
* Symphony (in g minor) (Grave g1) (MS: S.m.15957; Ser.H Fasc.33 Nr.293; now publ. ''Artaria'')
* Symphony (in E major) (Grave E1) (MS: IV-A-39 / A- 3498; now publ. ''Artaria'')
* Symphony (in E flat major) (Grave Eb9) (MS: IV-A-59 / A-3515; now publ. ''Artaria'')
* Symphony (in F major) (Grave F4) (MS: IV-A-38 / A-3497; now publ. ''Artaria'')
* Symphony (in D major) (Grave D6) (MS: IV-A-66 / A-3522; now publ. ''Artaria'')

====Symphonies: selection of best known symphonies====
* Sinfonia Concertante in D major (''Breitkopf &amp; Härtel'') 
* Symphony in C major (''Breitkopf &amp; Härtel'')
* Symphony in D major (''Breitkopf &amp; Härtel'')
* Symphony in F major 
* Symphony in d minor 
* Symphony in g minor 
* Symphony No. 1 after Ovid’s “Metamorphoses”
* Symphony No. 2 after Ovid’s “Metamorphoses”
* Symphony No. 3 after Ovid’s “Metamorphoses”
* Symphony No. 4 after Ovid’s “Metamorphoses”
* Symphony No. 5 after Ovid’s “Metamorphoses”
* Symphony No. 6 after Ovid’s “Metamorphoses”
* Sinfonia Concerto for Viola, Contrabass and Orchestra in E flat major 

===Chamber Music===
* 15 Divertimenti (''Il combattimento dell'umane passioni'' is in this collection)
* 5 Cassazioni (2 published: Paris, 1768; the other 3 are MS)
* 4 Serenate for 2 Horns and Strings
* 35 Partite for Winds Instruments
* 6 String Trios 
* 6 String Quartets 
* 12 String Quintets 
* 136 pieces for Piano 
* Duet for Viola and Violoncello in E flat major 
* Divertimento for two Violins and Violoncello in E flat major
* Notturno (in D) for 4 flutes

===Operas===
* ''Amore in Musica'' (1767, [[Oradea|Grosswardein]])
* ''25 000 Gulden oder im Dunkeln ist gut munkeln'' (1785, Vienna)
* ''Doktor und Apotheker'' (1786, Vienna)
* ''Betrug durch Aberglauben'' (1786, Vienna)
* ''Die Liebe im Narrenhaus'' (1787, Vienna)
* ''Hieronymus Knicker'' (1789, Vienna)
* ''Das rote Käppchen'' (1788, Vienna)
* ''Das Gespenst mit der Trommel'' (1794, [[Oleśnica|Oels]])
* ''Don Quixote der Zweyte'' (1795, Oels)
* ''Die lustigen Weiber von Windsor'' (1796, Oels)

===Oratorios===
* ''Isacco figura del Redentore'' (Grosswardein, 1766)
* ''Davide penitente'' (Johannisberg, 1770) 
* ''La Liberatrice del Popolo Giudaico nella Persia, o sia l’Esther'' (Wien, 1773) 
* ''Giobbe'' (Wien, 1786)

===Cantatas===
* ''Auf das... Geburtsfest seiner Majestät des Königs'' (1781)
* ''Auf Lichtmess''
* Another '''11''' Cantatas

===Sacred Music===
* ''Missa'' in C major
* ''Missa'' ''a 4 v.''
* ''Missa gratiosa'' in C major
* ''Missa'' in D major
* Another '''12 Masses'''
* &quot;Requiem&quot; Mass in c minor
* 11 Offertories
* Antiphony with choir, orchestra and organ
* 8 litanies
* 12 ''ariae ex canticis Salomonis'' (Augusta, 1795)
* another '''170''' Sacred Music works: arias, graduals, motettes ''et cetera''.
* the aria ''Das Mädchen von Köln'' (from Ossian; Leipzig, 1795)
* another '''3''' arias for Soprano and orchestra

===Other Works===
* Pastoral-Motette

== External links ==
* {{IMSLP|id=Dittersdorf, Carl Ditters von|cname=Carl Ditters von Dittersdorf}}
* [http://www.hoasm.org/XIIC/Dittersdorf.html Carl (Karl) Ditters von Dittersdorf], biographical sketch
* [http://www.naxos.com/composerinfo/Carl_Ditters_von_Dittersdorf/27161.htm Carl Ditters von Dittersdorf on NAXOS.com]
* [http://www.mozartforum.com/Contemporary%20Pages/Dittersdorf%20Contemp.htm Carl Ditters von Dittersdorf on mozartforum.com, Who's Who Page]
* [http://www.karadar.com/Dictionary/dittersdorf.html www.karadar.com/Dictionary/dittersdorf.html]Karadar Classical Music Dictionary
* [http://www.1911encyclopedia.org/Karl_Ditters_Von_Dittersdorf www.1911encyclopedia.org/Karl_Ditters_Von_Dittersdorf]1911 Encyclopedia Britannica

{{Lifetime|1739|1799|Dittersdorf, Ditters von, Carl}}
[[Category:Classical era composers]]
[[Category:Austrian nobility]]
[[Category:Austrian musicians]]
[[Category:Austrian composers]]
[[Category:People from Vienna]]
[[Category:Sudeten Germans]]
[[Category:Czechs of Austrian descent]]
[[Category:18th-century Czech people]]
[[Category:18th-century Austrian people]]
[[Category:18th-century German people]]

[[ca:Carl Ditters von Dittersdorf]]
[[cs:Karl Ditters von Dittersdorf]]
[[de:Carl Ditters von Dittersdorf]]
[[es:Carl Ditters von Dittersdorf]]
[[eo:Karl Ditters von Dittersdorf]]
[[fr:Karl Ditters von Dittersdorf]]
[[it:Carl Ditters von Dittersdorf]]
[[la:Carolus Ditters de Dittersdorf]]
[[nl:Karl Ditters von Dittersdorf]]
[[ja:カール・ディッタース・フォン・ディッタースドルフ]]
[[pl:Karl Ditters von Dittersdorf]]
[[pt:Karl Ditters von Dittersdorf]]
[[sk:Karl Ditters von Dittersdorf]]
[[sl:Karl Ditters von Dittersdorf]]
[[fi:Carl Ditters von Dittersdorf]]
[[sv:Carl Ditters von Dittersdorf]]</text>
    </revision>
  </page>
  <page>
    <title>Barbara of Portugal</title>
    <id>238796</id>
    <revision>
      <id>311447674</id>
      <timestamp>2009-09-02T10:43:02Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>Fix up dates and royalty template names or GF:  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">{{Infobox royalty
| name            =Barbara of Portugal
| full name       =Maria Madalena Josefa Teresa Bárbara
| title           =Queen consort of Spain
| image           =Maria Barbara de Braganza.jpg
| caption         =María Bárbara of Bragança
| reign           =1746 - 1758
| reign-type      =Consort
| spouse          =[[Ferdinand VI of Spain]]
| titles          =''HM'' The Queen of Spain&lt;br&gt;''HRH'' The Princess of Asturias&lt;br&gt;''HRH'' The Infanta Barbara of Portugal&lt;br&gt;''HRH'' The Princess of Brazil
| house           =[[House of Bourbon]]&lt;br&gt;[[House of Braganza]]
| father          =[[John V of Portugal]]
| mother          =[[Maria Anna of Austria, Queen of Portugal|Maria Anna of Austria]]
| date of birth   ={{Birth date|1711|12|4|df=y}}
| place of birth  =[[Lisbon]], [[Portugal]]
| date of death   ={{Death date and age|1758|08|27|1711|12|4|df=y}}
| place of death  =[[Aranjuez]], [[Spain]]
|}}

'''Barbara of Portugal''' (4 December 1711 &amp;ndash; 27 August 1758), was a [[Portugal|Portuguese]] [[infanta]] and later [[Queen consort|Queen]] [[Consort]] of [[Spain]].

==Early life==
She was the eldest daughter of King [[John V of Portugal]] and his wife, [[Mary Anne Josepha of Austria|Maria Anna]], [[Archduchess of Austria]], a daughter of Emperor [[Leopold I, Holy Roman Emperor|Leopold I]].

Her parents were married in 1708, but for nearly three years the queen did not give birth to any children. The King then made a promise to God that if an heir to the throne was born, a great [[convent]] would be built to thank Him. On 4 December 1711, an [[Infanta]] was born, and the [[Convent of Mafra]] was built.

==Princess of Brazil==
[[Image:Barbaradebragança.jpg|thumb|200px|left|Barbara in her youthful years]]
[[Image:Maria barbara braganza d1758 hi.jpg|thumb|200px|left|Barbara in her later years, by Jacopo Amigoni]]

She was born as [[heiress-presumptive]] to the Portuguese throne, but her status as heiress lapsed when the Queen gave birth to a son, Pedro, two years later. Her title while she was heir to the throne was ''Princess of Brazil'' or ''Princesa do Brasil'' in its portuguese form. Pedro died at the age of two, but another son, [[Joseph I of Portugal|Joseph]], had been born before Pedro's death. Though Barbara was never heiress-presumptive again, she was second-in-line to the throne throughout much of her life.

The Princess was baptized ''Maria Madalena Bárbara Xavier Leonor Teresa Antónia Josefa'' ([[English Language|English]]: ''[[Mary Magdalene]] [[Barbara (given name)|Barbara]] [[Francis Xavier|Xavier]] [[Eleanor]] [[Theresa]] [[Antonia]] [[Joseph]]a''), her names honouring a number of saints and relatives. She was usually referred to as ''Bárbara'' or ''Maria Bárbara'', a name never before used among Portuguese royals, in honour of [[St. Barbara]], the saint of her birthday.

She had a fine education and loved music. An accomplished keyboard player, she was a student of [[Domenico Scarlatti]], the famous [[harpsichordist]] and [[composer]], from age 9 or 10 until age 14.

==Marriage==
In 1729 at age 18, she married the future [[Ferdinand VI of Spain]], two years her junior. Her brother Joseph married Ferdinand's half-sister, the Spanish Infanta [[Infanta Mariana Victoria of Spain]]. Scarlatti followed her to [[Madrid]] on her marriage and remained with her, composing hundreds of [[harpsichord]] [[sonata (music)|sonatas]] for her. During her reign, Barbara presided over magnificent parties and concerts at the Royal Palace of [[Aranjuez]], which was her favourite retreat.

Although Barbara was not beautiful &amp;mdash; her homely looks were thought by observers to cause the prince a visible shock when he was first presented to her &amp;mdash; 'Ferdinand the Learned' (as he was called) became deeply attached to her, sharing her passion for music. Her death was said to have broken his heart. They had no children.

[[Image:Arms of Barbara of Portugal, Queen Consort of Spain.png|thumb|right|310px|Arms of Barbara of Portugal, Queen of Spain.]]

==Death==
Barbara suffered from severe [[asthma]] for most of her life. Although a beauty in her youth, she became quite overweight later in life. She died at the Royal Palace of [[Aranjuez]], on the outskirts of [[Madrid]], Spain in 1758.

==Ancestors==
{| class=&quot;wikitable&quot;
|+'''Barbara's ancestors in three generations'''
|-
|-
| rowspan=&quot;8&quot; align=&quot;center&quot;| '''Barbara of Portugal'''
| rowspan=&quot;4&quot; align=&quot;center&quot;| '''Father:'''&lt;br&gt;[[John V of Portugal]]
| rowspan=&quot;2&quot; align=&quot;center&quot;| '''Father's father:'''&lt;br&gt;[[Peter II of Portugal]]
| align=&quot;center&quot;| '''Father's father's father:'''&lt;br&gt;[[John IV of Portugal]]
|-
| align=&quot;center&quot;| '''Father's father's mother:'''&lt;br&gt;[[Luisa of Medina-Sidonia]]&lt;br&gt;(Luisa de Guzmán)
|-
| rowspan=&quot;2&quot; align=&quot;center&quot;| '''Father's mother:'''&lt;br&gt;[[Maria Sophia of Neuburg]]
| align=&quot;center&quot;| '''Father's mother's father:'''&lt;br&gt;[[Philipp Wilhelm, Elector Palatine]]
|-
| align=&quot;center&quot;| '''Father's mother's mother:'''&lt;br&gt;[[Magdalene of Hesse-Darmstadt|Elizabeth Amalia of Hesse-Darmstadt]]
|-
| rowspan=&quot;4&quot; align=&quot;center&quot;| '''Mother:'''&lt;br&gt;[[Mary Anne Josepha of Austria|Maria Anna of Austria]]
| rowspan=&quot;2&quot; align=&quot;center&quot;| '''Mother's father:'''&lt;br&gt;[[Leopold I, Holy Roman Emperor]]
| align=&quot;center&quot;| '''Mother's father's father:'''&lt;br&gt;[[Ferdinand III, Holy Roman Emperor]]
|-
| align=&quot;center&quot;| '''Mother's father's mother:'''&lt;br&gt;[[Maria Anna of Spain]]
|-
| rowspan=&quot;2&quot; align=&quot;center&quot;| '''Mother's mother:'''&lt;br&gt;[[Eleonore-Magdalena of Pfalz-Neuburg]]
| align=&quot;center&quot;| '''Mother's mother's father:'''&lt;br&gt;[[Philipp Wilhelm, Elector Palatine]]
|-
| align=&quot;center&quot;| '''Mother's mother's mother:'''&lt;br&gt;[[Magdalene of Hesse-Darmstadt|Elizabeth Amalia of Hesse-Darmstadt]]
|}

{{start box}}
{{s-hou|[[House of Braganza]]|4 December|1711|27 August|1758}}
{{s-roy|es}}
{{succession box|title=[[Royal Consorts of Spain|Queen Consort of Spain]]|before=[[Elisabeth of Parma]]|after=[[Maria Amalia of Saxony]]| |years=1746-1758  }}
{{end box}}

{{Spanish consorts}}
{{Infantas of Spain by marriage}}
{{House of Bourbon, 1700-1833 (Philip V-Ferdinand VI Arms)}}

{{DEFAULTSORT:Barbara Of Portugal}}
[[Category:1711 births]]
[[Category:1758 deaths]]
[[Category:18th century in Spain]]
[[Category:Portuguese princesses]]
[[Category:Portuguese royalty]]
[[Category:Spanish royal consorts]]
[[Category:Princesses of Asturias]]
[[Category:Baroque composers]]
[[Category:Classical era composers]]
[[Category:Women composers]]
[[Category:Articles lacking sources (Erik9bot)]]

[[bg:Мария Барбара де Браганса]]
[[ca:Maria Bàrbara de Bragança]]
[[de:Barbara von Portugal]]
[[es:Bárbara de Braganza]]
[[eo:Bárbara de Braganza]]
[[fr:Marie-Barbara de Portugal]]
[[it:Maria Barbara di Braganza]]
[[hu:Mária Borbála spanyol királyné]]
[[nl:Maria Barbara van Portugal]]
[[ja:バルバラ・デ・ブラガンサ]]
[[pl:Maria Barbara Portugalska]]
[[pt:Maria Bárbara de Bragança, Rainha de Espanha]]
[[simple:Bárbara of Portugal]]
[[sv:Barbara av Portugal]]</text>
    </revision>
  </page>
  <page>
    <title>Ludwig van Beethoven</title>
    <id>17914</id>
    <revision>
      <id>312887695</id>
      <timestamp>2009-09-10T00:44:15Z</timestamp>
      <contributor>
        <username>Antandrus</username>
        <id>57658</id>
      </contributor>
      <minor/>
      <comment>[[WP:RBK|Reverted]] edits by [[Special:Contributions/76.67.2.38|76.67.2.38]] ([[User talk:76.67.2.38|talk]]) to last version by 71.254.120.52</comment>
      <text xml:space="preserve">&lt;!-- After lengthy consideration at the Wikipedia Composers project, it has been determined that infoboxes are not appropriate for composer articles. Before adding an infobox, please review the discussion at Wikipedia talk:WikiProject Composers/Infobox debates. --&gt;
{{redirect|Beethoven}}
{{pp-move-indef}}

[[File:Beethoven.jpg|right|thumb|250px|A portrait by [[Joseph Karl Stieler]], 1820]]
[[File:Signature Van Beethoven.svg|right|250px]]
'''Ludwig van Beethoven''' ({{IPA-en|ˈlʊdvɪɡ væn ˈbeɪtoʊvɨn}} (US), {{IPA|/ˈlʊdvɪɡ væn ˈbeɪthoʊvɨn/}} (UK); {{IPA-de|ˈluːt.vɪç fan ˈbeːt.hoːfən|lang|Ludwig van Beethoven.ogg}}; [[baptise]]d 17 December 1770&lt;ref&gt;Beethoven was [[baptism|baptised]] on 17 December. His date of birth was often, in the past, given as 16 December, however this is not known with certainty; his family celebrated his birthday on that date, but there is no documentary evidence that his birth was actually on 16 December.&lt;/ref&gt; – 26 March 1827) was a [[List of German composers|German composer]] and [[pianist]]. He was a crucial figure in the transitional period between the [[Classical period (music)|Classical]] and [[Romantic music|Romantic]] eras in [[classical music|Western classical music]], and remains one of the most acclaimed and influential composers of all time.

Born in [[Bonn]], which was then capital of the [[Electorate of Cologne]] and a part of the [[Holy Roman Empire of the German Nation]] in present-day [[Germany]], he moved to [[Vienna]] in his early twenties and settled there, studying with [[Joseph Haydn]] and quickly gaining a reputation as a [[virtuoso]] pianist. His hearing began to [[Hearing impairment|deteriorate]] in the late 1790s, yet he continued to compose, and to [[conducting|conduct]] and perform, even after becoming [[Profound hearing loss|completely deaf]].
&lt;!-- needs elaboration (and citation) in body:
Even during his lifetime, he was recognized by critics like [[[[Ernst Theodor Amadeus Hoffmann|E. T. A. Hoffman]] as an important musical successor to Haydn and [[Wolfgang Amadeus Mozart|Mozart]].  His reputation was enhanced in the 19th and early 20th centuries by influential musical writers like [[Robert Schumann]], [[Richard Wagner]], and [[Gustav Mahler]], and his music formed the basis for formal instruction for decades.
--&gt;

==Biography==
[[Image:Universität Bonn.jpg|thumb|left|Prince-Elector's Palace (''Kurfürstliches Schloss'') in Bonn, where the Beethoven family had been active since the 1730s]]
===Background and early life===

Beethoven was the grandson of a musician of [[Flanders|Flemish]] origin who was also named Ludwig van Beethoven (1712–1773).&lt;ref name=&quot;GroveOnline1&quot;/&gt; The elder Ludwig was employed as a bass singer at the court of the [[Electorate of Cologne|Elector of Cologne]], rising to become [[Kapellmeister]] (music director). He had one son, [[Johann van Beethoven]] (1740–1792), who worked as a tenor in the same musical establishment, also giving lessons on piano and violin to supplement his income.&lt;ref name=&quot;GroveOnline1&quot;&gt;Grove Online, section 1&lt;/ref&gt;  Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the [[Archbishopric of Trier]].&lt;ref name=&quot;Thayer1_49&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 49&lt;/ref&gt; 

[[Image:Beethoven house of birth Bonn 2008.jpg|200px|thumb|upright|House of birth, [[Bonn]], Bonngasse 20, now the [[Beethoven-Haus]] museum]]
Beethoven was born of this marriage in Bonn, probably on 16 December 1770, and baptized in a [[Roman Catholic]] service the next day.&lt;ref&gt;{{cite book |title= Chambers Biographical Dictionary |editor = Thorne, J. O. &amp; Collocott, T.C.|authorlink= |coauthors= |year= 1986|publisher=W &amp; R Chambers Ltd |location= [[Edinburgh]]|isbn= 0550180222|page= 114 |accessdate=2009-06-19}}&lt;/ref&gt; Children of that era were usually baptized the day after birth; since only his baptismal record survives, there is no documentary evidence for the exact date of his birth.&lt;ref name=&quot;Thayer1_53&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 53&lt;/ref&gt; It is known that Beethoven's family and his teacher [[Johann Georg Albrechtsberger|Johann Albrechtsberger]] celebrated his birthday on 16 December. Thus, while the evidence supports the probability that 16 December 1770 was Beethoven's date of birth, this cannot be stated with certainty.&lt;ref&gt;This is discussed in depth in [[#Solomon|Solomon]], chapter 1.&lt;/ref&gt; Of the seven children born to Johann Beethoven, only second-born Ludwig and two younger brothers survived infancy. Caspar Anton Carl was born in 1774, and Nikolaus Johann, the youngest, was born in 1776.&lt;ref name=&quot;Stanley7&quot;&gt;[[#Stanley|Stanley]], p. 7&lt;/ref&gt;

Beethoven's first music teacher was his father. A traditional belief concerning Johann is that he was a harsh instructor, and that the child Beethoven, &quot;made to stand at the keyboard, was often in tears&quot;.&lt;ref name=&quot;GroveOnline1&quot;/&gt; However, the ''[[Grove Dictionary of Music and Musicians|New Grove]]'' indicates that there is no solid documentation to support it, and asserts that &quot;speculation and myth-making have both been productive.&quot;&lt;ref name=&quot;GroveOnline1&quot;/&gt; Beethoven had other local teachers as well: the court organist van den Eeden, Tobias Friedrich Pfeiffer (a family friend, who taught Beethoven piano), and a relative, Franz Rovantini (violin and viola).&lt;ref name=&quot;GroveOnline1&quot;/&gt; His musical talent manifested itself early—apparently he was advanced enough to perform at the age of nine, not seven as popularly believed. Johann, aware of [[Leopold Mozart]]'s successes in this area, attempted unsuccessfully to exploit his son as a [[child prodigy]]. It was Johann who falsely claimed Beethoven was six (he was seven) on the posters for Beethoven's first public performance in March 1778.&lt;ref name=&quot;Thayer1_59&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 59&lt;/ref&gt;

Some time after 1779, Beethoven began his studies with his most important teacher in Bonn, [[Christian Gottlob Neefe]], who was appointed the Court's Organist in that year.&lt;ref name=&quot;Thayer1_67&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 67&lt;/ref&gt; Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition: a set of keyboard variations ([[WoO]] 63).&lt;ref name=&quot;Stanley7&quot;/&gt; Beethoven soon began working with Neefe as assistant organist, first on an unpaid basis (1781), and then as paid employee (1784) of the court chapel conducted by the Kapellmeister [[Andrea Luchesi]]. His first three piano sonatas, named &quot;[[Kurfürst]]&quot; (&quot;Elector&quot;) for their dedication to the Elector [[Maximilian Frederick of Königsegg-Rothenfels|Maximilian Frederick]], were published in 1783. Maximilian Frederick, who died in 1784, not long after Beethoven's appointment as assistant organist, had noticed Beethoven's talent early, and had subsidized and encouraged the young Beethoven's musical studies.&lt;ref name=&quot;Thayer1_71_4&quot;&gt;[[#Thayer1|Thayer, Vol 1]], pp. 71&amp;ndash;74&lt;/ref&gt;

Maximilian Frederick's successor as the Elector of Bonn was [[Archduke Maximilian Franz of Austria|Maximilian Franz]], the youngest son of Empress [[Maria Theresa of Austria]], and he brought notable changes to Bonn.  Echoing changes made in [[Vienna]] by his brother [[Joseph II of Austria|Joseph]], he introduced reforms based on [[Age of Enlightenment|Enlightenment philosophy]], with increased support for education and the arts.  The teenage Beethoven was almost certainly influenced by these changes.  He may also have been strongly influenced at this time by ideas prominent in [[freemasonry]], as Neefe and others around Beethoven were members of the local chapter of the [[Illuminati|Order of the Illuminati]].&lt;ref name=&quot;Cooper15&quot;&gt;[[#Cooper|Cooper (2008)]], p. 15&lt;/ref&gt;

In March 1787 Beethoven traveled to Vienna (it is unknown at whose expense) for the first time, apparently in the hope of studying with [[Wolfgang Amadeus Mozart|Mozart]]. The details of [[Mozart and Beethoven|their relationship]] are uncertain, including whether or not they actually met.&lt;ref name=&quot;Cooper23&quot;&gt;[[#Cooper|Cooper (2008)]], p. 23&lt;/ref&gt;  After just two weeks there Beethoven learned that his mother was severely ill, and he was forced to return home. His mother died shortly thereafter, and the father lapsed deeper into alcoholism. As a result, Beethoven became responsible for the care of his two younger brothers, and he spent the next five years in Bonn.&lt;ref name=&quot;Cooper24&quot;&gt;[[#Cooper|Cooper (2008)]], p. 24&lt;/ref&gt;

Beethoven was introduced to a number of people who became important in his life in these years.  Franz Wegeler, a young medical student, introduced him to the von Breuning family (one of whose daughters Wegeler eventually married).  Beethoven was often at the von Breuning household, where he was exposed to German and classical literature, and where he also gave piano instruction to some of the children.  The von Breuning family environment was also less stressful than his own, which was increasingly dominated by his father's strict control and descent into alcoholism.&lt;ref name=&quot;Cooper16&quot;&gt;[[#Cooper|Cooper (2008)]], p. 16&lt;/ref&gt;  It is also in these years that Beethoven came to the attention of [[Count Ferdinand Ernst Gabriel von Waldstein|Count Ferdinand von Waldstein]], who became a lifelong friend and financial supporter.&lt;ref name=&quot;Thayer1_102&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 102&lt;/ref&gt;

[[Image:Thirteen-year-old Beethoven.jpg|thumb|200px|left|A portrait of the thirteen-year-old Beethoven by an unknown Bonn master (c. 1783)]]

In 1789, he obtained a legal order by which half of his father's salary was paid directly to him for support of the family.&lt;ref name=&quot;Thayer1_104&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 104&lt;/ref&gt;  He also contributed further to the family's income by playing [[viola]] in the court orchestra. This familiarized Beethoven with a variety of operas, including three of [[Wolfgang Amadeus Mozart|Mozart]]'s operas performed at court in this period.  He also befriended [[Anton Reicha]], a [[flute|flautist]] and violinist of about his own age who was the conductor's nephew.&lt;ref name=&quot;Thayer1_105_9&quot;&gt;[[#Thayer1|Thayer, Vol 1]], pp. 105&amp;ndash;109&lt;/ref&gt;

===Establishing his career in Vienna===
With the Elector's help, Beethoven moved to [[Vienna]] in 1792.&lt;ref name=&quot;Thayer1_124&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 124&lt;/ref&gt;  He was probably first introduced to [[Joseph Haydn]] in late 1790, when the latter was traveling to [[London]] and stopped in Bonn around Christmas time.&lt;ref name=&quot;Cooper35&quot;&gt;[[#Cooper|Cooper (2008)]], p. 35&lt;/ref&gt;  They definitely met in Bonn on Haydn's return trip from London to Vienna in July 1792, and it is likely that arrangements were made at that time for Beethoven to study with the old master.&lt;ref name=&quot;Cooper41&quot;&gt;[[#Cooper|Cooper (2008)]], p. 41&lt;/ref&gt;  In the intervening years, Beethoven composed a significant number of works (none were published at the time, and most are now listed as [[WoO|works without opus]]) that demonstrated a growing range and maturity of style.  Musicologists have identified a theme similar to those of his [[Symphony No. 3 (Beethoven)|third symphony]] in a set of variations written in 1791.&lt;ref name=&quot;Cooper35_1&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 35–41&lt;/ref&gt;  Beethoven left Bonn for Vienna in November 1792, amid rumors of [[First Coalition|war spilling out of France]], and learned shortly after his arrival that his father had died.&lt;ref name=&quot;Thayer1_148&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 148&lt;/ref&gt;&lt;ref name=&quot;Cooper42&quot;/&gt;  Count Waldstein in his farewell note to Beethoven wrote: &quot;Through uninterrupted diligence you will receive Mozart's spirit through Haydn's hands.&quot;&lt;ref name=&quot;Cooper42&quot;&gt;[[#Cooper|Cooper (2008)]], p. 42&lt;/ref&gt;  Beethoven responded to the widespread feeling that he was a successor to the recently-deceased Mozart over the next few years by studying that master's work and writing works with distinctly Mozartean flavor.&lt;ref name=&quot;Cooper43&quot;&gt;[[#Cooper|Cooper (2008)]], p. 43&lt;/ref&gt;

Beethoven did not immediately set out to establish himself as a composer, but rather devoted himself to study and to piano performance. Working under Haydn's direction&lt;ref name=&quot;GroveOnline3&quot;&gt;Grove Online, section 3&lt;/ref&gt; he sought to master [[counterpoint]], and he also took violin lessons from [[Ignaz Schuppanzigh]].&lt;ref name=&quot;Cooper47_54&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 47,54&lt;/ref&gt;  Early in this time he also began receiving occasional instruction from [[Antonio Salieri]], primarily in Italian vocal composition style; this relationship persisted until at least 1802, and possibly 1809.&lt;ref name=&quot;Thayer1_161&quot;&gt;[[#Thayer1|Thayer, Vol 1]], p. 161&lt;/ref&gt; With Haydn's departure for England in 1794, Beethoven was expected by the Elector to return home. He chose instead to remain in Vienna, continuing the instruction in counterpoint with [[Johann Georg Albrechtsberger|Johann Albrechtsberger]] and other teachers. Although his stipend from the Elector expired, a number of Viennese noblemen had already recognized his ability and offered him financial support, among them [[House of Lobkowicz|Prince Joseph Franz Lobkowitz]], [[Karl Alois Johann-Nepomuk Vinzenz, Fürst Lichnowsky|Prince Karl Lichnowsky]], and Baron [[Gottfried van Swieten]].&lt;ref name=&quot;Cooper53&quot;&gt;[[#Cooper|Cooper (2008)]], p. 53&lt;/ref&gt;

By 1793, Beethoven established a reputation in Vienna as a piano virtuoso and improviser in the salons of the nobility, often playing the preludes and fugues of [[Johann Sebastian Bach|J. S. Bach]]'s [[Well-Tempered Clavier]].&lt;ref name=&quot;Cross59&quot;&gt;[[#Cross|Cross (1953)]], p. 59&lt;/ref&gt; His friend [[Nikolaus Simrock]] had also begun publishing his compositions; the first are believed to be a set of variations (WoO 66).&lt;ref name=&quot;Cooper46&quot;&gt;[[#Cooper|Cooper (2008)]], p. 46&lt;/ref&gt;  Beethoven spent much of 1794 composing, and apparently withheld works from publication so that their publication in 1795 would have greater impact.&lt;ref name=&quot;Cooper52&quot;&gt;[[#Cooper|Cooper (2008)]], p. 53&lt;/ref&gt;  Beethoven's first public performance in Vienna was in March 1795, a concert in which he debuted a [[piano concerto]].  It is uncertain whether this was the [[Piano Concerto No. 1 (Beethoven)|First]] or [[Piano Concerto No. 2 (Beethoven)|Second]], as documentary evidence is unclear, and both concertos were in a similar state of near-completion (neither was completed or published for several years).&lt;ref name=&quot;Cooper59&quot;/&gt;&lt;ref name=&quot;Lockwood&quot;&gt;[[#Lockwood|Lockwood (2005)]], p. 144&lt;/ref&gt; Shortly after this performance he arranged for the publication of the first of his compositions to which he assigned an [[opus number]], the [[Piano Trios Nos. 1 - 3, Opus 1 (Beethoven)|piano trios of Opus 1]].  These works were dedicated to his patron Prince Lichnowsky,&lt;ref name=&quot;Cooper59&quot;&gt;[[#Cooper|Cooper (2008)]], p. 59&lt;/ref&gt; and were a financial success; Beethoven's profits were nearly sufficient to cover living expenses for a year.&lt;ref name=&quot;Cooper56&quot;&gt;[[#Cooper|Cooper (2008)]], p. 56&lt;/ref&gt;

===Wider publicity===
[[Image:Beethoven Hornemann.jpg|thumb|Beethoven in 1803]]
In 1796 Beethoven embarked on a tour of central European cultural centers that was an echo of a [[Mozart's Berlin journey|similar tour by Mozart]] in 1789.  Accompanied by Prince Lichnowsky (who also accompanied Mozart on his tour), Beethoven visited [[Prague]], [[Dresden]], [[Leipzig]], and [[Berlin]], composing and performing to acclaim.  He spent the most time in Prague, where his reputation had already preceded him through Lichnowsky's family connections, and Berlin, where he composed [[Cello Sonatas No. 1 and No. 2, Opus 5 (Beethoven)|two cello sonatas (Op. 5)]] dedicated to [[Friedrich Wilhelm II|King Friedrich Wilhelm II]], a lover of music who played that instrument.  These works are notable for successfully combining virtuoso cello and piano parts, a difficult task considering the differing natures of the two instruments.&lt;ref name=&quot;Cooper62_5&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 62–65&lt;/ref&gt;  The king presented Beethoven with a snuffbox full of gold coins; Beethoven observed that the trip earned him &quot;a good deal of money&quot;.&lt;ref name=&quot;Cooper68&quot;&gt;[[#Cooper|Cooper (2008)]], p. 68&lt;/ref&gt;  Beethoven returned to Vienna in July 1796, and embarked on another tour in November, heading east instead of north, to the cities of Pressburg (present-day [[Bratislava]]) and [[Pest, Hungary|Pest]].  At Pressburg he performed on a piano sent from Vienna by his friend [[Andreas Streicher]],&lt;ref name=&quot;Cooper69&quot;&gt;[[#Cooper|Cooper (2008)]], p. 69&lt;/ref&gt; a piano he joked was &quot;far too good for me..because it robs me of the freedom to produce my own tone&quot;.&lt;ref&gt;{{cite web|url=http://www.beethoven-haus-bonn.de/sixcms/detail.php?id=5119&amp;template=dokseite_digitales_archiv_en&amp;_eid=5055&amp;_ug=Musicians&amp;_dokid=b88&amp;_mid=Written%20documents%20by%20Ludwig%20van%20Beethoven%20and%20others&amp;_seite=1|title=Letter to Andreas Streicher in Vienna, Preßburg|last=Beethoven|first=Ludwig |date=19 November 1796|publisher=Beethoven-Haus Bonn Digital Archives|language=German|accessdate=2009-06-28}}&lt;/ref&gt;

Beethoven spent most of 1797 in Vienna, where he continued to compose (apparently in response to an increasing number of commissions) and perform, although he was apparently stricken with a serious disease (possibly [[typhus]]) in the summer or autumn.  It is also around this time (although it may have been as early as 1795) that he first became aware of issues with his hearing.&lt;ref name=&quot;Cooper72&quot;&gt;[[#Cooper|Cooper (2008)]], p. 72&lt;/ref&gt;  While he traveled to Prague again in 1798, the encroaching deafness led him to eventually abandon concert touring entirely.&lt;ref name=&quot;Cooper75_6&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 75–76&lt;/ref&gt;

===Musical maturity===
Between 1798 and 1802 Beethoven finally tackled what he considered the pinnacles of composition: the [[string quartet]] and the [[symphony]].  With the composition of his [[String Quartets Nos. 1 - 6, Opus 18 (Beethoven)|first six string quartets (Op. 18)]] between 1798 and 1800 (written on commission for, and dedicated to, Prince Lobkowitz), and their publication in 1801, along with premieres of the [[Symphony No. 1 (Beethoven)|First]] and [[Symphony No. 2 (Beethoven)|Second]] Symphonies in 1800 and 1802, Beethoven was justifiably considered one of the most important of a generation of young composers following after Haydn and Mozart.  He continued to write in other forms, turning out widely-known [[piano sonata]]s like the &quot;[[Piano Sonata No. 8 (Beethoven)|Pathétique]]&quot; sonata (Op. 13), which Cooper describes as &quot;surpass[ing] any of his previous compositions, in strength of character, depth of emotion, level of originality, and ingenuity of motivic and tonal manipulation&quot;.&lt;ref name=&quot;Cooper82&quot;&gt;[[#Cooper|Cooper (2008)]], p. 82&lt;/ref&gt;  He also completed his [[Septet (Beethoven)|Septet]] (Op. 20) in 1799, which was one of his most popular works during his lifetime.

For the premiere of his First Symphony Beethoven hired the Burgtheater on April 2, 1800, and staged an extensive program of music, including works by Haydn and Mozart, as well as the Septet, the First Symphony, and one of his piano concertos (the latter three works all then unpublished).  The concert, which the ''Allgemeine musikalische Zeiting'' described as &quot;the most interesting concert in a long time&quot;, was not without difficulties; among other criticisms was that &quot;the players did not bother to pay any attention to the soloist&quot;.&lt;ref name=&quot;Cooper90&quot;&gt;[[#Cooper|Cooper (2008)]], p. 90&lt;/ref&gt;

While Mozart and Haydn were undeniable influences (for example, Beethoven's [[Quintet for Piano and Winds (Beethoven)|quintet for piano and winds]] bears a strong resemblance to [[Quintet for Piano and Winds (Mozart)|Mozart's work for the same configuration]], albeit with his own distinctive touches),&lt;ref name=&quot;Cooper66&quot;&gt;[[#Cooper|Cooper (2008)]], p. 66&lt;/ref&gt;  other composers like [[Muzio Clementi]] were also stylistic influences.  Beethoven's melodies, musical development, use of modulation and texture, and characterization of emotion all set him apart from his influences, and heightened the impact some of his early works made when they were first published.&lt;ref name=&quot;Cooper58&quot;&gt;[[#Cooper|Cooper (2008)]], p. 58&lt;/ref&gt;  By the end of 1800 Beethoven and his music were already much in demand from patrons and publishers.&lt;ref name=&quot;Cooper97&quot;&gt;[[#Cooper|Cooper (2008)]], p. 97&lt;/ref&gt;

===Teaching===
[[Image:Beethoven 3.jpg|250px|thumb|left|Ludwig van Beethoven: detail of an 1804 portrait by W.J. Mähler]]

In May of 1799, Beethoven gave piano lessons to the daughters of Hungarian Countess Anna Brunsvik.  While this round of lessons lasted less than one month, Beethoven formed a relationship with the older daughter Josephine that has been the subject of much speculation ever since.  Shortly after these lessons she married Count Josef Deym, and Beethoven was a regular visitor at their house, giving lessons and playing at parties.  While her marriage was by all accounts unhappy, the couple had four children, and her relationship with Beethoven did not intensify until after Deym died in 1804.&lt;ref name=&quot;Cooper80&quot;&gt;[[#Cooper|Cooper (2008)]], p. 80&lt;/ref&gt;

Beethoven had few other students. From 1801 to 1805, he tutored [[Ferdinand Ries]], who went on to become a composer and later wrote ''Beethoven remembered'', a book about their encounters.  The young [[Carl Czerny]] studied with Beethoven from 1801 to 1803.  Czerny went on to become a renowned music teacher himself, taking on [[Franz Liszt]] as one of his students. He also gave the Vienna premiere of Beethoven's [[Piano Concerto No. 5 (Beethoven)|fifth piano concerto (the &quot;Emperor&quot;)]] in 1812.

Beethoven's compositions between 1800 and 1802 were dominated by two works, although he continued to produce smaller works, including the [[Moonlight Sonata]].  In the spring of 1801 he completed ''[[The Creatures of Prometheus (Beethoven)|The Creatures of Prometheus]]'', a [[ballet]].  The work was such a success that it received numerous performances in 1801 and 1802, and Beethoven rushed to publish a piano arrangement to capitalize on its early popularity.&lt;ref name=&quot;Cooper98_103&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 98–103&lt;/ref&gt;  In the spring of 1802 he completed the [[Symphony No. 2 (Beethoven)|Second Symphony]], intended for performance at a concert that was eventually cancelled.  The symphony received its premiere at a subscription concert in April 1803 at the [[Theater an der Wien]], where Beethoven had been appointed as composer in residence.  In addition to the Second Symphony, the concert also featured the First Symphony, the [[Piano Concerto No. 3 (Beethoven)|Third Piano Concerto]], and the [[oratorio]] ''[[Christ on the Mount of Olives (Beethoven)|Christ on the Mount of Olives]]''.  While reviews were mixed, the concert was a financial success; Beethoven was able to charge three times the cost of a typical concert ticket.&lt;ref name=&quot;Cooper112_127&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 112–127&lt;/ref&gt;

Beethoven's business dealings with publishers also began to improve in 1802 when his brother Carl, who had previously assisted him more casually, began to assume a larger role in the management of his affairs.  In addition to negotiating higher prices for recently-composed works, Carl also began selling some of Beethoven's earlier unpublished works, and encouraged Beethoven (against the latter's preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations.  Beethoven acceded to these requests, as he could not prevent publishers from hiring others to do similar arrangements of his works.&lt;ref name=&quot;Cooper112_115&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 112–115&lt;/ref&gt;

===Loss of hearing===
Around 1796, Beethoven began to lose his hearing.&lt;ref name=&quot;GroveOnline5&quot;&gt;Grove Online, section 5&lt;/ref&gt; He suffered a severe form of [[tinnitus]], a &quot;ringing&quot; in his ears that made it hard for him to perceive and appreciate music; he also avoided conversation. The cause of Beethoven's deafness is unknown, but it has variously been attributed to [[syphilis]], [[lead poisoning]], [[typhus]], [[auto-immune]] disorder (such as [[Erythematosus|systemic lupus erythematosus]]), and even his habit of immersing his head in cold water to stay awake. The explanation, from the autopsy of the time, is that he had a &quot;distended inner ear&quot; which developed lesions over time.  Due to the high levels of lead found in samples of Beethoven's hair, that hypothesis has been extensively analyzed.  While the likelihood of lead poisoning is very high, the deafness associated with it seldom takes the form that Beethoven exhibited.

As early as 1801, Beethoven wrote to friends describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems).&lt;ref name=&quot;Cooper108&quot;&gt;[[#Cooper|Cooper (2008)]], p. 108&lt;/ref&gt;  Beethoven, on the advice of his doctor, lived in the small Austrian town of [[Heiligenstadt, Vienna|Heiligenstadt]], just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote his [[Heiligenstadt Testament]], which records his resolution to continue living for and through his art.&lt;ref name=&quot;Cooper120&quot;&gt;[[#Cooper|Cooper (2008)]], p. 120&lt;/ref&gt;  Over time, his hearing loss became profound: there is a well-attested story that, at the end of the premiere of his [[Symphony No. 9 (Beethoven)|Ninth Symphony]], he had to be turned around to see the tumultuous applause of the audience; hearing nothing, he began to weep.&lt;ref&gt;{{cite journal|title=Some Tributes to Beethoven in English Verse|first=Felix|last=White|journal=The Musical Times|volume=Vol. 68|number=No. 1010|month=1 April|year=1927}}&lt;/ref&gt; Beethoven's hearing loss did not prevent his composing music, but it made playing at concerts&amp;mdash;lucrative sources of income&amp;mdash;increasingly difficult. After a failed attempt in 1811 to perform his own [[Piano Concerto No. 5 (Beethoven)|Piano Concerto No. 5 (the &quot;Emperor&quot;)]], he never performed in public again.  

[[Image:Beethoven Mähler 1815.jpg|thumb|left|Beethoven in 1815]]
Beethoven used a special rod attached to the [[Sounding board|soundboard]] on a piano that he could bite&amp;mdash;the vibrations would then transfer from the piano to his jaw to increase his perception of the sound. A large collection of his hearing aids such as special ear horns can be viewed at the Beethoven House Museum in Bonn, Germany. Despite his obvious distress, Carl Czerny remarked that Beethoven could still hear speech and music normally until 1812.&lt;ref&gt;{{cite journal|title=Of Ear Trumpets and a Resonance Plate: Early Hearing Aids and Beethoven's Hearing Perception|first=George Thomas|last=Ealy|journal=19th-Century Music|volume=Vol. 17|number=No. 3|month=Spring|year=1994|pages=pp. 262–273|url=http://www.jstor.org/pss/746569}}&lt;/ref&gt; By 1814 however, Beethoven was almost totally deaf, and when a group of visitors saw him play a loud arpeggio of thundering bass notes at his piano remarking, &quot;Ist es nicht schön?&quot; (Is it not beautiful?), they felt deep sympathy considering his courage and sense of humor.&lt;ref&gt;Solomon (2001){{pn}}&lt;/ref&gt;

As a result of Beethoven's hearing loss, a unique historical record has been preserved: his conversation books. Used primarily in the last ten or so years of his life, his friends wrote in these books so that he could know what they were saying, and he then responded either orally or in the book. The books contain discussions about music and other issues, and give insights into his thinking; they are a source for investigation into how he felt his music should be performed, and also his perception of his relationship to art. Unfortunately, 264 out of a total of 400 conversation books were destroyed (and others were altered) after Beethoven's death by [[Anton Schindler]], in his attempt to paint an idealized picture of the composer.&lt;ref name=&quot;Clive239&quot;&gt;[[#Clive|Clive]], p. 239&lt;/ref&gt;

===Patronage===
[[Image:Rudolf-habsburg-olmuetz.jpg|thumb|right|upright|Beethoven's patron, [[Rudolph of Austria (Cardinal)|Archduke Rudolph]]]]
While Beethoven earned income from publication of his works and from public performances, he also depended on the generosity of patrons for income, for whom he gave private performances and copies of works they commissioned for an exclusive period prior to their publication.  Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works.

Perhaps Beethoven's most important aristocratic patron was [[Rudolph of Austria (Cardinal)|Archduke Rudolph]], the youngest son of [[Leopold II, Holy Roman Emperor|Emperor Leopold II]], who in 1803 or 1804 began to study piano and composition with Beethoven. The cleric ([[Cardinal-Priest]]) and the composer became friends, and their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the [[Piano Trio No. 7 (Beethoven)|Archduke Trio]] (1811) and his great [[Missa Solemnis (Beethoven)|Missa Solemnis]] (1823). Rudolph, in turn, dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the [[Gesellschaft der Musikfreunde]] in Vienna.

In the fall of 1808, after having been rejected for a position at the royal theatre, Beethoven received an offer from [[Napoleon I of France|Napoleon]]'s brother [[Jérôme Bonaparte]], then king of [[Kingdom of Westphalia|Westphalia]], for a well-paid position as [[Kapellmeister]] at the court in [[Kassel|Cassel]]. To persuade him to stay in Vienna, the Archduke Rudolph, Count Kinsky and Prince Lobkowitz, after receiving representations from the composer's friends, pledged to pay Beethoven a pension of 4000 florins a year. Only Archduke Rudolph paid his share of the pension on the agreed date. Kinsky, immediately called to duty as an officer, did not contribute and soon died after falling from his horse. Lobkowitz stopped paying in September 1811. No successors came forward to continue the patronage, and Beethoven relied mostly on selling composition rights and a small pension after 1815.  The effects of these financial arrangements were undermined to some extent by [[Napoleonic Wars|war with France]], which caused significant inflation when the government printed money to fund its war efforts.

===The Middle period===
[[Image:Beethoven Letronne.jpg|thumb|upright|200px|Beethoven in 1814. Portrait by Louis-René Létronne]]
Beethoven's return to Vienna from Heiligenstadt was marked by a change in musical style, now recognized as the start of his &quot;Middle&quot; or &quot;Heroic&quot; period.  According to Carl Czerny, Beethoven said, &quot;I am not satisfied with the work I have done so far.  From now on I intend to take a new way&quot;.&lt;ref name=&quot;Cooper131&quot;&gt;[[#Cooper|Cooper (2008)]], p. 131&lt;/ref&gt; The first major work of this new way was the [[Symphony No. 3 (Beethoven)|Third Symphony]] in E flat, known as the &quot;Eroica&quot;. While other composers had written symphonies with implied programs, or stories, this work was longer and larger in scope than any previously written symphony. It made huge demands on the players, because at that time there were few orchestras devoted to concert music that were independent of royal or aristocratic patrons, and hence performance standards at concerts were often haphazard.{{fact|date=June 2009}} When it premiered in early 1805 it received a mixed reception, with some listeners objecting to its length or failing to understand its structure, while others viewed it as another masterpiece.&lt;ref name=&quot;Cooper148&quot;&gt;[[#Cooper|Cooper (2008)]], p. 148&lt;/ref&gt;

Beethoven composed highly ambitious works throughout the Middle period, often heroic in tone, that extended the scope of the classical musical language Beethoven had inherited from Haydn and Mozart. The Middle period work includes the Third through [[Symphony No. 8 (Beethoven)|Eighth]] Symphonies, the string quartets 7–11, the [[Piano Sonata No. 21 (Beethoven)|&quot;Waldstein&quot;]] and [[Piano Sonata No. 23 (Beethoven)|&quot;Appassionata&quot;]] piano sonatas, ''Christ on the Mount of Olives'', the opera ''[[Fidelio]]'', the [[Violin Concerto (Beethoven)|Violin Concerto]] and many other compositions. During this time Beethoven earned his living from the sale and performance of his work, and from the continuing support of wealthy patrons.  His position at the Theater and der Wien was terminated when the theater changed management in early 1804, and he was forced to move temporarily to the suburbs of Vienna with his friend Stephan von Breuning.  This slowed work on ''Fidelio'', his largest work to date, for a time.  It was delayed again by the Austrian [[censorship|censor]], and finally premiered in November 1805 to houses that were nearly empty due to [[War of the Third Coalition|French occupation of the city]].  In addition to being a financial failure, this version of ''Fidelio'' was also a critical failure, and Beethoven began revising it.&lt;ref name=&quot;Cooper150&quot;&gt;[[#Cooper|Cooper (2008)]], p. 150&lt;/ref&gt;

[[Image:Masque de Beethoven.jpg|left|thumb|upright|Life mask made in 1812]]
The work of the Middle period established Beethoven's reputation as a great composer. In a review from 1810, he was enshrined by [[Ernst Theodor Amadeus Hoffmann|E. T. A. Hoffman]] as one of the three great &quot;[[Romantic music|Romantic]]&quot; composers; Hoffman called Beethoven's [[Symphony No. 5 (Beethoven)|Fifth Symphony]] &quot;one of the most important works of the age&quot;.  A particular trauma for Beethoven occurred during this period in May 1809, when the attacking forces of [[Napoleon]] [[Battle of Wagram#Initial hostilities|bombarded Vienna]]. According to Ferdinand Ries, Beethoven, very worried that the noise would destroy what remained of his hearing, hid in the basement of his brother's house, covering his ears with pillows.&lt;ref name=&quot;Cooper185&quot;&gt;[[#Cooper|Cooper (2008)]], p. 185&lt;/ref&gt; He was composing the [[Piano Concerto No. 5 (Beethoven)|&quot;Emperor&quot; Concerto]] at the time.

===Personal and family difficulties===
Beethoven was introduced to Giulietta Guicciardi in about 1800 through the Brunsvik family. His mutual love-relationship with Guicciardi is mentioned in a November 1801 letter to his boyhood friend, Franz Wegeler. Beethoven dedicated to Giulietta his Sonata No. 14, popularly known as the [[Piano Sonata No. 14 (Beethoven)|''&quot;Moonlight&quot; Sonata'']]. Marriage plans were thwarted by Giulietta's father and perhaps Beethoven's common lineage. In 1803 she married Count Wenzel Robert von Gallenberg (1783-1839), himself an amateur composer. Though she revisited Beethoven in 1822 when this unhappy marriage was over, he rebuffed her and did not resume a relationship.{{fact|date=July 2009|reason=letter acknowledged-the rest needs citation}}
  
Beethoven's relationship with Josephine Deym notably deepened after the death of her first husband in 1804.  There is some evidence that Beethoven may have proposed to her, at least informally.  While the relationship was apparently reciprocated, she, with some regret, turned him down, and their relationship effectively ended in 1807.  She cited her &quot;duty&quot;, an apparent reference to the fact that she was born of nobility and he was a commoner.&lt;ref name=&quot;CooperJosephine&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 146,168&lt;/ref&gt;  It is also likely that he considered proposing (whether he actually did or not is unknown) to Therese Malfatti, the dedicatee of &quot;[[Für Elise]]&quot; in 1810; his common status may also have interfered with those plans.

In the spring of 1811 Beethoven became seriously ill, suffering headaches and bad fevers.  On the advice of his doctor, he spent six weeks in the [[Bohemia|Bohemian]] [[spa town]] of [[Teplice|Teplitz]].  The following winter, which was dominated by work on the Seventh symphony, he was again ill, and decided to spend the summer of 1812 at Teplitz.  It is likely that he was at Teplitz when he wrote three love letters to an &quot;Immortal Beloved&quot;.&lt;ref&gt;[http://www.all-about-beethoven.com/immortalbeloved.html Beethoven's Immortal Beloved Letters]&lt;/ref&gt;  While the intended recipient of these letters is an ongoing subject of debate, the most likely candidate, based on what is known about people's movements and the contents of the letters, is [[Antonie Brentano]], a married woman with whom he had begun a friendship in 1810.&lt;ref&gt;Oakley Beahrs, Virginia: The Immortal Beloved Riddle Reconsidered, Musical Times, Vol. 129, No. 1740 (Feb., 1988), pp. 64-70&lt;/ref&gt;&lt;ref name=&quot;CooperImmortal&quot;&gt;[[#Cooper|Cooper (2008)]], pp. 194, 208–210.  Cooper cites [[#Solomon|Solomon]] among other sources, and provides compelling evidence that it was neither Josephine Deym nor Marie Erdödy.&lt;/ref&gt;  Beethoven traveled to Karlsbad in late July, where he stayed in the same guesthouse as the Brentanos.  After traveling with them for a time, he returned to Teplitz, where after another bout of gastric illness, he left for [[Linz]] to visit his brother Johann.&lt;ref name=&quot;Cooper212&quot;/&gt;

Beethoven's visit to his brother was made in an attempt to end the latter's immoral cohabitation with Therese Obermayer, a woman who already had an illegitimate child.  He was unable to convince Johann to end the relationship, so he appealed to the local civic and religious authorities.  The end result of Beethoven's meddling was that Johann and Therese married on November 9.&lt;ref name=&quot;Cooper212&quot;&gt;[[#Cooper|Cooper (2008)]], p. 212&lt;/ref&gt;

[[Image:Beethoven 7.jpg|thumb|Beethoven in 1818 by [[August Klöber]]]]
In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped for a time.  Historians have suggested a variety of causes, including his lack of success at romance.  His personal appearance, which had generally been neat, degraded, as did his manners in public, especially when dining.  Some of his (married) desired romantic partners had children (leading to assertions among historians of Beethoven's possible paternity), and his brother Carl was seriously ill.  Beethoven took care of his brother and his family, an expense that he claimed left him penniless.  He was unable to obtain a date for a concert in the spring of 1813, which, if successful, would have provided him with significant funds.

Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of the [[Battle of Vitoria|defeat of one of Napoleon's armies]] at [[Vitoria, Spain]] by a coalition of forces under the [[Arthur Wellesley, 1st Duke of Wellington|Duke of Wellington]].  This news stimulated him to write the battle symphony known as ''[[Wellington's Victory]]''.  It was premiered on 8 December at a charity concert for victims of the war along with his Seventh Symphony.  The work was a popular hit, likely due to its programmatic style which was entertaining and easy to understand.  It received repeat performances at concerts Beethoven staged in January and February of 1814.  Beethoven's renewed popularity led to demands for a revival of ''Fidelio'', which, in its third revised version, was also well-received when it opened in July.  That summer he also composed a piano sonata for the first time in five years ([[Piano Sonata No. 27 (Beethoven)|No. 27, Opus 90]]).  This work was in a markedly more [[Romanticism|Romantic]] style than his earlier sonatas.  He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats that came to the [[Congress of Vienna]] that began in November 1814.  His output of songs included his only [[song cycle]], &quot;[[An die ferne Geliebte]]&quot;, and the extraordinarily expressive, but almost incoherent, &quot;[[An die Hoffnung]]&quot; (Opus 94).

===Custody struggle and illness===
Between 1815 and 1817 Beethoven's output dropped again.  Part of this Beethoven attributed to a lengthy illness (he called it an &quot;inflammatory fever&quot;) that afflicted him for more than a year, starting in October 1816.&lt;ref name=&quot;Cooper254&quot;&gt;[[#Cooper|Cooper (2008)]], p. 254&lt;/ref&gt;  Biographers have speculated on a variety of other reasons that also contributed to the decline in creative output, including the difficulties in the personal lives of his would-be paramours and the harsh censorship policies of the Austrian government.  The illness and death of his brother Carl from [[tuberculosis|consumption]] likely also played a role.

Carl had been ill for some time, and Beethoven spent a small fortune in 1815 on his care.  When he finally died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Carl's wife Johanna over custody of their son Karl, then nine years old.  Beethoven, who considered Johanna an unfit parent due to questions of morality (she had a child born out of wedlock by a different father before marrying Carl, and had been convicted of theft) and financial management, had successfully applied to Carl to have himself named sole guardian of the boy, but a late [[codicil]] to Carl's will gave him and Johanna joint guardianship.  While Beethoven was successful at having his nephew removed from her custody in February 1816, the case was not fully resolved until 1820, and he was frequently preoccupied by the demands of the litigation and seeing to the welfare of the boy, whom he first placed in a private school.  The custody fight brought out the very worst aspects of Beethoven's character; in the lengthy court cases Beethoven stopped at nothing to ensure that he achieved this goal, and even stopped composing for long periods.

The Austrian court system had one court for the [[nobility]], The R&amp;I Landrechte, and another for commoners, The Civil Court of the Magistrate. Beethoven disguised the fact that the Dutch &quot;van&quot; in his name did not denote nobility as does the German &quot;von&quot;,&lt;ref name=&quot;landrecht&quot;&gt;On 18 December 1818, The Landrechte, the Austrian court for the nobility, handed over the whole matter of guardianship to the Stadtmagistrat, the court for commoners &quot; It .... appears from the statement of Ludwig van Beethoven, as the accompanying copy of the court minutes of 11 December of this year shows, that he is unable to prove nobility: hence the matter of guardianship is transferred to an honorable magistrate&quot; Landrechte of the Magisterial tribunal.&lt;/ref&gt; and his case was tried in the Landrechte. Owing to his influence with the court, Beethoven felt assured of a favorable outcome. Beethoven was awarded sole guardianship. While giving evidence to the Landrechte, however, Beethoven inadvertently&lt;ref name=&quot;landrecht&quot;/&gt; admitted that he was not nobly born. The case was transferred to the Magistracy on 18 December 1818, where he lost sole guardianship.

Beethoven appealed, and regained custody of Karl. Johanna's appeal for justice to the Emperor was not successful: the Emperor &quot;washed his hands of the matter&quot;. Beethoven stopped at nothing to blacken her name, as can be read in surviving court papers.  During the years of custody that followed, Beethoven attempted to ensure that Karl lived to the highest of moral standards.  His overbearing manner and frequent interference in his nephew's life, especially as he grew into a young man, apparently drove Karl to attempt suicide on 31 July 1826 by shooting himself in the head. He survived, and was brought to his mother's house, where he recuperated.  He and Beethoven reconciled, but Karl was insistent on joining the army, and last saw Beethoven in early 1827.

The only major works he produced during this time were [[Cello Sonatas No. 4 and No. 5, Opus 102 (Beethoven)|two cello sonatas]], a piano sonata, and collections of folk song settings.  He began sketches for the Ninth Symphony in 1817.

===Late works===
[[Image:Beethoven Waldmuller 1823.jpg|right|thumb|250px|Beethoven in 1823; copy of a destroyed portrait by [[Ferdinand Georg Waldmüller]]]]
Beethoven began a renewed study of older music, including works by [[Johann Sebastian Bach|J. S. Bach]] and [[George Frideric Handel|Handel]], that were then being published in the first attempts at complete editions. He composed the [[Consecration of the House Overture]], which was the first work to attempt to incorporate his new influences. But it is when he returned to the keyboard to compose his first new piano sonatas in almost a decade, that a new style, now called his &quot;late period&quot;, emerged. The works of the late period are commonly held to include the last five piano sonatas and the [[Diabelli Variations]], the last two sonatas for cello and piano, the late quartets (see below), and two works for very large forces: the [[Missa Solemnis (Beethoven)|Missa Solemnis]] and the [[Symphony No. 9 (Beethoven)|Ninth Symphony]].

By early 1818 Beethoven's health had improved, and his nephew had moved in with him in January.  On the downside, his hearing had deteriorated to the point that conversation became difficult, necessitating the use of conversation books.  His household management had also improved somewhat; Nanette Streicher, who had assisted in his care during his illness, continued to provide some support, and he finally found a decent cook.&lt;ref name=&quot;Cooper260&quot;&gt;[[#Cooper|Cooper (2008)]], p 260&lt;/ref&gt;  His musical output in 1818 was still somewhat reduced, with song collections and the [[Hammerklavier Sonata]] his only notable compositions, although he continued to work on sketches for two symphonies (that eventually coalesced into the enormous Ninth Symphony).  In 1819 he was again preoccupied by the legal processes around Karl, and began work on the Diabelli Variations and the Missa Solemnis.

For the next few years he continued to work on the Missa, composing piano sonatas and bagatelles to satisfy the demands of publishers and the need for income, and completing the Diabelli Variations.  He was ill again for an extended time in 1821, and completed the Missa in 1823, three years after its original due date.  He also opened discussions with his publishers over the possibility of producing a complete edition of his works, an idea that was arguably not fully realized until 1971.  Beethoven's brother Johann began to take a hand in his business affairs around this time, much in the way Carl had earlier, locating older unpublished works to offer for publication and offering the Missa to multiple publishers with the goal of getting a higher price for it.

Two commissions in 1822 improved Beethoven's financial prospects.  The [[Philharmonic Society]] of [[London]] offered a commission for a symphony, and Prince Nikolay Golitsin of [[Saint Petersburg|St. Petersburg]] offered to pay Beethoven's price for three string quartets.  The first of these spurred Beethoven to finish the Ninth Symphony, which was premiered, along with the Missa Solemnis, on 7 May 1824, to great acclaim at the [[Kärntnertortheater]].  The ''Allgemeine musikalische Zeitung'' gushed &quot;inexhaustible genius had shown us a new world&quot;, and Carl Czerny wrote that his symphony &quot;breathes such a fresh, lively, indeed youthful spirit [...] so much power, innovation, and beauty as ever [came] from the head of this original man, although he certainly sometimes led the old wigs to shake their heads.&quot;&lt;ref name=&quot;Cooper317&quot;&gt;[[#Cooper|Cooper (2008)]], p. 317&lt;/ref&gt;  Unlike his earlier concerts, Beethoven made little money on this one, as the expenses of mounting it were significantly higher.&lt;ref name=&quot;Cooper317&quot;/&gt;  A second concert on 24 May, in which the producer guaranteed Beethoven a minimum fee, was poorly attended;  nephew Karl noted that &quot;many people have already gone into the country&quot;.&lt;ref name=&quot;Cooper318&quot;&gt;[[#Cooper|Cooper (2008)]], p. 318&lt;/ref&gt;  It was Beethoven's last public concert.&lt;ref name=&quot;Cooper318&quot;/&gt;

Beethoven then turned to writing the string quartets for Golitsin.  This [[Late String Quartets (Beethoven)|series of quartets]], known as the &quot;Late Quartets&quot;, went far beyond what either musicians or audiences were ready for at that time. One musician commented that &quot;we know there is something there, but we do not know what it is.&quot; Composer [[Louis Spohr]] called them &quot;indecipherable, uncorrected horrors&quot;, though that opinion has changed considerably from the time of their first bewildered reception. They continued (and continue) to inspire musicians and composers, from [[Richard Wagner]] to [[Béla Bartók]], for their unique forms and ideas.  Of the late quartets, Beethoven's favorite was the [[String Quartet No. 14 (Beethoven)|Fourteenth Quartet, op. 131]] in C# minor, upon hearing which [[Franz Schubert|Schubert]] is said to have remarked, &quot;After this, what is left for us to write?&quot;

Beethoven wrote the last quartets amidst failing health.  In April 1825 he was bedridden, and remained ill for about a month. The illness—or more precisely, his recovery from it—is remembered for having given rise to the deeply felt slow movement of the [[String Quartet No. 15 (Beethoven)|Fifteenth Quartet]], which Beethoven called &quot;Holy song of thanks ('Heiliger dankgesang') to the divinity, from one made well&quot;. He went on to complete the (misnumbered) [[String Quartet No. 13 (Beethoven)|Thirteenth]], [[String Quartet No. 14 (Beethoven)|Fourteenth]], and [[String Quartet No. 16 (Beethoven)|Sixteenth]] Quartets.  The last work completed by Beethoven was the substitute final movement of the Thirteenth Quartet, deemed necessary to replace the difficult [[Große Fuge]]. Shortly thereafter, in December 1826, illness struck again, with episodes of vomiting and diarrhea that nearly ended his life.

===Illness and death===
[[Image:Zentralfriedhof Vienna - Beethoven.JPG|thumb|150px|right|Beethoven's grave site, [[Vienna]] [[Zentralfriedhof]]]]
{{main|Death of Beethoven}}
Beethoven was bedridden for most of his remaining months, and many friends came to visit. He died on 26 March 1827, during a thunderstorm. His friend Anselm Hüttenbrenner, who was present at the time, claimed that there was a peal of thunder at the moment of death. An [[autopsy]] revealed significant liver damage, which may have been due to heavy alcohol consumption.&lt;ref name=&quot;Cooper349&quot;&gt;[[#Cooper|Cooper (2008)]], p. 349&lt;/ref&gt;

Unlike [[Wolfgang Amadeus Mozart|Mozart]], who was buried anonymously in a communal grave (such being the custom at the time), 20,000 Viennese citizens lined the streets for Beethoven's funeral on 29 March [[1827]].  [[Franz Schubert]], who died the following year and was buried next to Beethoven, was one of the torchbearers. After a Requiem Mass at the church of the Holy Trinity (Dreifaltigkeitskirche), Beethoven was buried in the [[Währing]] cemetery, north-west of Vienna. His remains were [[exhume]]d for study in [[1862]], and moved in [[1888]] to Vienna's [[Zentralfriedhof]].&lt;ref name=&quot;Cooper349&quot;/&gt;

Friends and visitors before and after his death clipped locks of his hair, some of which have been preserved and subjected to additional analysis, as have skull fragments removed during the 1862 [[exhumation]].&lt;ref&gt;{{cite journal|url=http://www2.sjsu.edu/depts/beethoven/skull/skullstory.pdf|accessdate=2009-03-27|ref=Meredith|first=William|last=Meredith|date=Spring &amp;amp; Summer 2005|journal=The Beethoven Journal|volume=Volume 20, numbers 1 &amp;amp; 2|title=The History of Beethoven's Skull Fragments|pages=pp. 2–3}}&lt;/ref&gt;  Some of these analyses have led to controversial assertions that Beethoven was accidentally [[poison]]ed to death by excessive doses of lead-based treatments administered under instruction from his doctor.&lt;ref&gt;{{cite web
|url = http://www.washingtonpost.com/wp-dyn/content/article/2007/08/28/AR2007082800980_pf.html
|title = Pathologist: Doctor Killed Beethoven
|accessdate = {{Date|2008-12-29}}
|last = Jahn
|first = George
|date = {{Date|2007-08-28}}
|publisher = [[The Washington Post]]}}&lt;/ref&gt;&lt;ref&gt;{{cite journal|first=Josef|last=Eisinger|title=The lead in Beethoven's hair|journal=Toxicological &amp;amp; Environmental Chemistry|volume=Volume 90|date={{Date|2008-01-01}}|pages=pp. 1–5}}&lt;/ref&gt;&lt;ref&gt;Lorenz, Michael: 'Commentary on Wawruch’s Report: Biographies of Andreas Wawruch and Johann Seibert, Schindler’s Responses to Wawruch’s Report, and Beethoven’s Medical Condition and Alcohol Consumption', The Beethoven Journal, Winter 2007, Vol. 22, No 2, (San Jose: The  Ira  Brilliant  Center for Beethoven Studies, 2007), 92-100.&lt;/ref&gt;

==Character==
Beethoven's personal life was troubled due to his encroaching [[post-lingual hearing impairment|deafness]] which led him to contemplate suicide (documented in his Heiligenstadt Testament). Beethoven was often irascible and may have suffered from [[bipolar disorder]]&lt;ref&gt;Beethoven bipolar? http://www.gazette.uottawa.ca/article_e_1529.html&lt;/ref&gt; and irritability brought on by chronic abdominal pain beginning in his twenties that has been attributed to possible lead poisoning.&lt;ref name=&quot;leadpoison&quot;&gt;[http://www.cbsnews.com/stories/2007/08/29/world/main3216201.shtml?source=RSSattr=SciTech_3216201 Cold Case in Vienna: Who Killed Beethoven?] — [[CBS News]]&lt;/ref&gt; Nevertheless, he had a close and devoted circle of friends all his life, thought to have been attracted by his reputed strength of personality. Toward the end of his life, Beethoven's friends competed in their efforts to help him cope with his incapacities.&lt;ref name=&quot;GroveOnline&quot;&gt;Grove Online&lt;/ref&gt;

Sources show Beethoven's disdain for authority, and for social rank. He stopped performing at the piano if the audience chatted among themselves, or afforded him less than their full attention. At soirées, he refused to perform if suddenly called upon to do so. Eventually, after many confrontations, the Archduke Rudolph decreed that the usual rules of court etiquette did not apply to Beethoven.&lt;ref name=&quot;GroveOnline&quot;/&gt;

===Beliefs and their musical influence===
{{Main|Ludwig van Beethoven's religious beliefs}}
Beethoven was attracted to the ideals of the [[the Age of Enlightenment|Enlightenment]]. In 1804, when Napoleon's imperial ambitions became clear, Beethoven took hold of the title-page of his Third Symphony and scratched the name Bonaparte out so violently that he made a hole in the paper. He later changed the work's title to &quot;Sinfonia Eroica, composta per festeggiare il sovvenire d'un grand'uom&quot; (&quot;Heroic Symphony, composed to celebrate the memory of a great man&quot;), and he rededicated it to his patron, Prince Joseph Franz von Lobkowitz, at whose palace it was first performed.

The fourth movement of his [[Symphony No. 9 (Beethoven)|Ninth Symphony]] features an elaborate choral setting of [[Friedrich Schiller|Schiller's]] Ode ''[[Ode to Joy|An die Freude]]'' (&quot;Ode to Joy&quot;), an optimistic hymn championing the brotherhood of humanity.

Scholars disagree about [[Ludwig van Beethoven's religious beliefs|Beethoven's religious beliefs]], and about the role they played in his work. It has been asserted, but not proven, that Beethoven was a [[Freemason]].&lt;ref&gt;[http://freemasonry.bcy.ca/biography/beethoven_l/beethoven_l.html Ludwig van Beethoven — Grand Lodge of British Columbia and Yukon]&lt;/ref&gt;

==Music==
[[Image:Beethoven death mask4.jpg|left|thumb|A bust based upon Beethoven's [[death mask]].]]
{{Further|[[Beethoven's musical style]], [[Beethoven and C minor]], and [[List of compositions by Ludwig van Beethoven]]}}

Beethoven is acknowledged as one of the giants of [[classical music]]; occasionally he is referred to as one of the &quot;[[three Bs|three ''B''s]]&quot; (along with [[Johann Sebastian Bach|Bach]] and [[Johannes Brahms|Brahms]]) who epitomize that tradition. He was also a pivotal figure in the transition from 18th century musical [[Classical music era|classicism]] to 19th century [[Romantic music|romanticism]], and his influence on subsequent generations of composers was profound.&lt;ref name=&quot;GroveOnline&quot; /&gt;

===Overview===
Beethoven composed in several musical genres, and for a variety of instrument combinations. His works for [[symphony orchestra]] include nine [[symphony|symphonies]] (the Ninth Symphony includes a chorus), and about a dozen pieces of &quot;occasional&quot; music. He wrote nine [[concerto|concerti]] for one or more soloists and orchestra, as well as four shorter works that include soloists accompanied by orchestra. His only [[opera]] is [[Fidelio]]; other vocal works with orchestral accompaniment include two [[mass (music)|masses]] and a number of shorter works.

His large body of compositions for [[piano]] includes 32 [[piano sonata]]s and numerous shorter pieces, including arrangements of some of his other works. Works with piano accompaniment include 10 violin sonatas, 5 cello sonatas, and a sonata for [[French horn]], as well as numerous [[lied]]er.

Beethoven also wrote a significant quantity of chamber music.  In addition to 16 [[string quartet]]s, he wrote five works for [[string quintet]], seven for [[piano trio]], five for [[string trio]], and more than a dozen works for a variety of combinations of wind instruments.

===The three periods===
Beethoven's compositional career is usually divided into Early, Middle, and Late periods.&lt;ref name=&quot;GroveOnline&quot; /&gt; In this scheme, his early period is taken to last until about 1802, the middle period from about 1803 to about 1814, and the late period from about 1815.

In his Early period, Beethoven's work was strongly influenced by his predecessors [[Joseph Haydn|Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]].  He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the Early period are the [[Symphony No. 1 (Beethoven)|first]] and [[Symphony No. 2 (Beethoven)|second]] symphonies, the set of six string quartets [[String Quartets Nos. 1 - 6, Opus 18 (Beethoven)|Opus 18]], the first two piano concertos, and the first dozen or so [[List of solo piano compositions by Ludwig van Beethoven#Piano sonatas|piano sonatas]], including the famous ''[[Piano Sonata No. 8 (Beethoven)|Pathétique]]'' sonata, Op. 13.

His Middle (Heroic) period began shortly after Beethoven's personal crisis brought on by his recognition of encroaching deafness. It includes large-scale works that express heroism and struggle. Middle-period works include six symphonies (Nos. 3&amp;ndash;8), the last three piano concertos, the [[Triple Concerto (Beethoven)|Triple Concerto]] and [[Violin Concerto (Beethoven)|violin concerto]], five string quartets (Nos. 7&amp;ndash;11), several piano sonatas (including the ''[[Piano Sonata No. 14 (Beethoven)|Moonlight]]'', ''[[Piano Sonata No. 21 (Beethoven)|Waldstein]]'' and ''[[Piano Sonata No. 23 (Beethoven)|Appassionata]]'' sonatas), the ''[[Violin Sonata No. 9 (Beethoven)|Kreutzer]]'' violin sonata and Beethoven's only [[opera]], ''[[Fidelio]]''.

Beethoven's Late period began around 1815. Works from this period are characterized by their intellectual depth, their formal innovations, and their intense, highly personal expression. The [[String Quartet No. 14 (Beethoven)|String Quartet, Op. 131]] has seven linked movements, and the [[Symphony No. 9 (Beethoven)|Ninth Symphony]] adds choral forces to the orchestra in the last movement.&lt;ref name=&quot;GroveOnline&quot; /&gt; Other compositions from this period include the ''[[Missa Solemnis (Beethoven)|Missa Solemnis]]'', the last five string quartets (including the massive ''[[Große Fuge]]'') and the last five piano sonatas.

==Beethoven on screen==
{{Main|Eroica (1949 film)|Immortal Beloved (film)|Copying Beethoven}}

''Eroica'' is a 1949 [[Cinema of Austria|Austrian]] film depicting life and works of Beethoven (''[[Ewald Balser]]''), which also entered into the [[1949 Cannes Film Festival]].&lt;ref name=&quot;festival-cannes.com&quot;&gt;{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/4138/year/1949.html |title=Festival de Cannes: Eroica |accessdate=2009-1-9|work=festival-cannes.com}}&lt;/ref&gt; The film is directed by [[Walter Kolm-Veltée]], produced by Guido Bagier with Walter Kolm-Veltée and written by Walter Kolm-Veltée with Franz Tassié.&lt;ref&gt;{{imdb title|id=0041335|title=Eroica}}&lt;/ref&gt;

In [[1994 in film|1994]] a [[film]] about Beethoven ([[Gary Oldman]]) titled ''[[Immortal Beloved (film)|Immortal Beloved]]'' was written and directed by [[Bernard Rose (director)|Bernard Rose]]. The story follows Beethoven's [[secretary]] and first [[biographer]], [[Anton Schindler]] ([[Jeroen Krabbé]]), as he attempts to ascertain the true identity of the ''Unsterbliche Geliebte'' ([[Immortal Beloved]]) addressed in three letters found in the late composer's private papers. Schindler journeys throughout the [[Austrian Empire]], interviewing women who might be potential candidates, as well as through Beethoven's own tumultuous life. Filming took place in the [[Czech Republic|Czech]] cities of [[Prague]] and [[Kromeriz]] and the [[Zentralfriedhof]] in [[Vienna]], [[Austria]] between May 23 and July 29, 1994.

A film titled ''[[Copying Beethoven]]'' was released in 2006, starring [[Ed Harris]] as Beethoven. This film was a fictionalized account of Beethoven's last days, and his struggle to produce his [[Symphony No. 9 (Beethoven)|Ninth Symphony]].

==References==
{{reflist|3}}

==Sources==
{{refbegin}}
*{{cite book|last=Clive|first=Peter|title=Beethoven and His World: A Biographical Dictionary|city=New York|publisher=Oxford University Press|year=2001|isbn=0-19-816672-9|ref=Clive}}
*{{cite book|title=Beethoven|first=Barry|last=Cooper|authorlink=Barry Cooper (musicologist)|publisher=Oxford University Press US|year=2008|isbn=9780195313314|ref=Cooper}}
*{{cite book|first=Milton|last=Cross|coauthors=Ewen, David|title=The Milton Cross New Encyclopedia of the Great Composers and Their Music|publisher=Doubleday|year=1953|ref=Cross|oclc=17791083|location=Garden City, NJ}}
*{{cite book|title=Beethoven: a documentary study|ref=Landon|first=H C Robbins|last=Landon|authorlink=H. C. Robbins Landon|coauthors=Göllerich; August|publisher=Macmillan|year=1970|oclc=87180}}
*{{cite book|title=Beethoven: The Music And The Life|first=Lewis|last=Lockwood|publisher=W. W. Norton|year=2005|ref=Lockwood|isbn=9780393326383}}
*{{cite book|authorlink=Maynard Solomon|last=Solomon|first=Maynard|title=Beethoven|edition=2nd revised|city=New York|publisher=Schirmer Books|year=2001|isbn=0-8256-7268-6}}
*{{cite book|last=Stanley|first=Glenn (ed)|title=The Cambridge Companion to Beethoven|city=Cambridge|publisher=Cambridge University Press|year=2000|isbn=0-521-58074-9|ref=Stanley}}
*{{cite book|url=http://books.google.com/books?id=VQw5AAAAIAAJ|ref=Thayer1|title=The Life of Ludwig Van Beethoven, Vol 1|first=A. W.|last=Thayer|coauthors=Krehbiel, Henry Edward (ed, trans); Deiters, Hermann; Riemann, Hugo|publisher=The Beethoven Association|year=1921|oclc=422583|authorlink=Alexander Wheelock Thayer}}
*{{GroveOnline|Ludvig van Beethoven|Kerman, Joseph; Tyson, Alan; Burnham, Scott G|29 November|2006}}
{{refend}}

==Further reading==
&lt;!--This section is subject to cleanup for notability. Volumes have been written about Beethoven. Providing the most authoritative, scholarly, and accurate references is our responsibility.--&gt;
{{Refbegin|2}}
* [[Theodore Albrecht|Albrecht, Theodore]], and Elaine Schwensen, &quot;More Than Just Peanuts: Evidence for December&amp;nbsp;16 as Beethoven's birthday.&quot; ''The Beethoven Newsletter'' 3 (1988): 49, 60–63.
* Bohle, Bruce, and Robert Sabin. ''The International Cyclopedia of Music and Musicians.'' London: J.M.Dent &amp; Sons LTD, 1975. ISBN 0-460-04235-1.
* Davies, Peter J. ''The Character of a Genius: Beethoven in Perspective.'' Westport, Conn.: Greenwood Press, 2002. ISBN 0-313-31913-8.
* Davies, Peter J. ''Beethoven in Person: His Deafness, Illnesses, and Death.'' Westport, Conn.: Greenwood Press, 2001. ISBN 0-313-31587-6.
* [[Tia DeNora|DeNora, Tia]]. &quot;Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803.&quot; Berkeley, California: University of California Press, 1995. ISBN 0-520-21158-8.
* Geck, Martin. ''Beethoven''. Translated by Anthea Bell. London: Haus, 2003. ISBN 1-904341-03-9 (h), ISBN 1-904341-00-4 (p).
* {{cite book
 | last = Hatten
 | first = Robert S
 | year=1994
 | title = Musical Meaning in Beethoven
 | publisher = Indiana University Press
 | location= Bloomington, IN
 | isbn = 0-253-32742-3
 }}
* Kropfinger, Klaus. ''Beethoven''. Verlage Bärenreiter/Metzler, 2001. ISBN 3-7618-1621-9.
* Martin, Russell. ''Beethoven's Hair''. New York: Broadway Books, 2000. ISBN 978-0767903509
* Meredith, William. &quot;The History of Beethoven's Skull Fragments.&quot; ''The Beethoven Journal'' 20 (2005): 3-46.
* [[Edmund Morris (writer)|Morris, Edmund]]. ''Beethoven: The Universal Composer.'' New York: Atlas Books / HarperCollins, 2005. ISBN 0-06-075974-7.
* [[Charles Rosen|Rosen, Charles]]. ''The Classical Style: Haydn, Mozart, Beethoven.'' (Expanded ed.) New York: W. W. Norton, 1998. ISBN 0-393-04020-8 (hc); ISBN 0-393-31712-9 (pb).
* Solomon, Maynard. ''Late Beethoven: Music, Thought, Imagination.'' Berkeley: University of California Press, 2003. ISBN 0-520-23746-3.
* [[Alexander Wheelock Thayer|Thayer, A. W.]], rev and ed. Elliot Forbes. ''Thayer's Life of Beethoven.'' (2 vols.) Princeton: Princeton University Press. ISBN 0-691-09103-X
{{Refend}}

==External links==
{{commons cat|Ludwig van Beethoven|Ludwig van Beethoven}}
{{commons cat|Compositions by Ludwig van Beethoven|Compositions by Ludwig van Beethoven}}
{{wikiquote}}
{{Wikisource1911Enc|Beethoven, Ludwig van}}

===General reference===
* [http://www.madaboutbeethoven.com/ Mad About Beethoven] by British television and radio announcer [[John Suchet]]
* [http://www.edepot.com/beethoven.html Beethoven Depot]. Contains all of his works in midi format.
* Beethoven's Letters 1790–1826, [http://www.gutenberg.org/etext/13065 Volume 1], [http://www.gutenberg.org/etext/13272 Volume 2]. In English at Gutenberg.org.
* [http://lucare.com/immortal Beethoven: The Immortal]. Introduction and detailed account of the composer's life. Articles include his deafness, demeanor, daily routine, medical history, final days, and letters.
* [http://www.beethoven-haus-bonn.de/sixcms/detail.php//portal_en Beethoven-Haus Bonn]. Official website of ''Beethoven-Haus'' in [[Bonn, Germany]]. Links to extensive studio and digital archive, library holdings, the ''Beethoven-Haus'' Museum (including &quot;internet exhibitions&quot; and &quot;virtual visits&quot;), the ''Beethoven-Archiv'' research center, and information on Beethoven publications of interest to the specialist and general reader. Extensive collection of Beethoven's compositions and written documents, with sound samples and a digital reconstruction of his last house in Vienna.
* [http://www.beethoven-haus-bonn.de/sixcms/detail.php?template=popup_webcam&amp;_img=/webcam/beetcam/current.jpg Webcam pic from the ''Beethoven-Haus''] showing the rear of the building as photographed within the last minute.
* [http://www.raptusassociation.org/ Raptus Association for Music Appreciation site on Beethoven]
* [http://classicalmusic.about.com/od/onestopbeethoven/ One Stop Beethoven Resource] — articles and facts about Beethoven from Aaron Green, guide to Classical Music at About.com.
* [http://www.all-about-beethoven.com All About Ludwig van Beethoven]
*[http://www.wagele.com/Beeth-personality.html Beethoven’s Personality and Music: The Introverted Romantic]
* [http://BeethovenBillyBragg.com  Beethoven Billy Bragg Ninth Concert in Los Angeles, August 2009]

===Specific topics===
* Pictures of [http://pagesperso-orange.fr/crampman/album_cris/musiciens_2.html &quot;Beethoven in Vienna and Baden&quot;]. In [[French language|French]].
* [http://www.beethovenshair.ca Beethoven's Hair] — trace the journey of Beethoven's Hair.
* [http://www2.sjsu.edu/depts/beethoven/hair/hair.html The Guevara Lock of Beethoven's Hair], from The Ira F. Brilliant Center for Beethoven Studies.
* [http://www.cbc.ca/health/story/2000/10/18/beethoven001018.html Hair analysis says Beethoven died of lead poisoning]. CBC News, {{Date|2000-10-18}}.
*[http://www.anl.gov/Media_Center/News/2005/news051206.html Researchers confirm lead as cause of Beethoven's illness] Argonne, Ill. (6 December 2005)
* [http://www.marcus-frings.de/beethoven/index-en.htm Beethoven's last apartment in Vienna], digitally reconstructed 2004, on Multimedia CD-ROM edited by Beethoven-Haus Bonn

===Lists of works===
* [http://alambix.uquebec.ca/musique//catal/beethoven/beelv.html University of Quebec] In French. Contains links to the works arranged according to various criteria, and to a concordance of the various catalogues.
* [http://www.lvbeethoven.com/Oeuvres/ListOpus.html Comprehensive lists of works by opus, WoO, Hess, Biamonti]

===Scores===
*{{IMSLP|id=Beethoven%2C_Ludwig_van}}
* [http://kreusch-sheet-music.net/eng/index.php?action=search&amp;page=show&amp;order=op&amp;query=beethoven Free sheet music] from Kreusch-sheet-music.net
* {{ChoralWiki}}
* {{gutenberg author | id=Ludwig_van_Beethoven | name=Ludwig van Beethoven}}
* {{IckingArchive|idx=Beethoven|name=Ludwig van Beethoven}}
* [http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=BeethovenLv Beethoven scores] from [[Mutopia Project]]
* [https://urresearch.rochester.edu/handle/1802/291/simple-search?query=Beethoven Sibley Music Library resources]
* [http://www.bl.uk/onlinegallery/themes/music/beethoven.html Beethoven manuscripts at the British Library]

===Recordings===
* [http://www.musopen.com/view.php?type=composer&amp;id=23 Musopen.com] Free Public Domain MP3 Files, Including the Complete Piano Sonatas
* [http://magnatune.com/collections/beethoven MP3 Creative Commons recordings] from ''[[Magnatune]]''
* [http://www.archive.org/search.php?query=beethoven%20AND%20collection%3Aopensource_audio Beethoven] on the [[Internet Archive]]. Free, public domain/out of copyright, mp3 files, including the [[Violin Concerto (Beethoven)|Violin Concerto]] with [[Jascha Heifetz]].
* [http://www.kunstderfuge.com/beethoven.htm Kunst der Fuge: hundreds of MIDI files]
* [http://www.unheardbeethoven.org The Unheard Beethoven] — MIDI files of hundreds of Beethoven compositions never recorded and many that have never been published.
* [http://cylinders.library.ucsb.edu/search.php?query=beethoven&amp;queryType=%40attr+1%3D1 Beethoven cylinder recordings], from the [[Cylinder Preservation and Digitization Project]] at the [[University of California, Santa Barbara]] Library.
* {{musicbrainz artist|id=1f9df192-a621-4f54-8850-2c5373b7eac9|name=Ludwig van Beethoven}}, a collection of information about commercial recordings.
* {{Discogs artist|artist=Ludwig+van+Beethoven}}
* Performances of works by Beethoven in MP3 and MIDI formats at [http://www.logoslibrary.org/classical/beethoven/index.html Logos Virtual Library]
* [http://www.bl.uk/sounds The British Library [[Archival Sound Recordings]]] online audio service includes 100&amp;nbsp;years of String Quartets.

{{Ludwig van Beethoven}}

&lt;!-- sort key intentional --&gt;

{{Persondata
|NAME=Beethoven, Ludwig van
|ALTERNATIVE NAMES=
|SHORT DESCRIPTION=German composer
|DATE OF BIRTH=[[1770-12-16]]
|PLACE OF BIRTH=[[Bonn]]
|DATE OF DEATH=[[1827-03-26]]
|PLACE OF DEATH=[[Vienna]]
}}

{{lifetime|1770|1827|Beethoven, Ludwig van}}
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[[Category:The Enlightenment]]
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[[Category:Smallpox survivors]]
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[[Category:People from the Electorate of Cologne]]
[[Category:Germans of Belgian descent]]
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[[Category:Burials at the Zentralfriedhof]]
[[Category:18th-century Austrian people]]
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[[zh:路德维希·范·贝多芬]]</text>
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  </page>
  <page>
    <title>Template:IMSLP</title>
    <id>4246484</id>
    <revision>
      <id>274117043</id>
      <timestamp>2009-03-01T11:41:59Z</timestamp>
      <contributor>
        <username>Leonard Vertighel</username>
        <id>54195</id>
      </contributor>
      <minor/>
      <comment>uk:</comment>
      <text xml:space="preserve">[[scores:Category:{{{id}}}|Free scores by {{{cname|{{PAGENAME}}}}}]] in the [[International Music Score Library Project]]&lt;noinclude&gt;

----

This template is for linking to composer categories at IMSLP. A [[Template:IMSLP2|companion template for linking to IMSLP work pages]] is available.

Usage:

 &lt;nowiki&gt;{{IMSLP|id=Mozart%2C_Wolfgang_Amadeus|cname=Mozart}}&lt;/nowiki&gt;

&lt;code&gt;id&lt;/code&gt; is the part behind the colon of the IMSLP composer category page URL:

 &lt;nowiki&gt;http://www.imslp.org/wiki/Category:&lt;/nowiki&gt;'''Mozart%2C_Wolfgang_Amadeus'''

&lt;code&gt;cname&lt;/code&gt; is optional. If not set, the page name is used.

[[Category:Music templates|{{PAGENAME}}]]
[[Category:Music external link templates|{{PAGENAME}}]]

[[cs:Šablona:IMSLP]]
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[[de:Vorlage:IMSLP]]
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&lt;/noinclude&gt;</text>
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  </page>
  <page>
    <title>Template:Listen</title>
    <id>1489759</id>
    <revision>
      <id>302522636</id>
      <timestamp>2009-07-17T01:23:38Z</timestamp>
      <contributor>
        <username>Hersfold</username>
        <id>3075976</id>
      </contributor>
      <comment>copy from sandbox; requested edit</comment>
      <text xml:space="preserve">{{side box
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  | music
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|text      = &lt;table style=&quot;width:100%; background:transparent; border-collapse:collapse; padding:0; margin:0;&quot;&gt;
{{#if:{{{header|}}}|&lt;tr&gt;
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}}&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
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  <page>
    <title>Template:Listen/core</title>
    <id>20364963</id>
    <revision>
      <id>260343957</id>
      <timestamp>2008-12-27T17:15:11Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>tidy's keeping us safe :D</comment>
      <text xml:space="preserve">&lt;tr&gt;&lt;td style=&quot;padding:2px 0;&quot;&gt;[[:Image:{{{filename}}}|{{{title}}}]]&lt;/td&gt;
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  <page>
    <title>Template:Side box</title>
    <id>20504849</id>
    <revision>
      <id>285704038</id>
      <timestamp>2009-04-23T19:04:01Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>mbox-small-left has decached</comment>
      <text xml:space="preserve">&lt;table class=&quot;metadata plainlinks mbox-small{{#ifeq:{{lc:{{{position|}}}}}|left|-left}}&quot; style=&quot;border:1px solid #aaa; background-color:#f9f9f9; {{{style|}}}&quot;&gt;
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{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
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  <page>
    <title>Template:WIMA</title>
    <id>9974468</id>
    <revision>
      <id>272828379</id>
      <timestamp>2009-02-23T22:53:18Z</timestamp>
      <contributor>
        <username>Jomasecu</username>
        <id>3182073</id>
      </contributor>
      <minor/>
      <comment>Reverted 1 edit by [[Special:Contributions/80.44.148.48|80.44.148.48]] identified as [[WP:VAND|vandalism]] to last revision by [[User:FordPrefect42|FordPrefect42]]. ([[WP:TW|TW]])</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{template doc}}&lt;/noinclude&gt;&lt;includeonly&gt;* [http://icking-music-archive.org/ByComposer/{{{idx}}}.php{{{anch|}}} Free scores] {{{ALT|by}}} {{{name|{{PAGENAME}}}}} in the [[Werner Icking Music Archive|Werner Icking Music Archive (WIMA)]]&lt;/includeonly&gt;</text>
    </revision>
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  <page>
    <title>Template:ChoralWiki</title>
    <id>3988087</id>
    <revision>
      <id>309863276</id>
      <timestamp>2009-08-24T22:19:45Z</timestamp>
      <contributor>
        <username>FordPrefect42</username>
        <id>566149</id>
      </contributor>
      <comment>reverted edit by [[User:FoxBot|FoxBot]], interwikis are transcluded from doc subpage</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{template doc}}&lt;/noinclude&gt;&lt;includeonly&gt;* [[choralwiki:{{{1|{{PAGENAME}}}}}|Free scores {{{prep|by}}} {{{2|{{PAGENAME}}}}}{{{comp|}}}]] in the [[Choral Public Domain Library|Choral Public Domain Library (ChoralWiki)]]&lt;/includeonly&gt;</text>
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  <page>
    <title>Template:Persondata</title>
    <id>3501055</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>312820760</id>
      <timestamp>2009-09-09T18:08:13Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>Migrate to Pp-Template, Replaced: hprotected → Pp-protect, using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">{| id=&quot;persondata&quot; class=&quot;persondata&quot; style=&quot;border:1px solid #aaa; display:none; speak:none;&quot;
! colspan=&quot;2&quot; | [[Wikipedia:Persondata|Persondata]]
|-
| class=&quot;persondata-label&quot; style=&quot;color:#aaa;&quot; | NAME 
| {{{NAME|}}}
|- 
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    <title>Template:Ndash</title>
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    <revision>
      <id>238885913</id>
      <timestamp>2008-09-16T21:04:19Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Removed unneeded includeonly tags, and changed from using the redirect {{template doc}} to directly using {{documentation}}.</comment>
      <text xml:space="preserve">&amp;nbsp;&amp;ndash; &lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Reflist</title>
    <id>7585648</id>
    <revision>
      <id>246409010</id>
      <timestamp>2008-10-20T01:28:44Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <comment>Adding div classes per editprotected on talk by [[User:Anomie|Anomie]] using change from http://en.wikipedia.org/w/index.php?title=User:Anomie/Sandbox3&amp;diff=244821255&amp;oldid=244820528</comment>
      <text xml:space="preserve">&lt;div class=&quot;references-small {{#if: {{{colwidth|}}} | references-column-width | {{#iferror: {{#ifexpr: {{{1|1}}}&gt;1 | references-column-count references-column-count-{{{1}}} }} }} }}&quot; {{#if: {{{colwidth|}}}| style=&quot;-moz-column-width:{{{colwidth}}}; column-width:{{{colwidth}}};&quot; | {{#if: {{{1|}}}| style=&quot;-moz-column-count:{{{1}}}; column-count:{{{1}}};&quot; }} }}&gt;
{{#tag:references||group={{{group|}}}}}&lt;/div&gt;&lt;noinclude&gt;{{pp-template|small=yes}}{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Asbox</title>
    <id>13431031</id>
    <revision>
      <id>311729910</id>
      <timestamp>2009-09-03T21:40:22Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>take template out of [[CAT:STUBFIX]]</comment>
      <text xml:space="preserve">&lt;table class=&quot;metadata plainlinks stub&quot; style=&quot;background: transparent;&quot;&gt;&lt;tr&gt;
{{#if:{{{icon|}}}{{{image|}}}
 |&lt;td&gt;{{#if:{{{icon|}}}
  |{{{icon}}}
  |[[File:{{{image}}}|{{#if:{{{pix|}}}|{{{pix}}}|40x30}}px|alt={{{imagealt|Stub icon}}}]]
 }}&lt;/td&gt;
}}
&lt;td&gt;''This {{{subject|}}} {{{article|article}}} {{{qualifier|}}} is a [[Wikipedia:stub|stub]].  You can help Wikipedia by [{{fullurl:{{FULLPAGENAME}}|action=edit}} expanding it].''{{#if:{{{note|}}}|&lt;br /&gt;&lt;span style=&quot;font-style: normal; font-size: smaller;&quot;&gt;{{{note|}}} }}&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;{{#ifeq:{{NAMESPACE}}|{{ns:0}}&lt;!--Article space--&gt;|&lt;!--

 *** Stub category ***
--&gt;{{#if:{{{category|}}}|[[Category:{{{category}}}]]}}&lt;!--

 *** Optional second stub category ***
--&gt;{{#if:{{{category1|}}}|[[Category:{{{category1}}}]]}}&lt;!--

 *** Optional third stub category ***
--&gt;{{#if:{{{category2|}}}|[[Category:{{{category2}}}]]}}&lt;!--
--&gt;}}&lt;!--

*** check for valid name parameter and transclude /templatepage on template page ***
--&gt;{{#if:{{{demo|&lt;noinclude&gt;yes&lt;/noinclude&gt;}}}
  |&lt;!--Demonstration version--&gt;
  |{{#switch:{{FULLPAGENAME:{{{name|}}}}}
    |{{FULLPAGENAME}}=&lt;!--Template page--&gt;{{Asbox/templatepage
      |image     = {{{image|}}}
      |pix       = {{{pix|}}}
      |imagealt  = {{{imagealt|}}}
      |icon      = {{{icon|}}}
      |subject   = {{{subject|}}}
      |article   = {{{article|}}}
      |qualifier = {{{qualifier|}}}
      |category  = {{{category|}}}
      |tempsort  = {{{tempsort|}}}
      |category1 = {{{category1|}}}
      |tempsort1 = {{{tempsort1|}}}
      |category2 = {{{category2|}}}
      |tempsort2 = {{{tempsort2|}}}
      |note      = {{{note|}}}
      |name      = {{{name|}}}
    }}
    |{{#titleparts:{{FULLPAGENAME}}|1}}=&lt;!--Is a subtemplate, e.g. a sandbox version. Don't display documentation.--&gt;
    |#default={{#ifeq:{{NAMESPACE}}|Template
      |&lt;!--{{ombox
        |type=content
        |text=It appears that the ''name'' parameter of this template is undefined or incorrect. If this is the stub template, please set {{para|name|{{FULLPAGENAME}}}}. If this is a demonstration please set {{para|demo|yes}}.
      }}--&gt;[[Category:Stub message boxes needing attention|{{#if:{{{name|}}}|E|W}}{{PAGENAME}}]]
    }}
  }}
}}&lt;noinclude&gt;&lt;!--

 *** Documentation ***
--&gt;{{documentation}}
&lt;!-- Add categories and inter-wikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Germany-composer-stub</title>
    <id>5123611</id>
    <revision>
      <id>305751930</id>
      <timestamp>2009-08-03T03:58:18Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about a [[Germany|German]] [[composer]] 
| category  = German composer stubs
| tempsort  =  
| name      = Template:Germany-composer-stub
}}
&lt;noinclude&gt;

[[mk:Шаблон:Германија-композитор-никулец]]
[[ro:Format:Ciot-compozitor-Germania]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Germany-musician-stub</title>
    <id>3259763</id>
    <revision>
      <id>305752057</id>
      <timestamp>2009-08-03T03:59:29Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Johann Sebastian Bach.jpg
| pix       = 40x30
| subject   = 
| qualifier = on a [[Germany|German]] [[musician]] 
| category  = German musician stubs
| tempsort  =  
| name      = Template:Germany-musician-stub
}}
&lt;noinclude&gt;

[[mk:Шаблон:Германија-музичар-никулец]]
[[ro:Format:Ciot-muzician-Germania]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Keyboardist-stub</title>
    <id>2839316</id>
    <revision>
      <id>309689021</id>
      <timestamp>2009-08-23T23:55:21Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Nuvola apps kcmmidi.svg
| pix       = 40
| subject   = 
| qualifier = on a [[keyboardist]] 
| category  = Keyboardist stubs
| tempsort  =  
| name      = Template:Keyboardist-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Dablink</title>
    <id>945764</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>161709751</id>
      <timestamp>2007-10-02T02:43:39Z</timestamp>
      <contributor>
        <username>Pathoschild</username>
        <id>240994</id>
      </contributor>
      <minor/>
      <comment>{{documentation}}</comment>
      <text xml:space="preserve">&lt;div class=&quot;dablink&quot;&gt;{{{1}}}&lt;/div&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:IckingArchive</title>
    <id>3547222</id>
    <redirect />
    <revision>
      <id>267040467</id>
      <timestamp>2009-01-28T20:31:48Z</timestamp>
      <contributor>
        <username>FordPrefect42</username>
        <id>566149</id>
      </contributor>
      <comment>redirecting depracted template, see [[Template talk:WIMA#Merge?]]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:WIMA]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Main</title>
    <id>1208356</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>311326155</id>
      <timestamp>2009-09-01T19:04:03Z</timestamp>
      <contributor>
        <username>David Levy</username>
        <id>197557</id>
      </contributor>
      <comment>per talk page request, removed &quot;noprint&quot; class</comment>
      <text xml:space="preserve">{{rellink|extraclasses=relarticle mainarticle|Main article{{#if:{{{2|}}}|s}}: [[{{{1}}}|{{{l1|{{{1}}}}}}]]{{#if:{{{2| }}}
 |{{#if:{{{3|}}}|,&amp;#32;|&amp;#32;and&amp;#32;}}[[{{{2}}}|{{{l2|{{{2}}}}}}]]}}{{#if:{{{3|}}}
 |{{#if:{{{4|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{3}}}|{{{l3|{{{3}}}}}}]]}}{{#if:{{{4|}}}
 |{{#if:{{{5|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{4}}}|{{{l4|{{{4}}}}}}]]}}{{#if:{{{5|}}}
 |{{#if:{{{6|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{5}}}|{{{l5|{{{5}}}}}}]]}}{{#if:{{{6|}}}
 |{{#if:{{{7|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{6}}}|{{{l6|{{{6}}}}}}]]}}{{#if:{{{7|}}}
 |{{#if:{{{8|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{7}}}|{{{l7|{{{7}}}}}}]]}}{{#if:{{{8|}}}
 |{{#if:{{{9|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{8}}}|{{{l8|{{{8}}}}}}]]}}{{#if:{{{9|}}}
 |{{#if:{{{10|}}}|,&amp;#32;|,&amp;#32;and&amp;#32;}}[[{{{9}}}|{{{l9|{{{9}}}}}}]]}}{{#if:{{{10|}}}
 |, and [[{{{10}}}|{{{l10|{{{10}}}}}}]]}}''{{#if:{{{11| }}}|&amp;#32; (too many parameters in &amp;#123;&amp;#123;[[Template:main|main]]&amp;#125;&amp;#125;)}}}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Rellink</title>
    <id>21737712</id>
    <revision>
      <id>280802448</id>
      <timestamp>2009-03-31T05:05:28Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <comment>Removed code now fully redundant to Common.css (iPod edit)</comment>
      <text xml:space="preserve">&lt;div class=&quot;rellink{{#if:{{{extraclasses|}}}|&lt;nowiki&gt; &lt;/nowiki&gt;{{{extraclasses}}}}}&quot;&gt;{{{1}}}&lt;/div&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:1911</title>
    <id>392666</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>281414672</id>
      <timestamp>2009-04-03T01:42:31Z</timestamp>
      <contributor>
        <username>CapitalR</username>
        <id>988917</id>
      </contributor>
      <comment>rewording slightly per request</comment>
      <text xml:space="preserve">''This article incorporates text from the{{#if:{{{article|}}}|&amp;#32;article {{#if:{{{url|}}}|[{{{url|}}}}} &quot;{{{article}}}&quot;{{#if:{{{url|}}}|]}}{{#if:{{{author|}}}|&amp;#32;by {{{author}}},}} in the}} ''[[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica'', Eleventh Edition'']]'', a publication now in the [[public domain]].''&lt;noinclude&gt;{{pp-template|small=yes}}{{Documentation}}&lt;/noinclude&gt;
&lt;includeonly&gt;[[Category:Wikipedia articles incorporating text from the 1911 Encyclopædia Britannica]]&lt;/includeonly&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Music</title>
    <id>12186026</id>
    <revision>
      <id>287064606</id>
      <timestamp>2009-04-30T15:20:55Z</timestamp>
      <contributor>
        <username>D6</username>
        <id>75561</id>
      </contributor>
      <minor/>
      <comment>fix unicode in templates ([[Wikipedia:WikiProject_Check_Wikipedia|WikiProject Check Wikipedia]] check #16</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;span class=&quot;music-symbol&quot; style=&quot;font-family: Arial Unicode MS, Lucida Sans Unicode;&quot;&gt;{{#switch: {{lc:{{{1}}}}}
 | ♭
 | b
 | flat = &amp;#x266d;
 | 𝄫
 | bb
 | double flat
 | doubleflat = [[Image:Doubleflat.svg|8px|double flat]]
 | ♮
 | natural = &amp;#x266e;
 | ♯
 | #
 | sharp = &amp;#x266f;
 | 𝄪
 | x
 | ##
 | double sharp
 | doublesharp = [[Image:DoubleSharp.svg|6px|double sharp]]
 | wholenote
 | whole note
 | whole
 | semibreve = [[Image:WholeNote.svg|10px|whole note]]
 | halfnote
 | half note
 | half
 | minim = [[Image:Figure_rythmique_blanche_hampe_haut.svg|6px|half note]]
 | quarternote
 | quarter note
 | quarter
 | crotchet = [[Image:Figure_rythmique_noire_hampe_haut.svg|6px|quarter note]] 
 | eighthnote
 | eighth note
 | eighth
 | quaver = [[Image:Figure_rythmique_croche_hampe_haut.svg|10px|eighth note]]
 | sixteenthnote
 | sixteenth note
 | sixteenth
 | semiquaver = [[Image:Figure_rythmique_double_croche_hampe_haut.svg|10px|sixteenth note]]
 | wholerest
 | semibreverest
 | semibreve rest
 | whole rest = [[Image:Whole_rest.svg|18px|whole rest]]
 | halfrest
 | minimrest
 | minim rest
 | half rest = [[Image:Half_rest.svg|18px|half rest]]
 | quarterrest
 | quarter rest
 | crotchet rest
 | crotchetrest = [[Image:QuaterRest.svg|10px|quarter rest]]
 | eighthrest
 | eighth rest
 | quaver rest
 | quaverrest = [[Image:8thRest.svg|10px|eighth rest]]
 | sixteenthrest
 | semiquaver rest
 | sixteenth rest
 | semiquaverrest = [[Image:16th rest.svg|7px|sixteenth rest]]
 | treble
 | treble clef
 | trebleclef = [[Image:GClef.svg|16px|treble clef]]
 | g clef
 | gclef = [[Image:GClef.svg|16px|G clef]]
 | alto
 | alto clef
 | altoclef = [[Image:CClef.svg|16px|alto clef]]
 | tenor
 | tenor clef
 | tenorclef = [[Image:CClef.svg|16px|tenor clef]]
 | c clef
 | cclef = [[Image:CClef.svg|16px|C clef]]
 | bass
 | bass clef
 | bassclef  = [[Image:FClef.svg|16px|bass clef]]
 | f clef
 | fclef = [[Image:FClef.svg|16px|F clef]]
 | scale = [[Image:Scale_deg_{{{2}}}.svg|8px|scale degree {{{2}}}]]
 | °
 | diminished
 | dim = &amp;deg;
 | ø
 | halfdim
 | half dim
 | halfdiminished
 | half diminished
 | dimslash = &lt;sup&gt;&amp;oslash;&lt;/sup&gt;
 | #default = '''Unable to parse music symbol {{{1}}}'''
}}&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{Documentation}}
&lt;!-- PLEASE ADD CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Lifetime</title>
    <id>13387638</id>
    <revision>
      <id>310200384</id>
      <timestamp>2009-08-26T17:28:18Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <minor/>
      <comment>pp-template</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{{{{subst|}}}#if:{{{3|}}}|{{DEFAULTSORT:{{{3}}}}}}}
[[Category:{{{{{subst|}}}#switch:{{{{{subst|}}}uc:{{{1|}}}}}
 || UNKNOWN | MISSING = Year of birth missing {{{{{subst|}}}#switch:{{{{{subst|}}}uc:{{{2|}}}}}||LIVING=(living people)}}
 | #default = {{{1}}} births
}}]]
[[Category:{{{{{subst|}}}#switch:{{{{{subst|}}}uc:{{{2|}}}}}
 || LIVING  = Living people
 | UNKNOWN | MISSING  = Year of death missing
 | #default = {{{2}}} deaths
}}]]&lt;/includeonly&gt;&lt;noinclude&gt;{{pp-template}}

&lt;code&gt;&lt;nowiki&gt;{{DEFAULTSORT:{{{3}}}}}&lt;/nowiki&gt;
&lt;br /&gt;&lt;nowiki&gt;[[Category:{{{1}}} births]]&lt;/nowiki&gt;
&lt;br /&gt;&lt;nowiki&gt;[[Category:{{{2}}} deaths]]&lt;/nowiki&gt;&lt;/code&gt;

{{Documentation}}&lt;!-- PLEASE ADD CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Citation/core</title>
    <id>8941610</id>
    <revision>
      <id>309271328</id>
      <timestamp>2009-08-21T16:25:23Z</timestamp>
      <contributor>
        <username>Smith609</username>
        <id>846901</id>
      </contributor>
      <comment>Render text value of AuthorMask if not numeric</comment>
      <text xml:space="preserve">&lt;cite style=&quot;font-style:normal&quot; class=&quot;{{{Citation class|}}}&quot;
{{
  #if:{{{Ref|}}}
  |{{#ifeq:{{{Ref|}}}|none||id=&quot;{{anchorencode:{{{Ref|}}}}}&quot;}}
  |{{#if:{{{Surname1|}}}{{{EditorSurname1|}}}
    |id=&quot;CITEREF{{anchorencode:{{#if:{{{Surname1|}}}
      |{{{Surname1}}}{{{Surname2|}}}{{{Surname3|}}}{{{Surname4|}}}
      |{{{EditorSurname1|}}}{{{EditorSurname2|}}}{{{EditorSurname3|}}}{{{EditorSurname4|}}}
    }}{{{Year|{{{Date|}}}}}}}}&quot;
  }}
}}&gt;{{
&lt;!--============  Author or editor and date  ============--&gt;
  #if:{{{Surname1|}}}
  |{{
     #if: {{{AuthorMask|}}}
     |{{
        #iferror: {{ #expr: 1*{{{AuthorMask}}} }}
        |{{{AuthorMask}}}
        |&lt;del&gt;{{loop|{{{AuthorMask}}}|2=&amp;emsp;}}&lt;/del&gt;
      }}
     |{{
        #if: {{{Authorlink1|}}}
        |[[{{{Authorlink1}}} |{{{Surname1}}}{{
          #if: {{{Given1|}}}
          |, {{{Given1}}}
         }}]]
        |{{{Surname1}}}{{
           #if: {{{Given1|}}}
           |, {{{Given1}}}
         }}
      }}
   }}{{
     #if: {{{Surname2|}}}
     |{{
        #iferror: {{ #expr: 1*0.0{{{AuthorMask|}}} }}
        |&amp;#32;&lt;!-- then punctuation should be included in AuthorMask --&gt;
        |{{
          #if: {{{Surname3|}}}
          |&lt;nowiki&gt;; &lt;/nowiki&gt;
          |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
        }}
      }}{{
        #if: {{{Authorlink2|}}}
        |[[{{{Authorlink2}}} |{{{Surname2}}}{{
           #if: {{{Given2|}}}
           |, {{{Given2}}}
         }}]]
        |{{{Surname2}}}{{
           #if: {{{Given2|}}}
           |, {{{Given2}}}
         }}
      }}{{
        #if: {{{Surname3|}}}
        |{{
           #if: {{{Surname4|}}}
           |&lt;nowiki&gt;; &lt;/nowiki&gt;
           |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
         }}{{
           #if: {{{Authorlink3|}}}
           |[[{{{Authorlink3}}} |{{{Surname3}}}{{
              #if: {{{Given3|}}}
              |, {{{Given3}}}
            }}]]
           |{{{Surname3}}}{{
              #if: {{{Given3|}}}
              |, {{{Given3}}}
            }}
         }}{{
           #if:{{{Surname4|}}}
           |{{
              #if: {{{Surname5|}}}
              |&lt;nowiki&gt;; &lt;/nowiki&gt;
              |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
            }}{{
              #if: {{{Authorlink4|}}}
              |[[{{{Authorlink4}}} |{{{Surname4}}}{{
                 #if: {{{Given4|}}}
                 |, {{{Given4}}}
               }}]]
              |{{{Surname4}}}{{
                 #if: {{{Given4|}}}
                 |, {{{Given4}}}
               }}
            }}{{
              #if:{{{Surname5|}}}
              |{{
                 #if: {{{Surname6|}}}
                 |&lt;nowiki&gt;; &lt;/nowiki&gt;
                 |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
               }}{{
                 #if: {{{Authorlink5|}}}
                 |[[{{{Authorlink5}}} |{{{Surname5}}}{{
                    #if: {{{Given5|}}}
                    |, {{{Given5}}}
                  }}]]
                 |{{{Surname5}}}{{
                    #if: {{{Given5|}}}
                    |, {{{Given5}}}
                  }}
               }}{{
                 #if:{{{Surname6|}}}
                 |{{
                    #if: {{{Surname7|}}}
                    |&lt;nowiki&gt;; &lt;/nowiki&gt;
                    |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
                  }}{{
                    #if: {{{Authorlink6|}}}
                    |[[{{{Authorlink6}}} |{{{Surname6}}}{{
                       #if: {{{Given6|}}}
                       |, {{{Given6}}}
                     }}]]
                    |{{{Surname6}}}{{
                       #if: {{{Given6|}}}
                       |, {{{Given6}}}
                     }}
                  }}{{
                    #if:{{{Surname7|}}}
                    |{{
                       #if: {{{Surname8|}}}
                       |&lt;nowiki&gt;; &lt;/nowiki&gt;
                       |{{#if:{{{amp|}}}|&amp;#32;&amp;amp;&amp;#32;|&lt;nowiki&gt;; &lt;/nowiki&gt;}}
                     }}{{
                       #if: {{{Authorlink7|}}}
                       |[[{{{Authorlink7}}} |{{{Surname7}}}{{
                          #if: {{{Given7|}}}
                          |, {{{Given7}}}
                        }}]]
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  </page>
  <page>
    <title>Template:Cite book</title>
    <id>4086375</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>308893681</id>
      <timestamp>2009-08-19T15:29:20Z</timestamp>
      <contributor>
        <username>Smith609</username>
        <id>846901</id>
      </contributor>
      <comment>Copy author-mask line from [[Template:Citation]], where it is working... sorry about the initial error.</comment>
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  |Surname6 = {{{last6|{{{surname6|{{{author6|}}}}}}}}}
  |Surname7 = {{{last7|{{{surname7|{{{author7|}}}}}}}}}
  |Surname8 = {{{last8|{{{surname8|{{{author8|}}}}}}}}}
  |Surname9 = {{{last9|{{{surname9|{{{author9|}}}}}}}}}
  |Given1 = {{{first1|{{{given1|{{{first|{{{given|}}}}}}}}}}}}
  |Given2 = {{{first2|{{{given2|}}}}}}
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  |Given4 = {{{first4|{{{given4|}}}}}}
  |Given5 = {{{first5|{{{given5|}}}}}}
  |Given6 = {{{first6|{{{given6|}}}}}}
  |Given7 = {{{first7|{{{given7|}}}}}}
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             |{{
                #iferror:{{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}}
  |YearNote = {{{origyear|}}}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{{year|{{{publication-date|}}}}}}}}
  |Title={{{title|}}}
  |TransTitle={{{trans_chapter|}}}
  |TransItalic={{{trans_title|}}}
  |URL={{{url|}}}
  |Series={{{series|}}}
  |Volume = {{{volume|}}}
  |Issue = {{{issue|{{{number|}}}}}}
  |At = {{
          #if: {{{journal|{{{periodical|{{{newspaper|{{{magazine|}}}}}}}}}}}}
          |{{{pages|{{{page|{{{at|}}}}}}}}}
          |{{
             #if: {{{page|}}}
             |{{#if:{{{nopp|}}}||p.&amp;nbsp;}}{{{page}}}
             |{{
                #if: {{{pages|}}}
                |{{#if:{{{nopp|}}}||pp.&amp;nbsp;}}{{{pages}}}
                |{{{at|}}}
              }}
           }}
        }}
  |IncludedWorkTitle = {{{chapter|{{{contribution|}}}}}}
  |IncludedWorkURL = {{{chapter-url|{{{chapterurl|{{{contribution-url|}}}}}}}}}
  |Other = {{{others|}}}
  |Edition = {{{edition|}}}
  |Place = {{{place|{{{location|}}}}}}
  |PublicationPlace = {{{publication-place|{{{place|{{{location|}}}}}}}}}
  |Publisher = {{{publisher|}}}
  |PublicationDate = {{{publication-date|}}}
  |EditorSurname1 = {{{editor-last|{{{editor-surname|{{{editor1-last|{{{editor1-surname|{{{editor|{{{editors|}}}}}}}}}}}}}}}}}}
  |EditorSurname2 = {{{editor2-last|{{{editor2-surname|}}}}}}
  |EditorSurname3 = {{{editor3-last|{{{editor3-surname|}}}}}}
  |EditorSurname4 = {{{editor4-last|{{{editor4-surname|}}}}}}
  |EditorGiven1 = {{{editor-first|{{{editor-given|{{{editor1-first|{{{editor1-given|}}}}}}}}}}}}
  |EditorGiven2={{{editor2-first|{{{editor2-given|}}}}}}
  |EditorGiven3={{{editor3-first|{{{editor3-given|}}}}}}
  |EditorGiven4={{{editor4-first|{{{editor4-given|}}}}}}
  |Editorlink1={{{editor-link|{{{editor1-link|}}}}}}
  |Editorlink2={{{editor2-link|}}}
  |Editorlink3={{{editor3-link|}}}
  |Editorlink4={{{editor4-link|}}}
  |language = {{{language|{{{in|}}}}}}
  |format = {{{format|}}}
  |ID={{{id|{{{ID|}}}}}}
  |ISBN={{{isbn|{{{ISBN|}}}}}}
  |OCLC={{{oclc|{{{OCLC|}}}}}}
  |Bibcode={{{bibcode|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |DoiBroken={{{doi_brokendate|}}}
  |AccessDate={{{access-date|{{{accessdate|}}}}}}
  |DateFormat={{{dateformat|none}}}
  |quote = {{{quote|}}}
  |laysummary = {{{laysummary|}}}
  |laydate = {{{laydate|}}}
  |Ref={{{ref|}}}
  |Sep = {{{separator|{{{seperator|.}}}}}}
  |PS = {{#if:{{{quote|}}}||{{{postscript|.}}}}}
  |amp = {{{lastauthoramp|}}}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Italiclink</title>
    <id>23097940</id>
    <revision>
      <id>298665133</id>
      <timestamp>2009-06-26T01:25:40Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>rv - perf</comment>
      <text xml:space="preserve">''{{#if: {{{1|}}}
    | [{{{1}}} {{{2|}}}]
    | &lt;span&gt;{{{2|}}}&lt;/span&gt;
}}''&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikicite</title>
    <id>3826555</id>
    <revision>
      <id>172229940</id>
      <timestamp>2007-11-18T06:11:42Z</timestamp>
      <contributor>
        <username>Maelgwnbot</username>
        <id>4594058</id>
      </contributor>
      <minor/>
      <comment>Bot Updating template fields, {{tl|Template doc}}</comment>
      <text xml:space="preserve">&lt;cite id=&quot;Reference-{{{id}}}&quot;&gt;{{{reference}}}&lt;/cite&gt;&lt;noinclude&gt;{{Documentation, template}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Age</title>
    <id>4844043</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>254781175</id>
      <timestamp>2008-11-29T13:09:39Z</timestamp>
      <contributor>
        <username>Werdna</username>
        <id>349283</id>
      </contributor>
      <comment>Kill category - redundant to Special:Whatlinkshere.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#expr:({{{4|{{CURRENTYEAR}}}}})-({{{1}}})-(({{{5|{{CURRENTMONTH}}}}})&lt;({{{2}}})or({{{5|{{CURRENTMONTH}}}}})=({{{2}}})and({{{6|{{CURRENTDAY}}}}})&lt;({{{3}}}))}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Birth date</title>
    <id>6594285</id>
    <revision>
      <id>235503768</id>
      <timestamp>2008-09-01T02:31:27Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>rm date links per WP:DATE</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{df|}}}|{{#expr:{{{3}}}}} {{MONTHNAME|{{{2}}}}}|{{MONTHNAME|{{{2}}}}} {{#expr:{{{3}}}}},}} {{{1}}}&lt;span style=&quot;display:none&quot;&gt;(&lt;span class=&quot;bday&quot;&gt;{{{1}}}-{{padleft:{{MONTHNUMBER|{{{2}}}}}|2|0}}-{{padleft:{{{3}}}|2|0}}&lt;/span&gt;)&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{Documentation|Template:Birth date and age/doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite web</title>
    <id>4148498</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>308879294</id>
      <timestamp>2009-08-19T13:48:16Z</timestamp>
      <contributor>
        <username>UpstateNYer</username>
        <id>134690</id>
      </contributor>
      <comment>[[WP:UNDO|Undid]] revision 308878772 by [[Special:Contributions/Wadester16|Wadester16]] ([[User talk:Wadester16|talk]]) hmm, guess not</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{Citation/core
  |Citation class=web
  |Surname1 = {{#if:{{{last|}}}
                |{{{last}}}
                |{{#if:{{{last1|}}}
                   |{{{last1}}}
                   |{{{author|}}} 
                 }}
              }}
  |Surname2 = {{#if:{{{last2|}}}|{{{last2}}}|{{{coauthors|}}}}}
  |Surname3 = {{{last3|}}}
  |Surname4 = {{{last4|}}}
  |Surname5 = {{{last5|}}}
  |Surname6 = {{{last6|}}}
  |Surname7 = {{{last7|}}}
  |Surname8 = {{{last8|}}}
  |Surname9 = {{{last9|}}}
  |Given1 = {{#if:{{{first|}}}|{{{first}}}|{{{first1|}}}}}
  |Given2 = {{{first2|}}}
  |Given3 = {{{first3|}}}
  |Given4 = {{{first4|}}}
  |Given5 = {{{first5|}}}
  |Given6 = {{{first6|}}}
  |Given7 = {{{first7|}}}
  |Given8 = {{{first8|}}}
  |Given9 = {{{first9|}}}
  |Authorlink1 = {{#if:{{{authorlink|}}}|{{{authorlink}}}|{{{authorlink1|}}}}}
  |Authorlink2 = {{{authorlink2|}}}
  |Authorlink3 = {{{authorlink3|}}}
  |Authorlink4 = {{{authorlink4|}}}
  |Authorlink5 = {{{authorlink5|}}}
  |Authorlink6 = {{{authorlink6|}}}
  |Authorlink7 = {{{authorlink7|}}}
  |Authorlink8 = {{{authorlink8|}}}
  |Authorlink9 = {{{authorlink9|}}}
  |EditorSurname1 = {{{editor-last|{{{editor-surname|{{{editor1-last|{{{editor1-surname|{{{editor1|{{{editor|{{{editors|}}}}}}}}}}}}}}}}}}}}}
  |EditorSurname2 = {{{editor2-last|{{{editor2-surname|{{{editor2|}}}}}}}}}
  |EditorSurname3 = {{{editor3-last|{{{editor3-surname|{{{editor3|}}}}}}}}}
  |EditorSurname4 = {{{editor4-last|{{{editor4-surname|{{{editor4|}}}}}}}}}
  |EditorGiven1 = {{{editor-first|{{{editor-given|{{{editor1-first|{{{editor1-given|}}}}}}}}}}}}
  |EditorGiven2={{{editor2-first|{{{editor2-given|}}}}}}
  |EditorGiven3={{{editor3-first|{{{editor3-given|}}}}}}
  |EditorGiven4={{{editor4-first|{{{editor4-given|}}}}}}
  |Editorlink1={{{editor-link|{{{editor1-link|}}}}}}
  |Editorlink2={{{editor2-link|}}}
  |Editorlink3={{{editor3-link|}}}
  |Editorlink4={{{editor4-link|}}}
  |Year={{#if:{{{year|}}}|{{{year}}}    &lt;!-- attempt to derive year from date, if possible --&gt;
          |{{#if: {{{date|}}}
             |{{#iferror: {{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{#if:{{{year|}}}|{{{year}}}|{{{publication-date|}}}}}}}
  |Title={{{work|}}}
  |TransTitle={{{trans_title|}}}
  |At = {{#if:{{{page|}}}|p. {{{page}}}|{{#if:{{{pages|}}}|pp. {{{pages|}}}|{{{at|}}} }} }}
  |IncludedWorkTitle = {{#if:{{{url|}}}|{{#if:{{{title|}}}|{{{title}}}|
{{#if:{{{trans_title|}}}||
{{Citation error|no {{para|title}} specified|cite web}}}}|{{Citation error|no {{para|url}} specified|cite web}}}}}}
  |IncludedWorkURL = {{#if:{{{archiveurl|}}}|{{{archiveurl|}}}|{{{url|}}}}}
  |PublicationPlace = {{{location|}}}
  |Publisher = {{{publisher|}}}
  |language = {{{language|}}}
  |format = {{{format|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |AccessDate={{#if:{{{accessdate|}}}|{{#if: {{{accessyear|}}}|{{{accessdate}}} {{{accessyear}}}|{{{accessdate}}}}}|{{
    #if:{{{accessdaymonth|}}}|{{{accessdaymonth}}} {{{accessyear|}}}|{{
      #if:{{{accessmonthday|}}}|{{{accessmonthday}}} {{{accessyear|}}}|
      {{{accessday|}}} {{{accessmonth|}}} {{{accessyear|}}}
      }}
    }}
   }}
  |DateFormat={{#if:{{{dateformat|}}}|{{{dateformat}}}|none}}
  |quote = {{{quote|}}}
  |Ref={{{ref|}}}
  |Sep = {{#ifeq:{{{separator|{{{seperator}}} }}}|;|&amp;#059;|{{{separator|{{{seperator|.}}} }}} }}
  |PS={{#if:{{{quote|}}}||{{{postscript|.}}}}}
  |OriginalURL = {{#if:{{{archiveurl|}}}|{{{url|}}}}}
  |ArchiveDate= {{{archivedate|}}}
}}{{#if:{{{accessdaymonth|}}}{{{accessmonthday|}}}|[[Category:Cite web templates using unusual accessdate parameters|{{FULLPAGENAME}}]]}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Death date and age</title>
    <id>8623434</id>
    <revision>
      <id>252530612</id>
      <timestamp>2008-11-18T07:53:49Z</timestamp>
      <contributor>
        <username>J.delanoy</username>
        <id>2372780</id>
      </contributor>
      <minor/>
      <comment>|small=yes</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{df|}}}|{{#expr:{{{3}}}}} {{MONTHNAME|{{{2}}}}}|{{MONTHNAME|{{{2}}}}} {{#expr:{{{3}}}}},}} {{{1}}} (aged&amp;nbsp;{{age|{{{4}}}|{{{5}}}|{{{6}}}|{{{1}}}|{{{2}}}|{{{3}}}}})&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Image class names</title>
    <id>17699258</id>
    <revision>
      <id>270861399</id>
      <timestamp>2009-02-15T10:42:15Z</timestamp>
      <contributor>
        <username>Patrick</username>
        <id>4388</id>
      </contributor>
      <comment>self-rv, not needed</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{pp-template}}

{{template doc}}

[[da:Skabelon:Image class names]]&lt;/noinclude&gt;{{#switch:{{ucfirst:{{{1}}}}}|Replace this image male.svg|Replace this image female.svg|Replace this image1.svg|Replace this imageb.svg|[[Image:Replace this imageb.svg|150px]]|Replace this image male.svg|[[Image:Replace this image female.svg|150px]] &lt;!-- Only freely-licensed images may be used to depict living people.  See [[WP:NONFREE]].  --&gt;=metadata dummy}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox</title>
    <id>891845</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>312202145</id>
      <timestamp>2009-09-06T15:57:54Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <comment>pass rowclass parameters to /row</comment>
      <text xml:space="preserve">&lt;table class=&quot;infobox {{{bodyclass|}}}&quot; cellspacing=&quot;5&quot; style=&quot;width:22em; text-align:left; font-size:88%; line-height:1.5em; {{{bodystyle|}}}&quot;&gt;&lt;!--
 Caption
--&gt;{{#if:{{{title|}}}|&lt;caption class=&quot;{{{titleclass|}}}&quot; style=&quot;font-size:125%; font-weight:bold; {{{titlestyle|}}}&quot;&gt;{{{title}}}&lt;/caption&gt;}}&lt;!--
 Header
--&gt;{{#if:{{{above|}}}|&lt;tr&gt;&lt;th colspan=&quot;2&quot; class=&quot;{{{aboveclass|}}}&quot; style=&quot;text-align:center; font-size:125%; font-weight:bold; {{{abovestyle|}}}&quot;&gt;{{{above}}}&lt;/th&gt;&lt;/tr&gt;}}&lt;!--
 Subheader1
--&gt;{{#if:{{{subheader|{{{subheader1|}}}}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;{{{subheaderclass|}}}&quot; style=&quot;text-align:center; {{{subheaderstyle|}}}&quot;&gt;{{{subheader|{{{subheader1}}}}}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 Subheader2
--&gt;{{#if:{{{subheader2|}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;{{{subheaderclass|}}}&quot; style=&quot;text-align:center; {{{subheaderstyle|}}}&quot;&gt;{{{subheader2}}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 Image1
--&gt;{{#if:{{{image|{{{image1|}}}}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;{{{imageclass|}}}&quot; style=&quot;text-align:center; {{{imagestyle|}}}&quot;&gt;{{{image|{{{image1}}}}}}{{#if:{{{caption|{{{caption1|}}}}}}|&lt;br /&gt;&lt;span style=&quot;{{{captionstyle|}}}&quot;&gt;{{{caption|{{{caption1}}}}}}&lt;/span&gt;}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 Image2
--&gt;{{#if:{{{image2|}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;{{{imageclass|}}}&quot; style=&quot;text-align:center; {{{imagestyle|}}}&quot;&gt;{{{image2}}}{{#if:{{{caption2|}}}|&lt;br /&gt;&lt;span style=&quot;{{{captionstyle|}}}&quot;&gt;{{{caption2}}}&lt;/span&gt;}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
--&gt;{{Infobox/row
 |header={{{header1|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label1|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data1|}}}     |datastyle={{{datastyle|}}}
 |class={{{class1|}}}   |rowclass={{{rowclass1|}}}
}}{{Infobox/row
 |header={{{header2|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label2|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data2|}}}     |datastyle={{{datastyle|}}}
 |class={{{class2|}}}   |rowclass={{{rowclass2|}}}
}}{{Infobox/row
 |header={{{header3|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label3|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data3|}}}     |datastyle={{{datastyle|}}}
 |class={{{class3|}}}   |rowclass={{{rowclass3|}}}
}}{{Infobox/row
 |header={{{header4|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label4|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data4|}}}     |datastyle={{{datastyle|}}}
 |class={{{class4|}}}   |rowclass={{{rowclass4|}}}
}}{{Infobox/row
 |header={{{header5|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label5|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data5|}}}     |datastyle={{{datastyle}}}
 |class={{{class5|}}}   |rowclass={{{rowclass5|}}}
}}{{Infobox/row
 |header={{{header6|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label6|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data6|}}}     |datastyle={{{datastyle|}}}
 |class={{{class6|}}}   |rowclass={{{rowclass6|}}}
}}{{Infobox/row
 |header={{{header7|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label7|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data7|}}}     |datastyle={{{datastyle|}}}
 |class={{{class7|}}}   |rowclass={{{rowclass7|}}}
}}{{Infobox/row
 |header={{{header8|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label8|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data8|}}}     |datastyle={{{datastyle|}}}
 |class={{{class8|}}}   |rowclass={{{rowclass8|}}}
}}{{Infobox/row
 |header={{{header9|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label9|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data9|}}}     |datastyle={{{datastyle|}}}
 |class={{{class9|}}}   |rowclass={{{rowclass9|}}}
}}{{Infobox/row
 |header={{{header10|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label10|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data10|}}}     |datastyle={{{datastyle|}}}
 |class={{{class10|}}}   |rowclass={{{rowclass10|}}}
}}{{Infobox/row
 |header={{{header11|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label11|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data11|}}}     |datastyle={{{datastyle|}}}
 |class={{{class11|}}}   |rowclass={{{rowclass11|}}}
}}{{Infobox/row
 |header={{{header12|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label12|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data12|}}}     |datastyle={{{datastyle|}}}
 |class={{{class12|}}}   |rowclass={{{rowclass12|}}}
}}{{Infobox/row
 |header={{{header13|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label13|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data13|}}}     |datastyle={{{datastyle|}}}
 |class={{{class13|}}}   |rowclass={{{rowclass13|}}}
}}{{Infobox/row
 |header={{{header14|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label14|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data14|}}}     |datastyle={{{datastyle|}}}
 |class={{{class14|}}}   |rowclass={{{rowclass14|}}}
}}{{Infobox/row
 |header={{{header15|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label15|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data15|}}}     |datastyle={{{datastyle|}}}
 |class={{{class15|}}}   |rowclass={{{rowclass15|}}}
}}{{Infobox/row
 |header={{{header16|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label16|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data16|}}}     |datastyle={{{datastyle|}}}
 |class={{{class16|}}}   |rowclass={{{rowclass16|}}}
}}{{Infobox/row
 |header={{{header17|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label17|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data17|}}}     |datastyle={{{datastyle|}}}
 |class={{{class17|}}}   |rowclass={{{rowclass17|}}}
}}{{Infobox/row
 |header={{{header18|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label18|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data18|}}}     |datastyle={{{datastyle|}}}
 |class={{{class18|}}}   |rowclass={{{rowclass18|}}}
}}{{Infobox/row
 |header={{{header19|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label19|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data19|}}}     |datastyle={{{datastyle|}}}
 |class={{{class19|}}}   |rowclass={{{rowclass19|}}}
}}{{Infobox/row
 |header={{{header20|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label20|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data20|}}}     |datastyle={{{datastyle|}}}
 |class={{{class20|}}}   |rowclass={{{rowclass20|}}}
}}{{Infobox/row
 |header={{{header21|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label21|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data21|}}}     |datastyle={{{datastyle|}}}
 |class={{{class21|}}}   |rowclass={{{rowclass21|}}}
}}{{Infobox/row
 |header={{{header22|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label22|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data22|}}}     |datastyle={{{datastyle|}}}
 |class={{{class22|}}}   |rowclass={{{rowclass22|}}}
}}{{Infobox/row
 |header={{{header23|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label23|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data23|}}}     |datastyle={{{datastyle|}}}
 |class={{{class23|}}}   |rowclass={{{rowclass23|}}}
}}{{Infobox/row
 |header={{{header24|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label24|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data24|}}}     |datastyle={{{datastyle|}}}
 |class={{{class24|}}}   |rowclass={{{rowclass24|}}}
}}{{Infobox/row
 |header={{{header25|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label25|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data25|}}}     |datastyle={{{datastyle|}}}
 |class={{{class25|}}}   |rowclass={{{rowclass25|}}}
}}{{Infobox/row
 |header={{{header26|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label26|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data26|}}}     |datastyle={{{datastyle|}}}
 |class={{{class26|}}}   |rowclass={{{rowclass26|}}}
}}{{Infobox/row
 |header={{{header27|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label27|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data27|}}}     |datastyle={{{datastyle|}}}
 |class={{{class27|}}}   |rowclass={{{rowclass27|}}}
}}{{Infobox/row
 |header={{{header28|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label28|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data28|}}}     |datastyle={{{datastyle|}}}
 |class={{{class28|}}}   |rowclass={{{rowclass28|}}}
}}{{Infobox/row
 |header={{{header29|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label29|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data29|}}}     |datastyle={{{datastyle|}}}
 |class={{{class29|}}}   |rowclass={{{rowclass29|}}}
}}{{Infobox/row
 |header={{{header30|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label30|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data30|}}}     |datastyle={{{datastyle|}}}
 |class={{{class30|}}}   |rowclass={{{rowclass30|}}}
}}{{Infobox/row
 |header={{{header31|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label31|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data31|}}}     |datastyle={{{datastyle|}}}
 |class={{{class31|}}}   |rowclass={{{rowclass31|}}}
}}{{Infobox/row
 |header={{{header32|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label32|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data32|}}}     |datastyle={{{datastyle|}}}
 |class={{{class32|}}}   |rowclass={{{rowclass32|}}}
}}{{Infobox/row
 |header={{{header33|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label33|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data33|}}}     |datastyle={{{datastyle|}}}
 |class={{{class33|}}}   |rowclass={{{rowclass33|}}}
}}{{Infobox/row
 |header={{{header34|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label34|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data34|}}}     |datastyle={{{datastyle|}}}
 |class={{{class34|}}}   |rowclass={{{rowclass34|}}}
}}{{Infobox/row
 |header={{{header35|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label35|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data35|}}}     |datastyle={{{datastyle|}}}
 |class={{{class35|}}}   |rowclass={{{rowclass35|}}}
}}{{Infobox/row
 |header={{{header36|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label36|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data36|}}}     |datastyle={{{datastyle|}}}
 |class={{{class36|}}}   |rowclass={{{rowclass36|}}}
}}{{Infobox/row
 |header={{{header37|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label37|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data37|}}}     |datastyle={{{datastyle|}}}
 |class={{{class37|}}}   |rowclass={{{rowclass37|}}}
}}{{Infobox/row
 |header={{{header38|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label38|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data38|}}}     |datastyle={{{datastyle|}}}
 |class={{{class38|}}}   |rowclass={{{rowclass38|}}}
}}{{Infobox/row
 |header={{{header39|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label39|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data39|}}}     |datastyle={{{datastyle|}}}
 |class={{{class39|}}}   |rowclass={{{rowclass39|}}}
}}{{Infobox/row
 |header={{{header40|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label40|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data40|}}}     |datastyle={{{datastyle|}}}
 |class={{{class40|}}}   |rowclass={{{rowclass40|}}}
}}{{Infobox/row
 |header={{{header41|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label41|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data41|}}}     |datastyle={{{datastyle|}}}
 |class={{{class41|}}}   |rowclass={{{rowclass41|}}}
}}{{Infobox/row
 |header={{{header42|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label42|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data42|}}}     |datastyle={{{datastyle|}}}
 |class={{{class42|}}}   |rowclass={{{rowclass42|}}}
}}{{Infobox/row
 |header={{{header43|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label43|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data43|}}}     |datastyle={{{datastyle|}}}
 |class={{{class43|}}}   |rowclass={{{rowclass43|}}}
}}{{Infobox/row
 |header={{{header44|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label44|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data44|}}}     |datastyle={{{datastyle|}}}
 |class={{{class44|}}}   |rowclass={{{rowclass44|}}}
}}{{Infobox/row
 |header={{{header45|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label45|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data45|}}}     |datastyle={{{datastyle|}}}
 |class={{{class45|}}}   |rowclass={{{rowclass45|}}}
}}{{Infobox/row
 |header={{{header46|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label46|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data46|}}}     |datastyle={{{datastyle|}}}
 |class={{{class46|}}}   |rowclass={{{rowclass46|}}}
}}{{Infobox/row
 |header={{{header47|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label47|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data47|}}}     |datastyle={{{datastyle|}}}
 |class={{{class47|}}}   |rowclass={{{rowclass47|}}}
}}{{Infobox/row
 |header={{{header48|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label48|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data48|}}}     |datastyle={{{datastyle|}}}
 |class={{{class48|}}}   |rowclass={{{rowclass48|}}}
}}{{Infobox/row
 |header={{{header49|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label49|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data49|}}}     |datastyle={{{datastyle|}}}
 |class={{{class49|}}}   |rowclass={{{rowclass49|}}}
}}{{Infobox/row
 |header={{{header50|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label50|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data50|}}}     |datastyle={{{datastyle|}}}
 |class={{{class50|}}}   |rowclass={{{rowclass50|}}}
}}{{Infobox/row
 |header={{{header51|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label51|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data51|}}}     |datastyle={{{datastyle|}}}
 |class={{{class51|}}}   |rowclass={{{rowclass51|}}}
}}{{Infobox/row
 |header={{{header52|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label52|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data52|}}}     |datastyle={{{datastyle|}}}
 |class={{{class52|}}}   |rowclass={{{rowclass52|}}}
}}{{Infobox/row
 |header={{{header53|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label53|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data53|}}}     |datastyle={{{datastyle|}}}
 |class={{{class53|}}}   |rowclass={{{rowclass53|}}}
}}{{Infobox/row
 |header={{{header54|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label54|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data54|}}}     |datastyle={{{datastyle|}}}
 |class={{{class54|}}}   |rowclass={{{rowclass54|}}}
}}{{Infobox/row
 |header={{{header55|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label55|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data55|}}}     |datastyle={{{datastyle|}}}
 |class={{{class55|}}}   |rowclass={{{rowclass55|}}}
}}{{Infobox/row
 |header={{{header56|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label56|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data56|}}}     |datastyle={{{datastyle|}}}
 |class={{{class56|}}}   |rowclass={{{rowclass56|}}}
}}{{Infobox/row
 |header={{{header57|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label57|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data57|}}}     |datastyle={{{datastyle|}}}
 |class={{{class57|}}}   |rowclass={{{rowclass57|}}}
}}{{Infobox/row
 |header={{{header58|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label58|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data58|}}}     |datastyle={{{datastyle|}}}
 |class={{{class58|}}}   |rowclass={{{rowclass58|}}}
}}{{Infobox/row
 |header={{{header59|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label59|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data59|}}}     |datastyle={{{datastyle|}}}
 |class={{{class59|}}}   |rowclass={{{rowclass59|}}}
}}{{Infobox/row
 |header={{{header60|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label60|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data60|}}}     |datastyle={{{datastyle|}}}
 |class={{{class60|}}}   |rowclass={{{rowclass60|}}}
}}{{Infobox/row
 |header={{{header61|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label61|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data61|}}}     |datastyle={{{datastyle|}}}
 |class={{{class61|}}}   |rowclass={{{rowclass61|}}}
}}{{Infobox/row
 |header={{{header62|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label62|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data62|}}}     |datastyle={{{datastyle|}}}
 |class={{{class62|}}}   |rowclass={{{rowclass62|}}}
}}{{Infobox/row
 |header={{{header63|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label63|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data63|}}}     |datastyle={{{datastyle|}}}
 |class={{{class63|}}}   |rowclass={{{rowclass63|}}}
}}{{Infobox/row
 |header={{{header64|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label64|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data64|}}}     |datastyle={{{datastyle|}}}
 |class={{{class64|}}}   |rowclass={{{rowclass64|}}}
}}{{Infobox/row
 |header={{{header65|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label65|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data65|}}}     |datastyle={{{datastyle|}}}
 |class={{{class65|}}}   |rowclass={{{rowclass65|}}}
}}{{Infobox/row
 |header={{{header66|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label66|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data66|}}}     |datastyle={{{datastyle|}}}
 |class={{{class66|}}}   |rowclass={{{rowclass66|}}}
}}{{Infobox/row
 |header={{{header67|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label67|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data67|}}}     |datastyle={{{datastyle|}}}
 |class={{{class67|}}}   |rowclass={{{rowclass67|}}}
}}{{Infobox/row
 |header={{{header68|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label68|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data68|}}}     |datastyle={{{datastyle|}}}
 |class={{{class68|}}}   |rowclass={{{rowclass68|}}}
}}{{Infobox/row
 |header={{{header69|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label69|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data69|}}}     |datastyle={{{datastyle|}}}
 |class={{{class69|}}}   |rowclass={{{rowclass69|}}}
}}{{Infobox/row
 |header={{{header70|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label70|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data70|}}}     |datastyle={{{datastyle|}}}
 |class={{{class70|}}}   |rowclass={{{rowclass70|}}}
}}{{Infobox/row
 |header={{{header71|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label71|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data71|}}}     |datastyle={{{datastyle|}}}
 |class={{{class71|}}}   |rowclass={{{rowclass71|}}}
}}{{Infobox/row
 |header={{{header72|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label72|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data72|}}}     |datastyle={{{datastyle|}}}
 |class={{{class72|}}}   |rowclass={{{rowclass72|}}}
}}{{Infobox/row
 |header={{{header73|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label73|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data73|}}}     |datastyle={{{datastyle|}}}
 |class={{{class73|}}}   |rowclass={{{rowclass73|}}}
}}{{Infobox/row
 |header={{{header74|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label74|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data74|}}}     |datastyle={{{datastyle|}}}
 |class={{{class74|}}}   |rowclass={{{rowclass74|}}}
}}{{Infobox/row
 |header={{{header75|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label75|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data75|}}}     |datastyle={{{datastyle|}}}
 |class={{{class75|}}}   |rowclass={{{rowclass75|}}}
}}{{Infobox/row
 |header={{{header76|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label76|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data76|}}}     |datastyle={{{datastyle|}}}
 |class={{{class76|}}}   |rowclass={{{rowclass76|}}}
}}{{Infobox/row
 |header={{{header77|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label77|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data77|}}}     |datastyle={{{datastyle|}}}
 |class={{{class77|}}}   |rowclass={{{rowclass77|}}}
}}{{Infobox/row
 |header={{{header78|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label78|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data78|}}}     |datastyle={{{datastyle|}}}
 |class={{{class78|}}}   |rowclass={{{rowclass78|}}}
}}{{Infobox/row
 |header={{{header79|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label79|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data79|}}}     |datastyle={{{datastyle|}}}
 |class={{{class79|}}}   |rowclass={{{rowclass79|}}}
}}{{Infobox/row
 |header={{{header80|}}} |headerstyle={{{headerstyle|}}}
 |label={{{label80|}}}   |labelstyle={{{labelstyle|}}}
 |data={{{data80|}}}     |datastyle={{{datastyle|}}}
 |class={{{class80|}}}   |rowclass={{{rowclass80|}}}
}}&lt;!-- Below
--&gt;{{#if:{{{below|}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;{{{belowclass|}}}&quot; style=&quot;text-align:center; {{{belowstyle|}}}&quot;&gt;{{{below}}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 Navbar
--&gt;{{#if:{{{name|}}}|&lt;tr&gt;&lt;td colspan=&quot;2&quot; style=&quot;text-align:right&quot;&gt;{{navbar|{{{name}}}|noedit={{{noedit|0}}}}}&lt;/td&gt;&lt;/tr&gt;}}
&lt;/table&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox/row</title>
    <id>22874879</id>
    <revision>
      <id>312054689</id>
      <timestamp>2009-09-05T19:18:58Z</timestamp>
      <contributor>
        <username>Jarry1250</username>
        <id>2899122</id>
      </contributor>
      <comment>sync with sandbox.</comment>
      <text xml:space="preserve">{{#if:{{{header|}}}
 |&lt;tr&gt;&lt;th colspan=&quot;2&quot; style=&quot;text-align:center; {{{headerstyle|}}}&quot;&gt;{{{header}}}&lt;/th&gt;&lt;/tr&gt;
 |{{#if:{{{data|}}}
  |&lt;tr class=&quot;{{{rowclass|}}}&quot;&gt;{{#if:{{{label|}}}
   |&lt;th style=&quot;{{{labelstyle|}}}&quot;&gt;{{{label}}}&lt;/th&gt;
    &lt;td class=&quot;{{{class|}}}&quot; style=&quot;{{{datastyle|}}}&quot;&gt;
   |&lt;td colspan=&quot;2&quot; class=&quot;{{{class|}}}&quot; style=&quot;text-align:center; {{{datastyle|}}}&quot;&gt;
  }}{{{data}}}&lt;/td&gt;&lt;/tr&gt;
 }}
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Person</title>
    <id>3382507</id>
    <revision>
      <id>312394527</id>
      <timestamp>2009-09-07T14:52:22Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>minor - no really, very very minor indeed.</comment>
      <text xml:space="preserve">{{ infobox
| bodyclass  = biography vcard
| bodystyle  = width:{{#if:{{{box_width|}}}|{{{box_width}}} |22em}}; font-size:95%; text-align:left;
| above      = '''{{{name|{{PAGENAME}}}}}'''
| aboveclass = fn
| abovestyle = text-align:center; font-size:125%;
| image      = {{#if:{{{image|}}}|[[Image:{{{image}}}|{{#if:{{{image_size|{{{imagesize|}}}}}}|{{{image_size|{{{imagesize}}}}}}|225px}}|alt={{{alt|}}}]]}}
| imageclass = {{image class names|{{{image}}}}}
| imagestyle = padding:4pt; line-height:1.25em; text-align:center; font-size:8pt;
| caption    = &lt;div style=&quot;padding-top:2pt;&quot;&gt;{{{caption|}}}&lt;/div&gt;
| labelstyle = padding:0.2em 1.0em 0.2em 0.2em; background:transparent; line-height:1.2em; text-align:left; font-size:90%;
| datastyle  = padding:0.2em; line-height:1.3em; vertical-align:middle; font-size:90%;

| label1     = {{#if:{{{birth_name|}}}{{{birth_date|}}}{{{birth_place|}}}|Born}}
| data1      = {{#if:{{{birth_name|}}}|{{{birth_name}}}&lt;br /&gt;}}{{#if:{{{birth_date|}}} |{{{birth_date}}}&lt;br /&gt;}}{{{birth_place|}}}
| label2     = {{#if:{{{death_date|}}}{{{death_place|}}}|Died }}
| data2      = {{#if:{{{death_date|}}}|{{{death_date}}}&lt;br /&gt;}}{{{death_place|}}}
| label3     = Cause&amp;nbsp;of death
| data3      = {{{death_cause|}}}
| label4     = Body discovered
| data4      = {{{body_discovered|}}}
| label5     = Resting&amp;nbsp;place
| class5     = label
| data5      = {{{resting_place|}}}{{#if:{{{resting_place_coordinates|}}}|&lt;br /&gt;{{{resting_place_coordinates}}} }}
| label6     = Residence
| class6     = label
| data6      = {{{residence|}}}
| class7     = category
| label7     = Nationality
| data7      = {{{nationality|}}}
| label8     = Other&amp;nbsp;names
| class8     = nickname
| data8      = {{{other_names|}}}
| class9     = category
| label9     = Ethnicity
| data9      = {{{ethnicity|}}}
| class10    = category
| label10    = Citizenship
| data10     = {{{citizenship|}}}
| label11    = Education
| data11     = {{{education|}}}
| label12    = ''[[Alma mater]]''
| data12     = {{{alma_mater|}}}
| label13    = Occupation
| class13    = role
| data13     = {{{occupation|}}}
| label14    = Years active
| data14     = {{{years_active|}}}
| label15    = Employer
| data15     = {{{employer|}}}
| label16    = Home&amp;nbsp;town
| data16     = {{{home_town|}}}
| label17    = Salary
| data17     = {{{salary|}}}
| label18    = Net&amp;nbsp;worth
| data18     = {{{networth|}}}
| label19    = Height
| data19     = {{{height|}}}
| label20    = Weight
| data20     = {{{weight|}}}
| label21    = Known&amp;nbsp;for
| data21     = {{{known|{{{known_for|}}}}}}
| label22    = Title
| data22     = {{{title|}}}
| label23    = Term
| data23     = {{{term|}}}
| label24    = Predecessor
| data24     = {{{predecessor|}}}
| label25    = Successor
| data25     = {{{successor|}}}
| label26    = Political&amp;nbsp;party
| data26     = {{{party|}}}
| label27    = Opponent(s)
| data27     = {{{opponents|}}}
| label28    = Board member&amp;nbsp;of
| data28     = {{{boards|}}}
| label29    = Religious beliefs
| data29     = {{{religion|}}}
| label30    = Spouse(s)
| data30     = {{{spouse|}}}
| label31    = Partner
| data31     = {{{partner|}}}
| label32    = Children
| data32     = {{{children|}}}
| label33    = Parents
| data33     = {{{parents|}}}
| label34    = Relatives
| data34     = {{{relations|{{{relatives|}}}}}}
| label35    = Call-sign
| data35     = {{{callsign|}}}
| label36    = Awards
| data36     = {{{awards|}}}
| data37     = {{#if:{{{signature|}}}|'''Signature'''&lt;div style=&quot;padding-top:0.3em;&quot;&gt;[[Image:{{{signature}}}|128px|alt={{{signature_alt|}}}]]&lt;/div&gt;}}
| data38     = {{#if:{{{website|}}}| '''Website'''&lt;br /&gt;{{{website}}} }}
| data39     = {{#if:{{{footnotes|}}}|&lt;div style=&quot;text-align:left;&quot;&gt;&lt;div style=&quot;border-top:1px solid;&quot;&gt;'''Notes'''&lt;/div&gt;&lt;div style=&quot;line-height:1.2em;&quot;&gt;{{{footnotes}}}&lt;/div&gt;&lt;/div&gt;}}
| data40     = {{{misc|}}}
}}&lt;noinclude&gt;
{{pp-template}}
{{documentation}}&lt;!---Please add metadata to the &lt;includeonly&gt; section at the bottom of the /doc subpage---&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Link</title>
    <id>1761154</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>298651702</id>
      <timestamp>2009-06-25T23:48:30Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>rv substr addition - insane</comment>
      <text xml:space="preserve">{{#if: {{{1|}}} 
  | [{{{1}}} {{{2|}}}] 
  | {{{2|}}} 
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:MONTHNAME</title>
    <id>4858813</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206478436</id>
      <timestamp>2008-04-18T12:37:16Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding comment about categories and interwikis to the /doc page.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{1|}}}|{{#switch:{{MONTHNUMBER|{{{1}}}}}|1=January|2=February|3=March|4=April|5=May|6=June|7=July|8=August|9=September|10=October|11=November|12=December|Incorrect required parameter 1=''month''!}}|Missing required parameter 1=''month''!}}&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:MONTHNUMBER</title>
    <id>4859929</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>283134243</id>
      <timestamp>2009-04-11T07:15:29Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>improve code readability</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{1|}}}
 |{{#switch:{{lc:{{{1}}}}}
  |january|jan=1
  |february|feb=2
  |march|mar=3
  |apr|april=4
  |may=5
  |june|jun=6
  |july|jul=7
  |august|aug=8
  |september|sep=9
  |october|oct=10
  |november|nov=11
  |december|dec=12
  |{{#ifexpr:{{{1}}}&lt;0
   |{{#ifexpr:(({{{1}}})round 0)!=({{{1}}})
    |{{#expr:12-(((0.5-({{{1}}}))round 0)mod 12)}}
    |{{#expr:12-(((11.5-({{{1}}}))round 0)mod 12)}}
   }}
  |{{#expr:(((10.5+{{{1}}})round 0)mod 12)+1}}
  }}
 }}
 |Missing required parameter 1=''month''!
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Organist-stub</title>
    <id>10335589</id>
    <revision>
      <id>306121996</id>
      <timestamp>2009-08-05T01:21:31Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Wiki notes.svg
| pix       = 15
| subject   = 
| qualifier = on an [[organist]] 
| category  = Organist stubs
| tempsort  = 
| name      = Template:Organist-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:UK-composer-stub</title>
    <id>4977308</id>
    <revision>
      <id>306136820</id>
      <timestamp>2009-08-05T03:09:28Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = MusicalnotesUK.svg
| pix       = 40
| subject   = 
| qualifier = about a [[United Kingdom|British]] [[composer]] 
| category  = British composer stubs
| tempsort  =  
| name      = Template:UK-composer-stub
}}
&lt;noinclude&gt;
[[mk:Шаблон:Британија-композитор-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:France-composer-stub</title>
    <id>5123601</id>
    <revision>
      <id>305750744</id>
      <timestamp>2009-08-03T03:47:30Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about a [[France|French]] [[composer]] 
| category  = French composer stubs
| tempsort  =  
| name      = Template:France-composer-stub
}}
&lt;noinclude&gt;

[[ro:Format:Ciot-compozitor-Franţa]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Lang</title>
    <id>1430094</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>303231837</id>
      <timestamp>2009-07-20T23:24:00Z</timestamp>
      <contributor>
        <username>Good Olfactory</username>
        <id>6454287</id>
      </contributor>
      <comment>[[Wikipedia:Categories for discussion/Log/2009 July 4]]</comment>
      <text xml:space="preserve">&lt;span lang=&quot;{{{1}}}&quot; xml:lang=&quot;{{{1}}}&quot;&gt;{{{2}}}&lt;/span&gt;{{#if:{{NAMESPACE}}|
 |[[Category:Articles containing {{#switch:{{{1|}}}
  |ar       = Arabic
  |es       = Spanish
  |de       = German
  |fr       = French
  |ja       = Japanese
  |zh       = Chinese
  |bg       = Bulgarian
  |cs       = Czech
  |da       = Danish
  |nl       = Dutch
  |et       = Estonian
  |fi       = Finnish
  |el       = Greek
  |hu       = Hungarian
  |ga       = Irish
  |grc      = Ancient Greek
  |la|lat   = Latin
  |cy       = Welsh
  |sl       = Slovene
  |slv       = Slovene
  |en|eng   = explicitly cited English 
  |#default = {{#ifexist:Category:Articles containing {{ISO 639 name {{{1|}}}}} language text
   |{{ISO 639 name {{{1|}}}}}
   |non-English
  }}
 }} language text]]
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add cats and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite journal</title>
    <id>4740319</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>308893576</id>
      <timestamp>2009-08-19T15:28:53Z</timestamp>
      <contributor>
        <username>Smith609</username>
        <id>846901</id>
      </contributor>
      <comment>Copy author-mask line from [[Template:Citation]], where it is working... sorry about the initial error.</comment>
      <text xml:space="preserve">{{Citation/core
  |Citation type=Journal
  |AuthorMask = {{{author-mask|{{{authormask|}}}}}}
  |Surname1 = {{{last|{{{surname|{{{last1|{{{surname1|{{{author1|{{{author|{{{authors|{{{author|}}}}}}}}}}}}}}}}}}}}}}}}
  |Surname2 = {{{last2|{{{surname2|{{{author2|{{{coauthor|{{{coauthors|}}}}}}}}}}}}}}}
  |Surname3 = {{{last3|{{{surname3|{{{author3|}}}}}}}}}
  |Surname4 = {{{last4|{{{surname4|{{{author4|}}}}}}}}}
  |Surname5 = {{{last5|{{{surname5|{{{author5|}}}}}}}}}
  |Surname6 = {{{last6|{{{surname6|{{{author6|}}}}}}}}}
  |Surname7 = {{{last7|{{{surname7|{{{author7|}}}}}}}}}
  |Surname8 = {{{last8|{{{surname8|{{{author8|}}}}}}}}}
  |Surname9 = {{{last9|{{{surname9|{{{author9|}}}}}}}}}
  |Given1 = {{{first1|{{{given1|{{{first|{{{given|}}}}}}}}}}}}
  |Given2 = {{{first2|{{{given2|}}}}}}
  |Given3 = {{{first3|{{{given3|}}}}}}
  |Given4 = {{{first4|{{{given4|}}}}}}
  |Given5 = {{{first5|{{{given5|}}}}}}
  |Given6 = {{{first6|{{{given6|}}}}}}
  |Given7 = {{{first7|{{{given7|}}}}}}
  |Given8 = {{{first8|{{{given8|}}}}}}
  |Given9 = {{{first9|{{{given9|}}}}}}
  |Authorlink1 = {{{author-link|{{{author1-link|{{{authorlink|{{{authorlink1|}}}}}}}}}}}}
  |Authorlink2 = {{{author2-link|{{{authorlink2|}}}}}}
  |Authorlink3 = {{{author3-link|{{{authorlink3|}}}}}}
  |Authorlink4 = {{{author4-link|{{{authorlink4|}}}}}}
  |Authorlink5 = {{{author5-link|{{{authorlink5|}}}}}}
  |Authorlink6 = {{{author6-link|{{{authorlink6|}}}}}}
  |Authorlink7 = {{{author7-link|{{{authorlink7|}}}}}}
  |Authorlink8 = {{{author8-link|{{{authorlink8|}}}}}}
  |Authorlink9 = {{{author9-link|{{{authorlink9|}}}}}}
  |Year={{{year|{{    &lt;!-- attempt to derive year from date, if possible --&gt;
             #if: {{{date|}}}
             |{{
                #iferror:{{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{{year|{{{publication-date|}}}}}}}}
  |Title={{{title|}}}
  |TransTitle={{{trans_title|}}}
  |URL={{#if:{{{archiveurl|}}}|{{{archiveurl}}}|{{{url|}}}}} 
  |Series={{{series|{{{version|}}}}}}
  |Periodical = {{{journal|{{{periodical|{{{magazine|{{{work|}}}}}}}}}}}}
  |Volume = {{{volume|}}}
  |Issue = {{{issue|{{{number|}}}}}}
  |At = {{
          #if: {{{journal|{{{periodical|{{{magazine|{{{work|}}}}}}}}}}}}
          |{{{pages|{{{page|{{{at|}}}}}}}}}
          |{{
             #if: {{{page|}}}
             |p. {{{page}}}
             |{{
                #if: {{{pages|}}}
                |pp. {{{pages}}}
                |{{{at|}}}
              }}
           }}
        }}
  |IncludedWorkTitle = {{{chapter|{{{contribution|}}}}}}
  |IncludedWorkURL = {{{chapter-url|{{{chapterurl|{{{contribution-url|}}}}}}}}}
  |Edition = {{{edition|}}}
  |Place = {{{place|{{{location|}}}}}}
  |PublicationPlace = {{{publication-place|{{{place|{{{location|}}}}}}}}}
  |Publisher = {{{publisher|}}}
  |PublicationDate = {{{publication-date|}}}
  |EditorSurname1 = {{{editor-last|{{{editor-surname|{{{editor1-last|{{{editor1-surname|{{{editor|{{{editors|}}}}}}}}}}}}}}}}}}
  |EditorSurname2 = {{{editor2-last|{{{editor2-surname|}}}}}}
  |EditorSurname3 = {{{editor3-last|{{{editor3-surname|}}}}}}
  |EditorSurname4 = {{{editor4-last|{{{editor4-surname|}}}}}}
  |EditorGiven1 = {{{editor-first|{{{editor-given|{{{editor1-first|{{{editor1-given|}}}}}}}}}}}}
  |EditorGiven2={{{editor2-first|{{{editor2-given|}}}}}}
  |EditorGiven3={{{editor3-first|{{{editor3-given|}}}}}}
  |EditorGiven4={{{editor4-first|{{{editor4-given|}}}}}}
  |Editorlink1={{{editor-link|{{{editor1-link|}}}}}}
  |Editorlink2={{{editor2-link|}}}
  |Editorlink3={{{editor3-link|}}}
  |Editorlink4={{{editor4-link|}}}
  |language = {{{language|{{{in|}}}}}}
  |format = {{{format|}}}
  |ID={{{id|{{{ID|}}}}}}
  |ISBN={{{isbn|{{{ISBN|}}}}}}
  |ISSN={{{issn|{{{ISSN|}}}}}}
  |OCLC={{{oclc|{{{OCLC|}}}}}}
  |PMID={{{pmid|{{{PMID|}}}}}}
  |PMC={{{pmc|{{{PMC|}}}}}}
  |Bibcode={{{bibcode|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |DoiBroken={{{doi_brokendate|}}}
  |AccessDate={{{access-date|{{{accessdate|}}}}}}
  |ArchiveDate = {{{archivedate|}}}
  |OriginalURL = {{#if:{{{archiveurl|}}}|{{{url|}}}}}
  |laysource = {{{laysource|}}}
  |laysummary = {{{laysummary|}}}
  |laydate = {{{laydate|}}}
  |quote = {{{quote|}}}
  |Ref={{{ref|}}}
  |Sep = {{#ifeq:{{{separator|{{{seperator}}} }}}|;|&amp;#059;|{{{separator|{{{seperator|.}}} }}} }}
  |PS = {{{postscript|.}}}
  |msm = {{{use mixture of punctuation marks|}}}
  |amp = {{{use ampersand before last author|}}}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Commons</title>
    <id>1142901</id>
    <revision>
      <id>270731796</id>
      <timestamp>2009-02-14T20:51:46Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding &quot;| position = {{{position|}}}&quot; per editprotected request on talk page.</comment>
      <text xml:space="preserve">{{sister
| position = {{{position|}}}
| project  = commons
| text     = 
[[Wikimedia Commons]] has media related to: '''''[[Commons:{{{1|Special:Search/{{PAGENAME}}}}}|{{{2|{{{1|{{PAGENAME}}}}}}}}]]''''' 
}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cs icon</title>
    <id>3898082</id>
    <revision>
      <id>297381532</id>
      <timestamp>2009-06-19T16:16:43Z</timestamp>
      <contributor>
        <username>DSisyphBot</username>
        <id>8260451</id>
      </contributor>
      <minor/>
      <comment>robot  Adding: [[pt:Predefinição:((cs))]]</comment>
      <text xml:space="preserve">{{Languageicon|cs|Czech}}&lt;noinclude&gt;[[Category:Language icon templates|cs]]
[[ar:قالب:Cs icon]]
[[cs:Šablona:Cs]]
[[da:Skabelon:Cs sprog]]
[[dsb:Pśedłoga:Ref-cs]]
[[fr:Modèle:Cs]]
[[hsb:Předłoha:Ref-cs]]
[[id:Templat:Cs icon]]
[[hu:Sablon:Cs ikon]]
[[mk:Шаблон:Cs]]
[[pt:Predefinição:((cs))]]
[[ru:Шаблон:Ref-cs]]
[[sk:Šablóna:Ces icon]]
[[sl:Predloga:Ikona cs]]
[[sr:Шаблон:Cs]]
[[fi:Malline:Cs]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Findagrave</title>
    <id>3337898</id>
    <revision>
      <id>300007839</id>
      <timestamp>2009-07-03T06:34:30Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>Find A Grave -&gt; Find a Grave, per request on talk page</comment>
      <text xml:space="preserve">[http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&amp;GRid={{{1|{{{grid}}}}}} {{{2|{{{name|{{PAGENAME}}}}}}}}] at [[Find a Grave]]&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:GroveOnline</title>
    <id>3787157</id>
    <revision>
      <id>195580217</id>
      <timestamp>2008-03-03T16:55:20Z</timestamp>
      <contributor>
        <username>Grover cleveland</username>
        <id>652361</id>
      </contributor>
      <text xml:space="preserve">&lt;noinclude&gt;
This template provides a quick, standard method of citing the online version of [[The New Grove Dictionary of Music and Musicians]], ed. L. Macy, for music-related articles in Wikipedia.

== How to use ==
The syntax is as follows: '''&lt;nowiki&gt;{{GroveOnline|article|author|day and month|year}}&lt;/nowiki&gt;'''

Example usage and its result:

&lt;nowiki&gt;{{GroveOnline|Dieterich Buxtehude|Snyder, Kerala J|&lt;/nowiki&gt;{{CURRENTDAY}} {{CURRENTMONTHNAME}}|{{CURRENTYEAR}}&lt;nowiki&gt;}}&lt;/nowiki&gt;

{{GroveOnline|Dieterich Buxtehude|Snyder, Kerala J|{{CURRENTDAY}} {{CURRENTMONTHNAME}}|{{CURRENTYEAR}}}}
== Template data ==
&lt;/noinclude&gt;{{{2}}}. &quot;{{{1}}}&quot;, ''[[Grove Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed [[{{{3}}}]] [[{{{4}}}]]), [http://www.grovemusic.com/ grovemusic.com] (subscription access).&lt;noinclude&gt;

== See also ==
* [[Template:NewGrove2001]] - New Grove, 2nd ed., 2001
* [[Template:NewGrove1980]] - New Grove, 1st ed., 1980
* [[Template:NewGroveJazz2002]] - New Grove Dictionary of Jazz, 2nd ed., 2002
&lt;/noinclude&gt;&lt;noinclude&gt;[[Category:Music source templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name cs</title>
    <id>19090980</id>
    <revision>
      <id>235102019</id>
      <timestamp>2008-08-30T01:24:56Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Documentation second pass, Replaced: |ISO 639 name  → }}|  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">Czech&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name cs}}|cs}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name nl</title>
    <id>19088436</id>
    <revision>
      <id>235174137</id>
      <timestamp>2008-08-30T12:51:36Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Documentation second pass, Replaced: |ISO 639 name  → }}|  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">Dutch&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name nl}}|nl}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Languageicon</title>
    <id>3483283</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>308333366</id>
      <timestamp>2009-08-16T18:26:47Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Massive simplificaiton see talk page.</comment>
      <text xml:space="preserve">&lt;span class=&quot;languageicon&quot; style=&quot;font-size:0.95em; font-weight:bold; color:#555;&quot;&gt;({{ISO 639 name {{{1}}}}})&lt;/span&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Nl icon</title>
    <id>2469440</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206474147</id>
      <timestamp>2008-04-18T12:06:01Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding comment about categories and interwikis to the /doc page.</comment>
      <text xml:space="preserve">{{languageicon|nl|Dutch}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:See also</title>
    <id>1721254</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>273752318</id>
      <timestamp>2009-02-27T22:47:59Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <comment>Converting to use {{rellink}}</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{rellink|extraclasses=boilerplate seealso|{{{altphrase|See also}}}: {{#if:{{{1|}}} |&lt;!--then:--&gt;[[:{{{1}}}|{{{l1|{{{1}}}}}}]] |&lt;!--else:--&gt;'''Error: [[Template:See also|Template must be given at least one article name]]''' 
}}{{#if:{{{2|}}}|{{#if:{{{3|}}}|, |&amp;nbsp;and }} [[:{{{2}}}|{{{l2|{{{2}}}}}}]]
}}{{#if:{{{3|}}}|{{#if:{{{4|}}}|, |,&amp;nbsp;and }} [[:{{{3}}}|{{{l3|{{{3}}}}}}]]
}}{{#if:{{{4|}}}|{{#if:{{{5|}}}|, |,&amp;nbsp;and }} [[:{{{4}}}|{{{l4|{{{4}}}}}}]]
}}{{#if:{{{5|}}}|{{#if:{{{6|}}}|, |,&amp;nbsp;and }} [[:{{{5}}}|{{{l5|{{{5}}}}}}]]
}}{{#if:{{{6|}}}|{{#if:{{{7|}}}|, |,&amp;nbsp;and }} [[:{{{6}}}|{{{l6|{{{6}}}}}}]]
}}{{#if:{{{7|}}}|{{#if:{{{8|}}}|, |,&amp;nbsp;and }} [[:{{{7}}}|{{{l7|{{{7}}}}}}]]
}}{{#if:{{{8|}}}|{{#if:{{{9|}}}|, |,&amp;nbsp;and }} [[:{{{8}}}|{{{l8|{{{8}}}}}}]]
}}{{#if:{{{9|}}}|{{#if:{{{10|}}}|, |,&amp;nbsp;and }} [[:{{{9}}}|{{{l9|{{{9}}}}}}]]
}}{{#if:{{{10|}}}|{{#if:{{{11|}}}|, |,&amp;nbsp;and }} [[:{{{10}}}|{{{l10|{{{10}}}}}}]]
}}{{#if:{{{11|}}}|{{#if:{{{12|}}}|, |,&amp;nbsp;and }} [[:{{{11}}}|{{{l11|{{{11}}}}}}]]
}}{{#if:{{{12|}}}|{{#if:{{{13|}}}|, |,&amp;nbsp;and }} [[:{{{12}}}|{{{l12|{{{12}}}}}}]]
}}{{#if:{{{13|}}}|{{#if:{{{14|}}}|, |,&amp;nbsp;and }} [[:{{{13}}}|{{{l13|{{{13}}}}}}]]
}}{{#if:{{{14|}}}|{{#if:{{{15|}}}|, |,&amp;nbsp;and }} [[:{{{14}}}|{{{l14|{{{14}}}}}}]]
}}{{#if:{{{15|}}}|,&amp;nbsp;and [[:{{{15}}}|{{{l15|{{{15}}}}}}]]
}}{{#if:{{{16|}}}| &amp;mdash; '''&lt;br/&gt;Error: [[Template:See also|Too many links specified (maximum is 15)]]'''
}}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Sister</title>
    <id>20505184</id>
    <revision>
      <id>311647248</id>
      <timestamp>2009-09-03T12:46:54Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>add Wikipedia interwikis</comment>
      <text xml:space="preserve">{{side box
|position = {{{position|}}}
|image    = &lt;!--

--&gt;{{#switch:{{{image|}}}
 |none=
 |=[[Image:{{#switch:{{lc:{{{project|}}}}}
  |commons                = Commons-logo.svg
  |meta|metawiki|m        = Wikimedia Community Logo.svg
  |wikibooks|wbk|wb|b     = Wikibooks-logo-en-noslogan.svg
  |wikiquote|quote|wqt|q  = Wikiquote-logo-en.svg
  |wikipedia|wp|w         = Wikipedia-logo-en.png
  |wikisource|source|ws|s = Wikisource-logo.svg
  |wiktionary|wkt|wdy|d   = Wiktionary-logo-en.svg
  |wikinews|news|wnw|n    = Wikinews-logo.svg
  |wikispecies|species    = Wikispecies-logo.svg
  |wikiversity|wvy|v      = Wikiversity-logo.svg
  |mediawiki|mw           = Mediawiki.png
  |#default               = Wikimedia-logo.svg
 }}|40px|link={{#switch:{{lc:{{{project}}}}}
  |commons                = commons
  |meta|metawiki|m        = meta
  |wikibooks|wbk|wb|b     = b
  |wikiquote|quote|wqt|q  = q
  |wikipedia|wp|w         = w
  |wikisource|source|ws|s = s
  |wiktionary|wkt|wdy|d   = wikt
  |wikinews|news|wnw|n    = n
  |wikispecies|species    = species
  |wikiversity|wvy|v      = v
  |mediawiki|mw           = mw
  |#default               = 
 }}:{{{1|Special:Search/{{PAGENAME}}}}}|Search {{#switch:{{lc:{{{project}}}}}
  |commons                = Wikimedia Commons
  |meta|metawiki|m        = Meta
  |wikibooks|wbk|wb|b     = Wikibooks
  |wikiquote|quote|wqt|q  = Wikiquote
  |wikipedia|wp|w         = Wikipedia
  |wikisource|source|ws|s = Wikisource
  |wiktionary|wkt|wdy|d   = Wiktionary
  |wikinews|news|wnw|n    = Wikinews
  |wikispecies|species    = Wikispecies
  |wikiversity|wvy|v      = Wikiversity
  |mediawiki|mw           = MediaWiki
  |#default               = sister project
 }}]]
 |{{{image}}}
}}&lt;!--

--&gt;
|text       = {{{text}}}
|below      = {{{below|}}}
|imageright = {{{imageright|}}}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:MutopiaComposer</title>
    <id>15170661</id>
    <revision>
      <id>305153340</id>
      <timestamp>2009-07-30T21:19:08Z</timestamp>
      <contributor>
        <username>FordPrefect42</username>
        <id>566149</id>
      </contributor>
      <comment>[[de:Vorlage:Mutopia]]</comment>
      <text xml:space="preserve">The [[Mutopia Project]] has compositions by [http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer={{{1|{{{id}}}}}} ''{{{2|{{PAGENAME}}}}}'']&lt;noinclude&gt;
&lt;!--
Since the template is not very readable:
This is a template to link composer biography pages to the Mutopia Project page given in the 
&lt;nowiki&gt;{{MutopiaComposer|id}}&lt;/nowiki&gt; page whose URL ends with id. (To find out id, go to the page 
http://www.mutopiaproject.org/browse.html#byComposer
-- id follows = in the page address (URL) linked to by the composer's name. So 
Johannes Brahms goes via J. Brahms (1833-1897)
to BrahmsJ

Suggestion:
for aesthetics at least, please remove any MutopiaComposer links to empty lists, whether or not they were empty when the external link was first made. (There are other reasons to remove links also that are more important - of course.)
Categories:--&gt;
[[Category:Composer templates|{{PAGENAME}}]]
[[Category:Music external link templates|MutopiaComposer]]
[[Category:People and person external link templates|{{PAGENAME}}]]

[[de:Vorlage:Mutopia]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Seealso</title>
    <id>1866967</id>
    <redirect />
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>192767645</id>
      <timestamp>2008-02-20T09:44:40Z</timestamp>
      <contributor>
        <username>Riana</username>
        <id>127798</id>
      </contributor>
      <comment>+ cat</comment>
      <text xml:space="preserve">#REDIRECT [[Template:See also]]
[[Category:Protected redirects]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Ambox</title>
    <id>13179742</id>
    <revision>
      <id>300432756</id>
      <timestamp>2009-07-05T16:47:36Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>remove category sortkey which is now the default after [[bugzilla:16552]]</comment>
      <text xml:space="preserve">{{#switch:{{{small|}}}
| left = 
  {{ambox/core
  | small      = left
  | type       = {{{type|}}}
  | image      = {{#if:{{{smallimage|}}}
                 | {{{smallimage}}}
                 | {{{image|}}}
                 }}
  | imageright = {{#if:{{{smallimageright|}}}
                 | {{{smallimageright}}}
                 | {{{imageright|}}}
                 }}
  | style      = {{{style|}}}
  | textstyle  = {{{textstyle|}}}
  | text       = {{#if:{{{smalltext|}}}
                 | {{{smalltext}}} 
                 | {{{text}}} 
                 }}
  }}
| #default = 
  {{ambox/core
  | type       = {{{type|}}}
  | image      = {{{image|}}}
  | imageright = {{{imageright|}}}
  | style      = {{{style|}}}
  | textstyle  = {{{textstyle|}}}
  | text       = {{{text}}}
  }}
}}&lt;!--

--&gt;&lt;includeonly&gt;{{#ifeq:{{BASEPAGENAME}}|{{SUBPAGENAME}}|{{#ifeq:{{NAMESPACE}}|Template|[[Category:Article message boxes]]}}}}&lt;/includeonly&gt;&lt;!--

--&gt;&lt;noinclude&gt;

{{pp-template}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Ambox/core</title>
    <id>21903186</id>
    <revision>
      <id>300455283</id>
      <timestamp>2009-07-05T19:15:33Z</timestamp>
      <contributor>
        <username>TheDJ</username>
        <id>244887</id>
      </contributor>
      <comment>hardcoded mbox-empty-cell no longer needed.</comment>
      <text xml:space="preserve">&lt;table class=&quot;metadata plainlinks ambox {{#switch:{{{small|}}}
| left = mbox-small-left
}} {{#switch:{{{type|}}}
| speedy     = ambox-speedy
| delete     = ambox-delete
| content    = ambox-content
| style      = ambox-style
| move       = ambox-move
| protection = ambox-protection
| notice     &lt;!-- notice = default --&gt;
| #default   = ambox-notice
}}&quot; style=&quot;{{{style|}}}&quot;&gt;
&lt;tr&gt;
{{#switch:{{{image|}}}
| blank    &lt;!-- Fall back to &quot;none&quot;, since deprecated. --&gt;
| none = &lt;td class=&quot;mbox-empty-cell&quot;&gt;&lt;/td&gt;   &lt;!-- No image. Cell with some width or padding necessary for text cell to have 100% width. --&gt;
| #default = 
  &lt;td class=&quot;mbox-image&quot;&gt;{{
  #switch:{{{small|}}}
  | left = &lt;!-- Don't use the DIV --&gt; 
  | #default = &lt;div style=&quot;width: 52px;&quot;&gt; 
  }}
  {{#if:{{{image|}}}
  | {{{image}}}
  | [[Image:{{#switch:{{{type|}}}
    | speedy     = Ambox speedy deletion.png
    | delete     = Ambox deletion.png
    | content    = Ambox content.png
    | style      = Ambox style.png
    | move       = Ambox move.png
    | protection = Ambox protection.png
    | notice          &lt;!-- notice = default --&gt;
    | #default   = Ambox notice.png
    }} | {{#switch:{{{small|}}} 
      | left = 20x20px 
      | #default = 40x40px 
      }} ]]
  }}{{#switch:{{{small|}}}
  | left = &lt;!-- Don't use the /DIV --&gt;
  | #default = &lt;/div&gt; 
  }}&lt;/td&gt;
}}
&lt;td class=&quot;mbox-text&quot; style=&quot;{{{textstyle|}}}&quot;&gt; {{{text}}} &lt;/td&gt;
{{#if:{{{imageright|}}}
| {{#ifeq:{{{imageright|}}}|none
  | &lt;!-- No image. --&gt;
  | &lt;td class=&quot;mbox-imageright&quot;&gt;{{#switch:{{{small|}}}
    | left = {{{imageright}}}
    | #default = &lt;div style=&quot;width: 52px;&quot;&gt; {{{imageright}}} &lt;/div&gt;
    }}&lt;/td&gt;
  }}
}}
&lt;/tr&gt;
&lt;/table&gt;&lt;!-- 
Detect and report usage with faulty &quot;type&quot; parameter:
--&gt;{{#switch:{{{type|}}}
|   &lt;!-- No type fed, is also valid input --&gt;
| speedy
| delete
| content
| style
| move
| protection
| notice     = &lt;!-- Do nothing, valid &quot;type&quot; --&gt;
| #default   = &lt;div style=&quot;text-align: center;&quot;&gt;This message box is using an invalid &quot;type={{{type|}}}&quot; parameter and needs fixing.&lt;/div&gt;[[Category:Wikipedia message box parameter needs fixing|{{main other|Main:}}{{FULLPAGENAME}}]]&lt;!-- Sort on namespace --&gt;
}}&lt;!-- 
Detect and report usage of deprecated &quot;image=blank&quot;:
--&gt;{{#switch:{{{image|}}}
| blank = [[Category:Wikipedia message box parameter needs fixing|{{main other|Main:}}{{FULLPAGENAME}}]]&lt;!-- Sort on namespace --&gt;
}}&lt;noinclude&gt;

{{pp-template}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:DMCA</title>
    <id>23226218</id>
    <revision>
      <id>296800547</id>
      <timestamp>2009-06-16T18:18:41Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>pp now on doc</comment>
      <text xml:space="preserve">{{Dated maintenance category
 |onlyarticles=yes
 |1={{{1|}}}
 |2={{{2|}}}
 |3={{{3|}}}
 |4={{{4|}}}
 |5={{{5|}}}
}}&lt;noinclude&gt;
{{documentation|Template:Dated maintenance category/doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Dated maintenance category</title>
    <id>22598546</id>
    <revision>
      <id>296800359</id>
      <timestamp>2009-06-16T18:17:34Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>pp now on doc</comment>
      <text xml:space="preserve">{{#ifexpr:{{#if:{{NAMESPACE}}|0|1}}+{{#ifeq:{{{onlyarticles|no}}}|yes|0|1}}
 |{{#if:{{{3|}}}
  |[[Category:{{{1}}} {{{2}}} {{{3}}}]]
  {{#ifexist:Category:{{{1}}} {{{2}}} {{{3}}}|
   |[[Category:Articles with invalid date parameter in template]]}}
  |[[Category:{{#if:{{{5|}}}
   |{{{5}}}
   |{{{1}}}
  }}]]
 }}
 {{#if:{{{4|}}}|[[Category:{{{4}}}]]}}
|}}&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:No footnotes</title>
    <id>7414240</id>
    <revision>
      <id>296356322</id>
      <timestamp>2009-06-14T14:22:16Z</timestamp>
      <contributor>
        <username>Piotrus</username>
        <id>59002</id>
      </contributor>
      <comment>+&quot;related reading&quot; - for articles which have &quot;further reading&quot; sections</comment>
      <text xml:space="preserve">{{ambox
| type  = style
| image = [[Image:Text document with red question mark.svg|50x40px]]
| text  = This {{{1|article}}} includes a [[{{SITENAME}}:Citing sources|list of references]], related reading or [[Wikipedia:External links|external links]], but '''its sources remain unclear because it lacks [[Wikipedia:Citing sources#Inline citations|inline citations]].''' Please [[{{SITENAME}}:WikiProject Fact and Reference Check|improve]] this article by introducing more precise citations [[Wikipedia:When to cite|where appropriate]]. {{#if:{{{date|}}}|&lt;small&gt;''({{{date}}})''&lt;/small&gt;}}
}}&lt;includeonly&gt;{{DMCA|Articles lacking in-text citations|from|{{{date|}}}}}&lt;/includeonly&gt;&lt;noinclude&gt;{{template doc}}&lt;!--Categories and interwikis go in the /doc page.--&gt;&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Italy-composer-stub</title>
    <id>5123634</id>
    <revision>
      <id>305758147</id>
      <timestamp>2009-08-03T04:54:06Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about an [[Italy|Italian]] [[composer]] 
| category  = Italian composer stubs
| tempsort  =  
| name      = Template:Italy-composer-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Commons category</title>
    <id>1275099</id>
    <revision>
      <id>302203218</id>
      <timestamp>2009-07-15T10:38:41Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>moved [[Template:Commons cat]] to [[Template:Commons category]]: Readability</comment>
      <text xml:space="preserve">{{commons
| position = {{{position|}}}
| :Category:{{{1|{{PAGENAME}}}}}|{{{2|{{{1|{{PAGENAME}}}}}}}}
}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Commonscat</title>
    <id>16909074</id>
    <redirect />
    <revision>
      <id>302203131</id>
      <timestamp>2009-07-15T10:37:49Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>[[WP:AES|←]]Redirected page to [[Template:Commons category]]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Commons category]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Czech-bio-stub</title>
    <id>13218419</id>
    <redirect />
    <revision>
      <id>157210979</id>
      <timestamp>2007-09-11T19:14:36Z</timestamp>
      <contributor>
        <username>Amalas</username>
        <id>1089346</id>
      </contributor>
      <comment>moved [[Template:Czech-bio-stub]] to [[Template:CzechRepublic-bio-stub]]: per [[WP:SFD]]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:CzechRepublic-bio-stub]]</text>
    </revision>
  </page>
  <page>
    <title>Template:CzechRepublic-bio-stub</title>
    <id>2172592</id>
    <revision>
      <id>305573751</id>
      <timestamp>2009-08-02T03:55:24Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Czech Republic stub.svg|left
| pix       = 30
| subject   = [[Czechs|Czech]] [[biography|biographical]] 
| qualifier = 
| category  = Czech people stubs
| tempsort  =  
| name      = Template:CzechRepublic-bio-stub
}}
&lt;noinclude&gt;
[[eo:Ŝablono:Ĝermo-ĉeĥo]]
[[mk:Шаблон:Чешка-биог-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Unreferenced</title>
    <id>1440745</id>
    <revision>
      <id>312937957</id>
      <timestamp>2009-09-10T07:01:45Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">&lt;!--{{Unreferenced}} begin--&gt;{{Ambox
| type  = content
| image = [[Image:Question book-new.svg|50x40px|link=]]
| text  = This {{{1|article}}} '''does not [[Wikipedia:Citing sources|cite]] any [[Wikipedia:Verifiability|references or sources]]'''. Please help [{{fullurl:{{FULLPAGENAME}}|action=edit}} improve this article] by adding citations to [[Wikipedia:Reliable sources|reliable sources]]. Unsourced material may be [[Template:Citation needed|challenged]] and [[Wikipedia:Verifiability#Burden of evidence|removed]]. {{#if:{{{date|}}}|&lt;small&gt;''({{{date}}})''&lt;/small&gt;}}
}}{{#ifeq:{{{1}}}|section|{{DMCA|Articles needing additional references|from|{{{date|}}}}}|{{DMCA|Articles lacking sources|from|{{{date|}}}|All articles lacking sources}}}}&lt;!--{{Unreferenced}} end--&gt;&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Classical guitar</title>
    <id>5683064</id>
    <revision>
      <id>302658130</id>
      <timestamp>2009-07-17T20:21:29Z</timestamp>
      <contributor>
        <username>Soetermans</username>
        <id>1289606</id>
      </contributor>
      <minor/>
      <comment>no unnecessary caps per [[WP:MOS (capitalization)]]</comment>
      <text xml:space="preserve">{{Navbox
 | name    = Classical guitar
 | title   = [[Portal:Classical guitar|Classical guitar portal]]
 | list1   = [[Classical guitar]]{{·}} [[History of the classical guitar]]{{·}} [[Classical guitar making]]{{·}} [[Classical guitar repertoire]]{{·}} [[Classical guitar pedagogy]]{{·}} [[Classical guitar technique]]{{·}} [[Classical guitarists]]{{·}} [[International classical guitar competitions]]
|below = [[Guitar|Guitar main article]]{{·}} [[Luthier|Luthier main article]]{{·}} [[Wikipedia:WikiProject Classical guitar|Classical guitar WikiProject]]
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Navbar</title>
    <id>5277509</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>298552649</id>
      <timestamp>2009-06-25T13:01:04Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>reword for consistency with other span titles</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{nodiv|}}}|&amp;nbsp;&lt;span|&lt;div}} class=&quot;noprint plainlinks navbar&quot; style=&quot;background:none; padding:0; font-weight:normal;{{{fontstyle|}}}; font-size:xx-small; {{{style|}}}&quot;&gt;&lt;!--

--&gt;{{#if:{{{mini|}}}{{{plain|}}}|&lt;!--nothing--&gt;|&lt;!--else:
--&gt;This box:&amp;#32;}}&lt;!--

--&gt;{{#if:{{{brackets|}}}|&amp;#91;}}&lt;!--

--&gt;[[{{transclude|{{{1}}}}}|&lt;span title=&quot;View this template&quot; style=&quot;{{{fontstyle|}}}&quot;&gt;&lt;!--
--&gt;{{#if:{{{mini|}}}|v|view}}&lt;/span&gt;]]&lt;!--

--&gt;&amp;nbsp;&lt;span style=&quot;font-size:80%;&quot;&gt;•&lt;/span&gt;&amp;nbsp;[[{{TALKPAGENAME:{{transclude|{{{1}}}}}}}|&lt;span title=&quot;Discuss this template&quot; style=&quot;{{{fontstyle|}}}&quot;&gt;{{#if:{{{mini|}}}|d|talk}}&lt;/span&gt;]]&lt;!--

--&gt;{{#if:{{{noedit|}}}|&lt;!--nothing--&gt;|&lt;!--else:
--&gt;&amp;nbsp;&lt;span style=&quot;font-size:80%;&quot;&gt;•&lt;/span&gt;&amp;nbsp;[{{fullurl:{{transclude|{{{1}}}}}|action=edit}}&lt;span title=&quot;Edit this template&quot; style=&quot;{{{fontstyle|}}};&quot;&gt;{{#if:{{{mini|}}}|e|edit}}&lt;/span&gt;]&lt;!--
--&gt;}}&lt;!--

--&gt;{{#if:{{{brackets|}}}|]}}&lt;!--

--&gt;{{#if:{{{nodiv|}}}|&lt;!--then:
--&gt;&lt;/span&gt;&amp;nbsp;|&lt;!--else:
--&gt;&lt;/div&gt;}}&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Navbox</title>
    <id>995954</id>
    <revision>
      <id>305046752</id>
      <timestamp>2009-07-30T09:51:54Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <minor/>
      <comment>add titleclass and bodyclass parameters, per request on talk page</comment>
      <text xml:space="preserve">&lt;!--

Please do not edit without discussion first as this is a VERY complex template.

--&gt;{{#switch:{{{border|{{{1|}}}}}}|subgroup|child=&lt;/div&gt;|none=|#default=&lt;table class=&quot;navbox {{{bodyclass|}}}&quot; cellspacing=&quot;0&quot; &lt;!--
 --&gt;style=&quot;{{{bodystyle|}}};{{{style|}}}&quot;&gt;&lt;tr&gt;&lt;td style=&quot;padding:2px;&quot;&gt;}}&lt;!--

--&gt;&lt;table cellspacing=&quot;0&quot; class=&quot;nowraplinks {{#if:{{{title|}}}|{{#switch:{{{state|}}}|plain|off=|&lt;!--
 --&gt;#default=collapsible {{#if:{{{state|}}}|{{{state}}}|autocollapse}}}}}} {{#switch:{{{border|{{{1|}}}}}}|&lt;!--
 --&gt;subgroup|child|none=navbox-subgroup&quot; style=&quot;width:100%;{{{bodystyle|}}};{{{style|}}}|&lt;!--
 --&gt;#default=&quot; style=&quot;width:100%;background:transparent;color:inherit}};{{{innerstyle|}}};&quot;&gt;&lt;!--



---Title and Navbar---
--&gt;{{#if:{{{title|}}}|&lt;tr&gt;{{#if:{{{titlegroup|}}}|&lt;!--
 --&gt;&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{titlegroupstyle|}}}&quot;&gt;{{{titlegroup|}}}&lt;/td&gt;&lt;!--
 --&gt;&lt;th style=&quot;border-left:2px solid #fdfdfd;width:100%;|&lt;th style=&quot;}}{{{basestyle|}}};{{{titlestyle|}}}&quot; &lt;!--
 --&gt;colspan={{#expr:2{{#if:{{{imageleft|}}}|+1}}{{#if:{{{image|}}}|+1}}{{#if:{{{titlegroup|}}}|-1}}}} &lt;!--
 --&gt;class=&quot;navbox-title&quot;&gt;&lt;!--

--&gt;{{#if:{{#switch:{{{navbar|}}}|plain|off=1}}&lt;!--
 --&gt;{{#if:{{{name|}}}||{{#switch:{{{border|{{{1|}}}}}}|subgroup|child|none=1}}}}|&lt;!--
 --&gt;{{#ifeq:{{{navbar|}}}|off|{{#ifeq:{{{state|}}}|plain|&lt;div style=&quot;float:right;width:6em;&quot;&gt;&amp;nbsp;&lt;/div&gt;}}|&lt;!--
 --&gt;{{#ifeq:{{{state|}}}|plain||&lt;div style=&quot;float:left; width:6em;text-align:left;&quot;&gt;&amp;nbsp;&lt;/div&gt;}}}}|&lt;!--
 --&gt;&lt;div style=&quot;float:left; width:6em;text-align:left;&quot;&gt;&lt;!--
 --&gt;{{Navbar|{{{name}}}|fontstyle={{{basestyle|}}};{{{titlestyle|}}};border:none;|mini=1}}&lt;!--
 --&gt;&lt;/div&gt;{{#ifeq:{{{state|}}}|plain|&lt;div style=&quot;float:right;width:6em;&quot;&gt;&amp;nbsp;&lt;/div&gt;}}}}&lt;!--

 --&gt;&lt;span class=&quot;{{{titleclass|}}}&quot; style=&quot;font-size:{{#switch:{{{border|{{{1|}}}}}}|subgroup|child|none=100|#default=110}}%;&quot;&gt;&lt;!--
 --&gt;{{{title}}}&lt;/span&gt;&lt;/th&gt;&lt;/tr&gt;}}&lt;!--



---Above---
--&gt;{{#if:{{{above|}}}|&lt;!--
 --&gt;{{#if:{{{title|}}}|&lt;tr style=&quot;height:2px;&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 --&gt;&lt;tr&gt;&lt;td class=&quot;navbox-abovebelow&quot; style=&quot;{{{basestyle|}}};{{{abovestyle|}}}&quot; &lt;!--
 --&gt;colspan=&quot;{{#expr:2{{#if:{{{imageleft|}}}|+1}}{{#if:{{{image|}}}|+1}}}}&quot;&gt;{{{above}}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--



---Body---

---First group/list and images---
--&gt;{{#if:{{{list1|}}}|{{#if:{{{title|}}}{{{above|}}}|&lt;tr style=&quot;height:2px;&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;tr&gt;&lt;!--

--&gt;{{#if:{{{imageleft|}}}|&lt;!--
 --&gt;&lt;td style=&quot;width:0%;padding:0px 2px 0px 0px;{{{imageleftstyle|}}}&quot; &lt;!--
 --&gt;rowspan={{#expr:1{{#if:{{{list2|}}}|+2}}{{#if:{{{list3|}}}|+2}}{{#if:{{{list4|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list5|}}}|+2}}{{#if:{{{list6|}}}|+2}}{{#if:{{{list7|}}}|+2}}{{#if:{{{list8|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list9|}}}|+2}}{{#if:{{{list10|}}}|+2}}{{#if:{{{list11|}}}|+2}}{{#if:{{{list12|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list13|}}}|+2}}{{#if:{{{list14|}}}|+2}}{{#if:{{{list15|}}}|+2}}{{#if:{{{list16|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list17|}}}|+2}}{{#if:{{{list18|}}}|+2}}{{#if:{{{list19|}}}|+2}}{{#if:{{{list20|}}}|+2}}}}&gt;&lt;!--
 --&gt;{{{imageleft}}}&lt;/td&gt;}}&lt;!--

 --&gt;{{#if:{{{group1|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group1style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group1}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list1style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{list1padding|{{{listpadding|0em 0.25em}}}}}}&quot;&gt;{{{list1}}}&lt;/div&gt;&lt;/td&gt;&lt;!--

--&gt;{{#if:{{{image|}}}|&lt;!--
 --&gt;&lt;td style=&quot;width:0%;padding:0px 0px 0px 2px;{{{imagestyle|}}}&quot; &lt;!--
 --&gt;rowspan={{#expr:1{{#if:{{{list2|}}}|+2}}{{#if:{{{list3|}}}|+2}}{{#if:{{{list4|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list5|}}}|+2}}{{#if:{{{list6|}}}|+2}}{{#if:{{{list7|}}}|+2}}{{#if:{{{list8|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list9|}}}|+2}}{{#if:{{{list10|}}}|+2}}{{#if:{{{list11|}}}|+2}}{{#if:{{{list12|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list13|}}}|+2}}{{#if:{{{list14|}}}|+2}}{{#if:{{{list15|}}}|+2}}{{#if:{{{list16|}}}|+2}}&lt;!--
 --&gt;{{#if:{{{list17|}}}|+2}}{{#if:{{{list18|}}}|+2}}{{#if:{{{list19|}}}|+2}}{{#if:{{{list20|}}}|+2}}}}&gt;&lt;!--
 --&gt;{{{image}}}&lt;/td&gt;}}&lt;!--

--&gt;&lt;/tr&gt;}}&lt;!--



---Remaining groups/lists---

--&gt;{{#if:{{{list2|}}}|&lt;!--
 --&gt;{{#if:{{{title|}}}{{{above|}}}{{{list1|}}}|&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group2|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group2style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group2}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list2style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list2}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list3|}}}|&lt;!--
 --&gt;{{#if:{{{title|}}}{{{above|}}}{{{list1|}}}{{{list2|}}}|&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group3|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group3style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group3}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list3style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list3}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list4|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group4|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group4style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group4}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list4style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list4}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list5|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group5|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group5style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group5}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list5style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list5}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list6|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group6|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group6style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group6}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list6style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list6}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list7|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group7|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group7style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group7}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list7style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list7}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list8|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group8|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group8style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group8}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list8style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list8}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list9|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group9|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group9style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group9}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list9style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list9}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list10|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group10|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group10style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group10}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list10style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list10}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list11|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group11|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group11style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group11}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list11style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list11}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list12|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group12|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group12style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group12}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list12style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list12}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list13|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group13|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group13style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group13}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list13style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list13}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list14|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group14|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group14style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group14}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list14style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list14}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list15|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group15|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group15style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group15}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list15style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list15}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list16|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group16|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group16style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group16}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list16style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list16}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list17|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group17|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group17style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group17}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list17style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list17}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list18|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group18|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group18style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group18}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list18style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list18}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list19|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group19|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group19style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group19}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{oddstyle|}}};{{{list19style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|even|{{{evenodd|odd}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list19}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--

--&gt;{{#if:{{{list20|}}}|&lt;!--
 --&gt;&lt;tr style=&quot;height:2px&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;!--
 --&gt;{{#if:{{{group20|}}}|&lt;td class=&quot;navbox-group&quot; style=&quot;{{{basestyle|}}};{{{groupstyle|}}};{{{group20style|}}}&quot;&gt;&lt;!--
 --&gt;{{{group20}}}&lt;/td&gt;&lt;td style=&quot;text-align:left;border-left-width:2px;border-left-style:solid;|&lt;td colspan=2 style=&quot;}}&lt;!--
 --&gt;width:100%;padding:0px;{{{liststyle|}}};{{{evenstyle|}}};{{{list20style|}}}&quot; &lt;!--
 --&gt;class=&quot;navbox-list navbox-{{#ifeq:{{{evenodd|}}}|swap|odd|{{{evenodd|even}}}}}&quot;&gt;&lt;!--
 --&gt;&lt;div style=&quot;padding:{{{listpadding|0em 0.25em}}}&quot;&gt;{{{list20}}}&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--


---Below---
--&gt;{{#if:{{{below|}}}|&lt;!--
 --&gt;{{#if:{{{title|}}}{{{above|}}}{{{list1|}}}{{{list2|}}}{{{list3|}}}|&lt;tr style=&quot;height:2px;&quot;&gt;&lt;td&gt;&lt;/td&gt;&lt;/tr&gt;}}&lt;!--
 --&gt;&lt;tr&gt;&lt;td class=&quot;navbox-abovebelow&quot; style=&quot;{{{basestyle|}}};{{{belowstyle|}}}&quot; &lt;!--
 --&gt;colspan=&quot;{{#expr:2{{#if:{{{imageleft|}}}|+1}}{{#if:{{{image|}}}|+1}}}}&quot;&gt;{{{below}}}&lt;/td&gt;&lt;/tr&gt;}}&lt;!--


--&gt;&lt;/table&gt;{{#switch:{{{border|{{{1|}}}}}}|subgroup|child=&lt;div&gt;|none=|#default=&lt;/td&gt;&lt;/tr&gt;&lt;/table&gt;}}&lt;!--

--&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}

{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Transclude</title>
    <id>21843384</id>
    <revision>
      <id>275377931</id>
      <timestamp>2009-03-06T12:09:04Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Transclude: [[WP:HRT|Highly visible template]] ([edit=sysop] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">{{#switch: {{NAMESPACE: {{{1}}} }}
 |#default = {{FULLPAGENAME: {{{1}}} }} &lt;!-- eg &quot;User:Foo&quot; --&gt;
 |{{ns:0}} = 
    {{#ifeq: {{NAMESPACE: {{{1}}} }} | {{NAMESPACE: Template{{{1}}} }}
      | Template:{{{1}}}            &lt;!-- no leading colon, eg &quot;Foo&quot; --&gt;
      | {{PAGENAME: {{{1}}} }}      &lt;!-- leading colon, eg &quot;:Foo&quot;, so we want the article --&gt;
    }}
}}&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:·</title>
    <id>7599646</id>
    <revision>
      <id>238885972</id>
      <timestamp>2008-09-16T21:04:35Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Removed unneeded includeonly tags, and changed from using the redirect {{template doc}} to directly using {{documentation}}.</comment>
      <text xml:space="preserve">&lt;span style=&quot;font-weight:bold;&quot;&gt;&amp;nbsp;·&lt;/span&gt; &lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cleanup</title>
    <id>7215892</id>
    <revision>
      <id>311381324</id>
      <timestamp>2009-09-02T00:46:02Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">&lt;!--{{Cleanup}} begin--&gt;{{Mbox
| demospace = {{{demospace|}}}
| type = style
| text = This {{{1|article}}} '''may require [[Wikipedia:cleanup|cleanup]] to meet Wikipedia's [[Wikipedia:Manual of Style|quality standards]].''' Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} improve this {{{1|{{#if:{{NAMESPACE}}|{{NAMESPACE}} page|article}}}}}] if you can. {{#if:{{{date|}}}|&lt;small&gt;''({{{date}}})''&lt;/small&gt;}}
}}&lt;includeonly&gt;{{#switch:{{NAMESPACE}}
| {{ns:0}}    &lt;!-- Main = talk = image = template --&gt;
| Talk
| Image 
| Template={{DMC|Cleanup|from|{{{date|}}}|All pages needing cleanup|Wikipedia cleanup}}
}}&lt;/includeonly&gt;&lt;!--{{Cleanup}} end--&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}

{{documentation}}

&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;

&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:DMC</title>
    <id>7581587</id>
    <redirect />
    <revision>
      <id>296511792</id>
      <timestamp>2009-06-15T09:41:37Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <comment>templates merged</comment>
      <text xml:space="preserve">#redirect[[Template:Dated maintenance category]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Mbox</title>
    <id>13319244</id>
    <revision>
      <id>270072593</id>
      <timestamp>2009-02-11T20:43:22Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed deprecated &quot;{{namespace detect|image=}}&quot; to &quot;{{namespace detect|file=}}, due to change of namespace &quot;Image:&quot; to &quot;File:&quot;. No change in functionality.</comment>
      <text xml:space="preserve">{{
  {{namespace detect 
  | demospace = {{{demospace|}}}
  | main      = ambox
  | talk      = tmbox
  | file      = imbox
  | category  = cmbox
  | other     = ombox
  }}
| type       = {{{type|}}}
| image      = {{{image|}}}
| imageright = {{{imageright|}}}
| style      = {{{style|}}}
| textstyle  = {{{textstyle|}}}
| text       = {{{text}}}
| small      = {{{small|}}}
| smallimage = {{{smallimage|}}}
| smallimageright = {{{smallimageright|}}}
| smalltext  = {{{smalltext|}}}
}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Namespace detect</title>
    <id>17433896</id>
    <revision>
      <id>243600560</id>
      <timestamp>2008-10-07T06:31:27Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to also understand &quot;file=File page text&quot; and &quot;demospace=file&quot;. To handle the announced change from &quot;Image&quot; to &quot;File&quot; naming of that namespace.</comment>
      <text xml:space="preserve">{{#switch:
  {{lc:               &lt;!--Lower case the result--&gt;
    &lt;!--If no or empty &quot;demospace&quot; parameter then detect namespace--&gt;
    {{#if:{{{demospace|}}} 
    | {{{demospace}}}
    | {{#ifeq:{{NAMESPACE}}|{{ns:0}}
      | main
      | {{#ifeq:{{NAMESPACE}}|{{TALKSPACE}}
        | talk
        | {{NAMESPACE}} 
        }}
      }} 
    }}
  }}
&lt;!-- Only one of the lines below will be executed --&gt;
&lt;!-- Respecting empty parameters on purpose --&gt;
| main      = {{{main| {{{other|}}} }}}
| talk      = {{{talk| {{{other|}}} }}}
| user      = {{{user| {{{other|}}} }}}
| wikipedia = {{{wikipedia| {{{other|}}} }}}
| file
| image     = {{{file| {{{image| {{{other|}}} }}} }}}
| mediawiki = {{{mediawiki| {{{other|}}} }}}
| template  = {{{template| {{{other|}}} }}}
| help      = {{{help| {{{other|}}} }}}
| category  = {{{category| {{{other|}}} }}}
| portal    = {{{portal| {{{other|}}} }}}
| other
| #default  = {{{other|}}}   &lt;!--&quot;demospace=other&quot; or a new namespace--&gt;

}}&lt;!--End switch--&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Violinist-stub</title>
    <id>9944375</id>
    <revision>
      <id>306143011</id>
      <timestamp>2009-08-05T03:51:15Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Violin VL100.jpg
| pix       = 40x30
| subject   = 
| qualifier = on a [[violin]]ist or [[fiddle]]r 
| category  = Violinist stubs
| tempsort  =  
| name      = Template:Violinist-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikisource1911Enc</title>
    <id>2213647</id>
    <revision>
      <id>309333333</id>
      <timestamp>2009-08-21T22:58:08Z</timestamp>
      <contributor>
        <username>Eubulides</username>
        <id>3573537</id>
      </contributor>
      <comment>Add alt text for image, as per [[WP:ALT]].</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;div class=&quot;infobox sisterproject&quot;&gt;[[Image:Wikisource-logo.svg|left|link=s:{{{1|Special:Search/{{PAGENAME}}}}}|50px|alt=Search Wikisource for &quot;{{PAGENAME}}&quot;| ]]
&lt;div style=&quot;margin-left: 60px;&quot;&gt;[[Wikisource]] has the text of {{#if:{{{2|}}}|a|the}} [[Encyclopædia Britannica Eleventh Edition|1911 Encyclopædia Britannica]] article {{#if:{{{2|}}}|about}} '''''[[Wikisource:1911 Encyclopædia Britannica/{{{1|{{PAGENAME}}}}}|{{{2|{{{1|{{PAGENAME}}}}}}}}]]'''''.&lt;/div&gt;&lt;/div&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
[[Category:Wikisource link templates|Wikisource1911Enc]]
[[Category:1911 Britannica templates|Wikisource1911Enc]]
[[ja:Template:Wikisource1911Enc]]
[[zh:Template:Wikisource1911Enc]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:France-musician-stub</title>
    <id>3259768</id>
    <revision>
      <id>305750873</id>
      <timestamp>2009-08-03T03:48:41Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Musical notes.svg
| pix       = 30
| subject   = 
| qualifier = on a [[France|French]] [[musician]] 
| category  = French musician stubs
| tempsort  =  
| name      = Template:France-musician-stub
}}
&lt;noinclude&gt;

[[ro:Format:Ciot-muzician-Franţa]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Commons cat</title>
    <id>23613651</id>
    <redirect />
    <revision>
      <id>302203219</id>
      <timestamp>2009-07-15T10:38:41Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>moved [[Template:Commons cat]] to [[Template:Commons category]]: Readability</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Commons category]]</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name ru</title>
    <id>19087517</id>
    <revision>
      <id>309475044</id>
      <timestamp>2009-08-22T19:47:51Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">Russian&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ {{PAGENAME}} }}|ru}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Lang-ru</title>
    <id>1437507</id>
    <revision>
      <id>297424752</id>
      <timestamp>2009-06-19T20:38:21Z</timestamp>
      <contributor>
        <username>Ezhiki</username>
        <id>48143</id>
      </contributor>
      <minor/>
      <comment>+iwiki</comment>
      <text xml:space="preserve">{{langWithName|ru|Russian|{{{1}}}}}&lt;noinclude&gt;{{pp-template|small=yes}}
[[Category:Multilingual support templates|{{PAGENAME}}]]
[[ar:قالب:Lang-ru]]
[[bg:Шаблон:Lang-ru]]
[[da:Skabelon:Lang-ru]]
[[ko:틀:Lang-ru]]
[[ka:თარგი:Lang-ru]]
[[mk:Шаблон:Lang-ru]]
[[mdf:Template:Lang-ru]]
[[ml:ഫലകം:Lang-ru]]
[[ja:Template:Lang-ru]]
[[pl:Szablon:Lang-ru]]
[[pt:Predefinição:Lang-ru]]
[[ru:Шаблон:Lang-ru]]
[[se:Template:G-ru]]
[[sr:Шаблон:Јез-рус]]
[[fi:Malline:K-ru]]
[[th:แม่แบบ:Lang-ru]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:LangWithName</title>
    <id>2379594</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>308839507</id>
      <timestamp>2009-08-19T07:34:34Z</timestamp>
      <contributor>
        <username>Kwamikagami</username>
        <id>93143</id>
      </contributor>
      <minor/>
      <comment>[[WP:RBK|Reverted]] edits by [[Special:Contributions/Kwamikagami|Kwamikagami]] ([[User talk:Kwamikagami|talk]]) to last version by MZMcBride</comment>
      <text xml:space="preserve">[[{{{2}}} language|{{{2}}}]]: {{lang|{{{1}}}|{{{3}}}}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Citation needed</title>
    <id>2048472</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>309300328</id>
      <timestamp>2009-08-21T19:41:19Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>τ sort the templates</comment>
      <text xml:space="preserve">&lt;!--{{Citation needed}} begin--&gt;{{fix
|link=Wikipedia:Citation needed
|text=citation needed
|class=noprint Template-Fact
|title=This claim needs references to reliable sources
|date={{{date|}}}
|cat=[[Category:All articles with unsourced statements]]
|cat-date=Category:Articles with unsourced statements}}{{#ifeq:{{NAMESPACE}}|{{&lt;includeonly&gt;subst:&lt;/includeonly&gt;NAMESPACE}}|[[Category:Pages with incorrectly substituted templates|&lt;noinclude&gt;τ&lt;/noinclude&gt;]]|}}&lt;!--{{Citation needed}} end--&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Fact</title>
    <id>23478654</id>
    <redirect />
    <revision>
      <id>300075222</id>
      <timestamp>2009-07-03T16:52:03Z</timestamp>
      <contributor>
        <username>Remember the dot</username>
        <id>2821524</id>
      </contributor>
      <comment>moved [[Template:Fact]] to [[Template:Citation needed]]: per [[Template talk:Fact#Requested move]]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Citation needed]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Fix</title>
    <id>5632010</id>
    <revision>
      <id>300339677</id>
      <timestamp>2009-07-05T02:38:03Z</timestamp>
      <contributor>
        <username>Hersfold</username>
        <id>3075976</id>
      </contributor>
      <comment>proposed edit, removes nbsp and replaces it with a normal space</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{NAMESPACE}}||{{{cat|[[Category:All pages needing cleanup]]}}}{{#if:{{{cat-date|}}}|[[{{{cat-date}}} {{#if:{{{date|}}}|from {{{date}}}}}]]{{#if:{{{date|}}}|{{#ifexist:{{{cat-date}}} from {{{date}}}||[[Category:Articles with invalid date parameter in template]]}}}}}}}}{{#if:{{{text|}}}|&lt;sup class=&quot;{{{class|noprint Inline-Template}}}&quot; title=&quot;{{{title|}}}{{#if:{{{date|}}}|&lt;nowiki/&gt; from {{{date}}}}}&quot; style=&quot;white-space:nowrap;&quot;&gt;&amp;#91;&lt;i&gt;{{#if:{{{pre-text|}}}|{{{pre-text}}}&amp;#32;}}[[{{{link|Wikipedia:Cleanup}}}|{{{text|}}}]]{{#if:{{{post-text|}}}|&amp;#32;{{{post-text}}}}}&lt;/i&gt;&amp;#93;&lt;/sup&gt;|{{{special|}}}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add cats and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Refimprove</title>
    <id>10160967</id>
    <revision>
      <id>312816781</id>
      <timestamp>2009-09-09T17:44:01Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Migrate to DMCA</comment>
      <text xml:space="preserve">&lt;!--{{Refimprove}} begin--&gt;{{Ambox
| type  = content
| image = [[Image:Question book-new.svg|50x40px]]
| text  = This {{{1|article}}} '''needs additional [[Wikipedia:Citing sources#Inline citations|citations]] for [[Wikipedia:Verifiability|verification]].'''&lt;br /&gt;&lt;small&gt;Please help [{{fullurl:{{FULLPAGENAME}}|action=edit}} improve this article] by adding [[Wikipedia:Reliable sources|reliable references]]. {{#if:{{{talk|}}}|See [[{{TALKPAGENAME}}|talk page]] for details.|}} Unsourced material may be [[Template:Fact|challenged]] and [[Wikipedia:Verifiability#Burden of evidence|removed]].{{#if:{{{date|}}}|&lt;small&gt;'' ({{{date}}})''&lt;/small&gt;}}
}}{{DMCA|Articles needing additional references|from|{{{date|}}}}}&lt;!--{{Refimprove}} end--&gt;&lt;noinclude&gt;{{pp-template|small=yes}}{{template doc}}&lt;!-- Please add categories and interwikis to the /doc subpage, thanks --&gt;&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Orphan</title>
    <id>7256413</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>298631545</id>
      <timestamp>2009-06-25T21:20:00Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Make this from like all the others.</comment>
      <text xml:space="preserve">&lt;!--{{Orphan}} begin --&gt;{{Ambox
| type  = style
| image = [[Image:Wiki letter w.svg|50x40px]]
| text  = This article {{#if:{{{geo|}}}|about a place}} '''is an [[Wikipedia:Orphan|orphan]], as few or no other articles [{{fullurl:Special:Whatlinkshere|target={{FULLPAGENAMEE}}&amp;namespace=0}} link to it]'''. Please [[Help:Link|introduce links]] to this page from other [http://www.google.com/search?hl=en&amp;as_qdr=all&amp;q=+site%3Aen.wikipedia.org+%22{{PAGENAMEU}}%22 articles related to it]. {{#if:{{{date|}}}|&lt;small&gt;''({{{date|}}})''&lt;/small&gt;}}
}}&lt;includeonly&gt;{{#if:{{{att|}}}|{{DMCA|Attempted de-orphan|from|{{{att|}}}}}|{{DMCA|Orphaned articles {{#if:{{{geo|}}}|about a place}}|from|{{{date|}}}|}}}}[[Category:All orphaned articles]]&lt;/includeonly&gt;&lt;!--{{Orphan}} end--&gt;&lt;noinclude&gt;

{{documentation}}

&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:PAGENAMEU</title>
    <id>5591450</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>159723249</id>
      <timestamp>2007-09-23T02:40:22Z</timestamp>
      <contributor>
        <username>MZMcBride</username>
        <id>212624</id>
      </contributor>
      <comment>+protection tag</comment>
      <text xml:space="preserve">{{urlencode:{{PAGENAME}}}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:England-musician-stub</title>
    <id>16512457</id>
    <revision>
      <id>306402767</id>
      <timestamp>2009-08-06T13:59:31Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag of England.svg
| pix       = 40
| subject   = 
| qualifier = about an [[England|English]] [[musician]] 
| category  = English musician stubs
| tempsort  =  
| name      = Template:England-musician-stub
}}
&lt;noinclude&gt;

[[mk:Шаблон:Англија-музичар-никулец]]
[[ro:Format:Ciot-muzician-Anglia]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:DM</title>
    <id>14604394</id>
    <revision>
      <id>280021531</id>
      <timestamp>2009-03-27T15:22:52Z</timestamp>
      <contributor>
        <ip>211.3.9.185</ip>
      </contributor>
      <comment>[[ja:Template:DM]]</comment>
      <text xml:space="preserve">* Entry for [http://dispatch.opac.d-nb.de/DB=2.1/REL?PPN={{{1}}} {{{2|{{PAGENAME}}}}}] in the catalogue of [[Deutsches Musikarchiv]]&lt;noinclude&gt;

[[Category:Music external link templates|DM]]

See [[:de:Vorlage Diskussion:DM]]
[[de:Vorlage:DM]]
[[eo:Ŝablono:DM]]
[[ja:Template:DM]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Google books</title>
    <id>15651324</id>
    <revision>
      <id>253059544</id>
      <timestamp>2008-11-20T21:25:07Z</timestamp>
      <contributor>
        <username>Suntag</username>
        <id>7519078</id>
      </contributor>
      <comment>Added documentation</comment>
      <text xml:space="preserve">&lt;noinclude&gt;
== Template ==
&lt;/noinclude&gt;[http://books.google.com/books?id={{{1|{{{id}}}}}} {{{2|{{{title|{{PAGENAME}}}}}}}}] at [[Google Book Search]]&lt;noinclude&gt;

{{Documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Note</title>
    <id>1309569</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>241733537</id>
      <timestamp>2008-09-29T09:25:07Z</timestamp>
      <contributor>
        <username>Huntster</username>
        <id>92632</id>
      </contributor>
      <minor/>
      <comment>Better way to do things.</comment>
      <text xml:space="preserve">&lt;cite id=&quot;endnote_{{{1}}}&quot; style=&quot;font-style: normal;&quot;&gt;[[#ref_{{{1}}}|'''^{{{2|}}}''']]&lt;/cite&gt;&amp;nbsp;&lt;noinclude&gt;
{{Documentation|Template:Ref/doc}}
{{pp-template|small=yes}}

[[Category:Citation templates|{{PAGENAME}}]]
[[Category:Inline templates|{{PAGENAME}}]]

[[sl:Predloga:Opomba]]
[[sv:Mall:not]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Ref</title>
    <id>1436119</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>302143137</id>
      <timestamp>2009-07-15T00:49:06Z</timestamp>
      <contributor>
        <username>Wtmitchell</username>
        <id>136745</id>
      </contributor>
      <comment>Made edit requested at [[Template talk:Ref#Anchor fix]]</comment>
      <text xml:space="preserve">&lt;sup class=&quot;reference plainlinks nourlexpansion&quot; {{#ifeq:{{{noid}}}|noid||id=&quot;ref_{{{1}}}&quot;}}&gt;{{#if:{{{2|}}}|[[#endnote_{{{1}}}|{{{2}}}]]|[{{fullurl:{{FULLPAGENAME}}}}#endnote_{{anchorencode:{{{1|}}}}}]}}&lt;/sup&gt;&lt;noinclude&gt;
{{pp-template}}{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite paper</title>
    <id>4837097</id>
    <redirect />
    <revision>
      <id>272028316</id>
      <timestamp>2009-02-20T08:21:35Z</timestamp>
      <contributor>
        <username>MZMcBride</username>
        <id>212624</id>
      </contributor>
      <comment>made change per talk request</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Cite journal]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Pron-en</title>
    <id>13847663</id>
    <revision>
      <id>311432255</id>
      <timestamp>2009-09-02T08:09:38Z</timestamp>
      <contributor>
        <username>Kwamikagami</username>
        <id>93143</id>
      </contributor>
      <text xml:space="preserve">&lt;onlyinclude&gt;pronounced &lt;span title=&quot;Pronunciation in the International Phonetic Alphabet (IPA)&quot; class=&quot;IPA&quot;&gt;[[WP:IPA for English|/{{{1}}}/]]&lt;/span&gt;&lt;small&gt;{{#if:{{{2|}}}|&amp;nbsp;([[File:Speaker Icon.svg|13px|link=:Media:{{{2|}}}]] [[:Media:{{{2|}}}|listen]])}}&lt;/small&gt;&lt;/onlyinclude&gt;
{{pp-template|small=yes}}

==Example==

This code:

: &lt;code&gt;&lt;nowiki&gt;A battleship, {{pron-en|ˈbætəlʃɪp}}, is ...&lt;/nowiki&gt;&lt;/code&gt;

will display:

: A battleship, {{pron-en|ˈbætəlʃɪp}}, is ...

==Usage==
{{usage of IPA templates}}

&lt;!-- PLEASE ADD CATEGORIES BELOW THIS LINE, THANKS. --&gt;

[[Category:IPA templates|{{PAGENAME}}]]

&lt;!-- PLEASE ADD INTERWIKIS BELOW THIS LINE, THANKS. --&gt;
&lt;noinclude&gt;
[[ar:Template:PronEng]]
[[tl:Template:PronEng]]
[[simple:Template:IPA-en]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:PronEng</title>
    <id>17225311</id>
    <redirect />
    <revision>
      <id>222773568</id>
      <timestamp>2008-07-01T01:20:21Z</timestamp>
      <contributor>
        <username>Cenarium</username>
        <id>5711305</id>
      </contributor>
      <minor/>
      <comment>Protected Template:PronEng: redirect to a [[WP:HRT|high risk template]] [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Pron-en]]</text>
    </revision>
  </page>
  <page>
    <title>Template:End</title>
    <id>1098678</id>
    <revision>
      <id>237171031</id>
      <timestamp>2008-09-08T23:51:44Z</timestamp>
      <contributor>
        <username>CBM</username>
        <id>1108292</id>
      </contributor>
      <minor/>
      <comment>Protected Template:End: highly used [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">|}&lt;noinclude&gt;{{pp-template|small=yes}}{{Documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:End box</title>
    <id>3049548</id>
    <redirect />
    <revision>
      <id>237171108</id>
      <timestamp>2008-09-08T23:52:12Z</timestamp>
      <contributor>
        <username>CBM</username>
        <id>1108292</id>
      </contributor>
      <minor/>
      <comment>Protected Template:End box: highly used [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:End]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Otherpersons</title>
    <id>1459772</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206472602</id>
      <timestamp>2008-04-18T11:53:38Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Added {{pp-template|small=yes}}.</comment>
      <text xml:space="preserve">{{dablink|For other persons named {{{1|{{PAGENAME}}}}}, see [[{{{2|{{{1|{{PAGENAME}}}}} (disambiguation)}}}]].}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-aft</title>
    <id>3049127</id>
    <revision>
      <id>237172062</id>
      <timestamp>2008-09-08T23:57:43Z</timestamp>
      <contributor>
        <username>CBM</username>
        <id>1108292</id>
      </contributor>
      <minor/>
      <comment>Protected Template:S-aft: highly used [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|width=&quot;30%&quot; align=&quot;center&quot; rowspan=&quot;{{{rows|1}}}&quot;| Succeeded&amp;nbsp;by&lt;br/&gt;'''{{{after}}}'''{{#if:{{{as|}}}|&lt;br&gt;&lt;small&gt;'''''as {{{as}}}'''''&lt;/small&gt;}}
|-&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-bef</title>
    <id>3049117</id>
    <revision>
      <id>237171546</id>
      <timestamp>2008-09-08T23:54:41Z</timestamp>
      <contributor>
        <username>CBM</username>
        <id>1108292</id>
      </contributor>
      <minor/>
      <comment>Protected Template:S-bef: highly used [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|- style=&quot;text-align:center;&quot; 
|width=&quot;30%&quot; align=&quot;center&quot; rowspan=&quot;{{{rows|1}}}&quot;|Preceded&amp;nbsp;by&lt;br/&gt;'''{{{before}}}'''{{#if:{{{as|}}}|&lt;br&gt;&lt;small&gt;'''''as {{{as}}}'''''&lt;/small&gt;}}&lt;/includeonly&gt;&lt;noinclude&gt;{{pp-template|small=yes}}[[Category:Succession templates|{{PAGENAME}}]]{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-court</title>
    <id>9276011</id>
    <revision>
      <id>211267893</id>
      <timestamp>2008-05-09T14:58:46Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>small</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: #FF9966;&quot; | Court offices&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-start</title>
    <id>3048892</id>
    <revision>
      <id>287885015</id>
      <timestamp>2009-05-04T17:55:10Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <comment>add css class per talk page request</comment>
      <text xml:space="preserve">{| class=&quot;wikitable succession-box&quot; style=&quot;margin:0.5em auto; font-size:95%;{{#if:{{{noclear|}}}||clear:both;}}&quot;
&lt;noinclude&gt;
|''Start of centred table''
|}
{{pp-template|small=yes}}
{{documentation}}
&lt;!--NB Add metadata to the /doc page linked above, not here; thanks!--&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-ttl</title>
    <id>3049121</id>
    <revision>
      <id>286577700</id>
      <timestamp>2009-04-28T03:19:42Z</timestamp>
      <contributor>
        <username>BrownHairedGirl</username>
        <id>754619</id>
      </contributor>
      <comment>add &lt;nowiki&gt;&lt;/nowiki&gt; after title, to cope with unbolded appendage to title as used with baronets</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|width=&quot;40%&quot; style=&quot;text-align: center;&quot; rowspan=&quot;{{{rows|1}}}&quot;|'''{{{title}}}&lt;nowiki&gt;&lt;/nowiki&gt;'''{{#if:{{{district|}}}|&lt;br/&gt;&lt;small&gt;'''''Representative for {{{district}}}'''''&lt;/small&gt;|}}{{#if:{{{dynasty|}}}|&lt;br/&gt;''{{{dynasty}}}''|}}{{#if:{{{creation|}}}|&lt;br/&gt;''{{{creation}}}''|}}{{#if:{{{years|}}}|&lt;br /&gt;{{{years}}}|}}{{#if:{{{regent1|}}}|&lt;br/&gt;''with {{{regent1}}}''|}} {{#if:{{{years1|}}}| &lt;small&gt;'' ({{{years1}}})''&lt;/small&gt;|}}{{#if:{{{regent2|}}}|&lt;br/&gt;''{{{regent2}}}''|}} {{#if:{{{years2|}}}| &lt;small&gt;'' ({{{years2}}})''&lt;/small&gt;|}}{{#if:{{{regent3|}}}|&lt;br/&gt;''{{{regent3}}}''|}} {{#if:{{{years3|}}}| &lt;small&gt;'' ({{{years3}}})''&lt;/small&gt;|}}{{#if:{{{regent4|}}}|&lt;br/&gt;''{{{regent4}}}''|}} {{#if:{{{years4|}}}| &lt;small&gt;'' ({{{years4}}})''&lt;/small&gt;|}}{{#if:{{{regent5|}}}|&lt;br/&gt;''{{{regent5}}}''|}} {{#if:{{{years5|}}}| &lt;small&gt;'' ({{{years5}}})''&lt;/small&gt;|}}{{#if:{{{regent6|}}}|&lt;br/&gt;''{{{regent6}}}''|}} {{#if:{{{years6|}}}| &lt;small&gt;'' ({{{years6}}})''&lt;/small&gt;|}}{{#if:{{{regent7|}}}|&lt;br/&gt;''{{{regent7}}}''|}} {{#if:{{{years7|}}}| &lt;small&gt;'' ({{{years7}}})''&lt;/small&gt;|}}{{#if:{{{regent8|}}}|&lt;br/&gt;''{{{regent8}}}''|}} {{#if:{{{years8|}}}| &lt;small&gt;'' ({{{years8}}})''&lt;/small&gt;|}}{{#if:{{{alongside|}}}|&lt;br/&gt;&lt;small&gt;Served alongside: '''{{{alongside}}}'''&lt;/small&gt;|}}{{#if:{{{with|}}}|&lt;br/&gt;&lt;small&gt;With: '''{{{with}}}{{#if:{{{with2|}}}|&lt;br/&gt;{{{with2}}}|}}{{#if:{{{with3|}}}|&lt;br/&gt;{{{with3}}}|}}{{#if:{{{with4|}}}|&lt;br/&gt;{{{with4}}}|}}{{#if:{{{with5|}}}|&lt;br/&gt;{{{with5}}}|}}{{#if:{{{with6|}}}|&lt;br/&gt;{{{with6}}}|}}{{#if:{{{with7|}}}|&lt;br/&gt;{{{with7}}}|}}{{#if:{{{with8|}}}|&lt;br/&gt;{{{with8}}}|}}{{#if:{{{with9|}}}|&lt;br/&gt;{{{with9}}}|}}{{#if:{{{with10|}}}|&lt;br/&gt;{{{with10}}}|}}{{#if:{{{with11|}}}|&lt;br/&gt;{{{with11}}}|}}{{#if:{{{with12|}}}|&lt;br/&gt;{{{with12}}}|}}{{#if:{{{with13|}}}|&lt;br/&gt;{{{with13}}}|}}{{#if:{{{with14|}}}|&lt;br/&gt;{{{with14}}}|}}{{#if:{{{with15|}}}|&lt;br/&gt;{{{with15}}}|}}'''&lt;/small&gt;|}}{{#if:{{{lords|}}}|&lt;br/&gt;&lt;small&gt;''Member of the [[House of Lords]]''&lt;br/&gt;''({{{lords}}})''&lt;/small&gt;|}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Start box</title>
    <id>1098676</id>
    <redirect />
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>192771260</id>
      <timestamp>2008-02-20T10:18:35Z</timestamp>
      <contributor>
        <username>Riana</username>
        <id>127798</id>
      </contributor>
      <comment>+ cat</comment>
      <text xml:space="preserve">#REDIRECT [[template:s-start]] {{R from other template|s-start}}
[[Category:Protected redirects]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Succession box</title>
    <id>4816819</id>
    <revision>
      <id>281113397</id>
      <timestamp>2009-04-01T17:31:30Z</timestamp>
      <contributor>
        <username>BrownHairedGirl</username>
        <id>754619</id>
      </contributor>
      <comment>add the &quot;with&quot;, &quot;with2&quot; etc parameters per [[Wikipedia_talk:WikiProject_Succession_Box_Standardization#alongside_parameter]]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|- style=&quot;text-align: center;&quot;
{{s-bef|rows={{{rows|1}}}|before={{{before}}}}}
{{s-ttl|rows={{{rows|1}}}|title={{{title}}}|years={{{years}}}|alongside = {{{alongside|}}} |with={{{with|}}}
  |with2={{{with2|}}} |with3={{{with3|}}} |with4={{{with4|}}} |with5={{{with5|}}} |with6={{{with6|}}} |with7={{{with7|}}}
  |with8={{{with8|}}} |with8={{{with8|}}} |with9={{{with9|}}} |with10={{{with10|}}} |with11={{{with11|}}}
  |with12={{{with12|}}}  |with13={{{with13|}}} |with14={{{with14|}}} |with15={{{with15|}}}}}
{{s-aft|rows={{{rows|1}}}|after={{{after}}}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{Pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite encyclopaedia</title>
    <id>10318561</id>
    <redirect />
    <revision>
      <id>271678725</id>
      <timestamp>2009-02-18T22:38:30Z</timestamp>
      <contributor>
        <username>Hesperian</username>
        <id>111359</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Cite encyclopaedia: [[WP:HRT|Highly visible template]]:&amp;#32;Actually a highly visible template redirect ([edit=sysop] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Cite encyclopedia]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite encyclopedia</title>
    <id>1664277</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>292025425</id>
      <timestamp>2009-05-24T15:25:01Z</timestamp>
      <contributor>
        <username>TKD</username>
        <id>636163</id>
      </contributor>
      <comment>fix empty separator case</comment>
      <text xml:space="preserve">{{Citation/core
 |Citation class=book
  |Surname1 = {{{last|{{{surname|{{{last1|{{{surname1|{{{author1|{{{author|{{{authors|{{{author|}}}}}}}}}}}}}}}}}}}}}}}}
  |Surname2 = {{{last2|{{{surname2|{{{author2|{{{coauthor|{{{coauthors|}}}}}}}}}}}}}}}
  |Surname3 = {{{last3|{{{surname3|{{{author3|}}}}}}}}}
  |Surname4 = {{{last4|{{{surname4|{{{author4|}}}}}}}}}
  |Surname5 = {{{last5|{{{surname5|{{{author5|}}}}}}}}}
  |Surname6 = {{{last6|{{{surname6|{{{author6|}}}}}}}}}
  |Surname7 = {{{last7|{{{surname7|{{{author7|}}}}}}}}}
  |Surname8 = {{{last8|{{{surname8|{{{author8|}}}}}}}}}
  |Surname9 = {{{last9|{{{surname9|{{{author9|}}}}}}}}}
  |Given1 = {{{first1|{{{given1|{{{first|{{{given|}}}}}}}}}}}}
  |Given2 = {{{first2|{{{given2|}}}}}}
  |Given3 = {{{first3|{{{given3|}}}}}}
  |Given4 = {{{first4|{{{given4|}}}}}}
  |Given5 = {{{first5|{{{given5|}}}}}}
  |Given6 = {{{first6|{{{given6|}}}}}}
  |Given7 = {{{first7|{{{given7|}}}}}}
  |Given8 = {{{first8|{{{given8|}}}}}}
  |Given9 = {{{first9|{{{given9|}}}}}}
  |Authorlink1 = {{{author-link|{{{author1-link|{{{authorlink|{{{authorlink1|}}}}}}}}}}}}
  |Authorlink2 = {{{author2-link|{{{authorlink2|}}}}}}
  |Authorlink3 = {{{author3-link|{{{authorlink3|}}}}}}
  |Authorlink4 = {{{author4-link|{{{authorlink4|}}}}}}
  |Authorlink5 = {{{author5-link|{{{authorlink5|}}}}}}
  |Authorlink6 = {{{author6-link|{{{authorlink6|}}}}}}
  |Authorlink7 = {{{author7-link|{{{authorlink7|}}}}}}
  |Authorlink8 = {{{author8-link|{{{authorlink8|}}}}}}
  |Authorlink9 = {{{author9-link|{{{authorlink9|}}}}}}
  |Year={{{year|{{    &lt;!-- attempt to derive year from date, if possible --&gt;
             #if: {{{date|}}}
             |{{
                #iferror:{{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}}
  |YearNote = {{{origyear|}}}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{{year|{{{publication-date|}}}}}}}}
  |Title={{{encyclopedia|{{{title|}}}}}}
  |URL={{{url|}}}
  |Series={{{series|}}}
  |Volume = {{{volume|}}}
  |Issue = {{{issue|{{{number|}}}}}}
  |At = {{
          #if: {{{journal|{{{periodical|{{{newspaper|{{{magazine|}}}}}}}}}}}}
          |{{{pages|{{{page|{{{at|}}}}}}}}}
          |{{
             #if: {{{page|}}}
             |{{#if:{{{nopp|}}}||p.&amp;nbsp;}}{{{page}}}
             |{{
                #if: {{{pages|}}}
                |{{#if:{{{nopp|}}}||pp.&amp;nbsp;}}{{{pages}}}
                |{{{at|}}}
              }}
           }}
        }}
  |IncludedWorkTitle = {{{title|{{{article|}}}}}}
  |IncludedWorkURL = {{{chapter-url|{{{chapterurl|{{{contribution-url|}}}}}}}}}
  |Other = {{{others|}}}
  |Edition = {{{edition|}}}
  |Place = {{{place|{{{location|}}}}}}
  |PublicationPlace = {{{publication-place|{{{place|{{{location|}}}}}}}}}
  |Publisher = {{{publisher|}}}
  |PublicationDate = {{{publication-date|}}}
  |EditorSurname1 = {{{editor-last|{{{editor-surname|{{{editor1-last|{{{editor1-surname|{{{editor|{{{editors|}}}}}}}}}}}}}}}}}}
  |EditorSurname2 = {{{editor2-last|{{{editor2-surname|}}}}}}
  |EditorSurname3 = {{{editor3-last|{{{editor3-surname|}}}}}}
  |EditorSurname4 = {{{editor4-last|{{{editor4-surname|}}}}}}
  |EditorGiven1 = {{{editor-first|{{{editor-given|{{{editor1-first|{{{editor1-given|}}}}}}}}}}}}
  |EditorGiven2={{{editor2-first|{{{editor2-given|}}}}}}
  |EditorGiven3={{{editor3-first|{{{editor3-given|}}}}}}
  |EditorGiven4={{{editor4-first|{{{editor4-given|}}}}}}
  |Editorlink1={{{editor-link|{{{editor1-link|}}}}}}
  |Editorlink2={{{editor2-link|}}}
  |Editorlink3={{{editor3-link|}}}
  |Editorlink4={{{editor4-link|}}}
  |language = {{{language|{{{in|}}}}}}
  |format = {{{format|}}}
  |ID={{{id|{{{ID|}}}}}}
  |ISBN={{{isbn|{{{ISBN|}}}}}}
  |OCLC={{{oclc|{{{OCLC|}}}}}}
  |Bibcode={{{bibcode|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |DoiBroken={{{doi_brokendate|}}}
  |AccessDate={{{access-date|{{{accessdate|}}}}}}
  |quote = {{{quote|}}}
  |Ref={{{ref|}}}
  |Sep = {{#ifeq:{{{separator|{{{seperator}}} }}}|;|&amp;#059;|{{{separator|{{{seperator|.}}} }}} }}
  |PS = {{{postscript|.}}}
  |amp = {{{lastauthoramp|}}}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Otheruses</title>
    <id>693634</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>312723162</id>
      <timestamp>2009-09-09T04:31:43Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <minor/>
      <comment>resolve redirect</comment>
      <text xml:space="preserve">{{about|||{{{1|{{PAGENAME}} (disambiguation)}}}}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Otheruses4</title>
    <id>24281433</id>
    <redirect />
    <revision>
      <id>312722347</id>
      <timestamp>2009-09-09T04:23:09Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <comment>moved [[Template:Otheruses4]] to [[Template:About]]: More intuitive name per discussion</comment>
      <text xml:space="preserve">#REDIRECT [[Template:About]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikisource1911Enc Citation</title>
    <id>21225729</id>
    <revision>
      <id>310347011</id>
      <timestamp>2009-08-27T11:37:43Z</timestamp>
      <contributor>
        <username>HUB</username>
        <id>5252372</id>
      </contributor>
      <comment>[[WP:UNDO|Undid]] revision 310338869 by [[Special:Contributions/82.200.254.210|82.200.254.210]] ([[User talk:82.200.254.210|talk]])</comment>
      <text xml:space="preserve">&lt;includeonly&gt;[[Image:wikisource-logo.svg|15px|link=]]&amp;nbsp;{{cite encyclopaedia|encyclopedia=[[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]]|title=[[s:1911 Encyclopædia Britannica/{{{1|{{PAGENAME}}}}}|{{{1|{{PAGENAME}}}}}]]|edition=11th|year=1911}} {{{2|}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{template doc}}
[[Category:Wikisource link templates|Wikisource1911Enc Citation]]
[[Category:1911 Britannica templates|Wikisource1911Enc Citation]]
[[de:Vorlage:EB1911]]
[[fr:Modèle:WS1911]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cquote</title>
    <id>2161876</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>293453952</id>
      <timestamp>2009-05-31T04:40:09Z</timestamp>
      <contributor>
        <username>AuburnPilot</username>
        <id>1891004</id>
      </contributor>
      <comment>rv change that seems to have broken the template; [[WP:ANI#revert cquote, please]]</comment>
      <text xml:space="preserve">{| style=&quot;margin:auto; border-collapse:collapse; border-style:none; background-color:{{{bgcolor|transparent}}}; {{
#if: {{{bgcolor|}}}
  | border: 1px solid #AAAAAA;
}}&quot; class=&quot;cquote&quot;
| width=&quot;20&quot; valign=&quot;top&quot; style=&quot;color:#B2B7F2;font-size:{{#switch:{{{size|{{{2|{{{quotewidth|{{{width|20px}}}}}}}}}}}}
|10px=20px
|30px=60px
|40px=80px
|50px=100px
|60px=120px
|#default=35px}};font-family:'Times New Roman',serif;font-weight:bold;text-align:left;padding:10px 10px;&quot; | “
| valign=&quot;top&quot; style=&quot;padding:4px 10px;&quot; | {{{1|Insert the text of the quote here, without quotation marks. &lt;noinclude&gt;{{lorem ipsum}}&lt;/noinclude&gt;}}}
| width=&quot;20&quot; valign=&quot;bottom&quot; style=&quot;color:#B2B7F2;font-size:{{#switch:{{{size|{{{2|{{{quotewidth|{{{width|20px}}}}}}}}}}}}
|10px=20px
|30px=60px
|40px=80px
|50px=100px
|60px=120px
|#default=36px}};font-family:'Times New Roman',serif;font-weight:bold;text-align:right;padding:10px 10px;&quot; | ”
|-
{{#if:{{{4|}}}{{{5|}}}|
{{!}} colspan=&quot;3&quot; style=&quot;padding-right: 4%&quot; {{!}} {{#if:{{{4|&lt;noinclude&gt;Origin&lt;/noinclude&gt;}}}|&lt;p style=&quot;font-size:smaller;text-align: right&quot;&gt;&lt;cite style=&quot;font-style:normal;&quot;&gt;—{{{4}}}{{#if:{{{5|&lt;noinclude&gt;Source&lt;/noinclude&gt;}}}|, {{{5}}}}}&lt;/cite&gt;&lt;/p&gt;}}
}}
|}&lt;!-- {{subst:FULLPAGENAME}} --&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Es icon</title>
    <id>1756608</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206473270</id>
      <timestamp>2008-04-18T11:59:13Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding comment about categories and interwikis to the /doc page.</comment>
      <text xml:space="preserve">{{Languageicon|es|Spanish}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Fr icon</title>
    <id>1755704</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206473044</id>
      <timestamp>2008-04-18T11:57:21Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding comment about categories and interwikis to the /doc page.</comment>
      <text xml:space="preserve">{{Languageicon|fr|French}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name es</title>
    <id>19088527</id>
    <revision>
      <id>235171478</id>
      <timestamp>2008-08-30T12:31:04Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Documentation second pass, Replaced: |ISO 639 name  → }}|  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">Spanish&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name es}}|es}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name fr</title>
    <id>19086236</id>
    <revision>
      <id>308535701</id>
      <timestamp>2009-08-17T19:43:37Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">French&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ {{PAGENAME}} }}|fr}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Multi-listen end</title>
    <id>1546025</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>241285230</id>
      <timestamp>2008-09-27T07:51:18Z</timestamp>
      <contributor>
        <username>Gnangarra</username>
        <id>459815</id>
      </contributor>
      <comment>word so that its consistant with TL:Listen</comment>
      <text xml:space="preserve">&lt;li&gt;
&lt;small&gt;''Problems listening to the files? See [[{{SITENAME}}:Media help|media help]].''&lt;/small&gt;
&lt;/li&gt;
&lt;/ul&gt;
&lt;/div&gt;&lt;noinclude&gt;
[[nl:Sjabloon:Multi-listen end]]
[[fa:الگو:پایان شنیدن آوا]]
[[sl:Predloga:Poslušanja konec]]
[[vi:Tiêu bản:Multi-listen end]]
 [[Category:Audio templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Multi-listen item</title>
    <id>1546021</id>
    <revision>
      <id>237468590</id>
      <timestamp>2008-09-10T09:57:16Z</timestamp>
      <contributor>
        <username>Graham87</username>
        <id>194203</id>
      </contributor>
      <minor/>
      <comment>rm line break</comment>
      <text xml:space="preserve">&lt;table style=&quot;background-color:transparent;&quot;&gt;&lt;tr&gt;&lt;td&gt;[[:Image:{{{filename}}}|{{{title}}}]]&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;[[Image:{{{filename}}}|180px|noicon]]&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; style=&quot;font-size:8pt;text-align:left;padding:4pt;padding-left:0pt;line-height:1.25em&quot;&gt;{{{description|}}}&lt;/td&gt;&lt;/table&gt;
&lt;noinclude&gt;
[[ca:Plantilla:Conjunt d'àudio]]
[[es:Plantilla:Multi-listen item]]
[[fa:الگو:مورد آوا]]
[[fr:Modèle:Multi-son item]]
[[ka:თარგი:მულტი-მოსმენა ერთეული]]
[[lv:Veidne:Multi klausīšanās objekts]]
[[ml:ഫലകം:Multi-listen item]]
[[nl:Sjabloon:Multi-listen item]]
[[hu:Sablon:Multi-listen item]]
[[no:Mal:Multi-listen item]]
[[sl:Predloga:Poslušanja predmet]]
[[sr:Шаблон:Multi-listen item]]
[[th:แม่แบบ:Multi-listen item]]
[[vi:Tiêu bản:Multi-listen item]]
[[uk:Шаблон:Multi-listen item]]
[[zh:Template:Multi-listen item]]
[[Category:Audio templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Multi-listen start</title>
    <id>1546024</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>138976696</id>
      <timestamp>2007-06-18T13:54:48Z</timestamp>
      <contributor>
        <username>Ais523</username>
        <id>1575358</id>
      </contributor>
      <minor/>
      <comment>+iw sl: per editprotected by [[User:Eleassar]]</comment>
      <text xml:space="preserve">&lt;div class=&quot;medialist listenlist&quot;&gt;
&lt;ul&gt;&lt;noinclude&gt;
[[fa:الگو:شنیدن آوا]]
[[sl:Predloga:Poslušanja začetek]]
[[vi:Tiêu bản:Multi-listen start]]
[[zh:Template:Multi-listen start]]

[[Category:Audio templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Who</title>
    <id>5666292</id>
    <revision>
      <id>293083921</id>
      <timestamp>2009-05-29T12:32:11Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>remove from=yes - now redundant</comment>
      <text xml:space="preserve">&lt;!--{{Who}} begin--&gt;{{fix
|link=Wikipedia:Avoid weasel words
|text=who?
|title=The material in the vicinity of this tag may use weasel words or too-vague attribution.
|date={{{date|}}}
|cat-date=Category:Articles with specifically-marked weasel-worded phrases}}&lt;!--{{Who}} end--&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- PLEASE ADD THIS TEMPLATE'S CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Lang-uk</title>
    <id>1913410</id>
    <revision>
      <id>235576278</id>
      <timestamp>2008-09-01T12:08:27Z</timestamp>
      <contributor>
        <username>XJamRastafire</username>
        <id>672</id>
      </contributor>
      <minor/>
      <comment>+sl:</comment>
      <text xml:space="preserve">[[Ukrainian language|Ukrainian]]: &lt;span lang=&quot;uk&quot;&gt;{{{1}}}&lt;/span&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
[[es:Plantilla:Lang-ua]]
[[mk:Шаблон:Lang-uk]]
[[ms:Templat:Lang-uk]]
[[ja:Template:Lang-uk]]
[[ru:Шаблон:Lang-uk]]
[[sl:Predloga:Jezik-uk]]
[[fi:Malline:K-uk]]
[[vi:Tiêu bản:Lang-uk]]
[[zh:Template:Lang-uk]]
[[Category:Multilingual support templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:OldStyleDate</title>
    <id>2384520</id>
    <revision>
      <id>312764397</id>
      <timestamp>2009-09-09T11:46:09Z</timestamp>
      <contributor>
        <username>Debresser</username>
        <id>6999039</id>
      </contributor>
      <minor/>
      <comment>Template redirected using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">{{{1}}} &lt;small&gt;&lt;nowiki&gt;[&lt;/nowiki&gt;[[Old Style and New Style dates|O.S.]] {{{3}}}&lt;nowiki&gt;]&lt;/nowiki&gt;&lt;/small&gt; {{{2|}}}&lt;noinclude&gt;
{{Pp-template|small=yes}}

[[Category:Time, date and calendar templates|{{PAGENAME}}]]

[[af:Sjabloon:OuVormDatum]]
[[et:Mall:VanaKalendriAeg]]
[[lv:Veidne:Dat VS]]
[[mk:Шаблон:Датум по стар стил]]
[[ml:ഫലകം:OldStyleDate]]
[[ja:Template:OldStyleDate]]
[[no:Mal:OldStyleDate]]
[[ru:Шаблон:OldStyleDate]]
[[tl:Suleras:OldStyleDate]]
[[vi:Tiêu bản:OldStyleDate]]
[[zh:Template:OldStyleDate]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name pl</title>
    <id>19088885</id>
    <revision>
      <id>235174564</id>
      <timestamp>2008-08-30T12:55:08Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Documentation second pass, Replaced: |ISO 639 name  → }}|  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">Polish&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name pl}}|pl}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Lang-pl</title>
    <id>2869236</id>
    <revision>
      <id>227987811</id>
      <timestamp>2008-07-26T10:08:09Z</timestamp>
      <contributor>
        <username>Hut 8.5</username>
        <id>1799532</id>
      </contributor>
      <comment>{{pp-template|small=yes}}</comment>
      <text xml:space="preserve">{{langWithName|pl|Polish|''{{{1}}}''}}&lt;noinclude&gt;
{{pp-template|small=yes}}
[[Category:Multilingual support templates|Lang-pl]]

[[es:Plantilla:Lang-pl]]
[[mk:Шаблон:Lang-pl]]
[[ja:Template:Lang-pl]]
[[fi:Malline:K-pl]]
[[pt:Predefinição:Lang-pl]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Belgium-bio-stub</title>
    <id>2519328</id>
    <revision>
      <id>306906180</id>
      <timestamp>2009-08-09T03:08:10Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag of Belgium.svg
| pix       = 22
| subject   = [[Belgium|Belgian]] [[biography|biographical]] 
| qualifier = 
| category  = Belgian people stubs
| tempsort  =  
| name      = Template:Belgium-bio-stub
}}
&lt;noinclude&gt;
[[mk:Шаблон:Белгија-биог-никулец]]
[[ro:Format:Ciot-bio-Belgia]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Euro-composer-stub</title>
    <id>14846711</id>
    <redirect />
    <revision>
      <id>179728881</id>
      <timestamp>2007-12-23T04:22:52Z</timestamp>
      <contributor>
        <username>Alai</username>
        <id>147115</id>
      </contributor>
      <comment>moved [[Template:Euro-composer-stub]] to [[Template:Europe-composer-stub]]: expand</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Europe-composer-stub]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Europe-composer-stub</title>
    <id>5136924</id>
    <revision>
      <id>306985200</id>
      <timestamp>2009-08-09T15:15:16Z</timestamp>
      <contributor>
        <username>Borgarde</username>
        <id>1686535</id>
      </contributor>
      <comment>use asbox</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about an [[Europe]]an [[composer]] 
| category  = European composer stubs
| tempsort  = 
| name      = Template:Europe-composer-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Bquote</title>
    <id>8406031</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206470873</id>
      <timestamp>2008-04-18T11:39:23Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to using the {{Documentation}} template. See [[WP:DOC]].</comment>
      <text xml:space="preserve">&lt;blockquote&gt;
{{{1}}}
{{#if:{{{4|}}}{{{5|}}}|
&lt;p&gt;&lt;cite style=&quot;font-style:normal;&quot;&gt;{{#if:{{{4|&lt;noinclude&gt;Origin&lt;/noinclude&gt;}}}|—{{{4}}}{{#if:{{{5|&lt;noinclude&gt;Source&lt;/noinclude&gt;}}}|, {{{5}}}}}}}&lt;/cite&gt;&lt;/p&gt;
}}
&lt;/blockquote&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Composer-stub</title>
    <id>1367897</id>
    <revision>
      <id>306651690</id>
      <timestamp>2009-08-07T19:14:53Z</timestamp>
      <contributor>
        <username>LtPowers</username>
        <id>749490</id>
      </contributor>
      <comment>templatize</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = [[composer]]
| qualifier = 
| category  = Composer stubs
| tempsort  =  
| name      = Template:Composer-stub
}}&lt;noinclude&gt;
[[mk:Шаблон:Композитор-никулец]]
[[cs:Šablona:Pahýl - hudební skladatel]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:!</title>
    <id>4459157</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>113778758</id>
      <timestamp>2007-03-09T06:48:22Z</timestamp>
      <contributor>
        <username>Quarl</username>
        <id>59118</id>
      </contributor>
      <comment>{{template doc}}</comment>
      <text xml:space="preserve">|&lt;noinclude&gt;{{template doc}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Musical artist</title>
    <id>24185104</id>
    <redirect />
    <revision>
      <id>311223001</id>
      <timestamp>2009-09-01T05:47:14Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>moved [[Template:Infobox Musical artist]] to [[Template:Infobox musical artist]]: Caps per guidelines</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Infobox musical artist]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Musical artist/color</title>
    <id>24185107</id>
    <redirect />
    <revision>
      <id>311223009</id>
      <timestamp>2009-09-01T05:47:16Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>moved [[Template:Infobox Musical artist/color]] to [[Template:Infobox musical artist/color]]: Caps per guidelines</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Infobox musical artist/color]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Musical artist/hCard class</title>
    <id>24185109</id>
    <redirect />
    <revision>
      <id>311223015</id>
      <timestamp>2009-09-01T05:47:17Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>moved [[Template:Infobox Musical artist/hCard class]] to [[Template:Infobox musical artist/hCard class]]: Caps per guidelines</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Infobox musical artist/hCard class]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Opera-bio-stub</title>
    <id>19385325</id>
    <revision>
      <id>306121713</id>
      <timestamp>2009-08-05T01:19:46Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = GiacomoPuccini.jpg
| pix       = 25
| subject   = biographical 
| qualifier = related to [[opera]] 
| category  = Opera biography stubs
| tempsort  =  
| name      = Template:Opera-bio-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Merge</title>
    <id>494140</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>312029716</id>
      <timestamp>2009-09-05T16:26:45Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">&lt;!--{{Merge}} begin--&gt;{{Mbox
|type  = move
|image = [[Image:Merge-arrows.svg|50px]]
|text  = It has been suggested that this {{#if:{{NAMESPACE}}|page|article}} or section be [[Wikipedia:Merging|merged]] with {{Pagelist|delim=''|{{{1|}}}|{{{2|}}}|{{{3|}}}|{{{4|}}}|{{{5|}}}|{{{6|}}}|{{{7|}}}|{{{8|}}}|{{{9|}}}|{{{10|}}}|{{{11|}}}|{{{12|}}}|{{{13|}}}|{{{14|}}}|{{{15|}}}|{{{16|}}}|{{{17|}}}|{{{18|}}}|{{{19|}}}|{{{20|}}}}}{{#if:{{{target|}}}|&amp;nbsp;to ''[[:{{NAMESPACE}}:{{{target}}}|{{{target}}}]]''|}}. ([[{{{discuss|:{{TALKPAGENAME}}}}}|Discuss]])}}&lt;includeonly&gt;{{
#switch:{{NAMESPACE}}
|Help|Help talk|Portal|Portal talk|Wikipedia|Wikipedia talk=[[Category:Items to be merged|{{PAGENAME}}]]
|Category|Category talk|Image|Image talk|MediaWiki|MediaWiki talk|Template|Template talk|User|User talk=
{{DMCA|Articles to be merged|from|{{{date|}}}|All articles to be merged}}
}}{{Merge partner|{{{1|}}}}}&lt;/includeonly&gt;&lt;!--{{Merge}} end--&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Merge partner</title>
    <id>24232167</id>
    <revision>
      <id>312029519</id>
      <timestamp>2009-09-05T16:25:16Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Merge partner: [[WP:HRT|Highly visible template]] ([edit=sysop] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{1|}}}||[[Category:Articles for merging with no partner]]}}&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Pagelist</title>
    <id>4472403</id>
    <revision>
      <id>227059442</id>
      <timestamp>2008-07-21T19:57:15Z</timestamp>
      <contributor>
        <username>Shimgray</username>
        <id>126457</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Pagelist: high-risk template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{1}}}|{{{1}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{2|}}}|{{#if:{{{3|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{2}}}|{{{2}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{3|}}}|{{#if:{{{4|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{3}}}|{{{3}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{4|}}}|{{#if:{{{5|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{4}}}|{{{4}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{5|}}}|{{#if:{{{6|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{5}}}|{{{5}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{6|}}}|{{#if:{{{7|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{6}}}|{{{6}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{7|}}}|{{#if:{{{8|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{7}}}|{{{7}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{8|}}}|{{#if:{{{9|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{8}}}|{{{8}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{9|}}}|{{#if:{{{10|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{9}}}|{{{9}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{10|}}}|{{#if:{{{11|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{10}}}|{{{10}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{11|}}}|{{#if:{{{12|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{11}}}|{{{11}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{12|}}}|{{#if:{{{13|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{12}}}|{{{12}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{13|}}}|{{#if:{{{14|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{13}}}|{{{13}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{14|}}}|{{#if:{{{15|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{14}}}|{{{14}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{15|}}}|{{#if:{{{16|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{15}}}|{{{15}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{16|}}}|{{#if:{{{17|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{16}}}|{{{16}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{17|}}}|{{#if:{{{18|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{17}}}|{{{17}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{18|}}}|{{#if:{{{19|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{18}}}|{{{18}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{19|}}}|{{#if:{{{20|}}}|,|&lt;nowiki&gt; &lt;/nowiki&gt;and}} {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{19}}}|{{{19}}}]]{{{edelim|{{{delim|}}}}}}&lt;!--
--&gt;{{#if:{{{20|}}}|&lt;nowiki&gt; &lt;/nowiki&gt;and {{{delim|}}}[[:{{{nspace|{{NAMESPACE}}}}}:{{{20}}}|{{{20}}}]]{{{edelim|{{{delim|}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}&lt;!--
--&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
&lt;!-- PLEASE ADD CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Date</title>
    <id>20151421</id>
    <revision>
      <id>268976889</id>
      <timestamp>2009-02-06T19:44:40Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>update to improve handling of pure-number inputs, per talk</comment>
      <text xml:space="preserve">{{#switch:none
 |{{#iferror: {{#time:Y_M_d|{{{1|}}} }} | none }} &lt;!-- #time: can't handle --&gt;
 |{{#iferror: {{#expr: {{{1|}}}+0 }}
    |&lt;!--not a pure number--&gt;
    |{{#ifexpr: {{{1|}}}+0 &gt; 10000000000000
       |&lt;!-- a yyyymmddhhmmss timestamp --&gt;
       |{{#ifeq: {{#expr:{{{1|}}}+0}} | {{{1|}}}
          | none &lt;!-- pure number eg 123.456 --&gt;
          | &lt;!-- assume yy-mm-dd --&gt;
        }}
     }}
  }}
 |{{#switch:  {{lc:{{{2|}}}}} | none | asis=none }}
 |{{#ifexpr:  {{#time:Y|{{{1|}}} }} &lt; 1000 | none }}
 |{{#switch:  {{#time:Ynj|{{{1|}}} }}|100031|110031|130031|140031|150031=none}}
 |= {{{1|}}}&lt;!-- error or &quot;none&quot;, so no formatting --&gt;
 |&lt;!-- continue with formatting --&gt;
  {{#ifeq:&lt;!--
    --&gt;{{#time:Y|{{{1}}} 2008}}&lt;!--
    --&gt;{{#iferror: {{#ifexpr: {{{1}}}&gt;10000000000000 | no }} | }}&lt;!--
    --&gt;{{#time:Y|{{{1}}} 2004}}
  |20082004
  |&lt;!-- no year --&gt;
    {{#ifeq:{{#time:d|{{{1}}} 2036}}|{{#time:d|{{{1}}} }}
    |&lt;!-- month+day --&gt;{{#time:
      {{#switch: {{lc: {{#ifeq:{{{3|}}}|y|L}}{{{2|}}} }}
      | lmdy | liso | lymd      = [[:F j]]
      | mdy  | iso  | ymd       = F j
      | ldmy | l                = [[:j F]]
      | #default                = j F
      }}|{{{1}}} 2000 }}&lt;!-- default='dmy' or null or &quot;&quot; or unsupported option --&gt;
    |&lt;!-- month only --&gt;{{#time:
      {{#switch: {{lc: {{#ifeq:{{{3|}}}|y|L}}{{{2|}}} }}
      | lmdy | liso | lymd 
      | ldmy | l                = [[F]]
      | #default                = F
      }}|{{{1}}} 2000 }}&lt;!-- default='dmy'/'mdy'/'ymd'/'iso'/null/&quot;&quot;/unsupported opt --&gt;
    }}
  |&lt;!-- with year--&gt;
    {{#if: {{#iferror:{{#time:j|2 {{{1|}}}}}|*D*|{{#iferror:{{#time:j|2000 {{{1|}}}}}|*D*| }}}}
    |&lt;!-- day+month+year --&gt;{{#time:
      {{#switch: {{lc: {{#ifeq:{{{3|}}}|y|L}}{{{2|}}} }}
      | lmdy                    = [[:F j]], [[Y]]
      | mdy                     = F j, Y
      | liso                    = [[Y|Y-]][[F j|m-d]]&lt;!-- i.e. [[Y-m-d]] --&gt;
      | iso                     = Y-m-d
      | lymd                    = [[Y]] [[:F j]]
      | ymd                     = Y F j
      | ldmy | l                = [[:j F]] [[Y]]
      | #default                = j F Y
      }}|{{{1|}}} }}&lt;!-- #default='dmy' or null or &quot;&quot; or unsupported option --&gt;
    |&lt;!-- month+year --&gt;{{#time:
      {{#switch: {{lc: {{#ifeq:{{{3|}}}|y|L}}{{{2|}}} }}
      | lmdy | liso | lymd | ldmy | l  = [[:F Y]]
      | #default                = F Y
      }}|{{{1|}}} }}&lt;!-- default='dmy'/'iso'/'mdy'/null/&quot;&quot;/unsupported option --&gt;
    }}
  }}    
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Dmoz</title>
    <id>2559871</id>
    <revision>
      <id>270516798</id>
      <timestamp>2009-02-13T20:31:12Z</timestamp>
      <contributor>
        <username>Cenarium</username>
        <id>5711305</id>
      </contributor>
      <comment>template</comment>
      <text xml:space="preserve">{{#switch: {{{3|}}}
|#default=[http://www.dmoz.org/{{{1}}}/ {{{2|{{PAGENAME}}}}}] at the [[Open Directory Project]]
|user=[http://www.dmoz.org/profiles/{{{1}}}.html {{{2|{{PAGENAME}}}}}] at the [[Open Directory Project]]
}}&lt;noinclude&gt;{{pp-template}}{{Documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Dot</title>
    <id>8120349</id>
    <redirect />
    <revision>
      <id>222372155</id>
      <timestamp>2008-06-29T00:24:46Z</timestamp>
      <contributor>
        <username>Luna Santin</username>
        <id>1587622</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Dot: potential risk, doubtful there will ever be significant need to edit this [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:·]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Harvard citation no brackets</title>
    <id>5326834</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>286103413</id>
      <timestamp>2009-04-25T20:44:00Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <comment>allow page for p and pages for pp, per talk page request</comment>
      <text xml:space="preserve">{{#ifeq:{{{Ref|}}}|none
  |{{#if:{{{5|}}}
       |{{{1|}}} et al. {{{5|}}}
       |{{#if:{{{4|}}}
          |{{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} {{{4|}}}
          |{{#if:{{{3|}}}
             |{{{1|}}} &amp;amp; {{{2|}}} {{{3|}}}
             |{{{1|}}} {{{2|}}}
           }}
        }}
     }}
  | [[#&lt;!--
  --&gt;{{#if:{{{Ref|}}}&lt;!--
     --&gt;|{{{Ref}}}&lt;!--
     --&gt;|CITEREF{{{1|}}}{{{2|}}}{{{3|}}}{{{4|}}}{{{5|}}}&lt;!--
   --&gt;}}&lt;!--
  --&gt;|{{#if:{{{5|}}}&lt;!--
       --&gt;|{{{1|}}} et al. {{{5|}}}&lt;!--
       --&gt;|{{#if:{{{4|}}}&lt;!--
          --&gt;|{{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} {{{4|}}}&lt;!--
          --&gt;|{{#if:{{{3|}}}&lt;!--
             --&gt;|{{{1|}}} &amp;amp; {{{2|}}} {{{3|}}}&lt;!--
             --&gt;|{{{1|}}} {{{2|}}}&lt;!--
           --&gt;}}&lt;!--
        --&gt;}}&lt;!--
     --&gt;}}&lt;!--
 --&gt;]]
}}{{#if:{{{loc|}}}
  |, {{{loc|}}}
  |{{#if:{{{p|{{{page|}}}}}}
     |, p.&amp;nbsp;{{{p|{{{page}}}}}}
     |{{#if:{{{pp|{{{pages|}}}}}}
        |, pp.&amp;nbsp;{{{pp|{{{pages}}}}}}
      }}
   }}
}}&lt;noinclude&gt;
{{Documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Harvnb</title>
    <id>5326925</id>
    <redirect />
    <revision>
      <id>103261552</id>
      <timestamp>2007-01-25T23:57:49Z</timestamp>
      <contributor>
        <username>Tariqabjotu</username>
        <id>153365</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Harvnb: high-profile redirect [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT[[Template:Harvard citation no brackets]]</text>
    </revision>
  </page>
  <page>
    <title>Template:IPA-de</title>
    <id>18005160</id>
    <revision>
      <id>298896577</id>
      <timestamp>2009-06-27T07:00:41Z</timestamp>
      <contributor>
        <username>Kwamikagami</username>
        <id>93143</id>
      </contributor>
      <minor/>
      <comment>nowrap using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">&lt;onlyinclude&gt;&lt;small&gt;{{#switch: {{{2}}}|IPA=IPA:&amp;nbsp;|lang=German:&amp;nbsp;|pron=pronounced&amp;nbsp;|=|German pronunciation:&amp;nbsp;}}&lt;/small&gt;&lt;span title=&quot;Pronunciation in IPA&quot; class=&quot;IPA&quot;&gt;[[WP:IPA for German|[{{{1}}}]]]&lt;/span&gt;&lt;small&gt;{{#if:{{{3|}}}|&amp;nbsp; {{nowrap|([[File:Speaker Icon.svg|13px|link=:Media:{{{3|}}}]] [[:Media:{{{3|}}}|listen]])}}}}&lt;/small&gt;&lt;/onlyinclude&gt;
{{pp-template|small=yes}}

==Usage==
This template formats IPA transcriptions and links them to [[WP:IPA for German]]. The transcription should match the conventions of that key; for narrower dialect transcriptions, use {{tl|IPA-all}}, which links to a more complete IPA key. 

The first cell in the template is for the transcription, and a second optional cell is a switch that controls the lede. With no second value, the lede ''German pronunciation:'' appears: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|pron}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|pron}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|lang}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|lang}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|IPA}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|IPA}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|}}

Any of these may be combined with a sound file in an optional third cell:
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|IPA|De-ich.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|IPA|De-ich.ogg}}

For the default lede, however, a placeholder such as ‹-› is required in the second cell: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-de|iç|-|De-ich.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-de|iç|-|De-ich.ogg}}

{{usage of IPA templates}}

&lt;!-- PLEASE ADD CATEGORIES BELOW THIS LINE, THANKS. --&gt;

[[Category:IPA templates|{{PAGENAME}}]]

&lt;!-- PLEASE ADD INTERWIKIS BELOW THIS LINE, THANKS. --&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Link FA</title>
    <id>2658806</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>268308168</id>
      <timestamp>2009-02-03T19:36:31Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <minor/>
      <comment>bad</comment>
      <text xml:space="preserve">&lt;span id=&quot;interwiki-{{{1}}}-fa&quot;&gt;&lt;/span&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:MusicBrainz artist</title>
    <id>2450950</id>
    <revision>
      <id>225237214</id>
      <timestamp>2008-07-12T16:55:34Z</timestamp>
      <contributor>
        <username>VegaDark</username>
        <id>680693</id>
      </contributor>
      <minor/>
      <comment>Protected Template:MusicBrainz artist: High-risk template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{id|{{{1}}}}}}||&lt;span class=&quot;error&quot;&gt;ERROR: missing &quot;id&quot; →&lt;/span&gt;}}&lt;/includeonly&gt;[http://musicbrainz.org/artist/{{{id|{{{1}}}}}}.html {{{name|{{PAGENAME}}}}} discography] at [[MusicBrainz]]&lt;noinclude&gt;
{{Documentation, template}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Page needed</title>
    <id>6135246</id>
    <revision>
      <id>302338353</id>
      <timestamp>2009-07-16T01:58:06Z</timestamp>
      <contributor>
        <username>AnOddName</username>
        <id>483865</id>
      </contributor>
      <comment>rm &quot;at&quot; and period. Otherwise the resulting tooltip, which appends the date after the period, is ungrammatical</comment>
      <text xml:space="preserve">{{fix
|link=Wikipedia:Citing sources
|title=This citation requires a reference to the specific page or range of pages in which the material appears
|text=page&amp;nbsp;needed
|date={{{date|}}}
|cat=[[Category:Wikipedia articles needing page number citations]]}}&lt;noinclude&gt;
&lt;!--Categories and interwikis go on the /doc sub-page.--&gt;
{{Documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Page number</title>
    <id>22334742</id>
    <redirect />
    <revision>
      <id>282622213</id>
      <timestamp>2009-04-08T20:16:42Z</timestamp>
      <contributor>
        <username>SMcCandlish</username>
        <id>378390</id>
      </contributor>
      <comment>moved [[Template:Page number]] to [[Template:Page needed]] over redirect: to match text of template</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Page needed]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Redirect</title>
    <id>1649987</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>260160146</id>
      <timestamp>2008-12-26T11:10:25Z</timestamp>
      <contributor>
        <username>Ruslik0</username>
        <id>1130897</id>
      </contributor>
      <comment>per editprotected request (see talk page)</comment>
      <text xml:space="preserve">{{dablink|&quot;{{{1}}}&quot; redirects here. For {{#if: {{{2|}}}|{{{2}}}|other uses}}, see [[{{{3|{{{1}}} (disambiguation)}}}]]. {{#if: {{{4|}}}|For {{{4}}}, see [[{{{5|{{{4}}} (disambiguation)}}}]].}} {{#if: {{{6|}}}|For {{{6}}}, see [[{{{7|{{{6}}} (disambiguation)}}}]].}} }}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:See also2</title>
    <id>18551176</id>
    <revision>
      <id>311417661</id>
      <timestamp>2009-09-02T05:35:52Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <comment>[[Wikipedia:Templates for deletion/Log/2009 August 22]]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{rellink|extraclasses=boilerplate seealso|{{{altphrase|See also}}}: {{#if:{{{1|}}} |&lt;!--then:--&gt;{{{1}}}|&lt;!--else:--&gt;'''Error: [[Template:See also2|Template must be given at least one article name]]''' 
}}{{#if:{{{2|}}}|{{#if:{{{3|}}}|, |&amp;nbsp;and }} {{{2}}}
}}{{#if:{{{3|}}}|{{#if:{{{4|}}}|, |,&amp;nbsp;and }} {{{3}}}
}}{{#if:{{{4|}}}|{{#if:{{{5|}}}|, |,&amp;nbsp;and }} {{{4}}}
}}{{#if:{{{5|}}}|{{#if:{{{6|}}}|, |,&amp;nbsp;and }} {{{5}}}
}}{{#if:{{{6|}}}|{{#if:{{{7|}}}|, |,&amp;nbsp;and }} {{{6}}}
}}{{#if:{{{7|}}}|{{#if:{{{8|}}}|, |,&amp;nbsp;and }} {{{7}}}
}}{{#if:{{{8|}}}|{{#if:{{{9|}}}|, |,&amp;nbsp;and }} {{{8}}}
}}{{#if:{{{9|}}}|{{#if:{{{10|}}}|, |,&amp;nbsp;and }} {{{9}}}
}}{{#if:{{{10|}}}|{{#if:{{{11|}}}|, |,&amp;nbsp;and }} {{{10}}}
}}{{#if:{{{11|}}}|{{#if:{{{12|}}}|, |,&amp;nbsp;and }} {{{11}}}
}}{{#if:{{{12|}}}|{{#if:{{{13|}}}|, |,&amp;nbsp;and }} {{{12}}}
}}{{#if:{{{13|}}}|{{#if:{{{14|}}}|, |,&amp;nbsp;and }} {{{13}}}
}}{{#if:{{{14|}}}|{{#if:{{{15|}}}|, |,&amp;nbsp;and }} {{{14}}}
}}{{#if:{{{15|}}}|,&amp;nbsp;and {{{15}}}
}}{{#if:{{{16|}}}| &amp;mdash; '''&lt;br/&gt;Error: [[Template:See also2|Too many links specified (maximum is 15)]]'''
}}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikiquote</title>
    <id>958937</id>
    <restrictions>move=sysop:edit=sysop</restrictions>
    <revision>
      <id>255307773</id>
      <timestamp>2008-12-01T23:35:39Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>meta-template</comment>
      <text xml:space="preserve">{{sister
|project=wikiquote
|text=[[Wikiquote]] has a collection of quotations related to: '''''[[q:{{{1|Special:Search/{{PAGENAME}}}}}|{{{2|{{{1|{{PAGENAME}}}}}}}}]]''''' 
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Wolfgang Amadeus Mozart</title>
    <id>20391085</id>
    <revision>
      <id>308060539</id>
      <timestamp>2009-08-15T03:04:48Z</timestamp>
      <contributor>
        <username>James470</username>
        <id>9398373</id>
      </contributor>
      <minor/>
      <comment>case for [[List of masses by Wolfgang Amadeus Mozart]]</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{Documentation}}&lt;/noinclude&gt;{{Navbox|name=Wolfgang Amadeus Mozart|titlestyle=background:tan;|title=[[Wolfgang Amadeus Mozart]]|state={{{state&lt;includeonly&gt;|autocollapse&lt;/includeonly&gt;}}} 
|group1=Family|list1=[[Leopold Mozart]]{{Dot}} [[Anna Maria Mozart]]{{Dot}} [[Maria Anna Mozart|Maria Anna Mozart (Nannerl)]]{{Dot}} [[Constanze Mozart]]{{Dot}} [[Maria Anna Thekla Mozart|Maria Anna Thekla Mozart (Bäsle)]]{{Dot}} [[Franz Xaver Wolfgang Mozart]]{{Dot}} [[Karl Thomas Mozart]]{{Dot}} [[Johann Georg Mozart]]{{Dot}} [[Joseph Lange]]{{Dot}} [[Cäcilia Weber]]{{Dot}} [[Josepha Weber]]{{Dot}} [[Aloysia Weber]]{{Dot}} [[Sophie Weber]]{{Dot}} [[Georg Nikolaus von Nissen|Georg Nissen]] {{Dot}}
See [[Mozart family]] for details
|group2=Biography|list2=[[Mozart's name]]{{Dot}} [[Mozart family grand tour]]{{Dot}} [[Mozart and smallpox]]{{Dot}} [[Mozart in Italy]]{{Dot}} [[Mozart's Berlin journey]]{{Dot}} [[Death of Mozart]]{{Dot}} [[Biographies of Mozart]]
|group3=Works|list3=[[Köchel catalogue]]{{Dot}} [[List of compositions by Wolfgang Amadeus Mozart|List of compositions]]{{Dot}}[[List of solo piano compositions by Wolfgang Amadeus Mozart|Piano works]]{{Dot}} [[List of concert arias, songs and canons by Wolfgang Amadeus Mozart|Concert arias, songs, canons]]{{Dot}} [[List of masses by Wolfgang Amadeus Mozart|Masses]]{{Dot}} [[Horn Concertos (Mozart)|Horn concertos]]{{Dot}} [[Mozart piano concertos|Piano concertos]]{{Dot}} [[List of operas by Mozart|Operas]]{{Dot}} [[Mozart's compositional method]]{{Dot}} [[Mozart and dance]]{{Dot}} [[Mozart symphonies of spurious or doubtful authenticity|Symphonies of doubtful authenticity]]
|group4=Influences|list4=[[Haydn and Mozart]]{{Dot}} [[Antonio_Salieri#Salieri and Mozart|Salieri and Mozart]]{{Dot}} [[Mozart and Beethoven]]{{Dot}} [[Mozart and Prague]]{{Dot}} [[Mozart and Roman Catholicism]]{{Dot}} [[Mozart and Freemasonry]]}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Finland-musician-stub</title>
    <id>2168119</id>
    <revision>
      <id>309541048</id>
      <timestamp>2009-08-23T03:50:07Z</timestamp>
      <contributor>
        <username>Xeno</username>
        <id>1795359</id>
      </contributor>
      <minor/>
      <comment>thou shalt not lie</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag of Finland.svg
| pix       = 30
| subject   = 
| qualifier = about a [[Finland|Finnish]] [[musician]]
| category  = Finnish musician stubs
| tempsort  =  
| name      = Template:Finland-musician-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Lang-cs</title>
    <id>3910247</id>
    <revision>
      <id>227995986</id>
      <timestamp>2008-07-26T11:38:07Z</timestamp>
      <contributor>
        <username>Hut 8.5</username>
        <id>1799532</id>
      </contributor>
      <comment>{{pp-template|small=yes}}</comment>
      <text xml:space="preserve">{{langWithName|cs|Czech|''{{{1}}}''}}&lt;noinclude&gt;
{{pp-template|small=yes}}
[[Category:Multilingual support templates|Lang-cs]]
[[es:Plantilla:Lang-cz]]
[[fi:Malline:K-cs]]
[[simple:Template:Lang-cs]]
[[zh:Template:Lang-cs]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:De icon</title>
    <id>20845104</id>
    <revision>
      <id>282235945</id>
      <timestamp>2009-04-07T00:34:20Z</timestamp>
      <contributor>
        <username>NawlinWiki</username>
        <id>301395</id>
      </contributor>
      <minor/>
      <comment>Protected Template:De icon: Excessive [[WP:VANDALISM|vandalism]]:&amp;#32;target per abuse filter log ([edit=autoconfirmed] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">{{Languageicon|de|German}}&lt;noinclude&gt;

{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Dead link</title>
    <id>9172159</id>
    <revision>
      <id>312909889</id>
      <timestamp>2009-09-10T03:16:32Z</timestamp>
      <contributor>
        <username>Skier Dude</username>
        <id>2618808</id>
      </contributor>
      <minor/>
      <comment>update pp-template</comment>
      <text xml:space="preserve">{{fix
|special=&lt;sup class=&quot;noprint Inline-Template&quot;&gt;&lt;span title=&quot;{{{title|}}}{{#if:{{{date|}}}|&amp;nbsp;since {{{date}}}}}&quot; style=&quot;white-space: nowrap;&quot;&gt;&amp;#91;&lt;i&gt;{{#if: {{{url|}}}|[http://web.archive.org/web/*/{{{url|}}} dead link]|[[WP:Dead external links|dead link]]}}&lt;/i&gt;&amp;#93;&lt;/span&gt;&lt;/sup&gt;
|date={{{date|}}}
|cat=[[Category:All articles with dead external links]]
|cat-date=Category:Articles with dead external links}}&lt;noinclude&gt;
{{Documentation}}
{{pp-template|small=yes}}

&lt;!-- PLEASE ADD CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name de</title>
    <id>19086232</id>
    <revision>
      <id>304596038</id>
      <timestamp>2009-07-28T01:58:12Z</timestamp>
      <contributor>
        <username>Borgx</username>
        <id>271227</id>
      </contributor>
      <minor/>
      <comment>+id</comment>
      <text xml:space="preserve">German&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name de}}|de}}
[[id:Templat:ISO 639 name de]]&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Quote</title>
    <id>994397</id>
    <revision>
      <id>245553830</id>
      <timestamp>2008-10-15T23:32:10Z</timestamp>
      <contributor>
        <username>Luna Santin</username>
        <id>1587622</id>
      </contributor>
      <comment>updating protection template</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{pp-template|small=yes}}
{{For|linking a subject to a collection of quotations on [[Wikiquote]]|Template:Wikiquote}}{{-}}{{{{FULLPAGENAME}}|{{lorem ipsum}}|[[Someone's full name|Someone]]|''Source''}}
&lt;/noinclude&gt;&lt;includeonly&gt;&lt;blockquote class=&quot;templatequote&quot;&gt;&lt;div&gt;
{{{1|Insert the text of the quote here, without quotation marks.}}}
&lt;/div&gt;{{#if:{{{2|}}}|&lt;div class=&quot;templatequotecite&quot;&gt;&amp;#8212;&lt;cite&gt;{{{2}}}{{#if:{{{3|}}}|,&amp;nbsp;{{{3}}}}}&lt;/cite&gt;&lt;/div &gt;}}&lt;/blockquote&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
&lt;!-- Add cats and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Austria-bio-stub</title>
    <id>2171897</id>
    <revision>
      <id>305559114</id>
      <timestamp>2009-08-02T01:50:57Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag of Austria.svg
| pix       = 31
| subject   = [[Austria]]n [[biography|biographical]] 
| qualifier = 
| category  = Austrian people stubs
| tempsort  =  
| name      = Template:Austria-bio-stub
}}
&lt;noinclude&gt;
[[mk:Шаблон:Австрија-биог-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:IPA-pt</title>
    <id>22704452</id>
    <revision>
      <id>298896801</id>
      <timestamp>2009-06-27T07:02:40Z</timestamp>
      <contributor>
        <username>Kwamikagami</username>
        <id>93143</id>
      </contributor>
      <minor/>
      <comment>nowrap using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">&lt;onlyinclude&gt;&lt;small&gt;{{#switch: {{{2}}}|IPA=IPA:&amp;nbsp;|lang=Portuguese:&amp;nbsp;|pron=pronounced&amp;nbsp;|eu=European Portuguese:&amp;nbsp;|br=Brazilian Portuguese:&amp;nbsp;|=|Portuguese pronunciation:&amp;nbsp;}}&lt;/small&gt;&lt;span title=&quot;Pronunciation in IPA&quot; class=&quot;IPA&quot;&gt;[[Wikipedia:IPA for Portuguese|[{{{1}}}]]]&lt;/span&gt;&lt;small&gt;{{#if:{{{3|}}}|&amp;nbsp; {{nowrap|([[File:Speaker Icon.svg|13px|link=:Media:{{{3|}}}]] [[:Media:{{{3|}}}|listen]])}}}}&lt;/small&gt;&lt;/onlyinclude&gt;
{{pp-template|small=yes}}

==Usage==
This template formats IPA transcriptions and links them to [[WP:IPA for Portuguese]]. The transcription should match the conventions of that key; for narrower dialect transcriptions, use {{tl|IPA-all}}, which links to a more complete IPA key. 

The first cell in the template is for the transcription, and a second optional cell is a switch that controls the lede. With no second value, the lede ''Portuguese pronunciation:'' appears: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|pron}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|pron}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|lang}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|lang}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|eu}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|eu}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|br}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|br}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|IPA}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|IPA}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|}}

Any of these may be combined with a sound file in an optional third cell:
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|IPA|Pt-br-bo.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|IPA|Pt-br-bo.ogg}}

For the default lede, however, a placeholder such as ‹-› is required in the second cell: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-pt|bo|-|Pt-br-bo.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-pt|bo|-|Pt-br-bo.ogg}}

{{usage of IPA templates}}


&lt;!-- PLEASE ADD CATEGORIES BELOW THIS LINE, THANKS. --&gt;

[[Category:IPA templates|{{PAGENAME}}]]

&lt;!-- PLEASE ADD INTERWIKIS BELOW THIS LINE, THANKS. --&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:CathEncy</title>
    <id>9960793</id>
    <revision>
      <id>283181314</id>
      <timestamp>2009-04-11T14:41:39Z</timestamp>
      <contributor>
        <username>Gimmetrow</username>
        <id>1368726</id>
      </contributor>
      <comment>t</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#ifeq:{{{short|}}}|yes
|{{#if:{{{wstitle|}}}|[[Image:wikisource-logo.svg|15px]]&amp;nbsp;}}{{cite encyclopedia|year=1913|encyclopedia=[[Catholic Encyclopedia]]|url={{{url|{{#if:{{{id|}}}|http://www.newadvent.org/cathen/{{{id|index}}}.htm|{{fullurl:wikisource:Catholic_Encyclopedia_(1913)/{{{wstitle|{{PAGENAME}}}}}}}}}}}}|title={{{2|{{#if:{{{wstitle|}}}|{{{title|{{{wstitle}}}}}}|{{{title|{{PAGENAME}}}}}}}}}}|first={{{first|}}}|last={{{author|{{{last||{{{3|}}}}}}}}}|authorlink={{{authorlink|}}}}}
|{{#if:{{{wstitle|}}}|[[Image:wikisource-logo.svg|15px]]&amp;nbsp;}}{{cite encyclopedia|year=1913|encyclopedia=[[Catholic Encyclopedia]]|url={{{url|{{#if:{{{id|}}}|http://www.newadvent.org/cathen/{{{id|index}}}.htm|{{fullurl:wikisource:Catholic_Encyclopedia_(1913)/{{{wstitle|{{PAGENAME}}}}}}}}}}}}|title={{{2|{{#if:{{{wstitle|}}}|{{{title|{{{wstitle}}}}}}|{{{title|{{PAGENAME}}}}}}}}}}|first={{{first|}}}|last={{{author|{{{last|{{{3|}}}}}}}}}|authorlink={{{authorlink|}}}|publisher=Robert Appleton Company|location=New York|accessdate={{{accessdate|}}}}}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{template doc}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite news</title>
    <id>4321630</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>298175610</id>
      <timestamp>2009-06-23T18:42:05Z</timestamp>
      <contributor>
        <username>Crum375</username>
        <id>1365432</id>
      </contributor>
      <comment>test - should not affect other params except trans_title</comment>
      <text xml:space="preserve">{{Citation/core
  |Citation class=news
  |Surname1 = {{{last|{{{surname|{{{last1|{{{surname1|{{{author1|{{{author|{{{authors|{{{author|}}}}}}}}}}}}}}}}}}}}}}}}
  |Surname2 = {{{last2|{{{surname2|{{{author2|{{{coauthor|{{{coauthors|}}}}}}}}}}}}}}}
  |Surname3 = {{{last3|{{{surname3|{{{author3|}}}}}}}}}
  |Surname4 = {{{last4|{{{surname4|{{{author4|}}}}}}}}}
  |Surname5 = {{{last5|{{{surname5|{{{author5|}}}}}}}}}
  |Surname6 = {{{last6|{{{surname6|{{{author6|}}}}}}}}}
  |Surname7 = {{{last7|{{{surname7|{{{author7|}}}}}}}}}
  |Surname8 = {{{last8|{{{surname8|{{{author8|}}}}}}}}}
  |Surname9 = {{{last9|{{{surname9|{{{author9|}}}}}}}}}
  |Given1 = {{{first1|{{{given1|{{{first|{{{given|}}}}}}}}}}}}
  |Given2 = {{{first2|{{{given2|}}}}}}
  |Given3 = {{{first3|{{{given3|}}}}}}
  |Given4 = {{{first4|{{{given4|}}}}}}
  |Given5 = {{{first5|{{{given5|}}}}}}
  |Given6 = {{{first6|{{{given6|}}}}}}
  |Given7 = {{{first7|{{{given7|}}}}}}
  |Given8 = {{{first8|{{{given8|}}}}}}
  |Given9 = {{{first9|{{{given9|}}}}}}
  |Authorlink1 = {{{author-link|{{{author1-link|{{{authorlink|{{{authorlink1|}}}}}}}}}}}}
  |Authorlink2 = {{{author2-link|{{{authorlink2|}}}}}}
  |Authorlink3 = {{{author3-link|{{{authorlink3|}}}}}}
  |Authorlink4 = {{{author4-link|{{{authorlink4|}}}}}}
  |Authorlink5 = {{{author5-link|{{{authorlink5|}}}}}}
  |Authorlink6 = {{{author6-link|{{{authorlink6|}}}}}}
  |Authorlink7 = {{{author7-link|{{{authorlink7|}}}}}}
  |Authorlink8 = {{{author8-link|{{{authorlink8|}}}}}}
  |Authorlink9 = {{{author9-link|{{{authorlink9|}}}}}}
  |Year={{{year|{{    &lt;!-- attempt to derive year from date, if possible --&gt;
             #if: {{{date|}}}
             |{{
                #iferror:{{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{{year|{{{publication-date|}}}}}}}}
  |DateFormat = {{{dateformat|}}}
  |Title={{#if:{{{journal|{{{periodical|{{{newspaper|{{{magazine|{{{work|}}}}}}}}}}}}}}}|{{{title|}}}}}
  |TransTitle={{{trans_title|}}}
  |URL={{#if:{{{archiveurl|}}}|{{{archiveurl}}}|{{{url|}}}}}
  |Series={{{agency|}}}
  |Periodical = {{{journal|{{{periodical|{{{newspaper|{{{magazine|{{{work|}}}}}}}}}}}}}}}
  |Volume = {{{volume|}}}
  |Issue = {{{issue|{{{number|}}}}}}
  |At = {{
           #if: {{{page|}}}
           |p.&amp;nbsp;{{{page}}}
           |{{
              #if: {{{pages|}}}
              |pp.&amp;nbsp;{{{pages}}}
              |{{{at|}}}
            }}
         }}
  |IncludedWorkTitle = {{#if:{{{journal|{{{periodical|{{{newspaper|{{{magazine|{{{work|}}}}}}}}}}}}}}}||{{{title|}}}}}
  |IncludedWorkURL = {{{chapter-url|{{{chapterurl|{{{contribution-url|}}}}}}}}}
  |Edition = {{{edition|}}}
  |Place = {{{place|{{{location|}}}}}}
  |PublicationPlace = {{{publication-place|{{{place|{{{location|}}}}}}}}}
  |Publisher = {{{publisher|}}}
  |PublicationDate = {{{publication-date|}}}
  |language = {{{language|{{{in|}}}}}}
  |format = {{{format|}}}
  |ID={{{id|{{{ID|}}}}}}
  |ISBN={{{isbn|{{{ISBN|}}}}}}
  |ISSN={{{issn|{{{ISSN|}}}}}}
  |OCLC={{{oclc|{{{OCLC|}}}}}}
  |PMID={{{pmid|{{{PMID|}}}}}}
  |PMC={{{pmc|{{{PMC|}}}}}}
  |Bibcode={{{bibcode|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |AccessDate={{#if:{{{accessdate|}}}|{{{accessdate}}}|{{
    #if:{{{accessdaymonth|}}}|{{{accessdaymonth}}} {{{accessyear|}}}|{{
      #if:{{{accessmonthday|}}}|{{{accessmonthday}}} {{{accessyear|}}}|
      {{{accessday|}}} {{{accessmonth|}}} {{{accessyear|}}}
      }}
    }}
   }}
  |laysummary = {{{laysummary|}}}
  |laydate = {{{laydate|}}}
  |quote = {{{quote|}}}
  |PS={{#if:{{{quote|}}}||.}} 
  |Ref={{{ref|}}}
  |Sep = {{#ifeq:{{{separator|{{{seperator}}} }}}|;|&amp;#059;|{{{separator|{{{seperator|.}}} }}} }}
  |ArchiveDate = {{{archivedate|}}}
  |OriginalURL = {{#if:{{{archiveurl|}}}|{{ #if:{{{url|}}}|{{{url}}} }} }}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Death date</title>
    <id>10162471</id>
    <revision>
      <id>235504144</id>
      <timestamp>2008-09-01T02:33:51Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>rm date links per WP:DATE</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if:{{{df|}}}|{{{3}}} {{MONTHNAME|{{{2}}}}}|{{MONTHNAME|{{{2}}}}} {{{3}}},}} {{{1}}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Italy-musician-stub</title>
    <id>8806221</id>
    <revision>
      <id>305758227</id>
      <timestamp>2009-08-03T04:54:46Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Musical notes.svg
| pix       = 30
| subject   = 
| qualifier = on a [[Italy|Italian]] [[musician]] 
| category  = Italian musician stubs
| tempsort  =  
| name      = Template:Italy-musician-stub
}}
&lt;noinclude&gt;
[[mk:Шаблон:Италија-музичар-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Hs</title>
    <id>19163900</id>
    <revision>
      <id>294327344</id>
      <timestamp>2009-06-04T06:00:11Z</timestamp>
      <contributor>
        <username>Michael Bednarek</username>
        <id>800198</id>
      </contributor>
      <comment>Moved interwiki link and documentation to ./doc.</comment>
      <text xml:space="preserve">&lt;span style=&quot;display:none&quot; class=&quot;sortkey&quot;&gt;{{{1}}}&lt;/span&gt;&lt;noinclude&gt;{{Documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Nowrap</title>
    <id>1627975</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>217157546</id>
      <timestamp>2008-06-04T21:13:26Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <minor/>
      <comment>closing colon</comment>
      <text xml:space="preserve">&lt;span style=&quot;white-space:nowrap;&quot;&gt;{{{1}}}&lt;/span&gt;&lt;noinclude&gt;{{documentation}}&lt;!--interwikis/categories go inside doc--&gt;&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name sk</title>
    <id>19090110</id>
    <revision>
      <id>235175121</id>
      <timestamp>2008-08-30T12:59:17Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>Documentation second pass, Replaced: |ISO 639 name  → }}|  using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">Slovak&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name sk}}|sk}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Sk icon</title>
    <id>2002657</id>
    <revision>
      <id>309599249</id>
      <timestamp>2009-08-23T13:42:04Z</timestamp>
      <contributor>
        <username>Firq</username>
        <id>9261625</id>
      </contributor>
      <text xml:space="preserve">{{languageicon|sk|Slovak}}&lt;noinclude&gt;[[Category:Language icon templates|sk]]
[[da:Skabelon:Sk sprog]]
[[dsb:Pśedłoga:Ref-sk]]
[[fr:Modèle:Sk]]
[[hsb:Předłoha:Ref-sk]]
[[it:Template:Sk]]
[[ja:Template:Sk icon]]
[[ms:Templat:Sk icon]]
[[ru:Шаблон:Ref-sk]]
[[sk:Šablóna:Slk icon]]
[[sl:Predloga:Ikona sk]]
[[fi:Malline:Sk]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Chess notation</title>
    <id>10203225</id>
    <revision>
      <id>248636713</id>
      <timestamp>2008-10-30T16:11:12Z</timestamp>
      <contributor>
        <username>Venske</username>
        <id>4963461</id>
      </contributor>
      <comment>ro</comment>
      <text xml:space="preserve">:''This article uses [[algebraic chess notation|algebraic notation]] to describe chess moves.''&lt;noinclude&gt;
[[Category:Chess templates|Chess notation]]

[[fr:Modèle:Notation échiquéenne]]
[[gl:Modelo:Notación alxebraica]]
[[pl:Szablon:Szachowa notacja]]
[[ro:Format:Chess notation]]
[[sl:Template:Chess notation]]
[[sr:Шаблон:Алгебарска нотација]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Chessgames player</title>
    <id>4382132</id>
    <revision>
      <id>306763307</id>
      <timestamp>2009-08-08T08:58:20Z</timestamp>
      <contributor>
        <username>DSisyphBot</username>
        <id>8260451</id>
      </contributor>
      <minor/>
      <comment>robot Removing: [[ro:Formate:Chessgames player]]</comment>
      <text xml:space="preserve">[http://www.chessgames.com/perl/chessplayer?pid={{{1|{{{id}}}}}} {{{2|{{{name|{{PAGENAME}}}}}}}}] player profile at [[ChessGames.com]]&lt;noinclude&gt;

[[Category:Chess templates|{{PAGENAME}}]]
[[Category:People and person external link templates|{{PAGENAME}}]]

[[es:Plantilla:Chessgames jugador]]
[[fr:Modèle:Chessgames joueur]]
[[gl:Modelo:Chessgames xadrecista]]
[[it:Template:Scacchisti]]
[[pt:Predefinição:Bio-Chessgames]]
[[fi:Malline:CG]]
[[tl:Suleras:Chessgames player]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Country data France</title>
    <id>8819754</id>
    <revision>
      <id>295061650</id>
      <timestamp>2009-06-07T22:44:45Z</timestamp>
      <contributor>
        <username>Andrwsc</username>
        <id>898126</id>
      </contributor>
      <comment>updates to variants - rename &quot;royal&quot; as &quot;naval-royal&quot;, as it is a naval ensign.  Remove &quot;restauration&quot;, now replaced by &quot;early&quot;</comment>
      <text xml:space="preserve">{{ {{{1&lt;noinclude&gt;|country showdata&lt;/noinclude&gt;}}}
| alias = France
| flag alias = Flag of France.svg
| flag alias-medieval = Flag of France (XIV-XVI).svg
| flag alias-early = Pavillon royal de France.svg
| flag alias-1790 = Flag of France (1790-1794).svg
| flag alias-1814 = Flag of the Kingdom of France (1814-1830).svg
| flag alias-free = Flag of Free France 1940-1944.svg
| flag alias-vichy = VichyFlag.svg
| flag alias-naval = Civil and Naval Ensign of France.svg
| flag alias-naval-royal = Naval Ensign of the Kingdom of France.svg
| link alias-naval = French Navy
| size = {{{size|}}}
| name = {{{name|}}}
| altlink = {{{altlink|}}}
| variant = {{{variant|}}}
&lt;noinclude&gt;
| var1 = early
| var2 - medieval
| var3 = 1790
| var4 = 1814
| var5 = free
| var6 = naval-royal
| redir1 = FRA
| related1 = Free French
&lt;/noinclude&gt;
}}&lt;noinclude&gt;
[[af:Sjabloon:Landdata Frankryk]]
[[sl:Predloga:Podatki države Francija]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Country flagicon2</title>
    <id>2048255</id>
    <revision>
      <id>268715267</id>
      <timestamp>2009-02-05T16:49:38Z</timestamp>
      <contributor>
        <username>Andrwsc</username>
        <id>898126</id>
      </contributor>
      <comment>add link parameter to image syntax, so that clicking on the icon takes you to the article and not the image page</comment>
      <text xml:space="preserve">&lt;span class=&quot;flagicon&quot;&gt;[[Image:{{{flag alias-{{{variant}}}|{{{flag alias}}}}}}|{{#if:{{{size|}}}|{{{size}}}|22x20px}}|{{{border-{{{variant}}}|{{{border|border}}}}}} |{{{alt attribute|Flag of {{{alias}}}}}}|link={{{alias}}}]]&lt;/span&gt;&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Flagicon</title>
    <id>2075417</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>176578634</id>
      <timestamp>2007-12-08T15:48:27Z</timestamp>
      <contributor>
        <username>Andrwsc</username>
        <id>898126</id>
      </contributor>
      <comment>default to [[Template:Country data]] if no parameter specified, remove all whitespace to reduce template size a few bytes (to minimum)</comment>
      <text xml:space="preserve">{{country data {{{1|}}}|country flagicon2|variant={{{variant|{{{2|}}}}}}|size={{{size|}}}}}&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Chess player</title>
    <id>10050731</id>
    <revision>
      <id>309300738</id>
      <timestamp>2009-08-21T19:44:04Z</timestamp>
      <contributor>
        <username>DixonDBot</username>
        <id>10330367</id>
      </contributor>
      <minor/>
      <comment>robot Removing: [[ka:თარგი:ინფოდაფა მოჭადრაკე]], [[simple:Template:Infobox Chess player]] Modifying: [[pt:Predefinição:Info/Enxadrista]]</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{start infobox page}}&lt;/noinclude&gt;&lt;!--
--&gt; {{Infobox
|bodyclass    = vcard
|above        = {{{playername&lt;includeonly&gt;|PAGENAME&lt;/includeonly&gt;}}}
|aboveclass   = fn
|image        = {{{image&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|imageclass   = photo
|caption      = {{{caption&lt;includeonly&gt;|&lt;/includeonly&gt;}}}

|label1  = Full name
|data1   = {{{birthname&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label2  = Country
|class2  = adr
|data2   = {{{country&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label3  = Born
|data3   = {{{datebirth&lt;includeonly&gt;|&lt;/includeonly&gt;}}}&lt;br /&gt;{{{placebirth&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label4  = Died
|data4   = {{#if:{{{datedeath&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{placedeath|}}}|{{{datedeath}}}&lt;br /&gt;{{{placedeath}}} }}
|label5  = Title
|class5  = note
|data5   = {{{title&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label6  = [[World Chess Championship|World Champion]]
|class6  = note
|data6   = {{{worldchampion&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label7  = [[Women's World Chess Championship|Women's World Champion]]
|class7  = note
|data7   = {{{womensworldchampion&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label8  = [[Fédération Internationale des Échecs|FIDE]] [[Elo rating system|rating]]
|data8   = {{{rating&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|label9  = [[Elo rating system|Peak rating]]
|data9   = {{{peakrating&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
}}&lt;noinclude&gt;
{{end infobox page}}

[[Category:Chess infobox templates]]
[[Category:People infobox templates|Chess player]]

&lt;!------- Interwiki---------&gt;
[[ar:قالب:معلومات لاعب شطرنج]]
[[bg:Шаблон:Шахматист]]
[[de:Vorlage:Infobox Schachspieler]]
[[id:Templat:Infobox chess player]]
[[mk:Шаблон:Инфокутија Шахист]]
[[ja:Template:Infobox Chess player]]
[[pl:Szablon:Szachista infobox]]
[[pt:Predefinição:Info/Enxadrista]]
[[ro:Format:Infobox şahist]]
[[ru:Шаблон:Шахматист]]
[[sr:Шаблон:Шахиста]]
[[tl:Suleras:Infobox chess player]]
[[uk:Шаблон:Картка:Шахіст]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox chess player</title>
    <id>18282594</id>
    <redirect />
    <revision>
      <id>223481756</id>
      <timestamp>2008-07-04T07:19:44Z</timestamp>
      <contributor>
        <username>Sardanaphalus</username>
        <id>427947</id>
      </contributor>
      <comment>moved [[Template:Infobox chess player]] to [[Template:Infobox Chess player]]: &quot;Infobox&quot; + Sentence-cased (MoS) topic name</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Infobox Chess player]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikisource</title>
    <id>1044095</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>302573118</id>
      <timestamp>2009-07-17T10:07:25Z</timestamp>
      <contributor>
        <username>John Vandenberg</username>
        <id>101140</id>
      </contributor>
      <comment>use [[Template:Sister]]</comment>
      <text xml:space="preserve">{{sister
| position = {{{position|}}}
| project  = wikisource
| text     = 
[[Wikisource]] has original text related to this article:
&lt;div style=&quot;margin-left: 10px;&quot;&gt;'''''[[wikisource:{{{1|Special:Search/{{PAGENAME}}}}}|{{{2|{{{1|{{PAGENAME}}}}}}}}]]'''''&lt;/div&gt;
}}&lt;noinclude&gt;
{{Pp-template|small=yes}}{{doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikisourcepar</title>
    <id>1046365</id>
    <redirect />
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>95674245</id>
      <timestamp>2006-12-21T05:34:25Z</timestamp>
      <contributor>
        <username>Ral315</username>
        <id>111703</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Wikisourcepar: High-risk, no reason to edit. [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#redirect [[Template:Wikisource]]</text>
    </revision>
  </page>
  <page>
    <title>Template:About</title>
    <id>2468023</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>312722346</id>
      <timestamp>2009-09-09T04:23:09Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <minor/>
      <comment>moved [[Template:Otheruses4]] to [[Template:About]]: More intuitive name per discussion</comment>
      <text xml:space="preserve">{{dablink|{{#if: {{{1|}}}|This {{#ifeq:{{NAMESPACE}}|{{ns:0}}|article|page}} is about {{{1}}}.&amp;#32;&amp;#32;}}{{#if:{{{2|}}}|For {{{2}}}, see {{#if:{{{3|}}}|[[{{{3}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.&amp;#32;&amp;#32;|For other uses, see {{#if:{{{3|}}}|[[{{{3}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.}}{{#if:{{{2|}}}|{{#if:{{{4|}}}|{{#ifeq:{{{4}}}|1|For other uses, see {{#if:{{{5|}}}|[[{{{5}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.|For {{{4}}}, see {{#if:{{{5|}}}|[[{{{5}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.&amp;#32;&amp;#32;}}}}{{#if:{{{4|}}}|{{#if:{{{6|}}}|{{#ifeq:{{{6}}}|1|For other uses, see {{#if:{{{7|}}}|[[{{{7}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.|For {{{6}}}, see {{#if:{{{7|}}}|[[{{{7}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.&amp;#32;&amp;#32;}}}}{{#if:{{{6|}}}|{{#if:{{{8|}}}|{{#ifeq:{{{8}}}|1|For other uses, see {{#if:{{{9|}}}|[[{{{9}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.|For {{{8}}}, see {{#if:{{{9|}}}|[[{{{9}}}]]|[[{{PAGENAME}} (disambiguation)]]}}.&amp;#32;&amp;#32;}}}}}}}}}}}}&lt;noinclude&gt;{{pp-template|small=yes}}{{template doc}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Croatia-writer-stub</title>
    <id>6537385</id>
    <revision>
      <id>309540027</id>
      <timestamp>2009-08-23T03:43:19Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag of Croatia.svg
| pix       = 20
| subject   = 
| qualifier = about a [[Croatia|Croatian]] [[writer]] or [[poet]] 
| category  = Croatian writer stubs
| tempsort  = 
| name      = Template:Croatia-writer-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Article issues</title>
    <id>10409927</id>
    <revision>
      <id>312871019</id>
      <timestamp>2009-09-09T22:58:37Z</timestamp>
      <contributor>
        <username>Magioladitis</username>
        <id>1862829</id>
      </contributor>
      <minor/>
      <comment>minor</comment>
      <text xml:space="preserve">&lt;noinclude&gt;&lt;!--

Errors made on this template will appear on all articles this is used on (1000+) immediately after saving! Please see the example code at the bottom of the documentation page and ask for help if you are uncomfortable with parser functions and other template syntax. Also, be sure to update the documentation with any issues you add or remove.

--&gt;{{pp-template|small=yes}}
&lt;/noinclude&gt;&lt;!--{{Article issues}} begin--&gt;{{ambox
&lt;!--|image = [[Image:Gtk-dialog-info.svg|40px|center|top]]--&gt;
|type  = content
|text  = &lt;div&gt;
&lt;div style=&quot;text-align:left;&quot;&gt;'''This {{#if:{{{section|}}}{{{article|}}}&lt;!--
   then--&gt;|{{#if:{{{article|}}}|article|{{#if:{{{section|}}}|section}}}}&lt;!--
   else--&gt;|article or section}} has multiple issues.''' Please help '''[{{fullurl:{{FULLPAGENAME}}|action=edit}} improve the article]''' or discuss these issues on the '''[[{{TALKPAGENAME}}|talk page]]'''.&lt;/div&gt;&lt;!--
--
============================================ Validate Parameters
-- Validate template parameters: 1, 2, 3 &amp; 4

--&gt;{{#if:{{{1|}}}|In [[Template:Articleissues]], found parameter #1 as &quot;{{{1}}}&quot;;&lt;/br&gt;...expected equal-sign: plot=y, or plot=May 2007.|}}&lt;!--
--&gt;{{#if:{{{2|}}}|&lt;br/&gt;In [[Template:Articleissues]], found parameter #2 as &quot;{{{2}}}&quot;;&lt;/br&gt;...expected equal-sign: plot=y, or plot=May 2007.|}}&lt;!--
--&gt;{{#if:{{{3|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter #3 as &quot;{{{3}}}&quot;;&lt;/br&gt;...expected equal-sign format: {{{3}}}=y, or {{{3}}}=May 2007.|}}&lt;!--
--&gt;{{#if:{{{4|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter #4 as &quot;{{{4}}}&quot;;&lt;/br&gt;...expected equal-sign format: wikify=y, or wikify=May 2007.|}}&lt;!--

-- Validate upper-case parameters: Notable, Peacock, etc.

--&gt;{{#if:{{{Contradict|}}}|In [[Template:Articleissues]], found parameter as &quot;Contradict&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Criticisms|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;Criticisms&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Notable|}}}|In [[Template:Articleissues]], found parameter as &quot;Notable&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Peacock|}}}|&lt;br/&gt;In [[Template:Articleissues]], found parameter as &quot;Peacock&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Plot|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;Plot&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Prose|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;Prose&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--
--&gt;{{#if:{{{Update|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;Update&quot;;&lt;/br&gt;...expected lower-case keyword.|}}&lt;!--

 Validate misspelled parameters: criticism, peacocks, dispute, etc.

--&gt;{{#if:{{{criticism|}}}|In [[Template:Articleissues]], found parameter as &quot;criticism&quot;&lt;/br&gt;...expected plural &quot;criticisms&quot;.|}}&lt;!--
--&gt;{{#if:{{{dispute|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;dispute&quot;&lt;/br&gt;...expected past-tense &quot;disputed&quot;.|}}&lt;!--
--&gt;{{#if:{{{how-to|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;how-to&quot;&lt;/br&gt;...expected one-word form &quot;howto&quot;.|}}&lt;!--
--&gt;{{#if:{{{How-to|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;How-to&quot;&lt;/br&gt;...expected lowercase word &quot;howto&quot;.|}}&lt;!--

--&gt;{{#if:{{{peacocks|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;peacocks&quot;;&lt;/br&gt;...expected singular &quot;peacock&quot;.|}}&lt;!--
--&gt;{{#if:{{{primarysource|}}}|&lt;/br&gt;In [[Template:Articleissues]], found parameter as &quot;primarysource&quot;;&lt;/br&gt;...expected plural &quot;primarysources&quot;.|}}&lt;!--
--&gt;{{#if:{{{weasels|}}}|&lt;br/&gt;In [[Template:Articleissues]], found parameter as &quot;weasels&quot;;&lt;/br&gt;...expected singular &quot;weasel&quot;.|}}&lt;!--
--
================================================= Process tags

 Unreferenced: by parameter &quot;unreferenced&quot;
 Unreferenced: by parameter &quot;unref&quot;

 automatically hidden if there is a BLPunreferenced

--&gt;{{#if:{{{BLPunsourced|{{{BLPunreferenced|{{{BLPunref|{{{unrefBLP|{{{unreferencedBLP|}}}}}}}}}}}}}}}||
{{DatedAI
| name       = {{{unreferenced|{{{unref|}}}}}}
| message    = * It does not '''cite any [[Wikipedia:Citing sources|references or sources]]'''. Please help improve it by citing [[Wikipedia:Verifiability|reliable sources]].
| cat        = All articles lacking sources
| cat-date   = Articles lacking sources from
| cat-undate = Articles lacking sources
}}}}&lt;!--

Unsourced BLP

additional synonyms here must be added above at refimprove, too.

--&gt;{{DatedAI
| name       = {{{BLPunsourced|{{{BLPunreferenced|{{{BLPunref|{{{unrefBLP|{{{unreferencedBLP|}}}}}}}}}}}}}}}
| message    = * This biography of a living person does not '''cite any [[Wikipedia:Citing sources|references or sources]]'''. Please help improve it by citing [[Wikipedia:Verifiability|reliable sources]].
| cat        = All unreferenced BLPs
| cat-date   = Unreferenced BLPs from
| cat-undate = Unreferenced BLPs
}}&lt;!--

Citations missing

--&gt;{{DatedAI
| name       = {{{citations missing|}}}
| message    = * It is missing '''[[Wikipedia:Citing sources|citations]] or [[Wikipedia:Footnotes|footnotes]]'''. Please help improve it by adding [[Wikipedia:Inline citations|inline citations]].
| cat        = All articles with unsourced statements
| cat-date   = Articles with unsourced statements from
| cat-undate = Articles with unsourced statements
}}&lt;!--

citationstyle

--&gt;{{DatedAI
| name       = {{{citationstyle|{{{citation style|{{{citation-style|}}}}}}}}}
| message    = * Its references would be clearer with a different or consistent style of [[Wikipedia:Citing sources|citation]], [[Wikipedia:Footnote|footnoting]] or [[Wikipedia:External links|external linking]].
| cat        = All articles with unsourced statements
| cat-date   = Articles with unsourced statements from
| cat-undate = Articles with unsourced statements
}}&lt;!--

 Refimprove

 automatically hidden if there is a BLPrefimprove

--&gt;{{#if:{{{BLPrefimprove|{{{refimproveBLP|{{{BLPsources|{{{BLP sources|}}}}}}}}}}}}||
{{DatedAI
| name       = {{{refimprove|{{{moreref|{{{morerefs|{{{morereferences|}}}}}}}}}}}}
| message    = * It needs '''additional [[Wikipedia:Citing sources|references or sources]] for [[Wikipedia:Verifiability|verification]].'''
| cat-date   = Articles lacking reliable references from
| cat-undate = Articles lacking reliable references
}}}}&lt;!--

 BLPsources
 BLP sources
 BLPrefimprove
 refimproveBLP
 
 additional synonyms here must be added above at refimprove, too.

--&gt;{{DatedAI
| name       = {{{BLPrefimprove|{{{refimproveBLP|{{{BLPsources|{{{BLP sources|}}}}}}}}}}}}
| message    = * This biography of a living person needs '''additional [[Wikipedia:Citing sources|references or sources]] for [[Wikipedia:Verifiability|verification]].'''
| cat = BLP articles lacking sources
| cat-date   = Articles lacking reliable references from
| cat-undate = Articles lacking reliable references
}}&lt;!--

 Onesource

--&gt;{{DatedAI
| name       = {{{one source|{{{onesource|}}}}}}
| message    = * It relies largely or entirely upon a '''[[WP:CITE|single source]]'''.
| cat-date   = Articles lacking reliable references from
| cat-undate = Articles lacking reliable references
}}&lt;!--

 Primarysources

--&gt;{{DatedAI
| name       = {{{primarysources|}}}
| message    = * It needs '''[[Wikipedia:Verifiability|sources&amp;nbsp;or&amp;nbsp;references]]''' that appear in [[Wikipedia:Reliable sources|third-party publications]].
| cat-date   = Articles lacking reliable references from
| cat-undate   = Articles lacking reliable references
}}&lt;!--

 Laundry

--&gt;{{DatedAI
| name       = {{{laundry|}}}
| message    = * It seems to contain '''[[Wikipedia:Embedded list|embedded lists]]''' that may require '''[[Wikipedia:Cleanup|cleanup]]'''.
| cat        = Wikipedia laundry list cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Review

--&gt;{{DatedAI
| name       = {{{review|}}}
| message    = * It reads like a '''[[WP:SOAP|review]]'''.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Fancruft

--&gt;{{DatedAI
| name       = {{{fancruft|}}}
| message    = * It may contain an excessive amount of '''[[Wikipedia:Fancruft|intricate detail]]''' which may only interest a specific audience.
| cat-date   = Articles with trivia sections from
| cat-undate = Articles with trivia sections
}}&lt;!--

 Fansite

--&gt;{{DatedAI
| name       = {{{fansite|}}}
| message    = * It resembles a '''[[Wikipedia:Fancruft|fan site]].'''
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Prose

--&gt;{{DatedAI
| name       = {{{prose|}}}
| message    = * It is in a '''list format''' that may be better presented using '''[[prose]]'''.
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Spam

--&gt;{{DatedAI
| name       = {{{spam|}}}
| message    = * It might contain '''[[Wikipedia:Spam|spam]]'''.
| cat        = Wikipedia spam cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 How-to

--&gt;{{DatedAI
| name       = {{{howto|}}}
| message    = * It contains '''[[:Category:Articles containing how-to sections|instructions, advice, or how-to content]]'''.
| cat        = Articles containing how-to sections
}}&lt;!--

 Plot

--&gt;{{DatedAI
| name       = {{{plot|}}}
| message    =  * It contains a plot summary that may be '''[[Wikipedia:How to write a plot summary#Length|too long]]''' or '''[[Wikipedia:How to write a plot summary|overly detailed]]'''.
| cat-date   = Wikipedia articles with plot summary needing attention from
| cat-undate = Wikipedia articles with plot summary needing attention
}}&lt;!--

 Contradict

--&gt;{{DatedAI
| name       = {{{contradict|}}}
| message    = * It appears to '''contradict''' itself.
| cat-date   = Self-contradictory articles from
| cat-undate = Self-contradictory articles
}}&lt;!--

 Introduction missing (intromissing)

--&gt;{{DatedAI
| name       = {{{intromissing|}}}
| message    = * It does not have a '''[[WP:Lead section|lead section]]'''.
| cat        = Wikipedia introduction cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Intro length: by parameter &quot;intro length&quot;
 Intro length: by parameter &quot;toolong&quot;
 Alternative Intro length

--&gt;{{DatedAI
| name       = {{{intro length|{{{toolong|{{{intro-toolong|}}}}}}}}}
| message    = * Its introduction may be '''[[Wikipedia:Lead#Length|too long]]'''.
| cat        = Wikipedia introduction cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Restructuring

--&gt;{{DatedAI
| name       = {{{restructure|{{{reorganisation|{{{organize|}}}}}}}}}
| message    = * It may need '''[[Wikipedia:Layout|reorganization]]''' to meet Wikipedia's [[Wikipedia:Manual of Style|quality standards]].
| cat        = Wikipedia articles needing reorganization
}}&lt;!--

 Update

--&gt;{{DatedAI
| name       = {{{update|}}}
| message    = * It needs to be '''updated'''.
| cat        = Wikipedia articles in need of updating
}}&lt;!--

 Out of date

--&gt;{{DatedAI
| name       = {{{out of date|}}}
| message    = * Its '''[[Wikipedia:Accuracy dispute|factual accuracy]] may be compromised due to out-of-date information'''.
| cat        = Articles with obsolete information
}}&lt;!--

 Jargon

--&gt;{{DatedAI
| name       = {{{jargon|}}}
| message    = * It contains too much '''[[Wikipedia:Explain jargon|jargon]]''' and may need simplification or further explanation.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Inappropriate person

--&gt;{{DatedAI
| name       = {{{inappropriate person|}}}
| message    = * It uses '''[[grammatical person|{{{2|first-person or second-person}}}]] {{{3|inappropriately or excessively}}}'''.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Peacock terms

--&gt;{{DatedAI
| name       = {{{peacock|}}}
| message    = * Its quality may be compromised by '''[[Wikipedia:Avoid peacock terms|peacock terms]]'''.
| cat        = Articles with peacock terms
}}&lt;!--

 POV dispute: by parameter &quot;POV&quot;
 POV dispute: by parameter &quot;NPOV&quot;
 POV dispute: by parameter &quot;pov&quot;
 POV dispute: by parameter &quot;npov&quot;

--&gt;{{DatedAI
| name       = {{{POV|{{{NPOV|{{{pov|{{{npov|}}}}}}}}}}}}
| message    = * Its '''[[Wikipedia:Neutral point of view|neutrality]]''' is [[Wikipedia:NPOV dispute|disputed]].
| cat-date   = NPOV disputes from
| cat-undate = NPOV disputes
}}&lt;!--

 Original research: by parameter &quot;OR&quot;
 Original research: by parameter &quot;or&quot;

--&gt;{{DatedAI
| name       = {{{OR|{{{or|{{{original research|}}}}}}}}}
| message    = * It may contain '''[[Wikipedia:No original research|original research]]''' or [[Wikipedia:Verifiability|unverifiable claims]].
| cat-date   = Articles that may contain original research from
| cat-undate = Articles that may contain original research
}}&lt;!--

 Disputed factual accuracy

--&gt;{{DatedAI
| name       = {{{disputed|}}}
| message    = * Its '''factual accuracy''' is [[Wikipedia:Accuracy dispute|disputed]].
| cat-date   = Accuracy disputes from
| cat-undate = Accuracy disputes
}}&lt;!--

 Improper synthesis

--&gt;{{DatedAI
| name       = {{{synthesis|}}}
| message    = It may contain an '''[[WP:SYN|unpublished synthesis]] of published material''' that conveys ideas not [[Wikipedia:Verifiability|verifiable]] with the given sources. Please help add [[Wikipedia:Reliable sources|reliable sources]] about this topic.
| cat-date   = Articles that may contain original research from
| cat-undate =Articles that may contain original research
}}&lt;!--

 Criticism section

--&gt;{{DatedAI
| name       = {{{criticisms|}}}
| message    = * Its [[Wikipedia:Criticism sections|''Criticism'' or ''Controversy'' section(s)]] may mean the article does '''not present a [[Wikipedia:Neutral point of view|neutral point of view]] of the subject'''.
| cat        = Cleanup from section
}}&lt;!--

 BLP violation

--&gt;{{DatedAI
| name       = {{{blpdispute|}}}
| message    = * It may violate Wikipedia's policy on '''[[WP:BLP|biographies of living persons]]'''.
| cat        = Disputed biographies of living persons
}}&lt;!--

 Weasel words

--&gt;{{DatedAI
| name       = {{{weasel|}}}
| message    = * Its [[Wikipedia:Neutral point of view|neutrality]] or factuality may be compromised by '''[[Wikipedia:Avoid weasel words|weasel words]]'''.
| cat-date   = Articles with weasel words from
| cat-undate = Articles with weasel words
}}&lt;!--

 Notability: by parameter &quot;notable&quot; or &quot;notability&quot;

--&gt;{{DatedAI
| name       = {{{notable|{{{notability|}}}}}}
| message    = * The '''[[Wikipedia:Notability|notability]]''' of this {{#if:{{{section|}}}{{{article|}}}&lt;!--
   then--&gt;|{{#if:{{{article|}}}|article's subject|{{#if:{{{section|}}}|section's subject}}}}&lt;!--
   else--&gt;|article's subject}} is in question. If notability cannot be established, it may be {{#if:{{{section|}}}{{{article|}}}&lt;!--
   then--&gt;|{{#if:{{{article|}}}|[[Wikipedia:Guide to deletion|listed for deletion]]|{{#if:{{{section|}}}|removed}}}}&lt;!--
   else--&gt;|[[Wikipedia:Guide to deletion|listed for deletion]] or removed}}.
| cat-date   = Articles with topics of unclear notability from
| cat-undate = Articles with topics of unclear notability
}}&lt;!--

 Globalize with worldview

--&gt;{{DatedAI
| name       = {{{globalize|}}}
| message    = * It may not present a '''[[Wikipedia:WikiProject Countering systemic bias|worldwide view]]''' of the subject.
| cat        = Articles with limited geographic scope
}}&lt;!--

 Inappropriate tone

--&gt;{{DatedAI
| name       = {{{tone|}}}
| message    = * Its '''[[Wikipedia:Guide to writing better articles#Tone|tone]] or style''' may not be appropriate for Wikipedia.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Story

--&gt;{{DatedAI
| name       = {{{story|}}}
| message    = * It is written in an informal style and with a personally invested tone. It reads more like a '''story''' than an encyclopedia entry.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--


 Reads like an essay: by parameter &quot;essay&quot;
 Reads like an essay: by parameter &quot;essay-like&quot;

--&gt;{{DatedAI
| name       = {{{essay|{{{essay-like|}}}}}}
| message    = * It reads like a '''personal reflection''' or '''[[Wikipedia:What Wikipedia is not#Wikipedia is not a publisher of original thought|essay]]'''.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Advertisement

--&gt;{{DatedAI
| name       = {{{advert|}}}
| message    = * It is written like an '''[[WP:NOT#SOAPBOX|advertisement]]''' and needs to be rewritten from a [[Wikipedia:Neutral point of view|neutral point of view]].
| cat        = All articles with a promotional tone
| cat-date   = Articles with a promotional tone from
| cat-undate = Articles with a promotional tone
}}&lt;!--

 Travelguide

--&gt;{{DatedAI
| name       = {{{travelguide|}}}
| message    = * It is written like a '''[[Wikipedia:What Wikipedia is not#Wikipedia_is_not_a_manual.2C_guidebook.2C_or_textbook|travel guide]]''' and may require [[Wikipedia:Cleanup|cleanup]].
| cat        = All articles needing style editing
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Gameguide

--&gt;{{DatedAI
| name       = {{{gameguide|}}}
| message    = * It is written like a '''[[Wikipedia:What Wikipedia is not#Wikipedia_is_not_a_manual.2C_guidebook.2C_or_textbook|game guide]]''' and may require [[Wikipedia:Cleanup|cleanup]] to meet [[Wikipedia:WikiProject Video games/Article guidelines|video game article guidelines]].
| cat        = Video games game guide cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Insufficient context

--&gt;{{DatedAI
| name       = {{{context|}}}
| message    = * Its introduction provides '''insufficient context''' for those unfamiliar with the subject.
| cat        = Wikipedia articles needing context
}}&lt;!--

 Confusing

--&gt;{{DatedAI
| name       = {{{confusing|}}}
| message    = * It may be '''[[Wikipedia:Please clarify|confusing or unclear]]''' for some readers.
| cat-date   = Wikipedia articles needing clarification from
| cat-undate = Wikipedia articles needing clarification
}}&lt;!--

 Dead end article (deadend)

--&gt;{{DatedAI
| name       = {{{deadend|}}}
| message    = * It has few or no '''[[Wikipedia:Wikilink|links to other articles]]'''.&lt;br /&gt;&lt;small&gt;For some link suggestions, you can try [http://can-we-link-it.nickj.org/suggest-links/suggester.php?page={{PAGENAMEE}} this tool]. ([[WP:DEP|You can help!]]).&lt;/small&gt;
| cat        = All dead-end pages
| cat-date   = Dead-end pages from
| cat-undate = Dead-end pages
}}&lt;!--

 Technical

--&gt;{{DatedAI
| name       = {{{technical|}}}
| message    = * It may be '''too technical''' for a general audience. Please help [[Wikipedia:Make technical articles accessible|make it more accessible]].
| cat        = Wikipedia articles that are too technical
}}&lt;!--

 Fiction/in-universe

--&gt;{{DatedAI
| name       = {{{fiction|}}}
| message    = * It may fail to make a '''clear distinction between fact and [[Wikipedia:Fiction|fiction]].''' Please edit according to the [[Wikipedia:Guide to writing better articles#Check your fiction|fiction guidelines]].
| cat        = Articles that need to differentiate between fact and fiction
}}&lt;!--

 In-universe fictional writing style

--&gt;{{DatedAI
| name       = {{{in-universe|}}}
| message    = * It describes a '''work or element of fiction''' in a primarily '''[[Wikipedia:Manual of Style (writing about fiction)|in-universe]]''' style that may require [[Wikipedia:Cleanup|cleanup]].
| cat        = Articles that need to differentiate between fact and fiction
}}&lt;!--

 Expert needed - this is rather a hack because the field is generally a date, but it may be a subject. Therefore we need to use a date=field as well.

--&gt;{{DatedAI
| name       = {{{expert|}}}
| message    = * It is in need of attention from an '''expert''' on the subject. {{#ifeq:{{{expert}}}|y||{{#ifexist:Wikipedia:WikiProject {{ucfirst:{{{expert}}}}}|[[Wikipedia:WikiProject {{ucfirst:{{{expert}}}}}|WikiProject {{ucfirst:{{{expert}}}}}]] {{#ifexist:Portal:{{ucfirst:{{{expert}}}}}|or the|may be able to help recruit one.}}|}} {{#ifexist:Portal:{{ucfirst:{{{expert}}}}}|[[Portal:{{ucfirst:{{{expert}}}}}|{{ucfirst:{{{expert}}}}} Portal]] may be able to help recruit one.|}} {{#ifexist:Category:{{ucfirst:{{{expert}}}}} articles needing expert attention|[[Category:{{ucfirst:{{{expert}}}}} articles needing expert attention]]|[[Category:Miscellaneous articles needing expert attention]]}}}}
| cat        = 
| cat-date   = Articles needing expert attention from
| cat-undate = Articles needing expert attention
| date       = {{{date|}}} &lt;!-- note this parameter is only used by the &quot;expert&quot; message/categories do not use for others --&gt;
}}&lt;!--

 Very long: by keyword &quot;long&quot;
 Very long: by keyword &quot;verylong&quot;


--&gt;{{DatedAI
| name       = {{{long|{{{verylong|}}}}}}
| message    = * It may be '''[[Wikipedia:Article size|too long]]'''. Some content may need to be [[Wikipedia:Summary style|summarized or split]].
}}&lt;!--

 Examplefarm

--&gt;{{DatedAI
| name       = {{{examplefarm|}}}
| message    = * It seems to contain '''too many [[Wikipedia:Listcruft|examples]]''' (or examples of poor quality) for an encyclopedia entry.
| cat        = Articles with too many examples
}}&lt;!--

 Expand

--&gt;{{DatedAI
| name       = {{{expand|}}}
| message    = * It needs to be expanded.
| cat        = All articles to be expanded
| cat-date   = Articles to be expanded from
| cat-undate = Articles to be expanded
}}&lt;!--

 Do-attempt

--&gt;{{DatedAI
| name       = {{{do-attempt|}}}
| message    = * '''Very few or no other articles [{{fullurl:Special:Whatlinkshere|target={{FULLPAGENAMEE}}&amp;namespace=0}} link to it]'''. Please help [[Help:Link|introduce links]] to this page from other [http://www.google.com/search?hl=en&amp;as_qdr=all&amp;q=+site%3Aen.wikipedia.org+%22{{PAGENAMEU}}%22 articles related to it].
| cat-date   = Attempted de-orphan from
| cat-undate = Attempted de-orphan
| cat        = All orphaned articles
}}&lt;!--

 Orphan (if do-attempt is defined, the orphan tag will be ignored)

--&gt;{{#if:{{{do-attempt|}}}||
{{DatedAI
| name       = {{{orphan|}}}
| message    = * '''Very few or no other articles [{{fullurl:Special:Whatlinkshere|target={{FULLPAGENAMEE}}&amp;namespace=0}} link to it]'''. Please help [[Help:Link|introduce links]] to this page from other [http://www.google.com/search?hl=en&amp;as_qdr=all&amp;q=+site%3Aen.wikipedia.org+%22{{PAGENAMEU}}%22 articles related to it].
| cat-date   = Orphaned articles from
| cat-undate = Orphaned articles
| cat        = All orphaned articles
}}}}&lt;!--

 Copyedit

--&gt;{{DatedAI
| name       = {{{copyedit|}}}
| message    = * It may need '''[[Wikipedia:How to copy-edit|copy editing]]''' for grammar, style, cohesion, tone or spelling.
| cat        = All articles needing copy edit
| cat-date   = Wikipedia articles needing copy edit from
| cat-undate = Wikipedia articles needing copy edit
}}&lt;!--

 Rewrite

--&gt;{{DatedAI
| name       = {{{rewrite|}}}
| message    = * It may need a complete '''rewrite''' to meet Wikipedia's [[Wikipedia:Manual of Style|quality standards]]. 
| cat-date   = Wikipedia articles needing rewrite from
| cat-undate = Wikipedia articles needing rewrite
}}&lt;!--

 Citecheck

--&gt;{{DatedAI
| name       = {{{citecheck|}}}
| message    = * It may contain inappropriate or misinterpreted [[Wikipedia:Citing sources|citations]] which do not [[Wikipedia:Verifiability|verify]] the text. 
| cat        = All articles lacking sources
| cat-date   = Articles lacking sources from
| cat-undate = Articles lacking sources
}}&lt;!--


 Unbalanced

--&gt;{{DatedAI
| name       = {{{unbalanced|}}}
| message    = * An editor has expressed concern that it is [[WP:NPOV#Undue weight|unbalanced]].
}}&lt;!--


 Biased

--&gt;{{DatedAI
| name       = {{{biased|}}}
| message    = * It appears to represent a [[Wikipedia:Neutral point of view#Bias|biased viewpoint]] inconsistent with Wikipedia's neutrality policy.
| cat        = Articles with with biased viewpoints
| cat-date   = NPOV disputes from
| cat-undate = NPOV disputes
}}&lt;!--

 Quotefarm


--&gt;{{DatedAI
| name       = {{{quotefarm|}}}
| message    = * It contains '''too many quotations for an encyclopedic entry'''.
}}&lt;!--


 Wikify

--&gt;{{DatedAI
| name       = {{{wikify|}}}
| message    = * It may need to be '''[[:Category:Articles that need to be wikified|wikified]]''' to meet Wikipedia's [[Wikipedia:Manual of Style|quality standards]].
| cat        = All pages needing to be wikified
| cat-date   = Wikify from
| cat-undate = Articles that need to be wikified
}}&lt;!--

 Trivia

--&gt;{{DatedAI
| name       = {{{trivia|}}}
| message    = * It contains a section with a '''[[Wikipedia:Trivia sections|list of miscellaneous information]]'''.
| cat-date   = Articles with trivia sections from
| cat-undate = Articles with trivia sections
}}&lt;!--

 Cleanup

--&gt;{{DatedAI
| name       = {{{cleanup|}}}
| message    = * It may require general '''[[Wikipedia:Cleanup|cleanup]]''' to meet Wikipedia's [[Wikipedia:Manual of Style|quality standards]].
| cat        = All pages needing cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--


 Conflict of Interest: by parameter &quot;COI&quot;
 Conflict of Interest: by parameter &quot;coi&quot;

--&gt;{{DatedAI
| name       = {{{COI|{{{coi|}}}}}}
| message    = * It may have been edited by a person who has a '''[[Wikipedia:Conflict of interest|conflict of interest]]''' with the subject matter.
| cat        = Wikipedia articles with possible conflicts of interest
}}&lt;!--

 Needs sections

--&gt;{{DatedAI
| name       = {{{sections|}}}
| message    = * '''[[Help:Section|Sections]]''' should be added to this article, to conform with '''[[Wikipedia:Manual of Style (headings)|Wikipedia's Manual of Style]].'''
| cat        = Articles needing sections
}}&lt;!--

 Unencyclopedic lists

--&gt;{{DatedAI
| name       = {{{laundrylists|}}}
| message    = * It seems to contain '''[[Wikipedia:Embedded list|embedded lists]]''' that may require '''[[Wikipedia:Cleanup|cleanup]]'''.
| cat        = Wikipedia laundry list cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

tooshort
intro-tooshort

--&gt;{{DatedAI
| name       = {{{tooshort|{{{intro-tooshort|}}}}}}
| message    = * Its '''[[Wikipedia:Lead section|lead section]]''' requires expansion.
| cat        = Wikipedia introduction cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--


 Autobiography

--&gt;{{DatedAI
| name       = {{{autobiography|}}}
| message    = * It is an [[Wikipedia:Autobiography|autobiography]], or has been extensively edited by the subject, and may not conform to [[Wikipedia:NPOV|NPOV]] policy.
| cat        = Autobiographical articles
}}&lt;!--


 lacks historical information (histinfo)

--&gt;{{DatedAI
| name       = {{{histinfo|}}}
| message    = * It lacks '''[[Wikipedia:WikiProject Historical information|historical information]]'''. Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} add it] if you can.
| cat        = Articles lacking historical information
}}&lt;!--

 Recentism (by recent)

--&gt;{{DatedAI
| name       = {{{recent|}}}
| message    = * It may be [[Wikipedia:Recentism|slanted towards recent events]]. &lt;small&gt;Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} edit this page] to keep recent events in historical perspective.&lt;/small&gt;
| cat-date   = Articles slanted towards recent events from
| cat-undate = Articles slanted towards recent events
}}&lt;!--

 Incomplete

--&gt;{{DatedAI
| name       = {{{incomplete|}}}
| message    = * It is incomplete and may require expansion or [[Wikipedia:Cleanup|cleanup]].
| cat-date   = Wikipedia articles needing clarification from
| cat-undate = Wikipedia articles needing clarification
}}&lt;!--

 Proseline

--&gt;{{DatedAI
| name       = {{{proseline|}}}
| message    = * It may contain an [[Wikipedia:Proseline|inappropriate mixture of prose and timeline]].
| cat        = Wikipedia proseline cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--


 Like resume: by parameter &quot;like resume&quot;
 Like resume: by parameter &quot;likeresume&quot;

--&gt;{{DatedAI
| name       = {{{like resume|{{{likeresume|}}}}}}
| message    = * It is written [[Wikipedia:Conflict of interest|like a resume]].
| cat        = All articles with a promotional tone
| cat-date   = Articles with a promotional tone from
| cat-undate = Articles with a promotional tone
}}&lt;!--

 Importance

--&gt;{{DatedAI
| name       = {{{importance|}}}
| message    = * It lacks information on the '''[[Wikipedia:Notability|notability]]''' of the subject matter.
| cat-date   = Articles with topics of unclear notability from
| cat-undate = Articles with topics of unclear notability
}}&lt;!--

 Intro rewrite

--&gt;{{DatedAI
| name       = {{{introrewrite|}}}
| message    = * Its introduction may need to be '''rewritten''' to comply with Wikipedia's '''[[WP:LEAD|lead section guidelines]]'''. 
| cat        = All pages needing cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia introduction cleanup
}}&lt;!--


 Unencyclopedic

--&gt;{{DatedAI
| name       = {{{unencyclopedic|}}}
| message    = * It may contain material [[Wikipedia:What Wikipedia is not|not appropriate for an encyclopedia]].
| cat        = Articles which may contain unencyclopedic material
}}&lt;!--

 Self-published

--&gt;{{DatedAI
| name       = {{{self-published|}}}
| message    = * It may contain improper references to [[WP:V#SELF|self-published sources]].
| cat-date   = Accuracy disputes from
| cat-undate = Accuracy disputes
}}&lt;!--

 Newsrelease

--&gt;{{DatedAI
| name       = {{{newsrelease|}}}
| message    = *It reads like a '''news release''', or is otherwise written in an overly promotional tone.
| cat        = All articles with a promotional tone
| cat-date   = Articles with a promotional tone from
| cat-undate = Articles with a promotional tone
}}&lt;!--

 External links

--&gt;{{DatedAI
| name       = {{{external links|}}}
| message    = *Its external links may not comply with Wikipedia's [[Wikipedia:What Wikipedia is not#Wikipedia is not a mirror or a repository of links, images, or media files|content policies]] or [[Wikipedia:External links|guidelines]].&lt;br /&gt;&lt;small&gt;Please improve this article by removing excessive or inappropriate external links.&lt;/small&gt;
| cat        = Wikipedia external links cleanup
| cat-date   = Cleanup from
| cat-undate = Wikipedia cleanup
}}&lt;!--

 Hoax

--&gt;{{DatedAI
| name       = {{{hoax|}}}
| message    = * Its '''truthfulness''' has been questioned. &lt;small&gt;It is believed that some or all of its content might constitute a [[Wikipedia:Don't create hoaxes|hoax]].&lt;/small&gt;
| cat        = Suspected hoax articles
}}&lt;!--

 Colloquial terms

--&gt;{{DatedAI
| name       = {{{colloquial|}}}
| message    = * It may contain too many '''[[colloquial]]''' terms, phrases, or words.
| cat        = All articles needing style editing 
| cat-date   = Wikipedia articles needing style editing from
| cat-undate = Wikipedia articles needing style editing
}}&lt;!--

 Third Opinion: by parameter 3O

--&gt;{{DatedAI
| name       = {{{3O|}}}
| message    = * '''An editor has requested a [[Wikipedia:Third opinion|third opinion]] regarding a [[Wikipedia:Dispute resolution|dispute]] about it.'''{{#if:{{{text|}}}|{{{text}}}}}&lt;small&gt;If you would like to contribute to the discussion, please see the [[{{TALKPAGENAME}}|talk]] page.&lt;/small&gt;
| cat        = 
}}&lt;!--

 Grammar

--&gt;{{DatedAI
| name       = {{{grammar|}}}
| message    = *Its grammar needs to be improved. &lt;small&gt;Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} do so] in accordance with Wikipedia's [[:Category:Wikipedia style guidelines|style guidelines]].&lt;/small&gt;
| cat        = All articles needing copy edit
| cat-date   = Wikipedia articles needing copy edit from
| cat-undate = Wikipedia articles needing copy edit
}}&lt;!--

 Crystal

--&gt;{{DatedAI
| name       = {{{crystal|}}}
| message    = *It contains [[WP:CRYSTAL|prediction]]s, speculative material or accounts of events that might not occur. &lt;small&gt;Please help [{{fullurl:{{FULLPAGENAME}}|action=edit}} improve this article or section] by removing speculative content. {{#if:{{{date|}}}|''({{{date}}})''}}&lt;/small&gt;
| cat        = All articles needing copy edit
| cat-date   = Wikipedia articles needing copy edit from
| cat-undate = Wikipedia articles needing copy edit
}}&lt;/div&gt;
}}&lt;!--{{Article issues}} end--&gt;&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Checkdate</title>
    <id>10819346</id>
    <revision>
      <id>212393244</id>
      <timestamp>2008-05-14T17:29:10Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Checkdate: high risk [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">{{#if:{{{1|}}}|{{#iferror:{{#time:F Y|{{{1}}}}}||{{#time:F Y|{{{1}}}}}}}}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:DatedAI</title>
    <id>14694565</id>
    <revision>
      <id>272244253</id>
      <timestamp>2009-02-21T11:01:28Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">{{#if:{{{name|}}}|{{{message}}}{{#if:{{checkdate|{{{name}}}}}|&lt;small&gt; Tagged since {{checkdate|{{{name}}}}}.&lt;/small&gt;{{#if:{{{cat-date|}}}|[[Category:{{{cat-date}}} {{checkdate|{{{name}}}}}]]}}|{{#if:{{checkdate|{{{date}}}}}|&lt;small&gt; Tagged since {{checkdate|{{{date}}}}}.&lt;/small&gt;{{#if:{{{cat-date|}}}|[[Category:{{{cat-date}}} {{checkdate|{{{date}}}}}]]}}|{{#if:{{{cat-undate|}}}|[[Category:{{{cat-undate}}}]]}}}}}}{{#if:{{{cat|}}}|[[Category:{{{cat}}}]]}}&lt;br/&gt;}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Spain-composer-stub</title>
    <id>23919545</id>
    <revision>
      <id>306991585</id>
      <timestamp>2009-08-09T16:05:25Z</timestamp>
      <contributor>
        <username>Borgarde</username>
        <id>1686535</id>
      </contributor>
      <comment>create per wss/p</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about a [[Spain|Spanish]] [[composer]] 
| category  = European composer stubs
| tempsort  = Spain
| category1 = Spanish people stubs
| tempsort1 = Composer
| name      = Template:Spain-composer-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Portugal-bio-stub</title>
    <id>2900403</id>
    <revision>
      <id>306123311</id>
      <timestamp>2009-08-05T01:29:57Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Flag_of_Portugal.svg
| pix       = 30
| subject   = [[Portugal]] [[biography|biographical]] 
| qualifier = 
| category  = Portuguese people stubs
| tempsort  =  
| name      = Template:Portugal-bio-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:PND</title>
    <id>2399744</id>
    <revision>
      <id>297747920</id>
      <timestamp>2009-06-21T16:10:36Z</timestamp>
      <contributor>
        <username>Matthead</username>
        <id>50001</id>
      </contributor>
      <text xml:space="preserve">[http://d-nb.info/gnd/{{{1}}} {{PAGENAME}}] in the [[German National Library]] catalogue {{De icon}}&lt;noinclude&gt;

See also: [[:Template:PND-pure]] for a trial version of the German template with more links.

[[Category:Book templates|PND]]
[[Category:Germany external link citation templates|PND]]

[[ar:قالب:PND]]
[[ca:Plantilla:PND]]
[[da:Skabelon:PND]]
[[de:Vorlage:PND]]
[[es:Plantilla:PND]]
[[eo:Ŝablono:PND]]
[[fr:Modèle:DNB]]
[[la:Formula:PND]]
[[ja:Template:PND]]
[[no:Mal:PND]]
[[pt:Predefinição:PND]]
[[ksh:Schablon:PND]]
[[ro:Format:PND]]
[[ru:Шаблон:PND]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Iso2lang</title>
    <id>10240832</id>
    <revision>
      <id>309861760</id>
      <timestamp>2009-08-24T22:10:15Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">{{ISO 639 name {{{1|}}}}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Wikisourcelang</title>
    <id>2695801</id>
    <revision>
      <id>298059238</id>
      <timestamp>2009-06-23T04:19:12Z</timestamp>
      <contributor>
        <username>John Vandenberg</username>
        <id>101140</id>
      </contributor>
      <comment>remove whitespace, per talk</comment>
      <text xml:space="preserve">&lt;noinclude&gt;{{Pp-template|small=yes}}&lt;/noinclude&gt;&lt;div class=&quot;infobox sisterproject&quot;&gt;
&lt;div style=&quot;float: left;&quot;&gt;[[Image:Wikisource-logo.svg|50px|none|Wikisource]]&lt;/div&gt;
&lt;div style=&quot;margin-left: 60px;&quot;&gt;{{#ifeq:{{#language:{{{1}}}}}|{{{1}}}||{{Iso2lang|{{{1}}}}}}} [[Wikisource]] has original text related to this article:
&lt;div style=&quot;margin-left: 10px;&quot;&gt;'''[[:{{#ifeq:{{#language:{{{1|}}}}}|{{{1}}}|oldwikisource|s:{{{1|&lt;noinclude&gt;en&lt;/noinclude&gt;}}}}}:{{{2|{{PAGENAME}}}}}|{{{3|{{{2|{{PAGENAME}}}}}}}}]]'''&lt;/div&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;noinclude&gt;
This template accepts three parameters: 
:&lt;nowiki&gt;{{wikisourcelang|1|2|3}}&lt;/nowiki&gt;

* '''1''' is the [[Country code top-level domain]] for a wikisource. Leave &quot;1&quot; blank, or assign to anything other than a language prefix, in order to link to the multilingual wikisource ([http://wikisource.org/ http://wikisource.org/])
* '''2''' is the page to which you're linking. Optional.
* '''3''' is an optional parameter: the text that may appear instead of 2. Optional.
::If neither 2 or 3 are specified, the pagename will be used.

== See also ==
* [[Template:Wikisource]]
* [[Template:User_wikisource]]

[[Category:Wikisource link templates]]

[[da:Skabelon:Wikisourcelang]]
[[mk:Шаблон:Викиизвор-јазик]]
[[ml:ഫലകം:Wikisourcelang]]
[[id:Templat:Wikisourcelang]]
[[ja:Template:Wikisourcelang]]
[[pl:Szablon:Wikisource-lang]]
[[ru:Шаблон:Викитека-язык]]
[[th:Template:วิกิซอร์ซภาษาอื่น]]
[[zh:Template:Wikisourcelang]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Ireland-composer-stub</title>
    <id>23919276</id>
    <revision>
      <id>306987280</id>
      <timestamp>2009-08-09T15:31:44Z</timestamp>
      <contributor>
        <username>Borgarde</username>
        <id>1686535</id>
      </contributor>
      <comment>create per wss/p</comment>
      <text xml:space="preserve">{{asbox
| image     = Noteicon3.svg
| pix       = 40
| subject   = 
| qualifier = about an [[Republic of Ireland|Irish]] [[composer]] 
| category  = European composer stubs
| tempsort  = Ireland
| category1 = Irish people stubs
| tempsort1 = Composer
| name      = Template:Ireland-composer-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:S-npo</title>
    <id>13008241</id>
    <revision>
      <id>274121948</id>
      <timestamp>2009-03-01T12:10:32Z</timestamp>
      <contributor>
        <username>Gadget850</username>
        <id>339034</id>
      </contributor>
      <comment>Freemasonry → Masonic</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: lightgreen&quot; | {{#if:{{{1}}}|{{#switch:{{{1}}}
 |#default={{#if:{{{1}}}|Non-profit organization positions}}
 |scout=Scouting
 |waggs=World Association of Girl Guides and Girl Scouts
 |wosm=World Organization of the Scout Movement
 |bsa=Boy Scouts of America
 |gsusa=Girl Scouts of the USA
 |tbsa=The Boy Scouts Association
 |tsa=The Scout Association
 |mason=Masonic offices
 |uea=Universal Esperanto Association
 |pro=Professional and academic associations
}}|Non-profit organization positions}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here. --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-par</title>
    <id>3462512</id>
    <revision>
      <id>292165302</id>
      <timestamp>2009-05-25T05:17:40Z</timestamp>
      <contributor>
        <username>Denelson83</username>
        <id>23958</id>
      </contributor>
      <minor/>
      <comment>Add [[Parliament of New Zealand]]</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: #cccccc&quot; | {{#if:{{{1}}}||Assembly seats}}{{#switch:{{{1}}}
 |#default={{#if:{{{1}}}|Assembly seats}}
 |uk=[[Parliament of the United Kingdom]]
 |gb=[[Parliament of Great Britain]]
 |en=[[Parliament of England]]
 |sct=[[Scottish Parliament]]
 |wal=[[National Assembly for Wales]]
 |ni=[[Parliament of Northern Ireland]]
 |ni/ass=[[Northern Ireland Assembly]]
 |us-sen=[[United States Senate]]
 |us-hs=[[United States House of Representatives]]
 |us-al-sen=[[Alabama Senate]]
 |us-al-hs=[[Alabama House of Representatives]]
 |us-ak-sen=[[Alaska Senate]]
 |us-ak-hs=[[Alaska House of Representatives]]
 |us-as-sen=[[American Samoa Senate]]
 |us-as-hs=[[American Samoa House of Representatives]]
 |us-az-sen=[[Arizona Senate]]
 |us-az-hs=[[Arizona House of Representatives]]
 |us-ar-sen=[[Arkansas Senate]]
 |us-ar-hs=[[Arkansas House of Representatives]]
 |us-ca-sen=[[California State Senate|California Senate]]
 |us-ca-hs=[[California State Assembly|California Assembly]]
 |us-co-sen=[[List of members of the Colorado Senate|Colorado Senate]]
 |us-co-hs=[[List of members of the Colorado House of Representatives|Colorado House of Representatives]]
 |us-ct-sen=[[Connecticut Senate]]
 |us-ct-hs=[[Connecticut House of Representatives]]
 |us-de-sen=[[Delaware Senate]]
 |us-dc=[[Council of the District of Columbia]]
 |us-de-hs=[[Delaware House of Representatives]]
 |us-fl-sen=[[Florida Senate]]
 |us-fl-hs=[[Florida House of Representatives]]
 |us-ga-sen=[[Georgia Senate]]
 |us-ga-hs=[[Georgia House of Representatives]]
 |us-gu=[[Legislature of Guam]]
 |us-hi-sen=[[Hawaii Senate]]
 |us-hi-hs=[[Hawaii House of Representatives]]
 |us-id-sen=[[Idaho Senate]]
 |us-id-hs=[[Idaho House of Representatives]]
 |us-il-sen=[[Illinois Senate]]
 |us-il-hs=[[Illinois House of Representatives]]
 |us-in-sen=[[Indiana Senate]]
 |us-in-hs=[[Indiana House of Representatives]]
 |us-ia-sen=[[Iowa Senate]]
 |us-ia-hs=[[Iowa House of Representatives]]
 |us-ks-sen=[[Kansas Senate]]
 |us-ks-hs=[[Kansas House of Representatives]]
 |us-ky-sen=[[Kentucky Senate]]
 |us-ky-hs=[[Kentucky House of Representatives]]
 |us-la-sen=[[Louisiana Senate]]
 |us-la-hs=[[Louisiana House of Representatives]]
 |us-me-sen=[[Maine Senate]]
 |us-me-hs=[[Maine House of Representatives]]
 |us-mp-sen=[[Northern Mariana Islands Senate]]
 |us-mp-hs=[[Northern Mariana Islands House of Representatives]]
 |us-md-sen=[[Maryland Senate]]
 |us-md-hs=[[Maryland House of Delegates]]
 |us-ma-sen=[[Massachusetts Senate]]
 |us-ma-hs=[[Massachusetts House of Representatives]]
 |us-mi-sen=[[Michigan Senate]]
 |us-mi-hs=[[Michigan State House of Representatives]]
 |us-mn-sen=[[Minnesota Senate]]
 |us-mn-hs=[[Minnesota House of Representatives]]
 |us-ms-sen=[[Mississippi Senate]]
 |us-ms-hs=[[Mississippi House of Representatives]]
 |us-mo-sen=[[Missouri State Senate|Missouri Senate]]
 |us-mo-hs=[[Missouri House of Representatives]]
 |us-mt-sen=[[Montana Senate]]
 |us-mt-hs=[[Montana House of Representatives]]
 |us-ne=[[Nebraska Legislature]]
 |us-nv-sen=[[Nevada Senate]]
 |us-nv-hs=[[Nevada Assembly]]
 |us-nh-sen=[[New Hampshire Senate]]
 |us-nh-hs=[[New Hampshire House of Representatives]]
 |us-nj-sen=[[New Jersey Senate]]
 |us-nj-hs=[[New Jersey General Assembly]]
 |us-nm-sen=[[New Mexico Senate]]
 |us-nm-hs=[[New Mexico House of Representatives]]
 |us-ny-sen=[[New York State Senate]]
 |us-ny-hs=[[New York State Assembly|New York Assembly]]
 |us-nc-sen=[[North Carolina Senate]]
 |us-nc-hs=[[North Carolina House of Representatives]]
 |us-nd-sen=[[North Dakota Senate]]
 |us-nd-hs=[[North Dakota House of Representatives]]
 |us-oh-sen=[[Ohio Senate]]
 |us-oh-hs=[[Ohio House of Representatives]]
 |us-ok-sen=[[Oklahoma Senate]]
 |us-ok-hs=[[Oklahoma House of Representatives]]
 |us-or-sen=[[Oregon State Senate|Oregon Senate]]
 |us-or-hs=[[Oregon House of Representatives]]
 |us-pa-sen=[[Pennsylvania State Senate]]
 |us-pa-hs=[[Pennsylvania House of Representatives]]
 |us-pr-sen=[[Senate of Puerto Rico]]
 |us-pr-hs=[[House of Representatives of Puerto Rico]]
 |us-ri-sen=[[Rhode Island Senate]]
 |us-ri-hs=[[Rhode Island House of Representatives]]
 |us-sc-sen=[[South Carolina Senate]]
 |us-sc-hs=[[South Carolina House of Representatives]]
 |us-sd-hs=[[South Dakota Senate]]
 |us-sd-sen=[[South Dakota House of Representatives]]
 |us-tn-sen=[[Tennessee Senate]]
 |us-tn-hs=[[Tennessee House of Representatives]]
 |us-tx-sen=[[Texas Senate]]
 |us-tx-hs=[[Texas House of Representatives]]
 |us-ut-sen=[[Utah State Senate]]
 |us-ut-hs=[[Utah House of Representatives]]
 |us-vt-sen=[[Vermont Senate]]
 |us-vt-hs=[[Vermont House of Representatives]]
 |us-va-sen=[[Senate of Virginia]]
 |us-va-hs=[[Virginia House of Delegates]]
 |us-vi=[[Legislature of the Virgin Islands]]
 |us-wa-sen=[[Washington State Senate]]
 |us-wa-hs=[[Washington House of Representatives]]
 |us-wv-sen=[[West Virginia Senate]]
 |us-wv-hs=[[West Virginia House of Delegates]]
 |us-wi-sen=[[Wisconsin State Senate]]
 |us-wi-hs=[[Wisconsin State Assembly]]
 |us-wy-sen=[[Wyoming Senate]]
 |us-wy-hs=[[Wyoming House of Representatives]]
 |ca=[[Parliament of Canada]]
 |ca-p=[[Legislative Assembly of the Province of Canada]]
 |ca-bc=[[Legislative Assembly of British Columbia]]
 |ca-ab=[[Legislative Assembly of Alberta]]
 |ca-sk=[[Legislative Assembly of Saskatchewan]]
 |ca-mb=[[Legislative Assembly of Manitoba]]
 |ca-on=[[Legislative Assembly of Ontario]]
 |ca-qc=[[National Assembly of Quebec]]
 |ca-qc-l=[[Legislative Assembly of Quebec]]
 |ca-nb=[[Legislative Assembly of New Brunswick]]
 |ca-ns=[[Nova Scotia House of Assembly]]
 |ca-pe=[[Legislative Assembly of Prince Edward Island]]
 |ca-nl=[[Newfoundland and Labrador House of Assembly]]
 |ca-yt=[[Yukon Legislative Assembly]]
 |ca-nt=[[Legislative Assembly of the Northwest Territories]]
 |ca-nu=[[Legislative Assembly of Nunavut]]
 |ie=[[Parliament of Ireland]]
 |ie/oi=[[Oireachtas]]
 |jp-upr=[[House of Councillors of Japan]]
 |jp-lwr=[[House of Representatives of Japan]] 
 |eu=[[European Parliament]]
 |au=[[Parliament of Australia]]
 |au-vic=[[Parliament of Victoria]]
 |au-vic-la=[[Victorian Legislative Assembly]]
 |au-vic-lc=[[Victorian Legislative Council]]
 |au-wa=[[Parliament of Western Australia]]
 |au-wa-la=[[Western Australian Legislative Assembly]]
 |au-wa-lc=[[Western Australian Legislative Council]]
 |au-nt=[[Northern Territory Legislative Assembly]]
 |au-sa=[[Parliament of South Australia]]
 |au-sa-la=[[South Australian House of Assembly]]
 |au-sa-lc=[[South Australian Legislative Council]]
 |au-nsw=[[Parliament of New South Wales]]
 |au-nsw-la=[[New South Wales Legislative Assembly]]
 |au-nsw-lc=[[New South Wales Legislative Council]]
 |au-tas=[[Parliament of Tasmania]]
 |au-tas-la=[[Tasmanian House of Assembly]]
 |au-tas-lc=[[Tasmanian Legislative Council]]
 |au-qld=[[Parliament of Queensland]]
 |au-act=[[Australian Capital Territory Legislative Assembly]]
 |nz=[[Parliament of New Zealand]]
 |dk=[[Folketing|Folketinget]]
 |dk-lt=[[Landsting (Denmark)|Landstinget]]
 |gh=[[Parliament of Ghana]]
 |in-upr=[[Rajya Sabha]]
 |in-lwr=[[Lok Sabha]]
 |fr-upr=[[Senate of France]]
 |fr-lwr=[[National Assembly of France]]
 |sp-upr=[[Spanish Senate]]
 |sp-lwr=[[Congress of Deputies (Spain)|Spanish Congress of Deputies]]
 |rs=[[National Assembly of the Republic of Srpska]]
 |it-upr=[[Italian Senate]]
 |it-lwr=[[Italian Chamber of Deputies]]
 |lv=[[Saeima]]
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here. --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-reg</title>
    <id>3079407</id>
    <revision>
      <id>235765726</id>
      <timestamp>2008-09-02T07:33:37Z</timestamp>
      <contributor>
        <username>MZMcBride</username>
        <id>212624</id>
      </contributor>
      <comment>made change per talk request</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: #ACE777;&quot; | {{#if:{{{1}}}||Regnal titles}}{{#switch:{{{1}}}
 |#default={{#if:{{{1}}}|Regnal titles}}
 |cm=Cambodian nobility
 |cn=[[Chinese nobility]]
 |de=[[German nobility]]
 |dk=[[Danish nobility]]
 |en=[[Peerage of England]]
 |en-bt=[[List of extant Baronetcies|Baronetage of England]]
 |es=[[Spanish nobility]]
 |fr=[[French nobility]]
 |gb=[[Peerage of Great Britain]]
 |gb-bt=[[List of extant Baronetcies|Baronetage of Great Britain]]
 |ie-bt=[[List of extant Baronetcies|Baronetage of Ireland]]
 |ie=[[Peerage of Ireland]]
 |im=Head of State of the [[Isle of Man]]
 |it=[[Italian nobility]]
 |jp=[[Imperial House of Japan|Japanese royalty]]
 |nv=[[Kingdom of Navarre|Navarrese royalty]]
 |nl=[[List of Dutch noble families|Dutch nobility]]
 |pt=[[:Category:Portuguese nobility|Portuguese nobility]]
 |sct=[[Peerage of Scotland]]
 |sct-bt=[[List of extant Baronetcies|Baronetage of Nova Scotia]]
 |uk=[[Peerage of the United Kingdom]]
 |uk-bt=[[List of extant Baronetcies|Baronetage of the United Kingdom]]
 |vn=[[Vietnamese nobility]]
 |other=Titles of nobility
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here. --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Succession box two to one</title>
    <id>1215226</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>97705733</id>
      <timestamp>2007-01-01T11:16:07Z</timestamp>
      <contributor>
        <username>Ligulem</username>
        <id>216352</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Succession box two to one: matching protection of other succession templates [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">|- style=&quot;text-align: center;&quot;
{{s-bef|before={{{before1}}}}}
{{s-ttl|title={{{title1}}}|years={{{years1}}}}}
{{s-aft|rows=2|after={{{after}}}}}
|-
{{s-bef|before={{{before2}}}}}
{{s-ttl|title={{{title2}}}|years={{{years2}}}}}&lt;noinclude&gt;[[Category:Succession templates|{{PAGENAME}}]]&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Wellesley</title>
    <id>17995039</id>
    <revision>
      <id>296158203</id>
      <timestamp>2009-06-13T12:42:01Z</timestamp>
      <contributor>
        <username>Opera hat</username>
        <id>55876</id>
      </contributor>
      <minor/>
      <text xml:space="preserve">{{Navbox
|name  = Wellesley
|title = [[Arthur Wellesley, 1st Duke of Wellington]]
|image = 
|group1=Family
|list1= Father: [[Garret Wesley, 1st Earl of Mornington]]{{·}} Mother: Anne Hill{{·}} Brothers: [[Richard Wellesley, 1st Marquess Wellesley]]{{·}}[[William Wellesley-Pole, 3rd Earl of Mornington]]{{·}}[[Henry Wellesley, 1st Baron Cowley]]{{·}}Sister: [[Lady Anne Smith]]{{·}}Wife: [[Catherine Wellesley, Duchess of Wellington]]{{·}}Children: [[Arthur Wellesley, 2nd Duke of Wellington|Arthur]]{{·}}[[Lord Charles Wellesley|Charles]]
|group2=Battles and wars
|list2=[[Battle of Seringapatam]]{{·}}[[Fourth Anglo-Mysore War]]{{·}}[[Second Anglo-Maratha War]]{{·}}[[Battle of Assaye]]{{·}}[[Peninsular War]]{{·}}[[Battle of Vimeiro]]{{·}}[[Battle of Roliça]]{{·}}[[Second Battle of Porto]]{{·}}[[Battle of Talavera]]{{·}}[[Battle of Sabugal]]{{·}}[[Battle of Badajoz (1812)]]{{·}}[[Battle of Salamanca]]{{·}}[[Battle of Vitoria]]{{·}}[[Battle of Waterloo]]
|group3=Homes and Honours
|list3=[[Apsley House]]{{·}} [[Stratfield Saye House]]{{·}} [[Wellington's Column]]

}}&lt;noinclude&gt;
[[Category:History and events templates|Wellesley]]
[[Category:United Kingdom political leader templates|Wellesley]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:,</title>
    <id>19078310</id>
    <redirect />
    <revision>
      <id>260189370</id>
      <timestamp>2008-12-26T16:33:40Z</timestamp>
      <contributor>
        <username>Nick</username>
        <id>319064</id>
      </contributor>
      <minor/>
      <comment>Protected Template:,: [[WP:HRT|Highly visible template]] ([edit=sysop] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">#REDIRECT [[template:·]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Gutenberg author</title>
    <id>1795069</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>201664532</id>
      <timestamp>2008-03-28T20:51:30Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>move interwikis to the doc subpage</comment>
      <text xml:space="preserve">[http://www.gutenberg.org/author/{{{1|{{{id|{{PAGENAMEE}}}}}}}} Works by {{{2|{{{name|{{PAGENAME}}}}}}}}] at [[Project Gutenberg]]&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation, template}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Harv</title>
    <id>3083829</id>
    <redirect />
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>95236892</id>
      <timestamp>2006-12-19T03:27:09Z</timestamp>
      <contributor>
        <username>Renesis</username>
        <id>475878</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Harv: Redirect to hprotected template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Harvard citation]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Harvard citation</title>
    <id>3103864</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>311523134</id>
      <timestamp>2009-09-02T19:24:44Z</timestamp>
      <contributor>
        <username>Jake Wartenberg</username>
        <id>206571</id>
      </contributor>
      <comment>remove useless &lt;cite&gt; element per editprotected request</comment>
      <text xml:space="preserve">&lt;includeonly&gt;({{#ifeq:{{{Ref|}}}|none
  |{{#if:{{{5|}}}
       |{{{1|}}} et al. {{{5|}}}
       |{{#if:{{{4|}}}
          |{{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} {{{4|}}}
          |{{#if:{{{3|}}}
             |{{{1|}}} &amp;amp; {{{2|}}} {{{3|}}}
             |{{{1|}}} {{{2|}}}
           }}
        }}
     }}
  |[[#{{#if:{{{Ref|}}}
       |{{{Ref}}}
       |CITEREF{{{1|}}}{{{2|}}}{{{3|}}}{{{4|}}}{{{5|}}}
       }}|{{#if:{{{5|}}}
          |{{{1|}}} et al. {{{5|}}}
          |{{#if:{{{4|}}}
             |{{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} {{{4|}}}
             |{{#if:{{{3|}}}
                |{{{1|}}} &amp;amp; {{{2|}}} {{{3|}}}
                |{{{1|}}} {{{2|}}}
             }}
           }}
    }}]]
}}{{#if:{{{loc|}}}
  |, {{{loc|}}}
  |{{#if:{{{p|}}}
     |, p.&amp;nbsp;{{{p|}}}
     |{{#if:{{{pp|}}}
        |, pp.&amp;nbsp;{{{pp|}}}
      }}
   }}
}})&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Harvard citation text</title>
    <id>8142529</id>
    <revision>
      <id>268567296</id>
      <timestamp>2009-02-04T22:31:41Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>moved to [[Template:Harvard citation text/doc]], etc</comment>
      <text xml:space="preserve">{{#ifeq:{{{Ref|}}}|none
  |{{#if:{{{5|}}}
       |{{{1|}}} et al. ({{{5|}}}
       |{{#if:{{{4|}}}
          |{{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} ({{{4|}}}
          |{{#if:{{{3|}}}
             |{{{1|}}} &amp;amp; {{{2|}}} ({{{3|}}}
             |{{{1|}}} ({{{2|}}}
           }}
        }}
     }}
  | [[#&lt;!--
  --&gt;{{#if:{{{Ref|}}}&lt;!--
     --&gt;|{{{Ref}}}&lt;!--
     --&gt;|CITEREF{{{1|}}}{{{2|}}}{{{3|}}}{{{4|}}}{{{5|}}}&lt;!--
   --&gt;}}&lt;!--
  --&gt;|{{#if:{{{5|}}}&lt;!--
       --&gt;| {{{1|}}} et al. ({{{5|}}}&lt;!--
       --&gt;| {{#if:{{{4|}}}&lt;!--
          --&gt;| {{{1|}}}, {{{2|}}} &amp;amp; {{{3|}}} ({{{4|}}}&lt;!--
          --&gt;| {{#if:{{{3|}}}&lt;!--
             --&gt;| {{{1|}}} &amp;amp; {{{2|}}} ({{{3|}}}&lt;!--
             --&gt;| {{{1|}}} ({{{2|}}}&lt;!--
           --&gt;}}&lt;!--
        --&gt;}}&lt;!--
     --&gt;}}&lt;!--
--&gt;{{#if:{{{loc|}}}||
     {{#if:{{{p|}}}||
        {{#if:{{{pp|}}}||)}}
     }}
   }}]]
}}{{#if:{{{loc|}}}
  |, {{{loc|}}})
  |{{#if:{{{p|}}}
     |, p.&amp;nbsp;{{{p|}}})
     |{{#if:{{{pp|}}}
        |, pp.&amp;nbsp;{{{pp|}}})
      }}
   }}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Harvtxt</title>
    <id>8142560</id>
    <redirect />
    <revision>
      <id>226264624</id>
      <timestamp>2008-07-17T16:12:35Z</timestamp>
      <contributor>
        <username>Caulde</username>
        <id>4065101</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Harvtxt: redirect to fully protected template, feel free to discuss if you feel this is in error [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT[[Template:Harvard citation text]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Haydn</title>
    <id>22689076</id>
    <revision>
      <id>294759836</id>
      <timestamp>2009-06-06T10:53:13Z</timestamp>
      <contributor>
        <username>Cosprings</username>
        <id>3959805</id>
      </contributor>
      <text xml:space="preserve">{{ navbox
| name   = Haydn
| title  = [[Joseph Haydn]]

| group1 = Lists of works by form
| list1  = [[List of concertos by Joseph Haydn|Concertos]]{{,}} [[List of masses by Joseph Haydn|Masses]]{{,}} [[List of operas by Joseph Haydn|Operas]]{{,}} [[List of piano trios by Joseph Haydn|Piano trios]]{{,}} [[List of solo piano compositions by Joseph Haydn|Solo piano]]{{,}} [[List of string quartets by Joseph Haydn|String quartets]]{{,}} [[List of symphonies by Joseph Haydn|Symphonies]]{{,}} [[Hoboken-Verzeichnis|Hoboken catalogue]]

| group2 = Other works
| list2  = [[The Creation (Haydn)|The Creation]]{{,}} [[The Seasons (Haydn)|The Seasons]]{{,}} [[Gott erhalte Franz den Kaiser]]

| group3 = Associated people
| list3 = 
{{Navbox subgroup

| group1 = Family
| list1  = [[Michael Haydn]]{{,}} [[Johann Evangelist Haydn]]{{,}} [[Mathias Haydn]]
| group2 = Friends
| list2  = [[Carl Ditters von Dittersdorf]]{{,}} [[Maria Anna von Genzinger]]{{,}} [[Marianne von Martinez]]{{,}} [[Ignaz Pleyel]]{{,}} [[Luigia Polzelli]]{{,}} [[Johann Peter Salomon]]{{,}} [[Rebecca Schroeter]]
| group3 = Employers
| list3  = [[Nikolaus Esterházy]]{{,}} [[Paul II Anton Esterházy]]{{,}} [[Count Morzin]]{{,}} [[Gottfried van Swieten]]
| group4 = Composers
| list4 = [[Beethoven and his contemporaries#Beethoven and Joseph Haydn|Haydn and Beethoven]] {{,}} [[Haydn and Mozart]]
| group5 = Historians
| list5 = [[Albert Christoph Dies]]{{,}} [[Georg August Griesinger]]{{,}} [[Anthony van Hoboken]]{{,}} [[Autobiographical sketch (Haydn)|Autobiographical sketch]]
}}
| group6 = Other topics
| list6  = [[Haydn and folk music]]{{,}} [[Joseph Haydn's ethnicity|Haydn's ethnicity]]{{,}} [[Haydn's head]]{{,}} [[Papa Haydn|'Papa Haydn']]{{,}} [[List of residences of Joseph Haydn|Haydn's residences]]{{,}} [[Baryton]]{{,}} [[Eszterháza]]{{,}} [[Sturm und Drang#Haydn|Sturm und Drang]]{{,}} [[Double variation]]

&lt;/div&gt; 
}}&lt;noinclude&gt;
[[Category:Joseph Haydn]]
[[Category:Classical composer templates]]
[[Category:Works by composer templates]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:IPA-en</title>
    <id>8029151</id>
    <revision>
      <id>298896612</id>
      <timestamp>2009-06-27T07:00:55Z</timestamp>
      <contributor>
        <username>Kwamikagami</username>
        <id>93143</id>
      </contributor>
      <minor/>
      <comment>nowrap using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">&lt;onlyinclude&gt;&lt;small&gt;{{#switch: {{{2}}}|IPA=IPA:&amp;nbsp;|lang=English:&amp;nbsp;|pron=pronounced&amp;nbsp;|UK=UK:&amp;nbsp;|US=US:&amp;nbsp;|local=locally&amp;nbsp;|=|English pronunciation:&amp;nbsp;}}&lt;/small&gt;&lt;span title=&quot;Pronunciation in IPA&quot; class=&quot;IPA&quot;&gt;[[WP:IPA for English|/{{{1}}}/]]&lt;/span&gt;&lt;small&gt;{{#if:{{{3|}}}|&amp;nbsp; {{nowrap|([[File:Speaker Icon.svg|13px|link=:Media:{{{3|}}}]] [[:Media:{{{3|}}}|listen]])}}}}&lt;/small&gt;&lt;/onlyinclude&gt;
{{pp-template|small=yes}}

==Usage==
This template formats IPA transcriptions and links them to [[WP:IPA for English]]. The transcription should match the conventions of that key; for narrower dialect transcriptions, use {{tl|IPA-all}}, which links to a more complete IPA key. 

The first cell in the template is for the transcription, and a second optional cell is a switch that controls the lede. With no second value, the lede ''English pronunciation:'' appears: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|pron}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|pron}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|lang}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|lang}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|local}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|local}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|IPA}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|IPA}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|US}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|US}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|UK}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|UK}}
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|}}

Any of these may be combined with a sound file in an optional third cell:
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|local|En-us-'n'.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|local|En-us-'n'.ogg}}

For the default lede, however, a placeholder such as ‹-› is required in the second cell: 
*&lt;code&gt;&lt;nowiki&gt;{{IPA-en|n|-|En-us-'n'.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{IPA-en|n|-|En-us-'n'.ogg}}

The similar template {{tl|pron-en}} has no lede switch: 
*&lt;code&gt;&lt;nowiki&gt;{{pron-en|n}}&lt;/nowiki&gt;&lt;/code&gt; → {{pron-en|n}}
*&lt;code&gt;&lt;nowiki&gt;{{pron-en|n|En-us-'n'.ogg}}&lt;/nowiki&gt;&lt;/code&gt; → {{pron-en|n|En-us-'n'.ogg}}


{{usage of IPA templates}}

&lt;!-- PLEASE ADD CATEGORIES BELOW THIS LINE, THANKS. --&gt;
[[simple:Template:IPA-en]]

[[Category:IPA templates|{{PAGENAME}}]]

&lt;!-- PLEASE ADD INTERWIKIS BELOW THIS LINE, THANKS. --&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISO 639 name it</title>
    <id>19086870</id>
    <revision>
      <id>287080796</id>
      <timestamp>2009-04-30T17:01:44Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">Italian&lt;noinclude&gt;
{{ISO 639 name conversion template doc|{{ISO 639 name it}}|it}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:It icon</title>
    <id>2247982</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>206473940</id>
      <timestamp>2008-04-18T12:04:15Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Adding comment about categories and interwikis to the /doc page.</comment>
      <text xml:space="preserve">{{languageicon|it|Italian}}&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Navbox subgroup</title>
    <id>12973994</id>
    <revision>
      <id>287439596</id>
      <timestamp>2009-05-02T13:10:09Z</timestamp>
      <contributor>
        <username>Edokter</username>
        <id>1624037</id>
      </contributor>
      <comment>Unnecessary 'default' pipes in already evaluated vars</comment>
      <text xml:space="preserve">{{Navbox
|name = {{{name|}}}
|state = {{{state|}}}
|navbar = {{{navbar|}}}
|border = {{#if:{{{border|}}}|{{{border}}}|child}}

|title = {{{title|}}}
|above = {{{above|}}}
|below = {{{below|}}}
|image = {{{image|}}}
|imageleft = {{{imageleft|}}}

|group1 = {{#if:{{{group1|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group1}}}&lt;/div&gt;}}
|group2 = {{#if:{{{group2|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group2}}}&lt;/div&gt;}}
|group3 = {{#if:{{{group3|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group3}}}&lt;/div&gt;}}
|group4 = {{#if:{{{group4|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group4}}}&lt;/div&gt;}}
|group5 = {{#if:{{{group5|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group5}}}&lt;/div&gt;}}
|group6 = {{#if:{{{group6|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group6}}}&lt;/div&gt;}}
|group7 = {{#if:{{{group7|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group7}}}&lt;/div&gt;}}
|group8 = {{#if:{{{group8|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group8}}}&lt;/div&gt;}}
|group9 = {{#if:{{{group9|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group9}}}&lt;/div&gt;}}
|group10 = {{#if:{{{group10|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group10}}}&lt;/div&gt;}}
|group11 = {{#if:{{{group11|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group11}}}&lt;/div&gt;}}
|group12 = {{#if:{{{group12|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group12}}}&lt;/div&gt;}}
|group13 = {{#if:{{{group13|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group13}}}&lt;/div&gt;}}
|group14 = {{#if:{{{group14|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group14}}}&lt;/div&gt;}}
|group15 = {{#if:{{{group15|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group15}}}&lt;/div&gt;}}
|group16 = {{#if:{{{group16|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group16}}}&lt;/div&gt;}}
|group17 = {{#if:{{{group17|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group17}}}&lt;/div&gt;}}
|group18 = {{#if:{{{group18|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group18}}}&lt;/div&gt;}}
|group19 = {{#if:{{{group19|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group19}}}&lt;/div&gt;}}
|group20 = {{#if:{{{group20|}}}|&lt;div style=&quot;padding:{{{grouppadding|0em 0.75em;}}}&quot;&gt;{{{group20}}}&lt;/div&gt;}}

|list1 = {{{list1|}}}
|list2 = {{{list2|}}}
|list3 = {{{list3|}}}
|list4 = {{{list4|}}}
|list5 = {{{list5|}}}
|list6 = {{{list6|}}}
|list7 = {{{list7|}}}
|list8 = {{{list8|}}}
|list9 = {{{list9|}}}
|list10 = {{{list10|}}}
|list11 = {{{list11|}}}
|list12 = {{{list12|}}}
|list13 = {{{list13|}}}
|list14 = {{{list14|}}}
|list15 = {{{list15|}}}
|list16 = {{{list16|}}}
|list17 = {{{list17|}}}
|list18 = {{{list18|}}}
|list19 = {{{list19|}}}
|list20 = {{{list20|}}}

|style = {{{style|}}}{{{bodystyle|}}}
|imageleftstyle = {{{imageleftstyle|}}}
|imagestyle = {{{imagestyle|}}}
|titlestyle = {{{titlestyle|}}}
|basestyle = {{{basestyle|}}}
|abovestyle = {{{abovestyle|}}}
|belowstyle = {{{belowstyle|}}}
|groupstyle = padding-left:0em;padding-right:0em;{{{groupstyle|}}}
|liststyle = {{{liststyle|}}}
|evenstyle = {{{evenstyle|}}}
|oddstyle = {{{oddstyle|}}}

|group1style = {{{group1style|}}}
|group2style = {{{group2style|}}}
|group3style = {{{group3style|}}}
|group4style = {{{group4style|}}}
|group5style = {{{group5style|}}}
|group6style = {{{group6style|}}}
|group7style = {{{group7style|}}}
|group8style = {{{group8style|}}}
|group9style = {{{group9style|}}}
|group10style = {{{group10style|}}}
|group11style = {{{group11style|}}}
|group12style = {{{group12style|}}}
|group13style = {{{group13style|}}}
|group14style = {{{group14style|}}}
|group15style = {{{group15style|}}}
|group16style = {{{group16style|}}}
|group17style = {{{group17style|}}}
|group18style = {{{group18style|}}}
|group19style = {{{group19style|}}}
|group20style = {{{group20style|}}}

|list1style = {{{list1style|}}}
|list2style = {{{list2style|}}}
|list3style = {{{list3style|}}}
|list4style = {{{list4style|}}}
|list5style = {{{list5style|}}}
|list6style = {{{list6style|}}}
|list7style = {{{list7style|}}}
|list8style = {{{list8style|}}}
|list9style = {{{list9style|}}}
|list10style = {{{list10style|}}}
|list11style = {{{list11style|}}}
|list12style = {{{list12style|}}}
|list13style = {{{list13style|}}}
|list14style = {{{list14style|}}}
|list15style = {{{list15style|}}}
|list16style = {{{list16style|}}}
|list17style = {{{list17style|}}}
|list18style = {{{list18style|}}}
|list19style = {{{list19style|}}}
|list20style = {{{list20style|}}}

|{{#if:{{{evenodd|}}}|evenodd|void}} = {{{evenodd|}}}
|{{#if:{{{listpadding|}}}|listpadding|void}} = {{{listpadding|}}}

}}&lt;noinclude&gt;

{{template doc}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Collapse bottom</title>
    <id>14588666</id>
    <revision>
      <id>308304080</id>
      <timestamp>2009-08-16T15:00:29Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>rm unneeded row</comment>
      <text xml:space="preserve">|}&lt;noinclude&gt;
{{pp-template}}
{{Documentation|Template:Collapse top/doc}}
&lt;!-- PLEASE ADD THIS TEMPLATE'S CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Collapse top</title>
    <id>14588579</id>
    <revision>
      <id>308934971</id>
      <timestamp>2009-08-19T19:54:11Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <minor/>
      <comment>pp</comment>
      <text xml:space="preserve">{&lt;noinclude&gt;&lt;/noinclude&gt;{{!}} &lt;!-- Template:Collapse top --&gt; class=&quot;navbox collapsible {{#if:{{{expand|}}}||collapsed}}&quot; style=&quot;text-align: left; border: {{{border|1px}}} solid silver; margin-top: 0.2em;&quot;
{{!}}-
! style=&quot;background-color: {{{bg|#CFC}}};&quot; {{!}} {{{1|Extended content}}}    
{{!}}-
{{!}} style=&quot;border: solid 1px silver; padding: {{{padding|8px}}}; background-color: white; &quot; {{!}}&lt;noinclude&gt;
{{Collapse bottom}}
{{pp-template}}{{Documentation}}
&lt;!-- PLEASE ADD THIS TEMPLATE'S CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:CzechRepublic-musician-stub</title>
    <id>20869337</id>
    <revision>
      <id>306401000</id>
      <timestamp>2009-08-06T13:47:59Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Musical notes.svg
| pix       = 30
| subject   = 
| qualifier = on a [[Czech Republic|Czech]] [[musician]] 
| category  = Czech musician stubs
| tempsort  =  
| name      = Template:CzechRepublic-musician-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Ukraine-bio-stub</title>
    <id>2266181</id>
    <revision>
      <id>309878120</id>
      <timestamp>2009-08-24T23:50:57Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Adding name= parameter to {{[[Template:asbox|asbox]]}} and miscellaneous cleanup ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     = TarasShevchenko.jpg
| pix       = 30
| subject   = [[Ukraine|Ukrainian]] [[biography|biographical]]
| qualifier = 
| category  = Ukrainian people stubs
| tempsort  = *
| name      = Template:Ukraine-bio-stub
}}&lt;noinclude&gt;
[[mk:Шаблон:Украина-биог-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Berlin State Opera conductors</title>
    <id>13417877</id>
    <revision>
      <id>205087460</id>
      <timestamp>2008-04-12T07:37:00Z</timestamp>
      <contributor>
        <username>RussBot</username>
        <id>279219</id>
      </contributor>
      <minor/>
      <comment>Robot: moving pages out of redirected category</comment>
      <text xml:space="preserve">{{Navbox
 | name    = Berlin State Opera intendants
 | title   = [[Berlin State Opera|Berlin Staatsoper General Music Directors]] 
 | summary = A list of Berlin State Opera music directos and hofkapellmeisters
 | list1   = &lt;div&gt;
{{nowrap|[[Johannes Wesalius]] (1572) •}}
{{nowrap|[[Johannes Eccard]] (1609) •}}
{{nowrap|[[Nikolaus Zangius]] (1612) •}}
{{nowrap|[[William Brade]] (1618) •}}
{{nowrap|[[Johann Friedrich Agricola]] (1759) •}}
{{nowrap|[[Johann Friedrich Reichardt]] (1775) •}}
{{nowrap|[[Bernhard Anselm Weber]] (1816) •}}
{{nowrap|[[Gaspare Spontini]] (1820) •}}
{{nowrap|[[Giacomo Meyerbeer]] (1842) •}}
{{nowrap|[[Carl Otto Nicolai|Otto Nicolai]] (1848) •}}
{{nowrap|[[Robert Radecke]] (1871) •}}
{{nowrap|[[Joseph Sucher]] (1888) •}}
{{nowrap|[[Richard Strauss]] (1899) •}}
{{nowrap|[[Leo Blech]] (1913) •}}
{{nowrap|[[Erich Kleiber]] (1923) •}}
{{nowrap|[[Clemens Krauss]] (1935) •}}
{{nowrap|[[Herbert von Karajan]] (1941) •}}
{{nowrap|[[Joseph Keilberth]] (1948) •}}
{{nowrap|[[Erich Kleiber]] (1951) •}}
{{nowrap|[[Franz Konwitschny]] (1955) •}}
{{nowrap|[[Otmar Suitner]] (1964) •}}
{{nowrap|[[Daniel Barenboim]] (1992) }}
&lt;/div&gt;}}&lt;noinclude&gt;
[[Category:Orchestra conductor templates|{{PAGENAME}}]]
[[Category:Opera templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISSN</title>
    <id>1571865</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>161947733</id>
      <timestamp>2007-10-03T04:11:10Z</timestamp>
      <contributor>
        <username>Pathoschild</username>
        <id>240994</id>
      </contributor>
      <minor/>
      <comment>{{documentation}}, moved some content to subpage</comment>
      <text xml:space="preserve">[[International Standard Serial Number|ISSN]] {{ISSN search link|{{{1}}}}}&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:ISSN search link</title>
    <id>4654214</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>256623130</id>
      <timestamp>2008-12-08T14:19:55Z</timestamp>
      <contributor>
        <username>Cirt</username>
        <id>5389659</id>
      </contributor>
      <comment>per talk pg req</comment>
      <text xml:space="preserve">[http://www.worldcat.org/issn/{{{1}}} {{{1}}}]&lt;noinclude&gt;
&lt;!-- * INTERNAL NOTE:
     *
     * This template used the ZDB database at
     * dispatch.opac.ddb.de/LNG=EN/DB=1.1/ and its
     * undocumented query string format.
     *
     * It now uses WorldCat, with the benefit that the link format
     *
     *   http://www.worldcat.org/issn/[item ISSN]
     *
     * is _documented_ (see worldcat.org) and thus unlikely to change.
     *
--&gt;

{{pp-template|small=yes}}
{{Documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Align</title>
    <id>14595841</id>
    <revision>
      <id>307381713</id>
      <timestamp>2009-08-11T16:01:55Z</timestamp>
      <contributor>
        <username>LunarLander</username>
        <id>133216</id>
      </contributor>
      <comment>[[WP:UNDO|Undid]] revision 307380868 by [[Special:Contributions/LunarLander|LunarLander]] ([[User talk:LunarLander|talk]]) maybe not</comment>
      <text xml:space="preserve">{{#switch: {{lc:{{{1|center}}}}}
|left = &lt;div style=&quot;float: left;&quot;&gt;{{{2}}}&lt;/div&gt;
|right = &lt;div style=&quot;float: right;&quot;&gt;{{{2}}}&lt;/div&gt;
|center = &lt;div align=&quot;center&quot;&gt;{{{2}}}&lt;/div&gt;
|#default = Error in [[Template:Align]]: the alignment setting &quot;{{{1}}}&quot; is invalid.
}}&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Cite album-notes</title>
    <id>6305183</id>
    <revision>
      <id>309437643</id>
      <timestamp>2009-08-22T15:34:41Z</timestamp>
      <contributor>
        <username>John Cardinal</username>
        <id>168039</id>
      </contributor>
      <comment>Add support for authorlink and coauthors when notestitle is not present</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#if: {{{notestitle|}}}
| {{ #if: {{{last|}}}
 | {{ #if: {{{authorlink|}}}
      |[[{{{authorlink}}}|{{{last}}}{{ #if: {{{first|}}} | , {{{first}}} }}]]
      |{{{last}}}{{ #if: {{{first|}}} | , {{{first}}}}}
   }}{{ #if: {{{coauthors|}}} | &lt;nowiki&gt;;&lt;/nowiki&gt;&amp;#32;{{{coauthors}}} }}
}}{{ #if: {{{last|}}}
 | {{#if: {{{year|}}} | &amp;#32;({{{year}}}).&amp;#32; | .&amp;#32; }}
 | {{#if: {{{year|}}} | ({{{year}}})&amp;#32;}}
}}{{ #if: {{{url|}}} | &quot;[{{{url}}} {{{notestitle}}}]&quot; | &quot;{{{notestitle}}}&quot;
}}{{ #if: {{{pages|}}} | , {{{pages}}}
}}{{ #if: {{{format|}}} | &amp;#32;[{{{format}}}].&amp;#32; | .&amp;#32;
}}Album notes for {{
 #if: {{{albumlink|}}}
 | ''[[{{{albumlink}}}|{{{title}}}]]''
 | ''{{{title}}}''
}}{{ #if: {{{bandname|}}} | &amp;#32;by {{{bandname}}}. | .
}}{{
 #if: {{{publisher|}}}
 | {{
    #if: {{{location|}}}
    | &amp;#32;{{{location}}}: {{{publisher}}} {{#if: {{{publisherid|}}} | ({{{publisherid}}})}}
    | &amp;#32;{{{publisher}}} {{#if: {{{publisherid|}}} | ({{{publisherid}}})}}
   }}.
}}{{ #if: {{{mbid|}}} | &amp;#32;{{MusicBrainz release|id={{{mbid}}}|name={{{title}}}}}.}}
| {{ #if: {{{last|}}}
 | {{ #if: {{{authorlink|}}}
      |[[{{{authorlink}}}|{{{last}}}{{ #if: {{{first|}}} | , {{{first}}} }}]]
      |{{{last}}}{{ #if: {{{first|}}} | , {{{first}}}}}
   }}{{ #if: {{{coauthors|}}} | &lt;nowiki&gt;;&lt;/nowiki&gt;&amp;#32;{{{coauthors}}} }}
}}{{ #if: {{{last|}}}
 | {{#if: {{{year|}}} | &amp;#32;({{{year}}}).&amp;#32; | .&amp;#32; }}
 | {{#if: {{{year|}}} | ({{{year}}})&amp;#32;}}
}}{{ #if: {{{url|}}} | [{{{url}}} Album notes] | Album notes
}} for {{
 #if: {{{albumlink|}}}
 | ''[[{{{albumlink}}}|{{{title}}}]]''
 | ''{{{title}}}''
}}{{ #if: {{{bandname|}}} | &amp;#32;by {{{bandname}}}
}}{{ #if: {{{pages|}}} | , {{{pages}}}
}}{{ #if: {{{format|}}} | &amp;#32;[{{{format}}}]
}}.{{
 #if: {{{publisher|}}}
 | {{
    #if: {{{location|}}}
    | &amp;#32;{{{location}}}: {{{publisher}}} {{#if: {{{publisherid|}}} | ({{{publisherid}}})}}
    | &amp;#32;{{{publisher}}} {{#if: {{{publisherid|}}} | ({{{publisherid}}})}}
   }}.
}}{{ #if: {{{mbid|}}} | &amp;#32;{{MusicBrainz release|id={{{mbid}}}|name={{{title}}}}}.}}
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{template doc}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Clear</title>
    <id>1239772</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>184591535</id>
      <timestamp>2008-01-15T22:55:40Z</timestamp>
      <contributor>
        <username>CesarB</username>
        <id>7410</id>
      </contributor>
      <minor/>
      <comment>rv needless addition of an unneeded semicolon</comment>
      <text xml:space="preserve">&lt;div style=&quot;clear:both&quot;&gt;&lt;/div&gt;&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Ibdb name</title>
    <id>1133864</id>
    <revision>
      <id>198063572</id>
      <timestamp>2008-03-13T22:23:15Z</timestamp>
      <contributor>
        <username>Nick</username>
        <id>319064</id>
      </contributor>
      <comment>+ {{pp-template}}</comment>
      <text xml:space="preserve">[http://www.ibdb.com/person.asp?ID={{{1|{{{id}}}}}} {{{2|{{{name|{{PAGENAME}}}}}}}}] at the [[Internet Broadway Database]]&lt;noinclude&gt;{{pp-template}}{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Imdb name</title>
    <id>942370</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>162618498</id>
      <timestamp>2007-10-06T07:03:24Z</timestamp>
      <contributor>
        <username>Patrick</username>
        <id>4388</id>
      </contributor>
      <comment>allow search by name, from [[Template_talk:Imdb_title#Code_without_id]]</comment>
      <text xml:space="preserve">[http://www.imdb.com/{{#if:{{{1|{{{id|}}}}}}|name/nm{{{1|{{{id|}}}}}}|Name?{{urlencode:{{PAGENAME}}}}}}/ {{{2|{{{name|{{PAGENAME}}}}}}}}] at the [[Internet Movie Database]]&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Musicbrainz artist</title>
    <id>4212074</id>
    <redirect />
    <revision>
      <id>240009920</id>
      <timestamp>2008-09-21T15:07:30Z</timestamp>
      <contributor>
        <username>Seraphim</username>
        <id>3369647</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Musicbrainz artist: High risk template ([edit=sysop] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">#REDIRECT [[Template:MusicBrainz artist]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Refbegin</title>
    <id>9391283</id>
    <revision>
      <id>310713271</id>
      <timestamp>2009-08-29T13:48:17Z</timestamp>
      <contributor>
        <username>RockMFR</username>
        <id>2362410</id>
      </contributor>
      <comment>use references-small per talk request</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;div class=&quot;references-small&quot; style=&quot;&lt;!--
  --&gt;{{#if:{{{colwidth|}}}| -moz-column-width:{{{colwidth}}}; -webkit-column-width:{{{colwidth}}}; column-width:{{{colwidth}}};}}&lt;!--
  --&gt;{{#if:{{{1|}}}| -moz-column-count:{{{1}}}; -webkit-column-count:{{{1}}}; column-count:{{{1}}};}}&lt;!--
  --&gt;{{#if:{{{indent|}}}| text-indent:-{{{indentsize|3.5}}}em; padding-left: 0; margin-left: {{{indentsize|3.5}}}em; list-style-position: inside; |&lt;!--
    --&gt; margin-left:1.5em;&lt;!--
    --&gt;}}&quot;&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template}}
{{Documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Refend</title>
    <id>10023179</id>
    <revision>
      <id>280711601</id>
      <timestamp>2009-03-30T19:42:56Z</timestamp>
      <contributor>
        <username>Amalthea</username>
        <id>429625</id>
      </contributor>
      <minor/>
      <comment>get documentation directly from {{[[Template:refbegin/doc|refbegin/doc]]}}, instead of through the redirect, to make the edit work.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;/div&gt;&lt;/includeonly&gt;&lt;noinclude&gt;{{template doc|Template:refbegin/doc}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Resize</title>
    <id>7736359</id>
    <restrictions>edit=autoconfirmed:move=sysop</restrictions>
    <revision>
      <id>233316662</id>
      <timestamp>2008-08-21T13:05:28Z</timestamp>
      <contributor>
        <username>Zzuuzz</username>
        <id>365454</id>
      </contributor>
      <minor/>
      <comment>Reverted edits by [[Special:Contributions/Strong pad|Strong pad]] ([[User talk:Strong pad|talk]]) to last version by Dispenser</comment>
      <text xml:space="preserve">{{#if:{{{2|}}}
|&lt;span style=&quot;font-size:{{{1|}}};&quot;&gt;{{{2|}}}&lt;/span&gt;
|&lt;span style=&quot;font-size:90%;&quot;&gt;{{{1}}}&lt;/span&gt;
}}&lt;noinclude&gt;
{{documentation}}
&lt;!-- PLEASE ADD CATEGORIES AND INTERWIKIS TO THE /doc SUBPAGE, THANKS --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Romanticism</title>
    <id>1351757</id>
    <revision>
      <id>308946612</id>
      <timestamp>2009-08-19T21:08:01Z</timestamp>
      <contributor>
        <ip>88.14.79.35</ip>
      </contributor>
      <text xml:space="preserve">{{ navbox
| name   = Romanticism
| title  = [[Romanticism]]

| group1 = Culture
| list1  = [[Bohemianism]]{{,}} [[Ossian]]{{,}} [[Romantic nationalism]]{{,}} [[Konrad Wallenrod (poem)|Wallenrodism]] 

| group2 = [[Romantic poetry|Literature]]
| list2  = [[Hans Christian Andersen|Andersen]]{{,}} [[William Blake|Blake]]{{,}} [[William Cullen Bryant|Bryant]]{{,}} [[Robert Burns|Burns]]{{,}} [[George Gordon Byron, 6th Baron Byron|Byron]]{{,}} [[François-René de Chateaubriand|Chateaubriand]]{{,}}  [[Samuel Taylor Coleridge|Coleridge]]{{,}} [[James Fenimore Cooper|Cooper]]{{,}} [[Joseph Freiherr von Eichendorff|Eichendorff]]{{,}} [[José de Espronceda|Espronceda]]{{,}} [[Johann Wolfgang von Goethe|Goethe]]{{,}} [[Grimm Brothers]]{{,}} [[Nathaniel Hawthorne|Hawthorne]]{{,}} [[Heinrich Heine|Heine]]{{,}} [[E. T. A. Hoffmann|Hoffmann]]{{,}} [[Friedrich Hölderlin|Hölderlin]]{{,}} [[Victor Hugo|Hugo]]{{,}} [[Washington Irving|Irving]]{{,}} [[John Keats|Keats]]{{,}} [[Heinrich von Kleist|Kleist]]{{,}} [[Zygmunt Krasiński|Krasiński]]{{,}} [[Alphonse de Lamartine|Lamartine]]{{,}} [[José Zorrilla]]{{,}} [[Gustavo Adolfo Bécquer]]{{,}} [[Mariano José de Larra|Larra]]{{,}} [[Giacomo Leopardi|Leopardi]]{{,}} [[Mikhail Lermontov|Lermontov]]{{,}} [[Antoni Malczewski|Malczewski]]{{,}} [[Adam Mickiewicz|Mickiewicz]]{{,}} [[Alfred de Musset|Musset]]{{,}} [[Gérard de Nerval|Nerval]]{{,}} [[Cyprian Norwid|Norwid]]{{,}} [[Novalis]]{{,}} [[Adam Gottlob Oehlenschläger|Oehlenschläger]]{{,}} [[Edgar Allan Poe|Poe]]{{,}} [[Alexander Pushkin|Pushkin]]{{,}} [[Friedrich Schiller|Schiller]]{{,}} [[Walter Scott|Scott]]{{,}} [[Mary Shelley|M. Shelley]]{{,}} [[Percy Bysshe Shelley|P.B. Shelley]]{{,}} [[Juliusz Słowacki|Słowacki]]{{,}} [[Stendhal]]{{,}} [[Ludwig Tieck|Tieck]]{{,}} [[William Wordsworth|Wordsworth]]{{,}} [[Vasily Zhukovsky|Zhukovsky]] 
&lt;!-- PLEASE READ THE DISCUSSION PAGE BEFORE ADDING MUSICIANS. ROMANTIC MUSICIANS ARE NOT NECESSARILY PART OF ROMANTICISM!! 
In particular, this template is about figures important in the Age of Romanticism, which ended around 1848.  Composers important in the latter half of the 19th century, like Brahms, Tchaikovsky, Dvorak, etc, do not belong here.
--&gt;
| group3 = Music
| list3  = [[Charles-Valentin Alkan|Alkan]]{{,}} [[Daniel Auber|Auber]]{{,}} [[Ludwig van Beethoven|Beethoven]]{{,}} [[Vincenzo Bellini|Bellini]]{{,}} [[Hector Berlioz|Berlioz]]{{,}} [[Franz Berwald|Berwald]]{{,}}  [[Frédéric Chopin|Chopin]]{{,}} [[Félicien David]]{{,}} [[Ferdinand David (musician)|Ferdinand David]]{{,}} [[Gaetano Donizetti|Donizetti]]{{,}} [[John Field (composer)|Field]]{{,}} [[César Franck|Franck]]{{,}} [[Mikhail Glinka|Glinka]]{{,}} [[Fromental Halévy|Halévy]]{{,}} [[Franz Liszt|Liszt]]{{,}} [[Carl Loewe|Loewe]]{{,}} [[Heinrich Marschner|Marschner]]{{,}} [[Fernando Sor]]{{,}} [[Dionisio Aguado]]{{,}} [[Juan Crisostomo Arriaga]]{{,}} [[Étienne Méhul|Méhul]]{{,}} [[Felix Mendelssohn|Mendelssohn]]{{,}} [[Giacomo Meyerbeer|Meyerbeer]]{{,}} [[Ignaz Moscheles|Moscheles]]{{,}} [[Niccolò Paganini|Paganini]]{{,}} [[Gioachino Rossini|Rossini]]{{,}} [[Franz Schubert|Schubert]]{{,}} [[Robert Schumann|Schumann]]{{,}} [[Sigismond Thalberg|Thalberg]]{{,}} [[Giuseppe Verdi|Verdi]]{{,}} [[Richard Wagner|Wagner]]{{,}} [[Carl Maria von Weber|Weber]] &lt;/div&gt; 

| group4 = Philosophy and aesthetics
| list4  = [[Samuel Taylor Coleridge|Coleridge]]{{,}} [[Johann Wolfgang von Goethe|Goethe]]{{,}} [[Friedrich Schiller|Schiller]]{{,}} [[Adam Müller|Müller]]{{,}} [[Friedrich Daniel Ernst Schleiermacher|Schleiermacher]]{{,}} [[Ludwig Tieck|Tieck]]{{,}} [[Ludwig Feuerbach|Feuerbach]]{{,}} [[Johann Gottlieb Fichte|Fichte]]{{,}} [[Wilhelm Heinrich Wackenroder|Wackenroder]]{{,}} [[August Schlegel|A. Schlegel]]{{,}} [[Friedrich Schlegel|F. Schlegel]]

| group5 = Visual arts
| list5  = [[William Blake|Blake]]{{,}} [[Karl Briullov|Briullov]]{{,}} [[John Constable|Constable]]{{,}} [[Jean-Baptiste-Camille Corot|Corot]]{{,}} [[Johan Christian Dahl|Dahl]]{{,}} [[Eugène Delacroix|Delacroix]]{{,}} [[Düsseldorf School]]{{,}}
[[Caspar David Friedrich|Friedrich]]{{,}} [[Henry Fuseli|Fuseli]]{{,}} [[Théodore Géricault|Géricault]]{{,}} [[Gothic Revival architecture]]{{,}} [[Francisco Goya|Goya]]{{,}}  [[Hudson River School]]{{,}} [[Emanuel Leutze|Leutze]]{{,}} [[John Martin (painter)|Martin]]{{,}} [[Piotr Michałowski|Michałowski]] {{,}}[[Nazarene movement]]{{,}} [[Samuel Palmer|Palmer]]{{,}} [[Philipp Otto Runge|Runge]]{{,}} [[J. M. W. Turner|Turner]]{{,}} [[James Ward (artist)|Ward]]{{,}} [[Antoine Wiertz|Wiertz]]

| below  = {{align|left|&amp;nbsp;« {{smaller|[[Age of Enlightenment]]}} }} {{align|right|{{smaller|[[Realism (arts)|Realism]]}} »&amp;nbsp;}}
}}&lt;noinclude&gt;

[[Category:Art movement and genre templates|Romanticism]]

[[bg:Шаблон:Романтизъм]]
[[el:Πρότυπο:Ρομαντισμός]]
[[fa:الگو:رمانتیسیسم]]
[[it:Template:Romanticismo]]
[[ka:თარგი:რომანტიზმი]]
[[hu:Sablon:Romantika]]
[[ms:Templat:Romantisisme2]]
[[pt:Predefinição:Romantismo]]
[[ro:Format:Romantism]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Smaller</title>
    <id>5117873</id>
    <redirect />
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>234603174</id>
      <timestamp>2008-08-27T17:13:11Z</timestamp>
      <contributor>
        <username>Harryboyles</username>
        <id>754264</id>
      </contributor>
      <comment>Replacing [[Category:Wikipedia formatting templates]] with [[Category:Wikipedia formatting and function templates]] as requested on talk page</comment>
      <text xml:space="preserve">#redirect [[Template:Resize]]
[[Category:Wikipedia formatting and function templates|{{PAGENAME}}]]&lt;!--Please retain, as this redirect produces a specific result (i.e. it doesn't act as an equivalent). See {{resize}} when no first parameter given.--&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Worldcat id</title>
    <id>13829394</id>
    <revision>
      <id>225009899</id>
      <timestamp>2008-07-11T13:08:19Z</timestamp>
      <contributor>
        <username>Wknight94</username>
        <id>352579</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Worldcat id: High-risk template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">[http://worldcat.org/identities/{{{1|{{{id}}}}}} Works by or about {{{2|{{{name|{{PAGENAME}}}}}}}}] in libraries ([[WorldCat]] catalog)&lt;noinclude&gt;

Add the template to the &quot;external links&quot; section of the article to create a link to the [[Worldcat]] page associated with the article's title.
To use this template, first do a [http://worldcat.org/identities/ worldcat identities lookup]. Enter the person's name (e.g, Samuel Phillips.) This will often lead to a list of possible matches. Select the correct link (e.g., &quot;Phillips, Samuel 1752-1802&quot;) and click on it. This will lead to the correct page on worldcat. The id is the string after the last slash in the URL, e.g., lccn-n85-221132. Now, fill in your template as follows:
:: &lt;nowiki&gt;{{worldcat id|id=lccn-n85-221132}}&lt;/nowiki&gt;
:or
:: &lt;nowiki&gt;{{worldcat id|id=lccn-n85-221132|name=Samuel Philips, LL.D}}&lt;/nowiki&gt;
: to display a name other than the article name

If &quot;Works by or about&quot; does not make sense, then use a different worldcat template:
::&lt;nowiki&gt; {{worldcat subject|name =Foo|id=lccn-n85-221132}} yields &lt;/nowiki&gt;
:: Works about Foo in libraries (Worldcat catalog)
::&lt;nowiki&gt; {{worldcat|description=&quot;The world's libraries have a strange definition of foo. Neverheless, you can research foo&quot;|name =Foo|id=lccn-n85-221132}} yields &lt;/nowiki&gt;
::  The world's libraries have a strange definition of foo. Neverheless, you can research foo in libraries. (Worldcat catalog)

==See also==
* {{tl|cite linked authority file}}, a template for citing date and other information obtained from Library of Congress Authorities records, via WorldCat Identities database


[[Category:External link templates|Worldcat ID]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Citation</title>
    <id>3164016</id>
    <revision>
      <id>308804753</id>
      <timestamp>2009-08-19T02:18:08Z</timestamp>
      <contributor>
        <username>Smith609</username>
        <id>846901</id>
      </contributor>
      <comment>allow unhyphenated alternative for consistency</comment>
      <text xml:space="preserve">{{
  #if: {{{inventor-surname|{{{inventor1-surname|{{{inventor-last|{{{inventor1-last|{{{inventor|}}}}}}}}}}}}}}}
&lt;!--
    CITATIONS FOR PATENTS
--&gt;
|{{Citation/patent
 |Surname1 = {{{inventor-surname|{{{inventor1-surname|{{{inventor-last|{{{inventor1-last|{{{inventor}}}}}}}}}}}}}}}
 |Surname2={{{inventor2-surname|{{{inventor2-last|{{{inventor2|}}}}}}}}}
 |Surname3={{{inventor3-surname|{{{inventor3-last|{{{inventor3|}}}}}}}}}
 |Surname4={{{inventor4-surname|{{{inventor4-last|{{{inventor4|}}}}}}}}}
 |Given1 = {{{inventor-given|{{{inventor1-given|{{{inventor-first|{{{inventor1-first|}}}}}}}}}}}}
 |Given2={{{inventor2-given|{{{inventor2-first|}}}}}}
 |Given3={{{inventor3-given|{{{inventor3-first|}}}}}}
 |Given4={{{inventor4-given|{{{inventor4-first|}}}}}}
 |Inventorlink1={{{inventorlink1|{{{inventorlink|}}}}}}
 |Inventorlink2={{{inventorlink2|}}}
 |Inventorlink3={{{inventorlink3|}}}
 |Inventorlink4={{{inventorlink4|}}}
 |Title={{{title|}}}
 |CountryCode={{{country-code}}}
 |PublicationNumber={{{publication-number|{{{patent-number}}}}}}
 |Description={{{description|}}}
 |PublicationDate={{{publication-date|}}}
 |IssueDate={{{issue-date|}}}
 |Year={{{year}}}
}}&lt;!--
    CITATIONS FOR THINGS LIKE BOOKS AND PERIODICALS
--&gt;
|{{Citation/core
  |AuthorMask = {{{author-mask|{{{authormask|}}}}}}
  |Surname1 = {{{last|{{{surname|{{{last1|{{{surname1|{{{author1|{{{author|{{{authors|{{{author|}}}}}}}}}}}}}}}}}}}}}}}}
  |Surname2 = {{{last2|{{{surname2|{{{author2|{{{coauthor|{{{coauthors|}}}}}}}}}}}}}}}
  |Surname3 = {{{last3|{{{surname3|{{{author3|}}}}}}}}}
  |Surname4 = {{{last4|{{{surname4|{{{author4|}}}}}}}}}
  |Surname5 = {{{last5|{{{surname5|{{{author5|}}}}}}}}}
  |Surname6 = {{{last6|{{{surname6|{{{author6|}}}}}}}}}
  |Surname7 = {{{last7|{{{surname7|{{{author7|}}}}}}}}}
  |Surname8 = {{{last8|{{{surname8|{{{author8|}}}}}}}}}
  |Surname9 = {{{last9|{{{surname9|{{{author9|}}}}}}}}}
  |Given1 = {{{first1|{{{given1|{{{first|{{{given|}}}}}}}}}}}}
  |Given2 = {{{first2|{{{given2|}}}}}}
  |Given3 = {{{first3|{{{given3|}}}}}}
  |Given4 = {{{first4|{{{given4|}}}}}}
  |Given5 = {{{first5|{{{given5|}}}}}}
  |Given6 = {{{first6|{{{given6|}}}}}}
  |Given7 = {{{first7|{{{given7|}}}}}}
  |Given8 = {{{first8|{{{given8|}}}}}}
  |Given9 = {{{first9|{{{given9|}}}}}}
  |Authorlink1 = {{{author-link|{{{author1-link|{{{authorlink|{{{authorlink1|}}}}}}}}}}}}
  |Authorlink2 = {{{author2-link|{{{authorlink2|}}}}}}
  |Authorlink3 = {{{author3-link|{{{authorlink3|}}}}}}
  |Authorlink4 = {{{author4-link|{{{authorlink4|}}}}}}
  |Authorlink5 = {{{author5-link|{{{authorlink5|}}}}}}
  |Authorlink6 = {{{author6-link|{{{authorlink6|}}}}}}
  |Authorlink7 = {{{author7-link|{{{authorlink7|}}}}}}
  |Authorlink8 = {{{author8-link|{{{authorlink8|}}}}}}
  |Authorlink9 = {{{author9-link|{{{authorlink9|}}}}}}
  |Year={{{year|{{    &lt;!-- attempt to derive year from date, if possible --&gt;
             #if: {{{date|}}}
             |{{
                #iferror:{{#time:Y|{{{date|}}} }}
                |{{#iferror:{{#time:Y|{{{publication-date|einval}}} }}||{{#time:Y|{{{publication-date|}}} }}}}
                |{{#time:Y|{{{date|}}} }}
              }}
             |{{{publication-date|}}} &lt;!-- last resort --&gt;
           }}
        }}}
  |YearNote = {{{origyear|}}}
  |Date = {{#if:{{{date|}}}|{{{date}}}|{{{day|}}} {{{month|}}} {{{year|{{{publication-date|}}}}}}}}
  |DateFormat={{{dateformat|}}}
  |Title={{{title|}}}
  |URL={{#if:{{{archiveurl|}}}|{{{archiveurl|}}}|{{{url|}}}}}
  |Series={{{series|{{{version|}}}}}}
  |Periodical = {{{journal|{{{periodical|{{{newspaper|{{{magazine|{{{work|}}}}}}}}}}}}}}}
  |Volume = {{{volume|}}}
  |Issue = {{{issue|{{{number|}}}}}}
  |At = {{
          #if: {{{journal|{{{periodical|{{{newspaper|{{{magazine|}}}}}}}}}}}}
          |{{{pages|{{{page|{{{at|}}}}}}}}}
          |{{
             #if: {{{page|}}}
             |{{#if:{{{nopp|}}}||p.&amp;nbsp;}}{{{page}}} 
             |{{
                #if: {{{pages|}}}
                |{{#if:{{{nopp|}}}||pp.&amp;nbsp;}}{{{pages}}}
                |{{{at|}}}
              }}
           }}
        }}
  |IncludedWorkTitle = {{{chapter|{{{contribution|}}}}}}
  |IncludedWorkURL = {{{chapter-url|{{{chapterurl|{{{contribution-url|}}}}}}}}}
  |Other = {{{others|}}}
  |Edition = {{{edition|}}}
  |Place = {{{place|{{{location|}}}}}}
  |PublicationPlace = {{{publication-place|{{{place|{{{location|}}}}}}}}}
  |Publisher = {{{publisher|}}}
  |PublicationDate = {{{publication-date|}}}
  |EditorSurname1 = {{{editor-last|{{{editor-surname|{{{editor1-last|{{{editor1-surname|{{{editor1|{{{editor|{{{editors|}}}}}}}}}}}}}}}}}}}}}
  |EditorSurname2 = {{{editor2-last|{{{editor2-surname|{{{editor2|}}}}}}}}}
  |EditorSurname3 = {{{editor3-last|{{{editor3-surname|{{{editor3|}}}}}}}}}
  |EditorSurname4 = {{{editor4-last|{{{editor4-surname|{{{editor4|}}}}}}}}}
  |EditorGiven1 = {{{editor-first|{{{editor-given|{{{editor1-first|{{{editor1-given|}}}}}}}}}}}}
  |EditorGiven2={{{editor2-first|{{{editor2-given|}}}}}}
  |EditorGiven3={{{editor3-first|{{{editor3-given|}}}}}}
  |EditorGiven4={{{editor4-first|{{{editor4-given|}}}}}}
  |Editorlink1={{{editor-link|{{{editor1-link|}}}}}}
  |Editorlink2={{{editor2-link|}}}
  |Editorlink3={{{editor3-link|}}}
  |Editorlink4={{{editor4-link|}}}
  |language = {{{language|{{{in|}}}}}}
  |format = {{{format|}}}
  |ID={{{id|{{{ID|}}}}}}
  |ISBN={{{isbn|{{{ISBN|}}}}}}
  |ISSN={{{issn|{{{ISSN|}}}}}}
  |OCLC={{{oclc|{{{OCLC|}}}}}}
  |PMID={{{pmid|{{{PMID|}}}}}}
  |PMC={{{pmc|{{{PMC|}}}}}}
  |Bibcode={{{bibcode|}}}
  |DOI={{{doi|{{{DOI|}}}}}}
  |DoiBroken={{{doi_brokendate|}}}
  |AccessDate={{{access-date|{{{accessdate|}}}}}}
  |laysummary = {{{laysummary|}}}
  |quote = {{{quote|}}}
  |laydate = {{{laydate|}}}
  |Ref={{{ref|}}}
  |Sep = {{#ifeq:{{{separator|{{{seperator}}}}}}|;|&amp;#059;|{{{separator|{{{seperator|,}}}}}}}}
  |PS = {{#if:{{{quote|}}}||{{{postscript|}}}}}
  |amp = {{{lastauthoramp|}}}
  |Archive = {{#if:{{{archiveurl|}}}|archived from {{#if:{{{url|}}}|[{{{url}}} the original]|the original}}{{#if:{{{archivedate|}}}|&amp;#32;on {{{archivedate}}}|. You must specify the date the archive was made using the {{para|archivedate}} parameter.{{#if: {{NAMESPACE}}|| [[Category:Articles with broken citations]]}}}}
             }}
}}}}&lt;noinclude&gt;
{{pp-template}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Citations missing</title>
    <id>5042585</id>
    <revision>
      <id>291864099</id>
      <timestamp>2009-05-23T19:28:13Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <text xml:space="preserve">&lt;!--{{Citations missing}} begin--&gt;{{ ambox
| type  = content
| text  = This {{{1|article}}} '''is missing [[Wikipedia:Citing sources|citations]] or needs [[Wikipedia:Footnotes|footnotes]]'''. Please help add [[Wikipedia:inline citations|inline citations]] to guard against copyright violations and factual inaccuracies. {{#if:{{{date|}}}|&lt;small&gt;''({{{date}}})''&lt;/small&gt;}}
}}&lt;includeonly&gt;{{DMCA|Articles with unsourced statements|from|{{{date|}}}|All articles with unsourced statements}}&lt;/includeonly&gt;&lt;!--{{Citations missing}} end--&gt;&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Image class</title>
    <id>13120771</id>
    <revision>
      <id>309487084</id>
      <timestamp>2009-08-22T21:02:36Z</timestamp>
      <contributor>
        <username>MSGJ</username>
        <id>42630</id>
      </contributor>
      <comment>tweak</comment>
      <text xml:space="preserve">class=&quot;{{image class names|{{{1}}}}}&quot;&lt;noinclude&gt;
{{pp-template}}
{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox Scientist</title>
    <id>24019609</id>
    <redirect />
    <revision>
      <id>308528429</id>
      <timestamp>2009-08-17T18:59:36Z</timestamp>
      <contributor>
        <username>Rich Farmbrough</username>
        <id>82835</id>
      </contributor>
      <comment>moved [[Template:Infobox Scientist]] to [[Template:Infobox scientist]] over redirect: Capitals per guidelines</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Infobox scientist]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox scientist</title>
    <id>5975974</id>
    <revision>
      <id>310953472</id>
      <timestamp>2009-08-30T21:06:32Z</timestamp>
      <contributor>
        <username>Plastikspork</username>
        <id>5075409</id>
      </contributor>
      <minor/>
      <comment>not necessary</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{Infobox
|bodyclass  = vcard
|bodystyle  = width:{{{box_width|26em}}}; text-align:left; font-size:85%;
|aboveclass = fn
|above      = '''{{{name|{{PAGENAME}}}}}'''
|abovestyle = background:transparent; text-align:center; font-size:125%;
|imageclass = {{image class|{{{image|}}}}}
|image      = {{#if:{{{image|}}}|[[Image:{{{image|}}}&lt;!--
  --&gt;{{#if:{{{image_width|{{{image_size|{{{imagesize|}}}}}}}}}
       | {{!}}{{{image_width|{{{image_size|{{{imagesize}}}}}}}}}
       | {{!}}225px}}&lt;!--
  --&gt;|alt={{{alt|}}}&lt;!--
  --&gt;{{#if:{{{caption|}}}
       | {{!}}{{{caption}}} }}&lt;!--
           --&gt;]]|}}
|imagestyle = padding-bottom:0.5em;
|caption    = &lt;div style=&quot;padding-top:0.3em; line-height:1.2em;&quot;&gt;&lt;!--
                    --&gt;{{{caption|}}}&lt;/div&gt;
|labelstyle = background:transparent; line-height:1.1em;
|datastyle  = line-height:1.3em; vertical-align:middle;


|label1  = {{#if:{{{birth_name|}}}&lt;!--
              --&gt;{{{birth_date|}}}{{{birth_place|}}}
             | Born }}
|data1   = {{#if:{{{birth_name|}}} |{{{birth_name}}}&lt;br/&gt;}}&lt;!--
        --&gt;{{#if:{{{birth_date|}}} |{{{birth_date}}}&lt;br/&gt;}}&lt;!--
        --&gt;{{{birth_place|}}}

|label2  = {{#if:{{{death_date|}}}&lt;!--
              --&gt;{{{death_place|}}}{{{death_cause|}}}
             | Died }}
|data2   = {{#if:{{{death_date|}}}  |{{{death_date}}}&lt;br/&gt;}}&lt;!--
        --&gt;{{#if:{{{death_place|}}} |{{{death_place}}}&lt;br/&gt;}}&lt;!--
        --&gt;{{{death_cause|}}}

|label3  = Residence
|data3   = {{{residence|}}}
|label4  = Citizenship
|data4   = {{{citizenship|}}}
|label5  = Nationality
|data5   = {{{nationality|}}}
|label6  = Ethnicity
|data6   = {{{ethnicity|}}}
|label7  = Fields
|data7   = {{{field|{{{fields|}}}}}}

|label8  = Institutions
|data8   = {{{workplaces|}}}&lt;!--
        --&gt;{{{work_institutions|}}}{{{work_institution|}}}

|label9  = [[Alma mater]]
|data9   = {{{alma_mater|}}}
|label10 = [[Doctorate|Doctoral]] advisor
|data10  = {{{doctoral_advisor|}}}

|label11 = {{#if:{{{doctoral_advisor|}}}
             | Other academic&amp;nbsp;advisors
             | Academic advisors }}
|data11  = {{{academic_advisors|}}}

|label12 = Doctoral students
|data12  = {{{doctoral_students|}}}

|label13 = {{#if:{{{doctoral_students|}}}
             | Other notable&amp;nbsp;students
             | Notable students }}
|data13  = {{{notable_students|}}}

|label14 = Known&amp;nbsp;for
|data14  = {{{known_for|}}}
|label15 = Influences
|data15  = {{{influences|}}}
|label16 = Influenced
|data16  = {{{influenced|}}}
|label17 = Notable awards
|data17  = {{{awards|}}}{{{prizes|}}}
|label18 = [[Author citation (botany)|Author abbreviation (botany)]]
|data18  = {{{author_abbreviation_bot|{{{author_abbrev_bot|}}}}}}
|label19 = [[Author citation (zoology)|Author abbreviation (zoology)]]
|data19  = {{{author_abbreviation_zoo|{{{author_abbrev_zoo|}}}}}}
|label20 = Religious stance
|data20  = {{{religion|}}}

|data21  = {{#if:{{{signature|}}}
             | '''Signature'''&lt;br/&gt;&lt;!--
               --&gt;[[Image:{{{signature}}}|128px&lt;!--
                 --&gt;|alt={{{signature_alt|}}}&lt;!--
                 --&gt;|{{{name|{{PAGENAME}}}}}'s signature]] }}

|data22  = {{#if:{{{footnotes|}}}
             | &lt;div style=&quot;padding-top:0.25em; text-align:left; font-style:90%;&quot;&gt;&lt;!--
                    --&gt;'''Notes'''&lt;br/&gt;{{{footnotes}}}&lt;/div&gt; }}
}}&lt;!--

--&gt;{{#if:{{{author_abbreviation_zoo|{{{author_abbrev_zoo|}}}}}}
     | [[Category:Zoologists with author abbreviations&lt;!--
         --&gt;|{{{author_abbreviation_zoo|{{{author_abbrev_zoo}}}}}}]]&lt;!--
--&gt;}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
&lt;!---Please add metadata to the  section at the bottom of the /doc subpage---&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-ach</title>
    <id>8312509</id>
    <revision>
      <id>235765467</id>
      <timestamp>2008-09-02T07:31:15Z</timestamp>
      <contributor>
        <username>MZMcBride</username>
        <id>212624</id>
      </contributor>
      <comment>rv</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: #FFF179;&quot; |{{#if:{{{1}}}||Awards and achievements titles}}{{#switch:{{{1}}}
 |#default={{#if:{{{1}}}|Awards and achievements}}
 |rec=Records
 |aw=Awards
 |ach=Achievements
 |awards=Awards
 |records=Records
 |achievements=Achievements
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-end</title>
    <id>9538337</id>
    <redirect />
    <revision>
      <id>226348908</id>
      <timestamp>2008-07-17T23:52:15Z</timestamp>
      <contributor>
        <username>KnightLago</username>
        <id>1134822</id>
      </contributor>
      <minor/>
      <comment>Protected Template:S-end [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[template:end]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Audio</title>
    <id>1501273</id>
    <revision>
      <id>284279640</id>
      <timestamp>2009-04-16T20:42:40Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>grrr</comment>
      <text xml:space="preserve">&lt;span class=&quot;unicode&quot; style=&quot;white-space:nowrap;&quot;&gt;[[File:Loudspeaker.svg|11px|link=File:{{{1}}}|{{{1}}}]] [[:Media:{{{1|}}}|{{{2|{{{1|}}}}}}]]{{#ifeq:{{{help|}}}|no||&amp;#32;&lt;small class=&quot;metadata audiolinkinfo&quot; style=&quot;cursor:help;&quot;&gt;([[Wikipedia:Media help|&lt;span style=&quot;cursor:help;&quot;&gt;help&lt;/span&gt;]]·[[:Image:{{{1|}}}|&lt;span style=&quot;cursor:help;&quot;&gt;info&lt;/span&gt;]])&lt;/small&gt;}}&lt;/span&gt;&lt;noinclude&gt;
{{documentation}}&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:England-earl-stub</title>
    <id>7278423</id>
    <revision>
      <id>309803113</id>
      <timestamp>2009-08-24T16:07:40Z</timestamp>
      <contributor>
        <username>Xenobot</username>
        <id>7225622</id>
      </contributor>
      <minor/>
      <comment>[[User:Xenobot/6.1|Bot]]) Standardize stub template to use {{[[Template:Asbox|asbox]]}} per [[WT:WSS#straw|discussion]] ([[User talk:Xeno|report errors?]]</comment>
      <text xml:space="preserve">{{asbox
| image     =
| pix       =
| subject   = 
| article   = biography
| qualifier = of an [[earl]] in the [[Peerage of England]] 
| category  = Peerage of England earl stubs
| tempsort  =  
| name      = Template:England-earl-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:Essay-like</title>
    <id>5938138</id>
    <revision>
      <id>312771714</id>
      <timestamp>2009-09-09T12:49:28Z</timestamp>
      <contributor>
        <username>Debresser</username>
        <id>6999039</id>
      </contributor>
      <minor/>
      <comment>Template redirected using [[Project:AutoWikiBrowser|AWB]]</comment>
      <text xml:space="preserve">&lt;!--{{Essay-like}} begin--&gt;{{ambox
| type  = style
| text  = This {{{1|article}}} is '''written like [[WP:NOT#PUBLISHER|{{#if:{{{2|}}}|{{{2}}}|a personal reflection or essay}}]] and may require [[Wikipedia:Cleanup|cleanup]].''' Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} help improve it] by rewriting it in an [[WP:STYLE|encyclopedic style]]. {{#if:{{{date|}}}|&lt;small&gt;''({{{date}}})''&lt;/small&gt;}}
}}{{DMCA|Wikipedia articles needing style editing|from|{{{date|}}}|All articles needing style editing}}&lt;!--{{Essay-like}} begin--&gt;&lt;noinclude&gt;{{Pp-template|small=yes}}{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Vague</title>
    <id>9882353</id>
    <revision>
      <id>307843587</id>
      <timestamp>2009-08-14T00:12:07Z</timestamp>
      <contributor>
        <username>Jerome Charles Potts</username>
        <id>562899</id>
      </contributor>
      <comment>[[WP:UNDO|Undid]] revision 307833558 by [[Special:Contributions/Jerome Charles Potts|Jerome Charles Potts]] ([[User talk:Jerome Charles Potts|talk]])</comment>
      <text xml:space="preserve">&lt;!--{{Vague}} begin--&gt;{{fix
|link     = Wikipedia:Manual_of_Style#Unnecessary_vagueness
|text     = vague
|title    = You can help -- {{{1|}}}
|date     = {{{date|}}}
|cat-date = Category:Wikipedia articles needing clarification}}&lt;!--{{Vague}} end--&gt;&lt;noinclude&gt;

This template is a self-reference and so is part of the Wikipedia project rather than the encyclopedic content.

==Usage==
This template should be used in articles where a sentence may be vague, ambiguous, or unspecific.

{{tlx|Vague|optional message to be displayed on mouseover}}

This produces:

{{fix
|link     = Wikipedia:Manual of Style
|text     = vague
|title    = You can help -- optional message to be displayed on mouseover
|date     = {{{date|}}}
|cat-date = &lt;!--[[Category:Wikipedia articles needing clarification]]--&gt;}}

==See also==
* {{tl|Clarify me}} for other text that is difficult to understand.

[[Category:Inline cleanup templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Euro-musician-stub</title>
    <id>15609175</id>
    <redirect />
    <revision>
      <id>189302167</id>
      <timestamp>2008-02-05T18:05:06Z</timestamp>
      <contributor>
        <username>Caerwine</username>
        <id>347371</id>
      </contributor>
      <comment>moved [[Template:Euro-musician-stub]] to [[Template:Europe-musician-stub]]: deprecation of Euro- in stubs in favor of Europe-</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Europe-musician-stub]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Europe-musician-stub</title>
    <id>10012823</id>
    <revision>
      <id>309240234</id>
      <timestamp>2009-08-21T12:54:14Z</timestamp>
      <contributor>
        <username>FoxBot</username>
        <id>10254013</id>
      </contributor>
      <minor/>
      <comment>robot Adding: [[sw:Kigezo:Mbegu-mwanamuziki-Ulaya]]</comment>
      <text xml:space="preserve">{{asbox
| image     = Musical notes.svg
| pix       = 30
| subject   = 
| qualifier = on an [[Europe]]an [[musician]] 
| category  = European musician stubs
| tempsort  =  
| name      = Template:Europe-musician-stub
}}
&lt;noinclude&gt;
[[sw:Kigezo:Mbegu-mwanamuziki-Ulaya]]
[[mk:Шаблон:Европа-музичар-никулец]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Austria-conductor-stub</title>
    <id>23891680</id>
    <revision>
      <id>308652325</id>
      <timestamp>2009-08-18T09:22:46Z</timestamp>
      <contributor>
        <username>Borgarde</username>
        <id>1686535</id>
      </contributor>
      <comment>use asbox</comment>
      <text xml:space="preserve">{{asbox
| image     = Maestro.jpg
| pix       = 34
| subject   = 
| qualifier = about an [[Austria]]n [[conducting|conductor]] or [[bandleader]]
| category  = Austrian people stubs
| tempsort  = Conductor
| category1 = European conductor stubs
| tempsort1 = Austria
| name      = Template:Austria-conductor-stub
}}</text>
    </revision>
  </page>
  <page>
    <title>Template:OCLC</title>
    <id>6952153</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>256536441</id>
      <timestamp>2008-12-08T01:54:40Z</timestamp>
      <contributor>
        <username>Huntster</username>
        <id>92632</id>
      </contributor>
      <comment>Update per talk page request.</comment>
      <text xml:space="preserve">[[Online Computer Library Center|OCLC]] [http://www.worldcat.org/oclc/{{urlencode:{{{1}}}}} {{{1}}}]{{#if:{{{3|}}}
 |, [http://www.worldcat.org/oclc/{{urlencode:{{{2}}}}} {{{2}}}] and [http://www.worldcat.org/oclc/{{urlencode:{{{3}}}}} {{{3}}}]
 |{{#if:{{{2|}}}
  |&amp;#32;and [http://www.worldcat.org/oclc/{{urlencode:{{{2}}}}} {{{2}}}]
 }}
}}&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:House of Bourbon, 1700-1833 (Philip V-Ferdinand VI Arms)</title>
    <id>11258134</id>
    <revision>
      <id>308196076</id>
      <timestamp>2009-08-15T21:59:44Z</timestamp>
      <contributor>
        <ip>74.71.104.164</ip>
      </contributor>
      <comment>fixing Navbox parameters</comment>
      <text xml:space="preserve">{{Navbox with collapsible groups
|name  = House of Bourbon, 1700-1833 (Philip V-Ferdinand VI Arms)
|state = 1
|title = [[House of Bourbon|The Bourbons of Spain]]
|image = [[Image:Escudo de Felipe V de España Toisón y Espiritu Santo Leones de gules.svg|100px]]

|sect1 = [[Philip V of Spain]]
|abbr1 = Philip_V
|list1 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--otherwise lists can appear to form continuous whole--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Highness|HH]]'' [[Maria Luisa of Savoy|Princess Maria Luisa Gabriella of Savoy]]  {{·w}} ''[[Highness|HH]]'' [[Elisabeth of Parma]] {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} [[Louis I of Spain]]* {{·w}} Felipe of Spain* {{·w}} Felipe of Spain* {{·w}} [[Ferdinand VI of Spain]]* {{·w}} [[Charles III of Spain]]* {{·w}} Francisco of Spain* {{·w}} [[Mariana Victoria of Spain|Mariana Víctoria, Queen of Portugal]]* {{·w}} [[Philip, Duke of Parma]]* {{·w}} [[Infanta Maria Teresa Rafaela of Spain|Maria Teresa Rafaela, Dauphine of France]]* {{·w}} [[Luis de Borbón y Farnesio, 13th Count of Chinchón|Luis, Count of Chinchón]]* {{·w}} [[Maria Antonietta of Spain|Maria Antonietta, Queen of Sardinia]]* {{nowrap end}}
  |group3 = Siblings
  |list3  = {{nowrap begin}} [[Louis of France, Duke of Burgundy|Louis, Duke of Burgundy]] {{·w}} [[Charles, Duke of Berry (1686–1714)|Charles, Duke of Berry]]  {{nowrap end}}
  |group4 = Grandchildren
  |list4 = {{nowrap begin}} María Isabel Antonia {{·w}} María Josefa Antonieta {{·w}} María Isabel Ana {{·w}} María Josefa Carmela {{·w}} [[Maria Luisa of Spain|Maria Luisa, Holy Roman Empress]] {{·w}} [[Infante Felipe, Duke of Calabria|Felipe, Duke of Calabria]] {{·w}} [[Charles IV of Spain]] {{·w}} María Teresa {{·w}} [[Ferdinand I of the Two Sicilies]] {{·w}} [[Infante Gabriel of Spain]] {{·w}} Ana María {{·w}} Antonio Pascual {{·w}} Francisco Javier {{·w}} [[Princess Isabella Maria of Parma|Isabella Maria, Archduchess of Austria]] {{·w}} [[Ferdinand, Duke of Parma]] {{·w}} [[Maria Luisa of Parma|Maria Luisa, Queen of Spain]] {{·w}} [[Luis María de Borbón y Vallabriga, 14th Count of Chinchón|Luis, Count of Chinchón]] {{·w}} [[María Teresa de Borbón y Vallabriga, 15th Countess of Chinchón|Maria Teresa, Countess of Chinchón]] {{·w}} María Luisa, Duchess of San Fernando de Quiroga {{nowrap end}}
 }}

|sect2 = [[Louis I of Spain]]
|abbr2 = Louis_I
|list2 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle  = width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Serene Highness|HSH]]'' [[Louise Élisabeth d'Orléans]] {{nowrap end}}
 }}

|sect3 = [[Ferdinand VI of Spain]]
|abbr3 = Ferdinand_VI
|list3 =
 {{Navbox subgroups
  |groupstyle = padding:0.35em 0; line-height:1.1em; &lt;!--reduces gap between wrapped groupname lines--&gt; width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Highness|HSH]]'' [[Barbara of Portugal|Infanta Maria Bárbara of Portugal]] {{nowrap end}}
 }}
|sect4 = [[Charles III of Spain]]
|abbr4 = Louis_XV
|list4 =
 {{Navbox subgroups
  |groupstyle = padding:0.35em 0; line-height:1.1em; &lt;!--reduces gap between wrapped groupname lines--&gt; width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Highness|HH]]'' [[Maria Amalia of Saxony|Princess Maria Amalia of Saxony]] {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} María Isabel Antonia {{·w}} María Josefa Antonieta {{·w}} María Isabel Ana {{·w}} María Josefa Carmela {{·w}} [[Maria Luisa of Spain|Maria Luisa, Holy Roman Empress]] {{·w}} [[Infante Felipe, Duke of Calabria|Felipe, Duke of Calabria]] {{·w}} [[Charles IV of Spain]] {{·w}} María Teresa {{·w}} [[Ferdinand I of the Two Sicilies]]* {{·w}} [[Infante Gabriel of Spain]] {{·w}} Ana María {{·w}} Antonio Pascual {{·w}} Francisco Javier  {{nowrap end}}
  |group3 = Grandchildren
  |list3  = {{nowrap begin}} Carlos Clemente  {{·w}} [[Charlotte of Spain|Charlotte, Queen of Portugal]] {{·w}} Maria Luisa {{·w}} Maria Amalia {{·w}} Carlos Domingo {{·w}} [[Maria Louisa, Duchess of Lucca]] {{·w}} Carlos Francisco {{·w}} Felipe Francisco {{·w}} [[Ferdinand VII of Spain]] {{·w}} [[Infante Carlos, Count of Molina|Carlos, Count of Molina]] {{·w}} [[Maria Isabella of Spain|Maria Isabella, Queen of the Two Sicilies]] {{·w}} Maria Teresa {{·w}} Felipe Maria {{·w}} [[Infante Francisco de Paula of Spain|Francisco de Paula]] {{·w}} [[Maria Theresa of Naples and Sicily|Maria Theresa, Holy Roman Empress]]* {{·w}} [[Princess Luisa of Naples and Sicily|Luisa, Grand Duchess of Tuscany]]*  {{·w}} Carlo* {{·w}} Maria Ana* {{·w}} [[Francis I of the Two Sicilies]]* {{·w}} [[Maria Christina of the Two Sicilies (1779–1849)|Maria Christina, Queen of Sardinia]]* {{·w}} Maria Cristina Amelia* {{·w}} Carlo* {{·w}} Giuseppe* {{·w}} [[Maria Amalia of the Two Sicilies|Maria Amalia, Queen of the French]]* {{·w}} Maria Cristina* {{·w}} [[Princess Maria Antonia of Naples and Sicily|Maria Antonia, Princess of Asturias]]* {{·w}} Maria Clothilde* {{·w}} Maria Enrichetta* {{·w}} Carlo* {{·w}} [[Leopold, Prince of Salerno]]* {{·w}} Alberto* {{·w}} Maria Isabella* {{nowrap end}}
  |group4 = Great grandchildren
  |list4  = [[Infante Carlos, Count of Montemolin|Carlos, Count of Montemolin]] {{·w}} [[Juan, Count of Montizón]] {{·w}} Fernando  {{·w}}  [[Isabella II of Spain]] {{·w}} [[Infanta Luisa Fernanda, Duchess of Montpensier|Maria Luisa Fernanda, Duchess of Montpensier]] {{·w}} Francisco de Asis {{·w}} Isabel {{·w}} [[Francis, Duke of Cádiz]] {{·w}} Henry, Duke of Seville {{·w}} Luisa, Duchess of Moscoso {{·w}} Duarte Felipe {{·w}} Josefina {{·w}} Teresa {{·w}} Fernando {{·w}} [[Infante Sebastian of Portugal and Spain|Maria Cristina, Infanta of Portugal]] {{·w}} [[Infanta Amelia Philippina of Spain|Amelia Philippina, Princess Adalbert of Bavaria]] {{·w}} 
 }}

|sect5 = [[Charles IV of Spain]]
|abbr5 = 
|list5 =
 {{Navbox subgroups
  |groupstyle = padding:0.35em 0; line-height:1.1em; &lt;!--reduces gap between wrapped groupname lines--&gt; width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Royal Highness|HRH]]'' [[Princess Maria Luisa of Parma]] {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}}  Carlos Clemente  {{·w}} [[Charlotte of Spain|Charlotte, Queen of Portugal]] {{·w}} Maria Luisa {{·w}} Maria Amalia {{·w}} Carlos Domingo {{·w}} [[Maria Louisa, Duchess of Lucca]] {{·w}} Carlos Francisco {{·w}} Felipe Francisco {{·w}} [[Ferdinand VII of Spain]] {{·w}} [[Infante Carlos, Count of Molina|Carlos, Count of Molina]] {{·w}} [[Maria Isabella of Spain|Maria Isabella, Queen of the Two Sicilies]] {{·w}} Maria Teresa {{·w}} Felipe Maria {{·w}} [[Infante Francisco de Paula of Spain|Francisco de Paula]] {{nowrap end}}
  |group3 = Grandchildren
  |list3  = {{nowrap begin}} [[Infante Carlos, Count of Montemolin|Carlos, Count of Montemolin]] {{·w}} [[Juan, Count of Montizón]] {{·w}} Fernando  {{·w}}  [[Isabella II of Spain]] {{·w}} [[Infanta Luisa Fernanda, Duchess of Montpensier|Maria Luisa Fernanda, Duchess of Montpensier]] {{·w}} Francisco de Asis {{·w}} Isabel {{·w}} [[Francis, Duke of Cádiz]] {{·w}} Henry, Duke of Seville {{·w}} Luisa, Duchess of Moscoso {{·w}} Duarte Felipe {{·w}} Josefina {{·w}} Teresa {{·w}} Fernando {{·w}} [[Infante Sebastian of Portugal and Spain|Maria Cristina, Infanta of Portugal]] {{·w}} [[Infanta Amelia Philippina of Spain|Amelia Philippina, Princess Adalbert of Bavaria]] 
 }}

|sect6 = [[Ferdinand VII of Spain]]
|abbr6 = 
|list6 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Royal Highness|HRH]]'' [[Princess Maria Antonia of Naples and Sicily]]* {{·w}} ''[[Royal Highness|HRH]]'' [[Maria Isabel of Portugal|Infanta Maria Isabel of Portugal]] {{·w}} ''[[Highness|HH]]'' [[Maria Josepha of Saxony|Princess Maria Josepha of Saxony]] {{·w}} ''[[Royal Highness|HRH]]'' [[Maria Christina of the Two Sicilies|Princess Maria Christina of the Two Sicilies]]* {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} [[Isabella II of Spain]] {{·w}} [[Infanta Luisa Fernanda, Duchess of Montpensier|Maria Luisa Fernanda, Duchess of Montpensier]] {{·w}} {{nowrap end}}

 }}

|sect7 = [[Isabella II of Spain]]
|abbr7 = 
|list7 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1 = ''[[Royal Highness|HRH]]'' [[Francis, Duke of Cádiz|Infante Francis, Duke of Cadiz]]
  |group2 = Children
  |list2  = {{nowrap begin}} Ferdinand, Prince of Asturias  {{·w}} [[Isabella, Princess of Asturias (1851–1931)|Isabella, Princess of Asturias]] {{·w}} Maria Cristina {{·w}} [[Alfonso XII of Spain]] {{·w}} Maria de la Concepcion {{·w}} Maria de Pilar {{·w}} [[Infanta María de la Paz of Spain|María de la Paz, Princess Ludwig of Bavaria]] {{·w}} Francisco de Asis {{·w}} [[Infanta Eulalia of Spain| Eulalia, Duchess of Galliera]] {{nowrap end}}
 }}


|sect8 = [[Alfonso XII of Spain]]
|abbr8 = 
|list8 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Royal Highness|HRH]]'' [[Mercedes of Orléans|:Princess Mercedes d'Orléans]]  {{·w}} ''[[Imperial and Royal Highness|HI&amp;RH]]'' [[Maria Christina of Austria|Archduchess Maria Christina of Austria]] {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} [[Mercedes, Princess of Asturias]] {{·w}} [[Infanta Maria Teresa of Spain|Maria Teresa, Princess and Duchess of Bavaria]] {{·w}} [[Alfonso XIII of Spain]] {{nowrap end}}
  |group3 = Grandchildren
  |group3 = Grandchildren
  |list3  = {{nowrap begin}} [[Infante Alfonso, Duke of Calabria|Alfonso, Duke of Calabria]]*   {{•w}} Fernando, Prince of Bourbon-Two Sicilies {{•w}} Isabella Alfonsa, Princess of Bourbon-Two Sicilies {{•w}} [[Alfonso, Prince of Asturias (1907–1938)|Alfonso, Prince of Asturias]] {{•w}} [[Infante Jaime, Duke of Segovia|Jaime, Duke of Segovia]] {{•w}} [[Infanta Beatriz of Spain|Beatriz, Princess of Civitella-Cesi]]  {{•w}} Ferdinand {{•w}} [[Infanta Maria Cristina of Spain|Maria Cristina, Countess of Marone]] {{•w}} [[Infante Juan, Count of Barcelona|Juan, Count of Barcelona]] {{•w}} [[Infante Gonzalo of Spain|Gonzalo]] {{nowrap end}}
  |group4 = Great grandchildren
  |list4  = Teresa, Princess of Bourbon-Two Sicilies {{•w}} [[Infante Carlos, Duke of Calabria|Carlos, Duke of Calabria]]*  {{•w}} Inés Maria, Princess of Bourbon-Two Sicilies {{•w}} [[Alfonso, Duke of Anjou and Cádiz]] {{•w}} [[Gonzalo, Duke of Aquitaine]] {{•w}} [[Infanta Pilar, Duchess of Badajoz|Pilar, Duchess of Badajoz]] {{•w}} [[Juan Carlos I of Spain]] {{•w}} [[Infanta Margarita, 2nd Duchess of Hernani|Margarita, 2nd Duchess of Hernani]]  {{•w}}  [[Infante Alfonso of Spain|Alfonso]] {{nowrap end}}


}}

|sect9 = [[Alfonso XIII of Spain]]
|abbr9 = 
|list9 =
 {{Navbox subgroups
  |groupstyle = width:8.75em; text-align:left;
  |liststyle = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Serene Highness|HSH]]'' [[Victoria Eugenie of Battenberg]] {{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} [[Alfonso, Prince of Asturias (1907–1938)|Alfonso, Prince of Asturias]] {{·w}} [[Infante Jaime, Duke of Segovia|Jaime, Duke of Segovia]] {{·w}} [[Infanta Beatriz of Spain|Beatriz, Princess of Civitella-Cesi]]  {{·w}} Ferdinand {{·w}} [[Infanta Maria Cristina of Spain|Maria Cristina, Countess of Marone]] {{·w}} [[Infante Juan, Count of Barcelona|Juan, Count of Barcelona]] {{·w}} [[Infante Gonzalo of Spain|Gonzalo]] 
 {{nowrap end}}

  |group3 = Grandchildren
  |list3  = {{nowrap begin}} [[Alfonso, Duke of Anjou and Cádiz]] {{·w}} [[Gonzalo, Duke of Aquitaine]] {{·w}} [[Infanta Pilar, Duchess of Badajoz|Pilar, Duchess of Badajoz]] {{·w}} [[Juan Carlos I of Spain]] {{·w}} [[Infanta Margarita, 2nd Duchess of Hernani|Margarita, 2nd Duchess of Hernani]]  {{·w}}  [[Infante Alfonso of Spain|Alfonso]] {{nowrap end}}

}}

|sect10 = [[Juan Carlos I of Spain]]
|abbr10 = 
|list10 =
 {{Navbox subgroups
  |groupstyle = padding:0.35em 0; line-height:1.1em; &lt;!--reduces gap between wrapped groupname lines--&gt; width:8.75em; text-align:left;
  |liststyle  = padding:0.25em 0; line-height:1.4em; &lt;!--as above--&gt; width:auto;
  |group1 = Spouse(s)
  |list1  = {{nowrap begin}} ''[[Royal Highness|HRH]]'' [[Queen Sofía of Spain|Princess Sophia of Greece and Denmark]]{{nowrap end}}
  |group2 = Children
  |list2  = {{nowrap begin}} [[Infanta Elena, Duchess of Lugo]] {{·w}} [[Infanta Cristina, Duchess of Palma de Mallorca]] {{·w}} [[Felipe, Prince of Asturias]]  {{nowrap end}}
  |group3 = Grandchildren
  |list3  = {{nowrap begin}} [[Infanta Leonor of Spain]] {{·w}} [[Infanta Sofía of Spain]] {{nowrap end}}
 }}


|below=&lt;small&gt;*''also a [[Kingdom of the Two Sicilies|Prince or Princess of the Two Sicilies]]''&lt;br /&gt;**''also an [[Archduke|Archduchess of Austria]]''&lt;br /&gt;***''both''&lt;/small&gt;
}}&lt;noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infantas of Spain by marriage</title>
    <id>21551500</id>
    <revision>
      <id>309686601</id>
      <timestamp>2009-08-23T23:42:20Z</timestamp>
      <contributor>
        <username>EDT95</username>
        <id>8216724</id>
      </contributor>
      <comment>Added Berthe of Rohan &amp; Maria das Neves of Portugal</comment>
      <text xml:space="preserve">{{Navbox
|name = Infantas of Spain by marriage
|title = [[Infante|Infantas of Spain by marriage]] 
|state = {{{state|collapsed}}}


|group1 = 1st Generation
|list1 = {{nowrap begin}} [[Maria Manuela, Princess of Portugal]]{{·w}} [[Mary I of England]] {{nowrap end}}


|group2 = 2nd Generation
|list2 = ''none''

|group3 = 3rd Generation
|list3 = {{nowrap begin}} [[Elisabeth of France (1602–1644)|Princess Élisabeth of France]] {{nowrap end}}


|group4 = 4th Generation
|list4 = ''none''

|group5 = 5th Generation
|list5 = ''none''

|group6 = 6th Generation
|list6 = ''none''


|group7 = 7th Generation
|list7 = {{nowrap begin}} [[Louise Élisabeth d'Orléans|Princess Louise Élisabeth d'Orléans]]{{·w}} [[Barbara of Portugal|Infanta Barbara of Portugal]]{{·w}} [[Maria Amalia of Saxony|Princess Maria Amalia of Saxony]]{{·w}} [[Princess Louise Élisabeth of France|Princess Marie Louise Élisabeth of France]] {{nowrap end}}

|group8 = 8th Generation
|list8 = {{nowrap begin}}
[[Maria Luisa of Parma|Princess Maria Luisa of Parma]]{{·w}} [[Infanta Mariana Vitória of Portugal|Infanta Mariana Victoria of Portugal]]{{·w}} Infanta Maria Amalia of Spain*{{·w}} [[Archduchess Maria Amalia of Austria]] {{nowrap end}}


|group9 = 9th Generation
|list9 = {{nowrap begin}}[[Princess Maria Antonia of Naples and Sicily]]{{·w}} [[Infanta Maria Francisca of Portugal]]{{·w}} [[Teresa, Princess of Beira|Infanta Teresa, Princess of Beira]]{{·w}} [[Princess Luisa Carlotta of the Two Sicilies]] {{nowrap end}}


|group10 = 10th Generation
|list10 = {{nowrap begin}}
[[Princess Maria Carolina of Bourbon-Two Sicilies|Princess Maria Carolina of the Two Sicilies]]{{·w}} [[Archduchess Maria Beatrix of Austria-Este]]{{·w}} [[Isabella II of Spain]]*{{·w}} Infanta Maria Cristina of Spain*{{·w}} [[Princess Maria Amalia of Bourbon-Two Sicilies|Princess Maria Amalia of the Two Sicilies]]{{·w}} [[Princess Maria Teresa of Savoy]] {{nowrap end}}


|group11 = 11th Generation
|list11 = {{nowrap begin}}
[[Infanta Eulalia of Spain]]*{{·w}} [[Princess Margherita of Bourbon-Parma|Princess Margherita of Parma]]{{·w}} [[Louise Marie Thérèse d'Artois]]{{·w}} [[Princess Berthe of Rohan]]{{·w}} [[Infanta Maria das Neves of Portugal]] {{nowrap end}}


|group12 = 12th Generation
|list12 = {{nowrap begin}}
[[Princess Louise of Orléans|Princess Louise d'Orléans]]{{·w}} [[Princess Beatrice of Saxe-Coburg and Gotha]]{{·w}} [[Princess Maria Pia of Bourbon-Two Sicilies|Princess Maria Pia of the Two Sicilies]]{{·w}} [[Infanta Maria Antonia of Portugal]] {{nowrap end}}


|group13 = 13th Generation
|list13 = {{nowrap begin}}
[[Princess Maria Mercedes of Bourbon-Two Sicilies|Princess Mercedes of the Two Sicilies]]*{{·w}} [[Princess Alicia of Bourbon-Parma|Princess Alicia of Parma]] {{nowrap end}} 


|group14 = 14th Generation
|list14 = {{nowrap begin}}
[[Queen Sofía of Spain|Princess Sofía of Greece and Denmark]]{{·w}} [[Princess Anne, Duchess of Calabria|Princess Anne d'Orléans]] {{nowrap end}}


|group15 = 15th Generation
|list15 = 
[[Letizia, Princess of Asturias|Letizia Ortiz]]**


|below=&lt;small&gt;*''also an Infanta in her own right''&lt;br /&gt;**''did not have a royal or noble title by birth but was admitted as Infanta''&lt;/small&gt;
}}&lt;noinclude&gt;
[[Category:European royalty and nobility navbox templates|{{PAGENAME}}]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Infobox royalty</title>
    <id>19909100</id>
    <revision>
      <id>312323515</id>
      <timestamp>2009-09-07T06:09:32Z</timestamp>
      <contributor>
        <username>Surtsicna</username>
        <id>6488475</id>
      </contributor>
      <comment>There is already a parameter ''Issue''.</comment>
      <text xml:space="preserve">{| class=&quot;infobox vcard&quot; style=&quot;font-size: 88%; text-align: left; width: 22em;&quot;
|-
! colspan=&quot;2&quot; style=&quot;background: #CCBBEE; color: #000000; font-size: 120%; text-align: center;&quot; class=&quot;fn&quot;| {{{name|{{PAGENAME}}}}}
|-
{{#if: {{{title|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |&lt;!-- TITLETEXT SWITCH: EMBEDDED BY REALM (ALPHABETICALLY) --&gt;
{{!}} colspan=&quot;2&quot; style=&quot;text-align: center;&quot; {{!}} &lt;i&gt;{{{title|}}}&lt;/i&gt; &lt;small&gt;{{{titletext|{{#switch:{{{more}}}
| no = 
| austria = ''[[Emperor of Austria#Full title|(more...)]]''
| belgium = ''[[Monarchy of Belgium#Title|(more...)]]''
| britain = ''[[Style of the British sovereign#Styles of British sovereigns|(more...)]]''
| china = ''[[Chinese sovereign|(more...)]]''
| cyprus = ''[[Style of the Greek Sovereign#List of changes to the royal style|(more...)]]''
| denmark = ''[[Style of the Danish sovereign|(more...)]]''
| en-sco = ''[[Style of the British sovereign#Styles of English and Scottish sovereigns|(more...)]]''
| england = ''[[Style of the British sovereign#Styles of English sovereigns|(more...)]]''
| ethiopia = ''[[Emperor of Ethiopia#Style|(more...)]]''
| france = ''[[Style of the French sovereign#List of changes to the royal style|(more...)]]''
| hre = ''[[Holy Roman Emperor#Coronation|(more...)]]''
| hungary = ''[[Styles of Hungarian sovereigns|(more...)]]''
| italy = ''[[Style of the Italian sovereign|(more...)]]''
| jerusalem = ''[[Kings of Jerusalem#Kings of Jerusalem (1099–1291)|(more...)]]''
| luxembourg = ''[[Grand Duke of Luxembourg#Full titles|(more...)]]''
| malaysia = ''[[Malay titles#Malay_royalty|(more...)]]''
| monaco = ''[[Style of the Monegasque sovereign|(more...)]]''
| netherlands = ''[[Monarchy of the Netherlands#Full title|(more...)]]''
| norway = ''[[Style of the Norwegian sovereign|(more...)]]''
| parma = ''[[List of Dukes of Parma|(more...)]]''
| portugal = ''[[Style of the Portuguese sovereign|(more...)]]''
| russia = ''[[Tsar#Full style of Russian Sovereigns|(more...)]]''
| scotland = ''[[Style of the monarchs of Scotland#From the late Middle Ages to the Acts of Union|(more...)]]''
| sicilies = ''[[Kingdom of the Two Sicilies#Titles of King of the Two Sicilies|(more...)]]''
| spain-crown = ''[[List of titles and honours of the Spanish Crown|(more...)]]''
| spain-heir = ''[[Titles held by the heir apparent to the Spanish Throne|(more...)]]''
| sweden = ''[[Style of the Swedish sovereign|(more...)]]''
}}
}}}&lt;/small&gt;
{{!}}-
}}
{{#if: {{{image|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} | 
{{!}} colspan=&quot;2&quot; style=&quot;text-align: center;&quot; {{!}} &lt;span class=&quot;photo&quot;&gt;[[Image:{{{image}}}|{{{imgw|210}}}px|alt={{{alt|}}}|{{{caption|}}}]]&lt;/span&gt;
{{!}}-
}}
{{#if: {{{caption|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;text-align: center;&quot; {{!}} ''{{{caption}}}''
{{!}}-
}}
{{#if: {{{succession|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;background: #E4DCF6; font-size: 98%; text-align: right;&quot; {{!}} &lt;center&gt;'''{{{succession}}}''' &lt;small&gt;{{{moretext|}}}&lt;/small&gt; &lt;/center&gt;
{{!}}-
}}
{{#if: {{{reign|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reign-type|{{#switch:{{{consort|}}}|yes=Tenure|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Tenure|Reign}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}}}}
{{!}} {{{reign}}}
{{!}}-
}}
{{#if: {{{coronation|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{cor-type|[[Coronation]]}}}
{{!}} {{{coronation}}}
{{!}}-
}}
{{#if: {{{predecessor|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{pre-type|Predecessor}}}
{{!}} {{{predecessor}}}
{{!}}-
}}
{{#if: {{{successor|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{suc-type|Successor}}}
{{!}} {{{successor}}}
{{!}}-
}}
{{#if: {{{regent|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reg-type|Regent}}}
{{!}} {{{regent}}}
{{!}}-
}}
{{#if: {{{succession1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;background: #E4DCF6; font-size: 98%; text-align: right;&quot; {{!}} &lt;center&gt;'''{{{succession1}}}''' &lt;small&gt;{{{moretext1|}}}&lt;/small&gt; &lt;/center&gt;
{{!}}-
}}
{{#if: {{{reign1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reign-type1|{{#switch:{{{consort|}}}|yes=Tenure|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Tenure|Reign}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}}}}
{{!}} {{{reign1}}}
{{!}}-
}}
{{#if: {{{coronation1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{cor-type1|Coronation}}}
{{!}} {{{coronation1}}}
{{!}}-
}}
{{#if: {{{predecessor1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{pre-type1|Predecessor}}}
{{!}} {{{predecessor1}}}
{{!}}-
}}
{{#if: {{{successor1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{suc-type1|Successor}}}
{{!}} {{{successor1}}}
{{!}}-
}}
{{#if: {{{regent1|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reg-type1|Regent}}}
{{!}} {{{regent1}}}
{{!}}-
}}
{{#if: {{{succession2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;background: #E4DCF6; font-size: 98%; text-align: right;&quot; {{!}} &lt;center&gt;'''{{{succession2}}}''' &lt;small&gt;{{{moretext2|}}}&lt;/small&gt; &lt;/center&gt;
{{!}}-
}}
{{#if: {{{reign2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reign-type2|{{#switch:{{{consort|}}}|yes=Tenure|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Tenure|Reign}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}}}}
{{!}} {{{reign2}}}
{{!}}-
}}
{{#if: {{{coronation2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{cor-type2|Coronation}}}
{{!}} {{{coronation2}}}
{{!}}-
}}
{{#if: {{{predecessor2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{pre-type2|Predecessor}}}
{{!}} {{{predecessor2}}}
{{!}}-
}}
{{#if: {{{successor2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{suc-type2|Successor}}}
{{!}} {{{successor2}}}
{{!}}-
}}
{{#if: {{{regent2|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reg-type2|Regent}}}
{{!}} {{{regent2}}}
{{!}}-
}}
{{#if: {{{succession3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;background: #E4DCF6; font-size: 98%; text-align: right;&quot; {{!}} &lt;center&gt;'''{{{succession3}}}''' &lt;small&gt;{{{moretext3|}}}&lt;/small&gt; &lt;/center&gt;
{{!}}-
}}
{{#if: {{{reign3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reign-type3|{{#switch:{{{consort|}}}|yes=Tenure|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Tenure|Reign}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}}}}
{{!}} {{{reign3}}}
{{!}}-
}}
{{#if: {{{coronation3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{cor-type3|Coronation}}}
{{!}} {{{coronation3}}}
{{!}}-
}}
{{#if: {{{predecessor3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{pre-type3|Predecessor}}}
{{!}} {{{predecessor3}}}
{{!}}-
}}
{{#if: {{{successor3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{suc-type3|Successor}}}
{{!}} {{{successor3}}}
{{!}}-
}}
{{#if: {{{regent3|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{reg-type3|Regent}}}
{{!}} {{{regent3}}}
{{!}}-
}}
{{#if: {{{succession|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
{{!}} colspan=&quot;2&quot; style=&quot;background: #E4DCF6; height: 4px; text-align: center;&quot; {{!}}
{{!}}-
}}
{{#if: {{{spouse|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{spouse-type|{{#switch:{{{type}}}|monarch={{#switch:{{{consort}}}|yes=Spouse|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Spouse|Consort}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}|majesty={{#switch:{{{consort}}}|yes=Spouse|&lt;!--BACKWARD COMPAT FROM IBR--&gt;{{#switch:{{{2}}}|consort=Spouse|Consort}}&lt;!--BACKWARD COMPAT FROM IBR--&gt;}}|Spouse}}}}}
{{!}} {{{spouse}}}
{{!}}-
}}
{{#if: {{{spouses|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} {{{spouses-type|Spouses}}}
{{!}} {{{spouses}}}
{{!}}-
}}
{{#if:{{{issue|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! colspan=&quot;2&quot; {{!}} {{#if:{{{issue-link|}}}|&lt;div style=&quot;float: right&quot;&gt;&lt;small&gt;''[[{{{issue-link}}}{{!}}{{#if:{{{issue-pipe|}}}|{{{issue-pipe}}}|Detail}}]]''&lt;/small&gt;&lt;/div&gt;}}Issue
{{!}}-
{{!}} colspan=&quot;2&quot; {{!}} {{{issue}}}
{{!}}-
}}
{{#if: {{{full name|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! colspan=&quot;2&quot; {{!}} Full name
{{!}}-
{{!}} colspan=&quot;2&quot; {{!}} &lt;span class=&quot;nickname&quot;&gt;{{{full name}}}&lt;/span&gt;&lt;!-- &quot;nickname&quot; is the correct parameter value for hCard --&gt;
{{!}}-
}}
{{#if: {{{era dates|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! colspan=&quot;2&quot; {{!}} Era {{#if:{{{era name|}}}|name and&amp;nbsp;}}dates
{{!}}-
{{!}} colspan=&quot;2&quot; {{!}} {{#if:{{{era name|}}}|{{{era name}}}:&amp;nbsp;}}{{{era dates}}}
{{!}}-
}}
{{#if: {{{posthumous name|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! colspan=&quot;2&quot; {{!}} Posthumous name
{{!}}-
{{!}} colspan=&quot;2&quot; {{!}} {{{posthumous name}}}
{{!}}-
}}
{{#if: {{{temple name|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! colspan=&quot;2&quot; {{!}} Temple name
{{!}}-
{{!}} colspan=&quot;2&quot; {{!}} {{{temple name}}}
{{!}}-
}}
{{#if: {{{house|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} [[Royal house{{!}}{{{house-type|{{#switch:{{{house-type}}}|House}}}}}]]
{{!}} {{{house}}}
{{!}}-
}}
{{#if: {{{father|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} Father
{{!}} {{{father}}}
{{!}}-
}}
{{#if: {{{mother|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} Mother
{{!}} {{{mother}}}
{{!}}-
}}
{{#if:{{{date of birth|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Born
{{!}} {{{date of birth}}}&lt;br /&gt;{{{place of birth|}}}
{{!}}-|{{#if:{{{place of birth|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Born
{{!}} {{{place of birth|}}}
{{!}}-
}}}}
{{#if:{{{date of death|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Died
{{!}} {{{date of death}}}&lt;br /&gt;{{{place of death|}}}
{{!}}-|{{#if:{{{place of death|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Died
{{!}} {{{place of death|}}}
{{!}}-
}}}}
{{#if:{{{date of burial|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Burial
{{!}} {{{date of burial}}}&lt;br /&gt;{{{place of burial|}}}
{{!}}-|{{#if:{{{place of burial|}}}|! style=&quot;vertical-align: top;&quot; {{!}} Burial
{{!}} &lt;span class=&quot;label&quot;&gt;{{{place of burial|}}}&lt;/span&gt;
{{!}}-
}}}}
{{#if: {{{occupation|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} Occupation
{{!}} {{{occupation}}}
{{!}}-
}}
{{#if:{{{signature|}}}|
! Signature
{{!}} [[Image:{{{signature}}}|125px|alt={{{signature_alt|}}}|{{PAGENAME}}'s signature]]
{{!}}-
}}
{{#if: {{{religion|&lt;noinclude&gt;-&lt;/noinclude&gt;}}} |
! style=&quot;vertical-align: top;&quot; {{!}} Religion
{{!}} {{{religion}}}
{{!}}-
}}
|}&lt;noinclude&gt;{{documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Navbox subgroups</title>
    <id>14741355</id>
    <redirect />
    <revision>
      <id>224916543</id>
      <timestamp>2008-07-11T00:03:36Z</timestamp>
      <contributor>
        <username>Mr.Z-man</username>
        <id>646348</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Navbox subgroups: Heavily used template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Navbox subgroup]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Navbox with collapsible groups</title>
    <id>13777826</id>
    <revision>
      <id>224913611</id>
      <timestamp>2008-07-10T23:46:05Z</timestamp>
      <contributor>
        <username>Mr.Z-man</username>
        <id>646348</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Navbox with collapsible groups: Heavily used template [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">{{Navbox
|name = {{{name|&lt;noinclude&gt;Navbox with collapsible sections&lt;/noinclude&gt;}}}
|navbar = {{{navbar|}}}
|state = {{{state&lt;noinclude&gt;|uncollapsed&lt;/noinclude&gt;}}}
|border = {{{border|{{{1|}}}}}}

|title = {{{title&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
|above = {{{above|}}}
|below = {{{below|}}}
|image = {{{image|}}}
|imageleft = {{{imageleft|}}}

|style = {{{style|}}}{{{bodystyle|}}}
|basestyle = {{{basestyle|}}}
|titlestyle = {{{titlestyle|}}}
|abovestyle = {{{abovestyle|}}}
|belowstyle = {{{belowstyle|}}}
|imagestyle = {{{imagestyle|}}}
|imageleftstyle = {{{imageleftstyle|}}}

|list1 =
{{#if:{{{group1&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect1|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr1}}} |uncollapsed |{{{state1|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group1style|}}}
    |liststyle  = {{{liststyle|}}}{{{list1style|}}}
    |title = {{{group1&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect1|}}}
    |list1 = {{{list1&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image1|}}}
    |imageleft = {{{imageleft1|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list1|}}}
}}

|list2 =
{{#if:{{{group2&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect2|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr2}}} |uncollapsed |{{{state2|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group2style|}}}
    |liststyle  = {{{liststyle|}}}{{{list2style|}}}
    |title = {{{group2&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect2|}}}
    |list1 = {{{list2&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image2|}}}
    |imageleft = {{{imageleft2|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list2|}}}
}}

|list3 =
{{#if:{{{group3&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect3|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr3}}} |uncollapsed |{{{state3|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group3style|}}}
    |liststyle  = {{{liststyle|}}}{{{list3style|}}}
    |title = {{{group3&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect3|}}}
    |list1 = {{{list3&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image3|}}}
    |imageleft = {{{imageleft3|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list3|}}}
}}

|list4 =
{{#if:{{{group4&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect4|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr4}}} |uncollapsed |{{{state4|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group4style|}}}
    |liststyle  = {{{liststyle|}}}{{{list4style|}}}
    |title = {{{group4&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect4|}}}
    |list1 = {{{list4&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image4|}}}
    |imageleft = {{{imageleft4|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list4|}}}
}}

|list5 =
{{#if:{{{group5|}}}{{{sect5|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr5}}} |uncollapsed |{{{state5|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group5style|}}}
    |liststyle  = {{{liststyle|}}}{{{list5style|}}}
    |title = {{{group5&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect5|}}}
    |list1 = {{{list5&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image5|}}}
    |imageleft = {{{imageleft5|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list5|}}}
}}

|list6 =
{{#if:{{{group6|}}}{{{sect6|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr6}}} |uncollapsed |{{{state6|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group6style|}}}
    |liststyle  = {{{liststyle|}}}{{{list6style|}}}
    |title = {{{group6&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect6|}}}
    |list1 = {{{list6&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image6|}}}
    |imageleft = {{{imageleft6|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list6|}}}
}}

|list7 =
{{#if:{{{group7|}}}{{{sect7|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr7}}} |uncollapsed |{{{state7|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group7style|}}}
    |liststyle  = {{{liststyle|}}}{{{list7style|}}}
    |title = {{{group7&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect7|}}}
    |list1 = {{{list7&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image7|}}}
    |imageleft = {{{imageleft7|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list7|}}}
}}

|list8 =
{{#if:{{{group8|}}}{{{sect8|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr8}}} |uncollapsed |{{{state8|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group8style|}}}
    |liststyle  = {{{liststyle|}}}{{{list8style|}}}
    |title = {{{group8&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect8|}}}
    |list1 = {{{list8&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image8|}}}
    |imageleft = {{{imageleft8|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list8|}}}
}}

|list9 =
{{#if:{{{group9|}}}{{{sect9|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr9}}} |uncollapsed |{{{state9|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group9style|}}}
    |liststyle  = {{{liststyle|}}}{{{list9style|}}}
    |title = {{{group9&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect9|}}}
    |list1 = {{{list9&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image9|}}}
    |imageleft = {{{imageleft9|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list9|}}}
}}

|list10 =
{{#if:{{{group10|}}}{{{sect10|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr10}}} |uncollapsed |{{{state10|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group10style|}}}
    |liststyle  = {{{liststyle|}}}{{{list1style|}}}
    |title = {{{group10&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect10|}}}
    |list1 = {{{list10&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image10|}}}
    |imageleft = {{{imageleft10|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list10|}}}
}}

|list11 =
{{#if:{{{group11|}}}{{{sect11|}}}
 | {{Navbox|child
    |state = {{#ifeq:{{{selected}}}|{{{abbr11}}} |uncollapsed |{{{state11|collapsed}}}}}
    |titlestyle = {{{basestyle|}}};{{{groupstyle|}}}{{{secttitlestyle|}}}{{{group11style|}}}
    |liststyle  = {{{liststyle|}}}{{{list1style|}}}
    |title = {{{group11&lt;includeonly&gt;|&lt;/includeonly&gt;}}}{{{sect11|}}}
    |list1 = {{{list11&lt;includeonly&gt;|&lt;/includeonly&gt;}}}
    |image = {{{image11|}}}
    |imageleft = {{{imageleft11|}}}
    |{{#if:{{{listpadding|}}} |listpadding |void}} = {{{listpadding|}}}
   }}
 | {{{list11|}}}

}}
}}&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Nowrap begin</title>
    <id>12884936</id>
    <revision>
      <id>206118171</id>
      <timestamp>2008-04-16T22:23:25Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to {{pp-template|small=yes}} since now fully protected.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;span style=&quot;white-space:nowrap&quot;&gt;&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{Documentation}} 
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Nowrap end</title>
    <id>12884962</id>
    <revision>
      <id>206115977</id>
      <timestamp>2008-04-16T22:11:06Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to {{pp-template|small=yes}} since now fully protected.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-hou</title>
    <id>3173526</id>
    <revision>
      <id>226642764</id>
      <timestamp>2008-07-19T15:29:10Z</timestamp>
      <contributor>
        <username>Rjd0060</username>
        <id>5062955</id>
      </contributor>
      <comment>{{pp-template}}</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
| colspan=&quot;3&quot; style=&quot;background: #FFD700; text-align:center;&quot; | &lt;div&gt;{{{name|{{#if:{{{inhibit|}}}|&lt;!-- do nothing --&gt;|{{PAGENAME}} }} }}}&lt;/div&gt;&lt;!--

 --&gt;{{#if:{{{1|}}} | &lt;div&gt;'''{{{1}}}'''&lt;/div&gt; }}&lt;!--

 --&gt;{{#if:{{{6|}}} | &lt;div style=&quot;font-size:90%&quot;&gt;Cadet branch of the '''{{{6}}}'''&lt;/div&gt;}}&lt;!--

 --&gt;{{#if:{{{3|}}}|&lt;span style=&quot;white-space:nowrap; font-size:90%; margin:2em&quot;&gt;'''Born:''' {{{2|}}} {{{3}}} &lt;/span&gt; }}&lt;!-- 

 --&gt;{{#if:{{{5|}}}| &lt;span style=&quot;white-space:nowrap; font-size:90%; margin:2em&quot;&gt; '''Died:''' {{{4|}}} {{{5}}}&lt;/span&gt; }}&lt;!--

 --&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{pp-template|small=yes}}{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here. --&gt;
[[Category:Succession templates|S-hou]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:S-roy</title>
    <id>10703933</id>
    <revision>
      <id>228582347</id>
      <timestamp>2008-07-29T11:18:23Z</timestamp>
      <contributor>
        <username>Happy-melon</username>
        <id>994084</id>
      </contributor>
      <comment>add wikilinks per editprotected</comment>
      <text xml:space="preserve">&lt;includeonly&gt;|-
! colspan=&quot;3&quot; style=&quot;background: #65BCFF&quot; | {{#if:{{{1}}}||Royal titles}}{{#switch:{{{1}}}
 |#default={{#if:{{{1}}}|Royal titles}}
 |ae=[[List of rulers of separate Emirates of the United Arab Emirates|Royalty of the United Arab Emirates]]
 |an=[[List of Co-Princes of Andorra|Andorran royalty]]
 |al=[[List of Albanian monarchs|Albanian royalty]]
 |at-hu=[[List of rulers of Austria|Austro]]-[[List of Hungarian rulers|Hungarian]] royalty
 |be=[[Monarchy of Belgium|Belgian royalty]]
 |bg=[[List of Bulgarian monarchs|Bulgarian royalty]] 
 |bn=[[List of Sultans of Brunei|Bruneian royalty]]
 |br=[[List of Brazilian monarchs|Brazilian royalty]]
 |bt=[[House of Wangchuck|Bhutanese royalty]] 
 |cf=[[Central African Empire|Central African royalty]]
 |cm=[[:Category:Cambodian royalty|Cambodian royalty]]
 |cn=[[Aisin Gioro|Chinese royalty]]
 |de=[[German monarchy|German royalty]]
 |dk=[[List of Danish monarchs|Danish royalty]]
 |eg=[[Muhammad Ali Dynasty|Egyptian royalty]]
 |ei=[[King of Ireland#List of Lords, Kings and Queens of Ireland (non-native)|Irish royalty]]
 |es=[[List of Spanish monarchs|Spanish royalty]]
 |en=[[List of English monarchs|English royalty]]
 |et=[[Solomonic dynasty|Ethiopian royalty]]
 |fr=[[List of French monarchs|French royalty]]
 |gb=[[List of British monarchs|British royalty]]
 |ge=[[Bagrationi Dynasty|Georgian royalty]]
 |gr=[[List of Kings of Greece|Greek royalty]]
 |ha=[[Kingdom of Hanover|Hanoverian royalty]]
 |hu=[[List of Hungarian rulers|Hungarian royalty]]
 |hw=[[List of monarchs of Hawaii|Hawaiian royalty]]
 |id=[[List of Indonesian monarchies|Indonesian royalty]]
 |in=[[List of Indian Princely States|Indian royalty]]
 |ir=[[Iranian monarchy|Iranian royalty]]
 |iq=[[Hashemite|Iraqi royalty]]
 |it=[[House of Savoy|Italian royalty]] 
 |jp=[[Imperial House of Japan|Japanese royalty]]
 |kr=[[House of Yi|Korean royalty]]
 |la=[[Monarchs of Laos|Lao royalty]] 
 |li=[[Princely Family of Liechtenstein|Liechtensteiner royalty]]
 |ls=[[List of kings of Lesotho|Lesotho royalty]]
 |lu=[[Grand Ducal Family of Luxembourg|Luxembourgish royalty]]
 |mc=[[House of Grimaldi|Monegasque royalty]]
 |mn=[[House of Petrović-Njegoš|Montenegrin royalty]]
 |mx=[[Mexican Empire|Mexican royalty]]
 |my=[[:Category:Malaysian royalty|Malaysian royalty]] 
 |nl=[[House of Orange-Nassau|Dutch royalty]]
 |np=[[Shah dynasty|Nepalese royalty]]
 |nv=[[Kingdom of Navarre|Navarrese royalty]]
 |no=[[List of Norwegian monarchs|Norwegian royalty]]
 |om=[[Sultan of Oman|Omani royalty]] 
 |pe=[[List of kings of Persia|Persian royalty]]
 |pt=[[List of Portuguese monarchs|Portuguese royalty]]
 |qa=[[House of Thani|Qatar royalty]]
 |ro=[[King of the Romanians|Romanian royalty]]
 |ru=[[List of Russian rulers|Russian royalty]]
 |rw=[[List of kings of Rwanda|Rwandan royalty]]
 |sa=[[House of Saud|Saudi Arabian royalty]]
 |sc=[[List of Scottish monarchs|Scottish royalty]]
 |se=[[Monarchy of Sweden|Swedish royalty]]
 |sm=[[Malietoa|Samoan royalty]]
 |sz=[[House of Dlamini|Swazi royalty]]
 |th=[[List of Kings of Thailand|Thai royalty]]
 |to=[[House of Tupou|Tongan royalty]]
 |tr=[[Ottoman Dynasty|Ottoman royalty]]
 |ug=[[:Category:Ugandan monarchies|Ugandan royalty]]
 |uk=[[British monarchy|British royalty]]
 |vn=[[List of Vietnamese monarchs|Vietnamese royalty]]
 |yu=[[House of Karađorđević|Yugoslavian royalty]]
}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{documentation}}
{{pp-template|small=yes}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here. --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Spanish consorts</title>
    <id>19011864</id>
    <revision>
      <id>310049205</id>
      <timestamp>2009-08-25T21:51:29Z</timestamp>
      <contributor>
        <username>Tbharding</username>
        <id>6258039</id>
      </contributor>
      <minor/>
      <text xml:space="preserve">{{Navbox
|name = Spanish consorts
|title = [[Royal Consorts of Spain|Consorts of Spanish monarchs]]
|list1 = '''[[Queen Sofía of Spain|Princess Sophía of Greece and Denmark]]''' ''(1975-)''&lt;br /&gt;
[[Victoria Eugenie of Battenberg|Princess Victoria Eugenie of Battenberg]]&amp;nbsp;''(1906–1931)''&amp;nbsp;· [[Maria Christina of Austria|Archduchess Maria Christina of Austria]]&amp;nbsp;''(1879–1885)''&amp;nbsp;· [[Mercedes of Orléans|Princess Mercedes d'Orléans]]&amp;nbsp;''(1878)''&amp;nbsp;· [[Maria Vittoria del Pozzo della Cisterna]]&amp;nbsp;''(1870–1873)''&amp;nbsp;· [[Francis, Duke of Cádiz|Infante Francis, Duke of Cádiz]]&amp;nbsp;''(1846–1868)''&amp;nbsp;· [[Maria Christina of the Two Sicilies|Princess Maria Christina of the Two Sicilies]]&amp;nbsp;''(1829–1833)''&amp;nbsp;· [[Maria Josepha of Saxony|Princess Maria Josepha of Saxony]]&amp;nbsp;''(1819–1829)''&amp;nbsp;· [[Maria Isabel of Portugal|Infanta Maria Isabel of Portuga]]&amp;nbsp;''(1816–1818)''&amp;nbsp;· [[Julie Clary]]&amp;nbsp;''(1808–1813)''&amp;nbsp;· [[Maria Luisa of Parma|Princess Maria Luisa of Parma]]&amp;nbsp;''(1788–1808)''&amp;nbsp;· [[Maria Amalia of Saxony|Duchess Maria Amalia of Saxony]]&amp;nbsp;''(1759–1760)''&amp;nbsp;· [[Barbara of Portugal|Infanta Barbara of Portugal]]&amp;nbsp;''(1746-1758)''&amp;nbsp;· [[Elisabeth of Parma]]&amp;nbsp;''(1724–1746)''&amp;nbsp;· [[Louise Élisabeth d'Orléans]]&amp;nbsp;''(1724)''&amp;nbsp;· [[Elisabeth of Parma]]&amp;nbsp;''(1714–1724)''&amp;nbsp;· [[Maria Luisa of Savoy|Princess Maria Luisa of Savoy]]&amp;nbsp;''(1701–1714)''&amp;nbsp;· [[Maria Anna of the Palatinate-Neuburg]]&amp;nbsp;''(1690–1700)''&amp;nbsp;· [[Princess Marie Louise of Orléans|Princess Marie Louise d'Orléans]]&amp;nbsp;''(1679–1689)''&amp;nbsp;· [[Mariana of Austria|Archduchess Mariana of Austria]]&amp;nbsp;''(1649–1665)''&amp;nbsp;· [[Elisabeth of France (1602–1644)|Princess Élisabeth of France]]&amp;nbsp;''(1621–1644)''&amp;nbsp;· [[Margaret of Austria (1584–1611)|Archduchess Margaret of Austria]]&amp;nbsp;''(1598–1611)''&amp;nbsp;· [[Anna of Austria (1549–1580)|Archduchess Anne of Austria]]&amp;nbsp;''(1570-1580)''&amp;nbsp;· [[Elisabeth of Valois|Princess Élisabeth of France]]&amp;nbsp;''(1559–1568)''&amp;nbsp;· [[Mary I of England|Queen Mary I of England]]&amp;nbsp;''(1556-1558)''&amp;nbsp;· [[Isabella of Portugal|Infanta Isabella of Portugal]]&amp;nbsp;''(1526–1539)''
}}&lt;noinclude&gt;
[[Category:Spanish political leaders navigational boxes|S]]
[[Category:Royalty and nobility templates|S]]
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:·w</title>
    <id>15943978</id>
    <redirect />
    <revision>
      <id>306833607</id>
      <timestamp>2009-08-08T18:23:11Z</timestamp>
      <contributor>
        <username>Trevor MacInnis</username>
        <id>73333</id>
      </contributor>
      <minor/>
      <comment>{{R from other template|·wrap}}</comment>
      <text xml:space="preserve">#REDIRECT [[Template:·wrap]]
{{R from other template|·wrap}}</text>
    </revision>
  </page>
  <page>
    <title>Template:·wrap</title>
    <id>12885137</id>
    <revision>
      <id>206124472</id>
      <timestamp>2008-04-16T23:00:00Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to {{pp-template|small=yes}} since now fully protected. Moved documentation and category to /doc subpage.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&amp;nbsp;&lt;b&gt;·&lt;/b&gt;&lt;/span&gt; &lt;span style=&quot;white-space:nowrap&quot;&gt;&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:•w</title>
    <id>15944052</id>
    <redirect />
    <revision>
      <id>206128169</id>
      <timestamp>2008-04-16T23:22:17Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <minor/>
      <comment>Protected Template:•w: Used on 6000 pages. [edit=sysop:move=sysop]</comment>
      <text xml:space="preserve">#REDIRECT [[Template:•wrap]]</text>
    </revision>
  </page>
  <page>
    <title>Template:•wrap</title>
    <id>12885207</id>
    <revision>
      <id>206125251</id>
      <timestamp>2008-04-16T23:04:35Z</timestamp>
      <contributor>
        <username>Davidgothberg</username>
        <id>109101</id>
      </contributor>
      <comment>Changed to {{pp-template|small=yes}} since now fully protected. Moved documentation, category and interwiki to /doc subpage.</comment>
      <text xml:space="preserve">&lt;includeonly&gt;&amp;nbsp;•&lt;/span&gt; &lt;span style=&quot;white-space:nowrap&quot;&gt;&lt;/includeonly&gt;&lt;noinclude&gt;

{{pp-template|small=yes}}
{{documentation}}
&lt;!-- Add categories and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Discogs artist</title>
    <id>1385083</id>
    <revision>
      <id>300379252</id>
      <timestamp>2009-07-05T09:31:35Z</timestamp>
      <contributor>
        <username>NawlinWiki</username>
        <id>301395</id>
      </contributor>
      <minor/>
      <comment>Protected Template:Discogs artist: [[WP:MOVP|Highly visible page]] ([edit=autoconfirmed] (indefinite) [move=sysop] (indefinite))</comment>
      <text xml:space="preserve">[http://www.discogs.com/artist/{{{artist|{{PAGENAME}}}}} {{{name|{{PAGENAME}}}}}] at [[Discogs]]&lt;noinclude&gt;
{{documentation}}
&lt;!-- Add cats and interwikis to the /doc subpage, not here! --&gt;
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Further</title>
    <id>3645829</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>273750816</id>
      <timestamp>2009-02-27T22:40:31Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <comment>Converting to use {{rellink}}</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{rellink|extraclasses=boilerplate further|{{{altphrase|Further information}}}: {{#if:{{{1|}}} |&lt;!--then:--&gt;{{{1}}} |&lt;!--
else:--&gt;'''Error: [[Template:Further|Template must be given at least one article name]]''' 
}}{{#if:{{{2|}}}|{{#if:{{{3|}}}|, |&amp;#32;and }}  {{{2}}}
}}{{#if:{{{3|}}}|{{#if:{{{4|}}}|, |, and }} {{{3}}}
}}{{#if:{{{4|}}}|{{#if:{{{5|}}}|, |, and }} {{{4}}}
}}{{#if:{{{5|}}}|, and {{{5}}}
}}{{#if:{{{6|}}}| — '''&lt;br/&gt;Error: [[Template:Futher|Too many links specified (maximum is 5)]]'''
}}}}&lt;/includeonly&gt;&lt;!-- includeonly block is needed, as otherwise the bare template gives error message 
&quot;Error: Template must be given at least one article name&quot;
 ---&gt;&lt;noinclude&gt;
{{template doc}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:IPA</title>
    <id>1346385</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>177913359</id>
      <timestamp>2007-12-14T17:41:52Z</timestamp>
      <contributor>
        <username>Nihiltres</username>
        <id>236191</id>
      </contributor>
      <comment>Change span title &quot;Pronunciation in IPA&quot; to &quot;Representation in the International Phonetic Alphabet (IPA)&quot; for clarity per editprotected on talk by [[User:SMcCandlish|SMcCandlish]]</comment>
      <text xml:space="preserve">&lt;span title=&quot;Representation in the International Phonetic Alphabet (IPA)&quot; class=&quot;IPA&quot;&gt;{{{1}}}&lt;/span&gt;&lt;noinclude&gt;
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Imdb title</title>
    <id>942373</id>
    <restrictions>edit=sysop:move=sysop</restrictions>
    <revision>
      <id>162617147</id>
      <timestamp>2007-10-06T06:48:25Z</timestamp>
      <contributor>
        <username>Patrick</username>
        <id>4388</id>
      </contributor>
      <comment>allow search by title, from talk</comment>
      <text xml:space="preserve">[http://www.imdb.com/{{#if:{{{1|{{{id|}}}}}}|title/tt{{{1|{{{id|}}}}}}|Title?{{urlencode:{{PAGENAME}}}}}}/ ''{{{2|{{{title|{{PAGENAME}}}}}}}}'' {{{3|{{{description|}}}}}}] at the [[Internet Movie Database]]&lt;noinclude&gt;
{{pp-template|small=yes}}
{{documentation}}
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Ludwig van Beethoven</title>
    <id>2482609</id>
    <revision>
      <id>309833538</id>
      <timestamp>2009-08-24T19:24:01Z</timestamp>
      <contributor>
        <username>SeuLunga</username>
        <id>7017443</id>
      </contributor>
      <text xml:space="preserve">{{Navbox
|name       = Ludwig van Beethoven
|titlestyle = background:tan;
|groupstyle = background:tan;
|title      = [[Ludwig van Beethoven]]
|group1 = Life
|list1 =[[Beethoven House|Birthplace]]{{·}} [[Johann van Beethoven|Father]]{{·}} [[Ludwig van Beethoven|Biography]]{{·}} [[Death of Ludwig van Beethoven|Death]]{{·}} [[Heiligenstadt Testament]]{{·}} [[Beethoven and his contemporaries|Contemporaries]]{{·}} [[Mozart and Beethoven]]{{·}} [[List of historical sites associated with Ludwig van Beethoven|Historical&amp;nbsp;sites]]{{·}} [[Ludwig van Beethoven's religious beliefs|Religious&amp;nbsp;beliefs]]
|group2 = Music
|list2 = [[List of compositions by Ludwig van Beethoven|List of compositions]]{{·}} [[Beethoven's musical style|Musical style]]{{·}} [[Catalogues of Beethoven compositions|Works catalogs]]{{·}} [[Beethoven Gesamtausgabe|Gesamtausgabe]]{{·}} [[:Category:Ludwig van Beethoven|Beethoven&amp;nbsp;category]]
|group3 = In movies
|list3 = [[Eroica (1949 film)|Eroica]] ''(1949)''{{·}} [[Immortal Beloved (film)|Immortal Beloved]] ''(1994)''{{·}} [[Copying Beethoven|Copying Beethoven]] ''(2006)''
}}&lt;noinclude&gt;
[[Category:Classical composer templates|Beethoven, Ludwig van]] 
&lt;/noinclude&gt;</text>
    </revision>
  </page>
  <page>
    <title>Template:Pn</title>
    <id>18357858</id>
    <redirect />
    <revision>
      <id>282622478</id>
      <timestamp>2009-04-08T20:18:15Z</timestamp>
      <contributor>
        <username>SMcCandlish</username>
        <id>378390</id>
      </contributor>
      <minor/>
      <comment>fix double redir</comment>
      <text xml:space="preserve">#REDIRECT [[Template:Page needed]]</text>
    </revision>
  </page>
  <page>
    <title>Template:Pp-move-indef</title>
    <id>20814756</id>
    <revision>
      <id>281649522</id>
      <timestamp>2009-04-04T06:08:49Z</timestamp>
      <contributor>
        <username>Vegaswikian</username>
        <id>214427</id>
      </contributor>
      <minor/>
      <comment>format</comment>
      <text xml:space="preserve">&lt;includeonly&gt;{{#ifeq:{{PROTECTIONLEVEL:move}}|sysop|{{#switch: {{NAMESPACE}}
 | {{ns:User}}
 | {{ns:User talk}} = [[Category:Wikipedia move-protected user and user talk pages|{{PAGENAME}}]]
 | {{ns:Wikipedia}}
 | {{ns:Help}}      = [[Category:Wikipedia move-protected project pages|{{PAGENAME}}]]
 | {{ns:Portal}}    = [[Category:Wikipedia move-protected portals|{{PAGENAME}}]]
 | {{TALKSPACE}}    = {{talk other|[[Category:Wikipedia move-protected talk pages|{{PAGENAME}}]]}}
 | #default         = [[Category:Wikipedia indefinitely move-protected pages|{{PAGENAME}}]]
}}|[[Category:Wikipedia pages with incorrect protection templates|{{PAGENAME}}]]}}&lt;/includeonly&gt;&lt;noinclude&gt;
{{Documentation}}&lt;/noinclude&gt;</text>
    </revision>
  </page>
</mediawiki>
