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Franz Ignaz Danzi (1763-1826)

Franz Danzi , the son of the court musician of the Palatinate Karl Theodor and first violoncellist Innocenz Danzi, was born in Mannheim in 1760, studied at several schools there and then devoted himself to the art of music. He learnt to play the piano and sing with his sister Franziska, later married to Le Brün, but from his father, who was a good violoncellist, he learnt to play the violoncello, in which capacity he was also employed by the court music in Mannheim and then came to Munich with it in 1778. From his youth, however, he felt an inner urge towards musical composition and poetry. In the former he received lessons from the Kapellmeister Vogler, in poetry he educated himself by reading and socialising with learned men in Mannheim and Munich. Even as a boy of twelve, he produced very fine music that revealed his genius and taste. Since he wrote several operas, such as: Triumph der Treue; Die Mitternachtstunde; and Der Kuß, which were all applauded in Munich, he was promoted to Vice-Kapellmeister in 1796, whereupon he wrote the operas: Der Caliph von Bactad, and Iphigenie, but also produced several masses, Herr Gott dich loben wir, Stabet Mater, and the like, which were received everywhere with the applause they deserved, and received universal praise in musical newspapers and journals. He travelled extensively and gained great fame, especially on the Rhine, in Berlin and in Stuttgart, which is why the King of Württemberg took him into his service as Kapellmeister in 1806 and paid him a generous salary. Danzi is generally famous and known as an insightful and thorough composer, and is particularly admired for his dignified ecclesiastical style, which is entirely in keeping with the spirit of prayer; he is a strict contrapuntalist, and therefore sometimes sacrifices the theatrical effect in operatic music. What he writes is written with deliberation, and shows of a great theoretically and practically educated composer. But he is also very well educated in literature and well versed in all scientific subjects. The journal Aurora, published in Munich in 1804 and 1805, and other German journals contain very fine essays that flowed from his pen and attest to this man's erudition and elegant style.
His wife was Margaretha, the daughter of the famous theatre director Theobald Marchand in Munich, a good singer who died only too early. Several of his compositions were published in engravings in Paris, Mainz, Leipzig, Munich, etc. His simphonies, quartets, concertos, songs, ballads, piano sonatas, etc., some of which were published in engravings, others in manuscripts, are telling proofs of his art, his taste and his deep insight into the secrets of music, but for this very reason they are also generally appreciated and popular.
Footnotes
1 A ballad is a type of song consisting of several verses of a poem about love, and since it was originally sung while dancing, the poetry has a verse structure appropriate to the dance. It is of Italian origin and got its name from ballo (the dance), and the ballad was already common in Italy in the 12th century. Our modern ballads do not deviate noticeably from the romances and, because they are now usually only intended for singing, require a lyrical verse style. The melody of the ballad, whose character is determined by the content of the poem, is not bound to any particular form or time signature. For some time now, it has not been repeated with each verse of the text, as in a song, but the whole text has been set to music.

Soloists and orchestra members of the Orchestra of Elector Karl Theodor - Franziska Le Brün , Ludwig August Le Brün, Innocenz Danzi, Franz Danzi .mechanical piano maker Johann Ludwig Dülken

Franz Danzi Danzi, (Franz), der Sohn des churpfälzischen Hofmusikus und ersten Vionzellisten Innocenz Danzi, wurde zu Mannheim 1760 geboren, studirte daselbst einige Schulen, und widmete sich dann der Tonkunst. Er lernte mit seiner Schwester Franziska, nachmals vereheligter Le Brün, Klavier spielen und singen, von seinem Vater aber, der ein guter Violonzellist gewesen, das Violonzellspielen, in welcher Eigenschaft er auch bei der Hofmusik zu Mannheim angestellt wurde, und dann 1778 mit derselben nach München kam. Von seiner Jugend auf fühlte er aber einen innern Drang zur musikalischen Komposition, und zur Dichtkunst. Im erstern erhielt er Unterricht beim Kapellmeister Vogler, in der Dichtkunst bildete er sich durch Lektüre, und den Umgang mit gelehrten Männern in Mannheim und München. Schon als Knabe von zwölf Jahren verfertigte er ganz artige Musiken, die sein Genie und seinen Geschmack verriethen. Da er mehrere Opern schrieb, als: Triumph der Treue; die Mitternachtstunde; und der Kuß, welche in München allen Beifall fanden, so wurde er 1796 zum Vizekapellmeister befördert, worauf er die Opern: der Caliph von Bactad, und Iphigenie schrieb, nebstdem aber mehrere Messen, Herr Gott dich loben wir, Stabet Mater, u. dgl. verfertigte, die überall mit dem verdienten Beifall aufgenommen wurden, und in musikalischen Zeitungen und Journalen allgemeines Lob erhielten. Er machte verschiedene Reisen, und erwarb sich besonders am Rhein, in Berlin, und in Stuttgard große Celebrität; daher ihn auch der König von Würtemberg 1806 als Kapellmeister in seine Dienste nahm, und ihn reichlich besoldet. Danzi ist als ein einsichtsvoller und gründlicher Kompositeur allgemein berühmt und bekannt, und vorzüglich bewundert man an ihn seinen würdevollen, ganz dem Geiste des Gebets entsprechenden Kirchenstil; er ist ein strenger Kontrapunktist, und opfert daher manchmal der Regel den theatralischen Effekt in Opern-Musiken. Was er schreibt ist mit Ueberlegung geschrieben, und zeigt von einem großen theoretisch und praktisch gebildeten Kompositeur. Aber auch in der Litteratur ist er sehr gebildet, und in allen Fächern der Wissenschaften bewandert. Die zu München 1804 und 1805 erschienene Zeitschrift Aurora, dann andere deutsche Journale enthalten sehr schöne Aufsätze, die aus seiner Feder flossen, und dieses Mannes Gelehrtheit, und eleganten Stil beurkunden. Seine Gattinn war Margaretha, die Tochter des berühmten Schauspiel-Direktors Theobald Marchand in München, eine gute Sängerinn, welche nur zu frühe der Tod dahin rafte. Von seinen Kompositionen kamen mehrere Stücke zu Paris, Mainz, Leipzig, München etc. im Stiche heraus. Seine Simphonien, Quartetten, Konzerte, Lieder, Balladen, Klaviersonaten u. s. m. die theils im Stiche erschienen, theils in Manuscripte bekannt wurden, sind redende Beweise seiner Kunst, seines Geschmackes, und seines tiefen Blickes in die Geheimnisse der Musik, aber eben deßwegen auch allgemein geschätzt und beliebt. Fußnoten

1. Ballade, ist eine Art von Gesang über mehrere Strophen eines Gedichtes, das die Liebe zum Gegenstand hat, und da sie ursprünglich tanzend gesungen wurde, so hat die Poesie einen dem Tanze angemessenen Versebau. Sie ist italienischen Ursprunges, und hat ihre Benennung von Ballo (der Tanz) erhalten, auch war die Ballade schon im 12ten Jahrhundert in Italien üblich. Unsere modernen Balladen weichen nicht merklich von den Romanzen ab, und erfodern, weil sie jetzt gewöhnlich nur für den Gesang bestimmt sind, eine lyrische Versart. Die Melodie der Ballade, deren Charakter vom Innhalte des Gedichtes bestimmt wird, ist weder an eine besondere Form, noch besondere Taktart gebunden. Seit einiger Zeit hat man angefangen sie nicht, wie beim Liede, mit jeder Strophe des Textes zu wiederholen, sondern den ganzen Text in Musik zu setzen.

Elector Karl Theodor

Karel Theodoor was a great music lover, who also played an instrument (flute) himself. The Elector's orchestra in his residence city of Mannheim was the most famous and also the largest (60 musicians) court orchestra of its time in Europe. The Mannheimer Schule therefore attracted many composers, including Wolfgang Amadeus Mozart. In the winter of 1780, Mozart was commissioned by the elector to write an opera, Idomeneo. The first performances took place at the Residenztheater in Munich on 29 January 1781. Mozart lavished high praise on Innocenz Danzi, who was one of the highest paid musicians at court of Karl Theodor, for his cello performance at the premiere of Idomeneo

Mozart - Johann Nepomuk della Croce

Mozart

Between 1777 and 1778, Wolfgang Amadeus Mozart spent a total of five months in the city of Mannheim. On one hand, he eagerly observed the pioneering musical efforts of the Manheim Orchestra, which included unified bowing, the independent treatment of wind instruments and the employment of a dedicated conductor. On the other hand, he fell passionately in love with Aloysia Weber. Given his initial romantic infatuation and his never-ending quest to secure a proper job, Mozart probably did not notice the unassuming fifteen year-old boy who had recently been invited to join the cello section of the famous Orchestra. Franz Ignaz Danzi (1763-1826), however, had no problems remembering Mozart’s visit! In fact, it served not only as the inspiration to publish his first compositions, but also was the defining moment that launched an extended and successful musical career.

'Pianoforte-Fabrikant'  since 1781 "Mechanischer Klavezinmacher : Hr. Johann Ludwig Dulken." Churfürstlich-Pfalzbaierischer Hof- und Staatskalender: auf das Jahr 1800

THE DULCKEN FAMILY, INSTRUMENT MAKERS - MUSICIANS


• Johannes Daniël Dulcken (21 april 1706 – Antwerpen 11 april 1757) x Susanna Maria Knopffllin
• Johannes Lodewijk (Louis)Dulcken I (1735 - † tussen 1793 en 1795 München) x Catharina Koning
• Johannes Lodewijk (Louis) Dulcken II (1761 - † München 1836) [brother Johannes Dulcken ( 26 December 1768 - †?)]

Louis Dulcken x Sophie Le Brün

Brün, (Sophie Le), the daughter of the famous Bavarian court musician Ludwig August Le Brün, and the great singer Franziska Le Brün, née Danzi, was born in London on 20 July 1781, learnt the basics of music in Munich with Knechtl, the piano with Streicher, and the basso continuo with Schlett, and married the royal Bavarian mechanical piano maker Johann Ludwig Dülken in Munich on 18 April 1799. She is a true artist on the piano in every respect, and plays this instrument with spiritual expression, true feeling and extraordinary skill. When she travelled to Paris, Switzerland and Italy, her excellent playing enchanted every listener, and connoisseurs and artists conceded her the first rank in this art. In addition to this, she sings very well, has a deep insight into the essentials of music, combines her great practical musical knowledge with theoretical knowledge to the same degree, and has a thorough understanding of composition. She has composed several concertos, sonatas and the like for the piano; it is a pity that they have not become generally known through engraving or printing. On 25 June 1831 Louis Dulcken relinquished his post as royal keyboard instrument maker; he died five years later. In his will Dulcken named as heirs his wife Sophie Lebrun (b London, 20 June 1781–d Munich, 23 July 1863), his sons Theobald and Heinrich, his married daughters Louise and Franziska Bohrer, and his then unmarried daughters Violande, Johanna, and Caroline Dulcken. Theobald as business manager and Heinrich as builder apparently completed their father’s commitments after his death but soon closed the shop. Both sons eventually moved to London where Theobald became a wool merchant and Heinrich an organist. Louise and Franziska had married the brothers Max and Anton Bohrer; Louise became court pianist in Stuttgart. Violande became a concert singer in Munich. Dulcken's son Theobald became Louis partner about 1816, and the business continued until 1831, when Louis Dulcken retired.

1800 - Theobald Ludovicus, zoon van Jan Lodewijk (Louis) en Sophia - Théobald Dulcken - Married in 1828, Munich, Bavière, Allemagne, to Louise Marie David 1811-1850

1801 - Philippus Henricus, zoon van Jan Lodewijk (Louis) en Sophia - Heinrich Dulcken, organist - Married to Auguste Burghaagen

1803 - Louise, dochter van Jan Lodewijk (Louis) en Sophia

Female piano prodigies:(with their ages at the time of their first public performance) Louise Dulcken, married to Bohrer (1803–1857), aged 11
Leopoldine Blahetka (1809–1885), aged 8
Fanny Sallamon (1809–after 1839), aged 10
Antonie Oster (1811–1828), aged 10
Louise David, married to Dulcken (1811–1850), aged 10
Marie Moke, married to Pleyel (1811–1875), aged 8
Delphine Schauroth (1813–1887, aged 9
Josephine Seipelt (1816–1841), aged 9
Clara Wieck, married to Schumann (1819–1896), aged 10
Freia Hoffmann, Instrument und Körper, Frankfurt am Main, Leipzig 1991, chapter ‘Wunderkinder’, pp. 309–335; Ingrid Fuchs, ‘,Bewundrungswerthes Kind! deß Fertigkeit man preißt …’

Louise Dulcken kreeg samen met haar zus Fanny pianoles van hun moeder. Hun eerste openbare optreden vond plaats in 1814 in München. 20 jul 1824 trouwde ze met cellist Max Bohrer (1785-1867). Haar zus Fanny trouwde 20 jul 1824 met zijn broer Anton. In 1826 werd hun zoon Carl Theodor geboren. In 1827 verhuisden beide echtparen naar Parijs, waar ze samen concerten gaven. In augustus 1828 schreef de Münchener Allgemeine Musik-Zeitung over een concert in Parijs: "Mad. Max. Bohrer, die nog niet in Parijs te horen was geweest, speelde een trio van Beethoven en variaties op haar eigen compositie op het lied: der Schweizerbub” (Münchener aMZ 1828, Sp. 720). Tijdens de gezamenlijke concerten, waarop werken van Beethoven, Mozart en Haydn werden gespeeld, bracht Louise Bohrer ook solostukken ten gehore, bijvoorbeeld werken van Henri Herz. Door de julirevolutie in 1830 verdreven, verlieten de Bohrers Parijs en verhuisden eerst naar Londen en daarna naar Stuttgart. Louise Bohrer was vanaf ongeveer 1831 hofpianiste en lerares van de prinsessen in Stuttgart.

Prinzessin Sophie Friederike Mathilde von Württemberg & Prinzessin Marie Friederike Charlotte von Württemberg

Sophie Friederike Mathilde prinses van Württemberg (* 17 juni 1818 in Stuttgart; † 3 juni 1877 in Huis ten Bosch) was als eerste echtgenote van de Nederlandse koning Willem III van 1849 tot 1877 koningin der Nederlanden.

Prinses Sophie Friederike Mathilde van Württemberg (1818–1877) was de eerste vrouw van koning Willem III van Nederland en koningin-gemalin van Nederland en groothertogin-gemalin van Luxemburg van 1849 tot aan haar dood in 1877.

Ze werd op 17 juni 1818 in Stuttgart geboren als dochter van koning Willem I van Württemberg en groothertogin Catharina Pavlovna van Rusland. Hierdoor was ze een volle nicht van haar toekomstige echtgenoot, koning Willem III, aangezien haar moeder de zus was van zijn moeder, Anna Pavlovna van Rusland.
Sophie trouwde op 18 juni 1839 met Willem, toen nog prins van Oranje. Het huwelijk was moeilijk, gekenmerkt door persoonlijkheidsconflicten en meningsverschillen, maar ze stond algemeen bekend als een intellectueel, een verzamelaar en een toegewijde moeder. Ze was ook een prominente figuur in de Nederlandse samenleving, bekend om haar sterke wil en haar inzet voor verschillende maatschappelijke doelen.



Sophie Friederike Mathilde Princess of Württemberg (born 17 June 1818 in Stuttgart; died 3 June 1877 in Huis ten Bosch) was Queen of the Netherlands from 1849 to 1877 as the first wife of King William III of the Netherlands.

Prinzessin Sophie Friederike Mathilde von Württemberg (1818–1877) was the first wife of King William III of the Netherlands and the Queen consort of the Netherlands and Grand Duchess consort of Luxembourg from 1849 until her death in 1877.

Born in Stuttgart on June 17, 1818, she was the daughter of King William I of Württemberg and Grand Duchess Catherine Pavlovna of Russia. This made her a first cousin to her future husband, King William III, as her mother was the sister of his mother, Anna Pavlovna of Russia.
Sophie married William, then the Prince of Orange, on June 18, 1839. The marriage was challenging, marked by personality clashes and differing views, but she was widely known as an intellectual, a collector, and a devoted mother. She was also a prominent figure in Dutch society, known for her strong will and engagement in various social causes.

Zie de geboorten van Wilhelm Maria Friederich & Sophie Marie Johanne
Samen met haar man en diens broer Anton Bohrer gaf Louise Bohrer in 1833 en 1834 concerten in Stuttgart. In september 1835 werd hun zoon Wilhelm Maria Friedrich geboren, in 1837 hun dochter Sophie Marie Johanne. In 1842/43 ondernam Max Bohrer een concertreis naar Amerika. Of Louise Bohrer haar man vergezelde, is niet te achterhalen.

Louise Dulcken and her sister Fanny received piano lessons from their mother. Their first public performance took place in Munich in 1814. On 20 July 1824, she married cellist Max Bohrer (1785-1867). Her sister Fanny married his brother Anton on 20 July 1824. In 1827, both couples moved to Paris, where they gave concerts together. In August 1828, the Münchener Allgemeine Musik-Zeitung wrote about a concert in Paris: “Mad. Max. Bohrer, who had not yet been heard in Paris, played a trio by Beethoven and variations on her own composition on the song: der Schweizerbub”. (Münchener aMZ 1828, Sp. 720). During the joint concerts, at which works by Beethoven, Mozart and Haydn were played, Louise Bohrer also performed solo pieces, for example works by Henri Herz. Driven out by the July Revolution in 1830, the Bohrers left Paris and moved first to London and then to Stuttgart. From around 1831, Louise Bohrer was court pianist and teacher to the princesses in Stuttgart. See the births of Wilhelm Maria Friederich & Sophie Marie Johanne Together with her husband and his brother Anton Bohrer, Louise Bohrer gave concerts in Stuttgart in 1833 and 1834. In September 1835, their son Wilhelm Maria Friedrich was born, followed by their daughter Sophie Marie Johanne in 1837. In 1842/43, Max Bohrer undertook a concert tour of America. It is not known whether Louise Bohrer accompanied her husband.

1805 - Franzisca Magdalena , dochter van Jan Lodewijk (Louis) en Sophia Francisca (Fanny) kreeg, net als haar zus Louise, les van haar moeder. In 1824 trouwde ze met de violist Joseph Anton Bohrer (1783-1863) en verhuisde in 1827 met hem, haar zus en diens man Max naar Parijs. Over haar concertactiviteiten kunnen geen betrouwbare uitspraken worden gedaan. In de “Allgemeine musikalische Zeitung” worden vaak concerten van “Mad. Bohrer” vermeld, maar een eenduidige toewijzing aan Fanny Bohrer is niet mogelijk. Volgens Schilling stond ze “als praktisch pianiste vrijwel op gelijke voet” met haar zus, waardoor kan worden aangenomen dat ze net als haar zus samen met haar man optrad en in een trio of mogelijk ook in een kwartet met Max en Louise Bohrer speelde. Ze is de moeder van Sophie Bohrer.
Like her sister Louise, Francisca (Fanny) was taught by her mother. In 1824, she married the violinist Joseph Anton Bohrer (1783–1863) and moved with him, her sister and her sister's husband Max to Paris in 1827. No reliable statements can be made about her concert activities, although the Allgemeine musikalische Zeitung frequently mentions concerts by “Mad. Bohrer”, although it is not possible to clearly identify these as Fanny Bohrer. According to Schilling, she was “probably quite equal to her sister as a practical pianist,” so it can be assumed that, like her sister, she performed with her husband and played in a trio or possibly also in a quartet with Max and Louise Bohrer. She is the mother of Sophie Bohrer.

1807 - Violanda Dulcken, dochter van Jan Lodewijk (Louis) en Sophia

1808 - Juliana Johanna , dochter van Jan Lodewijk (Louis) en Sophia

1813 - Alexander, zoon van Jan Lodewijk (Louis) en Sophia

1817 - Carolina Charlotte, dochter van Jan Lodewijk (Louis) en Sophia

Ferdinand Quentin Dulcken (1837–1901)
Sophie (Louise Auguste) Dulcken 6 March 1835 in London, † 15 July 1923 in Dinard (Brittany), pianist
(Sarah) Isabella (Auguste) Dulcken, Dulken, married name Braun