A Dictionary of Music and Musicians/Weigl, Joseph
WEIGL, Joseph, a native of Bavaria, entered Prince Esterhazy's band at Eisenstadt as first cellist in 1761, left in 1769 for the orchestra of the Imperial Opera at Vienna, was admitted member of the Imperial Chapel 1792, and died Jan. 25, 1820, in his 79th year. He was a great friend of Joseph Haydn, who stood godfather to his eldest son,
Joseph, born at Eisenstadt, March 28, 1766. Joseph's first teacher was Sebastian Witzig, choirmaster of Korneuburg, and later he studied with Albrechtsberger and Salieri. At 16 he wrote his first small opera 'Die betrogene Arglist,' which was produced at Gluck's recommendation, and secured him the favour of the Emperor Joseph, of which he had henceforth repeated proofs, including a present of 100 ducats (about £50) for his first Italian opera 'Il Pazzo per forza' (1788). A letter of congratulation written him by Haydn on the production of his 'Principessa d'Amalfi' is well known. Weigl was also fortunate enough to gain admittance to the performances of classical music under Mozart's direction, at Baron van Swieten's house. Salieri took a special interest in him, and employed him up to 1790 as assistant-conductor of the National Court Theatre. In 1792 he became composer to the Opera with a salary of 1,000 florins, then Capellmeister, and finally conductor. This post he resigned in 1823, and in 1827 was appointed Vice-Court-Capellmeister. Before that date he had composed a series of operas, German and Italian, and ballets, many of which became exceedingly popular. Amongst these, special mention must be made of the 'Schweizer Familie' (1809), which long kept the boards, and by its pleasing melodies won all hearts. Reichardt[1] gives a pointed description of Weigl: 'he is a really charming, affectionate, good-hearted Viennese, and his eye and whole expression are thoroughly in keeping with his tender, graceful, pleasing melodies.' Other favourite operas were 'Das Waisenhaus,' 'Nachtigall und Rabe,' 'Der Bergsturz,' 'L'Amor Marinaro,' and 'L'Uniforme.' Beethoven has preserved the air 'Pria ch'io impegno' in the 'Amor Marinaro' from oblivion, by taking it as the theme for the Finale of his Clarinet Trio, op. 11. [See vol. i. 178b]. L'Uniforme (libretto by Carpani) waa composed at the request of Maria Theresa, produced at Schönbrunn, and repeated in concert-form (1805) with the Empress in the principal part (Pauline). Treitschke translated it into German, and 'Die Uniform' was given at both court theatres, and in many foreign towns. Weigl waa a special favourite of the Empress (to whom Beethoven dedicated his Septet), and had to preside at the piano at all chamber-concerts, besides composing cantatas and small ballets for many court festivities. He had an advantageous offer for Stuttgart, but the Empress, to retain him, made his appointment for life. Soon after her death (1807) he accepted the post of Capellmeister at Dresden, but the negotiations were broken off, and Morlacchi appointed in his stead.[2] Weigl was twice invited to Milan to compose for the Scala—in 1807, when he produced two operas, 'Cleopatra,' and 'Il rivale di sè stesso,' and 1815, when he produced 'L'imboscata,' and a cantata, 'Il ritorno d'Astrea,' all with great success. Of his earlier cantatas, 'Minerva e Flora' was given at Prince Auersperg's in honour of a visit from the King and Queen of Sicily (1791), and 'Venere ed Adone' at Esterhaz in 1792, when the Archduke (afterwards Emperor) Joseph was staying with Prince Esterhazy at his country seat on the Neusiedlersee. Haydn was at the time in London, so Weigl was called upon to supply his place. This cantata figured several times in the programmes of the Tonkünstler-Societät concerts. Of his two oratorios, 'La Passione di Gesù Cristo' (libretto by Carpani), first produced at Court (1804), was performed at Prince Lobkowitz's, at the Burg Theatre (1811), at an extra concert of the Gesellschaft der Musikfreunde (1821), and in Prague and Milan. After 1827 he wrote only for the church, composing his last mass in his 71st year. Weigl received many distinctions, amongst others the large gold Ehrenmedaille (1839) and the freedom of the city of Vienna. He was an honorary member of the Conservatoire of Milan, the St. Cecilia Academy of Rome, the Gesellschaft der Musikfreunde, and other musical societies of Austria. He died Feb. 3, 1846. His works include 13 Italian and 18 German operas, 17 ballets, 2 oratorios, 12 Italian and 7 German cantatas, 9 masses, 6 graduates, 6 offertoires; scenas in various languages; airs for insertion in operas; songs, airs and duets with PF. accompaniment; and various instrumental pieces. His younger brother,
Thaddäus, born 1776, wrote a number of operas and ballets for the Leopoldstadt Theatre and the two Court Theatres, and was at one time Capellmeister and director of the musical archives of the Court Theatre. His name lives, however, not as a musician, but as a music publisher. He set up in business in 1801, and devoted himself chiefly to supporting the 'Kunstund Industrie Comptoir' in its endeavour to establish a home-trade in music, for which Haydn gave him a flattering testimonial (dated Eisenstadt 1801). After the production of his last ballet, 'Bacchus und Ariadne' (Dec. 1803), he withdrew from the theatre, and occupied himself entirely with his business till 1826, when he resigned it to his second son Peter. Later it passed into Diabelli's hands. Thaddaus Weigl published Schubert's ops. 57, 58, 88, 95, and 130.[ C. F. P. ]