repaired to London,[1] where he arrived about the beginning of May, 1805. The first trace of him is in an advertisement on May 18, of a benefit concert by Mr. and Mrs. Ashe, which states that he had just arrived in England, and would perform a concerto at this concert on May 27—'his first performance in England.' Besides the concerto (MS.), a grand symphony (MS.) by Woelfl was performed at the concert, and pianoforte concertos by him were played at other concerts on June 1 and June 5, on the former occasion by himself. He was received with the greatest applause,[2] and everything shows that he retained his popularity throughout his seven years' residence in London. In 1806 his concerto known as 'The Calm' created a positive furore, being played at four concerts in about two months, and new compositions by him were almost annually put forward as attractions at the most important concerts.[3] In 1810 the prospectus of 'The Harmonic Budget,'[4] presents him as the fashionable composer of the day, and a portrait is one of the allurements to subscribers. As a composer for the stage, Woelfl did not make any greater mark in London than in Vienna or Paris. Still, two ballets by him were produced at the King's Theatre, 'La Surprise de Diane,' on Dec. 21, 1805, and 'Alzire' (founded on Voltaire's 'Alzire'), on Jan. 27, 1807. Both, especially the former, pleased. His abilities were fully appreciated by the artists and by the public, nor is any trace of a falling off in popular esteem discoverable. On May 16, 1812, a new concerto of his was played at Salomon's concert by Mr. Cudmore.[5] A week later 'The Morning Chronicle' of May 23 contained the announcement, 'Died, on Thursday morning, after a short illness, at his lodgings in Great Mary-le-bone Street, Mr. Woelfl, the celebrated pianoforte player.'[6] It is impossible therefore to understand the uncertainty as to the circumstances of Woelfl's death. An anxious discussion was maintained in the 'Allgemeine Musikalische Zeitung,' in 1815 and 1816[7] as to whether he was dead or not. It asserted that Woelfl had played at the Philharmonic Concerts, which did not begin till 1813, and the matter was only considered as settled by the marriage of Woelfl's widow to an oboist at Frankfort.[8] The foreign biographies of him are almost all wrong as to the year of his death, while they maintain that he died in the most sordid penury, an assertion for which there seems to be no ground at all.[9]
Woelfl possessed remarkable qualifications for making a success in society. His portrait, about a year before his death, represents a handsome man, rather tall, somewhat stout, and of commanding presence.[10] He possessed that indefinable charm of manner which so much contributes to social success. He was, above everything, a 'good fellow,' and a pleasant, witty talker, fond of a good dinner (with a special penchant for grapes), a good story, and good company. His indolent disposition did not prevent him from being proficient in the amusements of society; he played cards with great skill, and it was difficult to find his equal at billiards.[11]
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As a musician, Woelfl exhibits all the excellences that flow from a sound training. Like other composers of that time he wrote much trivial music, but his sympathies were steadily on behalf of a more elevated style. Pupils who wished him to teach them how to play the showy variations that conclude his cele-
- ↑ One of the strangest of the romantic tales current about Woelfl must be mentioned here. Schilling asserts that he was named Music-master to the Empress Josephine in 1804, and followed her after her divorce (i.e., of course, at the beginning of 1810) to Switzerland. Growing weary of the lonely mountain life, he went down the Rhine by boat, and so to England. This story seems to be a pure fiction. Woelfl may have been Music-master to the Empress, but he went to London in 1805, and is to be found in London every year from that date to the time of his death. In 1810 he was engaged on a monthly publication, 'The Harmonic Budget,' which must have precluded long absence from London. Finally, the Empress Josephine did not go to Switzerland in 1810, or at any time after her divorce.
- ↑ A. M. Z. vol. vii. p. 756.
- ↑ Besides MS. works which may have been novelties, and sonatas, etc., we find the following 'first performances': Symphony (June 15, 1808, Ferrari's Concert); PF. Concerto (Apr. 19, 1809, Ferrari's Concert) Symphony (Mar. 28, 1811. New Musical Fund Concert); PF. Concerto (May 16, 1812, five days before his death, Salomon's Concert).
- ↑ A copy is in the British Museum, but the torn condition of the title-page makes it impossible to say to whom it is dedicated.
- ↑ 'Times,' May 16, 1832.
- ↑ A similar notice, giving the same date (May 21), appears in the 'Gentleman's Magazine.'
- ↑ A. M. Z. vol. xvii. p. 311; vol. xviii. pp. 291 and 762.
- ↑ Mme. Woelfl appears to have been established as a singer at Frankfort since 1804 (A. M. Z. vol. vi. p. 402). Examination of the Philharmonic programmes reveals no trace of Woelfl as a performer.
- ↑ This is Schilling's account of his death: 'W. starb … im Reiche des Mammon, unfern von London, in einem Dorfer mit Schulden belastet, vergebens gegen Krankheit, Kummer, Noth und Elend ankämpfend, jeder Hülfe entbehrend, ungekaunt und von Allen verlassen—auf einem faulen Strohlager.' It is just conceivable that Woelfl might, if deep in debt, have given himself out as dead to deceive his creditors, and lived some years after in obscurity. But the following entry of burial, dated May 25, 1812, in the Registers of S. Marylebone, 'Joseph Woelfl, widower, aged 38,' makes this supposition most improbable. Woelfl's condition is given wrongly in the entry, and his age is at variance with most accounts.
- ↑ There was a portrait by Tielker. This, or another, engraved by Scheffner, was issued with the A. M. Z. for Feb. 19, 1806. The portrait in the 'Harmonic Budget' was drawn by Pyne and engraved by Mayer. The original water-colour sketch by Pyne is in the Hope collection of portraits at Oxford, and from it the woodcut here given is taken.
- ↑ Had Mr. Cipriani Potter, Woelfl's pupil, been still alive, the personal traits of Woelfl's character might have been more clearly exhibited. Much of what is stated in the text is due to reminiscences of Mr. Potter's conversations, kindly communicated by his son, Dr. Potter, and by Mr. A. J. Hipkins.
