Franz Danzi
Compositions for: Voice
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12 Canzonette Italiane, Op.4020 Singübungen, Op.636 Deutsche Gesänge, Op.196 Deutsche Lieder, Op.146 Deutsche Lieder, Op.156 Deutsche Lieder, P.181A
Abraham auf Moria, P.47Ah che incertezza amaraB
Balladen und Romanzen, Op.46D
Das Freudenfest, P.163Die Mitternachtsstunde, P.6Die Tonkunst traurtE
El Bondocani, P.8L
Laudate Dominum, P.89M
Meine Ruh ist dahin, P.178O
O Deus ego amo teO Salutaris Hostia, P.120Ode an die FreudeP
Preiss Gottes, P.48Psalm 128, Op.65S
Sicchè t'inganni, P.173Singeübungen, Op.32T
Te Deum in C major, P.100Te Deum in D major, P.101V
Veni Sancte Spiritus, P.161ViolaWikipediaFranz Ignaz Danzi (June 15, 1763 – April 13, 1826) was a German cellist, composer and conductor, the son of the Italian cellist Innocenz Danzi (1730–98), and brother of the noted singer
Franzeska 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, whom he revered; he was a contemporary of
Ludwig van 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, 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 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
Mozart for his playing at the premiere of Idomeneo. Danzi remained behind in a Mannheim that was rendered more provincial when 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 and composer 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 the new king of Württemberg, Frederick I. 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.
He is known today chiefly for his 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.
At Schwetzingen, the city concert hall was renamed in his honor in 2005.
Among his compositions are: