77 Prejeto / received: 29. 9. 2021. Odobreno / accepted: 22. 10. 2021. CC BY-NC-ND 4.0, DOI: 10.3986/dmd18.1-2.02 ANSELM HÜTTENBRENNER IN LOWER STYRIA (1853–1858) MARKO MOTNIK Znanstvenoraziskovalni center SAZU, Ljubljana Izvleček: Skladatelj Anselm Hüttenbrenner se je sredi 19. stoletja umaknil iz javnega življenja in večino časa v letih od 1853 do 1858 preživel v Mariboru. Tod je našel duševni mir in bližino narave ter zložil številne samospeve na besedila gostitelja Ferdinanda von Rasta. Sledila je vrsta klavirskih del, uverture in cerkvena glasba. Članek se posveča Hüttenbrennerjevemu doslej komaj opaženemu mariborskemu obdobju. Ključne besede: Anselm Hüttenbrenner, Fer- dinand Rast (Hilarius), Maribor, Štajerska, samospev Abstract: After the Styrian composer Anselm Hüttenbrenner had largely withdrawn from public life, he spent most of his time between the autumn of 1853 and the autumn of 1858 in Maribor (Marburg). In Maribor and its sur- roundings he found peace of mind and a close- ness to nature, devoting himself intensively to compositional and pedagogical activities. He composed numerous lieder on texts by his host Ferdinand von Rast (Hilarius) plus many piano pieces, in addition to orchestral overtures and church music. The article attempts to shed light on this period in Hüttenbrenner’s life, which has not been previously studied. Keywords: Anselm Hüttenbrenner, Ferdinand Rast (Hilarius), Marburg, Styria, lied Anselm Hüttenbrenner is undoubtedly among the most outstanding Styrian composers of the first half of the nineteenth century. He created an enormous body of musical work in almost all musical genres; interestingly, however, his work remains largely unknown and unexplored up to this day. In truth, even during his lifetime a mere fraction of his compositions came to the attention of the broader public. In connection with Franz Schubert, however, his person is ubiquitous in the scholarly literature. Hardly any study of Schubert can ignore the outstandingly important role that Hüttenbrenner played in the former’s career, yet he is always overshadowed by this great composer. Born in Graz in 1794, Anselm was the eldest of seven siblings. His father, likewise named Anselm, was a respected lawyer and landowner who provided a secure financial situation for the family. After two and a half years as a novice at the Cistercian monas- tery of Rein, near Graz, Anselm embarked on law studies in Vienna and Graz and, with the support of Count Moritz von Fries, took lessons in composition with Antonio Salieri until 1818. At Salieri’s house in Vienna he met Schubert and became one of the latter’s DMD_18_1&2_2022 - Vsebina P9.indd 77 30/05/2022 16:48:05 De musica disserenda XVIII/1–2 • 2022 78 closest friends. Concurrently, he established contacts with numerous prominent musical personalities of the time.1 Since he was obliged to take over the family estates upon the death of his father, he returned to Graz in 1821, married Elise von Pichler and took an active part in the public musical life of Graz. He became director of the Musikverein für Steiermark, serving variously as organizer, editor, music critic, composer and music teacher. His three brothers likewise gained recognition. Josef (1796–1882) became a civil servant at the Ministry of the Interior in Vienna, while also serving as a factotum for Franz Schubert. Andreas (1797–1869) was mayor of Graz and a member of the Higher Regional Court. The youngest brother, Heinrich (1799–1830), who was similarly a lawyer, attracted attention as a poet and writer. The scholarly literature tells us that in the middle of the nineteenth century Hüttenbrenner spent several years in Lower Styria, especially in Maribor (Marburg an der Drau), although details vary and are sometimes inaccurate. Most biographical con- tributions on Hüttenbrenner mention this period only briefly.2 Since no study to date has specifically addressed this short but productive period of Hüttenbrenner’s life, the article aims to shed more light on his compositional work produced in Maribor. In addition, an attempt has been made to gather information about Hüttenbrenner’s pedagogical activi- ties during his stay in the town and his social environment, and also, where possible, to discuss Hüttenbrenner’s inner reasons for choosing Maribor as his place of residence. The study evaluates numerous primary sources, mainly autograph and preserved today in Graz. Hüttenbrenner’s compositional estate, including correspondence and several other documents, was deposited on loan by his descendants in the University Library of the Kunstuniversität Graz for safe keeping and study. The collection is accessible online in fully digitized form.3 A closer look at the contents reveals, however, that this is much more likely in reality to be the estate of Josef Hüttenbrenner, who apparently took over the documents after the death of his brother. It thus contains few letters addressed to Anselm, whereas a considerable number of documents are written and sent by him, mostly to Josef. These letters span a long period extending from 1818 to 1863. The collection also contains other correspondence, including letters from Heinrich Hüttenbrenner and other family members. In addition to the collection at the Kunstuniversität in Graz, some of Hüttenbrenner’s compositions from his time in Maribor can be found in autograph manuscripts – often as duplicates of the Graz copies – in various other libraries, which include the Wienbibliothek im Rathaus (A-Wst), the collection of the parish church of St Stephen in Baden near The article was written within the research programme “Researches in the History of Music in Slovenia” (P6-0004), funded by the Slovenian Research Agency (ARRS). 1 These included the singer Sophie Linhart, daughter of the well-known Slovenian historian and playwright Anton Tomaž Linhart. A study of this friendship, as well as of Hüttenbrenner’s other contacts with Carniola, will appear in a separate article by the author in the autumn of 2022 in Drehscheibe Graz: Musikkulturelle Verbindungen im 19. Jahrhundert, ed. Ingeborg Harer (Graz: Leykam, 2022). 2 For example, one of Hüttenbrenner’s earliest biographers, Hans von der Sann, completely ignored this period. Sann, “Meister Anselm Hüttenbrenner”. 3 See https://phaidra.kug.ac.at. DMD_18_1&2_2022 - Vsebina P9.indd 78 30/05/2022 16:48:06 79 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Vienna, today held by the Österreichische Nationalbibliothek (A-Wn), and the archives of the Gesellschaft der Musikfreunde in Wien (A-Wgm). Circumstances and Chronology of Hüttenbrenner’s Stay in Lower Styria After his wife Elise died in the revolutionary year of 1848, Hüttenbrenner withdrew from public life. He sought solace in religion and continued to spend time with the “Christian theosophist” and “writing servant of God” Jakob Lorber, his long-time friend. Anselm’s decision to leave Graz may also have been influenced by the fact that his children were nearing adulthood and starting to leave home.4 Following an invitation from close friends and especially, it is believed, from Jakob Eduard Schmölzer, Hüttenbrenner sold his house in Laimburggasse and moved to Radkersburg (Radgona) in 1852. The years after 1848 are repeatedly interpreted in scholarly literature as a time of seclusion with little interest shown in music, Hüttenbrenner himself being portrayed as insular and withdrawn.5 He certainly no longer sought outward recognition in broad public circles, but even a cursory glance at the number of his compositions from the 1850s shows that this was, on the contrary, an extremely productive period of his life. The circle of people around him was undeniably limited, but in no sense can he be accurately described as antisocial during his sojourn in Lower Styria. Two of Hüttenbrenner’s close friends, both of whom wrote obituaries after his death in 1868, devote only a few sentences to his time in Radkersburg and Maribor. Hüttenbrenner’s former composition pupil Schmölzer states in his brief memoirs that it was he whom Hüttenbrenner visited in Radkersburg in 1852.6 In his letter dated 16 February 1853 and sent to Josef from Radkersburg Anselm mentions, but only in passing, a certain Dr. Haidegg or Haydegg and Haidegg’s sister Seraphine, as well as the district mayor Segenschmid,7 to whose daughter he taught piano-playing and thoroughbass.8 This time does not seem to have been entirely lonely for Hüttenbrenner, however, and his letters frequently emphasize his closeness to nature. Finally, Schmölzer gives us in addition an account of a Liedertafel active in Radkersburg that performed Hüttenbrenner’s vocal compositions. Although Anselm complains in his letter to Josef of severe pain in his hands, he composed a considerable number of pieces during these years and made a large number of arrangements. Particularly noteworthy is an intense preoccupation with selected works by Johann Sebastian Bach. Hüttenbrenner arranged several of Bach’s piano 4 The names of Hüttenbrenner’s children are listed in Tillmanns, Anselm Hüttenbrenner, 10. 5 “After his wife’s death in 1848, he gradually sank into the habits of a recluse.” Brown, “Hüttenbrenner, Anselm”. 6 “Als mich Hüttenbrenner im Jahre 1852, also nach zwanzig Jahren, in Radkersburg besuchte und wir dort so manchen genußreichen musikalischen Abend im Kreise der damaligen Musiker verbrachten […].” Schmölzer, “Ein kleiner Beitrag”, [5]. 7 Most probably Franz Seraphin Edler von Segenschmid. 8 Anselm Hüttenbrenner to Josef Hüttenbrenner, 16 February 1853. See footnote 11. DMD_18_1&2_2022 - Vsebina P9.indd 79 30/05/2022 16:48:06 De musica disserenda XVIII/1–2 • 2022 80 and organ compositions and also completed an arrangement of Schubert’s Symphony No. 8 in B minor, D 759 (the “Unfinished”)9 for four hands at one piano. After dedicating a few lines to Hüttenbrenner’s stay in Radkersburg Schmölzer’s obituary omits mention of Hüttenbrenner’s subsequent time in Maribor. In contrast, Carl Gottfried von Leitner devotes a few sentences to it, observing that Hüttenbrenner remained among his circle of friends and acquaintances in Radkersburg until 1855 (more accurately, until the autumn of 1853) and then accepted an invitation to travel to Maribor and offer music lessons to the prestigious houses of the town. Above all others, it was Baron von Rast who offered Hüttenbrenner generous hospitality in Maribor.10 Since the scholarly literature and biographical accounts do not provide precise details, the time-span of Hüttenbrenner’s stay in Maribor has to be determined from other pri- mary sources. It can be narrowed down from evidence of various kinds in the autograph compositions as well as in his correspondence. In particular, the locations stated in the autograph manuscripts provide a fairly accurate picture of Hüttenbrenner’s visits and travels. Most compositions from 1853 and 1854 mention place-names; from 1855 onwards, however, he noted these less regularly – later, especially from 1857, only sporadically. Unfortunately, only a small portion of Hüttenbrenner’s correspondence from the 1850s has survived. It seems that the brothers Anselm and Josef did not correspond regularly during this period, and the letters that do remain are no longer complete. Three letters from Radkersburg and a further four from Maribor are extant.11 In addition, there exist four letters that Hüttenbrenner sent from Maribor and Graz to the Schubert biographer Ferdinand Luib in the spring of 1858; these are today preserved in the Wiener Stadt- und Landesbibliothek (Wienbibliothek).12 In the letter addressed to Josef from Radkersburg dated 29 September 1853 Anselm 9 At that time Hüttenbrenner was in possession of Schubert’s autograph of this Symphony. For more detailed information, see Hüttenbrenner, “Franz Schubert”, 129–135. 10 “[…] und so finden wir Hüttenbrenner, nachdem er das Haus in der Laimburggasse veräußtert hatte, im Jahre 1852 in Radkersburg, wo ihn einige wenige Bekannte und Befreundete, die sich ihm theilnahmend anschlossen, bis 1855 festhielten. In diesem Jahre erhielt er von mehreren Seiten schmeichelhafte Einladungen, nach Marburg zu übersiedeln, um dort in einigen angesehenen Häusern die höhere Ausbildung musikalischer Eleven zu leiten. Insbesondere ehrte Freiherr von Rast, unter dem Namen Hilarius als Dichter wohlbekannt, ihn und sich durch die auszeichnende Gastfreundschaft.” Leitner, Anselm Hüttenbrenner, 20–21. 11 The three letters from Radkersburg are dated 22 December 1852, 16 February 1853 and 29 September 1853. Anselm sent letters to Josef from Maribor on 20 April 1854, 25 April 1855, 22 April 1857, 9 March 1858 and 20 April 1858. All but two of the above-mentioned letters are preserved in the folder Briefe und Brieffragmente von Anselm Hüttenbrenner an Josef Hüttenbrenner: Graz, Universität für Musik und darstellende Kunst, Bibliothek (A-Gk), Rara MPMs 0/1234, https://phaidra.kug.ac.at/o:1968. The letters of 22 April 1857 and 20 April 1858 are contained in the folder Briefe von Anselm Hüttenbrenner an Josef Hüttenbrenner, A-Gk, Rara MPMs 0/1199, https://phaidra.kug.ac.at/o:1926. 12 The letters from Maribor are dated 21 and 23 February and 7 March 1858. That from Graz is dated 1 April 1858. All four contain valuable reminiscences of Schubert, Beethoven and Salieri. Complete transcriptions were published in 1906 by Otto Erich Deutsch. Deutsch, “Anselm Hüttenbrenners Erinnerungen”. DMD_18_1&2_2022 - Vsebina P9.indd 80 30/05/2022 16:48:06 81 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) continues to complain of episodes of gout and announces a trip to Trieste for 5 October. He intended to return a few days later, on 15 October, and then await the arrival of his brother in Radkersburg. Subsequently, they were to travel to Vienna together. It is unclear whether these plans materialized. At all events, since he makes no mention of it, Hüttenbrenner’s change of residence to Maribor does not seem to have been decided at this point and must therefore have been made at very short notice. The last piece he composed in Radkersburg, a setting of the lied Gebet, was finished on 21 October.13 But since his first composition written in Maribor, the Abendlied, is dated 7 November, the move must have taken place during the first days of November 1853. Just as the precise date of his arrival in Maribor is unknown, so, too, the exact day when he left Maribor remains hidden. The final piece composed in the city, Abschied von Marburg, is dated 17 September 1858 (see Figure 9). These five years between 1853 and 1858, however, did not see Hüttenbrenner confined exclusively to Maribor. Leaving aside his frequent walks and hikes in the surrounding area,14 several indications point to brief trips to Ehrenhausen15 on 19 November 1853 and early in March 1854; to Wildon on 20 July 1856;16 and to Graz, Radkersburg, Ptuj and Celje in April and May 1858.17 Hüttenbrenner mentioned this last prolonged absence from Maribor as early as 21 February 1858 in his letter to Luib, but added further details about his departure a month later. His apartment in Maribor had been cleaned and aired, whereupon he fell ill and after recovering left for Graz. He intended to stay in Graz a little longer, but planned to return to Maribor in June.18 Apparently, short stays in Graz by him were quite frequent: for instance, Hüttenbrenner visited his relatives there in mid 13 “Gebeth, von L. v Lxxx für das Viribus unitis Album gedichtet. In Musik gesetzt von Anselm Hüttenbrenner mp. Radkersburg am 21. Oktober 1853.” A-Gk, Rara MPMs 0/50, https://phaidra. kug.ac.at/open/o:84. 14 The following excursions can be inferred from the location information in the autograph manu- scripts, and in one case also from the text of the poem: Kranichsfeld (Rače) in May 1854; Melling (Melje) on 9 July 1855; Merlhof bei Gams (Rošpoh nad Kamnico) on 25 August 1856. 15 Ehrenhausen (Ernovž) is a small market town in today’s Leibnitz District. 16 “Erinnerung an Wildon. Rapsodie für das Pianoforte. Componirt und dem Fräulein Josephine v. Berner freundlichst zugeeignet von Anselm Hüttenbrenner mp. Wildon, am 20 July 1856.” A-Gk, Rara MPMs 0/604, https://phaidra.kug.ac.at/open/o:665. 17 “Wenn E. W. die Gefälligkeit haben wollen, mir wieder zu schreiben, so möge solches noch im Verlaufe dieses Monaths geschehen; denn im April und Mai bin ich bald in Grätz bald in Radkersburg, Pettau oder Cilli; auch wandere ich in den Gebirgen umher und besuche alte Schulgespäne und Schüler, Pfarrer, Schullehrer, auch Bauersleute, bei denen ich gut beherbergt werde.” Anselm Hüttenbrenner to Ferdinand Luib, 21 February 1858. See Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 146. 18 “Bald nach Erhalt Ihres geehrten Schreibens vom 20. März d. J. wurde meine Wohnung gereinigt und ausgelüftet, was mich dann auf einige Tage krank machte. Nach meiner Wiederherstellung begab ich mich nach Grätz, wo ich mich längere Zeit aufhalten werde. Von Juni an werde ich wieder ein Marburger seyn, Ihnen aber in der Zwischenzeit von da oder dort ein Lebenszeichen geben.” Anselm Hüttenbrenner to Ferdinand Luib, 1 April 1858. See Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 148. DMD_18_1&2_2022 - Vsebina P9.indd 81 30/05/2022 16:48:06 De musica disserenda XVIII/1–2 • 2022 82 April 1854,19 he attended the performance of his Mass in E-flat major on Easter Monday of 1855 at Graz Cathedral Church20 and he was most likely also present at the performance of his Mass in F minor there in November 1855.21 It remains unclear whether Hüttenbrenner spent any time in Vienna during 1854. This question arises because of the place and year given on the manuscript containing Hüttenbrenner’s recollections of Schubert.22 His essay entitled Bruchstücke aus dem Leben des Liederkomponisten Franz Schubert actually bears the inscription “Wien 1854”. However, Hüttenbrenner reported already at the end of September 1853 that he had written this biography a month earlier and had sent a copy of it to Franz Liszt in Weimar.23 Obviously, the memoir, at least in its original version, was completed before 1854. The reference could perhaps be to an edition that never appeared in print, and for that reason does not necessarily serve as unequivocal proof of Hüttenbrenner’s journey to Vienna that year.24 Finally, in the autumn of 1858, Hüttenbrenner visited his sons in the garrison of the Infanterie-Regiment König der Belgier (King of the Belgians regiment) in Vienna. He arrived no later than 21 October 1858, and after spending almost a whole year in Vienna did not return to Maribor. He spent the last decade of his life in Graz or at his estate in Graz-Oberandritz, where he died on 5 June 1868.25 19 “In Gratz habe ich vorige Woche 6 sehr vergnügte Tage verlebt, und bin mit Professor Anger, Leitner, Archer u. Haydegg sehr oft in Gesellschaft gewesen.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 20 April 1854. See footnote 11. 20 “Die Es dur Messe wurde am Ostermontage in der Domkirche zu Gratz sehr brav exekutiert [9 April 1855]. Ich reiste eigens hinauf. Hofmann dirigirte; mir war alles nagelneu”. Anselm Hüttenbrenner to Josef Hüttenbrenner, 25 April 1855. See n. 11. 21 An entry in the autograph score reads: “NB. Wurde am 8. Dez. 1855 zum ersten Mahle in der Domkirche zu Gratz aufgeführt. Die zweite Production geschah am 30. März 1856 in ebendieser Kirche.” Anselm Hüttenbrenner, Missa solemnis in F minor, A-Gk, Rara MPMs 0/730, https:// phaidra.kug.ac.at/open/o:961. In truth, the first performance had already taken place on All Souls’ Day 1855 in the Graz Cathedral Church (Grazer Zeitung, 1 November 1855, Morgen-Beilage). On 8 December 1855 Hüttenbrenner dated his choral piece Der Reichsjuwel in Maribor. No composition is dated 30 March 1856; Hüttenbrenner was probably in Graz at this time, attending the performance of his Mass. 22 Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 108. 23 Anselm Hüttenbrenner to Josef Hüttenbrenner, 29 September 1853. See footnote 11. 24 The manuscript was transcribed and published by Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 119–135. 25 His arrival in Vienna was announced by some newspapers: “Der durch zahlreiche Compositionen rühmlich bekannte Anselm Hüttenbrenner, dessen Oper ‘Leonore’ vor 20 Jahren in seiner Vaterstadt Graz einen großartigen Erfolg feierte, ist in Wien angekommen, und wird den Winter in der Kaiserstadt zubringen. Man hofft, daß er einige seiner gediegenen Tondichtungen hier zur Ausführung bringen wird.” “Deutschland”, Allgemeine Zeitung [Augsburg], 24 October 1858, 4796; “Vermischte Nachrichten”, Grazer Zeitung, 28 October 1858, 1856. Hüttenbrenner’s first lied setting composed in Vienna, Trautel, is dated 25 October and bears the indication: “Wien am 25. Oktob. 1858 in der Franz-Josephs-Kaserne.” A-Gk, Rara MPMs 0/219, https:// phaidra.kug.ac.at/open/o:251. A few days later, on 28 October, he completed there a list of his own works entitled “Von Anselm Hüttenbrenner eigenhändig geschriebenes Verzeichnis seiner DMD_18_1&2_2022 - Vsebina P9.indd 82 30/05/2022 16:48:06 83 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) It is conceivable that Hüttenbrenner was already familiar with Maribor before 1853 and had grown fond of the city several decades earlier. In any event, his brother Andreas Hüttenbrenner had visited Maribor as early as the autumn of 1819, as mentioned in Heinrich Hüttenbrenner’s letter from Vienna.26 Anselm, too, may have visited Maribor much earlier than 1853. His loyal patron Countess Wilhelmine Leslie, née von Wurmbrand-Stuppach, resided in Lower Styria at Ankenstein Castle, today’s Borl, not too far from Maribor. In Ankenstein she also left a drawing and the line “Always at your service” in Hüttenbrenner’s family album on 3 September 1814.27 It is quite possible that Hüttenbrenner was visiting her at that time. Hüttenbrenner’s Host: Baron Ferdinand von Rast It seems very likely that Hüttenbrenner had already met Ferdinand von Rast, who was to invite him to Maribor during his visit to Radkersburg. But who was this baron and poet who offered Hüttenbrenner his hospitality? The literature usually refers to him as the landowner of the Faal an der Drau (today Fala) manor.28 This description is, however, not entirely correct, since Rast is often confused with his father, Baron Ferdinand Martin von Rast, whose name was identical, or even with his younger brother Maximilian Ignaz von Rast. Although he is by no means an unknown person in the history of Maribor, his personality, political activity and, especially, poetic work have not yet been studied closely. For that reason, additional detailed information follows here. Baron Ferdinand von Rast the Younger was born in Vienna on 12 August 1808, the first-born son of the wholesaler Ferdinand Martin Liebmann and Baroness Johanna von Sonnenfeld.29 His father, an ebullient and lively personality, seems to have led a most eventful life. His memoirs, published posthumously in 1865 under the title Das Leben des Freiherrn Ferdinand von Rast, relentlessly chronicle numerous successes and failures in his business and private life, including several marriages and love affairs. The book reads like an adventure story, although some parts of it are most likely unreliable and exaggerated. Fortunately, the publication contains abundant insights into the acquisition of the Fala estate and the early years of Ferdinand the Younger. Born in Berlin in 1781 into a Jewish merchant family, Ferdinand Liebmann entered the business world at an early age and came into great wealth through the wholesale trade in yarns. In 1805 he converted to Lutheran Christianity in Halle an der Saale. Liebmann led a truly restless life, constantly changing the women at his side and his places of residence. Werke”. Hüttenbrenner’s nephew Heinrich Wilhelm Maurus offered Anselm his hospitality in Leopoldstadt, Vienna, in the winter of 1858–1859. Heinrich Wilhelm’s mother was Therese Hüttenbrenner, Anselm’s sister. [Maurus], “Lebenserinnerungen”, 34. 26 “Was machst Du lieber Bruder. Warum schreibst Du nichts von Deinen Ferien in Marburg.” Heinrich Hüttenbrenner to Andreas Hüttenbrenner, 31 October 1819, Briefe von Heinrich Hüttenbrenner an Anselm Hüttenbrenner, A-Gk, Rara MPMs 0/1237, https://phaidra.kug.ac.at/ view/o:1972. Anselm is mistakenly named as the addressee of these letters. 27 “Stets Bereit Ihnen zu dienen.” Hüttenbrenner, Stammbuch von Anselm Hüttenbrenner. 28 Ferdinand von Rast the Younger. 29 Wien, St. Stephan, Taufbuch 1807–1812, sig. 01-105, fol. 103. DMD_18_1&2_2022 - Vsebina P9.indd 83 30/05/2022 16:48:06 De musica disserenda XVIII/1–2 • 2022 84 He lived successively in Berlin, Hamburg, Vienna, Prague, Graz, Munich, Florence and Maribor before finally settling in Coburg. In 1824 he bought the Fala estate at auction in the hope of profiting from the nearby iron deposits in Lovrenc na Pohorju (Sankt Lorenzen am Bachern). Even before he had finished restoring and furnishing the dilapidated castle, having had a bridge built over the Drava River for better accessibility, he had largely lost interest in it. He moved to Munich as early as 1829 but visited his estate frequently in the years that followed. Liebmann was ennobled by the Bavarian King Ludwig I in 1830 and a year later had his surname changed to Rast, a name borrowed from the small town of Maria Rast (today, Ruše) near Fala. Liebmann had his firstborn, Ferdinand Joseph Gregor, educated at Hofwyl in Switzerland,30 later gaining entry for him, along with his younger son Adolph, to the prestigious Klinkowström’s Educational Institute in Vienna.31 Ferdinand then studied at the Theresian Military Academy in Wiener Neustadt from 1823 to 1829.32 He did not own the Fala estate but may have managed it at certain times. However, his father sold the estate in 1857 to a different son, Maximilian Ignaz,33 who was born in Munich in 1836 during the baron’s third marriage, to Therese Carolina Leszkzynska von Scarbeck (Skarbek-Leszczyńska). The castle remained in the possession of the Rast family until 1860, when it was sold to Baron von Kettenburg. In compensation for the renunciation of his inheritance Ferdinand the Younger in 1842 received the Kiemjesz estate and a house in Lemberg (Lviv) from his father.34 He sold this property quite soon thereafter and chose Maribor as his permanent place of residence. He quarrelled regularly with his father, as did some of his siblings, and obviously had a difficult relationship with him. The exact date of Ferdinand’s arrival in Maribor is uncertain. In 1836, at any rate, he was still in Vienna, as noted in his father’s memoirs,35 but he undoubtedly moved to Lower Styria before 1839, since his daughter Emma was born there on 1 May of that year. Her place of baptism is not yet known, but her mother, Maria Sophia von Zinzenfels, came from Št. Janž na Dravskem polju (St. Johann am Draufelde), a small settlement near Maribor. Ferdinand did not marry Maria until September 1843, and his wedding to the bride, who was eleven years older than the groom, took place at the City Parish Church in Maribor.36 Official publications37 later apparently tried to blur the fact that the couple already had an illegitimate daughter by giving 1838 as the year of marriage and 1801 (in reality, 1797) as the year of Maria Sophia’s birth.38 30 [Rast], Das Leben, 49–51. 31 Klinkowström, Friederich August von Klinkowström, 316. 32 Svoboda, Die Zöglinge der Wiener-Neustädter Militär-Akademie, 548. 33 [Rast], Das Leben, 71. Maximilian von Rast also lived in Maribor during the mid-nineteenth century. 34 Ibid., 69. 35 Ibid., 61. 36 26 September 1843. Nadškofija Maribor, Sv. Janez Krstnik, Poročna knjiga / Trauungsbuch 1836–1857, sig. 01518, fol. 48. 37 Gothaisches genealogisches Taschenbuch, 721–722; Neues allgemeines Deutsches Adels-Lexicon, 7:349. 38 Born on 7 November 1797. Nadškofija Maribor, Št. Janž na Dravskem Polju – Starše, Krstna DMD_18_1&2_2022 - Vsebina P9.indd 84 30/05/2022 16:48:06 85 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Ferdinand von Rast resided in Maribor as a private citizen. He regularly partici- pated in the public affairs of the city and was said to have a great sense of community. According to contemporary reports, he was popular and well-respected.39 He was par- ticularly active after the death of his wife.40 In 1866 Rast was elected to the municipal council (Gemeindevertretung), in 1873 to the city council (Stadtrat) and in 1875 to the city’s school board (Stadtschulrat). During his lifetime a street was named after him in Maribor: Hilariusgasse.41 Ferdinand von Rast died at the age of 81 on 20 March 1889.42 As a poet, Rast used the pseudonym Ferdinand Hilarius. Although his sentimental poems were highly appreciated in the nineteenth century, and not in Styria alone, his literary work is largely forgotten today. Following the collection of poems Seelen-Klänge, published in Graz in 1841, most of his poetry was published in newspapers, magazines and pamphlets. Besides the epic poem Das Waldkind (Maribor, 1881), his plays Ein Märtyrer der deutschen Krone (1868) and Jakob Stuart, Prinz von Schottland (1872) are worthy of mention. Many of Rast’s poems have survived today only through Hüttenbrenner’s settings. To his first three settings of Rast’s poems composed in Maribor Hüttenbrenner added the place-name “Villa Rast in Marburg”. Apparently, at the beginning of his residence in Maribor he lived with the Baron. The villa in question stood in the so-called Kärntnervorstadt, at the present-day address of Koroška cesta 40 (formerly Kärntnerstraße).43 This house was built in 1847 by Baron von Rast, later passing into the ownership of his daughter, Emma Mixich de Alsò-Lukavetz; it was demolished in 1969. In the Regional archives in Maribor some photographs of it are preserved (see Figure 1).44 In April 1855 Anselm announced his new address in a letter to his brother Josef: “No 187 am Hauptplatz” (Main Square).45 Perhaps anticipating a fairly long stay, he then rented his own apartment right in the centre of town. This building, today at Koroška cesta 2, was owned by the brewer Franz Tscheligi (Franc Čeligi) in the 1850s and is still standing (see Figure 2).46 knjiga / Taufbuch 1784–1810, sig. 04181, fol. 45. 39 For example, the message on the occasion of his death in r., “Marburger Nachrichten: Ferdinand Freiherr von Rast”, Marburger Zeitung, 24 March 1889, 5. 40 Died on 17 February 1873. Nadškofija Maribor, Sv. Janez Krstnik, Mrliška knjiga / Sterbebuch 1858–1876, sig. 01510, fol. 308. 41 “Bennenung von neu eröffneten Straßen”, Südsteirische Post, 13 June 1888, 5. 42 Nadškofija Maribor, Sv. Janez Krstnik, Mrliška knjiga / Sterbebuch 1858–1876, sig. 01510, fol. 324. Rast’s last residence was the house in Casinogasse 12 (today, Mikološičeva ulica 4 and 6). The house’s owner was Bartholomäus von Carneri. Semlič Rajh, Oman and Mlinarič, Maribor, 159. 43 “Nun aber lenken wir unsere Schritte der Kärntnervorstadt zu, wo uns zunächst die Baron Rast’sche Villa auffällt.” Hiltl, Das Bachergebirge, 150. 44 Until 1884 Baron Rast apparently also owned an estate on the right bank of the Drava at the address of Poberscherstraße 14. In 1882, according to a news item in the Südsteirische Post, Rast sold this property to the municipality, which then built on the site a large prison complex that still exists today. The same newspaper also mentions a villa in this place. “Kleine Chronik: Strafhaus in Marburg”, Südsteirische Post, 25 April 1882, 4. 45 Anselm Hüttenbrenner to Josef Hüttenbrenner, 25 April 1855. See footnote 11. 46 Semlič Rajh, Oman and Mlinarič, Maribor, 202–203. DMD_18_1&2_2022 - Vsebina P9.indd 85 30/05/2022 16:48:06 De musica disserenda XVIII/1–2 • 2022 86 Figure 1 Photograph from 1960 of Villa Rast, demolished in 1969 (Pokrajinski arhiv Maribor, SI_PAM/1889 Zavod za urbanizem Maribor, Koroška cesta 40, vila Rast; reproduced by permission) Figure 2 Maribor, Main Square around 1900, photochrom print, Photoglob Zürich P. Z. 16630 (author’s private collection). Hüttenbrenner lived in the protruding house at the back of the square, here visible behind the plague column. DMD_18_1&2_2022 - Vsebina P9.indd 86 30/05/2022 16:48:08 87 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Hüttenbrenner’s Compositional Activity in Maribor It is noteworthy that Hüttenbrenner devoted himself to certain musical genres over long periods of time. Although no exact boundaries can be drawn, in individual phases over weeks, months or even years, he initially composed primarily lieder, but subsequently also piano compositions, orchestral overtures and occasionally church music (see Appendix). LIeDer In Maribor, Hüttenbrenner dedicated himself with astonishing regularity to the task of setting Rast’s poems to music. For an entire year he composed nothing but lieder, occupy- ing himself with the Baron’s poetry until a time no later than August 1857. During those years he completed nearly 140 lieder.47 Of only marginal importance are his settings of texts by other authors, which include four by the well-known poet and philosopher Bartholomäus von Carneri,48 one by the local historian and secondary school teacher Rudolf Gustav Puff49 and two by Hüttenbrenner himself.50 Only in the last months of his stay in Maribor did Hüttenbrenner set aside time for the poems of his long-time friend Carl Gottfried von Leitner.51 In total, almost two-thirds of his entire lied production was written during his stay in Maribor. It is evident from Anselm’s letter to Josef written on 20 April 1854 that the lieder were not composed merely in order to be relegated to a desk drawer or for personal plea- sure but were clearly intended for daily use. He reports: “Since then I have written many lieder, including 3 duets, 1 terzet, 1 quartet and 3 choruses, which have been performed in our house this winter.”52 Unfortunately, this letter has not survived in its entirety. In the margin of the second page appears a fragment of a revealing remark belonging to the 47 He himself listed 160 songs, although it should be noted that some of Rast’s poems were also set to music for vocal ensembles. The number 160 has been corrected and cannot be deciphered with absolute certainty. Hüttenbrenner, “Von Anselm Hüttenbrenner eigenhändig geschriebenes Verzeichnis seiner Werke”, [3]. 48 Bartholomäus von Carneri (1821–1909) acquired Wildhaus Castle (Viltuš) near Maribor in 1857. Interestingly, this estate had previously been owned by the music teacher, conductor and composer Eduard von Lannoy, who became known mainly for his work at the Gesellschaft der Musikfreunde in Wien. Lannoy’s wife, Magdalena Katarina Josephine, was Carneri’s sister. Carneri’s poem of the setting Blumen und Küsse was published in 1851 in the collection Gedenke Mein!, 201. The other three poems are from Carneri’s own collection of poems, published in 1848. Carneri, Gedichte, 72, 74, 93. 49 Puff had been a teacher in Maribor since 1831. He was well connected in the literary circles of Styria, and in 1846 was made an honorary citizen of Maribor. Baš, “Puff, Rudolf Gustav”; Gspan, “Puff, Rudolf Gustav”. 50 Of particular interest here is Hüttensbrenner’s own poem Erinnerung an Kranichsfeld, which he set to music on 9 May 1854. Kranichsfeld is the present-day settlement of Rače near Maribor. 51 “[…] dann schrieb ich bei 20 Lieder von Leitner, dessen Gedichte eine zweite Auflage erlebten.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 9 March 1858. See footnote 11. 52 “Ich schrieb seither sehr viele Lieder, auch 3 Duetten, 1 Terzett, 1 Quartett und 3 Chöre, die in unserem Hause diesen Winter produzirt wurden.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 20 April 1854. See footnote 11. DMD_18_1&2_2022 - Vsebina P9.indd 87 30/05/2022 16:48:08 De musica disserenda XVIII/1–2 • 2022 88 missing second sheet, which reads, “[…] lied of mine; Baron Rast sent it to her; she is said to have a nightingale voice.” Unfortunately, neither the title of the lied nor the name of the singer can be surmised today. Small domestic musical gatherings at which music was played among family and friends during the long winter months are easy to imagine, but apart from Hüttenbrenner’s generic and terse commentary no further records have yet emerged from the sources. At all events, the Rast family seems to have had a keen interest in music. Rast’s mother is said to have been an excellent amateur singer, and there are reports of frequent soirées with a select circle of diplomats and artists as early as 1814 at the Liebmann house in Vienna.53 In the case of Hüttenbrenner’s lieder one might speculate that these were sung by Baron Rast himself, accompanied by the composer on the piano. The settings for a vocal ensemble imply performance at social gatherings. As previously mentioned, Baron Rast published a volume of his poems, Seelen- Klänge, as early as 1841, dedicating it to the district governor of Maribor, Ignaz von Marquet.54 Hüttenbrenner selected poems from this collection only twice during his time in Maribor. He used them for his settings at the very beginning of his stay (three settings)55 and again in June and July 1857 (six settings).56 Many of the seventy-one poems included in the Seelen-Klänge are far too long to be set to music, but their lyrical language and content already largely foreshadow later texts by Rast. It remains to be seen whether any of his other poems, until now known only through Hüttenbrenner’s settings, were ever published. At all events, the collection Seelen-Klänge was not followed by any similar compilation, and it may be assumed that Rast submitted his texts to Hüttenbrenner in manuscript form. Thematically, lyrical texts about nature, love and various nuances of the life of the soul dominate.57 The question then arises: why did Hüttenbrenner select poems specifically by Rast? It cannot have been a mere favour to his host (see Figure 3), for there are simply too many settings for that. On the other hand, it is hardly surprising that Hüttenbrenner was so intensely engaged with this intimate genre. The town and its surroundings obviously offered him numerous opportunities for retreat, long walks in nature and inner contemplation.58 A longing for solitude, closeness to nature and spiritual contemplation, so evident in the composer’s letters, was obviously shared by Hüttenbrenner and Rast.59 53 [Rast], Das Leben, 28, 37–38. 54 Hilarius, Seelen-Klänge. 55 Abendlied, Wiegenlied, and Die Bestellung. Hilarius, Seelen-Klänge, 14, 87, 97. 56 Der Hügel, Der Invalide, Das Bild, Phantasie, Der Säugling, and Lebe wohl! Hilarius, Seelen- Klänge, 24, 53, 96, 113, 122, 132. 57 For further details about the choice of topics, see Glawischnig, Anselm Hüttenbrenner, 70–73. 58 Anselm Hüttenbrenner to Josef Hüttenbrenner, 22 April 1857. See footnote 11. 59 The lied An Anselm dated 22 April 1854, explicitly indicates a personal affection. This poem was demonstratively a gift from Baron Rast to Hüttenbrenner, who celebrated his name-day on 21 April. An Anselm is a charming poem of five stanzas. The third stanza, in particular, is revealing and reads: “Du wanderst durch die Flur nach deinen Melodien, dein Textbuch ist Natur; sie leiht dir Harmonien. Es tönet Anselm, es tönet, Anselm!” DMD_18_1&2_2022 - Vsebina P9.indd 88 30/05/2022 16:48:08 89 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Figure 3 Anselm Hüttenbrenner, Das Jubiläum, 2, composed for the seventieth birthday of Baron Ferdinand von Rast (Graz, Universität für Musik und darstellende Kunst [KUG], Bibliothek [A-Gk], Nachlass Anselm Hüttenbrenner, Rara MPMs 0/185, https://phaidra.kug.ac.at/ open/o:215; reproduced by permission) Not all Rast’s poems are of the highest poetic quality. Along with Hüttenbrenner’s music, the texts have been critically evaluated by Dieter Glawischnig. After a thorough analysis Glawischnig found fault with many aspects of both music and poetry. He noted a “Biedermeier attitude of mind and feeling” expressed in large segments. The musical approaches, once chosen, are not consistently followed through, leading to a certain “fragmentation”. The number of musical motifs within a single setting is usually too high, from which fact the density of the mood suffers. Moreover, the musical interpretation of the text is often too general, making no reference to the poetry; above all, however, the composer often lacks strong ideas, which makes many of the lieder completely uninterest- ing. Finally, Glawischnig even accuses Hüttenbrenner of a lack of literary education, for otherwise he would have preferred to turn to the highlights of German Romantic poetry.60 The main problem seems to be that Hüttenbrenner’s lieder are invariably measured against those of Franz Schubert. Certainly, Hüttenbrenner never attained the quality 60 Glawischnig, Anselm Hüttenbrenner, 89–90. The song forms are discussed ibid., 74–76. DMD_18_1&2_2022 - Vsebina P9.indd 89 30/05/2022 16:48:10 De musica disserenda XVIII/1–2 • 2022 90 achieved by Schubert, but our standards must be calibrated differently. Michael Aschauer attempts to soften Glawischnig’s harsh judgement and agrees with him only to a certain extent. The musical quality of the settings varies too widely from case to case to warrant sweeping statements.61 Finally, it should also be noted that Hüttenbrenner developed a simplified, concise style around the middle of the century and held individual aesthetic views, which led to a kind of quasi-sacred music.62 That contemporaries were by no means dismissive of Hüttenbrenner’s lieder is also proved by a review of some compositions published in 1868 in the Lieder-Serie in Graz: A flowing, very singable melody is still the main thing in these strophic lieder. The always carefully worked piano accompaniment, really a mere accompaniment and quite easy to play, does not, however, lack some fine, characteristic traits. If A. Hüttenbrenner were not the composer on the title page, one would not hesitate to attribute these lieder to a friend from his youth and fellow student, the great Lied Prince Franz Schubert.63 Among the numerous piano lieder, as already mentioned, there are also some pieces for vocal ensembles and choruses. One of these should be considered in more detail: whether Hüttenbrenner was also active in some way in the Maribor Musikverein is not known,64 but the dedication of his vocal quartet setting Schiller’s poem Die Tugend ist kein leerer Schall suggests contact with that institution. This piece for two soprano and two alto voices is dedicated to the students of singing in the Maribor Musikverein.65 That society was founded in 1825 but apparently did not become active until 1841. Concurrently, a music school was founded by the same institution, which only a few years later was educating about 160 pupils per year. Concerts by the students were held regularly, but it is impossible to say whether Hüttenbrenner’s quartet was performed in public.66 61 Aschauer, “Anselm Hüttenbrenner als Liedkomponist”, 155–169. 62 Aschauer, “Die ‘heilige Musik’”, 78. 63 “Noch ist in diesen Strophenliedern eine fließende, sehr sangbare Melodie die Hauptsache; die stets sorgfältig gearbeitete Clavierbegleitung, wirklich nur Begleitung und durchaus leicht zu spielen, obwohl nicht ohne manchen feinen, charakteristischen Zug. Stünde nicht A. Hüttenbrenner als Componist am Titelblatte, man möchte diese Lieder ohne Bedenken seinem Jugendfreunde und Studiengefährten, dem großen Liederfürsten Franz Schubert zuschreiben.” Dr. B., “Compositionen von Anselm Hüttenbrenner”, Tagespost, 7 November 1868. See also Eisbacher, “Das Grazer Konzertleben”, 69. 64 Hüttenbrenner was apparently admitted to membership of the Maribor Musikverein, but this has not yet been documented. Constant von Wurzbach reports: “Während ihn die philharmonischen Gesellschaften in Krain, Kärnthen und Croatien, dann die Musikvereine in Gratz, Marburg und Ischl in ihren Kreis aufgenommen, hat ihn der deutsche Nationalverein für Musik und ihre Wissenschaft zu seinem Ehrenmitgliede gemacht.” Wurzbach, “Hüttenbrenner, Anselm”, 408. 65 The composition, dated 24 February 1854, was originally intended as a chorus for two sopranos and two altos. Later the marking “Quartett” was added. The title page reads: “Für die Gesangszöglinge des Musikvereins in Marburg.” A-Gk, Rara MPMs 0/272, https://phaidra.kug.ac.at/open/o:307. 66 Kraševac, “Glasbeno življenje v Mariboru”, 46–49. DMD_18_1&2_2022 - Vsebina P9.indd 90 30/05/2022 16:48:10 91 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) pIaNO COmpOsItIONs aND hütteNBreNNer’s peDagOgICaL aCtIvItIes In addition to his numerous lieder, Hüttenbrenner composed a considerable number of piano pieces during his stay in Maribor. A brief reference to their purpose can be found in a letter of 22 April 1857 to his brother Josef, where Anselm mentions that he had been composing lieder less frequently at that time and had instead been devoting himself increasingly to the composition of piano pieces for two and four hands intended for his well-behaved and beautiful students Emma Rast and Emmerenzia Gasteiger.67 In keeping with his status, Baron Rast had his daughter Emma taught music and entrusted to Hüttenbrenner the task of giving her private music lessons, which probably lasted until the end of 1858. In 1859, Emma married Baron Coloman von Mixich de Alsò-Lukavecz.68 The other pupil mentioned, Emmerenzia Gasteiger, was the daughter of a prominent and wealthy Maribor industrialist, Heinrich von Gasteiger zu Rabenstein und Kobach, who owned an Italian rosolio liqueur factory and a cream of tartar factory in Maribor as well as a glassworks in Josipdol (Josephsthal bei Reifnigg).69 The compo- sitions for four hands may even indicate that the two young ladies were at times taught simultaneously by Hüttenbrenner.70 Hüttenbrenner dedicated at least five compositions to Baroness Emma von Rast, one per year. Beginning with a birthday song for her fifteenth birthday (Vatersegen) on 1 May 1854, two piano pieces followed in the next couple of years (Souvenir à Mademoiselle Emma Baronne de Rast, 18 September 1855, and Emma on 16 December 1856), as well as two four-handed piano compositions (Die Rose vom 1. Mai, 22 March 1857, and Lied ohne Worte, 28 June 1858: see Figure 4). Apart from these, there are two souvenirs for piano (four hands) dedicated to Erna Gasteiger, an elegy composed on 12 September 1855 and a concert overture completed in 1857. The name Erna could be an abbreviation of the name Emmerenzia, since no other person named Erna is so far known in the history of the city. 67 “Lieder schreibe ich jetzt selten, aber desto mehr 2 u. 4 händige Klavierstücke für meine 2 braven u. schönen Schülerinnen Emma Rast, u. Emmerenzia Gasteiger.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 22 April 1857. See footnote 11. 68 Also Miksitsch or Mikšić od Donjeg Lukavca. About her wedding, see [Rast], Das Leben, 69. Emma died in Zagreb on 25 Mai 1912, according to obituary for Emma von Mixich, Marburger Zeitung, 30 May 1912, 5. At that time she owned at least three houses in Maribor, including one of the most beautiful Art Nouveau buildings in the town on Mozart Street, which is today called Smetanova ulica. Nowadays, the house is known as “The Baroness’s House”. 69 Born on 10 April 1838 and baptized as Emerentia Katharina Cäcilia Maria. Nadškofija Maribor, Sv. Janez Krstnik, Krstna knjiga / Taufbuch 1834–1859, sig. 01487, fol. 36. See also Hozjan, “Manj znano in neznano”, 771, 785. 70 A reference to elementary music lessons is also found on the originally blank verso page of the title page in Hüttenbrenner’s incompletely preserved autograph manuscript of Waldes-Stimmen. Here, the space was apparently used by a child for writing exercises (clefs, note forms etc.). A-Gk, Rara MPMs 0/106, https://phaidra.kug.ac.at/open/o:140. DMD_18_1&2_2022 - Vsebina P9.indd 91 30/05/2022 16:48:10 De musica disserenda XVIII/1–2 • 2022 92 Figure 4 Anselm Hüttenbrenner, Lied ohne Worte, front page (A-Gk, Nachlass Anselm Hüttenbrenner, Rara MPMs 0/675, https://phaidra.kug.ac.at/open/o:767; reproduced by permission) Although Dieter Glawischnig also sharply criticized Hüttenbrenner’s piano works, calling most of them fashionable salon music,71 it should be remembered that these pieces are primarily compositions made for pedagogical purposes. For this reason they tend to be short, almost always being composed in a single movement and couched in a mostly romantic mood or containing a touch of playful virtuosity. Around the middle of December 1856 Hüttenbrenner began to compose short char- acter pieces for the piano. This resulted in a series of compositions, all of which bear as titles the first names of various persons. Some of these can be identified without difficulty, others, for lack of information, elude a more precise determination.72 Towards the end of the summer of 1857 Hüttenbrenner devoted himself to the composition of orchestral overtures, which were evidently performed at the Graz theatre before plays by Friedrich Schiller (Die Jungfrau von Orléans, Die Räuber, Don Carlos, and Maria Stuart). This work occupied him until the end of the year. At least two public 71 Glawischnig, Anselm Hüttenbrenner, 113–115. 72 For example, the impromptus Pierre, Paul and Felix clearly refer to Hüttenbrenner’s sons, while Selma was the name of his granddaughter. DMD_18_1&2_2022 - Vsebina P9.indd 92 30/05/2022 16:48:11 93 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) performances of the overtures are documented. Hüttenbrenner himself reports a perfor- mance of the Orléans-Overture and the Concert-Overture in Graz.73 At around the same time he arranged these five orchestral works for piano (four hands). saCreD musIC Although Hüttenbrenner was deeply religious throughout his life and betrayed no doubts regarding his faith, his production of sacred music was far from extensive.74 Nevertheless, his sacred compositions arose from his heart and convictions. Among the most important church music works he composed in Maribor is undoubtedly his ninth Missa solemnis, in F minor, which he completed on 21 April 1855.75 This solemn yet deeply heartfelt compo- sition is one of Hüttenbrenner’s most expressive Mass settings. It is characterized by rich and exciting harmonies, its instrumentation never seeming overloaded.76 In addition to several movements of the Proper of the Mass and some settings of psalm verses, there is one composition not listed in any of Hüttenbrenner’s catalogues of works. An Offertory for alto, bass clarinet and organ with German words (“Was sollen wir für Gaben dir Herr zum Opfer weih’n”)77 is the sole work in Hüttenbrenner’s hand to have survived in Maribor up to the present day. What is surprising here is the rather unusual instrumentation of this Offertory. The bass clarinet was certainly not a common instru- ment, but someone in Limbuš must obviously have played it. It seems to be an occasional composition that Hüttenbrenner dedicated to the parish priest of Limbuš (Lembach) on 16 August 1854 without, interestingly, mentioning his name on the manuscript.78 It was probably a later owner, Peregrin Manich, who noted the name of the original dedicatee: “Ant[on] Laach”. Manich also added Latin words for this Offertory (“Quid nostrum tibi Domine hostia sacrata”) and wrote out some additional parts. It is not difficult to establish that the priest in Limbuš must indeed be Anton Lach/Lah (1803–1861). This man had been active in Limbuš since 1843 and is known to scholars as the founder of a Slovenian reading society, established in 1847 and called Družba slovenskega branja v Lembahi. 73 “Diesen Winter componirte ich fürs Orchester die Ouverturen zur Jungfrau v. Orleans, Don Carlos, M. Stuart, zu den ‘Räubern’ u. eine Concertouverture. Letzte u. die Orleans-Ouverture wurden im Gratzertheater bereits aufgeführt.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 9 March 1858. See footnote 11. 74 Eisbacher, “Das Grazer Konzertleben”, 69. 75 “Gegenwärtig schreibe ich eine solemne Messe in F moll.” Anselm Hüttenbrenner to Josef Hüttenbrenner, Marburg, 25 April 1855. See footnote 11. The first performance of the Missa solemnis took place at the Cathedral Church in Graz on 1 November 1855. At least two perfor- mances followed on 8 December 1855 and 30 March 1856. Glawischnig, Anselm Hüttenbrenner, 146 and n. 21. 76 On the Missa solemnis, see Aschauer, “Die ‘heilige Musik’”, 93–95; Glawischnig, Anselm Hüttenbrenner, 21–37. 77 The poet who authored these words could not be determined by the present study. At all events, the poem was widespread in German-speaking countries from the early nineteenth century at the latest. The text of the prayer was probably first published in 1800: [Sperl], Christliche Gesänge, 55. 78 “[…] dem hochwürdigen Herrn Pfarrer zu Lembach bei Marburg.” Maribor, Stolnica, glasbeni arhiv (SI-Ms), GA/XXII/0096. DMD_18_1&2_2022 - Vsebina P9.indd 93 30/05/2022 16:48:12 De musica disserenda XVIII/1–2 • 2022 94 The society had its own library, and Lach also offered sheet music on loan.79 It remains unclear when the meeting between Lach and Hüttenbrenner actually took place and what form of acquaintance they may have enjoyed (see Figures 5 and 6). Figures 5–6 Anselm Hüttenbrenner, Offertorium “Was sollen wir für Gaben”, front page (above) and begin- ning (below) (Maribor, Stolnica, glasbeni arhiv, GA/XXII/0096; reproduced by permission) 79 Glaser, “Anton Lah”, 64. DMD_18_1&2_2022 - Vsebina P9.indd 94 30/05/2022 16:48:14 95 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Findings and Conclusions Set alongside Hüttenbrenner’s complete oeuvre (c. 715 compositions), the number of works composed in Maribor is extraordinarily high, even if most of these are short. Their quantity is also astonishing, given the brevity of his residence in the town, which spanned no more than a few years, and the fact that, as Hüttenbrenner himself empha- sized, music represented a mere source of recreation for him. In his obituary Schmölzer reports a noticeable withdrawal of Hüttenbrenner from music and public musical activity.80 Hüttenbrenner himself confirmed this impression on several occasions. Particularly moving in this context is his letter to Josef Hüttenbrenner of 22 April 1857. A certain resignation cannot be overlooked in its content, but the words can just as easily be interpreted as a sign of liberation (see Figure 7). In April 1857 Hüttenbrenner urges his brother to retire from the vile and ungrateful world after reaching his forty years of service at court. He writes that Josef should accord- ingly enter the realm of the imagination and enjoy the simple pleasures of life, as would a child. Just as their father said farewell to the world at the moment of his parting, so Anselm has bidden the world adieu five years previously. He lives happily and contentedly in his inner world and still reads diligently the words of God. This makes the world around him seem ever brighter and fills his heart with comfort and peace. Anselm hopes to spend some time with his brother before the end of their lives, reminiscing about the joyous days of their youth. He also wishes to take the opportunity for them to make music together.81 In contrast, Anselm’s words to Ferdinand Luib on 7 March 1858 sound more prosaic but no less honest: “Finally, Your Excellency will be surprised when I say that music is merely a matter of secondary importance for me and solely a pastime. What mainly occupies my mind is theology and magnetism.”82 Looking back on his earlier involvement with the Styrian Music Association, he sums up by saying: “I preferred being a trustee of the bank to being a director of the Music Society, where I had to depend on the whim and 80 Schmölzer, “Ein kleiner Beitrag”, [5]. 81 “Wenn deine 40 Dienstjahre abgelaufen sind, so ziehe dich von der schnöden und undankbaren Welt zurück, und begib dich ins Gemüthsleben, in’s Reich der Fantasie, und erfreue dich an den kleinen und kleinsten Dingen, wie die Kinder. […] Also rufe ich dir das letzte Wort zu, das unser lieber Vater Anselm auf Erden gesprochen hat: ‘Adio Welt!’ – Ich habe der Welt schon seit 5 Jahren Adieux gesagt, und lebe glücklich u. zufrieden in meiner stillen inneren Welt, die mir, da ich noch immer das Wort Gottes fleißig lese, in stets größerem Lichte erscheint, wodurch mein Herz mit Trost und Frieden erfüllt wird. – Ich hoffe, wir werden noch längere Zeit vor unserem materiellen Ende zusammen leben, uns an der Erinnerung an die frohe Jugendzeit sonnen, und noch so manches Tonstück miteinander exekutiren.” Anselm Hüttenbrenner to Josef Hüttenbrenner, 22 April 1857. See footnote 11. 82 “Schließlich werden sich E. Wohlgeborn wundern, wenn ich sage, daß die Musik nur eine reine N e b e n s a c h e und pur eine E r h o l u n g ist. Was meinen Geist hauptsächlich beschäftigt, das ist die Theologie und der Magnetismus.” Anselm Hüttenbrenner to Ferdinand Luib, 7 March 1858. See Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 146. DMD_18_1&2_2022 - Vsebina P9.indd 95 30/05/2022 16:48:14 De musica disserenda XVIII/1–2 • 2022 96 Figure 7 Anselm Hüttenbrenner’s letter to Josef Hüttenbrenner, 22 April 1857, 1 (A-Gk, Nachlass Anselm Hüttenbrenner, Rara MPMs 0/1199, https://phaidra.kug.ac.at/open/o:1926; reproduced by permission) DMD_18_1&2_2022 - Vsebina P9.indd 96 30/05/2022 16:48:16 97 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) goodwill of amateurs.”83 Hüttenbrenner did not renounce music, but he lost the desire to ask public institutions and influential people to perform his compositions.84 In the light of such frank confessions on the one hand and his high productivity during this period on the other, it is quite astonishing how favourable the city of Maribor and the composer’s social environment must have been to him. This relationship, which may be described as close to intimate, is also directly reflected in a number of Hüttenbrenner’s compositions. Many pieces refer to the town of Maribor and its surroundings or to the people in Hüttenbrenner’s circle of local acquaintances and friends. Although this intimacy comes across in the dedications of compositions to various personalities in Maribor, there are also clear thematic connections. Some of Rast’s poems set to music by Hüttenbrenner allude, in fact, to the composer’s close relationship with Maribor, such as Marburg, Mein Steierland, St. Urban,85 as does Erinnerung an Kranichsfeld, a setting of Hüttenbrenner’s own text. But also, purely instrumental compositions bear musical references to the town or are impressions of the surrounding countryside. These include the piano Fantasy Erinnerung an die Besteigung des Pacher am 18. September 1854 in two versions for piano solo and piano four hands (see Figure 8); the piano rondo Empfindung an der St. Joseph’s-Quelle,86 the four-handed rondo Die Draumühle and finally the piano piece Abschied von Marburg (see Figure 9). 83 “Beide Chargen machten mir viel Mühe und Sorge; aber dennoch war ich lieber Curator der Sparkasse, als Direktor des Musikvereins, wo ich von der Laune und dem guten Willen der Dilettanten abhängig war.” Anselm Hüttenbrenner to Ferdinand Luib, 7 March 1858. See Deutsch, “Anselm Hüttenbrenners Erinnerungen”, 147. 84 “Ach lassen’s mich aus mit – (ich verschweige den Verein) –. Die Leute glauben, ich soll um die Gunst jtzt betteln, daß sie von mir etwas aufführen.” Schmölzer, “Ein kleiner Beitrag”, [5]. 85 St. Urban is a hill north-west of the city, and the saint to whom the church on the summit is dedi- cated is the patron saint of vintners. It is still a popular vantage point of Maribor today. Under the hill of St. Urban, Ferdinand von Rast owned some vineyards. Puff, Marburg in Steiermark, 197. 86 St. Josephs-Quelle must be the source of water below the church of St Joseph on the bank of the Drava in Maribor. The name of the present-day Studenci district still reminds us of this. The settlement was formerly called Brunndorf bei Marburg. Seidl, Wanderungen, 95–96. Puff described these water sources as follows: “Der bei Weitem schönste Punkt des rechten Ufers aber ist St. Josef, eine auf einer kleinen, zum Theile schroffen Halbinsel malerisch gelegene Filiale von Lembach, auf einem Conglomerat-Plateau, dem in der Tiefe herrliche Quellen entsprudeln, so mächtig, daß sie nach wenigen Schritten einen Bach bilden, der stark genug ist, die idyllisch gelegene, unter Hängelbirken halb verdeckte Staudinger-Mühle zu treiben.” Puff, Marburg in Steiermark, 130. DMD_18_1&2_2022 - Vsebina P9.indd 97 30/05/2022 16:48:16 De musica disserenda XVIII/1–2 • 2022 98 Figure 8 Anselm Hüttenbrenner, Erinnerung an die Besteigung des Pacher, front page (A-Gk, Nachlass Anselm Hüttenbrenner, Rara MPMs 0/647, https://phaidra.kug.ac.at/open/o:738; reproduced by permission) Rudolf Gustav Puff describes the inhabitants of Maribor as homely. Here, German seriousness is combined with Slovenian smoothness. Most people speak both languages, and many strangers who come to the town feel both surprised and welcomed by the hos- pitality of the inhabitants. Maribor is a town of joy, music and song, he writes. It is also known for its conviviality, and people love to celebrate festivals such as the carnival and the grape harvest. Puff goes on to say that, in terms of cultural institutions, Maribor has a theatre, a music society (Musikverein) and a reading casino society (Lese-Casino-Verein).87 The city with its suburbs had about 5000 inhabitants in 1847 and was growing rap- idly. How rapidly is evident from a remark by Puff, who reported that the population of the city centre had grown from 1000 to 4000 in only forty years.88 A real turning point in Maribor’s history occurred in the late 1840s. At that time the construction of the Southern railway line, which passed through Maribor half-way between Vienna and Trieste, had begun. From 1846 it was possible to travel comfortably by train from Graz to Celje, and 87 Puff, Marburg in Steiermark, 258–264; Kraševac,“Glasbeno življenje v Mariboru”. 88 Puff, Marburg in Steiermark, 209–210. DMD_18_1&2_2022 - Vsebina P9.indd 98 30/05/2022 16:48:17 99 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) by 1849 even as far as Ljubljana. As early as 1857 the entire railway line between Vienna and Trieste became operative. For Maribor, this represented an enormous economic and social advance, and the 1850s certainly marked a time of expansion and prosperity (see Figure 10). Figure 9 Anselm Hüttenbrenner, Abschied von Marburg, 2 (A-Gk, Nachlass Anselm Hüttenbrenner, Rara MPMs 0/625, https://phaidra.kug.ac.at/open/o:686; reproduced by permission) DMD_18_1&2_2022 - Vsebina P9.indd 99 30/05/2022 16:48:19 De musica disserenda XVIII/1–2 • 2022 100 Figure 10 View of the town of Maribor, steel engraving after Nicolas-Marie-Joseph Chapuy in Südbahn- Album: Malerische Ansichten in der Nähe der k.k. Südbahn von Wien bis Triest (Trieste: Literarisch-Artistische Abtheilung des Österreichischen Lloyd, [1856]); author’s private collection But it was by no means the bustling activity that attracted Hüttenbrenner. Around the mid-1850s Maribor was still a relatively tranquil place. It must have been the wealth of picturesque places and the flourishing nature that appealed to Hüttenbrenner. Favoured by its location at the start of the Drava plain, which flattens out towards Ptuj (Pettau), and the city’s location between Pohorje (Bacher) and Slovenske Gorice (Windische Bühel), Maribor offered him an almost idyllic setting and copious inspiration for his work. At the same time, it was a place where he evidently enjoyed a special appreciation from a variety of people. The final question that should be addressed is what kind of impression Hüttenbrenner left in the minds of the people of Maribor. Unfortunately, we can only speculate about this; but at least one pointer suggests that Hüttenbrenner’s personal contacts in Lower Styria were wider than previously assumed. The first published work by the Slovenian composer and schoolteacher Gregor Tribnik (Triebnigg) came out from the Viennese DMD_18_1&2_2022 - Vsebina P9.indd 100 30/05/2022 16:48:20 101 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) music publisher F. Glöggl et Sohn probably towards the end of 1858.89 These virtuosic variations for the piano are dedicated to Anselm Hüttenbrenner.90 Tribnik was born on 2 March 1831 in Ruše, near Maribor. Little is known about his musical education, but from 1854 at the latest he was active in Celje (Cilli) as a teacher, choirmaster and pianist.91 Unless he studied in Graz in his youth and met Hüttenbrenner there, a meeting in Celje in the summer of 1858 is quite conceivable (see Figure 11). Figure 11 Gregor Triebnigg (Tribnik), Variationen für das Pianoforte, Op. 1, front page, http://www.dlib. si/?URN=URN:NBN:SI:DOC-HLDCTI0I (Digitalna knjižnica Slovenije – dLib.si) 89 Advertisement for Triebnigg’s Variationen, Grazer Zeitung, 19 December 1858, 1260. 90 Gregor Triebnigg, Variationen für das Pianoforte componirt und dem Herrn Anselm Hüttenbrenner (gewesener Director des Musikvereines für Steiermark, dann Ehrenmitglied mehrerer philhar- monischer Vereine des In- und Auslandes) hochachtungsvoll gewidmet von Gregor Triebnigg, Op. 1 (Vienna: F. Glöggl et Sohn), http://www.dlib.si/?URN=URN:NBN:SI:doc-HLDCTI0I. 91 Ajlec, “Tribnik, Gregor”. DMD_18_1&2_2022 - Vsebina P9.indd 101 30/05/2022 16:48:21 De musica disserenda XVIII/1–2 • 2022 102 Public performances of Hüttenbrenner’s works are hardly documented in Maribor and were, if any occurred at all, probably a rarity. Only one piece of relevant evidence has been found so far: this was a concert in aid of the theatre conductor Albert Hohl that took place in Maribor on 16 March 1864. On that occasion a certain Fräulein Herzog sang the lied Das Waisenkind by Hilarius, set to music by Hüttenbrenner.92 This situation has not changed much up to the present time. Even today, knowledge of Hüttenbrenner’s work and life is limited to a small group of specialist scholars, and his compositions are heard all too rarely. Appendix: Chronology of Hüttenbrenner’s Compositions in the Maribor Period For the sake of clarity the works composed by Hüttenbrenner during his Maribor period are listed chronologically in four tables. In the tables the date and place of compo- sition as noted in the sources are given. The place names follow the original language and spelling: for example, Marburg instead of the current and official city name Maribor. This is followed by the title with some additional information, and in the case of the secular vocal works also the start of the text given in parentheses. In the case of vocal works the poet is named. The last two columns list the holding library and the number given to the work in the catalogue of Dieter Glawischnig (G). The documents in the Hüttenbrenner collection in Graz (KUG) have their own shelfmarks, but for reasons of space and in the interest of quick retrieval the record number of the digital copies is given here. The desi- gnation o: followed by a number identifies the ending of the digital address: for example, https://phaidra.kug.ac.at/open/o:84. The first table lists all secular vocal works with or without accompaniment. Unless otherwise indicated, these are lieder. Table 1 Lieder and partsongs with or without piano accompaniment Date Location Title Poet Location G 7 Nov 1853 Villa Rast Abendlied (“Winde, weht leise”) Rast o:84 110 10 Nov 1853 Villa Rast Wiegenlied (“Mit zarter Sorg’ die Mutter sang”); second version of words added later Rast o:84 111 12 Nov 1853 Marburg Das Waisenkind (“Mir ist so kalt”) Rast o:85 92 “Marburg, 13. März: zum Vortheile des Theater-Kapellmeisters”, Correspondent für Untersteiermark, 13 March 1864, 129. DMD_18_1&2_2022 - Vsebina P9.indd 102 30/05/2022 16:48:21 103 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 15 Nov 1853 Marburg Die Bestellung (“Heute Abend suche mich”) Rast o:86–87 112 16 Nov 1853 Marburg Helene (“Fern am Elbe Strand”) Rast o:88–89, A-Wn, Mus.Hs. 37393 113 17 Nov 1853 Marburg Der Schutzgeist (“Am Sees Rand ein Knäblein stand”) Rast o:89 114 17 Nov 1853 Marburg Die Rose (“Eine Rose zart und rein”) Rast o:90 115 18 Nov 1853 Marburg Abendfeier (“Die Sonne färbet golden”) Rast o:89 116 19 Nov 1853 Ehrenhausen Überraschung (“Abends eine Blume stand”) Rast o:91 117 19 Nov 1853 Ehrenhausen Trennung (“Die Schwäne ziehen auf dem See”) Rast o:92 118 21 Nov 1853 Marburg Die Liebe wacht (“Mond und Sterne leuchten”) Rast o:94 119 21 Nov 1853 Marburg Lerchenlied (“Von der Lerche lerne Sänger”) Rast o:95 120 24 Nov 1853 Marburg Allmacht (“Das Schilf im See sich wieget”) Rast o:96 121 26 Nov 1853 Villa Rast Liebesschmerz (“Vom Auge Tränen brechen”) Rast o:97 122 28 Nov 1853 Marburg Custozza (“Der Tambour macht die Runde”); versions for high and low voice Rast o:98–100 123 2 Dec 1853 Marburg Mein Steierland (“Wo Berge Wolken tragen”) Rast o:101 124 DMD_18_1&2_2022 - Vsebina P9.indd 103 30/05/2022 16:48:21 De musica disserenda XVIII/1–2 • 2022 104 6 Dec 1853 Marburg Vertrauen (“Die Wolken ziehen”) Rast o:102 125 7 Dec 1853 Marburg Herzleid (“Liegt Schnee auf Fluß”) Rast o:103 126 9 Dec 1853 Marburg Meeresfahrt (“Eine Barke gleitet”) Rast o:104 127 11 Dec 1853 Marburg Ebbe und Flut (“Sag’ Meer, sag’ Riesenweib”); incomplete Rast o:104 128 15 Dec 1853 Marburg Die Fischerin (“Am See die Fischerin stand”); incomplete Rast o:105 129 17 Dec 1853 Marburg Bergstimme (“Ich stieg so froh”) Rast o:106 130 20 Dec 1853 Marburg Die Wanderer (“Stern und Vogel ziehen”) Rast o:107 131 20 Dec 1853 Marburg Wiederkehr (“Storch und Schwalbe ziehen”) Rast o:108 132 23 Dec 1853 Marburg Alexis (“Es sah am Seesrand Alexis”) Rast o:107 133 25 Dec 1853 Marburg Selma (“Selma rief es mir”) Rast o:109 134 4 Jan 1854 Marburg Marburg (“Du wunderliche Frau”) Rast o:110 135 7 Jan 1854 Marburg Die Schäferinn (“Auf grüner Blumenweide”) Rast o:111 136 10 Jan 1854 Marburg Die Schnitterinn (“Mein Herz trieb mich in’s Freie”) Rast o:112 137 16 Jan 1854 Marburg Nach der Schlacht (“Die Feinde sind geschlagen”) Rast o:113 138 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 104 30/05/2022 16:48:22 105 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 21 Jan 1854 Marburg Erfahrung (“Die Mutter lehrt’ mich bethen”) Rast o:114 140 27 Jan 1854 Marburg Geständniss (“O Mädchen, laß dir klagen”) Rast o:115 139 29 Jan 1854 Marburg Der Spaziergang (“Laß uns im Garten gehen”) Rast o:116 141 31 Jan 1854 Marburg Moosrose und Schmetterling (“Es wiegt sich eine Rose”) Rast o:117 142 3 Feb 1854 Marburg Liebesmelancholie (“Der Himmel ist so trübe”) Rast o:118 143 5 Feb 1854 Marburg Liebesgewalt (“Mädchen, denke mein!”) Rast o:119 144 7 Feb 1854 Marburg Die Blumenarbeiterin (“Ein Mädchen formt sich Veilchen”) Rast o:120 145 7 Feb 1854 Marburg Das Blumenmädchen (“Kauft Blumen, liebe Leute”); Duett Rast o:121 146 9 Feb 1854 Marburg Die Auswanderer (“O Mutter, laß uns ziehen”); Terzett Rast o:122 147 13 Feb 1854 Marburg Ihr Bild (“Die Rosen auf den Wangen”) Rast o:123 148 16 Feb 1854 Marburg Verschmähte Liebe (“Adele meine Wonne”) Rast o:124 149 20 Feb 1854 Marburg Die Bothschaft (“Er kommt am Felsenhang”); Quartett Rast o:306 150 DMD_18_1&2_2022 - Vsebina P9.indd 105 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 106 24 Feb 1854 Marburg Die Tugend ist kein leerer Schall. Für die Gesangszöglinge des Musikvereins in Marburg; Quartett, 2 S, 2 A Schiller o:307 591 27 Feb 1854 Marburg Jäger und Fischerinn (“Sieh, wie die Wellen brechen”); Duett Rast o:127 151 1 Mar 1854 Marburg Muttersegen (“Prüfe deine Seele”); Duett Rast o:129 152 4 Mar 1854 Ehrenhausen Morgengruß (“Es grüßt des Frühlings Sonnenstrahl”) Rast o:126 153 14 Mar 1854 Marburg Liebe, deine Strahlen; Quartett, 2 S, 2 A Rast o:308 592 15 Mar 1854 Marburg Ergebung (“Sieh, wie Sonne scheidet”) Rast o:130 154 20 Mar 1854 Marburg Chor der Winzerinnen (“Es zieht der Herbst heran”); 2 S, 2 A Rast o:281– 283 31 Mar 1854 Marburg Scheiden und Kommen (“Das Herz, das wollte brechen”) Rast o:131 155 4 Apr 1854 Marburg Die Spröde (“Die Rose blühet”) Rast o:132; A-Wgm, VI 45465 156 13 Apr 1854 Marburg Trost im Unglück (“Gewitter ziehen her”) Rast o:133 157 22 Apr 1854 An Anselm (“Der frühe Morgen graut”) Rast A-Wgm, VI 45470 (Q 6134) 158 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 106 30/05/2022 16:48:22 107 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 1 May 1854 Vatersegen, zum XV. Geburtsfeste seiner Tochter, Fräulein Emma (“Mein Kind! Mein liebes Kind”) Rast o:134 159 2 May 1854 Marburg Oben und unten (“Oben Welten thronen”) Rast o:135 5 May 1854 Marburg Trost in der Liebe Schmerz (“Wo finde ich das Bild”) Rast o:136 160 9 May 1854 Marburg Erinnerung an Kranichsfeld (“Der Himmel ist so blau”); E. L. F. Hütten- brenner o:137 161 17 May 1854 Marburg Im Walde (“Ich muß in’s Freie gehen”) Rast o:138 162 23 May 1854 Marburg Ständchen (“Wenn Mädchen du dich zeigest”); Duett, incomplete Rast o:139 163 28 May 1854 Marburg Waldes-Stimmen (“Ich hör im Walde rauschen”); incomplete, writing exercises Rast o:140 164 31 May 1854 Marburg Allein (“Es lief hinaus zum See”) Rast o:141 165 19 Jun 1854 Marburg Sehnsucht nach der Mutter (“Die Mutter kommt”) Rast o:142 166 19 Jun 1854 Marburg Liebesrache (“Graf Oscar saß am Söller”) Rast o:143– 144 167 22 Jun 1854 Marburg Geistergruß: Nachruf an Vater, Mutter und Tochter (“Im Dorfe geht die Sage”) Rast o:145 168 DMD_18_1&2_2022 - Vsebina P9.indd 107 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 108 1 Jul 1854 Marburg Das Herz (“Das Herz, das gleicht dem Strome”); Duettino Rast o:146 169 26 Jul 1854 Marburg Ave Maria (“Der Abend sinket wieder”) Rast o:147; A-Wgm, VI 45464 170 7 Aug 1854 Marburg Waldes-Sprache (“Durch Wald und Alpentriften”) Rast o:148 171 10 Aug 1854 Marburg Naturgesang (“Als ich den Wald betreten”) Rast o:149 172 27 Aug 1854 Marburg Mein Vaterhaus (“Im Strome eilt die Welle”) Rast o:150 173 2 Sep 1854 Marburg Waldesnacht (“Die Sonne golden sinket”) Rast o:150 174 3 Sep 1854 Marburg Harfenklänge (“Es mag die Harfe klagen”) Rast o:151 175 6 Sep 1854 Marburg Klage um den Freund (“Vom Baum’ die Blätter fallen”) Rast o:152 176 10 Sep 1854 Marburg Sangesmacht (“Wenn Berg und Thal sich röthen”) Rast o:153 177 10 Sep 1854 Stromesmacht (“Im grünen Waldgehege”) Rast o:154 178 14 Oct 1854 Marburg Die Rettung (“Von ferne Donner hallen”) Rast o:155– 156 179 1 Nov 1854 Mein Heimathland (“Das Land, wo ich das Licht ersehen”) Rast o:157 180 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 108 30/05/2022 16:48:22 109 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 6 Nov 1854 Mein Frühling (“Die Herbstesnebel schweben”) Rast o:158 181 16 Nov 1854 Marburg Bergesmacht (“Die Sonne golden strahlet”) Rast o:159 182 18 Nov 1854 Mutter und Kind (“Ein Röschen kaum entstiegen”) Rast o:160 183 25 Nov 1854 Marburg Waldesleiche (“Im Walde war’s, im tiefen”) Rast o:161 184 4 Dec 1854 Marburg Lichtesmacht (“Die mächt’gen Schatten hebet”) Rast o:159 185 6 Dec 1854 Marburg Schifferlied, Romanze (“Ich bin des Meer’s Nomade”) Rast o:162 186 11 Dec 1854 Marburg Abendruhe (“Der Mond scheint klar und helle”) Rast o:162 187 30 Dec 1854 Marburg Windesmacht (“Im Rohre hört man Knistern”) Rast o:162 188 1 Jan 1855 Marburg Frühlingstraum (“Vom weißen Winterkleide”) Rast o:163 189 3 Jan 1855 Marburg Am See (“Auf meinem Lebenswege”) Rast o:164 190 21 Jan 1855 Marburg Waldestrauer (“Ich floh des Tages Schwüle”) Rast o:164 191 22 Jan 1855 Marburg Der Abschied (“Vom Thurm die Glocke klinget”) Rast o:164 192 26 Jan 1855 Marburg Der todte Reiter (“Zum Angriff wird geblasen”) Rast o:165 193 DMD_18_1&2_2022 - Vsebina P9.indd 109 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 110 28 Jan 1855 Marburg Die Wasserlilie (“Es stand am Sees Rande”) Rast o:166 194 4 Feb 1855 Marburg Blumen und Küsse (“Gib mir keine Blumen mehr”); für Hrn. v. Arnold Carneri o:166 195 4 Feb 1855 Marburg Der Zaunkönig (“Ich bin ein Vöglein nur”) Rast o:167 196 10 Feb 1855 Die Schlacht bei Inkermann (“Der Feind lag auf der Lauer”) Rast o:168 197 12 Feb 1855 Das Mädchen am Spinnrad (“Es fiel in dicken Flocken”) Rast o:169 198 21 Feb 1855 Das Alpenkind (“Die Erde lag in Wehen”) Rast o:170 199 26 Feb 1855 Die Bergruine (“Es stehet überm Thale”) Rast o:171 200 28 Feb 1855 Sylvesternachtstraum (“Ein Traumbild mir entstiegen”) Rast o:172 201 16 Mar 1855 Seegras (“In bunten Frühlingsfarben”) Carneri o:173– 174 202 18 Mar 1855 Marburg Ein Mädchen singt (“Langsam schleichet Tag auf Tag”) Carneri o:175 203 23 Mar 1855 Sehnsucht (“Die Lilie blüht am rauschenden Bach”) Carneri o:176 204 23 Mar 1855 Zaunkönigs Tod (“In früher Morgenstunde”) Rast o:177 205 27 Mar 1855 Todesahnung (“Horch Vater! Ein Geflüster”) Rast o:178 206 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 110 30/05/2022 16:48:22 111 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 9 Jul 1855 Melling Des Knaben Schwanenlied (“Häubchen lag am Waldessaum”) Rast o:179 207 16 Aug 1855 Die Dorflinde (“Ferne ragt in Abenrothe”); incomplete o:180 208 24 Aug 1855 Marburg Sehnsucht nach der Lautenspielerinn (“Trauernd senkt das Haupt die Laute”) Hütten- brenner o:180 209 4 Nov 1855 St. Urban (“Auf Urbans Bergesrücken”) Rast o:181 210 4 Nov 1855 Wahre Trauer (“Die Leute drängend gehen”) Rast o:182 211 8 Nov 1855 Marburg Der Reichsjuwel (“Viel Fremde aller Zonen”); chorus, pianoforte Rast o:183 212 15 Nov 1855 Marburg Das Waldschloss (“Im tiefen Waldesgrunde”) Rast o:184 213 21 Nov 1855 Marburg Der Königsfluch (“Es stand am Meeresstrande”) Rast o:185 214 29 Dec 1855 Marburg Die Bergbraut (“Die Nacht mit tiefen Schweigen”) Rast o:186 215 9 Jan 1856 Marburg Die Felsenbraut (“Aus Wald und Alpentiefen”) Rast o:187 216 17 Jan 1856 Marburg Das Bienenhaus (“Die Sonne war geschieden”) Rast o:188 217 28 Jan 1856 Marburg Das Waldhaus (“Beim Abendlied der Quellen”) Rast o:189– 190 218 DMD_18_1&2_2022 - Vsebina P9.indd 111 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 112 1 Feb 1856 Marburg An Gretchen (“Laß dich küssen”) Rast o:191 219 17 Feb 1856 Marburg Das stille Glück (“Es glänzt im Abendgolde”) Rast o:192 220 3 Mar 1856 Marburg Thal und Berg (“Es ruht am Alpenhange”) Rast o:193 221 6 Mar 1856 Ohne Worte (“Die Quellen rieselnd fallen”) Rast o:194 222 9 Mar 1856 Marburg Die drei Wünsche (“Drei Männer, die lagen am Strande”) Rast o:195 223 17 Mar 1856 Marburg Wasserlilien (“Im blauen Farbenscheine”) Rast o:196 224 13 Apr 1856 Marburg Rosaura (“Rosaura tief beweget”) Rast o:197 225 25 Apr 1856 Der kranke Musikant (“Es spielte Nachts die Laute”) Rast o:198 226 25 Apr 1856 Marburg Österreichische Friedenshymne (“Mit den Schwalben, mit dem Lenze”); NB. Kann als Lied, als Vocalquartett, und als Chor vorgetragen werden Puff o:433 36 26 May 1856 Laura (“Laura sann in Angst und Trauer”) Rast o:199 227 17 Jul 1856 Schifferlied 228 23 Jul 1856 Marburg Verlornes Liebesglück (“Einst gab mir eine Rose”) o:200 229 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 112 30/05/2022 16:48:22 113 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 6 Aug 1856 Das Grab der Liebe (“Du Haus mit schmalen Wänden”) Rast o:202 230 25 Aug 1856 Merlhof bei Gams Die Grillen (“Auf der steilen Bergeshalde”) Rast o:203 231 28 Aug 1856 Marburg Sie ist fort (“Nah bei einem Hollerstrauche”) Rast o:204 232 1 Sep 1856 Die weiße Frau (“Ein bachantisch wirres Treiben”) Rast o:205 233 12 Sep 1856 Marburg Liebessehnen (“Was drängt die Eiche aufzuschießen”) Rast o:206 234 19 Sep 1856 Marburg Sie ist da! (“Wild romantisch zwischen Felsen”) Rast o:207 235 25 Sep 1856 Marburg Winterschlaf (“Schneebedeckt sind Hain und Fluren”) Rast o:208 236 29 Sep 1856 Sie hat gegrüßt (“Am Lenzes Sonnenscheine”) Rast o:209 237 28 Oct 1856 Marburg In Buabn sei G’hamniß (“Mir schmeck nimmer’s Pfeiferl”); NB. Ursprünglich Solo Quartett in G moll, Für eine Singstimme mit Klavierbegleitung arrangiert […]. Gewidmet seinem jüngsten Sohne Felix […] Klesheim o:210 238 28 Oct 1856 Marburg In Buabn sei G’hamniß, Soloquartett; 2 T, 2 B Klesheim o:310 238 DMD_18_1&2_2022 - Vsebina P9.indd 113 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 114 1 Nov 1856 Marburg Die Waldschmiede (“Auf des Waldes Tannenzweigen”) Rast o:211 239 15 Nov 1856 Marburg Waldestraum (“Im Walde unter Flieder”) Rast o:212 240 26 Nov 1856 Marburg Die Liedertafel, Rondo (“Aus dem Hause vom Portale”); incomplete Rast o:212 241 22 Dec 1856 Der Liederquell (“Tief aus Berg und Felsenklippen”); Duett Rast o:295 242 10 Jan 1857 Die beiden Zecher (“Im Kastell und seinen Hallen”) Rast o:213 243 17 Jan 1857 Trinklied (“Freunde, laß die Becher klingen”) Rast o:214 244 21 Jan 1857 Das Jubiläum (“In des Pachers Forstgewande”); Gedicht zum 70. Geburtsfeste von Ferd. Freiherr v. Rast Rast o:215 245 4 Feb 1857 Der Sorgenbrecher (“Schenket voll den leeren Becher”); with male chorus Rast o:216 246 25 Feb 1857 Der blaße Ritter (“Vom Schlafe aufgetrieben”) Rast o:217– 218 247 1 Mar 1857 Der Blumengärtner (“Zwei Blumen steh’n beisamen”) Rast o:219 248 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 114 30/05/2022 16:48:22 115 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 7 Mar 1857 Die Wunder der Magie (“Es ragt mit Bogenhallen”) Rast o:220 249 20 Mar 1857 Marburg Der Lindwurm (“Reich erblühet steh’n im Thale”) Rast o:221 250 15 May 1857 Bei Dir! (“Bei Dir beginnt mein Herzensleben”) Rast o:224 251 19 May 1857 Bleib bei mir! (“Bleib bei mir! Ein klarer Quell’”) Rast o:223 252 28 May 1857 Denke mein! (“Wenn Nachts des Himmels Rosen”) Rast o:222 253 2 Jun 1857 Ich denke dein! (“Wenn ich vor deinem Herzen stehe”) Rast o:225 254 15 Jun 1857 Der Hügel (“Ein Knäblein stand auf einem Hügel”) Rast o:227 256 19 Jun 1857 Der Invalide (“Wer klagt? trägt Marter aus”) Rast o:228 257 23 Jun 1857 Ich liebe dich mehr als mein eigen Leben, Arietta (“Ich liebe dich”) Rast o:229 258 12 Jul 1857 Das Forsthaus (“Aus dem grünen Buchenhaine”) Rast o:230 259 14 Jul 1857 Das Bild (“Von eines Baches Blumenrand”) Rast o:231 260 16 Jul 1857 Phantasie (“Es kos’ten die Lüfte”) Rast o:233 261 17 Jul 1857 Der Säugling (“Die Mutter hält in ihrem Schoße”) Rast o:234 262 DMD_18_1&2_2022 - Vsebina P9.indd 115 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 116 20 Jul 1857 Lebe wohl! (“Lebe wohl! so ward mir oft gesprochen”) Rast o:235 263 3 Aug 1857 Ich liebe dich! (“Die Lieb’ ist eine Frühlingsblume”) Rast o:236 264 1857 An ihr Auge (“Seh’ ins Aug’ ich dir”) Rast o:226 255 1857 Marburg Der Abend (“Die Abendsonne sinket”); Vocalquartett, Op. 9 [1823], revised Unger o:309 302 4 Jan 1858 In der Alpenhütte (“Noch seh’ ich dich”) Leitner o:237 265 5 Jan 1858 Des Klausners Wallfahrt (“Sei fromm gegrüßt”) Leitner o:237 266 6 Jan 1858 Das Rosenblatt (“Leise! sie schläft im Gebüsch”) Leitner o:238 267 7 Jan 1858 Der Fischer (“Es eilt mir raschem Füße”) Leitner o:239 268 20 Jan 1858 Im Naßfelde bei Gastein (“Rings engen starre Gletscher”) Leitner o:240 269 24 Jan 1858 Die Morgenwolke (“Dort schwebt die Wolk’ in Purpur”) Leitner o:241 270 25 Jan 1858 Das welkende Veilchen (“Rette, rette, armes Veilchen”) Leitner o:242 271 28 Jan 1858 Des Einsiedlers Harfe (“O Harfe! Dir hab ich frühe vertraut”) Leitner o:243 272 Table 1 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 116 30/05/2022 16:48:22 117 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 1 Feb 1858 Erste Liebe (“Als hold mich noch in meines Lebens Mai”) Leitner o:244 273 4 Feb 1858 Die Gabe des Friedens (“Woher ist dies Stille”) Leitner o:245 274 5 Feb 1858 Des Einsiedlers Grab (“Dies Grab hat mir gegraben”) Leitner o:246 275 7 Feb 1858 Des Einsiedlers Begräbnis (“Und bin ich dann verschieden”) Leitner o:247 276 11 Feb 1858 Des Einsiedlers Kreuz (“Sie wanden Dir eine Krone”) Leitner o:248 277 13 Feb 1858 Des Einsiedlers Glocken (“Oft, wenn ich verzag’”) Leitner o:249 278 1 Mar 1858 Die Sommernacht (“Mit stillem Schmachten spähen”) Leitner o:250 279 19 Sep 1858 Canon a 4 voci (“Cantores amant humores”); 2 T, 2 B o:301– 302 596 Table 2 Works for piano solo and piano four hands (marked with *), plus one work for instruments Date Location Title Location G 20 Sep 1854 Marburg Erinnerung an die Besteigung des Pacher am 18. September 1854, Fantasie* o:738 694 Erinnerung an die Besteigung des Pacher, Fantasie o:1091 24 Oct 1854 Geisterscene no. XXII, Fantasie A-Wst, MHc-4193 653 31 Oct 1854 Was ich für Sie fühle, Rapsodie o:661 657 DMD_18_1&2_2022 - Vsebina P9.indd 117 30/05/2022 16:48:22 De musica disserenda XVIII/1–2 • 2022 118 26 Mar 1855 Marburg Des Kriegers Heimkehr: Einzugs-Marsch* o:740 695 12 Sep 1855 Marburg Souvenir à Erna Gasteiger, Elegie* o:741 696 19 Sep 1855 Marburg Empfindung an der St. Joseph’s- Quelle, Rondo o:662 658 26 Sep 1855 Marburg Duett für 2 Violinen o:958 628 28 Sep 1855 Marburg Souvenir à Mademoiselle Emma Baronne de Rast, L’alégresse, Impromptu o:663 659 Dec 1855 Ouvertüre zur Oper Ödip zu Colonos*, revised version from 1836 o:742–743 30 10 Feb 1856 Marburg 2 Masurka’s o:664 660 7 Jul 1856 Trauermarsch, Zur Erinnerung an den Abschied von meinen Söhnen Paul und Peter Hüttenbrenner, k.k. Lieutenants beim Inf. Reg. König der Belgier No. 27* o:744–745 698 20 Jul 1856 Wildon Erinnerung an Wildon: Rapsodie […] dem Fräulein Josephine v. Berner freundlichst zugeeignet o:665 661 6 Sep 1856 Sinfonie in A dur* o:746 599 16 Dec 1856 Marburg Ernestine, Andantino o:666 662 16 Dec 1856 Marburg Emma, Allegretto o:667 663 19 Dec 1856 Margarethe, Andante o:668 664 21 Dec 1856 Amalie, Divertissiment o:669 665 27 Dec 1856 Ur la, Andantino o:670 666 1856 Bolleros* o:747 697 1 Jan 1857 Leonie, Rapsodie o:671 667 7 Jan 1857 Therese, Andante o:672 668 13 Jan 1857 Heloise, Impromptu o:673 669 15 Jan 1857 Magda, Andantino o:674 670 16 Jan 1857 Nina di Bologna, Impromptu o:674 22 Jan 1857 Laura von Albano, Andante o:675 671 Table 2 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 118 30/05/2022 16:48:23 119 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) 28 Jan 1857 Selma, Andantino o:676 672 6 Feb 1857 Paul, Impromptu o:677 673 6 Feb 1857 Pierre, Impromptu o:677 674 15 Feb 1857 Marburg Felix, Impromptu o:677 675 20 Feb 1857 Franz, Andantino o:678 676 22 Mar 1857 Die Rose vom 1. Mai, der Hochgebornen Freyin Emma von Rast* o:748 699 24 Mar 1857 Triumphmarsch* o:750 700 5 Apr 1857 Elegie in F minor o:220 677 8 Apr 1857 Victoria, Rondo pastorale o:679 678 16 Apr 1857 Caprice in D major o:680 679 19 Apr 1857 Impromptu in D flat major o:681 680 6 May 1857 Scherzo und Trio* in E flat major o:751 701 9 May 1857 Venetianisches Gondellied* o:752 702 11 May 1857 Elegie* in G minor o:752 703 12 May 1857 Introduction und Rondo* in A flat major o:753 704 16 May 1857 Die Draumühle, Rondo* o:754 705 13 Jun 1857 Frohsinn, Rondo o:682 681 17 Jun 1857 Wohl und Weh, Andantino o:683 682 21 Jul 1857 Concert-Ouverture in F* o:755 605 19 Oct 1857 Ouverture zum Trauerspiele Die Räuber von Schiller* o:756–757 600 Nov 1857 Ouverture zum Trauerspiele Don Carlos von Schiller* o:758–759 608 Dec 1857 Ouverture zum Trauerspiele Maria Stuart [von Schiller]* o:760–761 609 1857 Souvenir à Erna Gasteiger, Concert-Ouvertüre* o:749 706 1857 Ouverture zu Schiller’s Jungfrau von Orleans* o:1424 606 2 Mar 1858 Trauermarsch, dem Andenken des Marschallo Radetzky geweiht* o:762, 1992 707 DMD_18_1&2_2022 - Vsebina P9.indd 119 30/05/2022 16:48:23 De musica disserenda XVIII/1–2 • 2022 120 6 Mar 1858 Trauermarsch, dem Andenken des Generals Havelock gewidmet* o:685, 765– 767 709 6 Mar 1758 Trauermarsch, dem Andenken des Generals Havelock geweiht o:684 29 May 1858 Trauermarsch, dem Andenken der in Richmond verstorbenen Herzoginn Helene von Orleans geweiht* o:763–764 708 2 Jun 1858 Am Grabe der Mutter, Elegie* o:768 710 28 Jun 1858 Lied ohne Worte, Souvenir à Emma noble de Gasteiger* o:767 711 17 Sep 1858 Marburg Abschied von Marburg, Andante o:686, 688 683 Table 3 Orchestral works Date Location Title Location G 24 Aug 1857 Marburg Concert-Ouverture in F o:883–905 605 Aug 1857 Ouverture zur Jungfrau von Orleans von Schiller. Ausgeführt am 30. November 1857 im ständ. Theater zu Grätz o:906 606 Oct 1857 Ouverture zum Trauerspiele Die Räuber von Schiller o:930–931 607 Nov 1857 Marburg Ouverture zum Trauerspiele Don Carlos von Schiller o:932–953 608 Nov 1857 Ouverture zum Trauerspiele Maria Stuart von Schiller o:954 609 Table 2 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 120 30/05/2022 16:48:23 121 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Table 4 Sacred music Date Location Title Location G 1854 Offertorium (“Was sollen wir für Gaben dir Herr zum Opfer weihn?”) für eine Altstimme mit Begleitung der Bass Clarinette und der Orgel componirt und dem hochwürdigen Herrn Pfarrer zu Lembach bei Marburg hochachtungsvoll gewidmet SI-Ms, GA/ XXII/0096, RISM: 540003066 21 Apr 1855 Marburg Missa solemnis with Tantum ergo in F minor, No. 9 o:961, 970– 1009 5 26 Jan 1857 Männer-Chor (“Der Herr ist in seinem heil’gen Tempel”, Hab 2:20) o:595 9 Jan 1858 Graduale (“In Deo spes mea – In te, Domine, speravi”); 4 voices and orchestra A-Wn, Fonds 4 Baden 242 14 14 Mar 1858 Offertorium (“Sancta Maria”); T and orchestra o:1078 15 21 Mar 1858 Graduale (“Ave Maria”); 4 voices and orchestra A-Wn, Fonds 4 Baden 241; A-Wst, MHc- 10081 16 27 Apr 1858 Veni sancte spiritus; 4 voices and orchestra o:1300 17 Apr 1858 Graduale (“Adjutorium nostrum”); 4 voices and orchestra A-Wn, Fonds 4 Baden 243 May 1858 Graduale in g 18 5 Jun 1858 Graduale (“Gloria patri”); 4 voices and orchestra o:1357 20 5 Jun 1858 Offertorium (“Gloria patri”); 4 voices and orchestra o:1079 19 23 Jun 1858 Graduale (“Gebt Gott die Macht”, Ps 68:35–36); 4 voices and orchestra o:1072 21 DMD_18_1&2_2022 - Vsebina P9.indd 121 30/05/2022 16:48:23 De musica disserenda XVIII/1–2 • 2022 122 12 Jul 1858 Chor (“Halleluja! Singet dem Herrn”, Ps 149:1–2), dem Herrn Salomon Sulzer, Chordirektor und Ober-Cantor im israelitischen Bethhause in Wien gewidmet; 4 voices, orchestra ad lib. o:435–436, 596, 1301 22 23 Jul 1858 Chor (“Herr, erhebe dich in deiner Kraft”, Ps 21:14); 4 voices o:434 23 29 Jul 1858 Graduale (“Herr Gott, des die Rache ist”, Ps 94:1–2); 4 voices, orchestra ad lib. o:437, 439 24 14 Aug 1858 Chor (“Gelobt sei Gott, der Herr”, Ps 72:18–19); 4 voices o:440 25 1858 Graduale in B; S and orchestra 27 Table 4 (continued) DMD_18_1&2_2022 - Vsebina P9.indd 122 30/05/2022 16:48:23 123 Marko Motnik: Anselm Hüttenbrenner in Lower Styria (1853–1858) Bibliography Sources Hüttenbrenner, Anselm. Briefe und Brieffragmente von Anselm Hüttenbrenner an Josef Hüttenbrenner. Graz, Universität für Musik und darstellende Kunst (KUG), Bibliothek (A-Gk), Rara MPMs 0/1234. https://phaidra.kug.ac.at/o:1968. ———. Briefe von Anselm Hüttenbrenner an Josef Hüttenbrenner. 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In Biographisches Lexikon des Kaiserthums Oesterreich, enthaltend die Lebensskizzen der denkwürdigen Personen, welche seit 1750 in den österreichischen Kronländern geboren wurden oder darin gelebt und gewirkt haben, vol. 9, 406–409. Vienna: Kaiserlich-königliche Hof- und Staatsdruckerei, 1863. DMD_18_1&2_2022 - Vsebina P9.indd 125 30/05/2022 16:48:23 De musica disserenda XVIII/1–2 • 2022 126 ANSELM HÜTTENBRENNER NA SPODNJEM ŠTAJERSKEM (1853–1858) Povzetek Anselm Hüttenbrenner (1794–1868) nedvomno sodi med najpomembnejše skladatelje prve polovice 19. stoletja na Štajerskem. Ustvaril je obsežen skladateljski opus, a je še danes malo znan in slabo raziskan. V resnici je že za časa skladateljevega življenja le manjši del skladb prodrl v širšo javnost. Kljub temu je Hüttenbrenner veljal za ugledno in vplivno osebnost tedanjega glasbenega življenja v Avstriji. Njegova vloga v karieri Franza Schuberta je dobro znana, vendar Hüttenbrenner kot skladatelj še vedno ostaja v senci tega glasbenega velikana. Hüttenbrenner je študiral pravo in kot učenec Antonia Salierija na Dunaju navezal prijateljske stike z vrsto pomembnih osebnosti glasbenega življenja. Leta 1821 se je usta- lil v Gradcu in kmalu postal direktor združenja Musikverein für Steiermark (Glasbeno združenje za Štajersko). Po soprogini smrti leta 1848 se je za nekaj časa popolnoma umaknil iz javnega življenja. Skladati je zopet začel šele leta 1852, ko je bival v Radgoni, kamor so ga povabili prijatelji. Jeseni istega leta se je kot gost uglednega in premožnega barona Ferdinanda von Rasta preselil v Maribor in tu s kratkimi prekinitvami živel do jeseni leta 1858. Hüttenbrennerjevo mariborsko obdobje je mogoče razmeroma dobro rekonstruirati s pomočjo ohranjene korespondence, zapisov v avtografih njegovih skladb ter nekaj nadaljnjih primarnih virov. Zdi se, da je skladatelj v Mariboru naletel na prijazen sprejem. Čas je preživljal v naravi, se posvečal poučevanju klavirske igre in predvsem tudi skladanju. V tem obdobju nastali glasbeni opus je nenavadno obsežen. Hüttenbrenner je sprva skladal predvsem samospeve in uglasbil zlasti pesnitve barona Rasta, ki je kot pesnik bolj znan pod psevdonimom Hilarius. Sledile so številne klavirske skladbe, med njimi tudi dela za štiriročno klavirsko igro, ki pa jih je skladatelj uporabljal predvsem v pedagoške namene. Med svojimi najbolj nadarjenimi učenkami izrecno omenja hčer svojega gostitelja Emmo von Rast in hčer uglednega mariborskega meščana Erno Gasteiger. Konec leta 1857 se je Hüttenbrenner posvetil skladanju orkestrskih uvertur za gledališke predstave v graškem gledališču, v mariborskem obdobju pa je nastalo tudi nekaj del za cerkveno rabo, med katerimi je vidna njegova Missa solemnis v f-molu. Vrsta skladb s programskimi naslovi priča o Hüttenbrennerjevi osebni naklonjenosti mestu in okolici. Pri samospevih Marburg (Maribor), Mein Steierland (Moja Štajerska), St. Urban (Sv. Urban) ali Erinnerung an Kranichsfeld (Spomin na Rače) to povezavo nakazuje že uglasbeno besedilo. Podobne tematske naslove je mogoče zaslediti tudi pri klavirskih skladbah, na primer Erinnerung an die Besteigung des Pacher (Spomin na vzpon na Pohorje), Empfindung an der St. Joseph’s Quelle (Občutja ob izviru sv. Jožefa), Die Draumühle (Dravski mlin) ali nenazadnje Abschied von Marburg (Slovo od Maribora). Javne izvedbe Hüttenbrennerjevih del za časa njegovega bivanja v Mariboru v virih niso izpričane in tudi sam omenja zgolj glasbena srečanja v zasebnih prostorih. Po skla- dateljevem lastnem pričevanju mu je glasba v tem obdobju služila le v razvedrilo, svoje glavno zanimanje pa je usmerjal k naravi in teologiji. V nasprotju s pogostimi navedbami v sodobni literaturi Hüttenbrenner nikoli ni prebival ne v Celju ne na Ptuju, pač pa je, po njegovih lastnih besedah sodeč, obe mesti obiskal le spotoma. DMD_18_1&2_2022 - Vsebina P9.indd 126 30/05/2022 16:48:23