BELLMAN, KRAUS OCH MOZART

 

Innan vi kastar oss in i den litterära världen kan det vara på sin plats att avnjuta ett stycke musik – en tidig Lieder från 1780-talet:

 

(MUSIKEXEMPEL KRAUS)

 

Texten är skriven av en av Mozart ofta använd textförfattare, Johann Timotheus Hermes. Men vems är musiken? Jo, ingen mindre än den som lite felaktig alltid har blivit kallad för ”Den Svenske Mozart”: Joseph Martin Kraus.

 

Efter  studieresor nere i Österrike och Tyskland på 1780-talet, ditsänd f.ö. av Gustaf III, förde Kraus med sig tillbaka en ny form av sångtradition – en tidig Lieder eller snarare, som det skulle komma att bli i Sverige: en ny svenska visa - en form av en mer konstfull visa som  i sitt uttryck förebådade den svenska romantiska vistradition med Jonas Love Almquists ”Songes” i spetsen.

  

Kraus var alltså den första att tonsätta skaldernas alster, inte minst hade han ett lyckligt samarbete med Bellman. Detta märktes inte minst i deras gemansamma sång ”Mozarts död”.

 

    Ganska så omgående efter Mozarts död den 5 december 1791 anordnades, samma år, två större minneskonserter,  en i Wien den 10 december och en i Prag fyra dagar senare.

    Mässan i Prag utannonserades via ett cirkulär med  följande lydelse: ”Prag National Teaters orkester låter meddela att den 14 December klockan 10.00  en Minnesmässa  för Kapellmästaren och Kammarkompositören Wolfgang Gottlieb Mozart, som fridfullt insomnade hos Herren den 5 December i Wien, kommer att avhållas i St Nicholas Kyrka som en erkänsla för sin gränslösa vördnad och högaktning.”

    Planeringen och organisation av mässan sköttes av Jan Joseph Strobach, kapellmästare för Prags Nationalorkester, som lyckades  sammankalla en orkester med över hundra av Prags bästa och mest talangfulla musiker. Som solist märktes Mozarts vän och sångerska Josefa Duschek.

    På morgonen av den 14:e december kl. 10.30 började kyrkklockorna att ringa och först en halvtimme senare startade mässan. Responsen hos Pragborna var generös och imponerande. Atmosfären bland de flera tusen deltagarna var vördnadsfull  och en tidning (Prager Oberpostamtszeitung den17 december) skrev att ”en solenn tystnad märktes och tusen tårar flödade för Mozart, som genom sitt himmelska ljud så ofta förvandlade våra hjärtan till de livligaste känslor […] i mitten av kyrkan stod en illuminerad katafalk; 3 körer av trummor och trumpeter hördes i dämpad ton, församlingsprästen läste mässan; 12 pojkar från kyrkans gymnasium bar på facklor,  bärande sorgekappor draperade diagonalt över ena axeln och vita skynken i sina händer”.

    Samma notis återfinns i Wiener Zeitung den 24 December 1791 och slutligen i Stockholms Posten den 5 januari 1792. Det är efter att ha läst detta sammandrag av minneskonserten som Bellman, med stor inspiration från beskrivningen i reportaget, skriver sin dikt Mozarts död.

Poemet var dedicerat till stadsarkitekten Palmstedt och musiken komponerades av Joseph Martin Kraus. Den torde alltså vara tillkommen en kort tid efter den 5 januari 1792 och tillhör en av de första hyllningssångerna riktad till Mozart, som skrivits:

 

Mozarts död.

 

Ded: till Herr Professor Palmstedt.

Orden av C M B -

Larghetto af K: Kraus

 

Mozart, man din grift upplåter,

Värmd af tusen facklors sken,

Sångerskan ditt namn begråter

I en stämma, hög och ren.

Ögats gråt nedströmmar åter

Med en blick till Eliséen.

 

Ädla Skugga, till din ähra

Bäfvar fleuten, öm och svag;

Lutan hörs sin klagan bära

I de sorgligaste slag.

Pukorna din lik:sång nära,

Mumla ömhet och behag.

 

Flyg från jordens däld och dimma

Till de Sälla Andars tal

At i Englars chor förnimma

Nya stämmor till ditt val.

Mozart, vid din sista timma

Krossas borde hvar cymbal.

 

 

Bengt Jonshult

 

---

 

 

 

JOSEPH MARTIN KRAUS

 

Joseph Martin Kraus (* June 20, 1756 in Miltenberg am Main, † December 15 in Stockholm, 1792), German composer, sometimes referred to as "the Swedish Mozart".

 

Life

Childhood

Kraus was born in the central German town of Miltenberg am Main, as a son of the civil clerk Joseph Bernhard Kraus and Anna Dorothea née Schmidt. His father's family had a small restaurant in Weilbach near Amorbach, while his mother was a daughter of the master-builder Johann Martin Schmidt. Joseph had 13 more brothers and sisters, but seven of them died during their childhood.

After a short stay in Osterburken, the Kraus family moved to Buchen (Odenwald) in 1761, where the father Joseph Bernhard Kraus found a position as a clerk. In Buchen Kraus started his earliest formal education. His first music teachers were rector Georg Pfister (1730-1807) and cantor Bernhard Franz Wendler (1702-1782), giving him mainly piano and violin lessons. Kraus showed his musical talent at a very early stage. At the age of 12, Kraus joined the Jesuit Gymnasium and Music Seminar in Mannheim, where he studied German and Latin literature and music. He received a rigorous musical education, especially in violin technique, from P. Alexander Keck (1724-1804) and P. Anton Klein (1748-1810).

 

Studies

It was the wish of his parents that Joseph Martin Kraus should matriculate as a student of law at the university of Mainz in 1773. However, Kraus was not satisfied with the situation at that university, and even published a satire about it. After only one year, he applied at the university of Erfurt, where he could attend music lessons too. Both Catholic and evangelistic music was flourishing in Erfurt, with a rich musical tradition. Very soon, Kraus neglected his studies of law and focused fully on music and literature.

One defamation trial against his father forced Kraus to break his studies for one year and to move back to Buchen. He spent his time in Buchen writing his tragedy Tolon, a drama in three acts and several musical works for the town-church St. Oswald. Among others, Kraus wrote a Te Deum in D major and the motet Fracto Demum Sacramento in D Major. After this one year break, he continued his studies of law in Göttingen. Although the Göttinger Hainbund did no longer exist, Kraus found himself very much attracted to the ideas of this group of young poets, that offered an almost fanatical devotion to the poet Friedrich Gottlieb Klopstock. In this period Kraus composed a book of poetry, named Versuch von Schäfersgedichte, which is now lost, and consisted of nineteen poems. More and more, he became involved into the Sturm und Drang movement, which influenced both his writing and his music.

In 1775 Kraus wrote his Requiem, one of his earliest compositions, written at the age of nineteen. There is no way to know for sure whether young Kraus was induced to compose this genre of church music by some personal reasons, or his choice may be influenced by his attraction to the Sturm und Drang movement. Although the signs of the composer's obvious inexperience are easily seen, the work is full of dramatic force and original, bold ideas.

The Requiem was followed by two oratorios: Der Tod Jesu and Die Geburt Jesu (lost), and the musical treatise Etwas von und über Musik fürs Jahr 1777 (Something about the Musik for the year 1777).

The oratorio Der Tod Jesu differs from the oratorios of other composers, because Kraus wrote both the music and the text of this work. As a librettist, Kraus showed a series of scenes that covered the full spectra of human emotions, from sorrow and fear to joy. The work corresponds fully to a rethoric question already raised in Kraus' treatise Etwas von und über Musik fürs Jahr 1777:

"Should not the church music mostly be for the Heart?"

("Soll die Musik in den Kirchen nicht am meisten fürs Herz sein?")

During his stay in Göttingen, Kraus had become friendly with the Swedish fellow student Carl Stridsberg. He convinced Kraus to accompany him to Stockholm to apply for a position at the court of king Gustav III.

 

At the Swedish Court

Kraus moved to Stockholm in 1778, at the age of 22. His first years there were not easy and more than once he considered going back home. King Gustav's love for the fine arts had quickly become known in the rest of Europe and attracted musicians from many countries. It took Kraus three bitter years, often spent in extreme poverty, before the king noticed him. His opera Azire was rejected by the Royal Swedish Academy of Music, but the Academy decided to give him a second chance. King Gustav III of Sweden himself drafted the opera libretto Proserpina which the poet Johan Kellgren versified. Kraus’s music to this libretto was successfully premiered at Ulriksdal Palace in June 1781, before the king and his royal household. Kraus was appointed vice-Kapellmeister of the Royal Swedish Opera and director of the Royal Academy of Music.

It was the long-awaited breakthrough. Dizzy with the success, Kraus wrote to his parents:

"Immediately after the music ended, the king talked to me for more than a quarter of an hour ... it had simply given him so much satisfaction. Yesterday I was engaged by him. Of course I was not granted any great title, but quite simple that of Kapellmeister. What is much more worth to me than 600 guilders is the favour I have been granted, which is that I am to undertake a journey to Germany, France and Italy at the King's expense."

 

Grand Tour

Gustav III sent Kraus on a five-year Grand Tour of Europe to learn all he could about music abroad. On this trip, Kraus met among others Christoph Willibald Gluck, Johann Georg Albrechtsberger, Padre Martini and Joseph Haydn, for whom he wrote a Symphony in D major, VB 143 for Haydn to play at Esterháza, which was first published under Haydn's name. Kraus' Symphony in E minor, VB 141 was first published in Paris in 1787, under the name of Giuseppe Cambini, a very popular composer at the time. During this time, Kraus became a member of the same masonic lodge as Mozart.

A lot of Kraus' symphonies have been lost, or attributed to other composers. Only about a dozen remain of which scholars are certain of Kraus' authorship. Most of Kraus' extant symphonies are in three movement, without a minuet. Most are scored for two horns and strings, many include two flutes and two oboes, while the later ones also include two bassoons, and two additional horns. The musicologist Bertil van Boer identifies Kraus' Symphony in C# minor as "one of only two symphonies in this key written during the eighteenth century." It was later reworked in a more 'manageable' key as Symphony in C minor, VB 142.

It is still a controversial topic if the symphony dedicated to Haydn was Symphony in D major VB 143 or Symphony in C minor VB 142. The minor key and the mood of Symphony VB 142 seem to be a reminiscent of Haydn's "Sturm und Drang" period around 1770, comparable with his earlier minor key works. In any case, Haydn had a very high opinion about the work. Many years after Kraus' death, Haydn remarked to a common friend, Swedish diplomat Fredrik Samuel Silverstolpe:

"The symphony he wrote here in Vienna especially for me will be regarded as a masterpiece for centuries to come; believe me, there are few people who can compose something like that."

During his journey, Kraus also wrote his famous flute quintet in D Major, that broke with all the erstwhile conventions that governed such pieces. The outer and inner form of that work were groundbreaking comparing with everything previously composed at the time, with the astoundingly long first movement of 306 bars.

After Vienna, his journey also took him throughout Italy, France, and England, where he witnessed the Händel Centenary celebrations in 1785. While in Paris, he experienced difficulty with cabals back in Stockholm that sought to prevent his return, but their resolution in 1786 made it possible for him to become the leading figure in Gustavian musical life.

 

Back to Sweden

When Kraus returned from his Grand Tour in 1787, he was appointed as director of curriculum at the Royal Academy of Music, and the next year he succeeded Francesco Antonio Uttini as Kapellmästare, eventually attaining a reputation as an innovative conductor, progressive pedagogue, and multi-talented composer. He also became a member of the Palmstedt literary circle, a group that discussed intellectual and cultural life in the Swedish capital.

For the convening of the Riksdag of the Estates in 1789, Gustav III wanted to convince the parliament to go along with his plans of going to war with Russia, where he was opposed by the noble estate but supported by the burghers and the peasantry. In order to further his aims, Gustav III intended to secure parliamentary approval of the Act of Union and Security that would give him a broad powers over the administration of the government. The king had Kraus write Riksdagsmusiken for the opening ceremonies in St Nicolai Church on 9th March 1789. The music consists of a march based on the March of the Priests from Mozart's Idomeneo, and a symphony (Sinfonia per la chiesa). The legislature approved the king's measures.

For the staging in January 1792 of Voltaire's Olympie, Kraus wrote an overture, a march and interludes. Although he was considered as a composer of stage music, his principal opera, Aeneas i Cartago, remained unperformed during his lifetime.

In March 1792, Gustav III attended a masked ball at the opera, where he was assassinated, and he died shortly after. (Giuseppe Verdi started to write an opera on this event, Gustavus Terzo, but later changed the names of the characters, the setting, and the title of the opera, to Un Ballo in Maschera). The death of Gustav III caused considerable turmoil in the cultural establishment that the monarch had nurtured. Kraus wrote a funeral cantata and the Symphonie funèbre which were played at the burial ceremony on April 13.

Kraus' own health deteriorated shortly thereafter, and he died only a few months later in December of 1792 from tuberculosis. He was buried in the Stockholm suburb of Tivoli following a ceremony where his coffin was carried across the ice of the Brunsviken by torchlight. His tomb has the inscription:

Here the earthly of Kraus; the heavenly lives in his music.

 

Work

Bertil van Boer divides Kraus’ sacred music into two periods. The first, from 1768 to 1777, comprises Kraus’ music written as a Roman Catholic for Catholic services. For the second, from 1778 to 1790, Kraus was still Catholic, but wrote music for Lutheran services. Aside from short hymns and chorales, there was not much use for sacred music in Sweden at that time. There was also a debate going on regarding the role music should play in the church, and Kraus participated in that debate by writing three articles on the subject in the newspaper Stockholms Post.

Two different catalogs exist of Kraus’ music, one by Karl Schreiber, Verzeichnis der Musikalischen Werke von Jos. Kraus, which gives each composition an A number, and Bertil van Boer's Die Werke von Joseph Martin Kraus: Systematisch-thematisches Werkverzeichnis, which gives each composition a VB number. See the list of compositions by Joseph Martin Kraus.

Bertil van Boer also edited modern editions, on Artaria, of all Kraus’ symphonies recorded on Volume 4 of Naxos's complete set of Kraus symphonies, and also wrote the programme notes for those discs as well as the article on Kraus in the New Grove Dictionary of Music and Musicians. Volume 1 won the Cannes Classical Award in 1999, while Volume 2 contains world première recordings of three of Kraus’ symphonies. The orchestra Concerto Köln won several prizes for its recordings on period instruments of the complete symphonies of Joseph Martin Kraus

 

REFERENCES

 

Jonshult, B. Med Bellman på Haga och Carlberg, Solna 1990

Jonshult, B.  Mozart i Sverige, Stockholm 2004

Karle, G. Kungl. Hovkapellet i Stockholm och dess musiker 1772-1818, Uppsala 2000

Kinberg, A. Par Bricoles gustavianska period,  Sthlm 1903

Kungliga Teatern. Repertoar 1773-1973, Stockholm 1974

Mörner, C.G.S. Johan Wikmanson und die Brüder Silverstolpe, Stockholm 1952

Nisser, C. Svensk instrumentalkomposition 1770-1830, Stockholm 1943

Norlind, T. Svensk Tidskrift för Musikforskning, Stockholm 1926 pp. 1-65

Tegen, M. Den åhlströmska sångrepertoaren 1789-1810. Svensk tidskrift för musikforskning 65, Stockholm 1983, pp. 69-107

Wiberg, A. Olof Åhlströms musiktryckeri, Svensk tidskrift för musikforskning 31, Stockholm, 1949, p. 120

Vretblad, P. Konsertlivet i Stockholm under 1700-talet,  Stockholm 1918 p. 217

Åkerberg, E. Musiklifvet inom Par Bricole 1779-1890,  Stockholm 1910