Carl Drobisch (1803–1854)

[tpaloj]

Carl Ludwig Drobisch (1803–1854) was a German composer, music theorist and church musician. He was the brother of the mathematician and philosopher Moritz Wilhelm Drobisch and his son was the composer Eugen Drobisch. Besides staying in München in the 1830s Carl Drobisch was stationed in Augsburg for most of his life, composing sacred music for the protestant congregation's uses there. His compositions include sacred music, oratorios, symphonies and songs.

Unlike the english wikipedia article's wording might suggest, Carl Drobisch composed several oratorios:
- Bonifacius
- Moses aus der Sinai
- Des Heilands letzte Stunden
- Die Sündfluth
- Die vier Elemente (sometimes called an oratorio, sometimes a cantata)

I'm not aware of any catalogues of his works, but a good source is Augsburg Staatsbibliothek's manuscript catalogue which lists their large collection of Drobisch autographs. RISM is also useful for assessing Drobisch's compositions.


DES HEILANDS LETZTE STUNDEN

This is a Noteperformer-rendered transcription of Drobisch's oratorio. The subject matter is the same as Spohr's oratorio of the same name (which was coincidentally composed nearly simultaneously), but the two oratorios use a different text. It lasts for about a quarter past an hour and is divided into two parts. I find the work displays a very strong talent of orchestration, choral writing and is overall well proportioned. Powerful choruses and a nice sense of melody throughout. Let me know what you think. Naturally the lack of real singers is a detriment but I hope it can be excused in these circumstances and the transcription gives some idea of the music.

YOUTUBE: https://youtu.be/gPgfO_liY-E
LIBRETTO: Dropbox link

REVIEW IN NEUE ZEITSCHRIFT FÜR MUSIK 1836: Dropbox link

[Alan Howe]

Thanks very much for all your hard work on this ambitious work. I have found it difficult to listen to the wordless simulations of the vocal parts, but I appreciate your efforts nevertheless.

[tpaloj]

That's just it, no worries Alan. Unfortunately I don't have the know-how to make the voices sound any more realistic than that.

By the way, I'm not a great fan of the copyist who copied the score I used as the source. For example, tied chords of two or more notes are usually only tied by a single tie, which leads to ambiguous readings in many cases. And slurs felt misaligned in many places as well, etc. I couldn't find out where the composer's original autograph is located, so I had no other sources to rely on.

[Alan Howe]

It's just a bit odd listening to wordless vocals. But clearly you couldn't do anything else.

[Ilja]

Tuomas, although I somewhat have to mirror Alan's sentiments regarding the singing, I did really enjoy this. Thank you for what must have been quite a bit of work.

[tpaloj]

Ilja, thank you, this reproduction actually came together rather effortlessly nulla dies sine linea, as the oratorio is not at all excessive in length, which I can appreciate. It was a delight to be following and reproducing the composer's clear and logical orchestration.

By the way, for the record about Carl Drobisch's symphonies. There are quite a few in the Drobisch manuscript collection at Augsburg's Staatsbibliothek, but confusingly, multiple "1's" and "2's"! None seem to be digitized. Without seeing the scores, I'm only left guessing as to why they are numbered as such. (Are all of them even by Drobisch?) Regardless the following list is compiled from their catalogue:

"Grande" Symphonie No.1 (e-moll)
- Partitur
- Klavier vierh. mit Flöte

Symphonie No.1 (B-dur)
- Partitur

Symphonie No.1 (g-moll)
- Orchesterstimmen

Symphonie No.2 (C-dur)
- Partitur

Symphonie No.2 (in F)
- Partitur
- Orchesterstimmen
- Klavier vierh.

Symphonie No.3 (in D, 1847)
1) Andante grave – Allegro molto. 2) Andante con moto. 3) Allegro vivace e scherzando. 4) Finale. Larghetto – Allegro assai – Presto.
- Partitur
- Orchesterstimmen
- Klavier vierh.

[eschiss1]

If I recall, there are multiple Drobischs who composed. Maybe several of them wrote symphonies.

[tuatara442442]

Fifield's great book The German Symphony between Beethoven & Brahms dedicated a few passages to Carl Drobisch's Symphony in G Minor when talking about symphonic debuts of minor composers in 1840s.

[tpaloj]

Lately, I've been studying and enjoying the manuscript score of Carl Drobisch's Third Symphony, in D major. This symphony was composed between January and 15 June in 1847, and premiered in Augsburg in April 1849. It's been such a delight that I cannot resist posting a sample of the 1st movement's exposition here. Drobisch was clearly influenced by the old masters, and for mid-romantic period symphony it could easily have been written some 30 years earlier!

Before seeing the score, I casually expected to find slowly moving music of devotion and somber elegance in this church composer's symphony, but the first, third and final movements, in their bright harmony and melodies, quickly progress from one mood to another, with a lot of humor and sharp rhythms like a Beethoven or Mozart symphony would. I will try to prepare a recording of the whole work in the near future for everyone to listen to, so that perhaps Drobisch might become better known through this brilliant symphony of his. What do you all think?

Dropbox download link (.ogg)

[Alan Howe]

Well, I for one thoroughly enjoyed the excerpt - thanks very much indeed, Tuomas. It reminds me somewhat of the 'busy-ness' of Lachner and, if it's hardly cutting edge for 1847, who cares getting on for two centuries later? If you need encouragement to pursue the score further, may I perhaps be the first to say: please go ahead!

[tpaloj]

Symphony III in D major (1847)

Here is the complete third symphony by Carl Drobisch, performed by Noteperformer digital orchestra via Dorico! The orchestration of the work is: double woodwind, two horns, two trumpets, a serpent (which can be swapped for a contrabassoon), timpani and strings. You can check my earlier posts in this thread where I've included additional details on the work, as well.

I haven't been able to confirm if this symphony has ever been performed after its initial premiere at Augsburg in April 8, 1849. I think it will be appropriate to post a review of the concert which appeared two days after the event in one of the local papers, the Augsburger Anzeigblatt. While the article is somewhat lengthy, and only discusses the symphony briefly at the end, I think it will be interesting reading for its depiction of the musical life in Augsburg at the time and Drobisch's very much respected and beloved stature there:

Augsburger Anzeigblatt
10 April 1849, nro 98 p. 1–2. (Tuesday)

Concert des hiesigen Orchester-Vereins.

Sonntag den 8. April 1849. — Die hohen Kirchenfeste Weihnachten und Ostern sind seit Jahren Doppelfeste für die hiesigen Musikfreunde, veranstaltet von dem Orchester-Verein zum Besten seiner Kranken-Unterstützungskasse. Sonst waren dabei hohe Genüsse zu holen; denn nicht leicht gieng eine Saison vorüber, ohne uns eine große Tonschöpfung, ein "Oratorium" oder mindestens eine "Symphonie" zu bringen. Gerne, aber auch nicht ohne einige Wehmuth, weilt die Erinnerung bei den Werken von Händel, Haydn, Mendelssohn-Bartholdi, und nicht minder bei denen unseres reichbegabten Drobisch, deren Werke abwechselnd mit den Symphonieen des Königs derselben, van Beethoven und seines reichen Gefolges der Reihe nach uns vorgeführt wurden. Eine zeitlang war es anders: die erwähnten Orchester-Vereins-Concerte brachten fast durchgängig nur, was man in denen von Virtuosen zu hören bekam, keine Tonschöpfungen, die ein größeres Ensemble bedingen. Dürstend saßen wir an der reichen Quelle; denn noch sind die Träger des alten Ruhmes fast alle und in ungebeugter Kraft unter uns, oder wo sie fehlen, durch andere ersetzt. Dank dem guten Geiste, der die Nothwendigkeit endlich erkennen ließ, daß es anders werden, die brachliegenden Kräfte wieder in's Interesse gezogen werden müssen. Es galt einen Anlauf, um die Ueberzeugung zu gewinnen, "daß sie die alte Kraft noch führen". Er wurde gewagt, und durch den Erfolg sattsam gerechtfertigt. Drobisch, ihm zur Seite unser tüchtiges Orchester, verstärkt durch wackere Dilettanten, unsere wohlgeübte Sängerschaar mit den lieblichen Philomelen in ihrer Mitte, haben heute einen großen Triumph gefeiert! Ein schöner Auferstehungstag das! Mögen ihm viele andere und nur ebenbürtige nachfolgen!

Wir hörten heute durchweg nur Compositionen des zugleich trefflichen Dirigenten, Kapellmeister Drobisch. Die Reihe eröffnete dessen, besonders im Allegro ausgezeichnete, und in Betreff der Instrumentirung meisterhaft gearbeitete Ouverture in F-moll. Die beiden Cantaten "die untergehende Sonne" und "der Gewitterabend" von Kosegarten, liebliche idillische Gebilde, sind vom Componisten eben so glücklich aufgefaßt, als trefflich durchgeführt; von dem zahlreichen Singpersonale aber, dem wir zu innigem Danke uns verpflichtet fühlen, und dem Orchester, mit sichtlicher Liebe und masterhafter Präcision ausgeführt worden. Verdiente Anerkennung von Seite des Publikums konnte nicht ausbleiben, wie sie sich denn auch durch reichlichen Applaus und am Ende des Concertes durch wiederholtes Hervorrufen des Componisten kund gab. Unser vielgeliebkoster, nimmer müder und mit aufopfernder Liebe für die Kunst stets bereitwilliger Herr Rösle, in dem Augsburg einen Juwel besitzt, dessen Werth nie genug anerkannt werden kann, hat auch heute wieder mit seinem reichen Pfunde gewuchert. Fräulein Vanoni, deren runde wohltönende Sopranstimme seit ihrem ersten Auftreten merklich an Kraft und Sicherheit gewonnen hat und zu schönen, sicher nicht täuschenden Hoffnungen berechtigt, und Herr Holzinger mit seinem schönen, völlen und kräftigen Baßorgan haben nicht minder verdienstlich, durch Beifall belohnt, das Ihrige zum Gelingen des Ganzen beigetragen. Der Preis des Abends gebührt der Symphonie Nro. III. in D. Raum und Aufgabe dieses Blattes gestatten nicht, auf den in jedem Betracht hohen Kunstwerth, den andere schon zur vollen Geltung zu bringen für Pflicht und Aufgabe erachten werden, ausführlich einzugehen. Im Ganzen herrscht darin ein Ebenmaß, eine Hrn. Drobisch ganz besonders eigene Klarheit, eine wohlthuende Abwechslung von Ernst und Laune, und eine so durchdachte Oekonomie, welche eine stete Steigerung der Theilnahme erzeugt, daß diese Eigenschaften zusammengenommen das Ganze zu einem Werke ersten Ranges stempeln.

Möge das schöne Ensemble, dem wir die beregten Genüsse alle verdanken, und welches heute wieder zum vollen Bewußtseyn seines Werthes gekommen, erkennen: welche Aufgabe ihm für die Zukunft gesetzt ist.

– B.

Even if this symphony is, in regards to its style and form, conservative to a fault, I wouldn't be able to leave the concert hall after its finale without a smile. I hope you will have as much fun listening to the recreation as I had typing it out!

YOUTUBE LINK: https://youtu.be/BfKYQI8fDsc

[Alan Howe]

I can understand why it hasn't survived, but what joy and verve there is in the writing - and it certainly doesn't outstay its welcome. Thanks so much for all the effort you have put into this thoroughly enjoyable rescue act!

[tpaloj]

Glad to hear you enjoyed it. It's a whirlwind of joy from start to finish, isn't it? By the way, the manuscript gives numerical tempo markings, which for the most part I've followed in this transcription: I retained all tempi exactly for the fast movements, but I slowed the Andante movement and introductions to 1st and 4th movements by a slight amount. Perhaps these adjustments are forgivable when the overall length of the symphony is still so compact.