Bio of Leopold Neuhauser and his works from Neues historisch-biographisches Lexikon der Tonkünstler , by Ernst Ludwig Gerber, Leipzig, 1813.

Leopold Neuhauser (born Innsbruck, 18th century – died after 1813) was an Austrian musician, composer of instrumental works, and virtuoso of the guitar and mandolin.[1] He lived in Vienna in the early 19th century, where he taught music and composed.[1]

He was part of a "guitar bloom" which ran in Vienna from 1800 through around 1850, as virtuosos from around Austria moved to Vienna.[2] The players began incorporating their regional folk-tunes "alpine influences" into their music, writing Ländler dances and expanding the repertoire of classical guitar.[2] As a guitar player and composer, Neuhauser was part this movement.[2]

Works

Philip J. Bone listed some of Neuhauser's works:

Published

  • Six variations for guitar and violin, or clarionet (Opus 2) (published by Simrock, Bonn)[1]
  • Six waltzes for two guitars (published by Simrock, Bonn)[1]
  • Six variations for guitar and violin, or clarionet (1801)[1]
  • Twelve variations for violin and bass (1799, Vienna)[1]
  • several collections of German songs with guitar accompaniment[1]

Manuscript

Bone also wrote of Neuhauser's "many unpublished manuscripts for the mandolin and guitar and also four instrumental nocturnes"[1] Konrad Wölki wrote of Neuhauser's four "Notturni for mandolin, violin, two horns and violincello" which were published in handwritten-manuscript form by Johann Traeg, 1799, Vienna.[3]

The nocturnes that Bone listed were previously listed in 1813 in Neues historisch-biographisches Lexikon der Tonkünstler, volume 3, by Ernst Ludwig Gerber. Gerber and Bone gave the same list of instruments for the works:

  • Nocturne No. 1 for Violin, two altos and violoncello[1]
  • Nocturne No. 2 for Mandolin, violin, alto, two horns and violoncello[1]
  • Nocturne No. 3 for two violins, two oboes, two horns, alto and bass[1]
  • Nocturne No. 4 Quartet for two violins, alto and bass[1]

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 Bone, Philip J. (1914). The guitar and mandolin : biographies of celebrated players and composers for these instruments. London: Schott & Company. p. 224.
  2. 1 2 3 Eberl, Gubert (September 2014). Klaus Karl und die Entwicklung der Melodiegitarre in der Volksmusik [Klaus Karl and the development of the melody guitar in folk music] (PDF) (Thesis). Linz: Anton Bruckner Private University. p. 3. Retrieved 23 May 2019. [translation:Around 1800, Vienna became a center of classical guitar. Numerous virtuosos from various rural regions settled there and incorporated the melodies from their homeland into their compositions...In the 19th century, there was hardly a resident guitarist in Austria who did not publish at least one Ländler edition (usually six, twelve or twenty-four pieces per collection). Famous examples are Andreas Traeg, Leopold Neuhauser and Simon Molitor...the decline of the Viennese guitar scene from 1850 was unstoppable]
  3. ↑ Wölki, Konrad (1984). Geschichte der Mandoline [History of the Mandolin]. Translated by Harris, Keith. Arlington, Virginia: Plucked String. p. 12.
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