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- 26 operas: "Medea"; "Il Bellerofonte"; "Farnace"; "Il Trionfo de Clelia"; "Il Demofoonte"; "L’Ipermestra"; "Ezio"; etc.
- 6 oratorios: "La famiglia di Tobia"; "Adamo ed Eva"; "La Passione di Gesù Cristo; "Isacco figura del Redentore"; etc.
- 85 symphonies
- String quartets and trios
- Several concerts for violin and for piano
- Piano Sonatas
(Remarks by Daniel E. Freema <firstname.lastname@example.org>)
[...] there are a few things to be mentioned. One is that there never was
a production of Medea by Mysliveček (this is myth). His true first opera
was a Semiramide performed in Bergamo in 1766. There are 8 oratorios
known to have been performed, and Tobia was never known as La famiglia di
Tobia, just Tobia. It’s hard to come up with a true number of symphonies,
because there are difficulties with attribution. Also, some of the number
of 85 would have to be overtures that were originally attached to operas.
I would say that there were about 45-50 authentic independent symphonies,
plus about 25 overtures. [...]
Mysliveček was one of identical twin brothers born on 9 March 1737 in
Prague. Reports of their receiving tuition from Felix Benda cannot be
substatiated but both certainly entered the Charles University as philosophy
students. Josef showed more interest in music than in anything else and,
despite becoming a master miller (his father’s trade) in 1761, the violin bow
prevailed over grain. That calling he left to his brother, Jáchym. Josef began
composing in about 1760: a reported set of symphonies titled after months of
the year is a myth, but he did indeed become an important symphonist, producing eighty-five examples.
His vivacious personality endeared him to the Mozart family when they met in
Bologna in 1770. "He exudes fire, spirit and life", wrote Wolfgang. There is no
doubt that Mysliveček’s Italianate style influenced Mozart a great deal in
opera, symphonies, and violin concertos. Furthermore, Mysliveček wrote the
earliest examples of string quintet (before 1767), a form Mozart made his own
Mysliveček’s musical style reflects Mozart’s impression of the man himself.
Josef Mysliveček met an unfortunate end. After a brutal operation which removed
his nose in attempt to "cure" his venereal disease, his earlier successes were
forgotten and he died in poverty in Rome in 1781, aged forty-three.