Paul Wranitzky (Czech: Pavel Vranický; 30 December 1756 – 29 September 1808) was a Moravian-Austrian classicalcomposer. His half brother, Antonín, was also a composer.
From 1790, he conducted both royal theater orchestras. He was highly respected by Mozart, Haydn and Beethoven; the latter two preferred him as conductor of their new works (e.g., Beethoven's First Symphony in 1800)[citation needed]. Wranitzky was a prolific composer. His output comprises ten operas, 44 symphonies, at least 56 string quartets (some sources give a number as high as 73)[This quote needs a citation] and a large amount of other orchestral and chamber music. His opera, Oberon – The Fairy King from 1789 was a favorite in this genre and inspired Emanuel Schikaneder to write the libretto of The Magic Flute for Mozart in 1791; in the mid-1790s, Goethe sought to collaborate with Wranitzky on a sequel to the Mozart opera. Today, Wranitzky is identified as being one of three possible composers said to have composed the Austrian national anthem (the identity of the actual composer is not definitively known).[2]
In 1797, four years after the execution of Louis XVI, Wranitzky wrote Grand Characteristic Symphony for the Peace with the French Republic, which includes the "Funeral March on the Execution of Louis XVI".[3]
Wranitzky died in Vienna on 29 September 1808. Beethoven wrote Variations on a Russian Dance (WoO 71), based on a theme in Wranitzky's ballet Das Waldmädchen (The Forest Maiden).
Views of later scholars
Although some scholars believe that he studied with Haydn, there is no proof of this. However, it is certain that he studied and was influenced by Haydn's string quartets. As with Haydn, Wranitzky's quartet writing went through many stages of development beginning with the pre-classical and evolving to the finished sonata form of late Viennese classicism. The majority of his quartets are in three movements; many share the qualities of the Parisian quatuor concertant, with virtuoso writing in all four parts. In these works, he explored the emerging Romantic style with (for the time) daring harmonic progressions, theatrical gestures and virtuoso display.
Based on the ten Wranitzky quartets he has studied, music historian and Anton Reicha scholar Ron Drummond writes, "I can safely and with absolute confidence say that Wranitzky's achievement as a composer of string quartets is a greater achievement, overall, than Mozart's. Lest that statement be misunderstood, let me clarify: it's simply that Wranitzky's output dwarfs Mozart's, and the quality of each man's (mature) productions is so superb that Wranitzky wins by sheer numbers."[4]
Writing about Wranitzky's music in the last part of the 19th century, the Belgian critic and musicologist François-Joseph Fétis recalled, "The music of Wranitzky was in fashion when it was new because of his natural melodies and brilliant style. He treats the orchestra well, especially in symphonies. I recall that, in my youth, his works held up very well in comparison with those of Haydn. Their premature abandonment of today has been for me a source of astonishment."
^Will, Richard. "The Characteristic Symphony in the Age of Haydn and Beethoven". Introduction. Cambridge University Press (2010). ISBN9780511481895. P. 5
