Wenzel Ludwig von Radolt
Wenzel Ludwig von Radolt
Genres: 17th century, austrian
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About Wenzel Ludwig von Radolt
Wenzel Ludwig Freiherr von Radolt (December 18, 1667 in Vienna – March 10, 1716 in Vienna) was an Austrian nobleman, composer and lutenist. Wenzel von Radolt came from a respected Viennese family. He inherited an extensive library from his grandfather, Clement von Radolt, and turned to music at an early age. Many members of his family were high officials at court, whose family grave, the "Radolt Crypt", is located in the Dominican Church in Vienna. His mother was a wealthy Italian countess. Thanks to the financial independence, Radolt was able to concentrate mainly on music. In 1701, Radolt dedicated twelve concerts, mainly in the French style, to Emperor Joseph I (HRR) under the title The most treiest, most secretive girlfriend, directed towards both happy and sad humor , which are printed in five part books. In the preface, the part book for the first lute contains many practical performance tips. The tirer et rabattre (crossing out with the index finger against the bass and back against the highest note) often used in French playing technique is pushed back in favor of the attack with index, middle and ring finger, especially since one “vill clarify the consonants or dissonants of the middle Can hear voice". Radolt recommends this different way of playing, although he explicitly presents himself as the successor of the French lutist François Dufault . An explanation of symbols follows, which largely follows the French specifications. The pieces are designed in such a way that they can also be played as solo works. For this purpose, the passages in the first concerto in which lute 2 plays as a soloist are written in red in the part of lute 1. The concerts are partly in suites or in free form with movements such as symphony, capriccio, toccata and tombeau (instead of a sarabande). Of particular note is the first concerto, written for three lutes of different sizes and moods (with chanterelle in f', es' and c'), two violins, viola and bass. The instruments are “all tuned to the lower case”. Concerto 6 is also special, in which an aria in 4/4 time (with melody part and bass) that always remains the same is added to a middle part that corresponds to the character of the dance mentioned (e.g., Allemande, Courante, etc.). Accordingly, sometimes complex rhythmic structures arise when e.g. B. the middle Couranten voice held in 3/4 time is woven in. In Concerto 9, two characters are juxtaposed: Allemande è Guigue / Courente è Menuette / Sarabande è Aria / Gavotte è Bourée. In the first "pass" the 1st violin plays the allemande upper part and the 2nd violin the gigue part (with the same difficulties as described for Concerto 6); in the second round, the votes are exchanged, which is also expressed in the title: Guigue è Allemande. The bass plays the same bass lines. With Concerto 6 and 9, the same pressure plates could be used several times in two different part books because of this structure. The instruments used are the three differently sized lutes, a second lute with a chanterelle in f', two violins, a viola, viola da gamba, bass and a continuo instrument (only in Concerto 3) in various combinations. According to the preamble, oboes or flutes could also be used. Alongside Johann Georg Weichenberger (1676–1740) , Radolt was the most important composer of lute music in Austrian and Bohemian court circles.
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