Abbé Maximilian Stadler (1748-1833) - Requiem in F-Dur (1821)

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Composer: Abbé Maximilian Stadler (1748-1833)
Work: Requiem in F-Dur (1821)
Performers: Kirchenchor mit Instrumenten Pfarrkirche Steinabrückl
Drawing: Guillaume Guillon Lethière (1760-1832) - Electra at the Tomb of Agamemnon (1796)
Image in high resolution: flic.kr/p/2k1uKac
Further info: www.requiemsurv...
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Abbé Maximilian (Johann Karl Dominik) Stadler
(Melk, 4 August 1748 - Vienna, 8 November 1833)
Austrian composer, music historian and keyboard performer. He received his earliest musical training from Johann Leuthner, bass at the Benedictine abbey of Melk. In 1758 he went as a choirboy to Lilienfeld, where he learnt the violin, clavichord and organ and made his first attempts at composition. During vacations he revisited Melk to study the music of the new organist J.G. Albrechtsberger. Stadler continued his formal education after 1762 at the Jesuit College in Vienna. In November 1766 he entered Melk as a novice, took his vows the following year and was ordained on 13 October 1772. After directing the abbey’s theological studies for eight years he served briefly as chaplain in Wullersdorf in 1783. He was elected prior of Melk on 17 November 1784. Favoured by Emperor Joseph II during the suppression of the Austrian monasteries, Stadler was appointed abbot of Lilienfeld in April 1786. In Kremsmünster, where he held the same post from May 1789, his administration was marked by his support of secular music, including performances of operas by Paisiello, Salieri and Umlauf. He moved to Linz in January 1791, acted as consistorial adviser to the bishop and was awarded an annual pension of 1000 florins from Kremsmünster for the next 12 years. In 1796 he settled in Vienna, was secularized in 1803 and received the titular canonry of Linz. He was given duties as parish priest in Alt-Lerchenfeld (1803) and Grosskrut (1810), near Vienna. Resigning this last post in November 1815, he made Vienna his permanent residence and remained active there until his death.
Stadler’s musical activities were many-sided. He experimented with a type of 18th-century aleatory music, composition by throwing dice, and even developed an interest in ethnic music, as shown by his arrangements of chants of the Mevlevi dervishes. His more conventional essays in composition spanned almost three-quarters of a century. He wrote primarily vocal music, especially sacred compositions on German texts. The performances of his oratorio, Die Befreyung von Jerusalem (from 1813), established his reputation internationally. This success was followed by the publication of a number of his works in Vienna (by Mechetti, Steiner & Co., Diabelli and others).
After moving to Vienna in 1796, Stadler became musical adviser to Mozart’s widow, Constanze. Along with Nissen he was the first to order and catalogue the manuscripts in Mozart’s estate (1798-9). The number of his completions of fragments and sketches left by Mozart remains to be determined. He made copies of the Requiem (k626), and when its authenticity was questioned by Gottfried Weber in 1825 Stadler published a series of articles in a successful defence. By 1819, according to the Beethoven conversation books, he was working on the Materialen zur Geschichte der Musik unter den österreichischen Regenten, now considered to be the first history of music in Austria. Long believed to be lost, this significant document was rediscovered in Vienna in 1969.