A Dictionary of Music and Musicians/Süssmayer, Franz
SÜSSMAYER,[1] Franz Xaver, composer and Capellmeister, born 1766 at Steyer in Upper Austria, and educated at the monastery of Kremsmünster, where he attempted composition in several branches. At Vienna he had instruction from Salieri and Mozart. With the latter he formed the closest attachment, becoming, to use Seyfried's expression, 'the inseparable companion of the immortal Amphion.' Jahn details the work he did for the 'Clemenza di Tito' on its production at Prague, whither he accompanied Mozart. Süssmayer was at his bed-side the evening before Mozart's death, while the latter tried to give him the necessary instructions for completing his Requiem, a task for which he was peculiarly fitted by his knack of imitating Mozart's handwriting. Jahn has stated in detail (ii. 172) how much of that work is in all probability Süssmayer's. [See vol. ii. p. 402a.]
As a composer Süssmayers name (as 'pupil of Salieri and Mozart') first appears at Schikaneder's Theatre, where his opera, 'Moses,' was brought out May 4, 1792, revived in 1796, and again in concert-form in 1800. This was followed by 'L'Incanto superato,' a 'musico-romantic fable' (Burgtheater, 1793), and by 'Der Spiegel von Arkadien' (Schikaneder's Theatre, 1794), libretto by Schikaneder, which became a favourite, and was eulogised by the 'Wiener Zeitung.' He became in 1794 composer, and in 1795 Capellmeister, to the Kärnthnerthor Court Theatre, where he produced successively 'Die edle Rache' (1795), 'Die Freiwilligen' (1796), 'Der Wildfang' (1797) 'Der Marktschreier' and 'Soliman der Zweite' (1799), 'Gulnare' (1800), and 'Phasma' (1801). His patriotic cantata, 'Der Retter in Gefahr,' was performed at an entertainment to the Vienna volunteers in the large Redoutensaal at a time of threatened war (1796), and several times repeated in the same building, and by the Tonkünstler Societat. Süssmayer also composed two operas for Prague. Several of the above works were printed, some only in part, while others—masses, and smaller church-works, instrumental pieces, etc.—exist only in MS. Though wanting in depth and originality his works are melodious, and have a certain popular character peculiar to himself. He might perhaps have risen to a higher flight had he not been overtaken by death after a long illness, Sept. 17, 1803. Prince Esterhazy bought his entire MSS. from his widow.
[App. p.797 "See also Mozart in Appendix."]
- ↑ He signs himself on a symphony Siessmayr.