Pierre-Louis Dietsch

Pierre -Louis -Philippe Dietsch ( born March 17, 1808 in Dijon, † February 20, 1865 in Paris) was a French conductor, choirmaster and composer. His name is inextricably linked with some of the most spectacular plagiarism accusations and scandals in music history of the 19th century, although its role is seen in the light of recent research differentiated.

Life

Dietsch studied at the Institution Royale de Musique Classique et Religieuse, and later at the Paris Conservatoire. His first career stops were the conductor post at the Parish Church of St- Eustache de Paris, at the Théâtre Italien double bassist and teacher at the Académie Nationale de Musique et de Danse and the École Niedermeyer. At the request of Gioachino Rossini, he was chorus master at the Paris Opera in 1860, he became a band leader. After his release, where he worked at the singer Chapel of La Madeleine and as a teacher at the École Niedermeyer. His pupil Gabriel Fauré Dietsch described as " methodical, but retrograde spirit."

As a composer, he created predominantly church music, including more than 20 trade fairs and various organ works.

The " Ave Maria Arcadelt "

In March 1842 Pierre -Louis Dietsch resulted in a choir concert on a Hail Mary for four-part a cappella choir, which he claimed to have discovered in the work of the Dutch Renaissance composer Jacob Arcadelt. Since such a plant in Arcadelts work but was not detectable, and also because atypical for the epoch errors regarding metrics and prosody, the composition was soon as a forgery Dietschs.

Until 1927 Dietsch was rehabilitated in part, as the musicologist André Pirro was able to prove that the melody of Ave Maria is really from Arcadelt, but from its three-part secular chanson que les hommes Nous voyons. The spiritual Kontrafaktur and the romantic four-part choral writing, however, are solely the work Dietschs.

Composer of the "Flying Dutchman"

On November 9, 1842, the premiere of Dietschs opera Le fantôme vaisseau, ou Le maudit des mers took place at the Paris Opera, which goes back to a design by Richard Wagner. Wagner had this prose draft of the Paris Opera offered need of money and tried in vain to get even a paid commission from this opera house for the work, but the job went to Dietsch, with a libretto by Paul Foucher and Henry Révoil. It's not easy is a translation of Wagner's The Flying Dutchman seal, but an independent work that only the basic theme in common with the Dutch. Wagner processed after the sale of his opera design at the Paris Opera, the idea itself to his Flying Dutchman.

Scandal to the Paris premiere of Tannhäuser

In March 1861 came the premiere of the Paris version of Richard Wagner's Tannhäuser and the Singers' Contest at Wartburg, which was led by Dietsch as a conductor, to such a fiasco that production had to be stopped after only three performances. The main reason for this was that Wagner as a concession to the taste of the French public, although einbaute in dealing with his opera, a ballet insert, but uncharacteristically at the beginning of the opera, and not as usual in French operas in this period, in the second act Thereupon, by certain " clubs " the performance with whistles and heckling disrupted. Exasperated, Wagner moved after the third performance the work back.

But Wagner's anger was directed against regardless of Dietsch, whom he regarded as unfit and had opposed his proposal, Wagner himself to have at least conduct a trial to work out with Dietsch and the other contributors, the nuances of the work. In vain Wagner complained in a letter to the director of the opera about the " incompetent and inadequate " conductor who had been " forced upon him."

Dietsch had learned nothing from the experience with the Tannhäuser. Two years later, in 1863, he found himself at the rehearsals for the Sicilian Vespers with the present composer Giuseppe Verdi in dispute, whereupon he left the hall. Three days later gave birth to the management of the opera Dietsch from his duties.

Works

Stage Works

• Le fantôme vaisseau, ou Le maudit des mers, opéra fantastique en deux actes ( libretto by Paul Foucher and Henry Révoil, Paris, Opéra, November 9, 1842)
• Ballet numbers to Der Freischütz by Carl Maria von Weber ( 1847)

Sacred vocal music

• 25 Trade Shows
• 2 Requiem ( a memory of Adolphe Adam )
• Répertoire des maîtrises et des chapelles ... depuis nos jours jusqu'à Palestrina, with organ accompaniment (3 volumes 1841-65 )
• Te Deum, 5 solo vv, choir, orch (1844 )
• Numerous songs, 4 volumes ( 1848-61 )
• 32 motets, 3 volumes ( 1848-63 )
• Répertoire de musique religieuse ... de la Madeleine ( 1854-57; contains numerous works of Dietsch )

Organ

• Répertoire complet de l' organiste contenant of morceaux pour toutes les parties de l' office divin (1840 )
• Accompagnement d' orgue pour le ... graduel romain ( 1855 ), collab. Abbé Tessier

Swell

• Emile Haraszti: Dietsch Pierre -Louis -Philippe. In: Music Past and Present. 1st edition. Vol 3 Barenreiter, Kassel