Franz Xaver Gerl - Life

Life

Gerl was born on November 30, 1764 in Andorf (then Bavaria, since 1780 part of Austria). He sang as a chorister as a child in Salzburg; the New Grove asserts that he was probably the pupil of Leopold Mozart. He attended the University of Salzburg, studying logic and physics. His career as a bass began 1785 with the theatrical company of Ludwig Schmidt.

He evidently had an impressively low vocal range; Branscombe (1991) observes that the very low notes that Mozart included in the part of Sarastro have been "the despair of many a bass singer since."

By 1787 he had joined the theatrical company of Emanuel Schikaneder, for which he sang the demanding role of Osmin in Mozart's opera The Abduction from the Seraglio and other roles. In 1789 the troupe settled at the Theater auf der Wieden in Vienna. Gerl participated in a system of joint composition used by Schikander's troupe, in which Singspiele were produced rapidly by having several composers collaborate. As such, Gerl may have been the composer of the aria "Ein Weib ist das herrlichste Ding", for which Mozart wrote a set of variations for piano, K. 613 (the composer may instead have been another singer-composer in the troupe, Benedikt Schack).

Mozart gradually came to participate more in the activities of the Schikaneder troupe, culminating in his opera The Magic Flute (1791), with libretto by Schikaneder. Gerl premiered the role of Sarastro, and continued to sing this part in many performances through 1792. He left Schikaneder's troupe in 1793.

Gerl may have been a participant in a rehearsal of Mozart's Requiem on the day before the composer died; for details see Benedikt Schack.

Gerl's later career took him to Brno and Mannheim, where he retired in 1826. He died there March 9, 1827.

Read more about this topic:  Franz Xaver Gerl

Famous quotes containing the word life:

    Our intellect is not the most subtle, the most powerful, the most appropriate, instrument for revealing the truth. It is life that, little by little, example by example, permits us to see that what is most important to our heart, or to our mind, is learned not by reasoning but through other agencies. Then it is that the intellect, observing their superiority, abdicates its control to them upon reasoned grounds and agrees to become their collaborator and lackey.
    Marcel Proust (1871–1922)

    In this lucid and flexible pattern only one thing remained always stationary, but this fallacy went unnoticed by Martha. The blind spot was the victim. The victim showed no signs of life before being deprived of it. If anything, the corpse which had to be moved and handled before burial seemed more active than its biological predecessor.
    Vladimir Nabokov (1899–1977)

    In European thought in general, as contrasted with American, vigor, life and originality have a kind of easy, professional utterance. American—on the other hand, is expressed in an eager amateurish way. A European gives a sense of scope, of survey, of consideration. An American is strained, sensational. One is artistic gold; the other is bullion.
    Wallace Stevens (1879–1955)