Name: Johann Franz Xaver Sterkel (1750-1817) - Sinfonia in C-Dur | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming
Uploaded: 2025-07-10T20:43:39.717Z
Duration: 15 min 52 s
Description: Consider to support this project on https://ko-fi.com/michaelhaydn ★ WORLD PREMIERE ★ ♫ Recovery p... | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming

Johann Michael Haydn (1737-1806)

https://video1-us-east.cloudokyo.cloud/video/v13/80/60/9e/80609eba-980d-4e59-b20d-73cfaf7f1976/master.m3u8

Consider to support this project on https://ko-fi.com/michaelhaydn

★ WORLD PREMIERE ★ 
♫ Recovery project of sheet music by Johann Michael Haydn (1737-1806) and by other neglected composers ♫

Composer: Johann Franz Xaver Sterkel (1750-1817)
Work: Sinfonia in C-Dur, StWV 140
1. Allegro molto 0:00
2. Andante 8:59
3. Presto assai 12:52

Software: Sibelius
Instrument: Orchestral samples
World Premiere: Yes
Sheet music (pdf): https://ks15.imslp.org/files/imglnks/usimg/5/55/IMSLP759067-PMLP1204328-Sterkel_Sinfonie_C-Dur_StWV_140_-_Partitur.pdf
Sheet music (xml): https://www.mediafire.com/file/0kjn8jwyp8uqg4q/STERKEL-SinfoniaStWV140.rar/file


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Johann Franz Xaver Sterkel 
(Würzburg, 3 December 1750 - Würzburg, 12 October 1817)

German composer. His musical gift was evident at a young age; he had rigorous musical training from the court organist A. Kette and from Weismandel in Würzburg, where he entered the university in 1764. In 1768 he was tonsured and became organist in the collegiate chapter of Neumünster, later rising to sub-deacon (1772), deacon (1773) and finally priest (1774). His lifelong service to the church provided a subsistence without noticeably compromising his musical career. As a result of a performance at the Würzburg court, he was invited to perform for the court at Mainz, noted for its orchestra and its active musical life. His trip included a visit to Mannheim, where Mozart heard him perform and condemned his excessive tempos (1777). Early in 1778 Sterkel was called to Mainz to fill a position in the Liebfrauen chapter and was named court chaplain as well. Late in 1779 Elector Friedrich Karl Joseph von Erthal sent him on an extended tour of Italy. He seems nevertheless to have gained much in his mature style from his extended exposure to Italian taste. He visited all the major cities of Italy, frequently performing as a pianist. For the Naples court he played duo sonatas and concertos with Lady Catherine Hamilton; the queen commissioned his only opera, Il Farnace, performed in an elaborate production with ballets at the S Carlo on 12 January 1782. Travelling north again in May, he spent several weeks with Padre Martini in Bologna, then was recalled to Mainz to fill a canonry of his chapter. He visited Stein’s piano workshop in Augsburg en route and was thereafter an advocate and sometimes agent for Stein’s instruments. In Mainz before the end of the year, he plunged into a period of intense music-making and composition. Sterkel’s well-known meeting with Beethoven, as reported by Simrock and Wegeler, occurred early in 1791. Sterkel played one of his own sonatas, accompanied by Andreas Romberg on the violin. 

Beethoven was reluctant to perform in turn, and was challenged to play his own demanding Righini variations, which had recently been published; he played those that he remembered and improvised additional ones, successfully imitating throughout the distinctive light, graceful performing style just displayed by Sterkel. When the Mainz court was disrupted by the French invasion in October 1792, the director, Vincenzo Righini, was called to Berlin. On the regaining of Mainz, he was named Kapellmeister (1793) and charged with rebuilding the court music, but the war caused further difficulties and the royal chapel was disbanded in 1797. Except for a visit to Righini in Berlin, he spent the next years in Würzburg. The court there fostered mainly sacred performances, and he composed much church music, including several festival masses. From about 1802 he was in Regensburg, where his unceasing efforts on behalf of the musical life brought accolades; he established a choir school to provide good vocalists and wrote most of his partsongs at that time. After his Regensburg patron, Karl Theodor von Dalberg, was made Grand Duke of Frankfurt, Sterkel followed him to Aschaffenburg in April 1810 and was appointed music director. Among other duties he was responsible for theatrical productions, including performances of some Mozart operas. When Aschaffenburg was annexed to Bavaria in 1814 the court was dissolved. In 1815 he visited Munich, then returned to Würzburg. Beethoven is said once to have called Sterkel the ‘royal composer’, as his published dedications form a roster of the highest members of the nobility. Sterkel was also an effective teacher, whose pupils included the pianists C.P. Hoffmann, G.C. Zulehner, Catherina Bauer and T. Horgniés, and the singers E. Eck, L. Barensfeld, N. Häckel, J.C. Grünbaum and G. Weichselbaum. As a composer, his own compositional style is close to Haydn. His works include an opera, four Masses, a Te Deum, 125 Lieder, 15 part songs, eight concert arias, 26 symphonies, six piano concertos, a piano quartet, a quintet, 46 trios, 31 violin sonatas, six duos, 14 keyboard sonatas and 53 miscellaneous other pieces for keyboard.