C. T. Moritz

On all title pages of the editions of Moritz's compositions published between about 1810 and 1822 by Breitkopf & Härtel, by C. F. Peters or by E. H. G. Christiani, Berlin, and also in all the reviews published at that time, only his initials "C. T." appear. For a while, that left us wondering what they might stand for: Carl Theodor, Conrad Traugott, Cæcilie Tesla, . . . ? 

 

Searching for traces:

 

In Brockhaus-Conversations-Lexikon of 1822, on p. 702, in the section "Liedercomponisten" (= song composers) of the entry "Componisten (die berühmtesten der jetzt lebenden)" (composers (the most famous living at present)), not only Beethoven, Spohr, Weber and Zelter are mentioned but also "C. T. Moritz". [1]

 

[Note on the source references / footnotes: Unfortunately, there have been "shifts" in the links to the libraries (meaning: links run to nowhere), so we ask that you seek out sources via the Wikipedia page ► C. T. Moritz if necessary].

 

François-Joseph Fétis, in the entry "MORITZ (C.-T.), pianiste et compositeur allemand de l'époque actuelle (1850)" on p. 201 of his Biographie universelle des musiciens, [2] states that Moritz is known only through his published works ("n'est connu que par les ouvrages qu'il a publiés").

 

Robert Eitner, in his Biographisch-Bibliographischen Quellen-Lexikon, vol. 7, p. 66 [3] 1959 characterizes C. T. Moritz as a composer at the end of the 18th and beginning of the 19th century, known for his Grande Sonate concertante pour le Pianoforte et la Flûte, op. 8.

 

The February of 1812 issue of Allgemeine musikalische Zeitung (AmZ) (i.e. general musical journal) included a "musikalische Beylage [= musical supplement] Nr. II" (cols. 115, 116) [4] presenting "zwey Lieder aus einer ziemlich reichen und sehr mannigfaltigen Sammlung des Herrn geheim[en] Cabinets-Secret[ärs] C. T. Moritz in Berlin" – i.e., two songs from a rather ample and very varied collection by Mr. C. T. Moritz, privy cabinet secretary in Berlin. And two years later, in June 1814, the "geh. Secretär Moritz in Berlin" is mentioned again. [5]

 

The Berlin address book [6] of 1818/19 lists a "Hofrath" (= court councillor, another variant of the honorary titles conferred on senior civil servants) "Moritz, Carl Theodor" at Krausenstraße 47 in Friedrichstadt (most of which belongs to the borough of Berlin-Mitte today).

 

Only this first entry contains both first names. The later editions of address books only give the initial "C." From 1823, the qualification "Finanzrath bei der General-Salz-Direktion" (= finance councillor at the General Salt Office) is added. In 1826, the address given is Behrenstr. 53 and, in 1833, Schützenstr. 3. The entry of 1835 describes Moritz as "pens[ionierter = retired] ► Geh[eimer] Finanz-Rath." In the address book of 1836, a new entry appears for the name Moritz: "– geb. [= née] Grathenow, Finanz-R[ats-]W[it]w[e = finance councillor's widow]" – which then remains unchanged until 1850.

 

The register at Berlin's Jerusalemkirche seems to document Moritz's death date as 11 December 1834 (funerals no. 567/1834) – at least, that information appeared in 2018 in the Wikipedia article on Moritz.

 

If it was due to his age that Moritz retired in 1834, shortly before his death, his year of birth could be assumed to be about 1770.

 

In 2016, Anke Sieber, in her extensive biography of the pianist Franz Lauska (1764–1825), mentions the fact that Moritz, whom she describes as unknown, dedicated his piano sonata op. 14 to Lauska and, in that context, indicates his year of birth as 1772 [7] – but without any further reference.

 

A review of his op. 5, the title of which is given as Dreyzehn Lieder und Gesänge mit Begleitung des Pianoforte, in the April 1813 issue of AmZ (p. 272) [8] declares (in terzando's translation): "The author (i.e. Moritz) is a man of knowledge and educated taste, not a musician of profession, also escaped too early during his senior year of art school; a man who sings very well, also plays the piano well, but hardly as a virtuoso, probably lives in Berlin, and can be expected to put forth musical inventions that will be met with applause." Curiously enough, this bloomy characterization is immediately qualified, if not annulled altogether, by the following words: "The reviewer is not shy about making the preceding claims, even without being acquainted with Mr. M. in the very slightest, nor being at all informed about him in any way, except for the fact that he wrote the songs in question." The complete title of the reviewed collection of songs reads: "Dreizehn Lieder und Gesaenge mit Begleitung des Pianoforte in Musik gesetzt und der würdigen deutschen Künstlerin ► Friederike Bethmann achtungsvoll zugeeignet von C. T. Moritz / Fünftes Werk" (= Thirteen songs and vocal compositions accompanied by the pianoforte, set to music, and respectfully dedicated to the worthy German artist Friederike Bethmann by C. T. Moritz / Fifth work).

 

A number of overviews of published music (published at the beginning of the 19th century) mention songs composed by C. T. Moritz. The already mentioned "musikalische Beylage Nr. II" [4] notes that even the two smaller pieces presented there are proof of the composer's skill at choosing appealing and unknown texts and at setting them to music with spirit, feeling, and taste.

 

In addition to songs for one or more voices, Moritz published the following instrumental compositions: two sonatas for piano accompanied by flute or violin (► op. 2 und ► op. 4), a sonata for piano accompanied by flute (or violin) and violoncello (op. 3), two "grand concertante" sonatas for piano and flute (op. 8 and 9), as well as two piano sonatas (op. 13 and 14).

 

We have not yet discovered reviews of the sonatas op. 2, 3 and 4, published by Breitkopf & Härtel in Leipzig probably before 1814 (with the printing-plate numbers 3143, 1738 and 3163). Moritz dedicated all three compositions to his brother (maybe a flutist?): "dédiée à son Frère W. A. Moritz". Is it conceivable that the initials "W. A." stand for "Wolfgang Amadé" and that the brothers came from a family of music lovers? After all, Carl Theodor were also the names of a prince who was a great lover of music (and flute player): the Count Palatine and Elector of the Palatinate from 1742 and Elector of Bavaria from 1777, the commissioner of Mozart's Idomeneo.

 

The Italian flutist ► Daniele Tonini, in the preface to his 2010 edition of Moritz's flute sonata op. 8, [9] presents a different theory: According to Tonini, Mozart is recognizable as a constant point of reference ("costante punto di riferimento") in Moritz's sonatas op. 2, 3 and 4, and a reference to the Salzburgian through the dedication to W. A. Moritz, in a game of assonance, does certainly not seem unlikely ("una dedica nella quale, in un gioco di assonanze, il riferimento al salisburghese non sembra certo improbabile").

 

The ► flute sonata op. 8, dedicated to a certain "Monsieur Adams, Membre de la Chapelle Royale," was published probably in 1814 by Peters in Leipzig (printing-plate number 1151). It was appraised in Journal für Literatur, Kunst, Luxus und Mode (i.e. jurnal for literature, art, luxury, and fashion; hereinafter: Journal . . .) in 1815 [10] as highly recommendable for proficient players, as very beautiful, succinct, and interestingly developed in a manner reminiscent of (Johann Wilhelm) Wilms, also as equally estimable in terms of harmony, melody, and interplay of the instruments, and as to be placed alongside the most excellent of this kind. It was also noted that the flutist should possess full command of his instrument.

 

At the end of the same year, a review in AmZ  [10] begins with an acknowledgement of Moritz's collections of songs, of which some are recognized as truly excellent. Allowing that song would seem to be Moritz's true discipline, the reviewer regards the sonatas (both the earlier ones published by Breitkopf and Härtel and the one at hand) as showing good knowledge of the application of the instruments and a talent for pleasant entertainment, which should be welcomed by music lovers who would care to be spiritually, lightly, and pleasantly touched and to be kept busy on the mechanical level, in a cheerful way, and not too slightly. The reviewer goes on to characterize the sonata as similar, in style and effect (and also in its somewhat excessive length), to (Daniel Gottlieb) Steibelt's grander ones. The reviewer considers the finale to be the most fortunate movement, and he also ascribes to it the most original character.

 

The comparison with Steibelt is astonishing; Steibelt's flute sonatas – at least the ones available at Staatsbibliothek zu Berlin – strike us as much simpler and honestly rather uninteresting compositions relying heavily on broken chords and schematic runs.

 

The ► flute sonata op. 9 (also dedicated to "Monsieur Adams" and published by Peters in 1814/1815 with printing-plate number 1159) was discussed in 1815 in the Journal [12] as written in a similar, quite clear, pleasing manner and as free of pomposity and artificiality, as worthy of similar applause as the piano sonata op. 14 by Sigismund Neukomm, and as an estimable work that gives no indication of its valorous composer, a Berliner, not being an artist of profession. The sonata is described as entirely noble in style, as executed with taste and insight and in a manner appropriate to the instrument, the flute part requiring fine and agile performance, which would warrant a propitious effect.

 

Two years later, in 1817, the same sonata was harshly criticized in AmZ in less diplomatic words [11]: According to the reviewer, there is nothing grand about this sonata; as a lively, pleasant piece of entertainment for dilettanti, however, who have attained some capability on both instruments and who seek rather ample but by no means difficult occupation and a natural progression and connection of ideas, yet expect nothing rare or profound – as such it will be recognized by everyone. To such players, the reviewer concedes, the adagio movement will be all the more valuable, despite perhaps being somewhat too long, as elaborate adagios are rarely written for them and this one comprises very pleasing melodies and gives opportunity for tender performance. [13]

 

Between 1813 and 1823, reviews of Moritz's new publications were published periodically in AmZ and Journal . . ., but always limiting their scope to the new composition, never giving any further information about the composer. Was the "privy cabinet secretary" and later "privy finance council" keeping his role as a dilettante composer "private"? Was it his intent to remain unrecognized as such?

Catalogue of works – please go to ► Wikipedia.

 

All footnotes – please go to ► German-laguage page and scroll down.