Grove's dictionary of music and musicians

666 STADLEE STADLMAYR
an instrumentalist. Later on, in 1626, the
younger Staden was again sent at the expense
of the Nuremberg authorities to Berlin to receive
iastruotion in the playing of the Viola bas tarda,
a form of the Gamba, from one "Walter Rowe or
Roy, an English instrumentalist in the service
of the Elector of Brandenburg. In 1627
Staden received an appointment as one of the
Stadtpfeifer or town musicians of Nuremberg.
On the death of his father in 1634, Gottlieb
or Theophil Staden, as he is indifferently called,
became organist to the St. Lorenz - Kirohe in
succession to Valentin Dretzel, who took the
elder Staden's place as organist to the St. Sebald-
Kirche. Whether Staden received any further
promotion is unknown. His death took place
at Nuremberg, July 30, 1655. This younger
Staden is now chiefly known as the composer
of the first German operatic work that was ever
published, an allegorical Singspiel, the full
title of whiohis 'Dasgeistliohe Waldgedicht oder
Freudenspiel genannt Seelewig. Gesangweis auf
Italianische Art gesetzet, 1644.' The work is an
interesting example of the early monodic style
for solo voices with accompaniment of figured
Bass, but having also short instrumental preludes
and interludes, sometimes for viols or
violins only, sometimes for three flutes, at other
times for two or three ' schalmeien ' or oboes.
It has been republished by Robert Eitner in
modern form with the harmonies of the figured
Bass written out. The text is by G. P.
Harsdorfler, one of the founders of the Pegnitzsohaferei
Gesellschaft in Nuremberg, who
brought from Italy to Nuremberg the peculiar
taste for artificial pastoralism in poetry, and
for the Florentine monodic style of music in
association with allegorical and spiritual dramas.
Other poetical texts by Harsdorffer were set
by Staden as simple Lieder for one voice with
figured Bass. He did not, however, forsake
altogether the older style of choral music. In
1637 he put forth a new edition of Hans Leo
Hassler's Kirchengesange mit ' vier stimmen
simplioiter gesetzt' (1608), in which he included
eleven new chorale-tunes and settings by his
father, and five by himself. He also followed
in the wake of his father in the encouragement
of domeaticsacred music, by publishing, in 1644,
two collections entitled ' Seelenmusik,' with settings
of hymns u, 4 with Basso Oontinuo, and
furnishing new melodies to the various Gesangbiicher
of the time. The QueUen-Lexikon
mentions an Instruction-Book for singing by
him, 1648. j. k. m.
STADLER, Maximilian, Abbot, a sound
and solid composer, born August 4, 1748, at
Melk, in Lower Austria. At ten became a
where
chorister in the monastery of Lilienfeld,
he learnt music, completing his education in
'the Jesuit College at Vienna. In 1766 he joined
fhe Benedictines at Melk, and after taking
priest's orders worked as a parish priest and
professor till 1786, when the Emperor Joseph,
who had noticedi his organ-playing, made him
abbot first of Lilienfeld, and three years later of
Kremsmiinster. Here his prudence averted the
suppression of that then famous astronomical
observatory. After this he lived at various
country-houses, then privately at Linz, and
finally settled in Vienna. [Between 1803 and
1816 he was parish priest at Alt-Lerchenfeld and
afterwards in Bohemia.] Haydn and Mozart
had been old friends of his, and at the request
of the widow he put Mozart's musical remains
in order, and copied from the autograph score
of the ' Requiem, ' the Requiem and Kyl-ie, and
the Dies irae, both copy and original being now
in the Hofbibliothek at Vienna. [See vol. iii.
p. 308a.] He also came forward in defence'of
the Requiem against Gottfried Weber, in two
pamphlets — Vertheidigwng der Echtheit des
Mozart'sehen BequicTn (Vienna, 1825-26), and
Nachtrag zur Vertheidigung, etc. (ib. 1827).
Stadler was an excellent contrapuntist, and an
authority in musical literature and history.
His printed compositions include Sonatas and
fugues for PF. and organ ;
part-songs ; two
requiems ; several masses ; a Te Deum
' ; Die
Friihlingsfeier,' cantata, with orchestra, to
Klopstock's words ;
psalms, misereres, responses,
offertoriums, etc. ; also a response to Haydn's
farewell-card for two voices and PF. [See vol.
ii. p. 362.] Among his numerous MSS. are
fine choruses for Collin's tragedy, ' Polyxena.'
Stadler's greatest work, Die ' Befreiung von
Jerusalem,' an oratorio in two parts, words by
Heinrich and Matthaus von Collin, was given
with great success in 1816 at the annual extra
concert of the Gesellschaft der Musikfreunde,
for the benefit of the proposed Conservatorium,
and in 1829 at Zurich. [For list of works see
QiidUn-Lexikon. ]
Stadler died in Vienna, Nov. 8, 1833, highly
esteemed both as man and musician. c. F. P.
STADLMAYR, Johann, was born at Freising
in Bavaria. F^tis dates his birth 1560, but
in the absence of precise documentary evidence
Eitner, in the Qitellen-Lexikon, considers this
far too early, as the works published by the
composer himself only begin in 1603 and continue
to 1645. On the basis of the indications
furnished by the title-pages and dedications of
his works, Eitner gives the appointments which
he held, as stated below. In 1603 Stadlmayr
subscribes himself as a musician in the service
of the Archbishop of Salzburg. In 1610 he
was Capellmeister to the Archduke Maximilian
of Austria probably at Innsbruck. In 1626
he acts in the same capacity to the Archduke
Leopold at Innsbruck, and from 1636 he
subscribes himself as Music -director to the
Archduchess Claudia at Innsbnick. His death
took place at Innsbruck on July 12, 1648, and
he is then described as having been Hofcapellmeister.
Stadlmayr's works are all for the