Waart, Edo de. 56 Wachmann, Eduard 56

Went [Vent, Wend, Wendt], Johann [Jan] (Nepomuk)

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Went [Vent, Wend, Wendt], Johann [Jan] (Nepomuk)

(b Divice, 27 June 1745; d Vienna, 3 July 1801). Bohemian oboist, english horn player and composer. He married twice, and had ten children, at least two of whom became professional musicians (Wilhelm, an oboist, and Joseph, an opera singer). His eldest daughter Maximiliane married the oboist and Kapellmeister Josef Triebensee. He was first employed as an oboist by Count Pachta in Prague, in the mid-1770s became first english horn player in the Harmonie of Prince Schwarzenberg at Wittingau (now Třeboň) and Vienna, and in 1777 accepted the additional post of second oboist in the Nationaltheater orchestra in Vienna. In 1782 he resigned his position with Prince Schwarzenberg to become second oboist to Georg Triebensee in the newly formed Kaiserlich-Königliche Harmonie. He retained this post until his death, along with those in the Nationaltheater and Hofkapelle, with a combined income of 900 gulden a year (100 more than Mozart's imperial salary) and additional fees for copying and composition.

Went is best remembered for his transcriptions of over 50 opera and ballet scores for Harmonie, and is regarded as a pioneer in this work. For almost 20 years he was largely responsible for the repertory of the emperor's Harmonie and, under special contract, the Schwarzenberg Harmonie, sometimes making two fundamentally different arrangements of a work to accommodate the english horns of the latter. There is little doubt that he also transcribed five Mozart operas for both ensembles including Die Entführung aus dem Serail. Went's only published works are three string quartets op.1 (Offenbach, 1791) and 23 Pièces en harmonie (Paris, c1790–95). Several transcriptions and other wind compositions were sold in manuscript editions by Lorenz Lausch and others, and the Traeg catalogue (1799) lists a symphony, 11 quartets, 5 flute duos, 6 quintets for oboe, bassoon and string trio, and 11 pieces of Harmoniemusik. Over 80 original works for Harmonie survive (mostly in A-Wn and CZ-K); several manuscripts are unsigned or lost.




C.F. Pohl: Denkschrift aus Anlass des hundertjährigen Bestehens der Tonkünstler-Societät (Vienna, 1871)

A. Mörath: Die Pflege der Tonkunst durch das Fürstenhaus Schwarzenberg im 18. und zu Beginn des 19. Jahrhunderts (Krumau, 1901)

E.F. Schmid: ‘Neue Quellen zu Werken Mozarts’, MJb 1956, 35–40

R. Hellyer: ‘Harmoniemusik’: Music for Small Wind Band in the Late Eighteenth and Early Nineteenth Centuries (diss., Oxford U., 1973)

W. Matthäus: Johann André Musikverlag (Tutzing, 1973)

R. Hellyer: ‘The Transcriptions for Harmonie of “Die Entführung aus dem Serail”’,PRMA, cii (1975–6), 53–66

B. Blomhert: The Harmoniemusik of Die Entführung aus dem Serail by Wolfgang Amadeus Mozart (n.p., 1987)

J. Zaloha: ‘Hudební zivot na dvore knízat ze Schwarzenberku v 18. století’ [Musical life at the Schwarzenberg court during the 18th century], HV, xxiv (1987), 43–62

D. Link: The National Court Theatre in Mozart's Vienna: Sources and Documents 1783–1792 (Oxford, 1998), esp. 209


Wenthin, Joachim Friedrich

(b Otterstedt, nr Bremen, 10 Aug 1746; d 27 May 1805). German organ builder, also active in the Netherlands. His largest organ, a two-manual, 40–stop instrument (destroyed in World War II) was completed for the Grosse Kirche St Cosmas und Damian, Emden, in 1779. Other important organs were built at Backemoor (1783), Zweins (1785), Nieuwolda (1787; his best preserved instrument), Reepsholt (1789), Wolthusen (1790), Westerende (1793), Groothusen (1798), and Weener (1779–82), to which he added a Brustwerk and the last freestanding pedal towers in northern Germany, and rebuilt the cae in Rococo style. Wenthin introduced Rococo-style organ cases to East Friesland, along with ‘modern’ southern stops including the Viola di Gamba, Salicional, the labial Cornet, a wooden Traversflöte, Unda Maris and Vox Angelica. He also employed equal temperament. Knock called Joachim Friedrich ‘a famous artisan’.

His son Joachim Wenthin (b 12 Dec 1778; d c1850) continued the workshop after his father’s death and followed his style, working on organs in Emden, Uithuizen (1816; now Niehove) and in Westphalia at Lotte (1807), Halverde (1817) and Tecklenburg (1838). He moved to Tecklenburg in about 1820 and entered into a partnership with W. Meese in 1840. It is thought that he also built domestic organs.


N.A. Knock: Dispositien der merkwaardigste kerk-orgelen (Groningen, 1788/R)

R. Reuter: Orgeln in Westfalen (Kassel, 1965/R)

W. Kaufmann: Die Orgeln Osfrieslands: Orgeltopographie (Zürich, 1968)

F. Talstra: Langs Nederlandse Orgels: Groningen, Friesland, Drenthe (Baarn, 1979)

S. Tuinstra: ‘Het Schnitger-Wenthinorgel te Weener (Ostfriesland)’, Het orgel, lxxxi (1985), 293–9


Wentzely, Mikuláš František Xaver [Vencelius; Wentzel, Nikolaus Franz Xaver]

(b c1643; d Prague, 19 Oct 1722). Bohemian composer. Wentzely’s origins and early training are obscure. He is first recorded, some time after 1678, at Kroměříž where he applied for a position in the service of the Prince-Archbishop of Olomouc, Karl Lichtenstein-Castelcorno. In 1684 he became organist and choirmaster of the Loreto Church in Prague, and in 1688 he went to Prague Cathedral in the same capacity. This was the most influential musical appointment in the Czech ecclesiastical hierarchy. Either then or slightly later he became Chancery Clerk to the Cathedral Consistory, a position he seems to have retained even after resigning his musical appointment in 1705. The records note that he was then in his 63rd year.

Wentzely’s surviving compositions are surprisingly few considering his important position. There is one printed collection and a solitary motet in the Kroměříž archives. Several works are preserved in the music collection of the Knights of the Cross in Prague, and certainly his actual output was much greater, as is shown by the many works listed in other contemporary castle and monastery archives, but now lost. All his works are for the church. They employ the concertato style pioneered in the Czech lands by Michna, with florid solo lines and clearly differentiated homophonic sections.


Flores verni seu missae V cum Missa da requiem et Salve regina, 4vv, 2 vn, 2 va, 3 trbn ad lib (Prague, 1699); Salve regina ed. in EDM, 2nd ser., Sudetenland, Böhmen und Mähren, iv (1943), 1

Mottettum pro festo Corporis Christi à 9, 4vv, 2 vn, 2 va, b, org, CZ-KRa


E. Trolda: ‘Česká církevní hudba v období generalbasovém: Mikuláš František Xaver Wentzeli’ [Czech church music in the age of the thoroughbass: M. Wentzely], Cyril, lxi (1935), 73–8

A. Buchner: ‘Hudební sbírka Emiliána Troldy’ [The music collection of Emilián Trolda], Acta Musei Nationalis Pragae, viii (1954), 118–19

J. Sehnal: ‘K otázce českých skladatelů kroměřížské kapele’ [On Czech composers at the chapel of Kroměříž],Sborník umění a svět, i (1957), 42–3

M. Kostílková: ‘Nástin dějin svatovítského hudebního karu’ [An outline of the history of the St. Vitus cathedral music chapel], Ecclesa Metropolisana Pragensis – Catalogus collectionis operum artis musicae A–K, ed. J. Štefan (Prague, 1983), 22–3

J. Štefan: ‘Hudba v katedrále v období baroka’ [Music in the cathedral in the baroque era], Pražské arcibiskupství 1344–1994 (Prague, 1994), 201–02


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