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NÄGELI Hans Georg
(1793 - 1836) |
 " Musik-Anzeige.
Von einem in der Schweiz noch unbekannten deutschen Instrumentenmacher
stehen bey mir vortreffliche neue Claviere, die mit Aug und Ohr geprüft
werden konnech in mäßigen Preisen zum Verkauf. Zürich im Februar 1822. Hans
Georg Nägeli."
Zürcherisches Wochenblatt, 21/02/1822, p. 4
(e-newspaperarchives.ch)
"Musik-Anzeige. Hiermit
benachrichtige ich das musikalische Publikum, daß ich mit meiner neu
errichteten Clavier-Instrumenten-Handlung so weit vorgerückt bin, um
eingehende Bestellungen prompt vollziehen zu können. Vorzüglich
wünsche ich die Liebhaber dieses Kunstsaches auf eine Gattung
tafelförmiger Pianoforte, von sechs Octaven mit Englischer Mechanik,
aufmerksam zu machen, die an Schönheit des Tones, Egalität des
Anschlags und guter Haltung der Stimmung und der Saiten die
Vergleichung mit allen bisherigen aushalten, an Stärke des Tones
aber die meisten übertreffen dürften, so, daß sie den
Flügel-Pianofortes von mittelmätziger Stärke völlig gleichkommen,
und daher auch zum Gebrauch mit Orchester binreichend sind. Der
Preis dieser Instrumente ist auf zwanzig Louisd'or sestgesetzt,
wobey auswärtige Besteller Kiste und Emballage mit vier
Schweizerfranken zu vergüten haben. Zürich, im July 1822. Hans Georg
Nägeli."
Zürcherisches Wochenblatt, 22/07/1822,
p. 4 (e-newspaperarchives.ch)
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Facteur et/ou marchand de pianos
ca. 1822-42; (y1842)
Compositeur et éditeur de musique
"Mel. von Hans Georg Nägeli 1793, geb. zu
Wetzikon im Canton Zürich 27. Mai 1773, † zu Zürich 26. Decbr.
1836."
Unsere volksthümlichen Lieder, 1869, p. 56
BIO
"NÄGELI, (HANS GEORG) a composer and music
publisher at Zurich, is by birth a Swiss. He opened, in 1792, a
music warehouse and musical library in the above town, but the war
that soon followed ruined his business; which, however, he
recommenced about the year 1800, when he began to publish, in parts,
a choice collection of the music of Sebastian Bach, Handel,
Frescobaldi, and other classical masters. In 1803, he also embarked
in the periodical publication of another work, under the title of
"Repertoire des Clavécinistes," which is said to contain the
choicest productions of science for the harpsichord, chiefly in the
Clementi school. Of this publication three numbers, consisting of
from ten to twelve folio sheets each, appeared the same year. He
first gave Clementi's solos, and then Cramer, Dussek, Steibelt,
Beethoven, Asioli, Haack, Reicha, Weisse, and others. "Whether,"
says Gerber, "Nägeli be the man from whom the public may expect such
a selection, in these two important and difficult branches of the
science, as will completely answer the purpose, is a question best
to be decided by an article of his in the fifth year of the Leipsic
Musical Gazette, where he inserted (pp. 225 and 265) a profound
critique headed, 'Versuch einer Norm für die Rezensenten der
Musikalischen Zeitung, i. e. 'Essay to form rules for musical
reviewers." Notwithstanding the decided predilection he therein
evinces for the solemn and elaborate, his popular muse, or happy
talent for ballad composition, is otherwise well known. Indeed, who
can doubt it, that recollects his "Life let us cherish," so much
sung, played, and danced all over Germany. How happy must such a
composer feel, could he enjoy, through the remainder of his life,
but a thousandth part of the harmless pleasure he has diffused by
this one song amongst his fellow-creatures. Of his compositions we
can name, "Life let us cherish," a convivial song, with
acccompaniments of harp and harpsichord, Zurich, 1794; "Songs, with
Accompaniments on the Piano-forte, first collection," Zurich, 1795;
"Songs, with Accompaniments on the Piano-forte, second collection,"
Zurich, 1795; "Songs, with Accompaniments on the Piano-forte, third
collection," Zurich, 1799. Teutonia," consisting of roundelays and
choruses, in six numbers folio, Zurich, 1808, arranged for the
piano-forte, and the vocal parts printed separately. "In the
composition of these lively and pleasing roundelays," continues
Gerber, "science, taste, and fancy are so joined to familiar
harmony, as to prove the most charitable boon that could be bestowed
just now on suffering Germany. Oh! that there were but in every town
three or four amateurs of both sexes, sufficiently clever to execute
them correctly! How many a happy hour, how many a delightful
evening, would thus be passed! and from how many a gloomy thought
would the singers relieve both themselves and surrounding friends!"
"12 Tocatas for the Harpsichord," Zurich, 1807. Whatever else this
meritorious professor has undertaken, or may still undertake, for
the promotion of musical science, Gerber leaves to future historians
to record; adding, that it is but fair to subjoin, that, amidst his
numerous pursuits, his love of scientific literature has also
enriched his (Gerber's) dictionary with several interesting memoirs
of Swiss professors."
A Dictionary of Musicians: From the Earliest Ages to the Present
Time, 1827, p. 207
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Zürich
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