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Although a few details about Zmeskall’s legacy were already known, it was only through a new intensive search that his original testament and codicil could be found now (in the Hungarian State Archive Budapest). Partial copies were also located in the Gesellschaft der Musikfreunde in Vienna, together with further documents concerning the transfer of Zmeskall’s musical estate to this institution after his death in 1833; they help to explain the events surrounding his legacy. Using Zmeskall’s testament and codicil it was also possible to describe the objects he mentioned in his will; these include his scores of own compositions and those of other composers, his writings, and his musical instruments. Some errors in the literature concerning these objects can now be corrected and new hypotheses presented. Completely new information is revealed about Zmeskall’s studies with W. A. Mozart and J. G. Albrechtsberger. The exact wording of the testament and codicial is given in the appendix together with a commentary in footnotes. This study attempts to reconstruct Zmeskall’s complete musical legacy (only part of which has survived today), and is meant to be a symbolic gift for the 250th anniversary of his birthday (on 19 November 1759).

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Several copies of works by Joseph Haydn and Anton Zimmermann, located mainly at the Gesellschaft der Musikfreunde in Vienna, have some striking features in common: almost identical calligraphic initials “NZ,” dates ranging from 1776 to 1778 on the cover pages, and great similarity in the handwriting of text and music. This handwriting was analysed by the author and compared to the surviving contemporary manuscript copies (paper, watermarks, script) of string quartets by Nicolaus Zmeskall (1759–1833), Beethoven’s friend in Vienna. Using previously unknown samples of Zmeskall’s handwriting from the period of his high school studies in Pressburg (Bratislava, Slovakia), it was possible to identify his music-copying style, and determine conclusively that his string quartet manuscripts are autographs. This study proves that the manuscript copies of the Haydn and Zimmermann works (including Haydn’s Violin Concerto in G Major and two symphonies by Zimmermann) were written out by Zmeskall, while he was living in Pressburg. This previously unknown aspect of Zmeskall’s biography is treated at length and it is suggested that this talented cellist and composer may have been in contact with Haydn much earlier than hitherto suspected.

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. Pozsony helymegjelöléssel, nyomda neve nélkül. – L. erről Mona (30. jegyzetben) i. m. 3179. tételszám. Lelőhelye: Wien, Gesellschaft der Musikfreunde. 34 Carolus Hadaly: Elementa hydrotechniae.Ed.3.Posonii

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works appear in the foreground of a great historical tableau before our eyes. This period marks the foundation stone of the future musical life and international position of Austria and Vienna: the institution of the Gesellschaft der Musikfreunde

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Hofoperntheaters. – Drittes Konzert der Gesellschaft der Musikfreunde, im k. k. großen Redoutensaale. – Zweite Kammermusik-Produktion der Hrn. Hellmesberger, Durst, Dobihal und Róver),“ Neue Wiener Musik-Zeitung 9/9 (1. März 1860), 34

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Elsa Galafrés, brought to life in order to motivate the completion of Schubert's symphony, was in fact organized by the Anglo-American Columbia Record Company and the Gesellschaft der Musikfreunde in Wien. For more about the competition, see Malcolm

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