Teyber, family of Austrian musicians:
(1) Matthäus Teyber, violinist; b. Weinzettel, c. 1711; d. Vienna, Sept. 6, 1785. He settled in Vienna, where he entered the Kapelle of the Empress Elisabeth Christine in 1741; was a court musician from 1757. His family, who became friendly with the Mozart family, included 4 children who distinguished themselves as musicians:
(2) Elisabeth Teyber, soprano; b. Vienna (baptized), Sept. 16, 1744; d. there, May 9, 1816. She was a pupil of Haase and Tesi, appearing in Haase’s Partenope in Vienna in 1767; then was successful in Naples, Bologna, Milan, Turin, and other Italian opera centers; also sang in Russia.
(3) Anton Teyber, pianist, organist, cellist, and composer; b. Vienna, Sept. 8, 1754; d. there, Nov. 18, 1822. He studied in Vienna and with Padre Martini in Bologna. After touring with his sister in Italy, and appearing in Spain and Portugal, he returned to Vienna about 1781. He was 1st organist at the Dresden Hofkapelle (1787-91), then went again to Vienna as Weigl’s deputy at the National-Hoftheater, a position that was soon abolished; however, he petitioned the emperor and was named court composer and keyboard teacher to the imperial children in 1793. His compositions include a melodrama, Zermes (Zerbes) und Mirabelle (Vienna, July 15, 1779), 36 syms., 6 violin concertos, 4 keyboard concertos, 2 horn concertos, a Double Concerto for Violin and Keyboard, 3 octets for 4 Strings, 2 Oboes, and 2 Horns, 2 sextets for 4 Strings and 2 Oboes, 29 string quartets, 2 oratorios, Gioas, re di Giuda (1786) and La Passione di Gesù Cristo (e. 1790), 11 masses, graduais, antiphons, and motets.
(4) Franz Teyber, organist, conductor, cellist, bass singer, and composer; b. Vienna, Nov. 15, 1756; d. there, Oct. 22, 1810. He studied with his father and with Wagenseil. After touring in Swabia, Switzerland, and Baden, he became a conductor and composer with Schikaneder’s itinerant opera troupe in 1786. After pursuing his career in Karlsruhe (1788-89), in Cologne (1791-93), and in Regensburg, Augsburg, and Bern (1796-98), he returned to Vienna. He wrote the successful opera Alexander for the opening of the Theater an der Wien (June 13, 1801), where he was active until 1805; composed for the Leopoldstadt Theater (1807-10); was made organist at St. Stephen’s Cathedral in 1809 and court organist in 1810.
dramatic: (all 1st perf. in Vienna unless otherwise given): Laura Rosetti, opera (Pressburg, Aug. 1785); Die Dorf deputierten, comic opera (Dec. 18, 1785); Abelheid von Velth-eim, Singspiel (Karlsruhe, 1788); Fernando und Jariko oder Die Indianer, Singspiel (Sept. 5, 1789); Alexander, grand opera (June 13, 1801); Der Schlaftrunk, Singspiel (Nov. 12, 1801); Der Neuigkeitskrämer oder Der Telegraph, Singspiel (May 12, 1802); Pfändung und Personalarrest, Singspiel (Dec. 7, 1803); Der Zerstreute, comic opera (Jan. 29, 1805); Andrassek und Jurassek, pantomime (Feb. 20, 1807); Ruthards Abenteuer oder Die beiden Sänger, comic opera (July 26, 1808); Pumphia und Kulikan, caricature opera (Oct. 8, 1808); Der bezauberte Blumenstrauss, pantomime (Aug. 29, 1809); Der lebendige Postillonstiefel oder Die Luftreise des Arlequin und der Columbina, pantomime (July 7, 1810). OTHER: Sacred vocal works; 6 string quartets; 3 quartets for Keyboard and Strings; Sonata for Piano, Violin, and Cello; 3 piano sonatas; organ music; etc.
(5) Therese Teyber, soprano; b. Vienna (baptized), Oct. 15, 1760; d. there, April 15, 1830. She studied with Bonno and Tesi, making her operatic debut as Fiametta in Ulbricht Frühling und Liebe at the Vienna Court Theater (Sept. 8, 1778). She continued to sing there regularly and also in concerts of the Tonkünstler-Sozietät, creating the role of Blondchen in Die Entführung aus dem Serail (July 16, 1782); retired in 1791. Her husband was the tenor Ferdinand Arnold.
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire