Paul Wranitzky, Czech Pavel Vranický was born on 30 December 1756 in Neureisch, Margrave of Moravia (today Nová Říše in the Czech Republic). He learned singing, organ, viola and violin in his youth. In 1776 he moved to Vienna to continue his studies at a theological seminary, and was a chorus of a church. At the beginning of the 1780s he gave his religious education in favor of his professional musical career. At this time he met Joseph Martin Kraus (1756-1792), conductor of the Swedish King Gustav III, who stayed in Vienna, and studied composition with him.
In the spring of 1784 Wranitzky received his first great musical position. He became music director at the court of the Hungarian noble Count Johann Nepomuk Esterházy in Galantha. In October 1785, Wranitzky became the new Carinthian Theater Orchestra by becoming a director. Two years later, he was at the Burgtheater, Vienna's other principal theater, as the "first orchestral director" and "director of the violins (= concertmaster) of the two kais. Kgl .:" in the Burg and Kärntnertor theater) , Until about 1796 at the Italian Opera, then at the German Opera.
As an established and respected composer, conductor and violinist, his works were made and published throughout Europe.
On 15 February 1793 he joined the Wiener Tonkünstler-Gesellschaft, where he succeeded in the free admission of Haydn on 11 Dec. 1797 and his appointment as "perpetuierliche Assessor senior" of the society. Haydn insisted that Wranitzky, one of the most distinguished conductors of his time, conducted performances of Creation in 1799 and 1800.
On 26 September 1808 he died in Vienna.
The work edited here has a copy from the Oettingen-Wallerstein collection. The title is Parthia / Das Waldmädchen / Due Clarinetti, Oboi, Corni / Fagotti.
Wranitzky composed this work as a ballet, which was premiered in Vienna in 1796. It enjoyed great popularity. In 1797, Ludwig v. Beethoven wrote about the theme "La russe" (No.11) 12 Variations for piano WoO 71.
The Parthia is a customary arrangement for wind harmony at this time.
In this edition, the voices of the clarinets were edited in two versions, on the one hand, the original, which requires clarinets in C (except for No. 5), and a second version for today's clarinets in B.
