Joseph Czapek (1825−1915)

Joseph (Josef) Wolfgang Czapek (Čapek) was born on 19 March 1825 in Prague and died on 6 July 1915 in Ljungskile, Sweden. From 1847/1848 he was a permanent resident of Gothenburg. In the second half of the 1800s Czapek was the most important musician in Gothenburg as an organist, concert organizer, ensemble leader, military music director, music teacher and composer. He had a decisive impact on the professionalization of orchestras in Gothenburg and for the establishment of a modern concert form whose focus was on a musical work’s own artistic value. He became a member of the Royal Swedish Academy of Music in 1857.

Life

Background in Prague and Berlin

Joseph Czapek received his first music lessons from his father Wenzel Czapek (schoolteacher, organist and composer) – his mother’s name was Mary Kindl. At age twelve he was accepted to the music conservatory in Prague, where he studied until the age of eighteen. He studied primarily the violin, harmony and composition; possibly also piano/organ. For several years after his time at the conservatory, Czapek had various jobs in Prague and Berlin, including as concertmaster of Joseph Gungl’s orchestra in Berlin.

Czapek then became leader of the Steyermarkische Gesellschaft ensemble, which during a tour in Germany and Scandinavia gave concerts in Gothenburg in the early summer and autumn of 1847. The ensemble then toured the United States, but Czapek remained in Europe, and the Gothenburg bookseller N. J. Gumpert soon asked him to return to Gothenburg as the job as music director of the Kungliga Göta artilleriregementets musikkår (Royal Götaland Artillery Regiment Band) had become vacant.

Establishment in Gothenburg

During the spring of 1848 Czapek took over the leadership of the above-mentioned military band, one of the top positions in the Gothenburg music scene. He remained there until 1878 when he resigned of his own accord. The same year he also received by royal decree the title of Music Director. Czapek made himself continuously renowned within several areas of musical life, as the leader of Harmoniska sällskapet (the Harmonic Society – the city’s leading choral and orchestral association), as a music teacher at several of the city’s schools and as organist in Gothenburg’s synagogue and the Anglican church, Engelska kyrkan.

The same year that he established himself in Gothenburg, he began to give so-called Casino Concerts in Blom’s salon, in all probability a parallel to the Casino Concerts he had previously been head of in Berlin. In 1855 Czapek took the initiative to build a professional symphony orchestra in Gothenburg by persuading musicians from Bohemia and Germany to settle in Gothenburg. Together with these musicians (including August Meissner) and the city’s best amateur musicians and military musicians, Czapek formed a symphony orchestra. For several seasons during the 1850s they gave subscription classical symphony concerts with three to four complete symphonic works at every concert. This period coincided with Bedřich Smetana’s work in Gothenburg during 1856−61, and together they gave – along with August Meissner – chamber music concerts for a number of seasons, especially in Pelarsalen in the Free Mason’s lodge.

As the Nya teatern (a theatre, from 1880 known as Stora teatern) was inaugurated in 1859, it became necessary to build up a theatre orchestra. With Czapek’s already established orchestra work, conditions were ripe for transforming this relatively loose constellation of musicians to a professional orchestra. Through fund-raising among the city’s wealthiest families, Gothenburg’s orchestra was formed in 1862, with Czapek as the orchestra’s chief conductor and thereby the artistic director. This gave Czapek further opportunities to build up the city’s musical life. He immediately travelled to Bohemia and Germany and hired a dozen or so professional musicians to settle in Gothenburg and be part of the orchestra.

Gothenburg’s orchestra was discontinued in 1866, but in 1872 a new attempt was made and a greater effort put forth to form a permanent, professional symphony orchestra along with the Göteborgs musikförening (the Gothenburg Music Association). Significantly, Czapek now became part of the association’s board of directors; the Gothenburg-born Andreas Hallén, who had recently returned after studying in Germany, then became chief conductor.

The later years and Czapek’s achievements

Czapek was most musically active during the 1850s, ‘60s and ‘70s, but remained as a doyen of the music scene until his death in 1915. When the Sundbergska kvartettsällskapet (the Sundberg Quartet Society) was formed in 1884, modelled on the Mazerska kvartettsällskapet in Stockholm (a chamber music society), Czapek was elected as chairman, a post he held until his death. He was also the first violinist in the society’s home quartet for many years, until, at his own request, he switched to the viola part.

Czapek was also retained as an organist for Gothenburg’s synagogue until 1905, although in later years he had a substitute in the person of Torborg Zachrisson (1887−1982), who would eventually take over the duties. Despite the fact that Czapek himself was Catholic, he worked in a very integrated way with representatives of the Jewish community to develop music for the Jewish liturgy and the Jewish ecclesiastical year’s various Sabbaths, holy days and daily worship. That he alongside of this also served in the Anglican Church is a clear example of Czapek’s ability to adapt and to ‘do good’ wherever he was needed.

Although Bedřich Smetana had obtained a higher artistic level than Joseph Czapek, it is nevertheless the latter, with his never-ending energy for working within the musical life of Gothenburg that was to have the greatest significance for its establishment. Czapek had many roles that interacted: music director for Göta artilleriregementets musikkår, organist for several churches, music teacher in several schools, the chief conductor of his own orchestra, the leader of Harmoniska sällskapet and concert organizer. To this one can add the social dimension that was important for the creation of platforms for his own work. Czapek had already become a member of the Free Masons in the Gothenburg lodge in 1849. His 1856 marriage to Bertha Haglund, the daughter of a family of the city’s leading hotel owners, also gave him more respect and social mobility. In addition to the Freemason Lodge, Czapek was also active in other musical and cultivated societies such as the social brotherhood Göta Par Bricole, as well as the Sällskapet Gnistan and Sundbergska kvartettsällskapet.

The Composer Czapek

Music created according to need

Among all of the musical roles Czapek had, that of composer was one of the most significant. As a military music director Czapek continually wrote music for bands that was performed in both military and civilian contexts. Czapek also wrote a great deal of music that he, in accordance with centuries of traditions, dedicated to various royalty hoping to gain attention. This also paid off, as Czapek became a member of the Kungliga Musikaliska akademien in 1857. The category of royal dedications can also be appended with several works of a representative character such as Jubelkantat på Sveriges och Norges 50-åriga föreningsdag. He also wrote symphonies, masses and chamber music as well as a number of works for the Free Mason Lodge in Gothenburg, including the cantata Barnhemmet. Czapek also wrote, especially during the 1850s, quite a bit of pleasant piano music, following the era’s taste for salon music.

Characteristic of Czapek is that he could adapt his musical services upon request. The previously mentioned example of this is his work with Jewish worship music in parallel to his duties in the Anglican Church and his own affiliation to the Catholic Church.

Grounded in classicism and early romanticism

Musically and stylistically Czapek joined Viennese Classicism with early Romanticism in his compositions. This is also reflected in the repertoire he chose for his concerts: Haydn, Mozart, Beethoven, Weber and Mendelssohn. To a small extent, there were also lesser-known composers represented in concerts such as Gluck, Spontini and Méhul, however, none of the younger German composers were included. Neither were any Italian composers, such as Donizetti, Rossini and Bellini, performed to any great extent.

It is important to highlight, as previously mentioned, Czapek’s ability to adapt to the prevailing conditions of the city’s musical life. This is also something that musicologist Lennart Hedwall emphasizes in his review of Czapek’s symphonies (in Den svenska symfonin), namely how the orchestration of the first symphony has been limited to the prevailing situation in Gothenburg at the time. Even Czapek’s musician colleague, Smetana emphasizes this when in December 1858 he reviewed Czapek’s Messe Solenelle (Mass no. 1 in the list of works) after a concert performance. Smetana recommended that Czapek strive toward higher goals than those available in Gothenburg. Hedwall also stresses when commenting on Czapek’s second symphony that it embodied, ‘perfect craftsmanship’ and a ‘remarkable musicianship’.

Internationally, Czapek had a few successes as a composer. Among his preserved letters is one from Gabriel Fauré that, after the greeting ‘Mon cher confrère’ verifies how Fauré’s performance of Messe Solenelle (Missa Solenis no. 2 in the list of works) could as easily have been realized in the Madeleinekyrkan (Madeleine Church) as in the Saint-Eugène church in Paris. Even the Gewandhaus Orchestra performed a symphony by Czapek on one occasion. Further proof of a certain international renown is the invitation sent to Czapek by the director of the Berlin music conservatory, Joseph Joachim, before the inauguration of a monument to Wagner in Berlin.

Anders Carlsson © 2016
Trans. Jill Ann Johnson

Bibliography

Aulin, Arne & Connor, Herbert: Svensk musik, från vallåt till Arnljot, Stockholm: Bonnier, 1974.
Bach, Emanuel: ‘Joseph Czapek’, in: Svensk musiktidning, vol. 6, no. 5, 1886, pp. 33−34.
Berg, Wilhelm: Bidrag till musikens historia i Göteborg 1754−1892, 2vol., Göteborg: Göteborgs orkesterförening, 1914.
Carlsson, Anders: ‘Handel och Bacchus eller Händel och Bach?’ Det borgerliga musiklivet och dess orkesterbildningar i köpmannastaden Göteborg under andra hälften av 1800-talet, diss. in musicology, Göteborgs universitet, 1996.
Czapek, Joseph: [Interview], Morgon-Posten [Göteborg], 20 Nov. 1897.
Edlén, Håkan: Joseph Czapek. En märkesman i Göteborgs musikliv 1825−1915, bachelor thesis in music research, Uppsala universitet, 1965 [corrected version 1966], stencil.
Fredberg, C.R.A.: Det gamla Göteborg. Lokalhistoriska skildringar, personalia och kulturdrag, 3 vol., Lund: Ekstrand, 1977 [facsimile of the 1st ed., Göteborg 1919−23, with the addition of various lists, compilations and commentaries.], part 2: p. 248, part 3: pp. 184, 189−191.
Grehn, Taimin: ‘Om Bedřich Smetana och episoden Göteborg’, in: Göteborg Förr och Nu, vol. 5, 1968, pp. 149−178.
Hedwall, Lennart: Den svenska symfonin, Stockholm: AWE/Gebers, 1983, pp. 157−160, 167, 247.
Larsson, Lennart: Musiken vid Göteborgs garnison, eller när Bach, Händel och Mozart spelade i Göteborg, Göteborg: Lennart Larsson och AB Centro S.A., 2006.
Öhrström, Eva: Elfrida Andrée − ett levnadsöde, Stockholm: Prisma, 1999.

Sources

Göteborgs stadsmuseum, Göteborgs universitets bibliotek, Landsarkivet i Göteborg (Frimuraresamhället i Göteborg, Göteborgs Gustavi or Domkyrkoförsamling), Krigsarkivet (Åke Edenstrands arkiv), Mosaiska församlingens i Norrköping arkiv, Muzeum Bedřicha Smetany Prag, Musik- och teaterbiblioteket i Stockholm, Region- och stadsarkivet i Göteborg (Mosaiska församlingens i Göteborg arkiv).

Summary list of works

Orchestral works (2 symphonies, etc.), chamber music (smaller pieces), piano works (sonata, etc.), songs, vocal works with orchestra/organ (2 masses, cantatas, etc.), music for worship, military music.

Collected works

This list of works is based on inventories of the above named archives (see Sources). The compositions that have been published as printed music can often be found in multiple archives. With regards to autographs, these can sometimes be confused with copies that the composer himself has made.


At the time of writing, there is an extensive collection of Czapek autographs in private possession, including military music from the former Royal Götaland Artillery Regiment (later A 2) music corps, where Czapek was director of music from 1848-78. These materials were long kept at the Military Museum at the Air Defense Regiment Lv 6 when it was stationed in Gothenburg. During a period of reorganization within the Swedish Armed Forces and its branch for Military music, the materials were in danger of being lost, and were then taken care of by the Artillery Music Corps in Gothenburg, an association that has, with traditional uniforms and instruments, given regular concerts with military music, including the music of Josef Czapek. A list of these collections follows last below.


There is a great deal of uncertainty regarding the opus numbering. Those opus numbers given below are taken from autographs and printed music. In a number of cases Czapek used the same opus number for several different works. Sometimes different opus numbers are used for identical works published in print at different times. This is true for the below named Royal Götaland Artillery Regiment’s Funeral March as well as Sorg-toner, with the opus numbers op. 21 and op. 42. It seems that Czapek, especially during the 1850s when he was composing a great deal of salon music for piano, gave a new opus number to each new piece. When he later composed larger works for choir and orchestra, he abandoned this opus numbering system and reused certain opus numbers.

Abbreviations
GSO              Göteborgs Symfoniorkester (The Gothenburg Symphony Orchestra)
GUB             Göteborgs universitetsbibliotek (The University of Gothenburg Library)
KB                Kungliga Biblioteket (The National Library of Sweden)
KrA              Krigsarkivet (The Military Archives of Sweden)
MFG             Mosaiska församlingens i Göteborg arkiv (The Jewish Congregation in Gothenburg’s Archive)
MTB             Musik- och teaterbiblioteket, Statens musikverk (The Music and Theatre Library, The Swedish Performing Arts Agency)

Symphonies
Symphony no. 1 D minor, 1851. Autograph MTB.
Symphony no. 2 E-flat major, 1855. [Dedicated to KMA.] Autograph MTB.

Other orchestra music
Andante religioso, copies, 1875. GSO.
Andantino. Reworked for string orchestra from movement 2 Larghetto from symphony no. 2. Incomplete. Autograph MTB.
Wedding march, 1892. Autograph MTB.
En afton i Norrige Grosses Potpourri’, 1847. Autograph MTB.
Geistliches Vorspiel für grosses Orchester, op. 50. [Sometimes called Andligt förspel.] [Dedicated to King Oscar II.] Leipzig: Breitkopf & Härtel and self-published.
Concert Overture D major, 1856. Autograph MTB.
Sorg-toner for The Royal Götaland Artillery Regiment on the death of His Royal Highness the Duke of Upland Prince Gustafs, op. 45. Autograph MTB.
Violin concerto: see Chamber music, Adagio.

Chamber Music
Adagio et Rondo for solo violin and string quartet. Autograph MTB series 1.
Adagio from Violin concerto no. 1, reworked for viola and harmonium C major, 1859. Autograph MTB.
Andante for B-flat cornet and organ, E-flat major, 5.6.1873. Autograph, GSO.
Andante for violin and piano, A major. [Reworking of Andante Religioso.] Copy MTB series 1.
Andante Religioso G major op. 31 for solo viola, 2 violas, 2 cellos and contrabass alt. piano or organ, 1859. Autograph MTB. Ditto as the printed music: Göteborg: Altfiol i Väst, 2002.
Andlig sång, arranged for B-flat cornet and organ. Autograph MTB series 1.
Chorale for the day of mourning for King Oskar I 14.8 1859, for wind instruments, timpani and organ. Autograph, MFG, F XXVII:36.
Fantasie Brilliante e-moll för piano och violin. [Dedicated to Mamsell Betty Magnusson.] Autograph MTB.
Jubel-Marsch for flute, oboe, horn, string quartet and organ, 1877. Vid S:t Andreas-Logens 100 års jubileum. Autograph MTB.
Trauermusik for string ensemble, In memory of the Eugèn Sundbergska Quartet Society in Göteborg 14.2 1906. Autograph, GSO.
Variations in E major op. 1, for violin and piano. [Dedicated to Ludwig Pineus.] Autograph MTB and copy 1869 GSO.

Piano
Assemblée-vals op. 53. Göteborg: C. Petersens lithografiska Inrättning (Lithographic printing), 1855.
Concert-Sonate, G major, 1860. [Dedicated to Bedřich Smetana.] Autograph Smetanamuseet Prag
Dans-album. A selected collection of the newest dance music for pianoforte pub. Jos. Czapek 1856, 57. Göteborg: C. F. Arwidsson. C. Petersens lith. inr., 1855, 56. [The collection also includes works by other composers who are not named here.] 1856: 1. Cupido-vals, op. 55, 2. Amanda-hambo-polketta, op. 56, 3. Neutralitets-polka, op. 57
1857: 1. Sylvester-polka, 2. Sophia-vals, 3. Olivia-hambo-polketta, 4. Yrväders-polketta
Fröjda Polketta. [Dedicated to Mamsell Fröjda Gumpert.] Autograph MTB, Götheborg: N. J. Gumperts publishing.
Göteborgs Skarpskyttemarsch, 1861. Göteborg: C. Petersens lith. inr., 1861.
Höst-vals, op. 66. Appendix to Illustr. nyaste söndagsmagasin, year.10, no. 46, Göteborg, 1856.
Idyll. Autograph MTB series 1.
Royal Götaland Artillery Regiment’s Funeral March on the death of King Carl XV 18 September 1872. Stockholm: Elkan & Schildknecht 535, 1872.
Royal Götaland Artillery Regiment’s Funeral March, op. 21. Stockholm, Abr. Lundquist 1796, 1879.
Lergök-polketta, op. 48. Göteborg: C. Petersens lith. inr., 1853
Marche funèbre, see Sorg-toner.
Midsommarmazurka. Print, MTB series 1.
Minne af Gustaf Adolfsfesten i Götheborg. Selected collection of dance music for pianoforte performed at the Börs ball d. 20 Nov 1854. Göteborg: C. F. Arwidsson No. 52, C. Petersens Lith. inr., 1854. [The collection also includes works by other composers who are not named here.], Hyllningsvals, op. 49, Telegraf-polketta, op. 50, Aurora-hambo-polketta, op. 51, Kokett-polketta, op. 52.
Minne af det 13de Landtbruksmötet i Göteborg, celebratory march. Göteborg: Albert Lindstrands musikhandel, n.d., GSO.
Minne från Björkdalen, Concert waltz. Autograph MTB series 1.
Necken, galopp, op. 60. Göteborg: C. F. Arwidssons förlag, Lit. C. Petersen, 1856
Potpourri for pianoforte, Vol. 1, Book 1–4. Göteborg: C. Petersens förlag. C. Petersens lith. inr., 1852: Book 1: 1. Götheborgs dame polka, op. 28, 2. Parade-marsch, op. 29, 3. Polka mazurka, op. 30, 4. Ob ich dich liebe?, Lied für eine Sopranstimme, op. 31 [Note! for voice and piano, see also above under Songs], 5. Laura-française, op. 32, 6. Laura-française, forts. af No 5. Book 2: 1–2. Apollo vals, op. 33, 3. Caroussel gallopade, op. 34 [1849], 4. Marsch-polketta, op. 35, 5. Sång utan ord, op. 36 [1849], 6. Aurora polka, op. 37 [1849], Book 3: 1–3. Caffe-club-polka, op. 10, 4–5. Ungar-mazurek, op. 3, 6. Hambo-polketta, op. 43. Book 4: 1–4. Cerito-quadrille, op. 4, 5–6. Cassino polka, op. 5.
Sommaren, song at the pianoforte. Autograph MTB series 1.
Sonata F major. Autograph MTB series 1.
Sorgmarsch op. 42. Göteborg: D F Arwidssons förlag, C. Petersens lith. inr., 1852
Sorgmarsch performed at J. Czapek’s funeral 1915.
Sorg-toner for the Royal Götaland Artillery Regiment on the death His Royal Highness the Duke of Upland Prince Gustaf, op. 45. Autograph MTB, Götheborg: N. J. Gumperts förlag.
Vorspiel C major and Souvenir B-flat major. Copy MTB series 1.

Organ
Andante G minor. Organ prelude to Ps. 34. Autograph MTB.
Sorgmarsch. Printed in Nils Erhard Anjou: Organistens Marsch-Album. Stockholm, 1935.
Stille Andacht in Todtenfeyer, andante for organ. Autograph MTB.

Songs – for voice and piano unless otherwise noted
3 Lieder: 1. Tiroler Lied, 2. Abschied, 3. Immer fröhlich. Autograph MTB series 1.
Ein kalter Wind durchweht die Nacht, incomplete. Autograph MTB.
En Julqväll (W. Czapek), 1904. Autograph MTB.
Gotland (B.E. Malmström). Printed in Bas-sångarens album, no. 54. Stockholm, Elkan & Schildknecht 1493, 1893.
Jubilate (‘O be joyful in the Lord’, J. Birch), for solo voice and organ, 1888. Autograph MTB.
Källan, op. 58. Autograph MTB. Musical appendix to Illustreradt nyaste söndags-magasin, year 10, 1856.
Ob ich dich liebe?, op. 31. Printed in Potpourri för piano-forte, vol.  1, book 1. Göteborg, C. Petersens Lith. Inr., 1852.
Sång till det nya året af W. Appendix to Illustr. nyaste söndagsmagasin, year. 11 No 9, Göteborg, 1857.
The Birth (Emily Nonnen). Autograph MTB series 1.

Vocal works
Alto solo with choir and obbligato viola from the cantata Barnhemmet. Viola part in autograph MTB.
Ave Maria for mixed choir and organ, 1865. Autograph MTB.
Barnhemmet, cantata for four solo voices, choir, wind instruments, obbligato viola and organ (E. Björck), 1868. Autograph MTB.
Benedictus F major for SATB solo, choir and orchestra op. 30. [The music is identical to a movement from Mass no. 1, 1858.] Autograph MTB.
Claes Uggla på ‘Svärdet’, melodrama with choir, solo and orchestra (Oskar Fredrik from Ur svenska flottans minnen), 1905. [Dedicated to H.K.H. the Duchess Sophie of Östergötland.] Autograph MTB.
Folk song, secular cantata and closing hymn for soli, choir and orchestra, 1888. The cantata was written for the 150-year jubilee of the Free Masons lodge. Autograph MTB.
Folk songen (‘Bevare Gud vår Kung’), for choir and orchestra. Autograph MTB.
Gören portarna höga, for mixed choir a capella. Printed in Ny Hymnsamling, Göteborg.
Hymn, for solo soprano, mixed choir and orchestra, 1869. [Dedicated to King Carl XV.] Autograph MTB.
Hymn for the twenty-fifth anniversary of Dr. Wolff’s work in the Mosaic Congregation d. 4.4 1882, for choir and organ. Text: Sophie Elkan. Print. MFG: XXVI: 7.
Installation cantata for men’s choir and piano (J.A. Siewertz). [Dedicated to Magnus Lagerberg in Göta Coldinu-Orden, 25 Oct. 1885.] Lagerbergska släktarkivet, KB. Göteborg: Göteborgs Lith. Aktiebolag, 1901.
Introduction and Psalm 89 for choir and orchestra. Parts, GSO.
Invignings-kantat for the synagogue in Gothenburg 12 Oct. 1855 [and its 50-year jubilee in 1905]. For SATB-soli, 4-part choir, wind instruments and organ or piano. MFG, F XXVII:33
Invigningskantat for tenor, bass, choir, orchestra and organ at the dedication of the Göta Coldinu-Order’s new building in Gothenburg 17 Oct. 1880. Autograph MTB.
Jubelkantat for soli, choir, wind instruments and organ on the 50th anniversary of the unification of Sweden and Norway 4 Nov. 1864, premiered at the Synagogue in Gothenburg. Autograph MTB and MFG, F XXVII:38.
Jubilate (‘O be joyful in the Lord’, J. Birch) for mixed choir a cappella, 1888. Autograph MTB.
Jubileumssång 1897, for choir and organ. Autograph MFG, F XXVI:7.
Cantata for tenor, bass, choir, orchestra and organ for the dedication of the Göta Coldinu Order’s Lodge 17 Oct. 1880. Autograph MTB.
Cantata for soli, choir, organ, string orchestra and brass instruments at the dedication of Oskar Fredriks Kyrka 2 April 1893 (C.D. af Wirsén). Autograph MTB.
Cantata for soli, choir and string quartet with organ or piano at the S:t Andreae Lodge’s ‘De tre förenade Kronors’ 125-year Jubileee in Gothenburg d. 17 Dec. 1902 (T.F. Rosenqvist), 1902. Autograph MTB.
Cantata on the day of mourning for King Oscar II 1907, for organ and hymn song. MFG, F XXVI: 7.
Cantata for the S:t Johannes lodge’s ‘Salomon à trois Serrures’ 150-year Jubilee in Gothenburg 26 Nov. 1904 (F. Lüsch), 1904. [The music is to a great extent identical with Kantaten from 1902.] Autograph MTB.
Massa no. 1 for mixed choir and orchestra, G major, 1858. Autograph MTB.
Missa Solenis no. 2 F major for four solo voices, choir and orchestra or organ, 1865. [Dedicated to the Queen Dowager Josefina.] Autograph MTB.
Music for the opening of the Chalmers School 14.9 1869, for tenor, choir, piano and wind instruments. Autograph, GSO.
Prisad vare den, for wind instruments and timpani with lyrics written in together with the E-flat cornet part. Autograph, MFG, F XXVII:33.
Sorgekantat for men’s choir, orchestra and harmonium the funeral speech in Gothenburg 20 Nov. 1872 after the death of Kung Karl XV 18 Sept. 1872 (A.F. Landtbom). Autograph MTB.
Te Deum for men’s choir and orchestra, C minor, 1851. Autograph MTB.
Vocal mass no. 3 E-flat major op. 51 for SATB and string quartet with organ or only organ. [Dedicated to King Albert of Sachsen.] Autograph MTB.
Välkomna hit nu begge två, wedding hymn for mixed choir and piano. Autograph, MTB.
Yttersta Domen, sacred cantata for solo voices, choir and orchestra (J. Wallin), 1857. [Dedicated to King Oscar I.] Autograph MTB.

Military music (marches and band music) for ensembles with brass instruments
Förgardrings-Marsch, n.d. Autograph GUB, H 1962: 67.
Förgardrings-Marsch, 1851. Autograph GUB, H 1962: 67.
Förgardrings-Marsch, 1851. Autograph GUB, H 1962: 67.
Förgardrings-Marsch, 1856. Autograph GUB, H 1962: 67.
Förgardrings-Marsch, 1856. Autograph GUB, H 1962: 67.
Galopp, n.d. Copies, KrA 2016/01420.
Hambo-Polketta, 1855. Autograph GUB, H 1962: 67.
Helsning till Göteborg: March, 1851. Autograph GUB, H 1962: 67.
Nyårs-Polketta, 1856, 1855. Autograph GUB, H 1962: 67.
Original-Potpourri No. 1, 1856. Autograph GUB, H 1962: 67.
Parade-Marsch 1 May 1851. Autograph GUB, H 1962: 67.
Parade-Marsch, 1852. Autograph GUB, H 1962: 67.
Rittare-Polketta, 1851. Autograph GUB, H 1962: 67.
Sorgmarsch, 1853. Copies, KrA 2016/01420.

Music for Jewish worship services
Musik till sångerna vid gudstjensten i Göteborgs synagoga 1872, Sånger för Sabbath, Helg- och Hvardagar, for intercessor and choir. [Together with cantor Abraham Baer and prof. S. Sulzer.] Autograph, MFG, F XXVII:39.
Musik till sångerna vid gudstjensten i Göteborgs synagoga 1878 for intercessor, choir and organ. [Together with cantor Abraham Baer and prof. S. Sulzer.] Autograph, MFG, F XXVII:40.
Musik till Sångerna vid gudstjensten i Göteborgs synagoga. Sånger föär sabbath-hel och vardagar 1898, for intercessor, choir and organ. [Together with cantor Abraham Baer och prof. S. Sulzer.] Autograph, MFG, F XXVII:41.
Psalmer för den offentliga gudstjensten inom Mosaiska församlingen i Göteborg 1855/1905. Autograph, MFG, F XXVII:35.
Psalmer för den offentliga gudstjensten inom Mosaiska församlingen i Göteborg 1860. [Revised version of the above work.] Autograph, MFG, F XXVII:35.

Music for military music corps, musical materials in private possession
The below list is based on the catalogue ‘Förteckning på Musikalier tillhörig Kongl. Göta Artillerie Regts Musik Kassa. Göteborg d. 13de Mars 1848, Jos. Cžapek’, which today belongs to the Czapek archive, GUB. The dating indicates that the catalogue was started on the named date, which coincides with Czapek’s hiring as bandmaster at the regiment. The list includes works written for the military music corps, but also arrangements of earlier works for other ensemble constellations. The musical material is unsorted and the below list is based on information in the above-mentioned list made by Czapek.


B-flat                 
1. Finale from op. Böhmiska Amazoner
2. Fest-Marsch
3. Götheborgs-Damen-Polka
4. Vals
6. Polketta
7. Midsommar-Marsch
8. Polska-Mazurka
10. Sorge-Marsch
11. Lorentzberg-Quadrille
12. Nordlandsljud-Vals
13. Caroussel-Galopp
14. Artilleri-Polketta
17. Höstlek-Vals
18. Andante
19. March
22. Militär-Marsch
24. Fest-Marsch
24 ½. Sorge-Marsch
26. Polketta
27. Fantasie for wind instruments
28. Skandinavian March

A.                  
2. March
4. Förgardrings-Marsch
6. March 1 May 1850
7. Postilion-Polketta
9. Krönings-Fest-Marsch
10. Vals
12. Förgardrings-Marsch
13. Förgardrings-Marsch
14. Ouverture
16. Förgardrings-Marsch
17. Gluntarne-Marsch
24. Förgardrings-Marsch
25. Parade-Marsch 1 May 1851
26. Rittare-Poka 21 April 1851
27. Helsning till Götheborg. March
29. Förgardrings-Marsch
30. Parade-Marsch
36. Förgardrings-Marsch 24 Oct. 1851
39. Parade-Marsch
43. Förgardrings-Marsch
51. March 1 May 1852
52. Favorit-Polka 12 April 1852
53. Souvenir-Hambo-Polketta 13 April 1852
54. Drömbilder-Vals 26 June 1852
56. Defilier-Marsch
57. Sorge-Marsch for Prince Gustaf 27 Sept. 1852
58. Förgardrings-Marsch
59. Defilier-Marsch
60. 2nd Finale from Böhmiska Amazoner
61. March 1 May 1853
62. Förgardrings-Marsch
64. Defilier-Marsch
65. Förgardrings-Marsch
66. Parade-Marsch
69. Polketta
70. Längtan. Vals
71. Defilier-Marsch 1 May 1854
73. Förgardrings-Marsch
75. Lergök-Polketta
76. Vals
77. Förgardrings-Marsch
78. Defilier-Marsch
81. Parade-Marsch
82. Gustaf Adolph-Fest-Marsch
83. Defilier-Marsch
85. Förgardrings-Marsch
86. Hyllnings-Vals
90. Deflier-Marsch
91. Förgardrings-Marsch
92. Förgardrings-Marsch
93. Förgardrings-Marsch

E
7. Hambo-Polketta
8. Polketta
9. Nyårs-Polketta Dec. 1855
10. Original-Potpourri
11. Förgardrings-Marsch 28 Jan. 1856
13. Sorge-Marsch
17. Förgardrings-Marsch
21. Vals
23. Française
36. Defilier-Marsch 1 May 1857
64. Marstrands-Polka
71. Vals
72. Française
73. Polketta
89. Gallop
90. Hambo-Polketta

E-flat
13. Krönings-Marsch
30. March 1 May 18661
33. Fest-Marsch
42. March
50. Polka
68. Fäldmanöver-Marsch
79. Polka
82. Carillon-Marsch
89. Polketta

A-flat
3. Parade-Marsch
34. Defilier-Marsch
67. March 1 May 1864
73. Polka

A New books
8. Sorge-Marsch
14. Polka
22. Förgardrings-Marsch
32. Förgardrings-Marsch
41. Aftonrodnaden, vals
44. Defilier-Marsch
50. Coquett-Polketta
52. Mazurka
71. Melankolie
81. Förgardrings-Marsch
82. Polka
83. Polka
84. Polka
87. Förgardrings-Marsch
88. Artilleri-Sång
90. Förgardrings-Marsch
98. Favorit-Marsch
108. Kongl. Götha Art. Sorge-Marsch
110. Emellan Natten och Morgen. Cont’d from No. 71
115. 1 May. March 1868
118. Böhmisk Dans
121. Zigenare Dans

B-flat New Books
31. Förgardrings-Marsch
38. Förgardrings-Marsch
47. 1 May. March
51. Lorenzbergs-Pavillion-Marsch
53. Fröjda Polketta
57. Förgardrings-Marsch
64. Champagne-Gallop
73. Sorge-Marsch
76. Sorge-Marsch
79. Lantbruksmötet, March
90. Dummer Jöns-Polketta 14 Nov. 1871
106. Karneval-Gallop
108. Andlig Ouverture
112. Förgardrings-Marsch
124. Sorge-Marsch Carl XV

C New Books
27. Andlig Sång
31. Minne från Björkdalen, vals
53. Förgardrings-Marsch
141. Martha-Marsch

D New Books
14. Krönings-Marsch Oscar II
22. Sorge-Marsch. Sista Comp.
45. Den sörjande, song
46. Krigarens Morgonsång