Fugues in 19th and 20th century piano music

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HullandHellandHalifax
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Re: Fugues in 19th and 20th century piano music

Post by HullandHellandHalifax »

fredbucket wrote:
klavierelch wrote:Does anyone know more about Gersbach?
Not in Grove.

Regards
Fred
I have found two Gersbachs, Anton, 1801-1848 and his older brother Josef, 1787-1830, both were composers born in Sackingen, I wonder if Fritz was a relative?
regards
Brian
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Re: Fugues in 19th and 20th century piano music

Post by ilu »

Gersbach: Anton G., was on 21 Feb. 1803 born Säckingen, where his father Müller, who was later alderman and mayor. Supported by the pastor Hempfer and his brother Joseph (see below), developed his musical talent at an early stage so that he is already in the 11th Playing years for the Cantor of the native place of the organ could. After he had already visited in Sackingen the Latin school, he came to his brother Joseph rise to Zurich, where he was equal to this in the family Hirzel[WAS 1] as a child of the house was kept. In Zurich, he drove to high school studies in 1820 with success, continued under his brother's leadership, the musical work, singing in Nageli Choral society, and enjoyed the fine handling. In 1821 he followed his brother to Nuremberg, to assist them in teaching and to prepare in the university. Here, already showed the beginnings of nervous abdominal discomfort, which soon aroused his deep hypochondriac suffering and caused his early death. In the winter half-years 1822-1823, he heard philological and mathematical colleges at the University of Halle. Severe increase his physical suffering prevented him from visiting the University of Berlin, and drove him back to Switzerland, where he went after the improvement to Nuremberg, to take the place of his brother. A new outburst of evil in the fall of 1823 forced him to return again to Switzerland. In the fall of 1824 he went to Carlsruhe, in order to train with his brother Joseph in the State School Teachers' Training College for the musical profession, and will assist them in the classroom, but as early as April 1825 he hurried to Zurich to the urgent advice of the doctor of philological and to barter with that of a professional music teacher. As such, he developed a comprehensive activity, Claviervorträge earned by frequent applause, and took part in many concerts eagerly at the various music societies, sometimes singing, sometimes conduct. Thus, for example, when he led the Swiss music festival in Zurich in 1829 the Vocal Choir, for which he was made an honorary member of society. After the death of his brother Joseph in the year 1830, he took its place in Carlsruhe, which he managed with the utmost diligence, in the spirit of the deceased. In the same year he converted from Catholic to Protestant church. Besides his official work, he was a lot of private lessons, took care of the order, complete and partial publication of the musical legacy of Joseph and himself wrote many things. Since 1844 severely tortured by aggravation of his malady he died on 17 Aug. 1848th The excellent biographer of Gersbach's Court Church Music Director [45] Giehne[WAS 2] at Carlsruhe, said of Anthony: "Not so much in creative ways, such as Joseph, G. Anthony has nevertheless considered the" students by the independent continuation and completion of the teaching of the former, with its solid direction and the thoroughness of his teaching is the musical Education lasting contribution acquired. Joseph was more theoretical, more practical, said Anton was a musician and procured especially as an excellent pianist and witty, the Bach Wohltemperirtes piano as his musical gospel recognized general application. "Anton Gersbach's compositions and musical works are:" 12 Variations for Piano "," 30 Uebungsstücke for the same "," 6 or four-song echoes the Singvögelein "," 29 duets rates " (1839), "Spiritual Chorus" Lord God, we praise thee, "a male voice", "25 one-and two-part children's songs" (1841), "The musical rhythm lesson from Josh. Gersbach's taken a musical number theory and arranged in tables "(1843), the new Baden Choralbuch together with the whole redaction, the choral songs for male voices, songs and choruses in several different collections, the papers 12 motets for male choir and various vocal pieces, of which published a selection "Songs with piano accompaniment, two books. In addition, under Josh. Gersbach identified publications and in communion with one Councilor Mason collection of songs for the schools of learning.

Joseph G., Brother of the preceding, born 22 Decbr. 1787 Säckingen visited since 1800, with the local abbey related Gymnasium to prepare for the university. In addition to the serious study of mathematics and logic, in which subjects he was particularly distinguished, he played with passion poetry and music. He sang and played the organ: and nearly all other instruments, so he was transferred, despite his youth, the leadership of the church, singing and play the organ at the monastery. In the year 1807 he entered the University of Freiburg, where he studied philology, philosophy and mathematics. In 1809 he went as a music teacher in a private educational institution for Göttstadt in Biel, Switzerland, from where he made the pupil Melchior Hirzel from Zürich 1810 to Stuttgart, Iffert (Yverdun) and Lausanne accompanied it. The Swiss in the former places by Pestalozzi high-minded aspirations received powerful impressions of his own work gave a more definite direction, namely the proper knowledge of Pestalozzi's main effort to all parts of the nation teaching at a nature-friendly operation due awakened in him the idea, whether it was not possible, especially on the principles that the Chair to transfer musical art, and so the latter is used successfully in communion with the previously developed subjects, to the harmonious development of the youth. - With his students returned to Zurich, he remained there for several years as a music teacher and found a second home in Hirzel'schen home. G. reluctantly left in the year 1816 in Zurich, where he had taken in conjunction with Nägeli to a tutor through the Association of Educators Dr. Dittmar, Hartung and Dr. Kapp[WAS 3] to follow him handed down an invitation to participate in the new hospital in Wuerzburg. Due to the relocation of the institute in Nuremberg and its uncertain future, the way he came as early as the spring of 1817 returned to Switzerland again to Pestalozzi. Iffert At first he gave private lessons, but quickly got the job as a teacher of singing at the girls school, and shortly thereafter Nieder'schen Pestalozzi in the boys' school. -- William Stern, Later the excellent seminar director in Karlsruhe, learned during his stay there, his excellent Lehrtalent know [46] was his friend, and persuaded him 1818 a teacher's job at the school at Rastatt. This, however, he was out of antipathy against the conditions found there again in 1819, to enter by Professor Dittmar's, later known historian, teaching in the above-mentioned training institute in Nuremberg, where he formed the center of the educational system and executed in the same substantially to the strong prosperity of the much-vaunted Institute contributed. He had his favorite "Wandervögelein," a four-part collection of 60 songs that appear, made interesting studies on the hitherto little researched laws of musical rhythm, published as the fruits ergebnißreiche his brother Anton, 1833, the "number theory" and had especially fine joy to the training lively boys' choirs. - In 1822, he joined Rastatt on from the Catholic to the Protestant Church. 1823 G. was the second teacher at the school teacher's claim to Karlsruhe, where he imparted not only in music but also in the German language, in mathematics and science teaching. About that seminar, he was encouraging the cultivation of music in the Lutheran church and school. He arranged for the purchase of organs in the schools and under his leadership created an association for church music, for which he set four-part chorales Baden. Located in the beneficent work of G was removed by death. In recent years, poor health, he died on 3 December 1830, in Karlsruhe, a nervous fever, mucus. He was a creative pedagogue of high importance. Especially noteworthy are his contributions to the elementary school system and to the German language, all one has his innovations and achievements in the field of music always and only in connection with the general doctrine established by him, in which the music as a major "national" education resources it integral portion was, therefore, conceived in close connection with all his activity, since G. was more educational than musicians musician. Thus, his biographer H. Giehne judges over him. Even the purely human side of his character is highly praised. From early on, struggling with deprivation, had money and good value for him only so far to help with that. Of course, making some fights, and early physical suffering him and his younger brother, a hypochondriac, a disease that was not overcome in spite of both philosophy and religion forever. By Joseph Gersbach's works are printed the following: "Choral singing, four-part, the Protestant Church of Baden" (1826); "Wandervögelein, or collection of four-part journey songs, plus an appendix of morning and evening songs", 4th Edition (1859); "Singvögelein: 30 duets for Youth, 3 Reprint with attachment from Anton G. (1839), "singing-school, Grade Two booklets" (1829), "Instructions for the use of the singing school with 5 plates. In addition to the preface of Anton G. "(1833);" wall plaques to them, from the plant's large print for Schools "(1833);" series doctrine or justification of musical rhythm from the general theory of numbers with spreadsheets. " From the estate of Anthony G. (1834). - "Songs papers. Polyphonic songs for mixed choir and men's voices, "edited by Anthony G. (1839). - In addition, he published in association with William Stern: "The beginnings of instruction in public schools" (1827), "Course of the German language. Division 1-3: language book ", 2nd Edition (1830); 4th division Readings. Also under the title: "Spring Garden" (1828), division 5: Language (1829), "Instructions for using the text books", 1 and 2 Division (1828 and 1830).

H. Giehne in Weech's Bad. Biographer.
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Re: Fugues in 19th and 20th century piano music

Post by klavierelch »

HullandHellandHalifax wrote: I have found two Gersbachs, Anton, 1801-1848 and his older brother Josef, 1787-1830, both were composers born in Sackingen, I wonder if Fritz was a relative?
regards
Brian
It is of course possible, that he was a relative. But there are at least 2 or 3 generations missing, since Fritz for sure lived in the middle of the 20th century.
There is nothing in Grove or MGG (both old and new) or in Riemann; even Google only gives a few hits, where a Swiss Fritz Gersbach (obviously him) is given as conductor of a Cäcilienverein near Basle and as composer of some choir settings. But there are not even facts like the date of birth.
He is not listed in internet sites on Swiss composers, so I conclude (and the score supports this view) that he didn't play a more important role in Swiss musical life.
Ars opus est hominis, non opus artis homo.

John Owen, Epigrammata (1615)
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Re: Fugues in 19th and 20th century piano music

Post by Jean-Séb »

Fritz Gersbach (1894-1973)
http://www.ub.unibas.ch/ibb/api/ubnachl ... sonen.html
Jean-Séb (1953-20??)

P.-S. Thanks for this great thread. I love fugues, although my fingers do not always.
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Re: Fugues in 19th and 20th century piano music

Post by klavierelch »

Thank you for this info, Jean-Séb.
Ars opus est hominis, non opus artis homo.

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Re: Fugues in 19th and 20th century piano music

Post by Caprotti »

I have uploaded at IMSLP an important set of Etudes dans le genre fugué op.97 by Reicha. Extremely interesting.

http://imslp.org/wiki/Etudes_dans_le_ge ... MSLP318613

(available after the usual control procedure from the IMSLP staff or at http://www.sendspace.com/file/uafut8 )
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Re: Fugues in 19th and 20th century piano music

Post by 4candles »

Caprotti wrote:I have uploaded at IMSLP an important set of Etudes dans le genre fugué op.97 by Reicha. Extremely interesting.

http://imslp.org/wiki/Etudes_dans_le_ge ... MSLP318613

(available after the usual control procedure from the IMSLP staff or at http://www.sendspace.com/file/uafut8 )
This is very interesting indeed!
I'm glad Reicha is slowly becoming recognised more widely as an important composer and theorist who had a lot of very original things to say.
The Kreutzer Quartet have so far released two discs in the world-premier recording of his String Quartets (you may already know), and their description of learning these works reveals a lot about Reicha's importance:
http://www.toccataclassics.com/liner_no ... -notes.pdf
4c
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Re: Fugues in 19th and 20th century piano music

Post by Alex »

Thank you for your scan, Caprotti. I can't wait to try these out on my piano.
And thank you for the liner notes to that recording, 4candles. It was a wonderful read and very informative. I woud love to meet the Kreutzer Quartet, since they seem to have a real passion for what they do. I will also explore Reicha more, especially the string quartets.
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Re: Fugues in 19th and 20th century piano music

Post by worov »

Alan Hovhaness wrote some fugues for piano too. I'm not sure they have been recorded though.
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Re: Fugues in 19th and 20th century piano music

Post by fleubis »

Caprottim thanks for the Reicha upload. Very interesting material indeed.
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