I don't know how I missed it - I searched (or so I thought) on this site, on IMSLP and on Worldcat to ensure that there was not another version publicly available. Mine is a smaller file.Caprotti wrote:Wasn't there a previous Augener edition already in circulation?
Composers from Germany [Misc]
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Phillip210
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Re: Composers from Germany [Misc]
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Scriabinoff
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Re: Composers from Germany [Misc]
Wolpe, Stefan
American composer of German birth and Russian parentage. He began studies in theory and composition at the age of 14 and in 1920–21 attended the Berlin Hochschule für Musik, where he studied under Paul Juon. He then applied to Busoni’s masterclass at the Akademie der Künste; though he was not accepted, Busoni befriended him and passed on valued advice. Drawn to the avant garde from an early age, Wolpe took part in an exhibition of the Berlin dadaists and became associated with Melos and the circle around Scherchen and Tiessen. His first published work, an Adagio for piano, appeared in Melos (1920). In 1923 he joined the Novembergruppe, an association of socialist artists where he became active as pianist and composer, and in 1927 he collaborated with Stuckenschmidt.
Wolpe attended lectures and exhibitions at the Bauhaus at Weimar and was greatly influenced by the Bauhaus aesthetic of utopian socialism. In later life, not wishing to compose only for élite audiences, he would write for amateur groups and take great interest in the popular music and folklore of his successive homelands. He saw no difference between a musical intelligence that shapes simple ideas and one that works with highly complex, advanced musical material. A continual interplay of visual, kinetic and sound imagery in Wolpe’s thinking may have its origin in the multimedia experiments at the Bauhaus.
Wolpe destroyed most of his early works, keeping only a few songs and instrumental pieces, and song cycles on poems of Hölderlin, Kleist and Tagore. The major works from the 1920s are two chamber operas: Schöne Geschichten, a series of seven absurdist scenes with music suggesting the influence of Schoenberg’s Pierrot lunaire and Berg’s Wozzeck, and Zeus und Elida, a comical satire of Hitler (Zeus) set to music abstracted from current dance styles. As the situation in Germany deteriorated Wolpe became more active politically. From 1929 to 1933 he supplied dozens of songs, marches and anthems for unions, dance and theatre companies and agit-prop troupes. In 1931 he became musical director for Die Truppe 1931, a theatre collective directed by Gustav von Wangenheim. Die Mausefalle, the first and most successful of their three shows, satirized current social conditions while demonstrating Marxist doctrine. When the Nazis seized power in 1933 they banned Die Truppe, and Wolpe was forced to flee.
In August of the same year he arrived in Vienna to study with Webern and began using the 12-note method; the second of the Zwei Studien for orchestra is a Passacaglia on a 12-note row of 3rds and tritones. He also began a four-movement Konzert für neun Instrumente with nearly the same instrumentation as Webern’s own Konzert op.24. Wolpe assimilated Webern’s ideas to the concepts of Hauer and Schoenberg, with which he was already familiar. In Vier Studien über Grundreihen (1935–6) he worked with derived sets and combinatory hexachords, concepts he explored further in Kleinere Canons and Suite im Hexachord. At the end of 1933 Wolpe was again forced to flee, this time to Palestine, where he taught at the Palestine Conservatory in Jerusalem (1936–8). In Palestine Wolpe became fascinated by Jewish songs from Syria and Yemen and by classical Arabic music; the Octatonic scale, which he used in many works from that time on, can be derived from the maqām ṣaba. In the music of the Middle East he discovered a music-stasis that provided an alternative to the goal-directed forms and rhetoric of German Expressionism. He found in it a stirring but non-subjective expressivity.
In 1938 Wolpe emigrated to the USA and settled in New York. He held teaching posts at a number of institutions, including the Settlement Music School, Philadelphia (1939–42), the Brooklyn Free Music Society (1945–8), the Contemporary Music School (1948–52), of which he was founder and director, and the Philadelphia Academy of Music (1949–52); he was director of music at Black Mountain College (1952–6) and chairman of the department of music at C.W. Post College, Long Island University (1957–68). He influenced a wide range of musicians through his teaching, among them George Russell, Eddie Sauter, Haim Alexander, Herbert Brün, Morton Feldman, Ralph Shapey and David Tudor. From the 1950s Wolpe also lectured at Darmstadt.
In the works of the 1940s Wolpe demonstrated that diatonicism and dodecaphony are not mutually exclusive modes of musical thought, but that between them lies a rich spectrum of resources. Assimilating concepts from Bartók, Schoenberg and Stravinsky, he composed with pitch cells in a fully chromatic environment, and rhythmic phrases of great intricacy and diversity. Seeking to go beyond classical serialism he developed techniques for applying serial principles to harmony. The movements of the dance scores Zemach Suite and The Man From Midian, however, are variously diatonic, octatonic and 12-note. Not surprisingly, critics had difficulty classifying Wolpe’s music. After 1945 Wolpe continued to be socially committed while seeking an ever more abstract and constructed idiom. One of the many technical studies from the 1940s is titled ‘Displaced Spaces, Shocks, Negations, A New Sort of Relationship in Space, Pattern, Tempo, Diversity of Actions, Interreactions and Intensities’. The intent is to replace familiar, layered musical space, in which thematic materials are assigned specific registers, by a mobile, open, non-figurative space in which phrases are fractured and dispersed freely throughout the total sound. To organize such a constellatory time-space he developed a system of proportions, based on principles learned at the Bauhaus, in which the distances between pitches are divided symmetrically and asymmetrically by clusters or additional pitches. He demonstrated the system in Seven Pieces for three pianos (1951), which he dedicated to Varèse.
During the 1940s and 50s many jazz musicians came to Wolpe to extend their ideas in terms of concert music. Wolpe regarded jazz as a much needed corrective to the tightly controlled scores of classical composers. In the Saxophone Quartet (1950) jazz connotes Wolpe’s populism and his resistance to McCarthyism, and yet the piece attains a high level of abstraction with its spatial effects. Enactments for three pianos, the Oboe Quartet and the Symphony – in addition to being examples of abstract Expressionism – are notable for their notion of ‘organic modes’, according to which the ordering of the 12-note row is coordinated with expressive content, musical events and large-scale structural processes.
The works of the 1960s achieve a synthesis between Moment form and integral serialism. For his pieces Wolpe prepared charts and row forms but applied them with great latitude and spontaneity. Successive images are succinct, sharply defined and maximally contrasted in a fully written-out open form. The compositions are generally in two parts: the first is often slower, its mode of thought directed, orderly and stable, while the faster part scatters and disperses, producing a disrupted and dissociated effect. A new sound evolved in Form for piano (1959) after which he titled many works Piece or Form. During this period his music was championed by several ensembles such as the Group for Contemporary Music, founded by Sollberger and Wuorinen.
Wolpe received many awards and honours, including two Guggenheim fellowships and membership of the National Institute of Arts and Letters. His last years were overcast by parkinsonism and by a fire which damaged all his papers and destroyed his collection of paintings. Despite these adversities he continued to compose, completing his last piece a few months before he died
_______________________________________ Performance/Audio Example
http://youtu.be/wr3LByPi1aY
Alternate Biography with detailed discussion on his music, evolving style, including how this excerpt fits into his output ("Program Notes" stuff) Highly Recommend this or one of the other commercial recordings as the work takes on a stronger rhythmic cohesiveness at the faster tempo (performance time in the 2:15-2:30ish range, though the referenced YT version is still quite fine).
Wolpe attended lectures and exhibitions at the Bauhaus at Weimar and was greatly influenced by the Bauhaus aesthetic of utopian socialism. In later life, not wishing to compose only for élite audiences, he would write for amateur groups and take great interest in the popular music and folklore of his successive homelands. He saw no difference between a musical intelligence that shapes simple ideas and one that works with highly complex, advanced musical material. A continual interplay of visual, kinetic and sound imagery in Wolpe’s thinking may have its origin in the multimedia experiments at the Bauhaus.
Wolpe destroyed most of his early works, keeping only a few songs and instrumental pieces, and song cycles on poems of Hölderlin, Kleist and Tagore. The major works from the 1920s are two chamber operas: Schöne Geschichten, a series of seven absurdist scenes with music suggesting the influence of Schoenberg’s Pierrot lunaire and Berg’s Wozzeck, and Zeus und Elida, a comical satire of Hitler (Zeus) set to music abstracted from current dance styles. As the situation in Germany deteriorated Wolpe became more active politically. From 1929 to 1933 he supplied dozens of songs, marches and anthems for unions, dance and theatre companies and agit-prop troupes. In 1931 he became musical director for Die Truppe 1931, a theatre collective directed by Gustav von Wangenheim. Die Mausefalle, the first and most successful of their three shows, satirized current social conditions while demonstrating Marxist doctrine. When the Nazis seized power in 1933 they banned Die Truppe, and Wolpe was forced to flee.
In August of the same year he arrived in Vienna to study with Webern and began using the 12-note method; the second of the Zwei Studien for orchestra is a Passacaglia on a 12-note row of 3rds and tritones. He also began a four-movement Konzert für neun Instrumente with nearly the same instrumentation as Webern’s own Konzert op.24. Wolpe assimilated Webern’s ideas to the concepts of Hauer and Schoenberg, with which he was already familiar. In Vier Studien über Grundreihen (1935–6) he worked with derived sets and combinatory hexachords, concepts he explored further in Kleinere Canons and Suite im Hexachord. At the end of 1933 Wolpe was again forced to flee, this time to Palestine, where he taught at the Palestine Conservatory in Jerusalem (1936–8). In Palestine Wolpe became fascinated by Jewish songs from Syria and Yemen and by classical Arabic music; the Octatonic scale, which he used in many works from that time on, can be derived from the maqām ṣaba. In the music of the Middle East he discovered a music-stasis that provided an alternative to the goal-directed forms and rhetoric of German Expressionism. He found in it a stirring but non-subjective expressivity.
In 1938 Wolpe emigrated to the USA and settled in New York. He held teaching posts at a number of institutions, including the Settlement Music School, Philadelphia (1939–42), the Brooklyn Free Music Society (1945–8), the Contemporary Music School (1948–52), of which he was founder and director, and the Philadelphia Academy of Music (1949–52); he was director of music at Black Mountain College (1952–6) and chairman of the department of music at C.W. Post College, Long Island University (1957–68). He influenced a wide range of musicians through his teaching, among them George Russell, Eddie Sauter, Haim Alexander, Herbert Brün, Morton Feldman, Ralph Shapey and David Tudor. From the 1950s Wolpe also lectured at Darmstadt.
In the works of the 1940s Wolpe demonstrated that diatonicism and dodecaphony are not mutually exclusive modes of musical thought, but that between them lies a rich spectrum of resources. Assimilating concepts from Bartók, Schoenberg and Stravinsky, he composed with pitch cells in a fully chromatic environment, and rhythmic phrases of great intricacy and diversity. Seeking to go beyond classical serialism he developed techniques for applying serial principles to harmony. The movements of the dance scores Zemach Suite and The Man From Midian, however, are variously diatonic, octatonic and 12-note. Not surprisingly, critics had difficulty classifying Wolpe’s music. After 1945 Wolpe continued to be socially committed while seeking an ever more abstract and constructed idiom. One of the many technical studies from the 1940s is titled ‘Displaced Spaces, Shocks, Negations, A New Sort of Relationship in Space, Pattern, Tempo, Diversity of Actions, Interreactions and Intensities’. The intent is to replace familiar, layered musical space, in which thematic materials are assigned specific registers, by a mobile, open, non-figurative space in which phrases are fractured and dispersed freely throughout the total sound. To organize such a constellatory time-space he developed a system of proportions, based on principles learned at the Bauhaus, in which the distances between pitches are divided symmetrically and asymmetrically by clusters or additional pitches. He demonstrated the system in Seven Pieces for three pianos (1951), which he dedicated to Varèse.
During the 1940s and 50s many jazz musicians came to Wolpe to extend their ideas in terms of concert music. Wolpe regarded jazz as a much needed corrective to the tightly controlled scores of classical composers. In the Saxophone Quartet (1950) jazz connotes Wolpe’s populism and his resistance to McCarthyism, and yet the piece attains a high level of abstraction with its spatial effects. Enactments for three pianos, the Oboe Quartet and the Symphony – in addition to being examples of abstract Expressionism – are notable for their notion of ‘organic modes’, according to which the ordering of the 12-note row is coordinated with expressive content, musical events and large-scale structural processes.
The works of the 1960s achieve a synthesis between Moment form and integral serialism. For his pieces Wolpe prepared charts and row forms but applied them with great latitude and spontaneity. Successive images are succinct, sharply defined and maximally contrasted in a fully written-out open form. The compositions are generally in two parts: the first is often slower, its mode of thought directed, orderly and stable, while the faster part scatters and disperses, producing a disrupted and dissociated effect. A new sound evolved in Form for piano (1959) after which he titled many works Piece or Form. During this period his music was championed by several ensembles such as the Group for Contemporary Music, founded by Sollberger and Wuorinen.
Wolpe received many awards and honours, including two Guggenheim fellowships and membership of the National Institute of Arts and Letters. His last years were overcast by parkinsonism and by a fire which damaged all his papers and destroyed his collection of paintings. Despite these adversities he continued to compose, completing his last piece a few months before he died
_______________________________________ Performance/Audio Example
http://youtu.be/wr3LByPi1aY
Alternate Biography with detailed discussion on his music, evolving style, including how this excerpt fits into his output ("Program Notes" stuff) Highly Recommend this or one of the other commercial recordings as the work takes on a stronger rhythmic cohesiveness at the faster tempo (performance time in the 2:15-2:30ish range, though the referenced YT version is still quite fine).
You do not have the required permissions to view the files attached to this post.
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Timtin
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Re: Composers from Germany [Misc]
Further to the above, this site may be of interest.
http://www.wolpe.org/
http://www.wolpe.org/
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Scriabinoff
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- Contact:
Re: Composers from Germany [Misc]
Finke, Fidelio F(riedrich)
(b Josefstal [now Josefův Důl, nr Jablonec], Bohemia, 22 Oct 1891; d Dresden, 12 June 1968).
German composer and teacher. He received his first music lessons from his father, a music teacher, composer and conductor of an amateur orchestra, and also from his uncle, Romeo Finke, the first director of the German Academy of Music, Prague, and a distinguished piano teacher. From 1908 to 1911 he studied in Novák's composition master classes at the Prague Conservatory, where he was appointed teacher of theory and piano in 1915 and professor in 1926. He directed the composition master classes at the German Academy (1927–45) and he was national inspector of German music schools (1920–38) and president of the German Society of Music Teachers in Czechoslovakia from 1924, among other administrative posts. During his first 15 years in Prague he was also active as a conductor, pianist, organist and writer and he edited Der Auftakt. After the war he moved to Dresden as director of the Akademie für Musik und Theater (1946–51), where he took a master class in composition. He was professor of composition at the Leipzig Musikhochschule (1951–9) and was elected to membership of the German Academy of Arts, Berlin, in 1956. From 1959 he lived in Dresden. Awards made to him include the national prizes of Czechoslovakia (1928 and 1937) and the DDR (1956), and the Order of Merit of the DDR (1961).
Finke’s creative work is marked by his connections with Germany and with Czechoslovakia, his craftsmanship and his openness to folk music and to new expressive means. The music of his first period, approximately up to World War I, was influenced by late 19th-century music. The ingenious Reiterburleske, a symphonic poem for piano, is typical: it is close to Strauss, but there is individuality in its Bohemian traits and its melancholy humour. In 1914 Finke completed his First Quartet, dedicated to Schoenberg, who had a great influence on him and with whom he came into personal contact. The première of the work, by the Amar Quartet at the 1921 Donaueschingen Festival, brought Finke sudden fame. He remained a figure of the avant garde, as the Expressionist Violin Sonata (1924) demonstrates. Nevertheless, during these years and later he was making efforts to shape his own style from tradition and innovation, from new ideas and folk music. In about 1930 he moved into a new period characterized by frugal neo-classical writing. Then after his move to East Germany his music became clearer and more popular in appeal. His chamber pieces are the best and most widely known.
Bibliography
G. Schmiedel: ‘Fidelio F. Finke’, Aus dem Leben und Schaffen unserer Komponisten (Berlin, 1960–61)
G. Berge: ‘Das Klavierwerk Fidelio F. Finkes’, MG, xv (1965), 369–79
D. Härtwig: ‘Fidelio F. Finke: Entwicklung seines Schaffens’, Sammelbände zur Musikgeschichte der Deutschen Demoskratischen Republik, ed. H.A. Brockhaus and K. Niemann, i (Berlin, 1969), 237–62
D. Härtwig: ‘Eigenes in unverbrauchten Klängen’, MG, xxi (1971), 621–4
V. Benetková: ‘Ke stému výročí neznámého skladatele: Fidelio F. Finke’ [For the 100th anniversary of a little-known composer], HRo, xlv (1992), 40–44
P. Brömse and W. Hübner, eds.: ‘Einzeitgemäss Unzeitgemässen: Erinnerungen an Fidelio Fritz Finke’, Aktuelle lexicographische Fragen: Bericht (Regensburg, 1994), 107–29
Das Atom (J.R. Becher), 1966; Der Rauch (Brecht), 1966; Epilog aus ‘Der aufhaltsame Aufstieg des Arturo Ui’ (Brecht), 1966; Kantate piccola (Busch), 1966
Erik Levi
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- See Alfor's thread for more Finke, i.e.
viewtopic.php?f=11&t=68&p=13410&hilit=finke#p13410
"Musik der Zeit
Band IV (Bartok, Butting, Feinberg, Finke, Grosz, Gruenberg, Haba, Jirak, Kodaly, Lazar, Polowinkin, Salmhofer, Schulhoff)"
German composer and teacher. He received his first music lessons from his father, a music teacher, composer and conductor of an amateur orchestra, and also from his uncle, Romeo Finke, the first director of the German Academy of Music, Prague, and a distinguished piano teacher. From 1908 to 1911 he studied in Novák's composition master classes at the Prague Conservatory, where he was appointed teacher of theory and piano in 1915 and professor in 1926. He directed the composition master classes at the German Academy (1927–45) and he was national inspector of German music schools (1920–38) and president of the German Society of Music Teachers in Czechoslovakia from 1924, among other administrative posts. During his first 15 years in Prague he was also active as a conductor, pianist, organist and writer and he edited Der Auftakt. After the war he moved to Dresden as director of the Akademie für Musik und Theater (1946–51), where he took a master class in composition. He was professor of composition at the Leipzig Musikhochschule (1951–9) and was elected to membership of the German Academy of Arts, Berlin, in 1956. From 1959 he lived in Dresden. Awards made to him include the national prizes of Czechoslovakia (1928 and 1937) and the DDR (1956), and the Order of Merit of the DDR (1961).
Finke’s creative work is marked by his connections with Germany and with Czechoslovakia, his craftsmanship and his openness to folk music and to new expressive means. The music of his first period, approximately up to World War I, was influenced by late 19th-century music. The ingenious Reiterburleske, a symphonic poem for piano, is typical: it is close to Strauss, but there is individuality in its Bohemian traits and its melancholy humour. In 1914 Finke completed his First Quartet, dedicated to Schoenberg, who had a great influence on him and with whom he came into personal contact. The première of the work, by the Amar Quartet at the 1921 Donaueschingen Festival, brought Finke sudden fame. He remained a figure of the avant garde, as the Expressionist Violin Sonata (1924) demonstrates. Nevertheless, during these years and later he was making efforts to shape his own style from tradition and innovation, from new ideas and folk music. In about 1930 he moved into a new period characterized by frugal neo-classical writing. Then after his move to East Germany his music became clearer and more popular in appeal. His chamber pieces are the best and most widely known.
Bibliography
G. Schmiedel: ‘Fidelio F. Finke’, Aus dem Leben und Schaffen unserer Komponisten (Berlin, 1960–61)
G. Berge: ‘Das Klavierwerk Fidelio F. Finkes’, MG, xv (1965), 369–79
D. Härtwig: ‘Fidelio F. Finke: Entwicklung seines Schaffens’, Sammelbände zur Musikgeschichte der Deutschen Demoskratischen Republik, ed. H.A. Brockhaus and K. Niemann, i (Berlin, 1969), 237–62
D. Härtwig: ‘Eigenes in unverbrauchten Klängen’, MG, xxi (1971), 621–4
V. Benetková: ‘Ke stému výročí neznámého skladatele: Fidelio F. Finke’ [For the 100th anniversary of a little-known composer], HRo, xlv (1992), 40–44
P. Brömse and W. Hübner, eds.: ‘Einzeitgemäss Unzeitgemässen: Erinnerungen an Fidelio Fritz Finke’, Aktuelle lexicographische Fragen: Bericht (Regensburg, 1994), 107–29
Das Atom (J.R. Becher), 1966; Der Rauch (Brecht), 1966; Epilog aus ‘Der aufhaltsame Aufstieg des Arturo Ui’ (Brecht), 1966; Kantate piccola (Busch), 1966
Erik Levi
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- See Alfor's thread for more Finke, i.e.
viewtopic.php?f=11&t=68&p=13410&hilit=finke#p13410
"Musik der Zeit
Band IV (Bartok, Butting, Feinberg, Finke, Grosz, Gruenberg, Haba, Jirak, Kodaly, Lazar, Polowinkin, Salmhofer, Schulhoff)"
You do not have the required permissions to view the files attached to this post.
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Caprotti
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Charles Mayer
As announced last year, I'm happy to publish here and at IMSLP the original version of the Valse mélancolique in f# wrongly attributed to Chopin (see
http://imslp.org/wiki/Valse_m%C3%A9lanc ... 3%A9ric%29).
The Valse had been published in a corrupted form around 1930 and later in 1986 (by Stanislaw Dybowski on the bi-weekly "Ruch Muzyczny").In 2012 I discovered, thru the State Library in Berlin, that the piece had been indeed composed by Charles Mayer in 1862, in a more elaborated shape. I couldn't find any reason why the Valse remained unnoticed and subsequently published in a shortened version under the name of Chopin.
An article (in Italian) about the Mayer Valse can be read at
http://www.allabarbaresca.com/articoli.html and http://www.amadeusonline.net/news.php?ID=1372752690.
Another link (in english) is here : http://www.thepianofiles.com/2012/12/31 ... ancolique/
Here
http://www.amadeusonline.net/mp3bonus/MayRegt.mp3
can be found also a link to a recent recording of the Valse, appositely made for me by the italian pianist Vincenzo Maltempo.
http://imslp.org/wiki/Valse_m%C3%A9lanc ... 3%A9ric%29).
The Valse had been published in a corrupted form around 1930 and later in 1986 (by Stanislaw Dybowski on the bi-weekly "Ruch Muzyczny").In 2012 I discovered, thru the State Library in Berlin, that the piece had been indeed composed by Charles Mayer in 1862, in a more elaborated shape. I couldn't find any reason why the Valse remained unnoticed and subsequently published in a shortened version under the name of Chopin.
An article (in Italian) about the Mayer Valse can be read at
http://www.allabarbaresca.com/articoli.html and http://www.amadeusonline.net/news.php?ID=1372752690.
Another link (in english) is here : http://www.thepianofiles.com/2012/12/31 ... ancolique/
Here
http://www.amadeusonline.net/mp3bonus/MayRegt.mp3
can be found also a link to a recent recording of the Valse, appositely made for me by the italian pianist Vincenzo Maltempo.
You do not have the required permissions to view the files attached to this post.
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liveforpiano
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Re: Composers from Germany [Misc]
Thank you Caprotti, for the Waltz and for the performance of it.
Best wishes.
Peter.
Best wishes.
Peter.
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Timtin
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Re: Composers from Germany [Misc]
Thanks also from me to Caprotti for all his efforts in making this
fascinating work available to us. It's extremely refreshing to see
such contributions imho.
fascinating work available to us. It's extremely refreshing to see
such contributions imho.
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paolor
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Re: Composers from Germany [Misc]
Great discovery - quite remarkable indeed. Many thanks!
paolor
paolor
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promusician
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Re: Composers from Germany [Misc]
Does anyone has a scanned copy of this book?
http://books.google.com.my/books/about/ ... edir_esc=y
TIA
http://books.google.com.my/books/about/ ... edir_esc=y
TIA
Sharing is caring:)
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Duirton
Re: Composers from Germany [Misc]
Hi everyone,
I'm looking for the sonatas of Norbert von Hannenheim. I have only the sonata n.4
I'll glad to post it on PP in change of other sonatas (I can post it also on explicit request but I've desire to find also the other sonatas...).
Let me know?
A greeting,
Duirton
I'm looking for the sonatas of Norbert von Hannenheim. I have only the sonata n.4
I'll glad to post it on PP in change of other sonatas (I can post it also on explicit request but I've desire to find also the other sonatas...).
Let me know?
A greeting,
Duirton