In 1937, Arnold Schoenberg said, ‘I have at last learned the lesson that has been forced upon me during this year, and I shall not ever forget it. It is that I am not a German, not a European, indeed perhaps scarcely a human being – at least the Europeans prefer the worst of their race ...
The opera house and, more specifically, opera audiences, were among the last to be receptive to the new musical language that developed during the twentieth century. Slow, as well as reluctant to vary their traditional musical tastes, perceptions and expectations, many viewed the opera house with nostalgia; as a symbol of the establishment, holding ...
‘The only thing worth emphasizing is that Theresienstadt has not hampered my musical activity, but actually encouraged it and supported it.’ The final entry in Viktor Ullmann’s journal referred to ‘Theresienstadt’, the town of Terezín, 60 kilometres northeast of Prague, which was remote enough for the Nazis to pursue their barbarism in relative seclusion. Yet within the ...
This unlikely opera house was the first avant-garde public arena and was funded by the Prussian Ministry of Culture. Built in 1844 by entrepreneur Josef Kroll, the theatre, with its large stage and fine acoustics, became the centrepiece for new music and production values that embraced modernity. When Otto Klemperer was appointed musical director, he approached the ...
Musique concrète (‘concrete music’) was the term coined by Pierre Schaeffer (1910–95) in 1948 to describe his new approach to composition, based on tape recordings of natural and industrial sounds. The term was chosen to distinguish the new genre from pure, abstract music (musique abstrait). Schaeffer was a radio engineer and broadcaster. Having gained a qualification from L’École Polytechnique ...
From the 1950s, several composers began to discover the compositional possibilities in the technology of radio stations and specialized studios. Important centres were: Columbia-Princeton Electronic Music Center, New York, founded in 1951 by Vladimir Ussachevsky and Otto Luening; Studio für Elektronische Musik, Cologne, established by Herbert Eimert in 1951; Studio di Fonologia, Milan, established ...
Following the social and political upheaval of the French Revolution and the Napoleonic Wars, Europe enjoyed a short period of relative stability with Napoleon’s exile, the restoration of the Bourbon monarchy in France and the establishment of the Vienna Peace Settlement in 1815. However, in the early 1820s a number of minor revolts broke out in Naples and ...
‘The Magic Flute’ The librettist of Die Zauberflöte, Emanuel Schikaneder, Mozart’s old friend and fellow freemason, drew on an eclectic variety of sources, including a French novel, Sethos, Paul Wranitzky’s magic opera Oberon (1789) and the oriental fairy tale Lulu. In the bird catcher Papageno, Schikaneder created for himself a character that could exploit ...
Khovanshchina (‘The Khovansky Affair’), a dark opera, full of conspiracy, gloom and imminent violence, was based on a historical event. In 1682, the future modernizing tsar Peter the Great (1672–1725) was made co-ruler of Russia with his mentally retarded half-brother Ivan V (1666–96). At this time, introducing Greek and Latin practices into the Russian Church was ...
1816–75 English composer Bennett was a leading figure of the ‘London Piano School’, a significant group of pianist-composers that included Muzio Clementi (1752–1832), Ignaz Moscheles (1794–1870) and Johann Baptist Cramer (1771–1858). A boy chorister at King’s College, Cambridge, he began studies aged 10 at the Royal Academy of Music (RAM), where his teachers included Cipriani Potter. Close friends included ...
(Frants Shoo’-brt) 1797–1828 Austrian composer Described by Liszt as ‘the most poetic of all composers’, Franz Schubert (1797–1828) was both the heir to the great Viennese classical tradition of Haydn, Mozart and Beethoven, and the first true Romantic composer. In his short life, spent almost entirely in Vienna, he was known almost exclusively as a composer of songs ...
(Ga-ôrg’ Moo’-fat) 1653–1704 German composer During the 1660s, Muffat worked with Lully in Paris, later visiting Vienna, Prague, Salzburg and Rome. The deep impression that his Italian and French studies made is reflected in four important collections. Armonico tributo (1682) consists of five sonatas modelled on Corelli’s concertos. These were revised and included along with six new concertos ...
(Yo-han’-nes Bramz) 1833–97 German composer Brahms is a Janus-like figure in music history: he simultaneously faced the past and the future. Reviving and enlarging the classical principles of Haydn, Mozart and Beethoven, his music has often been seen as a conservative reaction against the ‘new music’ of Liszt and, in particular, Wagner. Yet Brahms’ highly personal blend of ...
(Rin’-härt Ki’-zer) 1674–1739 German composer Keiser studied at St Thomas’s School, Leipzig. His first operas were performed at the Brunswick court during the early 1690s. In 1695 he moved to Hamburg, where he became director of the Gänsemarkt theatre in 1702. He wrote over 60 operas, mainly for Hamburg, but periods of absence did not further his cause. ...
(Ro’-bârt Shoo’-man) 1810–56 German composer Robert Schumann, in his life and music, embodied many of the central themes of the German Romantic movement: steeped in German literary Romanticism, he composed Lieder combining the melodic simplicity of German folk tradition with expressive harmonic setting, wrote poetically titled miniatures, and composed music rich in literary inspiration and allusion. His ...
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