(Vikh’-tor Uhl’-man) 1898–c. 1944 Czech composer Ullmann studied in Vienna with Schoenberg and also in his native Prague with the pioneer of microtonal music, Alois Hába. In his own music their influence is joined by those of Mahler, Zemlinsky (with whom he studied conducting), Debussy and Weill, among others. His powerful opera Der Sturz des Antichrists (‘The Rise ...
about himself and other musician prisoners before their death in the concentration camp, ‘Our desire to create matched our will to live’. Raised in a Moravian-Czech border town, Ullmann studied composition in Vienna under Schoenberg and developed a music style that, although not atonal, still exhibited the chromaticism of the Viennese school. Returning to Prague when Hitler ...
Spanish composers of his period, and some fine songs. Recommended Recording: Danzas fantasticas, Cincinnati SO (cond) Jesús López-Cobos (Telarc) Introduction | Modern Era | Classical Personalities | Viktor Ullmann | Modern Era | Classical ...
an award-winning, critically acclaimed setting of Sean O’Casey’s anti-war play The Silver Tassie (2000), with a libretto by Amanda Holden. Introduction | Modern Era | Opera Personalities | Viktor Ullmann | Modern Era | Opera ...
it was too late (if indeed they had the money to escape or the financial and bureaucratic support from others to do so) but many, such as composer Viktor Ullmann (1898–1944), could not foresee or otherwise escape the Final Solution and went unwittingly to their eventual extermination. Musically, pre-war Berlin was a thrilling place to be, and produced ...
ghetto, but they were also aware that it greatly reduced the chances of insurrection while serving as a useful propaganda tool that would mask their true intent. Written by Ullmann and librettist Petr Kien, Der Kaiser von Atlantis (‘The Emperor of Atlantis’, 1943) is a biting political satire rather than an opera. Scored for seven singers and 13 instrumentalists ...
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