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Содержание
Введение
Немецкий композитор и дирижер (1869–1949)
композитор
German composer and conductor (1869–1949)
the composer
Ханс Эрих Пфицнер (5 мая 1869 – 22 мая 1949) – немецкий композитор, дирижер и полемист, сам определявший себя как антимодернист. Его наиболее известное произведение – опера в стиле позднего романтизма «Палестрина» (1917), вольно основанная на жизни композитора XVI века Джованни Пьерлуиджи да Палестрина и его мессы Missa Papae Marcelli.
Hans Erich Pfitzner (5 May 1869 – 22 May 1949) was a German composer, conductor and polemicist who was a self described anti modernist. His best known work is the post Romantic opera Palestrina (1917), loosely based on the life of the sixteenth century composer Giovanni Pierluigi da Palestrina and his Missa Papae Marcelli.
Жизнь
Пфицнер родился в Москве, где его отец играл на виолончели в театральном оркестре. Семья вернулась в родной город его отца, Франкфурт, в 1872 году, когда Пфицнеру было два года, и он всегда считал Франкфурт своим родным городом. Он получил первые уроки игры на скрипке от отца, и его первые композиции были написаны в возрасте 11 лет. В 1884 году он сочинил свои первые песни. С 1886 по 1890 год он изучал композицию у Ивана Кнорра и фортепиано у Джеймса Кваста в Консерватории Хоха во Франкфурте. (Позже он женился на дочери Кваста, Мими Кваст, внучке Фердинанда Хиллера, после того как она отвергла ухаживания Перси Грейнджера.) С 1892 по 1893 год он преподавал фортепиано и теорию в Консерватории Кобленца. В 1894 году он был назначен дирижером в Staatstheater Mainz, где проработал несколько месяцев. Это были низкооплачиваемые должности, и Пфицнер работал в качестве Эрстера (Первого) Капельмейстера в Берлинском Театре де Вестенс, когда в 1908 году, когда ему было почти 40 лет, он был назначен на скромно престижную должность оперного режиссера и руководителя консерватории в Страсбурге. В Страсбурге Пфицнер наконец-то обрел профессиональную стабильность и получил значительную власть для постановки своих собственных опер. Он считал контроль над сценической постановкой своей особой областью, и это убеждение неоднократно приводило его к трудностям на протяжении всей карьеры. Центральным событием в жизни Пфицнера стала аннексия Эльзаса — и вместе с ним Страсбурга — Францией после Первой мировой войны. Пфицнер лишился средств к существованию и остался нищим в возрасте 50 лет. Это усугубило несколько сложных черт его характера: элитаризм, убежденность в том, что он имеет право на безбедное существование за свой вклад в немецкое искусство и за тяжелый труд юности, печально известную социальную неловкость и отсутствие такта, искреннюю веру в то, что его музыку недооценивают, и склонность его сторонников создавать вокруг него культы, снисходительное отношение к издателям и чувство, что враги Германии лично его обидели. Его горечь и культурный пессимизм усилились в 1920-х годах со смертью его жены в 1926 году и менингитом, поразившим его старшего сына Пауля, который был помещен в психиатрическую больницу. В 1895 году Рихард Бруно Гейдрих исполнил заглавную роль в премьере первой оперы Ганса Пфицнера, "Der arme Heinrich", основанной на одноименном стихотворении Хартмана фон Ауэ. Более того, Гейдрих "спас" эту оперу. Главным произведением Пфицнера стала "Палестрина", премьера которой состоялась в Мюнхене 12 июня 1917 года под управлением еврейского дирижера Бруно Вальтера. За день до своей смерти в феврале 1962 года Вальтер продиктовал свое последнее письмо, которое заканчивалось словами: "Несмотря на все мрачные переживания сегодняшнего дня, я все еще уверен, что "Палестрина" останется. В этом произведении есть все элементы бессмертия". Самым известным из прозаических произведений Пфицнера является его памфлет "Futuristengefahr" ("Опасность футуристов"), написанный в ответ на "Эскиз новой эстетики музыки" Ферруччо Бузони. "Бузони, – жаловался Пфицнер, – возлагает все свои надежды на западную музыку в будущем и рассматривает настоящее и прошлое как шаткое начало, как подготовку. Но что, если все обстоит иначе? Что, если мы сейчас находимся на пике, или даже уже прошли его?" У Пфицнера была схожая дискуссия с критиком Полом Беккером. Он посвятил свой Скрипичный концерт си минор, op. 34 (1923) австралийской скрипачке Альме Муди. Премьера состоялась в Нюрнберге 4 июня 1924 года под управлением самого композитора. Муди стала его ведущей исполнительницей и сыграла его более 50 раз в Германии с такими дирижерами, как Пфицнер, Вильгельм Фуртвенглер, Ханс Кнаппертсбуш, Герман Шерхен, Карл Мук, Карл Шурихт и Фриц Буш. В то время концерт Пфицнера считался самым важным дополнением к репертуару скрипичных концертов со времен Первого концерта Макса Бруха (1866), хотя в наши дни его редко исполняют скрипачи. Однажды в 1927 году дирижер Петер Раабе запланировал концерт для публичной трансляции и исполнения в Аахене, но не предусмотрел бюджет на копирование нот; в результате работа была "снята" с программы в последнюю минуту и заменена знакомым концертом Брамса.
Pfitzner was born in Moscow where his father played cello in a theater orchestra. The family returned to his father's native town Frankfurt in 1872, when Pfitzner was two years old, he always considered Frankfurt his home town. He received early instruction in violin from his father, and his earliest compositions were composed at age 11. In 1884 he wrote his first songs. From 1886 to 1890 he studied composition with Iwan Knorr and piano with James Kwast at the Hoch Conservatory in Frankfurt. (He later married Kwast's daughter Mimi Kwast, a granddaughter of Ferdinand Hiller, after she had rejected the advances of Percy Grainger.) He taught piano and theory at the Koblenz Conservatory from 1892 to 1893. In 1894 he was appointed conductor at the Staatstheater Mainz where he worked for a few months. These were all low paying jobs, and Pfitzner was working as Erster (First) Kapellmeister with the Berlin Theater des Westens when he was appointed to a modestly prestigious post of opera director and head of the conservatory in Straßburg (Strasbourg) in 1908, when Pfitzner was almost 40. In Strasbourg, Pfitzner finally had some professional stability, and it was there he gained significant power to direct his own operas. He viewed control over the stage direction to be his particular domain, and this view was to cause him particular difficulty for the rest of his career. The central event of Pfitzner's life was the annexation of Imperial Alsace—and with it Strasbourg—by France in the aftermath of World War I. Pfitzner lost his livelihood and was left destitute at age 50. This hardened several difficult traits in Pfitzner's personality: an elitism believing he was entitled to sinecures for his contributions to German art and for the hard work of his youth, notorious social awkwardness and a lack of tact, a sincere belief that his music was under recognized and under appreciated with a tendency for his sympathizers to form cults around him, a patronizing style with his publishers, and a feeling that he had been personally slighted by Germany's enemies. His bitterness and cultural pessimism deepened in the 1920s with the death of his wife in 1926 and with meningitis affecting his older son Paul, who was committed to institutionalized medical care. In 1895, Richard Bruno Heydrich sang the title role in the premiere of people like Hans Pfitzner's first opera, Der arme Heinrich, based on the poem of the same name by Hartmann von Aue. More to the point, Heydrich "saved" the opera. Pfitzner's magnum opus was Palestrina, which had its premiere in Munich on 12 June 1917 under the baton of Jewish conductor Bruno Walter. On the day before he died in February 1962, Walter dictated his last letter, which ended "Despite all the dark experiences of today I am still confident that Palestrina will remain. The work has all the elements of immortality". Easily the most celebrated of Pfitzner's prose works is his pamphlet Futuristengefahr ("Danger of Futurists"), written in response to Ferruccio Busoni's Sketch for a New Aesthetic of Music. "Busoni," Pfitzner complained, "places all his hopes for Western music in the future and understands the present and past as a faltering beginning, as the preparation. But what if it were otherwise? What if we find ourselves presently at a high point, or even that we have already passed beyond it?" Pfitzner had a similar debate with the critic Paul Bekker. Pfitzner dedicated his Violin Concerto in B minor, Op. 34 (1923) to the Australian violinist Alma Moodie. She premiered it in Nuremberg on 4 June 1924, with the composer conducting. Moodie became its leading exponent, and performed it over 50 times in Germany with conductors such as Pfitzner, Wilhelm Furtwängler, Hans Knappertsbusch, Hermann Scherchen, Karl Muck, Carl Schuricht, and Fritz Busch. At that time, the Pfitzner concerto was considered the most important addition to the violin concerto repertoire since the first concerto of Max Bruch (1866), although it is not played by most violinists these days. On one occasion in 1927, conductor Peter Raabe programmed the concerto for public broadcast and performance in Aachen but did not budget for copying of the sheet music; as a result, the work was "withdrawn" at the last minute and replaced with the familiar Brahms concerto.
Нацистская эпоха
Все более националистичный в среднем и пожилом возрасте, Пфицнер поначалу пользовался симпатией влиятельных деятелей нацистской Германии, в частности Ханса Франка, с которым он поддерживал хорошие отношения. Однако вскоре он поссорился с ведущими нацистами, которых оттолкнула его давняя музыкальная связь с еврейским дирижером Бруно Вальтером. Он вызвал дополнительное недовольство нацистов, отказавшись выполнить просьбу режима написать музыку к спектаклю «Сон в летнюю ночь» Шекспира, которая могла бы заменить знаменитую постановку Феликса Мендельсона, неприемлемую для нацистов из-за еврейского происхождения композитора. Пфицнер утверждал, что оригинал Мендельсона значительно превосходит все, что он мог бы предложить взамен. В 1923 году Пфицнер встретился с Гитлером. Это произошло, когда композитор находился в больнице: Пфицнер перенес операцию на желчном пузыре, и Антон Дрекслер, хорошо знавший обоих мужчин, организовал визит. Гитлер вел большую часть разговора, но Пфицнер осмелился возразить ему по поводу мыслителя Отто Вайнингера, придерживавшегося гомосексуальных и антисемитских взглядов, что привело Гитлера в ярость. Позже Гитлер сообщил нацистскому идеологу Альфреду Розенбергу, что не желает «больше иметь ничего общего с этим еврейским раввином». Не зная об этом высказывании, Пфицнер полагал, что Гитлер к нему благосклонен. Когда нацисты пришли к власти в 1933 году, Розенберг привлек Пфицнера, известного своей неспособностью выступать с речами, к чтению лекций для «Боевого союза немецкой культуры» (Kampfbund für deutsche Kultur), и Пфицнер согласился, надеясь, что это поможет ему занять влиятельный пост. Однако Гитлер позаботился о том, чтобы композитора обошли при назначении на должности оперного директора в Дюссельдорфе и генерального интенданта Берлинской оперы, несмотря на намеки властей о том, что обе должности были зарезервированы для него. В начале правления Гитлера Пфицнер получил предписание от Ханса Франка (в то время министра юстиции Баварии) и Вильгельма Фрика (министра внутренних дел в кабинете Гитлера) не ездить на Зальцбургский фестиваль в 1933 году для исполнения своего скрипичного концерта. Пфицнер сумел заключить стабильный контракт с Мюнхенской оперой в 1928 году, но столкнулся с унизительным отношением со стороны главного дирижера Ханса Кнаппертсбуша и интенданта оперного театра по имени Франкенштейн. В 1934 году Пфицнер был вынужден уйти на пенсию и потерял должности оперного дирижера, режиссера и профессора консерватории. Ему также была назначена минимальная пенсия в несколько сотен марок в месяц, против которой он протестовал до 1937 года, когда Геббельс уладил этот вопрос. На нацистском митинге в 1934 году Пфицнер надеялся получить разрешение дирижировать, но ему отказали, и на самом митинге он впервые узнал, что Гитлер считает его полуевреем. И Гитлер был не первым, кто так подумал. Винифред Вагнер, директор Байройтского фестиваля и доверенное лицо Гитлера, тоже придерживалась этого мнения. Пфицнеру пришлось доказывать, что его происхождение полностью нееврейское. К 1939 году он полностью разочаровался в нацистском режиме, за исключением Франка, которого он продолжал уважать. Взгляды Пфицнера на «еврейский вопрос» были противоречивыми и нелогичными. Он был готов делать исключения из общей политики антисемитизма. Например, он рекомендовал постановку оперы Маршнера «Тамплиер и еврейка» по роману Вальтера Скотта «Иванхоэ», защищал своего еврейского ученика Феликса Вольфа из Кельна, вместе с Фуртвенглером помогал молодому дирижеру Хансу Швейгеру, жена которого была еврейкой, и поддерживал дружбу с Бруно Вальтером и особенно со своим другом детства, журналистом Полом Коссманом, «самоненавистным» непрактикующим евреем, который был заключен в тюрьму в 1933 году. Попытки Пфицнера, предпринятые в пользу Коссмана, могли привлечь внимание начальника гестапо Рейнхарда Гейдриха, который, кстати, был сыном тенора, впервые исполнившего оперу Пфицнера. Петиции Пфицнера, вероятно, способствовали освобождению Коссмана в 1934 году, хотя в конечном итоге он был арестован повторно в 1942 году и умер от дизентерии в Терезиенштадте. В 1938 году Пфицнер пошутил, что боится обратиться к известному окулисту в Мюнхене, потому что «его прабабушка однажды видела, как еврей на четверть переходит улицу». Он работал с еврейскими музыкантами на протяжении всей своей карьеры. В начале 1930-х годов он часто аккомпанировал знаменитой контральто Оттилии Метцгер Латтерманн, позже убитой в Освенциме, на концертах и посвятил ей свои четыре песни, соч. 19, еще в 1905 году. В 1909 году он посвятил свои песни, соч. 24, еврейскому музыкальному критику и основателю еврейского общества культуры Артуру Элоэссеру. Тем не менее, Пфицнер поддерживал тесные контакты с ярыми антисемитами, такими как музыкальные критики Вальтер Абендрот и Виктор Юнк, и не стеснялся использовать антисемитскую брань (достаточно распространенную среди людей его поколения и не только в Германии) для достижения определенных целей. После того как дом Пфицнера был разрушен в результате бомбардировки союзниками во время войны, а его членство в Мюнхенской академии музыки было аннулировано за его критику нацизма, композитор в 1945 году остался бездомным и психически больным. Однако после войны его реабилитировали и восстановили пенсию, сняли запрет на исполнение его произведений, и ему предоставили жилье в доме престарелых в Зальцбурге. Там, в 1949 году, он умер. Фуртвенглер дирижировал исполнением его Симфонии до мажор на Зальцбургском фестивале с Венским филармоническим оркестром летом 1949 года, вскоре после смерти композитора. После долгого забвения музыка Пфицнера начала вновь появляться в оперных театрах, концертных залах и студиях звукозаписи в 1990-х годах, включая противоречивую постановку «Палестрины» в Ковент-Гардене в Линкольн-центре Манхэттена в 1997 году. В 1990-х годах все больше музыковедов, в основном немецких и британских, начали изучать жизнь и творчество Пфицнера. Биограф Ханс Петер Фогель писал, что Пфицнер был единственным композитором нацистской эпохи, который попытался осмыслить национал-социализм интеллектуально и духовно после 1945 года. В 2001 году Сабина Буш исследовала идеологическую борьбу, связанную с участием композитора в национал-социалистах, основываясь отчасти на ранее недоступных материалах. Она пришла к выводу, что, хотя композитор не был исключительно пронацистским и не был чисто антисемитским шовинистом, как это часто ассоциируется с его образом, он сотрудничал с нацистскими властями, которые, по его мнению, будут продвигать его музыку, и разочаровался, когда нацисты сочли «часто мрачную музыку старого мастера-элитариста» «малопригодной для пропаганды». Наиболее полный англоязычный отчет об отношениях Пфицнера с нацистами принадлежит Майклу Катеру, а Пфицнер защищал свой стиль в своих собственных трудах. Особенно примечательны многочисленные и изящные песни Пфицнера, находящиеся под влиянием Гуго Вольфа, но обладающие своим собственным, скорее меланхоличным шармом. Несколько из них были записаны в 1930-х годах выдающимся баритоном Герхардом Хюшем, в сопровождении композитора за фортепиано. Его первая симфония — Симфония до-диез минор — пережила странный генезис: она изначально не была задумана как оркестровая, а представляла собой переработку струнного квартета. В произведениях прослеживается поздняя набожная вдохновленность, и хотя они приобретают черты позднего романтизма, они также демонстрируют другие, связанные с мрачной неуклюжестью современной идиомы. Например, композитор Артур Онеггер пишет в 1955 году, после критики излишней полифонии и чрезмерно длинных оркестровых партий в объемном эссе, посвященном «Палестрине»:
Increasingly nationalistic in his middle and old age, Pfitzner was at first regarded sympathetically by important figures in Nazi Germany, in particular by Hans Frank, with whom he remained on good terms. But he soon fell out with chief Nazis, who were alienated by his long musical association with the Jewish conductor Bruno Walter. He incurred extra wrath from the Nazis by refusing to obey the regime's request to provide incidental music to Shakespeare's A Midsummer Night's Dream that could be used in place of the famous setting by Felix Mendelssohn, unacceptable to the Nazis because of his Jewish origin. Pfitzner maintained that Mendelssohn's original was far better than anything he himself could offer as a substitute. As early as 1923, Pfitzner and Hitler met. It was while the former was a hospital patient: Pfitzner had undergone a gall bladder operation when Anton Drexler, who knew both men well, arranged a visit. Hitler did most of the talking, but Pfitzner dared to contradict him regarding the homosexual and antisemitic thinker Otto Weininger, causing Hitler to leave in a huff. Later on, Hitler told Nazi cultural architect Alfred Rosenberg that he wanted "nothing further to do with this Jewish rabbi." Pfitzner, unaware of this comment, believed Hitler to be sympathetic to him. When the Nazis came to power in 1933, Rosenberg recruited Pfitzner, a notoriously bad speaker, to lecture for the Militant League for German Culture (Kampfbund für deutsche Kultur) that same year and Pfitzner accepted, hoping it would help him find an influential position. Hitler, however, saw to it that the composer was passed over in favor of party hacks for positions as opera director in Düsseldorf and Generalintendant of the Berlin Municipal Opera, despite hints from authorities that both positions were being held for him. Very early in Hitler's rule, Pfitzner received an injunction from Hans Frank (by this time Justice Minister in Bavaria) and Wilhelm Frick (Interior Minister in Hitler's own cabinet) against traveling to the Salzburg Festival in 1933 to conduct his violin concerto. Pfitzner had managed to gain a stable conducting contract from the Munich opera in 1928, but ran into demeaning treatment from chief conductor Hans Knappertsbusch and from the opera house's intendant, a man named Franckenstein. In 1934 Pfitzner was forced into retirement and lost his positions as opera conductor, stage director and academy professor. He was also given a minimal pension of a few hundred marks a month, which he contested until 1937 when Goebbels resolved the issue. For a Nazi party rally in 1934, Pfitzner had hopes of being allowed to conduct; but he was rejected for the role, and at the rally himself he learned for the first time that Hitler considered him to be half Jewish. Nor was Hitler the first person to suppose this. Winifred Wagner, the director of the Bayreuth Festival and a confidante of Hitler, also believed it. Pfitzner was forced to prove that he had, in fact, totally Gentile ancestry. By 1939 he had grown thoroughly disenchanted with the Nazi regime, except for Frank, whom he continued to respect. Pfitzner's views on "the Jewish Question" were both contradictory and illogical. He was willing to make exceptions to a general policy of antisemitism. For example, he recommended the performance of Marschner's opera Der Templer und die Jüdin based on Scott's Ivanhoe, protected his Jewish pupil Felix Wolfes of Cologne, along with conductor Furtwängler aided the young conductor Hans Schwieger, who had a Jewish wife, and maintained his friendship with Bruno Walter and especially his childhood journalist friend Paul Cossman, a "self loathing" non practicing Jew who was incarcerated in 1933. The attempts which Pfitzner made on behalf of Cossman might have caused Gestapo chief Reinhard Heydrich, incidentally the son of the heldentenor who premiered Pfitzner's first opera, to investigate him. Pfitzner's petitions probably contributed to Cossman's release in 1934, although he was eventually re arrested in 1942 and died of dysentery in Theresienstadt. In 1938, Pfitzner joked that he was afraid to see a celebrated eye doctor in Munich because "his great grandmother had once observed a quarter Jew crossing the street." He worked with Jewish musicians throughout his career. In the early thirties he often accompanied famed contralto Ottilie Metzger Lattermann, later murdered in Auschwitz, in recitals and had dedicated his four songs, Op. 19, to her as early as 1905. He had dedicated his songs, Op. 24, to Jewish critic and Jewish cultural society founder Arthur Eloesser in 1909. Still, Pfitzner maintained close contact with virulent antisemites like music critics Walter Abendroth and Victor Junk, and did not scruple to use antisemitic invective (common enough among people of his generation, and not just in Germany) to pursue certain aims. Pfitzner's home having been destroyed in the war by Allied bombing, and his membership in the Munich Academy of Music having been revoked for his speaking out against Nazism, the composer in 1945 found himself homeless and mentally ill. But after the war he was denazified and re pensioned, performance bans were lifted and he was granted residence in the old people's home in Salzburg. There, in 1949, he died. Furtwängler conducted a performance of his Symphony in C major at the Salzburg Festival with the Vienna Philharmonic Orchestra in the summer of 1949, just after the composer's death. Following long neglect, Pfitzner's music began to reappear in opera houses, concert halls and recording studios during the 1990s, including a controversial performance of the Covent Garden production of Palestrina in Manhattan's Lincoln Center in 1997. During the 1990s more and more musicologists, mainly German and British, began examining Pfitzner's life and work. Biographer Hans Peter Vogel wrote that Pfitzner was the only composer of the Nazi era who attempted to come to grips with National Socialism both intellectually and spiritually after 1945. In 2001, Sabine Busch examined the ideological tug of war of the composer's involvement with the National Socialists, based in part on previously unavailable material. She concluded that, although the composer was not exclusively pro Nazi nor purely the antisemitic chauvinist often associated with his image, he engaged with Nazi powers who he thought would promote his music and became embittered when the Nazis found the "elitist old master's often morose music" to be "little propaganda worthy." The most comprehensive English language account of Pfitzner's relations with the Nazis is by Michael Kater. and Pfitzner defended his style in his own writings. Particularly notable are Pfitzner's numerous and delicate lieder, influenced by Hugo Wolf, yet with their own rather melancholy charm. Several of them were recorded during the 1930s by the distinguished baritone Gerhard Hüsch, with the composer at the piano. His first symphony—the Symphony in C sharp minor—underwent a strange genesis: it was not conceived in orchestral terms at all, but was a reworking of a string quartet. The works betray a late pious inspiration and although they take on a late Romantic qualities, they show others associated with the brooding unwieldiness of a modern idiom. For example, composer Arthur Honegger writes in 1955, after criticizing too much polyphony and overly long orchestral writing in a long essay devoted to Palestrina,
Musically, the work shows a superior design, which demands respect. The themes are clearly formed, which makes it easy to follow
Pfitzner's work was appreciated by contemporaries including Richard Strauss and Gustav Mahler, who explicitly described Pfitzner's first string quartet (in D Major) of 1902/03 as a masterpiece. Thomas Mann praised Palestrina in a short essay published in October 1917. He co founded the Hans Pfitzner Association for German Music in 1918. Tensions with Mann, however, developed and the two severed relations by 1926. From the mid 1920s, Pfitzner's music increasingly fell in the shadow of Richard Strauss. His opera, Das Herz of 1932, was unsuccessful. Pfitzner remained a peripheral figure in the musical life of Nazi Germany, and his music was performed less frequently than in the late days of the Weimar Republic. German critic Hans Heinz Stuckenschmidt, writing in 1969, viewed Pfitzner's music with extreme ambivalence: initiated with sharp dissonances and hard linear counterpoint determined to be taken as (and criticized for being) modernist. This became a conservative rebellion against all modernist conformity. Composer Wolfgang Rihm commented on the increasing popularity of Pfitzner's work in 1981:
Pfitzner is too progressive, not simply, the way Korngold can be taken to be; he is also too conservative, if that means to be influenced by someone like Schoenberg. All this has audible consequences. We cannot find the brokenness of today in his work at first glance, but neither the unbroken yesterday. We find both, that is, none, and all attempts at classification falter.
Музыкально работа демонстрирует превосходный замысел, который требует уважения. Темы четко сформированы, что облегчает их восприятие.
Increasingly nationalistic in his middle and old age, Pfitzner was at first regarded sympathetically by important figures in Nazi Germany, in particular by Hans Frank, with whom he remained on good terms. But he soon fell out with chief Nazis, who were alienated by his long musical association with the Jewish conductor Bruno Walter. He incurred extra wrath from the Nazis by refusing to obey the regime's request to provide incidental music to Shakespeare's A Midsummer Night's Dream that could be used in place of the famous setting by Felix Mendelssohn, unacceptable to the Nazis because of his Jewish origin. Pfitzner maintained that Mendelssohn's original was far better than anything he himself could offer as a substitute. As early as 1923, Pfitzner and Hitler met. It was while the former was a hospital patient: Pfitzner had undergone a gall bladder operation when Anton Drexler, who knew both men well, arranged a visit. Hitler did most of the talking, but Pfitzner dared to contradict him regarding the homosexual and antisemitic thinker Otto Weininger, causing Hitler to leave in a huff. Later on, Hitler told Nazi cultural architect Alfred Rosenberg that he wanted "nothing further to do with this Jewish rabbi." Pfitzner, unaware of this comment, believed Hitler to be sympathetic to him. When the Nazis came to power in 1933, Rosenberg recruited Pfitzner, a notoriously bad speaker, to lecture for the Militant League for German Culture (Kampfbund für deutsche Kultur) that same year and Pfitzner accepted, hoping it would help him find an influential position. Hitler, however, saw to it that the composer was passed over in favor of party hacks for positions as opera director in Düsseldorf and Generalintendant of the Berlin Municipal Opera, despite hints from authorities that both positions were being held for him. Very early in Hitler's rule, Pfitzner received an injunction from Hans Frank (by this time Justice Minister in Bavaria) and Wilhelm Frick (Interior Minister in Hitler's own cabinet) against traveling to the Salzburg Festival in 1933 to conduct his violin concerto. Pfitzner had managed to gain a stable conducting contract from the Munich opera in 1928, but ran into demeaning treatment from chief conductor Hans Knappertsbusch and from the opera house's intendant, a man named Franckenstein. In 1934 Pfitzner was forced into retirement and lost his positions as opera conductor, stage director and academy professor. He was also given a minimal pension of a few hundred marks a month, which he contested until 1937 when Goebbels resolved the issue. For a Nazi party rally in 1934, Pfitzner had hopes of being allowed to conduct; but he was rejected for the role, and at the rally himself he learned for the first time that Hitler considered him to be half Jewish. Nor was Hitler the first person to suppose this. Winifred Wagner, the director of the Bayreuth Festival and a confidante of Hitler, also believed it. Pfitzner was forced to prove that he had, in fact, totally Gentile ancestry. By 1939 he had grown thoroughly disenchanted with the Nazi regime, except for Frank, whom he continued to respect. Pfitzner's views on "the Jewish Question" were both contradictory and illogical. He was willing to make exceptions to a general policy of antisemitism. For example, he recommended the performance of Marschner's opera Der Templer und die Jüdin based on Scott's Ivanhoe, protected his Jewish pupil Felix Wolfes of Cologne, along with conductor Furtwängler aided the young conductor Hans Schwieger, who had a Jewish wife, and maintained his friendship with Bruno Walter and especially his childhood journalist friend Paul Cossman, a "self loathing" non practicing Jew who was incarcerated in 1933. The attempts which Pfitzner made on behalf of Cossman might have caused Gestapo chief Reinhard Heydrich, incidentally the son of the heldentenor who premiered Pfitzner's first opera, to investigate him. Pfitzner's petitions probably contributed to Cossman's release in 1934, although he was eventually re arrested in 1942 and died of dysentery in Theresienstadt. In 1938, Pfitzner joked that he was afraid to see a celebrated eye doctor in Munich because "his great grandmother had once observed a quarter Jew crossing the street." He worked with Jewish musicians throughout his career. In the early thirties he often accompanied famed contralto Ottilie Metzger Lattermann, later murdered in Auschwitz, in recitals and had dedicated his four songs, Op. 19, to her as early as 1905. He had dedicated his songs, Op. 24, to Jewish critic and Jewish cultural society founder Arthur Eloesser in 1909. Still, Pfitzner maintained close contact with virulent antisemites like music critics Walter Abendroth and Victor Junk, and did not scruple to use antisemitic invective (common enough among people of his generation, and not just in Germany) to pursue certain aims. Pfitzner's home having been destroyed in the war by Allied bombing, and his membership in the Munich Academy of Music having been revoked for his speaking out against Nazism, the composer in 1945 found himself homeless and mentally ill. But after the war he was denazified and re pensioned, performance bans were lifted and he was granted residence in the old people's home in Salzburg. There, in 1949, he died. Furtwängler conducted a performance of his Symphony in C major at the Salzburg Festival with the Vienna Philharmonic Orchestra in the summer of 1949, just after the composer's death. Following long neglect, Pfitzner's music began to reappear in opera houses, concert halls and recording studios during the 1990s, including a controversial performance of the Covent Garden production of Palestrina in Manhattan's Lincoln Center in 1997. During the 1990s more and more musicologists, mainly German and British, began examining Pfitzner's life and work. Biographer Hans Peter Vogel wrote that Pfitzner was the only composer of the Nazi era who attempted to come to grips with National Socialism both intellectually and spiritually after 1945. In 2001, Sabine Busch examined the ideological tug of war of the composer's involvement with the National Socialists, based in part on previously unavailable material. She concluded that, although the composer was not exclusively pro Nazi nor purely the antisemitic chauvinist often associated with his image, he engaged with Nazi powers who he thought would promote his music and became embittered when the Nazis found the "elitist old master's often morose music" to be "little propaganda worthy." The most comprehensive English language account of Pfitzner's relations with the Nazis is by Michael Kater. and Pfitzner defended his style in his own writings. Particularly notable are Pfitzner's numerous and delicate lieder, influenced by Hugo Wolf, yet with their own rather melancholy charm. Several of them were recorded during the 1930s by the distinguished baritone Gerhard Hüsch, with the composer at the piano. His first symphony—the Symphony in C sharp minor—underwent a strange genesis: it was not conceived in orchestral terms at all, but was a reworking of a string quartet. The works betray a late pious inspiration and although they take on a late Romantic qualities, they show others associated with the brooding unwieldiness of a modern idiom. For example, composer Arthur Honegger writes in 1955, after criticizing too much polyphony and overly long orchestral writing in a long essay devoted to Palestrina,
Musically, the work shows a superior design, which demands respect. The themes are clearly formed, which makes it easy to follow
Pfitzner's work was appreciated by contemporaries including Richard Strauss and Gustav Mahler, who explicitly described Pfitzner's first string quartet (in D Major) of 1902/03 as a masterpiece. Thomas Mann praised Palestrina in a short essay published in October 1917. He co founded the Hans Pfitzner Association for German Music in 1918. Tensions with Mann, however, developed and the two severed relations by 1926. From the mid 1920s, Pfitzner's music increasingly fell in the shadow of Richard Strauss. His opera, Das Herz of 1932, was unsuccessful. Pfitzner remained a peripheral figure in the musical life of Nazi Germany, and his music was performed less frequently than in the late days of the Weimar Republic. German critic Hans Heinz Stuckenschmidt, writing in 1969, viewed Pfitzner's music with extreme ambivalence: initiated with sharp dissonances and hard linear counterpoint determined to be taken as (and criticized for being) modernist. This became a conservative rebellion against all modernist conformity. Composer Wolfgang Rihm commented on the increasing popularity of Pfitzner's work in 1981:
Pfitzner is too progressive, not simply, the way Korngold can be taken to be; he is also too conservative, if that means to be influenced by someone like Schoenberg. All this has audible consequences. We cannot find the brokenness of today in his work at first glance, but neither the unbroken yesterday. We find both, that is, none, and all attempts at classification falter.
Творчество Пфицнера ценили современники, в том числе Рихард Штраус и Густав Малер, которые прямо назвали его первый струнный квартет (в ре мажоре) 1902/03 годов шедевром. Томас Манн высоко оценил «Палестрину» в коротком эссе, опубликованном в октябре 1917 года. Он был одним из основателей «Общества Ганса Пфицнера немецкой музыки» в 1918 году. Однако напряженность в отношениях с Манном возникла…
Increasingly nationalistic in his middle and old age, Pfitzner was at first regarded sympathetically by important figures in Nazi Germany, in particular by Hans Frank, with whom he remained on good terms. But he soon fell out with chief Nazis, who were alienated by his long musical association with the Jewish conductor Bruno Walter. He incurred extra wrath from the Nazis by refusing to obey the regime's request to provide incidental music to Shakespeare's A Midsummer Night's Dream that could be used in place of the famous setting by Felix Mendelssohn, unacceptable to the Nazis because of his Jewish origin. Pfitzner maintained that Mendelssohn's original was far better than anything he himself could offer as a substitute. As early as 1923, Pfitzner and Hitler met. It was while the former was a hospital patient: Pfitzner had undergone a gall bladder operation when Anton Drexler, who knew both men well, arranged a visit. Hitler did most of the talking, but Pfitzner dared to contradict him regarding the homosexual and antisemitic thinker Otto Weininger, causing Hitler to leave in a huff. Later on, Hitler told Nazi cultural architect Alfred Rosenberg that he wanted "nothing further to do with this Jewish rabbi." Pfitzner, unaware of this comment, believed Hitler to be sympathetic to him. When the Nazis came to power in 1933, Rosenberg recruited Pfitzner, a notoriously bad speaker, to lecture for the Militant League for German Culture (Kampfbund für deutsche Kultur) that same year and Pfitzner accepted, hoping it would help him find an influential position. Hitler, however, saw to it that the composer was passed over in favor of party hacks for positions as opera director in Düsseldorf and Generalintendant of the Berlin Municipal Opera, despite hints from authorities that both positions were being held for him. Very early in Hitler's rule, Pfitzner received an injunction from Hans Frank (by this time Justice Minister in Bavaria) and Wilhelm Frick (Interior Minister in Hitler's own cabinet) against traveling to the Salzburg Festival in 1933 to conduct his violin concerto. Pfitzner had managed to gain a stable conducting contract from the Munich opera in 1928, but ran into demeaning treatment from chief conductor Hans Knappertsbusch and from the opera house's intendant, a man named Franckenstein. In 1934 Pfitzner was forced into retirement and lost his positions as opera conductor, stage director and academy professor. He was also given a minimal pension of a few hundred marks a month, which he contested until 1937 when Goebbels resolved the issue. For a Nazi party rally in 1934, Pfitzner had hopes of being allowed to conduct; but he was rejected for the role, and at the rally himself he learned for the first time that Hitler considered him to be half Jewish. Nor was Hitler the first person to suppose this. Winifred Wagner, the director of the Bayreuth Festival and a confidante of Hitler, also believed it. Pfitzner was forced to prove that he had, in fact, totally Gentile ancestry. By 1939 he had grown thoroughly disenchanted with the Nazi regime, except for Frank, whom he continued to respect. Pfitzner's views on "the Jewish Question" were both contradictory and illogical. He was willing to make exceptions to a general policy of antisemitism. For example, he recommended the performance of Marschner's opera Der Templer und die Jüdin based on Scott's Ivanhoe, protected his Jewish pupil Felix Wolfes of Cologne, along with conductor Furtwängler aided the young conductor Hans Schwieger, who had a Jewish wife, and maintained his friendship with Bruno Walter and especially his childhood journalist friend Paul Cossman, a "self loathing" non practicing Jew who was incarcerated in 1933. The attempts which Pfitzner made on behalf of Cossman might have caused Gestapo chief Reinhard Heydrich, incidentally the son of the heldentenor who premiered Pfitzner's first opera, to investigate him. Pfitzner's petitions probably contributed to Cossman's release in 1934, although he was eventually re arrested in 1942 and died of dysentery in Theresienstadt. In 1938, Pfitzner joked that he was afraid to see a celebrated eye doctor in Munich because "his great grandmother had once observed a quarter Jew crossing the street." He worked with Jewish musicians throughout his career. In the early thirties he often accompanied famed contralto Ottilie Metzger Lattermann, later murdered in Auschwitz, in recitals and had dedicated his four songs, Op. 19, to her as early as 1905. He had dedicated his songs, Op. 24, to Jewish critic and Jewish cultural society founder Arthur Eloesser in 1909. Still, Pfitzner maintained close contact with virulent antisemites like music critics Walter Abendroth and Victor Junk, and did not scruple to use antisemitic invective (common enough among people of his generation, and not just in Germany) to pursue certain aims. Pfitzner's home having been destroyed in the war by Allied bombing, and his membership in the Munich Academy of Music having been revoked for his speaking out against Nazism, the composer in 1945 found himself homeless and mentally ill. But after the war he was denazified and re pensioned, performance bans were lifted and he was granted residence in the old people's home in Salzburg. There, in 1949, he died. Furtwängler conducted a performance of his Symphony in C major at the Salzburg Festival with the Vienna Philharmonic Orchestra in the summer of 1949, just after the composer's death. Following long neglect, Pfitzner's music began to reappear in opera houses, concert halls and recording studios during the 1990s, including a controversial performance of the Covent Garden production of Palestrina in Manhattan's Lincoln Center in 1997. During the 1990s more and more musicologists, mainly German and British, began examining Pfitzner's life and work. Biographer Hans Peter Vogel wrote that Pfitzner was the only composer of the Nazi era who attempted to come to grips with National Socialism both intellectually and spiritually after 1945. In 2001, Sabine Busch examined the ideological tug of war of the composer's involvement with the National Socialists, based in part on previously unavailable material. She concluded that, although the composer was not exclusively pro Nazi nor purely the antisemitic chauvinist often associated with his image, he engaged with Nazi powers who he thought would promote his music and became embittered when the Nazis found the "elitist old master's often morose music" to be "little propaganda worthy." The most comprehensive English language account of Pfitzner's relations with the Nazis is by Michael Kater. and Pfitzner defended his style in his own writings. Particularly notable are Pfitzner's numerous and delicate lieder, influenced by Hugo Wolf, yet with their own rather melancholy charm. Several of them were recorded during the 1930s by the distinguished baritone Gerhard Hüsch, with the composer at the piano. His first symphony—the Symphony in C sharp minor—underwent a strange genesis: it was not conceived in orchestral terms at all, but was a reworking of a string quartet. The works betray a late pious inspiration and although they take on a late Romantic qualities, they show others associated with the brooding unwieldiness of a modern idiom. For example, composer Arthur Honegger writes in 1955, after criticizing too much polyphony and overly long orchestral writing in a long essay devoted to Palestrina,
Musically, the work shows a superior design, which demands respect. The themes are clearly formed, which makes it easy to follow
Pfitzner's work was appreciated by contemporaries including Richard Strauss and Gustav Mahler, who explicitly described Pfitzner's first string quartet (in D Major) of 1902/03 as a masterpiece. Thomas Mann praised Palestrina in a short essay published in October 1917. He co founded the Hans Pfitzner Association for German Music in 1918. Tensions with Mann, however, developed and the two severed relations by 1926. From the mid 1920s, Pfitzner's music increasingly fell in the shadow of Richard Strauss. His opera, Das Herz of 1932, was unsuccessful. Pfitzner remained a peripheral figure in the musical life of Nazi Germany, and his music was performed less frequently than in the late days of the Weimar Republic. German critic Hans Heinz Stuckenschmidt, writing in 1969, viewed Pfitzner's music with extreme ambivalence: initiated with sharp dissonances and hard linear counterpoint determined to be taken as (and criticized for being) modernist. This became a conservative rebellion against all modernist conformity. Composer Wolfgang Rihm commented on the increasing popularity of Pfitzner's work in 1981:
Pfitzner is too progressive, not simply, the way Korngold can be taken to be; he is also too conservative, if that means to be influenced by someone like Schoenberg. All this has audible consequences. We cannot find the brokenness of today in his work at first glance, but neither the unbroken yesterday. We find both, that is, none, and all attempts at classification falter.
Записи
Его полные оркестровые произведения были записаны немецким дирижером Вернером Андреасом Альбертом. Его полные вокальные произведения были записаны на лейбле CPO. Помимо этого, его камерная музыка, включающая 4 струнных квартета, 2 фортепианных трио, сонату для скрипки, несколько необычных фортепианных пьес, фортепианный квинтет и струнный секстет, а также сонату для виолончели, неоднократно записывалась.
His complete orchestral works have been recorded by the German conductor Werner Andreas Albert. His complete songs have been recorded on the CPO label. Also, his chamber music, including 4 string quartets, 2 piano trios, a violin sonata, a couple of odd piano works, a piano quintet and a string sextet, and a cello sonata have been recorded several times.
Оперы
Название Подзаголовок Опус Либреттист Год Премьера Примечания Der arme Heinrich Музыкальная драма в 3 актах WoO 15 Джеймс Грун (1868–1928) по мотивам Хартмана фон Ауэ 1891–1893 1895, Майнц Рихард Бруно Гейдрих исполнял партию в премьере Die Rose vom Liebesgarten Романтическая опера с прелюдией, двумя актами и послелюдием WoO 16 Джеймс Грун 1897–1900 1901, Эльберфельд Das Christ Elflein (1-я версия) Рождественская сказка Op. 20 Ильзе фон Стах 1906 1906, Мюнхен Das Christ Elflein (2-я версия) Спилопера в 2 актах Op. 20 Ильзе фон Стах и Пфицнер 1917 1917, Дрезден Дальнейшая неопубликованная редакция 1944 года Palestrina Музыкальная легенда в 3 актах WoO 17 Пфицнер 1909–1915 1917, Мюнхен Самая известная работа композитора Das Herz Драма для музыки в 3 актах (4 сцены) Op. 39 Ханс Манер-Монс (1883–1956) 1930–1931 1931, Берлин и Мюнхен
Title Subtitle Opus Librettist Year Premiere Notes Der arme Heinrich Music Drama in 3 acts WoO 15 James Grun (1868–1928) after Hartmann von Aue 1891–1893 1895, Mainz Richard Bruno Heydrich sang in the premiere Die Rose vom Liebesgarten Romantic Opera with a Prelude, two acts, and postlude WoO 16 James Grun 1897–1900 1901, Elberfeld Das Christ Elflein (1st version) Christmas Tale Op. 20 Ilse von Stach 1906 1906, Munich Das Christ Elflein (2nd version) Spieloper in 2 acts Op. 20 Ilse von Stach and Pfitzner 1917 1917, Dresden Further unpublished revision in 1944 Palestrina Musical Legend in 3 acts WoO 17 Pfitzner 1909–1915 1917, Munich The composer's most famous work Das Herz Drama for Music in 3 acts (4 scenes) Op. 39 Hans Mahner Mons (1883–1956) 1930–31 1931, Berlin and Munich
Оркестровые произведения
Работа Опус Год Примечания Скерцо до минор – 1887 Концерт для виолончели ля минор Op. Post. 1888 для Эстер Ниффенеггер Музыка к пьесе Генрика Ибсена «Праздник на Сольхауге» – 1890 Herr Oluf Op. 12 1891 баллада для баритона и оркестра Die Heinzelmännchen Op. 14 1902–03 баллада для баса и оркестра Das Käthchen von Heilbronn Op. 17 1905 музыка к спектаклю Концерт для фортепиано ми-бемоль мажор Op. 31 1922 для Вальтера Гизекинга Концерт для скрипки си минор Op. 34 1923 для Альмы Муди Lethe Op. 37 1926 для баритона и оркестра Симфония до-диез минор Op. 36a 1932 Адаптация из Струнного квартета, Op. 36 Концерт для виолончели соль мажор Op. 42 1935 для Гаспара Кассадо Дуэт для скрипки, виолончели и небольшого оркестра Op. 43 1937 Малая симфония соль мажор Op. 44 1939 Элегия и Роундей Op. 45 1940 Симфония до мажор Op. 46 1940 "An die Freunde" Концерт для виолончели ля минор Op. 52 1944 для Людвига Хольсхера Краковские приветствия Op. 54 1944 Фантазия ля минор Op. 56 1947
Work Opus Year Notes Scherzo in C minor – 1887 Cello Concerto in A minor Op. Post. 1888 for Esther Nyffenegger Incidental music to Henrik Ibsen's play Das Fest auf Solhaug – 1890 Herr Oluf Op. 12 1891 ballad for baritone and orchestra Die Heinzelmännchen Op. 14 1902 03 ballad for bass and orchestra Das Käthchen von Heilbronn Op. 17 1905 incidental music Piano Concerto in E flat major Op. 31 1922 for Walter Gieseking Violin Concerto in B minor Op. 34 1923 for Alma Moodie Lethe Op. 37 1926 for baritone und orchestra Symphony in C sharp minor Op. 36a 1932 Adapted from String Quartet, Op. 36 Cello Concerto in G major Op. 42 1935 for Gaspar Cassadó Duo for Violin, Cello, and small Orchestra Op. 43 1937 Small Symphony in G major Op. 44 1939 Elegy and Roundelay Op. 45 1940 Symphony in C major Op. 46 1940 "An die Freunde" Cello Concerto in A minor Op. 52 1944 for Ludwig Hoelscher Cracow Greetings Op. 54 1944 Fantasie in A minor Op. 56 1947
Камерные работы
Название Опус Год Ноты
Пианино трио в си-бемоль мажоре – 1886 завершено Герхардом Фроммелем
Струнный квартет [No 1.] в ре-миноре – 1886
Соната в фа-диез миноре (виолончель и фортепиано) Op. 1 1890
„Das Lied soll schauern und beben“
Пианино трио в фа мажоре Op. 8 1890–96
Струнный квартет [No. 2] в ре мажоре Op. 13 1902–03
Квинтет для фортепиано с оркестром в до мажоре Op. 23 1908
Соната для скрипки и фортепиано в ми миноре Op. 27 1918
Струнный квартет [No. 3] в до-диез миноре Op. 36 1925
Струнный квартет [No. 4] в до миноре Op. 50 1942
Неортографическая фуга – 1943
для струнного квартета
Секстет в соль миноре Op. 55 1945
для кларнета, скрипки, альта, виолончели, контрабаса и фортепиано
Title Opus Year Notes Piano Trio in B flat major – 1886 completed by Gerhard Frommel String Quartet [No 1.] in D minor – 1886 Sonata in F sharp minor (Cello and piano) Op. 1 1890 „Das Lied soll schauern und beben “ Piano Trio in F major Op. 8 1890–96 String Quartet [No. 2] in D major Op. 13 1902–03 Piano Quintet in C major Op. 23 1908 Sonata in E minor for Violin and Piano Op. 27 1918 String Quartet [No. 3] in C sharp minor Op. 36 1925 String Quartet [No. 4] in C minor Op. 50 1942 Unorthographic Fugato – 1943 for String Quartet Sextet in G minor Op. 55 1945 for clarinet, violin, viola, cello, contrabass, and piano
Инструментальные работы
Название Опус Год Заметки 5 Фортепианных пьес, соч. 47 1941 6 Этюдов, соч. 51 1942 для фортепиано
Title Opus Year Notes 5 Piano Pieces Op. 47 1941 6 Studien Op. 51 1942 for piano
Хорные произведения
Название Опус Год Ноты Der Blumen Rache – 1888 баллада для женского хора, альто и оркестра (по мотивам Фердинанда Фрейлиграта) Du altes Jahr. Rundgesang zum Neujahrsfest 1901 – 1900 для баса, смешанного или мужского хора и фортепиано Columbus Op. 16 1905 для смешанного хора Gesang der Barden – 1906 для мужского хора и оркестра Two German Songs Op. 25 1915 16 для баритона, мужского хора (по желанию) и оркестра Von Deutscher Seele Op. 28 1921 для четырех солистов, смешанного хора, оркестра и органа Das dunkle Reich Op. 38 1929 хоровая фантазия с сопрано, баритоном, оркестром и органом Fons Salutifer Op. 48 1941 гимн для смешанного хора, оркестра и органа Two Male Choruses Op. 49 1941 Три песни Op. 53 1944 для мужского хора и камерного оркестра Urworte. Orphisch Op. 57 1948 49 кантата для четырех солистов, смешанного хора, оркестра и органа, завершенная Робертом Реханом
Title Opus Year Notes Der Blumen Rache – 1888 ballade for women's chorus, alto & orchestra (after Ferdinand Freiligrath) Du altes Jahr. Rundgesang zum Neujahrsfest 1901 – 1900 for bass, mixed or male chorus and piano Columbus Op. 16 1905 for mixed chorus Gesang der Barden – 1906 for male chorus and orchestra Two German Songs Op. 25 1915 16 for baritone, male chorus ad. lib. and orchestra Von Deutscher Seele Op. 28 1921 for four soloists, mixed choir, orchestra & organ Das dunkle Reich Op. 38 1929 choral fantasy with soprano, baritone, orchestra & organ Fons Salutifer Op. 48 1941 hymn for mixed choir, orchestra & organ Two Male Choruses Op. 49 1941 Three Songs Op. 53 1944 for male chorus and chamber orchestra Urworte. Orphisch Op. 57 1948 49 cantata for four soloists, mixed chorus, orchestra and organ, completed by Robert Rehan
Песни с аккомпанементом фортепиано
Опус Название Год Текст Заметки – Шесть ранних песен 1884–87 Юлий Штурм, Мэри Граф Бартоломею, Людвиг Уланд, Оскар фон Редвиц, Эдуард Мёрике, Роберт Райник Очень высокий голос 2 Семь песен 1888–89 Рихард фон Волкман, Герман Линг, Альдоф Бёттгер, Александр Кауфман, анон. № 2, 5, 6, 7 оркестрованы 3 Три песни 1888–89 Фридрих Рекерт, Фридрих фон Салет, Эммануэль Гейбель Средний голос. № 2, 3 оркестрованы. 4 Четыре песни 1888–89 Генрих Хайне Средний голос. Также оркестрованы 5 Три песни 1888–89 Иозеф фон Эйхендорф Для сопрано. № 1 оркестрована 6 Шесть песен 1888–89 Хайне, Грун, Пауль Николаус Коссман Для высокого баритона 7 Пять песен 1888–1900 Вольфганг фон Кенигсвинтер, Эйхендорф, Пауль Хейзе, Грун № 3 оркестрована 9 Пять песен 1894–95 Эйхендорф ):( 10 Три песни 1889–1901 Детлев фон Лиленкрон, Эйхендорф Для среднего голоса 11 Пять песен 1901 Фридрих Хеббель, Людвиг Якобовски, Эйхендорф, Рихард Демель, Карл Герман Буссе № 4, 5 оркестрованы – Untreu und Trost 1903 Анон. Для среднего голоса. Также оркестрована. 15 Четыре песни 1904 Буссе, Эйхендорф, фон Штах № 2, 3, 4 оркестрованы 18 An den Mond 1906 Гёте Более длинная песня (около 8 мин.). Также оркестрована 19 Две песни 1905 Буссе 21 Две песни 1907 Хеббель, Эйхендорф Для высокого голоса 22 Пять песен 1907 Эйхендорф, Адельберт фон Шамиссо, Готфрид Август Бюргер ):( 24 Четыре песни 1909 Вальтер фон дер Фогельвейде, Петрарка (пер. Карла Августа Фёрстера), Фридрих Лиенхард № 1 оркестрована 26 Пять песен 1916 Фридрих Хеббель, Эйхендорф, Готфрид Август Бюргер, Гёте № 2, 4 оркестрованы 29 Четыре песни 1921 Хёльдерлин, Рекерт, Гёте, Демель Посвящены семье. № 3 оркестрована 30 Четыре песни 1922 Николаус Ленау, Мёрике, Демель ):( 32 Четыре песни 1923 Конрад Фердинанд Майер Для баритона или баса 33 Alte Weisen 1923 Готфрид Келлер ):( 35 Шесть песен о любви 1924 Рикарда Гух Женский голос 40 Шесть песен 1931 Людвиг Якобовски, Адольф Бартельс, Рикарда Гух, Мартин Грайф, Гёте, Эйхендорф № 5, 6 оркестрованы 41 Три сонета 1931 Петрарка (пер. Бюргера), Эйхендорф Мужской голос
Opus Title Year Text Notes – Six Early Songs 1884–87 Julius Sturm, Mary Graf Bartholomew, Ludwig Uhland,Oskar von Redwitz, Eduard Mörike, Robert Reinick Very HIGH HIGH Voice 2 Seven Songs 1888–89 Richard von Volkmann, Hermann Lingg,Aldof Böttger, Alexander Kaufmann, anon. No. 2, 5, 6, 7 orchestrated 3 Three Songs 1888–89 Friedrich Rückert, Friedrich von Sallet, Emanuel Geibel Medium voice. No. 2, 3 orchestrated. 4 Four Songs 1888–89 Heinrich Heine medium voice. Also orchestrated 5 Three Songs 1888–89 Joseph von Eichendorff for Soprano. No. 1 Orchestrated 6 Six Songs 1888–89 Heine, Grun, Paul Nikolaus Cossmann for High Baritone 7 Five Songs 1888–1900 Wolfgang von Königswinter, Eichendorff, Paul Heyse, Grun No. 3 Orchestrated 9 Five Songs 1894–95 Eichendorff ):( 10 Three Songs 1889–1901 Detlev von Lilencron, Eichendorff for Medium Voice 11 Five Songs 1901 Friedrich Hebbel, Ludwig Jacobowski, Eichendorff, Richard Dehmel, Carl Hermann Busse No. 4, 5 Orchestrated – Untreu und Trost 1903 Anon for Medium voice. Also orchestrated. 15 Four Songs 1904 Busse, Eichendorff, von Stach No. 2, 3, 4 orchestrated 18 An den Mond 1906 Goethe Longer song (ca. 8 min.). Also orchestrated 19 Two Songs 1905 Busse 21 Two Songs 1907 Hebbel, Eichendorff for High Voice 22 Five Songs 1907 Eichendorff, Adelbert von Chamisso, Gottfried August Bürger ):( 24 Four Songs 1909 Walther von der Vogelweide,Petrarch (trans. Karl August Förster), Friedrich Lienhard No. 1 orchestrated 26 Five Songs 1916 Friedrich Hebbel, Eichendorff, Gottfried August Bürger, Goethe No 2, 4 orchestrated 29 Four Songs 1921 Hölderlin, Rückert, Goethe, Dehmel dedicated to his family No. 3 orchestrated 30 Four Songs 1922 Nikolaus Lenau, Mörike, Dehmel ):( 32 Four Songs 1923 Conrad Ferdinand Meyer for Baritone or Bass 33 Alte Weisen 1923 Gottfried Keller ):( 35 Six Liebeslieder 1924 Ricarda Huch Female voice 40 Six Songs 1931 Ludwig Jacobowski, Adolf Bartels, Ricarda Huch,Martin Greif, Goethe, Eichendorff No. 5, 6 orchestrated 41 Three Sonnets 1931 Petrarch (trans. Bürger), Eichendorff Male voice