Zum Gedächtnis Heinrich Kiefers Anhang: 6 Sonette, Gesammelte Schriften, Band III: Werk und Wiedergabe (Augsburg 1929) Vorwort Begriffsbestimmung der Wiedergabe I. 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. 52, Drei Gesänge op. Leben . von Wolfgang Osthoff), Sonate für Violoncello und Klavier fis-Moll op. As early as 1923, Pfitzner and Hitler met. Pfitzner was forced to prove that he had, in fact, totally Gentile ancestry. WorldCat Home About WorldCat Help. Ludwig Jacobowski, Adolf Bartels, Ricarda Huch, This page was last edited on 11 October 2020, at 06:13. All this has audible consequences. 6 für hohen Bariton und Klavier, Fünf Lieder op. But he soon fell out with chief Nazis, who were alienated by his long musical association with the Jewish conductor Bruno Walter. Leben Pfitzner war der Sohn eines Orchester-Violinisten und erhielt schon früh von seinem Vater Musikunterricht. von Bernhard Adamy, Tutzing 1987 A. Vorwort zur Aufsatzsammlung "Vom musikalischen Drama" (1915) Berliner Theater Shakespeare-Dämmerung? Allgemeine Betrachtung 2. There, in 1949, he died. 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. 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. Longer song (ca. Januar  "Von deutscher Seele", eine romantische Kantate "Das Herz" Die Entstehung der "Herz"-Dichtung [Zur Metronomisierung des "Herz"] [Vorwort zum Duo für Violine und Violoncello mit Begleitung eines kleinen Orchesters op.43] [Sechs Jugendlieder (ohne op.) Im Leben des Komponisten Hans Pfitzner spielen zwei rheinland-pfälzische Städte eine nicht unwesentliche Rolle. Kammermusik und Einzelspiel VII. 1886 - 90 studierte Pfitzner am Hochschen Konservatorium in Frankfurt Komposition bei Iwan Knorr Klavier bei James Kwast. Mai 1949 in Salzburg) war ein deutscher Komponist, Dirigent und Autor theoretischer und politischer Schriften, oft mit dezidiert antisemitischer Zielrichtung. 8 min.). (Fragment)] [Zur Feier des 150jährigen Bestehens der Gewandhauskonzerte] Der Schutz des künstlerischen Schaffens Über den Orchestermusiker Über Kunstpflege und Jugend Die Verpöbelung des Lebens in Geräuschen Aphorismen 81 deutsche volkstümliche Sprachausdrücke in Reim und Stabreim B. Der Mann, der sich das Dirigieren selbst beibrachte, wirkt daher wie ein Gegenentwurf zum strahlenden, erfolgsverwöhnten Zeitgenossen Richard Strauss. Hans Erich Pfitzner (5 May 1869 – 22 May 1949) was a German composer and self-described anti-modernist. 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. Seine musikalische Ausbildung erhielt er am Hochschen Konservatorium in Frankfurt am Main, in dessen konservativ geprägtem Umfeld der junge Wagnerianer nicht gedeihen konnte. Pfitzner, unaware of this comment, believed Hitler to be sympathetic to him. Several of them were recorded during the 1930s by the distinguished baritone Gerhard Hüsch, with the composer at the piano. 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." From the mid-1920s, Pfitzner's music increasingly fell in the shadow of Richard Strauss. Marschner's Vampyr 6.  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. During the 1990s more and more musicologists, mainly German and British, began examining Pfitzner's life and work. Biografie. Tensions with Mann, however, developed and the two severed relations by 1926. His is a highly personal offshoot of the Classical/Romantic tradition as well as the conservative musical aesthetic and Pfitzner defended his style in his own writings. Was aber weiss und kennt diese deutsche Oeffentlichkeit von seiner Arbeit? 19, to her as early as 1905. Hans Pfitzner wird in eine Generation von Zeitgenossen hineingeboren, die sich mit den politischen, sozialen und künstlerischen Umbrüchen des beginnenden 20. Hans Pfitzner (1869 – 1949) hat nur zwei Duo-Sonaten geschrieben: die für Violoncello und Klavier op. 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. In 1894 he was appointed conductor at the Staatstheater Mainz where he worked for a few months. [Johann P Vogel] Home. Mai 1949 in Salzburg). Bereits mit elf Jahren komponierte kleine Hans seine ersten Werke 1884 entstanden die ersten berlieferten Lieder. Increasingly nationalistic in his middle and old age, Pfitzner was at first regarded sympathetically by important figures in the Third Reich, in particular by Hans Frank, with whom he remained on good terms. Later on, Hitler told Nazi cultural architect Alfred Rosenberg that he wanted "nothing further to do with this Jewish rabbi." Die Künste II. 24 für Singstimme und Klavier, Zwei deutsche Gesänge op. 1 und die für Violine und Klavier op. von Hans Rectanus), Konzert für Violoncello und Orchester a-Moll (hg. , 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. 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. Pfitzner's views on "the Jewish Question" were both contradictory and illogical. 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. Jahrhunderts, die Musiker mit dem Ende der deutschen (klassisch-romantischen) Hegemonie in der Musik auseinanderzusetzen haben. Also orchestrated, Friedrich Hebbel, Eichendorff, Gottfried August Bürger, Goethe, dedicated to his family No. Pfitzner remained a peripheral figure in the musical life of the Third Reich, and his music was performed less frequently than in the late days of the Weimar Republic.. This became a conservative rebellion against all modernist conformity. 25 für Bariton und Orchester (Männerchor ad. Eine traditionelle Falschbetonung im "Faust" Das Rätsel der Turandot Pantragismus und Pessimismus [Gedanken über den Selbstmord] Über die persönliche Fortdauer nach dem Tode Totengespräch Was ist geistliche Musik? Mai 1869 in Moskau geboren. 1 und die für Violine und Klavier op. HANS PFITZNER Klavierquintett C-Dur, op. 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. , Pfitzner dedicated his Violin Concerto in B minor, Op. Mai 1949 in Salzburg) war ein deutscher Komponist und Dirigent. Sein Name ist seit Jahren der deutschen Oeffentlichkeit geläufig. Create lists, bibliographies and reviews: or Search WorldCat. Pfitzner was born in Moscow where his father played cello in a theater orchestra. He had dedicated his songs, Op. 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. 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. His complete songs have been recorded on the CPO label. In 1895, Richard Bruno Heydrich sang the title role in the premiere of Hans Pfitzner's first opera, Der arme Heinrich, based on the poem of the same name by Hartmann von Aue. Although Pfitzner's music betrays Wagnerian influences, the composer was not attracted to Bayreuth, and was personally despised by Cosima Wagner, in part because Pfitzner sought notice and recognition from such "anti-Wagnerian" composers as Max Bruch and Johannes Brahms. 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.