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Franz Schreker

January 23, 2023

Franz Schreker (originally Schrecker;[1][2] 23 March 1878 – 21 March 1934) was an Austrian composer, conductor, teacher and administrator.[3] Primarily a composer of operas, Schreker developed a style characterized by aesthetic plurality (a mixture of Romanticism, Naturalism, Symbolism, Impressionism, Expressionism and Neue Sachlichkeit), timbral experimentation, strategies of extended tonality and conception of total music theatre into the narrative of 20th-century music.

Franz Schreker, c. 1911

Formative years

He was born as Franz Schrecker in Monaco, the eldest son of the Bohemian Jewish court photographer Ignaz Franz Schrekker (Germanized from Ignácz Furencz, originally Isak),[1] and his wife, Eleonore von Cloßmann,[1] who was a member of the Catholic aristocracy of Styria. He grew up during travels across half of Europe and, after the early death of his father, the family moved from Linz to Vienna (1888) where in 1892, with the help of a scholarship, Schreker entered the Vienna Conservatory. Starting with violin studies, with Sigismund Bachrich and Arnold Rosé,[4][5] he moved into the composition class of Robert Fuchs, graduating as a composer in 1900. His first success was with the Intermezzo for strings, Op. 8, which won an important prize sponsored by the Neue musikalische Presse in 1901. His first opera, Flammen, was completed in 1902 but failed to receive a staged production.

Career launch

Schreker had begun conducting in 1895, when he had founded the Verein der Musikfreunde Döbling. In 1907 he formed the Vienna Philharmonic Chorus, which he conducted until 1920: among its many premières were Zemlinsky's Psalm XXIII and Schoenberg's Friede auf Erden and Gurre-Lieder.

His "pantomime", Der Geburtstag der Infantin, commissioned by the dancer Grete Wiesenthal and her sister Elsa for the opening of the 1908 Kunstschau, first called attention to his development as a composer. Such was the success of the venture that Schreker composed several more dance-related works for the two sisters including Der Wind, Valse lente and Ein Tanzspiel (Rokoko).

Success in opera

November 1909 saw the stormy premiere of the complex orchestral interlude (entitled Nachtstück) from Der ferne Klang, the opera he had been working on since 1903. In 1912, the first performance of the complete opera in Frankfurt consolidated his fame. In the same year, director Wihelm Bopp offered Schreker a provisional teaching appointment at the Conservatory where Schreker had studied, now the Vienna Music Academy. In early 1913 he was appointed full professor.[6]

This breakthrough heralds a decade of great success for the composer. His next opera, Das Spielwerk und die Prinzessin, which was given simultaneous premières in Frankfurt and Vienna on 15 March 1913 was less well received (the work was subsequently revised as a one-act 'Mysterium' entitled simply Das Spielwerk in 1915), but the scandal caused by this opera in Vienna only served to make Schreker's name more widely known.

 
Schreker in a lithograph by Heinrich Gottselig, ca. 1922

The outbreak of World War I interrupted the composer's success but with the première of his opera Die Gezeichneten, in Frankfurt on 25 April 1918, Schreker moved to the front ranks of contemporary opera composers.[7] The first performance of Der Schatzgräber in Frankfurt on 21 January 1920 was the high point of his career. The Chamber Symphony, composed between the two operas for the faculty of the Vienna Academy in 1916, quickly entered the repertoire and remains Schreker's most frequently performed work today.

In March 1920 he was appointed director of the Hochschule für Musik in Berlin and between 1920 and 1932 he gave extensive musical tuition in a variety of subjects with Berthold Goldschmidt, Alois Hába, Jascha Horenstein, Julius Bürger, Ernst Krenek, Artur Rodziński, Stefan Wolpe, Zdenka Ticharich and Grete von Zieritz numbering among his students.

End of career

Schreker's fame and influence were at their peak during the early years of the Weimar Republic when he was the most performed living opera composer after Richard Strauss. The decline of his artistic fortunes began with the mixed reception given to Irrelohe in Cologne in 1924 under Otto Klemperer and the failure of Der singende Teufel, given in Berlin in 1928 under Erich Kleiber.

Political developments and the spread of anti-Semitism were also contributory factors, both of which heralded the end of Schreker's career. Right-wing demonstrations marred the première of Der Schmied von Gent in Berlin in 1932 and National Socialist pressure forced the cancellation of the scheduled Freiburg première of Christophorus in 1933 (the work was finally performed there in 1978). Finally, in June 1932, Schreker lost his position as Director of the Musikhochschule in Berlin and, the following year, also his post as professor of composition at the Akademie der Künste.

In his lifetime he went from being hailed as the future of German opera to being considered irrelevant as a composer and marginalized as an educator.[3] After suffering from a stroke in December 1933, he died in Berlin on 21 March 1934, two days before his 56th birthday.

Although Schreker was influenced by composers such as Richard Strauss and Richard Wagner, his mature style shows a highly individual harmonic language, which, although broadly tonal, is inflected with chromatic and polytonal passages.

Reputation today

After decades in obscurity, Schreker has begun to enjoy a considerable revival in reputation in the German-speaking world and in the United States. In 2005 the Salzburg Festival mounted an incomplete production of Die Gezeichneten, conducted by Kent Nagano (and filmed), and the Jewish Museum in Vienna presented an exhibition devoted to his life and work. New productions of Der ferne Klang were staged at the Staatsoper Unter den Linden in Berlin and the Zurich Opera in 2010, as well as in smaller opera houses in Germany. Irrelohe was performed at the Volksoper in Vienna in 2004, at the Bonn Opera in November 2010 then staged for the first time in France at the Opéra National de Lyon in March 2022. Earlier that year a Schreker opera was staged in the USA for the first time: Die Gezeichneten at Los Angeles Opera; and months after that came a second: Der ferne Klang during the Bard Summerscape Festival.

Selected works

Operas

Orchestral works

  • 1896: Love Song for string orchestra and harp (lost)
  • 1899: Scherzo (unpublished)
  • 1899: Symphony in A minor, Op. 1 (unpublished, final movement lost)
  • 1900: Intermezzo for string orchestra, Op. 8 (later incorporated into the Romantische Suite)
  • 1900: Scherzo for string orchestra
  • 1902–1903: Ekkehard: Symphonic Overture, Op. 12
  • 1903: Romantische Suite, Op. 14
  • 1904: Phantastische Ouvertüre, Op. 15
  • 1906–1907: Nachtstück (from the opera Der ferne Klang)
  • 1908–1910: Der Geburtstag der Infantin: Dance-pantomime for chamber orchestra after Oscar Wilde's The Birthday of the Infanta
  • 1908: Festwalzer und Walzerintermezzo
  • 1908: Valse lente
  • 1908–1909: Ein Tanzspiel (Rokoko)
  • 1913: Vorspiel zu einem Drama
  • 1916: Chamber Symphony
  • 1909/1922: Fünf Gesänge for low voice and orchestra (T: Arabian Nights, Edith Ronsperger)
  • 1922: Symphonic Interlude (from the opera Der Schatzgräber)
  • 1923: Der Geburtstag der Infantin: Suite for large orchestra
  • 1923/1927: Vom ewigen Leben for soprano and orchestra (T: Walt Whitman)
  • 1928: Kleine Suite for small orchestra
  • 1929–1930: Vier kleine Stücke for large orchestra
  • 1932–1933: Das Weib des Intaphernes: Melodrama for speaker and orchestra (T: Eduard Stucken)
  • 1933: Hungarian Rhapsody No. 2 (Liszt) – transcribed for orchestra
  • 1933: Vorspiel zu einer großen Oper "Memnon"

Choral music

  • 1900: Psalm 116 for 3-part women's chorus, orchestra and organ, Op. 6
  • 1902: Schwanensang for mixed choir and orchestra, Op. 11 (T: Dora Leen)

Chamber music

  • 1898: Sonata for violin and piano
  • 1909: Der Wind for clarinet, horn, violin, 'cello and piano

Principal publisher: Universal Edition

References

Notes

  1. ^ a b c https://www.deutsche-biographie.de/pnd118610740.html?language=de
  2. ^ https://www.musiklexikon.ac.at/ml/musik_S/Schreker_Ehepaar.xml
  3. ^ a b Johnson, Aaron J. (2008). "Franz Schreker". OREL Foundation.
  4. ^ . Archived from the original on 20 December 2007.
  5. ^ Roberge, Marc-André (January 1983). "Franz Schreker (1878–1934): de la gloire à la renaissance en passant par l'oubli" (PDF). Sonances.
  6. ^ Hailey, pp. 55 -- 57
  7. ^ Celestini, pp. 214 - 222
  8. ^ "Müde fährt der Schmied gen Himmel" on Kultiversum.de. Retrieved on 5 April 2013

Sources

  • Celestini, Federico (2010). "Das Schöne, das Groteske und die Rolle des 'Weibs'. Zu Franz Schrekers Oper Die Gezeichneten" ("On the beautiful and the grotesque, as related to femininity, in Schreker's opera Die Gezeichneten)". In Celestini, Federico; Dorschel, Andreas (eds.). Arbeit am Kanon. Vienna: Universal Edition. ISBN 978-3-7024-6967-2. (In German)
  • Hailey, Christopher (1993). Franz Schreker, 1878–1934: a cultural biography. ISBN 978-0-521-39255-6.

External links

  • Free scores by Franz Schreker at the International Music Score Library Project (IMSLP)
  • Franz Schreker – Life, Work, and Quotations
  • Secrets of the grotto "Die Gezeichneten" (The Marked Ones) by Franz Schreker, played at the 2005 Salzburg festival, got critic Peter Hagmann hot under the collar
  • Deutsche Musik der Gegenwart (German) — 1922 essay by critic Paul Bekker about Franz Schreker's place in contemporary German music ( 3 March 2016 at the Wayback Machine)
  • Franz Schreker Foundation official website

January 23, 2023
franz, schreker, originally, schrecker, march, 1878, march, 1934, austrian, composer, conductor, teacher, administrator, primarily, composer, operas, schreker, developed, style, characterized, aesthetic, plurality, mixture, romanticism, naturalism, symbolism, . Franz Schreker originally Schrecker 1 2 23 March 1878 21 March 1934 was an Austrian composer conductor teacher and administrator 3 Primarily a composer of operas Schreker developed a style characterized by aesthetic plurality a mixture of Romanticism Naturalism Symbolism Impressionism Expressionism and Neue Sachlichkeit timbral experimentation strategies of extended tonality and conception of total music theatre into the narrative of 20th century music Franz Schreker c 1911 Contents 1 Formative years 2 Career launch 3 Success in opera 4 End of career 5 Reputation today 6 Selected works 6 1 Operas 6 2 Orchestral works 6 3 Choral music 6 4 Chamber music 7 References 8 External linksFormative years EditHe was born as Franz Schrecker in Monaco the eldest son of the Bohemian Jewish court photographer Ignaz Franz Schrekker Germanized from Ignacz Furencz originally Isak 1 and his wife Eleonore von Clossmann 1 who was a member of the Catholic aristocracy of Styria He grew up during travels across half of Europe and after the early death of his father the family moved from Linz to Vienna 1888 where in 1892 with the help of a scholarship Schreker entered the Vienna Conservatory Starting with violin studies with Sigismund Bachrich and Arnold Rose 4 5 he moved into the composition class of Robert Fuchs graduating as a composer in 1900 His first success was with the Intermezzo for strings Op 8 which won an important prize sponsored by the Neue musikalische Presse in 1901 His first opera Flammen was completed in 1902 but failed to receive a staged production Career launch EditSchreker had begun conducting in 1895 when he had founded the Verein der Musikfreunde Dobling In 1907 he formed the Vienna Philharmonic Chorus which he conducted until 1920 among its many premieres were Zemlinsky s Psalm XXIII and Schoenberg s Friede auf Erden and Gurre Lieder His pantomime Der Geburtstag der Infantin commissioned by the dancer Grete Wiesenthal and her sister Elsa for the opening of the 1908 Kunstschau first called attention to his development as a composer Such was the success of the venture that Schreker composed several more dance related works for the two sisters including Der Wind Valse lente and Ein Tanzspiel Rokoko Success in opera EditNovember 1909 saw the stormy premiere of the complex orchestral interlude entitled Nachtstuck from Der ferne Klang the opera he had been working on since 1903 In 1912 the first performance of the complete opera in Frankfurt consolidated his fame In the same year director Wihelm Bopp offered Schreker a provisional teaching appointment at the Conservatory where Schreker had studied now the Vienna Music Academy In early 1913 he was appointed full professor 6 This breakthrough heralds a decade of great success for the composer His next opera Das Spielwerk und die Prinzessin which was given simultaneous premieres in Frankfurt and Vienna on 15 March 1913 was less well received the work was subsequently revised as a one act Mysterium entitled simply Das Spielwerk in 1915 but the scandal caused by this opera in Vienna only served to make Schreker s name more widely known Schreker in a lithograph by Heinrich Gottselig ca 1922 The outbreak of World War I interrupted the composer s success but with the premiere of his opera Die Gezeichneten in Frankfurt on 25 April 1918 Schreker moved to the front ranks of contemporary opera composers 7 The first performance of Der Schatzgraber in Frankfurt on 21 January 1920 was the high point of his career The Chamber Symphony composed between the two operas for the faculty of the Vienna Academy in 1916 quickly entered the repertoire and remains Schreker s most frequently performed work today In March 1920 he was appointed director of the Hochschule fur Musik in Berlin and between 1920 and 1932 he gave extensive musical tuition in a variety of subjects with Berthold Goldschmidt Alois Haba Jascha Horenstein Julius Burger Ernst Krenek Artur Rodzinski Stefan Wolpe Zdenka Ticharich and Grete von Zieritz numbering among his students End of career EditSchreker s fame and influence were at their peak during the early years of the Weimar Republic when he was the most performed living opera composer after Richard Strauss The decline of his artistic fortunes began with the mixed reception given to Irrelohe in Cologne in 1924 under Otto Klemperer and the failure of Der singende Teufel given in Berlin in 1928 under Erich Kleiber Political developments and the spread of anti Semitism were also contributory factors both of which heralded the end of Schreker s career Right wing demonstrations marred the premiere of Der Schmied von Gent in Berlin in 1932 and National Socialist pressure forced the cancellation of the scheduled Freiburg premiere of Christophorus in 1933 the work was finally performed there in 1978 Finally in June 1932 Schreker lost his position as Director of the Musikhochschule in Berlin and the following year also his post as professor of composition at the Akademie der Kunste In his lifetime he went from being hailed as the future of German opera to being considered irrelevant as a composer and marginalized as an educator 3 After suffering from a stroke in December 1933 he died in Berlin on 21 March 1934 two days before his 56th birthday Although Schreker was influenced by composers such as Richard Strauss and Richard Wagner his mature style shows a highly individual harmonic language which although broadly tonal is inflected with chromatic and polytonal passages Reputation today EditAfter decades in obscurity Schreker has begun to enjoy a considerable revival in reputation in the German speaking world and in the United States In 2005 the Salzburg Festival mounted an incomplete production of Die Gezeichneten conducted by Kent Nagano and filmed and the Jewish Museum in Vienna presented an exhibition devoted to his life and work New productions of Der ferne Klang were staged at the Staatsoper Unter den Linden in Berlin and the Zurich Opera in 2010 as well as in smaller opera houses in Germany Irrelohe was performed at the Volksoper in Vienna in 2004 at the Bonn Opera in November 2010 then staged for the first time in France at the Opera National de Lyon in March 2022 Earlier that year a Schreker opera was staged in the USA for the first time Die Gezeichneten at Los Angeles Opera and months after that came a second Der ferne Klang during the Bard Summerscape Festival Selected works EditOperas Edit Flammen Op 10 1901 02 Der ferne Klang 1903 1910 Das Spielwerk und die Prinzessin 1908 1909 1912 revised as Das Spielwerk 1915 Die Gezeichneten 1911 1913 1915 Der Schatzgraber 1915 1918 Irrelohe 1919 1922 Der singende Teufel 1924 1927 1928 Christophorus oder Die Vision einer Oper 1925 1929 Der Schmied von Gent 1929 1932 8 Orchestral works Edit 1896 Love Song for string orchestra and harp lost 1899 Scherzo unpublished 1899 Symphony in A minor Op 1 unpublished final movement lost 1900 Intermezzo for string orchestra Op 8 later incorporated into the Romantische Suite 1900 Scherzo for string orchestra 1902 1903 Ekkehard Symphonic Overture Op 12 1903 Romantische Suite Op 14 1904 Phantastische Ouverture Op 15 1906 1907 Nachtstuck from the opera Der ferne Klang 1908 1910 Der Geburtstag der Infantin Dance pantomime for chamber orchestra after Oscar Wilde s The Birthday of the Infanta 1908 Festwalzer und Walzerintermezzo 1908 Valse lente 1908 1909 Ein Tanzspiel Rokoko 1913 Vorspiel zu einem Drama 1916 Chamber Symphony 1909 1922 Funf Gesange for low voice and orchestra T Arabian Nights Edith Ronsperger 1922 Symphonic Interlude from the opera Der Schatzgraber 1923 Der Geburtstag der Infantin Suite for large orchestra 1923 1927 Vom ewigen Leben for soprano and orchestra T Walt Whitman 1928 Kleine Suite for small orchestra 1929 1930 Vier kleine Stucke for large orchestra 1932 1933 Das Weib des Intaphernes Melodrama for speaker and orchestra T Eduard Stucken 1933 Hungarian Rhapsody No 2 Liszt transcribed for orchestra 1933 Vorspiel zu einer grossen Oper Memnon Choral music Edit 1900 Psalm 116 for 3 part women s chorus orchestra and organ Op 6 1902 Schwanensang for mixed choir and orchestra Op 11 T Dora Leen Chamber music Edit 1898 Sonata for violin and piano 1909 Der Wind for clarinet horn violin cello and piano Principal publisher Universal EditionReferences EditNotes a b c https www deutsche biographie de pnd118610740 html language de https www musiklexikon ac at ml musik S Schreker Ehepaar xml a b Johnson Aaron J 2008 Franz Schreker OREL Foundation Programme notes for a concert of Schreker Archived from the original on 20 December 2007 Roberge Marc Andre January 1983 Franz Schreker 1878 1934 de la gloire a la renaissance en passant par l oubli PDF Sonances Hailey pp 55 57 Celestini pp 214 222 Mude fahrt der Schmied gen Himmel on Kultiversum de Retrieved on 5 April 2013 Sources Celestini Federico 2010 Das Schone das Groteske und die Rolle des Weibs Zu Franz Schrekers Oper Die Gezeichneten On the beautiful and the grotesque as related to femininity in Schreker s opera Die Gezeichneten In Celestini Federico Dorschel Andreas eds Arbeit am Kanon Vienna Universal Edition ISBN 978 3 7024 6967 2 In German Hailey Christopher 1993 Franz Schreker 1878 1934 a cultural biography ISBN 978 0 521 39255 6 External links EditFree scores by Franz Schreker at the International Music Score Library Project IMSLP Franz Schreker Life Work and Quotations Secrets of the grotto Die Gezeichneten The Marked Ones by Franz Schreker played at the 2005 Salzburg festival got critic Peter Hagmann hot under the collar List of Works German Deutsche Musik der Gegenwart German 1922 essay by critic Paul Bekker about Franz Schreker s place in contemporary German music Archived 3 March 2016 at the Wayback Machine Franz Schreker Foundation official website Retrieved from https en wikipedia org w index php title Franz Schreker amp oldid 1134965108, wikipedia, wiki, book, books, library,

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