August Ferdinand Hermann Kretzschmar (19 January 1848 – 10 May 1924) was a German musicologist and writer, and is considered a founder of hermeneutics in musical interpretation and study.
Born in Olbernhau, Saxony, Kretzschmar was son of the organist and cantor Karl Dankegott Kretzschmar and Karoline Wilhelmine, née Leupold.[1] He was from 1862 a student in the Kreuzschule in Dresden, where from 1867–1868 he was twice Prefect of the Dresdner Kreuzchor. In addition, from 1870 he studied Philology at Leipzig University as well as Music at the Leipzig Conservatory and was awarded his doctorate there. From 1871 he was actively teaching in Theory, Composition, Piano and Organ at the Leipzig Conservatory, and acted as director/conductor for various musical societies. In 1876 he spent a year as theatre orchestra conductor in Metz (described as an "adventurous episode"),[1] and undertook research expeditions in England and Italy for the study of musical history; from 1877 to 1887 he was Director of Music at the University of Rostock, and city music director there from 1880.[1]
Institute for Church Music, Berlin
From 1887 to 1904 he renewed his position in Leipzig as active University Music Director. From 1888-1898 he was Director of the Riedel Choral Society. In the year 1890 he was awarded an honorary professorship, and in 1890 he founded the Leipzig Academic Concerts which he conducted until 1895.[1] In 1904 he was appointed as regular Professor of Music at the University of Berlin, and from 1907–1922 he was Director of the Royal Institute for Church Music.
From 1909 to 1920 (as successor to Joseph Joachim) he was Director of the Königlich Akademischen Hochschule für ausübende Tonkunst founded in 1869, later the Musikhochschule Berlin (the Berlin High School for Music).[1] In 1912 he was elected Chairman of the de:Preußische Musikgeschichtlichen Kommission (Prussian Music History Commission) and thus the editor of the Denkmäler deutscher Tonkunst. This historical music edition was begun in 1892 by Brahms, Joachim and Philipp Spitta.
Kretschmar founded the discipline of musical hermeneutics in around 1900.[2]
Gravesite of Kretzschmar at the Friedhof Nikolassee in Berlin
According to the musicologist Maria Fuchs,
"The discipline of musical hermeneutics explores the discursive meanings of musical works...[It] concentrates on the "interpretation and paraphrasing of the affects, feelings, expressive characters, and moods" of a piece of music. In contrast to the formal-aesthetic approach to concert music analysis—closely connected to German music critic Eduard Hanslick (1825–1904) and his idea of 'absolute music'—musical hermeneutics was based on an aesthetics of content and affects."[2]
Death
He died in Berlin-Schlachtensee in 1924, after which he was buried in a grave of honour in the de:Protestant Nicholassee churchyard of the de:Kirche Nikolassee in Berlin.
Personal life
Kretzschmar was married in 1880 to the British pianist Clara Meller (Bristol, 3 February 1855 - 6 May 1903, Leipzig).[3] She gave her début concert at the Leipzig Gewandhaus in 1877, and accompanied the Austrian soprano Minna Peschka-Leutner in a number of concerts that year.[a][b] In Göttingen in March she played Beethoven's Kreutzer sonata, pieces by Schumann, Liszt and Wagner arr. Tausig, and one or other of Chopin's A-flat major waltzes.[c]
In his novel Doktor Faustus, Thomas Mann creates the character of Dr Wendell Kretschmar, the inspirational and eccentric musicologist, lecturer and teacher of the composer Adrian Leverkühn. The name is probably given in homage to his real-life contemporary Hermann Kretzschmar, whose essays in musical interpretation were widely read and appreciated around the turn of the twentieth century.
Works
Führer durch den Konzertsaal (Guide through the Concert Hall). Leipzig (1887–90).
Vol. I, Parts 1 & 2: Sinfonie und Suite (Symphonies and Suites). Leipzig: Breitkopf & Härtel (6th edition 1921)
Vol. II, Part 1: Kirchliche Werke (Sacred works). Leipzig: Breitkopf & Härtel (5th edition 1921)
Vol II, Part 2: Oratorien und weltliche Chorwerke (Oratorios and secular choral works) Leipzig: Breitkopf & Härtel (4th edition 1920)
Geschichte des neuen deutschen Liedes (History of new German song). (Part I, from Albert to Zelter only completed - mainly 17th and 18th centuries). Leipzig: Breitkopf & Härtel (1911).
Gesammelte Aufsätze über Musik und Anderes (Collected Essays on music and other subjects) - Leipzig: Breitkopf & Härtel, and C. F. Peters
Volume I: Gesammelte Aufsätze über Musik aus den Grenzboten (Collected Essays on Music from the journal Die Grenzboten). Leipzig: Breitkopf & Härtel (1910, 2nd ed. 1911)
Volume II: Gesammelte Aufsätze aus den Jahrbüchern der Musikbibliothek Peters (Collected Essays from the Peters Music Library Yearbook). Leipzig, C. F. Peters (1911)
A projected Volume III: Gesammelte Aufsätze über Musik aus den Verlag Breitkopf & Härtel seems not to have appeared in print.
Geschichte der Oper (History of Opera). Leipzig: Breitkopf & Härtel (1919)
Einführung in die Musikgeschichte (Introduction to the History of Music), 1920
References
Notes
^At Leipzig, Miss Clara Meller, from London, has made successful débuts, both at a matinée given by the young pianist, and at a concert at the Gewandhaus. The local papers speak highly of the lady's qualifications and versatile talent in interpreting the classical works of the old as well as the modern masters of the art. The debutante was rewarded by frequent marks of approbation on the part of the audience.[4]
^Miss Clara Meller, of London, the accomplished young pianiste, whose successful debut at the Gewandhaus and other concert institutions of Leipzig we have recently had occasion to notice, has since appeared, in company with Mdme. Peschka-Leutner, in a series of concerts given in various parts of Germany and Holland, creating everywhere a most favourable impression upon the audience as to her high qualifications for the instrument of her choice.[5]
^Miss Meller's technique is very worthy of note, but the lady does not yet play artistically, as the execution of her part in Beethoven's Kreutzer Sonata showed; she also seems to have a tendency to rush the tempi, which is what transpired with Schumann's solo pieces. Liszt and Wagner-Tausig were particularly striking, but the A-flat major Waltz by Chopin was barely comprehensible. Since the lady is still young, she can be pull or be pulled.[6] (Miss Meller's Technik ist sehr anerkennenswerth, sein künstlerisch spielt die Dame aber noch nicht, das zeigte die Ausführung ihres Parts in Beethoven's Kreutzer-Sonate, auch hat sie, scheint es, Neigung, die Tempi zu übereilen, was sich bei den Solostücken von Schumann, Liszt und Wagner-Tausig, besonders auffällig aber bei dem Asdur-Walzer von Chopin herausstellte, der kaum zu verstehen war. Da die Dame noch jung ist, kann sie sich auch noch ziehen oder ziehen lassen.
^ abcHoffmann, Freia (2014). "Meller, Clara, verh. Kretzschmar" (in German). Sophie Drinker Institut. Retrieved 27 May 2020.
^"Foreign Notes". The Musical Times and Singing Class Circular. 18 (408): 80–81. 1 February 1877. JSTOR 3351715.
^"Foreign Notes". The Musical Times and Singing Class Circular. 18 (410): 186. 1 April 1877. JSTOR 3351987.
^"Berichte: Göttingen, Mitte März". Allgemeine musikalische Zeitung. No. 13. Leipzig: Breitkopf & Härtel. 28 March 1877. p. 204.
Bibliography
Fuchs, Maria (Fall 2019). "Hermann Kretzschmar's Forgotten Heirs: "Silent"-Film Music as Applied Hermeneutics". Music and the Moving Image. University of Illinois Press. 12 (3): 1–24. doi:10.5406/musimoviimag.12.3.0003. JSTOR 10.5406/musimoviimag.12.3.0003. S2CID 211928162. Retrieved 27 May 2020.
Langner, Thomas-M. (1982). "Kretzschmar, Hermann". Neue Deutsche Biographie 13 (in German). (Online version). Retrieved 27 May 2020.
External links
Wikimedia Commons has media related to Hermann Kretzschmar.
Literature of and about Hermann Kretzschmar in the Catalogue of the German National Library.[1] 2007-12-16 at the Wayback Machine
Symposium: Hermann Kretzschmar - Teacher and Performer in one person.[2]
hermann, kretzschmar, august, ferdinand, january, 1848, 1924, german, musicologist, writer, considered, founder, hermeneutics, musical, interpretation, study, 1912, contents, life, career, hermeneutics, death, personal, life, literary, allusion, works, referen. August Ferdinand Hermann Kretzschmar 19 January 1848 10 May 1924 was a German musicologist and writer and is considered a founder of hermeneutics in musical interpretation and study 1912 Contents 1 Life and career 2 Hermeneutics 3 Death 4 Personal life 5 Literary allusion 6 Works 7 References 7 1 Bibliography 8 External linksLife and career EditBorn in Olbernhau Saxony Kretzschmar was son of the organist and cantor Karl Dankegott Kretzschmar and Karoline Wilhelmine nee Leupold 1 He was from 1862 a student in the Kreuzschule in Dresden where from 1867 1868 he was twice Prefect of the Dresdner Kreuzchor In addition from 1870 he studied Philology at Leipzig University as well as Music at the Leipzig Conservatory and was awarded his doctorate there From 1871 he was actively teaching in Theory Composition Piano and Organ at the Leipzig Conservatory and acted as director conductor for various musical societies In 1876 he spent a year as theatre orchestra conductor in Metz described as an adventurous episode 1 and undertook research expeditions in England and Italy for the study of musical history from 1877 to 1887 he was Director of Music at the University of Rostock and city music director there from 1880 1 Institute for Church Music Berlin From 1887 to 1904 he renewed his position in Leipzig as active University Music Director From 1888 1898 he was Director of the Riedel Choral Society In the year 1890 he was awarded an honorary professorship and in 1890 he founded the Leipzig Academic Concerts which he conducted until 1895 1 In 1904 he was appointed as regular Professor of Music at the University of Berlin and from 1907 1922 he was Director of the Royal Institute for Church Music From 1909 to 1920 as successor to Joseph Joachim he was Director of the Koniglich Akademischen Hochschule fur ausubende Tonkunst founded in 1869 later the Musikhochschule Berlin the Berlin High School for Music 1 In 1912 he was elected Chairman of the de Preussische Musikgeschichtlichen Kommission Prussian Music History Commission and thus the editor of the Denkmaler deutscher Tonkunst This historical music edition was begun in 1892 by Brahms Joachim and Philipp Spitta He was a government privy counsellor One of his students was composer and musicologist Walter Niemann See List of music students by teacher K to M Hermann Kretzschmar Hermeneutics EditKretschmar founded the discipline of musical hermeneutics in around 1900 2 Gravesite of Kretzschmar at the Friedhof Nikolassee in Berlin According to the musicologist Maria Fuchs The discipline of musical hermeneutics explores the discursive meanings of musical works It concentrates on the interpretation and paraphrasing of the affects feelings expressive characters and moods of a piece of music In contrast to the formal aesthetic approach to concert music analysis closely connected to German music critic Eduard Hanslick 1825 1904 and his idea of absolute music musical hermeneutics was based on an aesthetics of content and affects 2 Death EditHe died in Berlin Schlachtensee in 1924 after which he was buried in a grave of honour in the de Protestant Nicholassee churchyard of the de Kirche Nikolassee in Berlin Personal life EditKretzschmar was married in 1880 to the British pianist Clara Meller Bristol 3 February 1855 6 May 1903 Leipzig 3 She gave her debut concert at the Leipzig Gewandhaus in 1877 and accompanied the Austrian soprano Minna Peschka Leutner in a number of concerts that year a b In Gottingen in March she played Beethoven s Kreutzer sonata pieces by Schumann Liszt and Wagner arr Tausig and one or other of Chopin s A flat major waltzes c In October 1878 she played Schumann s Piano Concerto in a concert at the Rostock Konzertverein conducted by Kretschmar who was the music director at Rostock University 3 She continued to give concerts after their marriage her repertoire included Brahms 2nd piano concerto Saint Saens second the concerto for three keyboards BWV 1064 by J S Bach and the F sharp minor concerto by Hans von Bronsart She died aged 48 in Leipzig They had no children 3 Literary allusion EditIn his novel Doktor Faustus Thomas Mann creates the character of Dr Wendell Kretschmar the inspirational and eccentric musicologist lecturer and teacher of the composer Adrian Leverkuhn The name is probably given in homage to his real life contemporary Hermann Kretzschmar whose essays in musical interpretation were widely read and appreciated around the turn of the twentieth century Works EditFuhrer durch den Konzertsaal Guide through the Concert Hall Leipzig 1887 90 Vol I Parts 1 amp 2 Sinfonie und Suite Symphonies and Suites Leipzig Breitkopf amp Hartel 6th edition 1921 Vol II Part 1 Kirchliche Werke Sacred works Leipzig Breitkopf amp Hartel 5th edition 1921 Vol II Part 2 Oratorien und weltliche Chorwerke Oratorios and secular choral works Leipzig Breitkopf amp Hartel 4th edition 1920 Geschichte des neuen deutschen Liedes History of new German song Part I from Albert to Zelter only completed mainly 17th and 18th centuries Leipzig Breitkopf amp Hartel 1911 Gesammelte Aufsatze uber Musik und Anderes Collected Essays on music and other subjects Leipzig Breitkopf amp Hartel and C F Peters Volume I Gesammelte Aufsatze uber Musik aus den Grenzboten Collected Essays on Music from the journal Die Grenzboten Leipzig Breitkopf amp Hartel 1910 2nd ed 1911 Volume II Gesammelte Aufsatze aus den Jahrbuchern der Musikbibliothek Peters Collected Essays from the Peters Music Library Yearbook Leipzig C F Peters 1911 A projected Volume III Gesammelte Aufsatze uber Musik aus den Verlag Breitkopf amp Hartel seems not to have appeared in print Geschichte der Oper History of Opera Leipzig Breitkopf amp Hartel 1919 Einfuhrung in die Musikgeschichte Introduction to the History of Music 1920References EditThis article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Hermann Kretzschmar news newspapers books scholar JSTOR November 2018 Learn how and when to remove this template message Notes At Leipzig Miss Clara Meller from London has made successful debuts both at a matinee given by the young pianist and at a concert at the Gewandhaus The local papers speak highly of the lady s qualifications and versatile talent in interpreting the classical works of the old as well as the modern masters of the art The debutante was rewarded by frequent marks of approbation on the part of the audience 4 Miss Clara Meller of London the accomplished young pianiste whose successful debut at the Gewandhaus and other concert institutions of Leipzig we have recently had occasion to notice has since appeared in company with Mdme Peschka Leutner in a series of concerts given in various parts of Germany and Holland creating everywhere a most favourable impression upon the audience as to her high qualifications for the instrument of her choice 5 Miss Meller s technique is very worthy of note but the lady does not yet play artistically as the execution of her part in Beethoven s Kreutzer Sonata showed she also seems to have a tendency to rush the tempi which is what transpired with Schumann s solo pieces Liszt and Wagner Tausig were particularly striking but the A flat major Waltz by Chopin was barely comprehensible Since the lady is still young she can be pull or be pulled 6 Miss Meller s Technik ist sehr anerkennenswerth sein kunstlerisch spielt die Dame aber noch nicht das zeigte die Ausfuhrung ihres Parts in Beethoven s Kreutzer Sonate auch hat sie scheint es Neigung die Tempi zu ubereilen was sich bei den Solostucken von Schumann Liszt und Wagner Tausig besonders auffallig aber bei dem Asdur Walzer von Chopin herausstellte der kaum zu verstehen war Da die Dame noch jung ist kann sie sich auch noch ziehen oder ziehen lassen Citations a b c d e Langner 1982 a b Fuchs 2019 p 5 a b c Hoffmann Freia 2014 Meller Clara verh Kretzschmar in German Sophie Drinker Institut Retrieved 27 May 2020 Foreign Notes The Musical Times and Singing Class Circular 18 408 80 81 1 February 1877 JSTOR 3351715 Foreign Notes The Musical Times and Singing Class Circular 18 410 186 1 April 1877 JSTOR 3351987 Berichte Gottingen Mitte Marz Allgemeine musikalische Zeitung No 13 Leipzig Breitkopf amp Hartel 28 March 1877 p 204 Bibliography Edit Fuchs Maria Fall 2019 Hermann Kretzschmar s Forgotten Heirs Silent Film Music as Applied Hermeneutics Music and the Moving Image University of Illinois Press 12 3 1 24 doi 10 5406 musimoviimag 12 3 0003 JSTOR 10 5406 musimoviimag 12 3 0003 S2CID 211928162 Retrieved 27 May 2020 Langner Thomas M 1982 Kretzschmar Hermann Neue Deutsche Biographie 13 in German Online version Retrieved 27 May 2020 External links Edit Wikimedia Commons has media related to Hermann Kretzschmar Literature of and about Hermann Kretzschmar in the Catalogue of the German National Library 1 Archived 2007 12 16 at the Wayback Machine Symposium Hermann Kretzschmar Teacher and Performer in one person 2 Free scores by Hermann Kretzschmar at the International Music Score Library Project IMSLP Retrieved from https en wikipedia org w index php title Hermann Kretzschmar amp oldid 1133110619, wikipedia, wiki, book, books, library,
