Hans Gebhard-Alsace

Hans Gebhard-Alsace, 1929

Hans Gebhard-Elsaß (birth name: Hans Julius Gebhard ; born September 26, 1882 in Mulhouse in Alsace , † October 4, 1947 in Marburg an der Lahn) was a German composer and music teacher . He chose the addition of "Alsace" to distinguish it from the Franconian composer of the same name, Hans Gebhard .

Life

Hans Gebhard grew up as the son of the district court director Paul Julius Gebhard and the pianist Mathilde Gebhard, geb. Kissed in Strasbourg and took courses at the conservatory there as a schoolboy . He studied cello, piano and composition at the Conservatory in Frankfurt am Main and at the Music Academy in Berlin . His most important teachers were Hugo Becker (cello) and Lazzaro Uzielli (piano student of Clara Schumann ) at the Conservatory in Frankfurt am Main, and Robert Kahn for composition at the Music Academy in Berlin. In 1913, Émile Jaques-Dalcroze brought him to the Dresden - Hellerau educational institution as an improvisation teacher .

After the educational institution was closed due to the war in 1914, Gebhard continued the work he had started with private school groups, from 1918 in Munich. During these years, marked by the onset of deafness, he developed his holistic music pedagogy based on hearing, rhythm and improvisation , which included body and breathing in the musical design. He presented this form of teaching under the title Uniform Music Theory in the Riemann Music Lexicon (1929). He published musical pedagogical explanations using musical examples in Body Studies for Expression at the Piano (1932). From 1940 until his death he taught and composed in Marburg an der Lahn.

In his compositional work, in addition to the song cycle and the polyphonic choral setting, chamber music in various casts predominates . Starting from the Brahms succession , he increasingly came to a strict polytonality and polyrhythmics in the voice guidance, which - averse effect and courtesy - makes considerable technical demands on the performers and does not meet the listener well - "transparently with an extremely concentrated wealth of thoughts" formulates Richard Schaal in MGG 1955. The only work for a large ensemble is the six-part cantata “Wer du auch seist” for choir , baritone and orchestra based on texts by Rainer Maria Rilke , composed between 1925–1932.

Hans Gebhard-Elsaß was a passionate chess player and won the championship in Munich, southern Germany and the Middle Rhine.

plant

Piano works

• Sketches for piano op.2b, 1902
• 8 piano pieces op.4, 1905
• 2 preludes for piano op. 6, 1905–1906
• 5 piano pieces op.7, 1906
• Passacaglia for 2 pianos in C sharp minor, ca.1908
• Book of keys, preludes and inventions, approx. 1907–1912
• 3 Small Piano Pieces for Lessons, 1908
• Chromatic Passacaglia in A flat minor, 1914
• 14 piano pieces, 1936
• Piano pieces for Ilse Langer, 1937
• Pieces for piano 4 hands Book 1, undated
• Pieces for piano 4 hands booklet 2, undated

Chamber music

• Piece for cello and piano in F minor, “Meiner Mutter zugeeignet” op. 3, 1902
• String quintet in C minor, 1905
• Piano trio in C sharp minor, 1908
• String quartet in A minor, 1910
• Sonata in C sharp minor for violoncello and piano, 1914–1918
• Trio in G minor for violin, violoncello and piano, 1919
• Sonata in B flat major for violin and piano, 1921
• Suite for solo violin, 1922
• Piano quintet in A minor, 1923
• Variations for flute, violin and viola, 1929
• Sonata for violoncello and piano in F sharp major, 1931
• Piano Trio in C minor, undated
• Trio for treble recorder, violin and viola in C major, 1942–1943
• Variations on a Low German folk song for soprano recorder and piano, 1943
• Variations on the folk song “With my girl” for 2 soprano recorders, 1943–1944
• Unfinished Suite (2 movements for 2 treble recorders and strings), 1945–1946
• Variations on the folk song "Wach auf meins Herzens Schöne" for 3 recorders, 1945–1947
• String quartet in F sharp minor, 1947

Choral works

• Three 6-part choirs, 1911–1912
• Rosemary for 4-part female choir, 1912–1913
• Male choirs (based on texts from Des Knaben Wunderhorn ) 1913–1914
• "Whoever you are" (based on texts by Rainer Maria Rilke). Cantata for choir, baritone solo and orchestra, 1925–1932

Songs

• 4 songs based on texts by Anna Ritter op. 1, 1901
• 5 small songs for medium voice op.2a, 1903
• 4 chants from “Mir zur Celebration” by Rainer Maria Rilke op. 5, 1906
• Simrock: Lied der Filomena (Boccaccio) for high voice, 1915
• 4 songs for baritone op. 8, 1915–1917
• 4 Anja Mendelssohn songs, 1917/1918
• Ilse Bartels-Lieder, 1918
• “Man, what you love” (Angelus Silesius), 1924
• Wicked Songs, 1924
• “Tulips” for soprano and baritone, 1924
• 5 Christian Wagner songs for baritone, 1924
• Christian Morgenstern songs for alto, 1937/1938
• 4 love songs for soprano (Christian Morgenstern), 1941 (1st version 1938)
• Morgenstimmung, Abendweise (Christian Morgenstern) for soprano and baritone, 1942
• Abend am See, Venustempelchen (after Christian Morgenstern) for ornamental singing (soprano), 1942
• 2 songs (Christian Morgenstern) for soprano and recorder, 1940/1942
• 3 songs (Georg Schwarz) for mezzo-soprano and recorder, 1946
• The folk tune at the piano (1940–46). From the estate of ed. by Ilse Gebhard. Trossingen 1992.

Fonts

• The Gebhard sound syllable (La-lo). In: Die Musikbildung III 1926. pp. 160–164; 193-196.
• Uniform music theory. In: Riemann Musiklexikon , 11th edition Berlin 1929. pp. 455f
• Body studies for expression on the piano. Munich 1931
• Meter, rhythm, motive. In: Mitteilungen des Lalo-Bund , Heft 12-14, Munich 1932

literature

• Hans Gebhard. In: Riemann Musiklexikon, 11th edition Berlin 1929. P. 578f
• Peter Hollfelder : The great manual of music. Hamburg 1996, p. 235
• Silke Kruse-Weber: Piano Pedagogy in the First Third of the 20th Century. (Contributions to music education, edited by Eckhard Nolte). Frankfurt am Main 2004.
• Silke Kruse-Weber: Gebhard (-Elsaß), Hans. In: Christoph Kammertöns and Siegfried Mauser ( eds .): Lexicon of the piano. Laaber 2006. p. 274.
• Herbert Lölkes: On the person and work of Hans Gebhard-Elsaß. In: The folk tune on the piano. Simply accompanied and edited by Hans Gebhard-Elsaß and Ilse Gebhard. Trossingen 1992. p. 3.
• Herbert Lölkes: Catalog raisonné by Hans Gebhard-Elsaß (1882–1947). Marburg 1993.
• Herbert Lölkes: On the importance of the folk song in the work of Hans Gebhard-Elsaß. In: Üben & Musiegen 1, 1993. pp. 34-37.
• Herbert Lölkes: A letter from Rainer Maria Rilke to the composer Hans Gebhard. In: Blätter der Rilke-Gesellschaft , 20th year 1993. pp. 126–129.
• Richard Schaal: Hans Gebhard-Elsaß †. In: Neue Musikzeitschrift , 2nd year Munich 1948. No. 1. P. 90.
• Richard Schaal: Gebhard, Hans. In: Music in the past and present. Vol. 4., Kassel 1955. Sp. 1529f
• Hermann Stephani: Hans Gebhard-Elsaß. In: Musica , 1st year 1947. pp. 331f

Web links

• Hans Gebhard-Elsass on munzinger.de
• Hans Gebhard-Elsaß on dohr.de

Individual evidence

1. ↑ see Hessisches Staatsarchiv Marburg (HStAMR), Best. 915 No. 5775, p. 428 ( digitized version ).
2. ↑ Herbert Lölkes: works Hans Gebhard-Alsace (1882-1947). Marburg 1993. p. 3.
3. ↑ Herbert Lölkes: works Hans Gebhard-Alsace (1882-1947). Marburg 1993. p. 3.
4. ↑ Hans Gebhard-Elsaß: Body studies for expression on the piano. Munich 1931. p. 15.
5. ↑ Herbert Lölkes: to the person and work of Hans Gebhard-Alsace. In: The folk tune on the piano. Simply accompanied and edited by Hans Gebhard-Elsaß and Ilse Gebhard. Trossingen 1992. p. 3.
6. ^ Richard Schaal: Hans Gebhard-Elsaß. In: Music in the past and present. Vol. 4., Kassel 1955. Sp. 1530.
7. ^ Hermann Stephani: Hans Gebhard-Elsaß. In: Musica , 1st year 1947. p. 332.