Serious wing

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Ernst wing (1844–1912)

Ernst Paul Wing (* 31 August 1844 in Halle (Saale) , † 20th October 1912 in Breslau ) was a German composer of the Romantic .

Life

Ernst Paul Flügel, born in Halle an der Saale, was a son of Gustav Flügel (1812–1900) and his second wife Henriette nee. Oppermann (1823-1896).

education

Ernst Flügel received his first musical training from his father, later (from 1859) from the composer, conductor and music writer Carl Koßmaly in Stettin , who also taught him music theory and aesthetics.

Since April 1862 Ernst Flügel was a student of the royal institute for church music in Berlin and from October 1862 on he was also a student of the royal of the Academy of the Arts, “where the directors AW Bach Professor Grell, music director Jul. Schneider and Löschhorn, the proven teacher of pianoforte, his teachers are ”. Here he also enjoyed private lessons from Hans von Bülows , F. Geyers and Friedrich Kiel . On March 7, 1863, the budding pianist Ernst Flügel gave his first widely acclaimed concert in Stettin. In the public annual meeting of the Kgl. Academie der Künste zu Berlin on August 3, 1863, Ernst Flügel was also recognized as a composition student by the Academic Senate. On the same day there is a performance in honor of Friedrich Wilhelm III. for the first time a composition by the nineteen-year-old wing performed: Miserere mei Deus , a trio with choir.

Music teacher in Treptow and Greifswald (1863–1867)

Ernst wing around 1865

Since the summer of 1863, Ernst Flügel lived as a music teacher in Treptow an der Tollense . He gave his first concert here on November 1st, 1863.

At the beginning of 1864, Alfred Dörffel published Flugel's Opus 1, “Wanderings” (piano pieces) in Leipzig. On February 23, 1864, the pianist gave a second, well-attended and well-received concert in Szczecin. At the beginning of March 1864, Flügel traveled to Leipzig, perhaps to find a publisher for further compositions. At the beginning of 1865, Flügel became a member of the General German Music Association. On September 21, 1865, the seminary choir from Weißenfels performed a 'Salvum fac regem' by Ernst Flügel at the Roßbach monument in the presence of the king. In July 1866, Ernst Flügel participated unharmed as a vice sergeant in the German war during the Main Campaign. From the summer of 1866 on, Flügel worked for a short time as a music teacher in Greifswald . On December 13, 1866, he gave a concert here too and shone with his pianistic skills. Also in Greifswald in 1867 the song books Op. 2-4.

Organist in Prenzlau (1867–1879)

At Easter 1867, Ernst Flügel became an organist and high school singing teacher in Prenzlau . At the latest with the concert in February 1868, in which Ernst Flügel appeared as a pianist, he established his top musical position there:

“ More perfect piano playing has probably not yet been heard within our walls. One does not know whether one should admire the skill and strength or the conception and memory of the artist more. ".

In the concert on March 15, 1868, Flügel not only appeared as an admired pianist, but also drew attention to himself as the director of the choral society he had taken over. On October 22, 1869, Flügel gave his first chamber music soirée. On April 19, 1868, Ernst Flügel married his bride Anne Schumacher from Treptow a. In Prenzlau St. Jakobi. Great. From this marriage there were four children. On March 2, 1869, the daughter Elisabeth Emma Antonie Flügel was baptized in St. Marien in Prenzlau, but she died on January 3, 1870 in Prenzlau and was buried two days later.

Ernst Flügel also took an active part in the war of 1870/71 . On August 21, 1870, the "Vice Sergeant Ernst Flügel, organist in Prenzlau, and wife" gave a church concert in Stralsund . In the summer of 1871, Flügel was awarded the Iron Cross , but had to remain in military service. Apparently Ernst Flügel also used his military time to compose. In his first subscription concert in Prenzlau in October 1871, not only piano compositions by Gustav Flügel (Sonata Op. 4), Chopin, and Liszt (“Faust” Waltz) as well as vocal lectures by the cathedral singer Hrn Geyer from Berlin could be heard, but also piano pieces by Ernst wing with the title: "From the field 1871". From the winter of 1871 on, the close collaboration with Heinrich de Ahna, the 1st concertmaster of the Kgl. Chapel in Berlin verifiable, with which he a. a. Performs piano violin sonatas by Beethoven and Rubinstein.

On June 19, 1872 the second daughter Margarethe Louise Flügel and on October 6, 1873 the third daughter Gertrud Anna Flügel was baptized in St. Marien Prenzlau.

The high demands of Flugel's musical taste can be read from the pieces performed by Flügel. In January 1874 Ernst Flügel u. a. Piano violin sonatas by Kiel (E minor) and Grieg (G major). Over the years, Flügel's subscription concerts etc. a. the piano quartet Op. 26 by Brahms, piano violin sonatas by Beethoven and Rubinstein, the Hungarian Dances by Brahms / Joachim, and piano trios by Schumann and Mendelssohn.

A high point of Flugel’s effectiveness in Prenzlau was the performance of Brahms's Requiem on April 9, 1875. The success was so great that the work was performed again on September 28. In other concerts, the composer's own works were also heard, such as the Trio in E flat major Op in November 1875. 25. or already in 1877 his (apparently unprinted) concert overture . But Johannes Brahms remained a preferred composer in Flugel's programs. In November 1876 heard the Song of Destiny , to the "Pilgrimage of the Rose" by Schumann, Mendelssohn's Walpurgisnacht shortly thereafter, an eight-voice Bach motet, in February 1877 then Beethoven's Violin Concerto. One reviewer said in 1877:

"Last season again brought us a series of musical performances that are seldom found in any other provincial town of the same size."

But wing not only showed outstanding performances as a musician. As a chess player, he was also a capacity. He also took part in the Chess Congress in Leipzig in July 1877. The following entry appeared in Jul.Schuberth's Musical Conversations Lexicon (1877):

"Wing, Ernst, b. about 1848 [sic!] has made itself favorably known through some composition; lives in Prenzlau as an organist. Well known as an excellent chess player. "

Cantor to St. Bernardine Breslau (1879–1908)

Ernst wing around 1890 in Breslau

At the beginning of July 1879, Ernst Flügel was appointed to succeed MD Berthold as cantor at the main and parish church of St. Bernhardin in Breslau . From October 1, 1879 until his retirement in 1908, Flügel held this office. In the same year he published Flügel with Op. 18 his first chorale preludes that are not inferior to those of his father. In addition, he worked with a sharp pen as a music consultant from 1879 , from 1880 he was an employee of the Schlesische Zeitung.

In April 1881, under the direction of Scholz, Flugel's 121st Psalm (Op. 22) was heard.

In 1881, Ernst Flügel founded the "Flügelschen Gesangverein", named after him, which was to shape the city's musical life for more than two decades. In February 1882, Flugel's most famous work “Mahomets Gesang” (Op. 29) (based on a text by Goethe) was premiered in Breslau. On September 11, 1882, Flügel's club sang at the Breslau Music Festival. On October 10th, the Province of Silesia presented him with a precious Geneva watch with gold chain and engraving as a souvenir for his work. On November 14, 1882, Flügel had his choral society successfully debut with Becker's B minor Mass. The performance was repeated on February 20, 1882 as a charity concert “for the good of the poor”. On January 23, 1883, Flugel's Choral Society had already performed a concert with more recent choral music and Beethoven's 9th Symphony.

In January 1883, Max Bruch was appointed director of the orchestra club in Breslau as Scholz's successor. Even with Bruch, Ernst Flügel has been able to work together excellently musically from the beginning, as a number of joint concerts shows. On November 10th, the oratorio "Luther in Worms" by Meinardus will be performed by Ernst Flügel. On February 5, 1884, together with Bruch u. a. the Nänie von Brahms and Zigeunerleben von Schumann. Bruch liked to use the pianist Flügel for his concerts. He worked with the Flügel'schen Gesangverein and performed works by Flügel, such as: B. on March 4, 1884 his concert overture "Wanderlust". On April 19, 1884, Bruch recommended his publisher Simrock to print the Flugel compositions. Flugel's years in Breslau were marked by a tremendous amount of work. On March 11, 1884, Flügel u. a. the piano trio, F minor, Op. 65 from Dvořák.

On November 11th of the same year, performance of Schumann's Faust scenes by the Flügel'schen Gesangverein. On November 30, 1886, Liszt's Legende von der heil. Elisabeth through the Flügel'schen Choral Society. On January 31, 1888 , the performance of G. Vierling's “Alarich” was “ completed ” by the Flügel'schen Gesangverein. In December 1888, Flügel performed Brahms' C minor piano trio.

In 1888, Flügel was appointed Royal Music Director. At the beginning of December 1888, Flügel was still performing with the wing choir "Kyrie", "Sanctus" and others. “Agnus Dei” by Max Bruch for choir a. Solos with orchestra and again the B minor mass by A. Becker. Since 1888, the director of the orchestra club Bruch was increasingly dissatisfied with Flügel's reviews and there was considerable tension. As a result, Bruch initially enforced that Flügel received a review ban. In 1889, however, there was considerable resistance in Breslau against this muzzle, which led to financial difficulties for the orchestra club. Bruch left Wroclaw in 1891.

On May 24, 1891, Ernst Flügel was the guest of honor at the 200-year secular celebration of the Singakademie in Berlin. In addition to his musical activity and his passion for chess, Flügel was also a fan of hiking, especially mountain hiking. On June 26th, 1891, the royal music director Ernst Flügel gave a lecture in front of the Breslauer Section of the German Alpine Club on “Tours in the Brenta, Presanella and Ortler groups.” On January 10th, 1895 benefit concert with the participation of Ernst Flügel, who u . a. performs Schumann's A minor piano concerto.

On April 25, 1895, the mother died in Stettin. On October 23, 1895, Ernst Flügel performed Rubinstein's “Paradise Lost”. At the inauguration of the Kaiser Wilhelm Monument in Breslau (1896), Ernst Flügel was awarded the 4th Class Red Eagle Order. At the concert for Franz Schubert's 100th birthday in 1897, Ernst Flügel a. a. the piano trio in E flat major. To commemorate Johannes Brahms, who died on April 3, 1897, the Flügel'sche Gesangverein held in October 1897 a. a. his German Requiem .

In December 1897 there was a serious upset between Ernst Flügel and his father. The aged 85-year-old Gustav Flügel did not want to give Ernst's daughter accommodation in his small official apartment in the house on Königsplatz on her honeymoon in Stettin, whereupon the Wroclaw cantor intervened. “It was a high point in his life when he was appointed judge by the Kaiser in the first German singing competition in Kassel in 1899”. On August 15, 1900, his father Gustav Flügel died in Stettin.

At the inauguration ceremony of the renovated St. Bernard Church on September 1, 1901, Flügel was appointed professor. In 1902, Flügel had to dissolve his choral society, which last consisted of only 150 members, for financial reasons.

Old Age and Death (1908–1912)

He retired on April 1, 1908. The composer Ernst Flügel died in Breslau on October 20, 1912 at the age of 68.

The music critic

Ernst Flügel worked for 32 years from 1880 to 1912 as a music consultant for the Schlesische Zeitung in Breslau and wrote many hundreds of widely acclaimed reviews. In doing so, he drew his authority precisely from his undisputed ability as a performing and creating musician, and thus belied the prejudice that only failed musicians wrote reviews:

“His reviews of the musical achievements in our city, which he worked through with the greatest care, often sharply honed, but always stimulating and worth reading, have given him a position in musical life that is seldom granted to a music critic. He was not always a friend of the new, his ideal of beauty stems from the classical era of modern music, but even where he defended himself against the invading new spirit, he was always filled with the holy zeal for his art [...]. For a generation he was a faithful guardian of his art, and Wroclaw's musical life was hard to imagine without him. "

- E. Bohn (?) Obituary from the Schlesische Zeitung October 22, 1912.

He wrote about Theodor Kirchner as early as 1879: “K. is a recognized master of the small form of the character piece for piano. In this area he towers over all his colleagues by a head. "

The classic attitude is z. B. clearly in Flugel's reviews of Reger's works , whose compositions he decidedly rejected as early as 1903:

“[…] The song composers […] and Max Reger […] have in common that they basically avoid any structured and therefore easily understandable melody, but try to do justice to the mood of the text through harmonic means and declamatory means. There are hardly any songs, rather lyrical scenes, in which the endeavor to bring something different from the usual at any price is not exactly pleasant. [...] The principle of 'new, unheard of at any price' seems to be most developed in Reger's songs. There is no trace of artistic necessity attached to this type of setting, but appears as a product of chance and mood, whereby the listener is expected to undertake a revaluation of all previous auditory values. Anyone who does not feel like doing this will reject Reger's poetry and thoroughly. [...] In particular, the performed numbers from op. 70 are true models of unnatural and ear-tormented lust. Just an example. Reger treats the easy love affair, as offered in JG Fleischer's text 'Mein und Dein', with the terrible seriousness and the embarrassing awkwardness of a serious criminal case. This grotesque disproportion between word and tone would be laughable if the tormented ear did not object to it. If these songs from Max Reger, who is being acclaimed by some of the specialist press as a pioneer, should represent a sample of the future development of our lyrical-musical production, then those who belong to the ancients and enjoy this type of music could only be grateful no longer needs to listen for too long. "

In 1906, Flügel called Reger a "destroyer of tonal consciousness", who had succumbed to the modulation frenzy, in view of whose "eccentricities" the listener was overcome by "the feeling of harmonic seasickness".

Meaning and afterlife

The 121st Psalm (Op. 22), Mahomet's Gesang (Op. 24) and the piano trio (Op. 25) are particularly emphasized among Flugel's compositions. But the chorale preludes also find their way into newer collections time and again.

The enormous literary achievement of the music critic Ernst Flügel is still waiting to be rediscovered.

The handwritten estate of Ernst Flügel, who had also kept the compositions of his father Gustav, was lost in 1945 in Vienna in bombing raids. However, the Pomeranian Library in Szczecin / Stettin has a number of works by his father, which are marked with his ownership.

Individual organ pieces have been recorded for the SFB and have appeared in anthologies. Newer recording: " Jerusalem, du hochgebauten Stadt , Choral für Organ" interpreter: Martin Rost, in: Organ Landscape / Orgellandschaft: Pomerania (Label: MD&G (Dabringhaus & Grimm), June 29, 2004)

Catalog raisonné

The pianist and cantor Ernst Flügel composed almost exclusively for the pianoforte (Op. 1, 7, 9, 12 and 13, 15-17, 20, 27, 31, 32, 37, 60 and 61) and for mixed choir , partly with orchestral accompaniment (Op. 21, 22, 24, 28.30, 34, 38, 39, 43, 50, 51, 54, 55, 58, 62, 63, 65 and 67), as well as a large number of songs for a singing part (Op. 2-6, 10, 11, 23, 26, 35, 46, 47, 53, 56 and 64). Only for female choir is Op. 57 composed. His organ works and chorale preludes (Op. 18, 19, 59 and 66) are only behind in quantitative terms. The trio Op. 25 and the piano-cello pieces Op. 41 u. 42 and the two duos for keyboard instruments Op. 14 and 40. His concert overture for orchestra has been lost.

Flugel's first known composition is a Miserere mei Deus, a trio with choir that was performed in 1863. His Op. Appeared in the Treptow era. 1, then in Greifswald (1867) Op. 2-4. When he began his activity in Breslau, 20 works were published within 4 years (Op. 5 to 26, Op. 6 and 7 were published in 1876.), almost exclusively piano works and songs. With the 121st Psalm (Op. 22), composed in 1878, the successful composing activity for the mixed choir begins, which also includes his most famous work “Mahomets Gesang”. Ernst Flügel published the first chorale preludes (Op. 18) in 1879. This was followed by a decade with little compositional productivity, during which time only Op. 27 (1885), and Op. 28-30 (1890/91). In the year 1893 a lively creative period began, clearly influenced by the church. This year alone around ten works by Ernst Flügel (Op. 31–42) will be published. In the years from 1895 to 1904, Flügel published at least one work a year (Op. 37–63). The last works (Op. 64 and 65 (1907), Op. 66 (1909) and Op. 67 (1910)) are already under the shadow of approaching death. Hardly a coincidence that Ernst Flügel, like his father, set the 126th Psalm “When the Lord will redeem the prisoners of Zion” as one of his last pieces (cf. Gustav Flügel Op. 117). His Swan Song Op. 67 is also a piece for mixed choir, to which all his heart and soul was devoted to the end: "Strong is death's rough hand."

A) Works with opus number

  • Op. 1 walks. Small pieces for pianoforte. (Leipzig, Alfred Dörffel, 1864)
No. 1 On the water.
No. 2 In a foreign country.
No. 3 recovery.
No. 4 To two.
No. 5 dance.
No. 6 dream image.
No. 7 The old song.
  • Op. 2 Six songs for a voice with accompaniment of the pianoforte (Greifswald, Verlag der Academischen Buchhandlung, 1867; Leipzig. Leuckart 1876) (first performance Stettin, March 8, 1863)
No. 1. “In the wonderful month of May”. (Text: Heinrich Heine).
No. 2. In the distance: “Now she will probably be walking in the garden”. (Text: Robert Eduard Prutz)
No. 3. In the evening: “At this hour she thinks mine”. (Text: Rob. Ed. Prutz)
No. 4. Heavenly light: "Silver-fringed cloudscape". (Text: Friedrich Oser)
No. 5. "It drives you away". (Text: H. Heine)
No. 6. Wanderer's night song: "There is peace above all the tops". (Text: Joh. Wolfg. V. Goethe)
  • Op. 3 Six songs for a voice with accompaniment of the pianoforte (Greifswald, Verlag der Academischen Buchhandlung, 1867; Leipzig. Leuckart 1876)
No. 1 The night of May 1st: "What rides and drives at midnight"
No. 2 night song: "The moon has gone quietly" (Text: Emanuel Geibel)
No. 3 "How friendly the sun looks down"
No. 4 "The blue spring eyes" (Text: H. Heine)
No. 5 "Beautiful Sennin, once more" (Text: Nikolaus Lenau)
No. 6 "Like the wild rose in the forest" (Text: Franz Mair)
  • Op. 4 Six songs for a voice with accompaniment of the pianoforte (Greifswald, Verlag der Academischen Buchhandlung, 1867; Leipzig. Leuckart 1876)
No. 1 resolution: “I will never tell you”. (Text: Rob. Ed. Prutz)
No. 2 “My love is like the red rose” (Text: Robert Burns)
No. 3 "You are like a flower" (Text: H. Heine)
No. 4 "Dark is the night" (Text: JW v. Goethe)
No. 5 Schilflied: "Over there is the sun parting" (Text: N. Lenau)
No. 6 "Oh, if 'my love' would be the lilac blossom '" (Text: R. Burns)
  • Op. 5 seven songs for a voice with accompaniment of the pianoforte (Berlin, Bote & Bock, 1879)
No. 1 "Do you want to move with me?"
No. 2 “Like Röslein am Haage”.
No. 3 "You know who I mean".
No. 4 “O love, how you are rich in miracles”.
No. 5 “O love, most beautiful flower”.
No. 6 “Dearest, oh dearest! come, tell me ”.
No. 7 “Love is so easy”.
  • Op. 6 Six songs for a voice with piano accompaniment (Leipzig, Fritzsch, 1876; Leipzig, Eulenburg, 1879)
No. 1 “There was music”. ()
No. 2 In autumn: “Passing the roses in splendor”. (Text: Albert Träger)
No. 3 View into the stream: "Did you see happiness passing by". (Text: N. Lenau)
No. 4 Evening peace: “Softly trembles on the mountain”. (Text: Jul. Altmann)
No. 5 "My mother wanted it". (Text: Theod. Storm)
No. 6 Hochland-Marie: "Your hill around Montgomry's castle" (Text: R. Burns)
  • Op. 7 moonlight pictures. 4 piano pieces. (Leipzig, Fritzsch, 1876)
  • Op. 8 walks. New episode. 7 piano pieces (Berlin, Bote & Bock, 1879)
  • Op. 9 three character pieces (Berlin, Bote & Bock, 1879)
  • Op. 10 Five songs by [Wilhelm] Osterwald for a voice with accompaniment of the pianoforte (Leipzig, Eulenburg, 1879)
No. 1 "Beautiful May, you're over night"
No. 2 "There under the linden tree"
No. 3 "Does summer make its roses"
No. 4 "The stars flicker and shine"
No. 5 "Fly, light May breeze"
  • Op. 11 Four songs from Björnstjerne Björnson's farmer's novels for one voice with accompaniment of the pianoforte (Leipzig, Leuckart, 1879)
No. 1 "Will you stand by me"
No. 2 "It was such bright sunshine"
No. 3 "The boy went to the forest"
No. 4 "Should I be surprised"
  • Op. 12 thumbnails. Small, instructive piano pieces (Leipzig, Rothe, 1880)
  • Op. 13 Four Impromptus for Pianoforte (Leipzig, Breitkopf & Härtel, 1879)
  • Op. 14 Four original duos for harmonium and pianoforte (Berlin, Simon, 1879)
  • Op. 15 Five Character Pieces for Pianoforte (Leipzig, Leuckart, 1879)
  • Op. 16 Colorful series. Small piano pieces (Leipzig, Hofmeister, 1879)
  • Op. 17 Colorful series. II. Booklet Small Piano Pieces (Leipzig, Hofmeister, 1881)
  • Op. 18 Ten Choral Preludes for the Organ (Leipzig, Kahnt, 1879)
  • Op. 19 Six organ pieces for 2 manuals and pedal (Leipzig, Kahnt, 1879)
  • Op. 20 theme with [6] variations for the piano for four hands composed (Berlin, Bote & Bock, 1879)
  • Op. 21 For the dismissal of high school graduates for mixed choir a cappella
  • Op. 22 Psalm 121 “I lift my eyes” for mixed choir, solos and orchestra (Breslau, Hainauer, 1881) (first performance: Prenzlau, May 15, 1878)
  • Op. 23 Four songs for one voice with piano accompaniment (Breslau, Hientzsch, 1881)
No. 1 dreams: "The trees are in bloom"
No. 2 In summer: "Since summer is coming" (Text: Wilhelm Osterwald)
No. 3 "Come on, dear night"
No. 4 "I don't think so"
  • Op. 24 Mahomets singing. [Goethe] Concert piece for mixed choir and orchestra (Breslau, Hainauer, 1882) (World premiere: Breslau, February 1882)
  • Op. 25 Trio, E flat major for violin, violoncello and pianoforte (Breslau, Hientzsch, 1882) (world premiere: Prenzlau, November 1875)
  • Op. 26 Three songs by Franz Kern for a voice with pianoforte (Breslau, Hainauer, 1882, falsely advertised by the publisher under the name "Gustav Flügel")
No. 1. "To dream quietly and deeply".
No. 2. "I feel like a breath of spring".
No. 3. "The time of gloomy grief".
  • Op. 27 Two Etudes for Pianoforte (Breslau, Hainauer, 1885)
  • Op. 28 A friend for mixed choir and orchestra. "You walk ardently away" (Text: Lenau) (Breslau, self-published, 1888; Breslau, Offhaus, 1890) (Warsaw copy online)
  • Op. 29 spiritual songs. Book I. for mixed choir (Leipzig, Klinner, 1891/92)
No. 1 "When grief weighs down my heart." (Text: Sachse)
No. 2 "It has become so quiet" (Text: Kinkel)
  • Op. 30 spiritual songs. Book II. For mixed choir (Leipzig, Klinner, 1892)
No. 1 Jesu benign (for mixed choir)
No. 2 “My soul waits” motet for two 4st. according to Choirs (SATB, SATB) a cappella
  • Op. 31 Four piano pieces (Breslau, Hainauer, 1892)
No. 1. Nocturne (B).
No. 2. Romance (It).
No. 3. Impromptu (As).
No. 4. Toccata (F). ( Digitized versionhttp://vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fpolona.pl%2Fitem%2Ftoccata-op-31%2CNzQ3NzU4ODM%2F2%2F%23item~GB%3D~IA%3D~MDZ%3D%0A~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D )
  • Op. 32 Three Piano Pieces (Breslau, Hainauer, 1892/93)
No. 1st elegy. Mk 1.
No. 2. Intermezzo. Mk 1.
No. 3rd ballad.
  • Op. 33 Waltz (A minor) for pianoforte (Breslau, Becher, 1893)
  • Op. 34 Old Christmas carol for mixed choir (Leipzig, Klinner, 1893)
"A ship is coming loaded"
  • Op. 35 Five songs for a voice with piano accompaniment (Breslau, Hainauer, 1893)
No. 1. Modest: "'Howdy heaven' calls me sweet".
No. 2. Old German Minnelong: "It is sung in the forest". (Text: Tieck after Heinrich, the scribe)
No. 3. "You are so quiet, so gentle, so sensible". (Text: E. Geibel)
No. 4. “All my heart's thoughts”. (Text: Paul Heyse)
No. 5. "So I'll finally hold you around" (Text: E. Geibel)
  • Op. 36 (not researched, probably published as part of a collection)
  • Op. 37 Four piano pieces (Zittau, Loebel, 1893)
No. 1 album sheet.
No. 2 fairy tales.
No. 3 canzonetta.
No. 4 perpetual motion machines
  • Op. 38 motet `` Schaff in mir, Gott '' (Psalm 51) for mixed choir a cappella (Breslau, Offhaus Nachf., 1898)
  • Op. 39 Motet Herr, Gott du bist for mixed a cappella choir and solo parts (Zittau, Loebel, 1893)
  • Op. 40 Duo for 2 pianos (pianoforte) for 4 hands (Zittau, Loebel, 1893, later Leipzig, Reinecke)
  • Op. 41 Sonata for pianoforte and violoncello (Zittau, Loebel, 1893) (first performance: Breslau, May 1885)
  • Op. 42 Three canonical duets for pianoforte and violoncello (Zittau, Loebel, around 1894)
  • Op. 43 Three songs for mixed choir (Teich, around 1895) (falsely advertised under the name of Gustav Flügel)
No. 1. "Above all peaks" (Text: JW v. Goethe)
No. 2. "You from heaven" (Text: JW v. Goethe)
No. 3. "The stars have faded" (Text: Hoffmann v. Fallersleben)
  • Op. 44 (not researched, probably published as part of a collection)
  • Op. 45 (not researched, probably published as part of a collection)
  • Op. 46 Four songs for a medium voice with piano accompaniment (Breslau, Becher, 1900)
No. 1. Through the forest: “Just once more let me go with you”.
No. 2. "Spring sprouts at my feet".
No. 3. The weary evening song: "The red of the evening has faded away". (Text: E. Geibel)
No. 4. "Where you are going, I want to go too" m. Pdf or org.
  • Op. 47 Four songs for mezzo-soprano or baryton with piano accompaniment (Breslau, Offhaus, 1897)
No. 1. In the distance: "Do you see clouds moving in the evening". (Text: Hermann Kletke)
No. 2. "Nightingale, I complain to you".
No. 3. "I could give you the bottom of my heart".
No. 4. "Mother, sing me to rest". (Text: Freiligrath)
  • Op. 48 - at the request of the publisher as Op. 60 appeared.
  • Op. 49 - at the request of the publisher as Op. 61 published.
  • Op. 50 Three sacred chants for mixed choir
No. 1. "Blessed are the pure of heart".
No. 2. Wedding chant: “Two hands want each other today”. (Text: Karl Gerok)
No. 3. “Under a thousand happy hours” with a mezzo-soprano solo. (Text: Novalis)
  • Op. 51 motet "Praise the Lord, my soul" for mixed choir (Psalm 103) (Breslau, Becher, 1899)
  • Op. 52 (not researched, probably published as part of a collection)
  • Op. 53 Four songs for a medium voice with accompaniment of the pianoforte (Breslau, Becher, 1900)
No. 1. “The lake is blue”.
No. 2. "And the roses that shine". (Text: W. Osterwald)
No. 3. "My darling is on the move". (Text: W. Osterwald)
No. 4. “O satisfy this desire”. (Text: E. Geibel)
  • Op. 54 "The air is so still" for mixed choir (Breslau, Becher, 1900) (Text: Wolfgang Müller)
  • Op. 55 motet: "How lovely are your apartments" for 4-8-part mixed choir (Breslau, Becher, 1900)
  • Op. 56 Four songs for a voice with piano accompaniment (Breslau, Becher, approx. 1901)
No. 1. Now with its loud goings-on (Text: Franz Theodor Kugler)
No. 2. Soft devotion
No. 3. The kitten
No. 4. Miners song
  • Op. 57 Three chants for female choir (Breslau, Becher, ca.1901)
  • Op. 58 Kirchweih festival motets for two choirs (male choir: ecclesia terrestris and female choir: ecclesia coelestis) and 4 liturgical movements (Leipzig, Leuckart, 1902). (Composed for the inauguration of the renovated St. Bernard Church in Wroclaw)
  • Op. 59 Fifteen chorale preludes for organ (Leipzig, Leuckart, 1902), dedicated to Max Ansorge
1. Christ who makes us happy
2. You complain and feel the discomfort
3. It is salvation we come here
4. It is definitely time
5. Rejoice very much, O my soul
6. I ask heartily
7. I hoped in you
8. Let me go
9. Prepare my mind
10. Now all forests are at rest
11. Up from the sky
12. The same chorale
13. The same chorale
14. Wake up, my heart, and sing
15. If only I have him
  • Op. 60 Three Piano Pieces (Breslau, Hainauer, around 1902) (= Op. 48. published as Op. 60 at the request of the publisher)
No. 1. reminder
No. 2. New hope
No. 3. Renunciation
  • Op. 61 Waltz, C major (Breslau, Hainauer, around 1902) (= Op. 49. published as Op. 61 at the request of the publisher.)
  • Op. 62 "Probably I am only one tone" sacred song for mixed choir (Leipzig, Leuckart, 1905)
  • Op. 63 Two sacred chants for [6 u. 8st] mixed choir (Leipzig, Leuckart, 1904)
No. 1: Star that I look at
No. 2: So take my hands
  • Op. 64 Four songs for a medium voice with piano accompaniment (Breslau, Becher, 1907)
No. 1. The hardest part (Text: Wilhelm Jensen)
No. 2. Last hour (Text: Marie Tyrol)
No. 3. Once (text: Karl Stieler)
No. 4. Bliss in the woods (Text: Richard Dehmel)
  • Op. 65 Psalm 126. "When the Lord takes the prisoners" for mixed choir (Leipzig, Leuckart, 1907)
  • Op. 66 14 Canonical Choral Preludes for Organ (Leipzig, Klinner, 1909)
  • Op. 67 "Strong is death's rough hand" by JF Schlez, for mixed choir (Leipzig, Klinner, 1910)

B) Works without an opus number

  • Pentecost motet "The love of God is poured out" for mixed choir (Leipzig, Klinner)
  • A sigh for organ. In: Diebold, Joh. Op. 70: 175 new organ pieces
  • “Let me go” Sostenuto (G major, C) for organ. In: The Praeludist. Collection etc. Ed. A. Jacob E. Richter No. 858, p. 81
  • "If only I have him" Very deeply for organ. In: The Praeludist. No. 862, p. 86
  • "Calm gently" for male choir (Text: FA Köthe) in: Ewald Röder (Ed.): Trauergesänge (No. 31)
  • "Blessed are the pure of heart" Motet f. according to Choir. in: Rudolf Palme Op. 59
  • "I stood on the mountain heap" f. a singing voice with piano. in: Bernhard Brähmig Op. 6 (No. 6)
  • “The Lord is my strength” Psalm 28.7-9 f. according to Choir. in: Heinrich Pfannschmidt (Hrsg.): 32 sayings for mixed choir . (No. 32)
  • “We are a people from the current of time” (Text: Rudolf Kögel) Monthly for worship, vol. 11 (1906) Music supplement pp. 355–358.
  • Please "Because on me you dark eye" (Text: N. Lenau) for male and female choir (Breslau, Hainauer) (1907)

C) Lost Works

  • "The hills and valleys sing." Song with piano accompaniment (1862/63)
  • Miserere mei Deus , a trio with choir (1863)
  • Salvum fac regem for male choir (1865)
  • From the field 1871 Pianoforte pieces (1871)
  • Concertouverture Wanderlust (1877/84)

literature

Web links

Footnotes

  1. ↑ On May 23, 1861, Ernst Flügel was the godfather of his younger sister Anna's baptism. (Baptism book of the Schloß- und Mariengemeinde Stettin 1861-1893 in the Protestant Central Archives, Berlin (No. 4125). Baptism entry from Anna Agathe Wilhelmine Ernestine Flügel, from May 23, 1861).
  2. ↑ Niederrheinische Musikzeitung vol. 9, No. 13 (March 28, 1863) p. 102, footnote
  3. ↑ “Stettin. On March 7th, in the casino hall, Mr. Ernst Flügel, the son of the local music director, Mr. Flügel, gave a concert which had gathered a large audience, who followed the lectures with great attention and gave the young pianist rich and well-deserved applause. The concert-giver, who has already given very pleasant samples of his musical talent in our city and who has not long been studying in Berlin under the direction of Mr. H. v. Bülow and Löschhorn, the day before yesterday again showed his decisive talent for playing the piano, which we can say, which justifies great hopes. The program, chosen with taste, offered in the first part the D minor sonata by Beethoven and a prelude with fugue in A minor for the organ by JS Bach in an arrangement by Liszt; In both pieces the pianist was given the opportunity to express his understanding of classical music, which was quite pleasant for his age. The sonata in particular, and especially the second movement here, was performed with deep emotion. The last movement of the sonata and the fugue, which presented significant technical difficulties, enjoyed a thoroughly clear playing and masterly precision. In the second part of the program, the concert-giver showed himself in the field of salon music in the performance of Schumann's fantasy piece 'des Abends', two compositions by Raff and Rubinstein and the great polonaise in E flat by Chopin. These pieces of music also enjoyed a worthy rendition, and especially in the great polonaise, technical bravery was combined with a performance full of character, which overall effect is usually only enabled by later age. The calm and originality of playing is generally less likely to be achieved through study than through a wealth of experience gained over a number of years in practical musical life. In Miss. Nanitz, who took part in the concert, we got to know a young alto who had a powerful and melodious organ at his disposal. […] Three songs sung by her were most satisfying: 'Spring song' by Mendelssohn and two compositions by the concert giver: 'Ueber allen Wipfeln ist Ruh' and 'Die Höh'n und Thäler singen'. "( Neue Berliner Musikzeitung ( NBMz ) vol 17, No. 12 (March 18, 1863) p. 94); the concert was also discussed in the Neue Zeitschrift für Musik vol. 58, no. 15 (April 10, 1863) p. 126 and in the Niederrheinische Musikzeitung ( NdRhMz ) vol. 9, no. 13 (March 28, 1863) p. 102f.
  4. ↑ The Dioscuri. German art newspaper. Main organ of the German Art Associations. Vol. 8, No. 33 (August 16, 1863) p. 253
  5. ↑ NBMz Vol. 17, No. 34 (August 19, 1863); see. The Dioscuri. German art newspaper. Vol. 8, No. 32 (August 9, 1863) p. 244
  6. ↑ Some biographers wrongly pass on "Treptow an der Trebel".
  7. ↑ “Treptow ad Toll. Mr. Ernst Flügel, student of Mr. H. v. Bülow had given a concert on November 1st, which enjoyed the most general participation. The program included: Beetboven's Sonata, Op. 53. Chant polonais and Au bord d'une source by Liszt. Weber's Polacca, Op. 72. Grande Polonaise, Op. 22, from Chopin. Souvenir de Kieff von Schulhoff and Rubinstein's charming barcarole, which, as always, did not fail to have an effect. This program, which presented so many different directions, was carried out by Mr Flügel to great applause, which he had well deserved through his solid playing and musical understanding. ”( NBMz vol. 17, no. 47 (November 18, 1863) p. 375 ).
  8. ↑ Reviews in Euterpe vol. 24, no. 2 (February 1865) p. 33; AMZ (NF) vol. 1, no. 10 (March 7, 1866) p. 80. (The reviewer feels reminded of the children's scenes and the album for the youth by Schumann); NBMz vol. 20, no. 27 (July 4th, 1866) p. 211: “In many respects a successful and encouraging hope-raising op. 1. It reveals the educated musician in whom an ideal outlook resides. May he only dare to try something longer and broader, but in doing so curb his striving for originality, so that he does not go astray! [...] On and on! "
  9. ↑ “Szczecin, February 24th. The concert, which Herr Ernst Flügel gave yesterday in the casino hall, had gathered an extremely numerous audience, who filled the hall to the last corner. A look at this audience and a look at the program could serve to confirm a remark made recently on the occasion of another concert that in our city, too, naked virtuosity is losing ground to the same extent as the direction after the production is more serious and substantial Music wins. Mr. E. Flügel has made great and important progress in the time when we have not heard him. A more mature age requires more mature understanding, greater physical and spiritual strength. The fact that the young player does not yet appear as a consummate artist, who would criticize the difficulty of the chosen tasks? where is art at all completed if it takes the works of the most sublime composers as a basis! - The concert began with Bach's “chromatic fantasy”. As far as the performance of this work is concerned, in which Bülow, who has recently published it, sees the beginnings of Romanticism in music, it was cleared of understanding, clear, precise and sure; he proved that the player is over very significant technical difficulties. The lecture was by no means lacking in the clear transparency that makes the work understandable even for the layman. In the performance of Beethoven's last played Sonata in F minor, he proved that the young artist has also opened up the world of fantasy and the heart. We would hardly know how this sublime work could be performed more lively, enthusiastically, more intimately. Between these two end pillars of the program stood Schubert's fantasy for four hands, played by the concert giver and his father, Mr. Gustav Flügel. The two piano compositions from this one, from Flügel (the father): “Stillefrage” and “Falter im Sonnenschein”, are two lovely little things that are far above the level of ordinary salon compositions and the best in this Genre range. Schumann's romance (Op. 28, No. 2) is a jewel, Liszt's Au bord d'une source is a pleasing piece of music; Raff's “Metamorphoses” are a bit confused and their length hurts the impression. All pieces were performed by the concert-giver with elegance and great skill, and it could not be missing that he received a great and just applause. "( NdRhMz Vol. 12, No. 10 (March 5, 1864) p. 79) . See Allgemeine Musikalische Zeitung ( AMZ ) (NF) vol. 2, no. 10 (March 9, 1864) col. 182; AMZ (NF) vol. 2, no. 42 (October 19, 1864) col. 716f .;
  10. ↑ "This week, Leipzig visited Mr. Ernst Flügel, Tonkünstler from Stettin […] "( NZfM (March 4, 1864)
  11. ↑ (between December 9, 1864 and February 17, 1865 ( NZfM Vol. 61 No. 8 (February 17, 1865) p. 67).
  12. ↑ On September 8, 1865, the seminar teacher Ernst Hentschel had asked Gustav Flügel in Stettin for an appropriate composition. (Gustav Flügel: "Memories" Euterpe Vol. 40, No. 1 (1881) p. 9.). He passed the order on to his son Ernst. “After a lot of diligent practice, we received your son’s salvum on the 21st of December. M. sung at 1 a.m. at the Roßbach Monument in front of Sr. Majesty and his brilliant suite! Not yours, as the establishment could only be set up as such and instruments were therefore not permitted. Your Majesty spoke very graciously to me and ordered something to be sung, followed by a little king's song. Many thanks to you and your richly gifted son! The salvum has a splendid effect, lasted 4 minutes. - Soon more! ”(Ernst Hentschel in a letter to G. Flügel dated September 23, 1865 ( Euterpe vol. 40, no. 1 (1881) p. 9)
  13. ↑ cf. z. B. Ida Gebeschus: “Karl Löwe and the Pomeranian Tonkünstler of his time” NZfM Vol. 92 (63), No. 48 (November 25, 1896) p. 531.
  14. ↑ “A very successful and well received venture” NZfM vol. 63, no. 1 (January 1, 1867) p. 6. Among other things, a 'Sonata for piano and violin' by E. Flügel played, cf. Euterpe Vol. 26, No. 10 (1867) 183.
  15. ↑ AMZ Vol. 3, No. 18 (April 29, 1868) p. 142 and No. 26 (June 24, 1868) p. 204f .; NBMz Vol. 22, No. 25 (June 17, 1868) pp. 194f .; Euterpe Vol. 27, No. 9 (1868) p. 181. On May 21, 1869, Ernst Hentschel, the editor of Euterpe , wrote to his father Gustav Flügel in Stettin: “Dear friend! When I met our friend St. . . asked to take over the review of the beautiful songs of your son, this was done with the intention of avoiding the semblance of partiality which would have rested on my pen, and thereby promoting the interest of the songs all the more surely. The judgment was more reserved, even complaining, than I could enjoy; but what should I do! Change or decline would have got me at odds with St., which would have been just as fatal to me as it was to the leaf and its reputation! So I had to make up my mind to let the matter go as it could, although I did it not without restlessness and worry. Your long silence afterwards seemed to indicate to me that you were uncomfortably touched! I always wanted to write to you, but it never happened - and so your friendly letter finally appeared, which released me from my fears, for which I am very grateful. "(Gustav Flügel:" Memories " Euterpe vol. 40, no . 2 (1881) p. 28).
  16. ↑ On the cantor organists in Prenzlau see. Curt Sachs: “Archivalien zur Norddeutsche Musikgeschichte” in: Zeitschrift für Musikwissenschaft Vol. 2 (1919/20) p. 282. According to this, Flügel's predecessors were: Music teacher Bemmann (since 1841) and Paul Franz (around 1857), his successor Martin Fischer , a music teacher from Ludwigshafen, was appointed in 1879
  17. ^ History of the high school in Prenzlau from 1543-1893: Festschrift of the 350th anniversary of the institution. (Prenzlau, 1893) p. 283
  18. ↑ "Prenzlau. Of the performances announced for the needy in East Prussia, the first was the concert by Herr Flügel. Anyone who has used this opportunity to give the poor needy a mite will at least have to admit that he has received in full for it. More perfect piano playing has probably not yet been heard within our walls. One does not know whether one should admire the skill and strength or the conception and memory of the artist more. Mr. Grand piano by a violin player who, even if not mentioned on the program, will soon be able to make a name for himself. He played a very fine-sounding instrument cleanly and expressively, and earned great acclaim despite the size of his rival. It would be very desirable if such pleasures were offered more often. ”( Euterpe vol. 27, no. 3 (1868) p. 59). Ernst Flügel always played the compositions 'ex capite', i.e. H. by heart.
  19. ↑ Review in Euterpe vol. 27, no. 5 (1868) p. 99. The reviewer praises in particular the delicate, noble and well-trained soprano voice and the power in the final chorus of Haydn's creation . His organ playing is also praised.
  20. ↑ "Prenzlau. Herr E. Flügel, an excellent pianist and musician trained by Bülow, [363] organized three soirees for chamber music with the participation of Berlin artists, Messrs. Japsen and Loeper. The main aim of the entrepreneur is to demand better taste by choosing a solid program. At the first soiree on October 22nd, Mr. Flügel brought the Sonatas for Piano and Cello, Op. 69 by Beethoven and Op. 58 by Mendelssohn in a successful execution. His partner Mr. Loeper, solo violoncellist of the Berliner Sinfonie-Kapelle, contributed significantly to the success of the excellent company through his dignified playing. ”( NBMz vol. 23, no. 44 (November 3, 1869) p. 362f.). The third soirée gave wings in February 1870: “Prenzlau. The 3rd chamber music of Mr. E. Flügel took place with the participation of Messrs. Japson and Löper from Berlin. ”( Musikalisches Wochenblatt ( MWBl ) Vol. 1, No. 9 (February 25, 1870) p. 142).
  21. ↑ Two years earlier, at the baptism of Flugel's youngest sister Elisabeth on May 5, 1866, his future wife was among the godparents. “Tonkünstler Ernst Flügel” himself represents the absent poet Friedrich Oser from Waldenburg (Switzerland) as godfather. (Baptism book of the Schloß- und Mariengemeinde Stettin 1861-1893 in the Protestant Central Archives, Berlin (No. 4125). Baptism entry Anna Friederike Elisabeth Flügel from April 5, 1866.).
  22. ↑ With Anna Gertrud Schumacher * May 11, 1838 Treptow a. Great. Ernst Flügel had the following children: 1.) Elisabeth Emma Antonie (* Prenzlau 1869, ~ March 2, 1869 St. Marien, † Prenzlau January 3, 1870); 2.) Margarethe Louise Flügel (* Prenzlau May 11, 1872, no descendants); 3.) Gertrud Anna Flügel (* Prenzlau October 6, 1873, ⚭ 1897 NN. Rüdorff; her only son and the last descendant of Ernst Flügel was the Tübingen chemistry professor Walter Rüdorff (* October 3, 1909, † Tübingen 1989); 4. ) Hans Flügel (* (Prenzlau?) January 2, 1877, (no descendants). Apparently his father Gustav Flügel composed a 'wedding song' to celebrate the marriage based on a text by Ms. Oser (printed Euterpe vol. 27, no. 8 (1868) pp. 145f.
  23. ↑ On January 7, 1870, Hentschel wrote a letter of consolation to Gustav Flügel: “My dear friend! The sad news of the sudden passing of your dear granddaughter took me and my family by surprise. Be assured of our sincere sympathy; it is all the more intimate, the more numerous the evidence you have given us in a number of years that you share joys and sorrows with us - as few do. "(Gustav Flügel:" Memories " Euterpe vol. 40 , No. 2 (1881) p. 29).
  24. ↑ On September 24, 1870, Hentschel congratulated Gustav Flügel in Stettin on keeping his sons safe so far. And on December 4, 1870 he wrote: “What are your sons doing? Dona nobis pacem! ”(Gustav Flügel:“ Memories ” Euterpe Vol. 40, No. 2 (1881) p. 30); "Dear friend! Thank God a thousand thanks for the gracious protection of your sons! Now there is peace and there is no further danger of fear. How often have we thought of you and brought your serious situation into our minds, intimately sharing your concerns, which you had to harbor! ”(ibid., p. 31).
  25. ↑ Flugel's wife Anna, b. Schumacher sang soprano arias. Pieces by Mendelssohn, Handel and Bach were played. Euterpe Vol. 29, No. 7 (1870) 134.
  26. ^ Ernst Paul Flügel, Vice Sergeant in the 8th Brandenburg Infantry Regiment No. 64 (Prince Friedrich Karl von Prussen), according to Kgl. prussia. Order list, 1877, part 3, p. 270. “That her seriousness has been kept in the army for so long is not very pleasant for him. But we are very grateful to God that he remained unharmed in the bloody war. That he acquired the iron cross gives me as much joy as if he were my own son. My best congratulations on this high honor. "(Letter from Hentschel to Gustav Flügel, printed in: G. Fl .:" Memories " Euterpe Vol. 40, No. 2 (1881) p. 31)
  27. ↑ MWBl Vol. 2, No. 43 (October 20, 1871) p. 683.
  28. ↑ "Prenzlau. 2. Subscription concert by Mr. E. Flügel with the participation of Mr. de Ahna from Berlin: Sonatas for piano and violin in cmoll by Beethoven and in Amoll by Rubinstein etc. ”( MWBl vol. 2, no. 50 (December 8, 1871 ) P. 803.
  29. ↑ ("Prenzlau. 2. Conc. Des Hrn. E. Flügel unt. Participant, of Hrn. De Ahna a. Berlin: Piano Violin Sonatas by Kiel (E minor) and Grieg (G major), Clavier solos by Beethoven (Op. 34) and Chopin Barcarolle and Asdur Ballade), Violin Sonata in A major v. Handel, "Gesangsscene" v. Spohr. "( MWBl vol. 5, no. 5 (January 30, 1874) p. 65), cf. MWBl Vol. 5, No. 8 (February 20, 1874) p. 100.
  30. ↑ "Prenzlau. 3. Conc. of Mr. E. Flügel unt. the HH. Ersfeld, Klein u. Hasselmann a. Stettin: piano quartets v. Schumann et al. Brahrns (Op. 26), Piano solos v. Bach, Schumann and Chopin. "( MWBl vol. 5, no. 13 (March 27, 1874) p. 169)
  31. ↑ "Prenzlau. 2. Subscription tone c. of Mr. E. Flügel unt. of Mr. de Ahna a. Berlin: Clav.-violin sonatas by Beethoven (Op. 47) a. Rubinstein (Amoll), Hungarian. Dances v. Brahms- Joachim, Clav.- u. Violin solos . "( MWBl vol. 6, no. 4 (January 22, 1875) p. 49).
  32. ↑ "Prenzlau. 3. Conc. of Mr. E. Flügel unt. the HH. Struss et al. Philipsen a. Berlin: Piano Trios v. Schumann (Op. 63) and Mendelssohn (Op. 49), Clav.-Violinson. Op. 99 by Beethoven. ”( MWBl Vol. 6, No. 6 (February 5, 1875) p. 71).
  33. ↑ "Prenzlau. The evening of April 9th ​​offered an opportunity for musical enjoyment, which otherwise only larger cities with rich musical resources and strengths give music lovers. After careful practice under the energetic direction of the organist Mr. Ernst Flügel, around 60 women and some 40 men performed the German Requiem by Brahms in the local large and high Marienkirche. The orchestra was made up of the music corps of the 64th Infantry Regiment, which, after the necessary rehearsals, not only performed the important fugues with precision under the same leader, but, which is particularly noteworthy in the case of a corps, which is particularly dependent on a tight rhythm, with pianissimo lovely motifs, z. B. Movement 5 in the choral singing: "How one comforts his mother", also at the right decency in the accompaniment made comfort. It is a testament that in a medium-sized town like Prenzlau a choir of 100 people rehearsed a work like the German Requiem with such strenuous diligence and such good success, which in the 2nd, 3rd and 6th movements makes considerable demands on vocal performance for the fact that the sense of serious and efficient music is awakened and animated in the city and can be seen as an effect of the winter concerts, which have been increasingly attended for seven years, through which the same conductor, by far the most important pianist, with the participation of selected ones external forces, in recent years especially the k. Concertmeister Mr. de Ahna from Berlin, who has developed a taste for good musical works It is to be hoped that at the time of the great teachers' meeting, which is in prospect for September in Prenzlau, a repetition of the Requiem will be prepared, so that hundreds of Protestant musicians will be prepared Teachers are given the opportunity to get to know a work which not only, with the omission of the supplication for the deceased, through the German Bible text, which is conveniently compiled in seven paragraphs and understandable to singers and listeners, but also through the musical reflection, the fine and haunting Characterization and musical expression qualify as Protestant requiem, in that in the whole course of development the voices of pain and sadness, such as those of joy and bliss, nowhere have an ascetic touch as from monastic seclusion, but purely human-religious as from life full of life sound out. "( MWBl Vol. 6, No. 17 (23. April 1875) p. 213).
  34. ↑ Hermann Kabisch, Stettin, sang the baritone part. MWBl Jg 6, No. 42 (October 15, 1875) p. 525 and No. 44 (October 29, 1875) p. 556 (“Listed novelties”). The work was premiered on February 18, 1869, but was of course still considered a novelty in 1875.
  35. ↑ "Prenzlau. 1. Conc. of Mr. E. Flügel unt. cooperation of HH. Struss (viol.) U. Philipsen a. Berlin (Violonc.): Piano Trios v. Beethoven (Op. 70, No. 1) a. E. grand piano (Esdur), piano, violin and Violoncello. "( MWBl Vol. 6, No. 47 (November 19, 1875) p. 595)
  36. ↑ MWBl Vol. 8, No. 1 (December 29, 1876) p. 10.
  37. ↑ "Prenzlau. 2. Conc. of Mr. Ernst Flügel unt. of Mr. de Ahna: piano violin sonata v. Mozart, violin conc. v. Beethoven, Fantasy Op. 149 BC Schubert, Fantasy Op. 17 BC Schumann. ”( MWBl Vol. 8, No. 8 (February 16, 1877) p. 116).
  38. ↑ "Prenzlau. The last season again brought us a series of musical performances that are seldom found in any other provincial town of the same size. The very first concert of the choral society began appealingly with the fateful song by Brahms and the 'Pilgrimage of the Rose' by Schumann, and the achievements of the choir and orchestra were a very honorable testimony to the restless activity and careful management of the conductor. The execution of both works was particularly characterized by a rare rhythmic precision. The solo parts were performed by the ladies Mrs. Worgitzka and Miss H. Müller and the HH. Holdgrün and Haase brought to bear appropriately, in particular the performance of Mrs. Worgitzka was a very solid one. The program of the second concert of the same association included a sacred evening song for tenor solo, choir and orchestra by Reinecke, the bass aria from 'Paulus' by Mendel's son, 'Zigeunerleben' by Schumann and Mendelssohn's 'Walpurgis Night'. On this occasion, too, the respectable efficiency of the choir and the ease with which the choir z. B. overcame various difficulties in Mendelssohn's work. In Mr. Haase (from Potsdam), the representative of the 'Paulus' aria and the bass part in the 'Walpurgis Night', we can acknowledge a very talented singer who has a not exactly strong, but full-sounding, sympathetic organ, as well as clear Discussion required and artistic understanding documented in the lecture. The third Gesangvereinsconcert was equally satisfactory in its effect with the following works: Motet for eight-part choir by JS Bach, aria from the 'Messias' by Handel, 'Misericordias Domini cantabo' by Mozart, sacred song by Gustav Flügel, double quartet from the 'Elias' 'by Mendelssohn,' God is love 'by Engel,' Salvum fac regem 'and hymn for soprano and choir by Mendelssohn. Was in these three concerts Mr. Ernst Flügel was active as a conductor, the three other concerts which he organized with the participation of Berlin artists offered the opportunity to learn to appreciate him anew as a technically trained and artistically reproducing pianist, as well as an ambitious composer. The very first of these concerts opened with a concert overture of the aforementioned and also brought his 'moonlight pictures' for piano. Except in the lecture of the latter, Mr. Grand piano in the Ber. Concert also played the Cmoll Concerto by Beethoven, the Variations sérieuses by Mendelssohn and the 'Schweizer Weisen' by Raff as a capable pianist. Frau Worgitzka, who took care of the vocal part of this first Flügel Concerto, performed the aria from 'Lohengrin': 'Einsam in dull Tage' by Wagner, as well as songs by Jensen, Brahms and Rubinstein. In the second concert of Mr. Flügel, Mr. de Ahna same, and came a piano violin sonata by Mozart, the Clavierfantasie Op. 17 von Schumann, Beethoven's Violin Concert and the Clavier-Violinphantasie Op. 159 by Schubert for demonstration. The third concert finally contained the piano trio Op. l, No. 3, by Beethoven, the F minor keyboard fantasy by Chopin, Andante for violoncello by Mozart and the Cmoll piano trio by Mendelssohn, and it was the HH. Struss and Philipson, who in the ensemble works violin, resp. Violoncell represented accordingly. "( MWBl Vol. 8, No. 32 (August 3, 1877) p. 437f.)
  39. ↑ Jul. Schuberth: Musical Conversations Lexicon, edit. v. Robert Musiol (Leipzig, 1877) p. 140.
  40. ↑ The Piano Teacher Vol. 2, No. 14 (July 15, 1879) p. 175
  41. ↑ "Wroclaw. 12. Subscription Conc. of the Breslauer Orchesterverein (Scholz and wing): Ouvert. Op. 124 BC Beethoven, Psalm 121 for solos, choir a. Orch. V. E. Flügel (Soloists: Miss. Hainsch and Fischer and HH. Seidelmann and Franck), “Loreley” - Finale by Mendelssohn (solo: Ms. Lübbert-Zimmermann), solo lectures by the aforementioned a. of Mr. Himmelstoss (violin conc. by Beethoven). “ MWBl vol. 12, no. 18 (April 28, 1881) p. 219 u. No. 23 (June 2, 1881) p. 284.
  42. ↑ "Wroclaw. 8. Subscription Conc. of the Bresl. Orch.-Ver. (Wing) with. Contributor. des Flügel'schen Gesangver .: A major symphony v. Mendelssohn, A Faust Overture v. Wagner, "The Storm" and "The Idea of ​​Chaos" a. the "creation" v. Haydn, “Requiem for Mignon” v. Schumann, Mahomet's Gesang f. Choir u. Orch. V. E. wing. "( MWBl vol. 13, no. 8 (February 16, 1882) p. 88; see MWBl vol. 13, no. 11 (March 9, 1882) p. 128)
  43. ↑ “Our energetic and highly talented Cantor to St. Bernardine, Mr. Ernst Flügel, son of the most famous Königl. Music director and castle organist wing in Stettin, excellent organist, pianist, conductor and composer, was given a precious souvenir of the imperial festival in the museum (where the wing association sang) on ​​October 10th by Justizrath Schneider from Brieg on behalf of the province. September d. J. presented, consisting of a valuable Geneva watch and gold chain; The inside is engraved: 'In memory of the Kaiserfest in the museum, d. September 11, 1882. "( Urania Vol. 40 No. 2 (1883) p. 29.)
  44. ↑ "Wroclaw. On November 14th, the "Flügel'sche Gesangverein" founded by Mr. Ernst Flügel last year gave a telling testimony by taking its first step into the public eye of the dignified direction of the artistic endeavors of its director and his courageous approach on the path that was recognized as right. but has also shown in a very commendable manner that the still young association is up to the difficult task that its conductor, who does not shy away from any obstacle, had set it. After all, a not insignificant degree of courage and fearlessness is required when the director of a newly founded association disregards the obvious advantage of introducing it with a traditionally sanctioned and generally popular work, in contrast to one not yet known by his audience to debut. A better choice than the great, artistically highly significant B minor Mass for 8 voices choir, 4 solo voices, orchestra and organ by Albert Becker, Mr. Flügel could hardly have made. What a resounding success the work had when it was first performed on occasion of the 25th anniversary of the Riedel'schen Verein in Leipzig is well known; the reception it has since found in the cities of Berlin, Elberfeld and Zurich was not inferior to this initial success; Rather, every performance has confirmed anew that Becker's Mass is one of the most important products of the present day in the field of ecclesiastical music, which convincingly expresses the spirit of the great masters of older church music in the modern forms closer to us and thereby expresses itself universal ground is that it connects the Protestant chant with the Catholic mass text in an ingenious way. We can forego going into the beautiful work in more detail, since it has already been mentioned and discussed repeatedly in this sheet. The performance by the Flügel'schen Gesangverein can by and large be called an excellently prepared and very successful one. The choirs particularly stood out through their tonal rounding and the finest nuances, thereby replacing what they lacked in abundance compared to the rich instrumentation with which Becker dresses the choirs. The solo quartet was performed by Mrs. Bernhardt, Miss. Fischer, Messrs. Seidelmann and Frank, in view of the great difficulties that it presents in many places, executed quite praiseworthy, even if it was quite perceptibly asserted on several occasions that the conduct of the soprano was not secure. The alto and bass parts were excellently performed, while the tenor did not find it very comfortable either. The Trautmann's orchestra, the conductor of which sat at the first violin desk, did an excellent job. With this splendidly successful performance of such a highly significant work, the Flügel'sche Gesangverein has introduced itself to the public in the most favorable way and can look back on its debut with great satisfaction. "( Musikalisches Centralblatt (= MusCentrBl ) Vol. 2, No. 47 (23. November 1882) p. 437.); “Wroclaw. On November 14th performance by Albert Becker's B-minor Mass by the Flügel'schen Gesangver. (Grand piano) under soloist. Contributor. Mrs. Bernhardt, Miss Fischer u. the HH. Seidelmann u. Franck. According to the reports of the 'Schles. Ztg. ' and the 'Breslauer Ztg.' went extremely satisfactorily. The latter sheet writes u. A .: 'With the excellently prepared and extremely successful performance of the enormously difficult novelty, the Flügel'sche Gesangverein and its director Mr. Ernst Flügel set a memorial stone and committed all listeners. Instead of taking a lost but very good acquaintance, such as a lion, Haydn or at most Mendelssohn, for his first independent step into the public eye, instead of walking wide, comfortable, flat paths, he goes into the musical high mountains and storms, ignoring the stony paths and dangerous abysses, up to the highest peaks. Mr. Prof. A. Becker is indebted to the latter for the loving immersion in his work, for the unspeakably arduous work of the conductor. The choirs all went excellently; Although the middle voices, alto and tenor, sometimes made requests for a stronger line-up, the effect was still an impressive one ... The Flügel'sche Gesangverein can look back on yesterday evening with pride '"( MWBl vol. 13, no. 48 (23. November 1882) p. 574, cf. No. 49 (November 30, 1882) p. 587).
  45. ↑ "In the St. Bernardine Church in Breslau on February 20, for the good of the poor, under Ernst Flügel's direction, a repetition of Albert Becker's magnificent B minor Mass, which was recently performed with such great success for the first time, took place by the" Flügel " sche choral society ”instead. The great work and its excellent execution made an important impression on the large audience of the abermaöls . ”( MusCentrBl Vol. 3, No. 9 (March 1, 1883) p. 105).
  46. ↑ "Wroclaw. On January 23rd 7th subscription concert of the orchestral association under the direction of Ernst Flügel and Bernhard Scholz and with the participation of the ladies Minka Fuchs and Lummert, the gentlemen Halbach and Georg Brandes, as well as the Flügel'sehen Gesangverein. Overture to "Iphigenia" by B. Scholz. - Nenie for choir and orchestra by H. Goetz (z. 1. M.) - Ninth Symphony by Beethoven. "(MusCentrBl Vol. 3, No. 6 (February 8, 1883) p. 65)
  47. ↑ MusCentrBl Vol. 3, No. 2 (January 11, 1883) p. 21.
  48. ↑ MWBl Vol. 15, No. 1 (December 27, 1883) p. 11.
  49. ↑ "Breslau, [...] fourteen days later [= February 5, 1884], Mr. Flügel assisted the orchestra association with his strong mixed choir. In addition to better-known things for orchestra alone, the performances included Brahms' »Nänie«, »Zigeunerleben« by Schumann and Beethoven's choral fantasy. The choir offered a very respectable performance in all pieces. It is especially due to his saturated euphony and dynamically finely shaded presentations that at least the sensual effect of the "Nänie", the effect of it on the ear, was a completely satisfactory one, and in places astonishingly more beautiful; In terms of content, the composition with its symphonic, heavy music seems to us to spread an overwhelming shell over the clear forms and images of Schiller's text. In the choral fantasy, while Herr Bruch was conducting, Herr Flügel played the piano part with pleasant objectivity and, as usual, with the greatest cleanliness in all technical details. […]. “(MusCentrBl Jg 4, No. 10 (March 6, 1884) p. 97); see. MusCentrBl Vol. 4, No. 9 (February 28, 1884) p. 91.
  50. ↑ "Wroclaw. On March 4th, 11th subscription concert of the orchestral association under Max Bruch's direction and with the participation of Pablo de Sarasate. Symphony, major, by Mozart, 'Wanderlust', concert overture by Ernst Flügel (manuscript) and riding march by Schubert-Liszt. Violin concert by Mendelssohn and violin solos by Sarasate. ”( MusCentrBl Vol. 4 No. 12 (March 20, 1884) p. 121); “From the last two orchestral association concerts […], an overture by Ernst Flügel, who lives here,“ Wanderlust ”and an“ Idyll ”for orchestra (manuscript) by Ferdinand Hiller are to be mentioned as nova. The first work (conducted by the composer himself) presented itself as the certainly undemanding, effortless expression of a music-loving talent who is skilled at instrumenting, which is certainly not demanding, and which testifies to a thorough knowledge of the requirements of the movement, who does not always walk on a self-chosen path, but skill and taste in arranging and Offering, so to speak, to whom the inquisitive reveals good. Hiller's Suzite-style opus had an extremely modest success; […]. “(Dr. Karl Polko in: MusCentrBl Vol. 4, No. 18 (May 1, 1884) p. 177).
  51. ^ Karl Gustav Fellerer Studies on 19th Century Music (1987).
  52. ↑ "Wroclaw. On March 11th, 8th chamber music evening with the participation of Fräul. Bianca Vetter (vocals) and Ernst Flügel (piano). Piano Trio, F minor, Op. 65 by Dvořák, Octet by Schubert; Songs by Schubert, Brückler and Raff. ”(Musikalisches Centralblatt vol. 4, no. 16 (April 17, 1884) p. 162); “In the orchestral association's last chamber music concert (March 11th), Mr. Flügel brought the F minor Trio Op. As a pianist in association with Messrs. Himmelstoss (violin) and Melzer (cello). 65 by Dvořák, a very interesting Cemposition, filled with a strong spirit and original ideas; the conclusion of the evening and the whole cycle was made by Schubert's Octett for string and wind instruments in excellent execution. ”(Dr. Karl Polko in: MusCentrBl Jg. 4, No. 18 (May 1, 1884) p. 177)
  53. ↑ "Wroclaw. On November 11th performance by Schumann's Faust scenes through the Flügel'schen Gesangver. (Grand piano) lower soloist. Contributor. of Miss Rüdiger u. the HH. Bulss a. Dresden, Prof. Kühn u. Ruffer. (The performance is described as a well-prepared and successful one.) "( MWBl Vol. 15, No. 49 (November 27, 1884) p. 605)
  54. ↑ "Wroclaw. On Nov. 30th performance. V. Liszt's' Legend of the Heil. Elisabeth 'through the Flügel'schen Gesangver. (Grand piano) lower soloist. Contributor. The women Lübbert-Zimmermann and Sonntag-Uhl u. the HH. Franck and Hildach a. Dresden. (The performance is praised as a commemorative ceremony for the deceased composer, which is worthy of all parts. Regarding the choir, one of the reports available to us says, among other things: 'We know how excellently trained Mr. Ernst Flügel leads his troops into the field; his strict, circumspect discipline has avoided every uncertainty and every wavering. The crusaders moved to the holy land in strictly closed limbs; the choirs of angels and the poor were performed with the finest nuances; the mighty general church choir roared powerfully at the end of the work. '"( MWBl vol. 17, no . 52 (December 23, 1886) p. 650.
  55. ↑ "Wroclaw. Performed on Jan. 31. v. G. Vierling's 'Alarich' by the Flügel'schen Gesangver. (Grand piano) lower soloist. Contributor, the couple Hildach a. Dresden u. of Miss Thomas v. here. ('The performance of the work was', as a paper there writes, 'in all parts, as far as the choir and the soloists are concerned, so happy that it can safely be described as a completed one. *)' "(MWBl Vol. 19, No. 9 (February 23, 1888) p. 106)
  56. ↑ "Wroclaw. 1. u. 2nd chamber music evening of the Bresl. Orch, - Ver .: String quartets v. Beethoven (Op. 74 and 131), Dittersdorf, Schubert (Gdur) a. Haydn, Cmoll-Piano Trio by J. Brahms. (Performers: Hr. Flügel v. Here [Clav.] And the Rob. Heckmann'sche Streichquart. A. Cöln.) ”( MWBl Vol. 19, No. 52 (December 20, 1888) p. 631)
  57. ↑ MWBl Vol. 20, No. 2 (January 3, 1889) p. 18 (“on December 11”); MWBl No. 6 (January 31, 1889) p. 70 (“on December 7”).
  58. ↑ Yearbook of the Silesian Friedrich-Wilhelms-Universität zu Breslau (Göttingen, 1980)
  59. ^ Karl Gustav Fellerer: Max Bruch's Breslau conductor activity. In: Archives for Musicology . 19./20. Volume, issue 3./4., 1962/1963, pp. 172–179.
  60. ^ Siegfried Kawerau, Martin Blumner: The Säcularfeier of the Sing-Akademie zu Berlin: As an addendum to Martin Blumner's history of the Sing-Akademie, an order from the board of directors. (Berlin, 1891) p. 11.
  61. ^ Announcements of the German and Austrian Alpine Club Vol. 7 (NF 17) No. 16 (1891) p. 224. Compare the title of his piano pieces "Wanderlust" and the subtitle of the concert overture "Wanderlust".
  62. ↑ "Benefiz Conc. of Mr. Riemenschneider und. Participation of Mrs. Riemenschneider (Ges.), Mr. E. Flügel (Clav.), the Riemenschneider'schen Ladies Choir and others. the concert cap. on Jan 10th: Prelude to the opera "Janie" v. E. Jaques-Dalcroze, festival course for Orch. V. G. Riemenschneider, military march f. Orchestra v. Schubert-Riemenschneider, Spinnlied a. Ballad a. of the opera “Die Hexe” by Enna, women's choirs v. Esser ("The Water Rose" and "Green Spring") u. Raff (“Where a heart glows in love”), Amoll-Clavierconc v. Schumann, songs "The moon comes quietly", "Now the shadows darken" and Low German love song v. G. Riemenschneider. "( MWBl Vol. 26, No. 7 (February 7, 1895) p. 84)
  63. ↑ "Wroclaw. [...] On Oct. 23 Performance v. Rubinstein's "The Lost Paradise" by the Flügel'schen Gesangver. (Grand piano) lower soloist. Contributor. the Miss. Plüddemann u. Fischer u. the HH. Man a. Dresden, Staritz u. Prof. Kühn. "( MWBl vol. 26, no. 48 (November 21, 1895) p. 613; cf. no. 49 (November 28, 1895) p. 628). “In Breslau, Ant. Rubinstein's sacred opera“ The Lost Paradise ”was performed in this winter's concert by the Flügel'schen Gesangverein. The rendering of the work was generally a very satisfactory one, and the achievements of the choir may be mentioned with special distinction. The ladies Plüddemann and Fischer, as well as the gentlemen Mann (Dresden), Staritz and Professor Kühn played the solo parts. ”( Signals Vol. 53, No. 62 (December 6, 1895) 983).
  64. ↑ MWBl Vol. 28, No. 2 (January 7, 1897) p. 25; Musikpädagogische Blätter Vol. 1, No. 5 (February 1, 1897) p. 89; again (?) MWBl Vol. 29, No. 26 (June 23, 1898) p. 376.
  65. ↑ “Another memorial service should be mentioned right here, the one for which Schubert's 100th birthday was the occasion. The orchestral association organized its 5th chamber music evening for a Schubert celebration, whose program consists of the romantic Gdur string quartets, the Esdur piano trio, two movements of the piano sonatas Op. 42 (Andante) and Op. 53 (Rondo) and consisted of seven songs. The latter sang with deep emotion Miss Margarethe Seidelmann, music director Ernst Flügel sat at the piano, the string instruments played the HH. Concert master Himmelstoss, Schnelle, Obsner and Melzer. All the numbers found the most acclaimed settlement. ”( MWBl Jg. ???, No. ??? (1897) p. ???).
  66. ↑ "Wroclaw. 1. Subscription Conc. of the Orch.-Ver. (Maszkowski) in memory of Brahms und. of Miss Berg a. Berlin, of Mr. Dr. Krauss a. Vienna u. des Flügel'schen Gesangver .: Cant. No. 118 BC S. Bach, A German Requiem u. four Ernste Gesänge v. Brahms. ”( MWBl volume ??? No. ??? (October 28, 1897) p. 596).
  67. ^ Letter from Gustav Flügel from Stettin to his son Paul in Lübeck dated December 27, 1897: "In my case, wouldn't you break off all contact with such a son? - who is not ashamed to write like this to his old father? ”(Private property). The siblings seem to have settled the argument.
  68. ^ E. Bohn (?) Obituary of the Schlesische Zeitung October 22, 1912.
  69. ↑ “The Flügelsche Choral Society, which has existed for 22 years, has dissolved. In a longer article in the »Schles. Ztg. «Gives the previous conductor of the association, Mr. Rud. [?] Ernst Flügel gives the reasons that have moved him, since the association has not had a fresh, happy 25th anniversary, to at least provide for a decent, honest funeral. He concludes his record-based presentation of the history of his association, which last only had 150 members, with the words: “The conditions and prerequisites under which he came into existence no longer exist. The artistic goals that he has set for himself - worthy performances of great vocal works by newer composers - are out of reach for him because of the costs. During the last two years, when only smaller music evenings could be held, we have been waving and looking around to see if there is a way out of the labyrinth of chronic deficit. We didn't find one. Signs and miracles no longer happen, and so all that remains is to draw the conclusion from all of this, and that is called "dissolution" or, let's say, "adjournment of the association". "Over the years, the association has performed major works brought: Becker's B minor Mass, "Faust" by Rob. Schumann, "Lost Paradise" by Rubinstein (2 times)), "Glocke" by Scholz and "Walpurgis Night" by Mendelssohn, "Freyhir" by Matthieu and "The Rose Pilgrimage" by Schumann, "Croesus" by Lorenz, "Gustav Adolf" of breakage. The association added a total of 8503.89 Mk. To these performances, not counting the expenses for the expensive sheet music. ”( Journal of the International Music Society, 5th vol. Issue 2 (1903) p. 82). “The Flugel Choral Society in Breslau, which has existed for 23 years, has been dissolved by its founder, Professor Ernst Flügel.” ( Die Musik 3rd vol., No. 2 (October 1903) p. 147.
  70. ↑ Johannes Brahms in correspondence with Breitkopf & Härtel, Bartolf Senff, J. Reiter-Biedermann, CF Peters, EW Fritzsch and Robert Lienau (1920) p. 400
  71. ^ Ernst wing Schlesische Zeitung (December 16, 1903), quoted in n. Ottmar Schreiber, Ingeborg Schreiber Max Reger in his concerts. Vol. 3 (1981) 38.
  72. ^ Ernst wing Schlesische Zeitung (February 3, 1906), quoted in n. Susanne Popp: Max Reger. Letters to Karl Straube. (1986) 38. Further Reger reviews of the wing in the Schl.Ztg. v. February 21, 1906, January 31, 1907 and February 23, 1910.
personal data
SURNAME Wing, Ernst
ALTERNATIVE NAMES Wing, Ernst Paul (full name)
BRIEF DESCRIPTION German Romantic composer
DATE OF BIRTH August 31, 1844
PLACE OF BIRTH Halle (Saale)
DATE OF DEATH October 20, 1912
Place of death Wroclaw