Ernst Gernot Klussmann

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Ernst Gernot Klussmann (born April 25, 1901 in Hamburg ; † January 21, 1975 there ) was a German composer and university professor .

biography

Ernst Gernot Klussmann studied composition and organ with Felix Woyrsch from 1919 to 1923 , as well as piano with Ilse Fromm-Michaels . In 1923 Klussmann went to Munich , where he continued studying composition with Joseph Haas until 1925 . During this time, his conducting teacher was Siegmund von Hausegger .

In 1925 Klussmann became solo coach at the Bayreuth Festival and in the same year went to the Rheinische Musikschule in Cologne as a teacher of music theory . From 1936 to 1942 Klussmann worked as a professor for instrumentation and score playing at the Cologne University of Music . During this time he made piano reductions for Richard Strauss ( Peace Day , Daphne , Die Liebe der Danae , Capriccio , 1936 to 1941) and Hans Pfitzner (Concerto for Violoncello op. 52).

In 1942 the city of Hamburg took over the renowned “Vogt Conservatory” as the “School for Music and Theater of the Free and Hanseatic City of Hamburg”. Klussmann was appointed its first director and tasked with developing the preliminary stage for a music college from the school. This task was severely hampered by the course of the war and the immense destruction in the Hanseatic city and lasted until 1950.

In 1950 the State University for Music and Theater Hamburg was founded, at which Klussmann held a professorship for composition from 1950 to 1966.

Audio language

Klussmann's style is rooted in late Romanticism and, early on, combines influences from Brahms , Wagner , Reger and Strauss in a personal language to which the Piano Quintet Op. 1 already bears witness. This is where his preference for a contrapuntal way of thinking comes to light, which shaped his work to the end.

He moved with the times, as his language gradually became harsher and more dissonant. The music of Gustav Mahler was another important influence . The time after World War II was difficult for Klussmann in many ways. His apartment and his publishing house in Cologne burned out in the bombing war. Quite a few works were lost and others had to be reconstructed based on preserved sketches. He also had to redefine his stylistic position: he dealt with Arnold Schönberg's twelve-tone technique and adopted it in the 1950s. Nonetheless, he managed to keep his personal language here too and not to deny his roots in late Romanticism.

Works such as Herodias or his last great opera Semiramis ( taking up a subject discussed by Strauss and Hofmannsthal ) happily combine dodecaphony and romantic diction .

reception

Despite significant success in the period before the Second World War , Klussmann's music was barely able to establish itself in musical life afterwards. His diction , which was largely romantic despite the twelve-tone technique , did not correspond to the ideals of contemporary music after 1950. Many works from the period after 1950, including all of his operas, remained unperformed.

Sources

The sheet music that Klussmann left behind, as far as it was in his apartment at the time of his death, is in the Hamburg State and University Library . Even those works that were published by publishers are sometimes no longer available because the publishers lost their documents during the war. Klussmann's former student Norbert Linke is authorized to exercise copyright law for the heirs.

estate

  1. ↑ State and University Library Hamburg , there under Collections - Estate and Autograph Collection - Estates and Autographs from AZ

Works

Compositions

  • Piano quintet op. 1 (1925).
  • Choirs after Eichendorff op.2
  • Two choirs op. 3 (probably lost).
  • Three songs for voice and piano op. 4 (probably lost).
  • Three songs for voice and orchestra, Op. 5, also version with piano.
  • First Symphony in C minor, Op. 6 (1928, second version 1933/34, third version 1960).
  • String Quartet No. 1 Op. 7 in C sharp minor.
  • Epilogue to an ancient tragedy for orchestra op.9.
  • Two hymn chants for voice and string quartet op.10.
  • New choirs, some with instruments, op.11.
  • Concerto for organ and orchestra op.12.
  • Hymn (after Hölderlin ) for choir and orchestra op.13.
  • First concert for violoncello and orchestra op.14.
  • Old Style Overture for String Orchestra op.15.
  • Edda Suite for small orchestra op.16 (1935).
  • Music for Goethe's Iphigenie op.17.
  • Second Symphony in D minor, Op. 18 (1936, second version 1960).
  • Spielmusik No. 1 op.19 (1939).
  • Third Symphony in C major op.20 (1939).
  • Scherzo for orchestra op.21 (1939).
  • String quartet No. 2 in G op.22 (1940).
  • Military March op. 23 (1941, probably lost).
  • Fourth Symphony in F major op. 24 (1941).
  • Six poems by R. Binding for high voice and piano op.25 (1948).
  • Eight Dances for Piano Op. 26 (1948).
  • Xenien , Six Pieces for Piano, Op. 27 (1948).
  • Three pieces for piano from the Munich travel kit op. 28 (1950).
  • Ultima Thule , cantata for male choir, soprano solo and orchestra op. 29 (1950).
  • Fifth Symphony in C sharp minor, Op. 30 (1950, second version 1961).
  • Three songs after Rilke for high voice and piano op. 31 (1950).
  • Five Seals from Goethe's West-Eastern Divan for Male Choir op. 32 (1950).
  • Three songs for an alto voice and piano op. 33 (1951).
  • Three songs for a deep voice and piano op. 34 (1954).
  • The Christmas story in folk songs op. 35 (1954).
  • Hymn to Zeus , for choir op.36 (1954).
  • Ostlicher Mond , five choirs for female voices op. 37 (1961).
  • Sonata in two movements for piano four hands op. 38 (1961).
  • Sixth Symphony in Two Movements, Op. 39 (1964).
  • Herodias for soprano and orchestra op. 40 (1964).
  • Fragment Job for alto and organ op. 41 (1967).
  • O bitter love, death (after Edith Sitwell ) for high voice and piano op.42 (1967).
  • Seventh Symphony in Three Movements, Op. 43 (1967).
  • Overture for orchestra op.44 (1968).
  • Second Concerto for Violoncello and Orchestra, Op. 45 (1968).
  • Fragment Sprüche for alto and organ op.46 (1970, probably lost).
  • Fife Expressions for alto and piano op.47 (after Claire Szüts, 1970).
  • Eighth Symphony, Op. 48 (1970).
  • Ninth Symphony for an Alto Part and Orchestra, Op. 49 (1971).
  • Rhodope , opera in three acts, libretto by Helga Staelin based on Friedrich Hebbel's drama Gyges und seine Ring , op.50 (before 1964).
  • Helena , opera in three acts, libretto by Helga Staelin, op. 51 (around 1971).
  • Tenth Symphony in Three Movements, Op. 52 (1973).
  • Mirror fugue for organ op.53 (1974).
  • Semiramis , opera in three acts, libretto by Henning Boetius, op. 54 (1972–74).
  • Der Schlimm-Heilige Vitalis , chamber opera, libretto by Brigitte Hormann based on a story by Gottfried Keller , op. 55 (1974/75), completed by Wolfgang von Schweinitz .
  • IGNI , choir song based on a text by Nietzsche , op. 56 (1975).

Composition op.8 is not verifiable.

Arrangements and piano reductions

Publishers

  1. ↑ a b c d e f g Tischer & Jagenberg, no longer active, some of the rights were taken over by the theater publisher Eirich in Austria
  2. ^ Edition Tonger (only op. 11 No. 5 Sunrise according to Goethe )
  3. ↑ a b c d e Sikorski Music Publishers
  4. ^ Kistner & Siegel
  5. ↑ a b c Benjamin / Boosey & Hawkes
  6. ↑ a b c d Schott Music

literature

Web links

Individual evidence

  1. ↑ Pepper sacks and world musicians - The founding phase. In: hfmt-hamburg.de. Retrieved May 30, 2019.
personal data
SURNAME Klussmann, Ernst Gernot
ALTERNATIVE NAMES Klussmann, Ernst Gernot
BRIEF DESCRIPTION German composer and university professor
DATE OF BIRTH April 25, 1901
PLACE OF BIRTH Hamburg
DATE OF DEATH January 21, 1975
Place of death Hamburg