Fritz Reuter (music teacher)

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Fritz Reuter (born September 9, 1896 in Löbtau (now Dresden ), † July 4, 1963 in Dresden) was a German musicologist , music educator , composer and conductor . Reuter was one of the most important German music educators of the 20th century. In 1952 he was appointed as the first professor for music education at a German university. He was also director of the Martin Luther University in Halle-Wittenberg and the Humboldt University in Berlin . In 1955 he was one of the initiators of the first Halle Music Festival .

Life

Origin and music studies

Fritz Reuter came from a Saxon - Erzgebirge family of craftsmen . He was born in 1896 as the son of master builder and carpenter Friedrich August Reuter (born 1868) in the Dresden working class suburb of Löbtau. His father worked his way up to the owner of a construction business. Reuter's mother Johanna, b. Noack (born 1878) had Sorbian roots and was the driving force behind his musical training. He received piano lessons from Max Stranssky and Richard Schmidt , both teachers at the Dresden Conservatory , as well as theory lessons from Paul Walde . Schmidt also introduced him to Johann Sebastian Bach's baroque music , which Reuter learned to love. In 1912 he passed an exam and later taught music theory and piano himself at the "Dresden School of Music" founded by Walde in 1914. Reuter came into contact early on with the music pedagogy of the Dresden music school director Richard Kaden - his spiritus rector - which was in line with tradition with the approaches of the philosopher Karl Christian Friedrich Krause .

Reuter first attended the community school, in 1916 he passed the matriculation examination at the Annenrealgymnasium in Dresden. During the First World War (1916/17) he was trained as an infantryman ( grenadier ) in Dresden , but not drafted into military service. Not wanting to take over his father's company, he broke with his parents' house and began studying music instead. He financed this through two “Riemann scholarships”, which he received for the best annual musicological work, as well as interrupting his studies as a répétiteur at the famous Dresden circus Sarrasani (1917) and as a theater conductor in Allenstein / East Prussia . At the same time, Reuter studied in Leipzig at the Royal Conservatory of Music and at the "Collegium musicum" seminar for musicology . His teachers included u. a. Otto Weinreich and Robert Teichmüller in piano, Stephan Krehl in composition and Bernhard Porst in music director training, and Hugo Riemann , Hermann Abert and Arnold Schering in musicology. He also heard from Albert Köster and Eduard Sievers in German and from Eduard Spranger , Theodor Litt , Johannes Volkelt and Hans Driesch in philosophy and education.

In 1922 he was at the University of Leipzig with a thesis on the history of German opera in Leipzig at the end of the 17th and beginning of the 18th century (1693 to 1720) to Dr. phil. PhD. The speakers for the work were Hermann Abert and Rudolf Kötzschke .

Teaching assignments in Leipzig

As a sideline, Reuter initially also worked as a music critic for the Leipziger Musik- und Theater-Zeitung , which appeared in 1921. Because of his work as a composer, he became a teacher of music theory at the Royal Conservatory of Music in Leipzig in 1921. There, on Riemann's recommendation, he introduced figured bass into theory. He also devoted himself to the psychological foundation of ear training . In addition, from 1922 he worked at the Church Music Institute of the Leipzig Conservatory, where he taught church composition and music theory as well as the history of church music . In addition, in 1924/25 he took on a teaching position for the pedagogy of school music at the University of Leipzig . From 1932 he also taught music history. As a result of a Reuters report in the 1920s, the Saxon state parliament introduced the school subject “music” at elementary and secondary schools. In 1925 he also became a member of the examination committee for the musical state examination at the University of Leipzig. In addition to his university lectureship, Reuter passed the state examination for the higher teaching post in 1931 in the subjects of music and German.

In particular, due to its Daghestan Suite for Orchestra (1927), which he for autonomous Soviet republic Dagestan ASSR had composed, and his direction of Leipzig workers choirs ( "Michaelsche Choirs") he lost after the " seizure " of the Nazis in 1933 his teaching. He also maintained contacts with Jewish musicians (including Alfred Szendrei from the Leipzig Symphony Orchestra , whose conducting certificate he was to publish in 1956) and social democratic politicians. His works were banned from performance and the Reichs-Rundfunk-Gesellschaft terminated the current contracts with Reuter. Szendrei, who was responsible for the premieres of his cello concerto (1929 together with the cello virtuoso Fritz Schertel on Mitteldeutscher Rundfunk ) and his cantata Hutten's Last Days (1930 together with the baritone Karl Kamann ), attested the composer a "strong talent" in his autobiographical notes in 1970 . Reuter and Szendrei became friends and - interrupted by the Second World War - maintained contact by letters.

Saxon school service

For existential reasons and because he wanted to take up his profession again, he accommodated the rulers and joined the NSDAP relatively early on May 1, 1933 ( membership number 2.429.811). in 1934 he also became a member of the party organizations National Socialist People's Welfare and in the National Socialist Teachers' Association .

After the stations as a trainee teacher and -assessor he became in 1934 teacher of music and German at the Rudolf-Hildebrand-School in Leipzig- Connewitz . There he built a student wind orchestra . In 1937 he moved to the Saxon Ministry for National Education in Dresden, where he was given “supervision of school music matters” in the Gau Saxony . In 1944 he was promoted to senior teacher . Until 1945 he taught at a secondary school in Dresden-Plauen.

The music historian Fred K. Prieberg (2009) classified individual statements in older articles on Reuter as " falsification of history ". Before 1933 - apart from his teaching duties - he did not hold any "prominent offices" and then made a career in school in the Third Reich. On the other hand, Reuter suggested in the 1940s to succeed Günther Ramins ( Thomaskantor ) as artistic director of the Musisches Gymnasium Leipzig , which was founded in 1941 by the National Socialists.

Professorships in Halle and Berlin

After the Second World War in 1945, he was initially dismissed from school. He became a member of the Free German Trade Union Federation and was hired by the Soviet occupying power as a dramaturge and conductor at the Volksoper in Dresden- Gittersee , which later became the state theater of Saxony . In 1946 his denazification took place , so he could u. a. prove that he had supported a Jewish woman and had been monitored by the Gestapo . According to his pupil Günther Noll (1997), he kept in touch “with his Jewish friends and helped them escape, despite the existential threats that this entailed, hiding them at home”.

In 1949 he was appointed professor with teaching assignment by the state government of Saxony-Anhalt at the request of the Pedagogical Faculty of the Martin Luther University Halle-Wittenberg . In contrast to other former NSDAP members of the faculty, he did not become a member of a block party in the GDR . In addition, Reuter taught music theory and composition at the State University for Theater and Music in Halle from 1950 . In 1952 he was appointed professor with a chair at the University of Halle . He was also the founding director of the Institute for Music Education there from 1949 to 1955. In Halle, Reuter established an annual specialist course for military service music teachers who were able to catch up on their specialist qualifications.

From 1955 until his departure, critical of the Soviet Union, in 1962, he headed the Institute for Music Education at the Pedagogical Faculty of the Humboldt University in Berlin . There he campaigned for the construction of a new concert hall. Reuter's successor in Berlin was his student Werner Busch .

From 1951 until it was replaced by Walther Siegmund-Schultze in 1955, Reuter was the first chairman of the Halle-Magdeburg district association of the Association of German Composers and Musicologists . In addition to Walter Draeger , Gerhard Wohlgemuth and others, as a board member of the Halle working group, he was one of the initiators of the 1st Halle Music Days held in 1955 . It was also he who, in October 1954, “first concretized the idea of ​​such music days that had been raised”.

In the GDR, Reuter temporarily worked as a department head and chairman of the Scientific Advisory Board for Music Education at the State Secretariat for higher education and technical schools and a member of the Scientific Council at the Ministry for Popular Education of the GDR . Ultimately, it is thanks to him that music education has become a university discipline.

Family and estate

Grave of Fritz and Erna Sophie Reuter in the Inner Plauen cemetery in Dresden (2008)

Fritz Reuter was an Evangelical Lutheran denomination and was considered "deeply religious". Since 1924 he was with the singer Erna Sophie, geb. Votteler (1896–1968), married and father of four children; his son Rolf Reuter (1926–2007) became a conductor. One year after his retirement he died in Dresden in 1963 and was buried in the Evangelical Inner Plauen cemetery in Dresden- Plauen .

His estate (about nine meters of shelves) with autographs , letters, etc. a. is located in the music department of the Berlin State Library - Prussian Cultural Heritage. On the 25th anniversary of Reuter's death (1988), a small exhibition on his person was opened there.

Further documents can be found u. a. in the Saxon State and University Library Dresden , the State Library Mecklenburg-Western Pomerania Günther Uecker in Schwerin, the university library of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , the Monacensia of the Munich city library and the city ​​library Trier as well as the Steven Swanson collection in Frisco, Texas. An exchange of letters with his West Berlin colleague Hermann Grabner (former Leipzig University Music Director ) from 1951/52 was published in the scientific journal of the Humboldt University in Berlin. Social and Linguistic Series printed.

plant

In the 1920s, Reuter was politicized by the youth movement, whereby he was more of the "left" current. In National Socialism and later in Socialism, he adapted both as a composer and as a scientist. According to Ludwig Holtmeier (2005) “he used the politically correct genres at any rate”, experimenting with various cantatas as early as the late 1920s. His wide-ranging compositional oeuvre ( Heinz Wegener compiled a catalog raisonné for the memorial Fritz Reuter in 1966 ) amounts to around 300 works, some of which were destroyed during the war. He composed vocal music (including a secular oratorio , seven cantatas , a mass , solo songs), stage (including four operas , two melodramas ) and instrumental music (including three symphonies , one concerto each for cello, violin and organ, several orchestral suites, piano - and organ music). Reuter's compositional path was marked “from the late Romantic-Expressionist beginning to melodic and compositional conciseness on the basis of polyphonic voice guidance”, as Dieter Härtwig (2005) stated. According to Gilbert Stöck (2008), Reuter in the GDR “sometimes kept a critical distance from some dogmas of socialist realism ” and pursued a neo-romantic style. Noll attested that the composer had a penchant for “progressive stylistics”. So he was u. a. played in concerts of the “New Music Section” of the Dresden local group of the Kulturbund (1949) and the Hallische Musiktage (1955). He had his first major success with the cantata Der Struwwelpeter (1930). Based on a text by Ernst Wiechert , he created the oratorio Das Spiel vom Deutschen Bettelmann around 1934 . Prieberg dealt with Reuter's problematic compositions during the Nazi era, such as the Sudeten German Suite (1939) published by the Reich Association for Folk Music , the title of which celebrated the cession of the Sudetenland . Furthermore, individual works such as Der Mütter Kreis (1935) were presented at relevant cultural events, for example for the NS women and the NS cultural community . In 1937 he was presented alongside other Saxon composers at the "Gau culture week" in Saxony in Bautzen under the President of the Reich Chamber of Culture Peter Raabe . Between 1945 and 1949 he created some stage works a. a. the revisions of Pergolesi's intermezzo La serva padrona (1947) from 1733 and the ballet Henrikje (1947) by Inka Unverzagt . In 1948 the comic opera Ein Funken Liebe (around 1940) premiered at the Dresden Volksoper . His Weimar reception (1948/49) of Goethe's Singspiel Scherz, List und Rache is considered highly developed . Reuter's music was also performed in the GDR by the concert orchestra in his hometown, the Dresden Philharmonic .

Reuter was a well-known music theorist. After Salomon Jadassohn's efforts at the end of the 19th century, his methodology of music theory teaching, published in 1929, was groundbreaking. As early as 1926 he drew attention to the alienation of composition theory and music theory. From this he concluded that music theory should become more scientific and educational. Like his friend and colleague Sigfrid Karg-Elert , he represented a polaristic and functional harmony . Reuter's textbook Practical Harmonics of the 20th Century (1952) was based directly on his polaristic theory of sound and tonality . Magret Hager (2005) described Reuter's work as a “ Manifesto of Polarism”. His efforts in the GDR resulted in a specialist discourse in the magazine Musik und Gesellschaft , in which Siegfried Bimberg , Christoph Hohlfeld and Johannes Piersig also took part. The dispute culminated in a conflict with Georg Knepler from the Deutsche Hochschule für Musik Berlin , who saw Reuter as contradicting dialectical materialism . Ultimately, based on factual considerations, Hermann Grabner's monistic functional theory, which had its origins in Riemann, prevailed.

Holtmeier described him as one of the " founding fathers " of music education in Germany. After Walter Clemens and Werner Busch , he has "earned an international reputation" in the field. Already in the Weimar Republic he gave the first musical pedagogical impulses, especially alongside Walter Kühn and Georg Schünemann . Reuter made an early contribution to the "scientific foundation" of music education. Reuter published u. a. on harmony and in 1926 submitted an elementary work on music teacher training ( music pedagogy in basic features ). In 1929 his name was found in Hugo Riemann's music lexicon . Like Richard Wicke , he then achieved an exposed position in music education in the GDR. Wilfried Gruhn (1993) called him the " Nestor of GDR music education". A GDR dissertation from 1973 saw him as a " pioneer for socialist school music education". In the 1950s, he called for empirical research methods to be included in the discipline. As early as the 1930s he developed an aversion to musical modernism , especially new music . Reuter saw the traditional use of tonality and consonance as a benchmark for music education. Similar to Theodor W. Adorno , he also rejected popular music and jazz . Reuter argued with Plato's ethos . According to Gerd Rienäcker (2010), along with Hans-Georg Görner , Georg Trexler and Wilhelm Weismann, he belonged to a group "which has discredited contemporary music in the GDR through conservatism of various stripes".

student

During his time as a university lecturer, he supervised 19 dissertations ( Siegfried Bimberg , Hella Brock , Werner Busch , Walter Clemens , Werner Felix , Johannes Hanspach , Lothar Höchel , Hans John , Magdalene Kemlein , Karl Kleinig , Rudolf Lüdecke , Rolf Lukowsky , Paul Michel , Günther Müller , Günther Noll , Günter Olias , Johannes Georg Pahn , Otto Preu and Kurt Wichmann ) and four habilitation theses (Siegfried Bimberg, Hella Brock, Werner Busch and Rolf Lukowsky).

His students, including conductors and composers, included his son Rolf Reuter, Heinz Roy and Manfred Schubert in Berlin, Günter Bust , Günter Fleischhauer , Horst Irrgang , Erhard Ragwitz , Gerhard Wohlgemuth and Carlferdinand Zech in Halle an der Saale and Benno Ammann , Herbert Collum , Musja Gottlieb , Hans Heintze , Franz Konwitschny , Lars-Erik Larsson , Werner Neumann , Assen Najdenow , Otto Riemer , Peter Schacht and Georg Trexler in Leipzig.

Honors

For his Concerto for Violin and Orchestra (1953) Reuter was awarded the City of Halle Music Prize in 1955. The Cologne musicologist Paul Mies (1965) found in a work analysis : “The work shows Reuter's artistry in the most beautiful light; it is masterful ”.

At the Humboldt University in Berlin, the Fritz-Reuter-Saal at Dorotheenstrasse 24 was named after the music teacher. In 1958 a Schuke organ was installed there. Posthumously , a memorial concert was dedicated to him on his 100th birthday in the concert hall.

On the occasion of his 65th birthday (1961), his student Siegfried Bimberg presented him with a commemorative publication . The rector Kurt Schröder , the dean of the pedagogical faculty Kurt Haspas and the deputy minister for culture Hans Pischner took part in the celebrations in the new music hall of the Humboldt University in Berlin . Furthermore, Reuter received the Patriotic Order of Merit in silver from the State Council of the GDR for his cultural and political services .

Publications (selection)

Editions

  • Piano exercise . 2 parts in one booklet, Mitteldeutscher Verlag, Halle 1951.
  • Old program music for piano . Mitteldeutscher Verlag, Halle 1951.
  • Conducting studies (from Alfred Szendrei ). 3rd, revised edition, VEB Breitkopf & Härtel, Leipzig 1956.

Books

  • Listening to music on a psychological basis . CF Kahnt, Leipzig 1925; 2nd edition 1942.
  • Music education in the basics . Quelle & Meyer, Leipzig 1926.
  • On the methodology of aural exercises and music dictation . CF Kahnt, Leipzig 1927.
  • Practical ear training based on the Tonika-Do teaching . CF Kahnt, Leipzig 1928.
  • Harmony tasks according to the Sigfrid Karg-Elerts system . CF Kahnt, Leipzig 1928.
  • Answering the fugue topic. Depicted on the themes of Bach's Well-Tempered Clavier . CF Kahnt, Leipzig 1929.
  • Methodology of music theory teaching on modern foundations . E. Klett, Stuttgart 1929; Mitteldeutscher Verlag, Halle 1950; 2nd edition 1950.
  • The Cuckoo and the donkey. Children's songs - picture book - piano school . Drawings by Erich Weber-Links, compiler: Kurt Herzog. Junne, Main u. a. 1947.
  • Practical score playing . Mitteldeutscher Verlag, Halle / Saale 1951; 2nd edition, VEB Hofmeister, Leipzig 1954.
  • Practical figured bass playing . Mitteldeutscher Verlag, Halle / Saale 1951; 2nd edition, VEB Hofmeister, Leipzig 1955.
  • Practical harmonics of the 20th century. Consonance and dissonance theory according to the system of Sigfrid Karg-Elert with exercises . Mitteldeutscher Verlag, Halle 1951.
  • Basics of music education . VEB Breitkopf & Härtel, Leipzig 1962; Bulgarian translation 1968.

Discography

  • Sonata for violin and piano (Lausitzer Sonate) / Fantastic suite for flute and piano op. 6 / The rabbit and the hedgehog (Eterna / Nova, 1965) with Rolf Reuter, Barbara Reuter-Rau, Heinz Fügner, Ursula Wendler-Reuter and the Gewandhausorchester Leipzig - recordings from 1963 and 1964

literature

reference books

Essays and individual studies

  • Günther Eisenhardt : Fritz Reuter's commitment to Karg-Elert's harmonology . In: Thomas Schinköth (Ed.): Sigfrid Karg-Elert and his Leipzig students. The presentations of the colloquium of the Karg-Elert-Gesellschaft in Leipzig from November 1st to 3rd, 1996 (= communications of the Karg-Elert-Gesellschaft . 1997/98). Von Bockel, Hamburg 1999, ISBN 3-928770-85-3 , pp. 187-199.
  • Jonathan Gammert: Polarism as a Political Issue. The music theory of Fritz Reuters and Sigfrid Karg-Elerts as the subject of ideological criticism . In: Musiktheorie 29 (2014) 1, pp. 51–64.
  • William Geissler: Fritz Reuter. His development from a bourgeois bandmaster, composer and musicologist to a pioneer for socialist school music education . Dissertation A, University of Halle 1973.
  • Magret Hager: Fritz Reuters Practical Harmonics of the 20th Century. A contribution to the history of music theory . In: Ariane Jessulat, Andreas Ickstadt, Martin Ullrich (Hrsg.): Between composition and hermeneutics. Festschrift for Hartmut Fladt . Königshausen and Neumann, Würzburg 2005, ISBN 3-8260-3211-X , pp. 129-137.
  • Wolfgang Martin: Studies on music education in the Weimar Republic. Approaches to a theory of music learning by W. Kühn, F. Reuter, G. Schünemann and R. Wicke (= music pedagogy . Volume 19). Schott, Mainz a. a. 1982, ISBN 3-7957-1718-3 .
  • Günther Noll : Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35.
  • Heinz Wegener (Red. Ed.): Commemorative Fritz Reuter . In: Scientific journal of the Humboldt University in Berlin. Society and linguistic series 15 (1966) 3, pp. 307–457 (with contributions by Theodor Hoelty-Nickel , Siegfried Borris , Heinrich Besseler , Walther Siegmund-Schultze , Alfred Szendrei , Herbert Schulze and others).

Web links

Commons : Fritz Reuter (composer)  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e Günther Noll : Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 20.
  2. ↑ a b c d e Erich H. Müller (Hrsg.): German Musicians Lexicon . W. Limpert-Verlag, Dresden 1929.
  3. ↑ a b c d e f g h i j k l m n o p q r s t u v Entry on Fritz Reuter in the Catalogus Professorum Halensis (accessed on March 26, 2020)
  4. ↑ a b Ulrich Pogoda : Sorbian organ music - an overview . In: Madlena Norberg, Peter Kosta (eds.): Anthology on Sorbian, Wendish culture and identity (= Podstupimske pśinoski k Sorabistice . No. 8). Universitäts-Verlag, Potsdam 2008, ISBN 978-3-940793-35-5 , pp. 80–84, here: p. 82.
  5. ^ A b c d e Walter Clemens, Werner Busch: In memory of Fritz Reuter . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). S. I-VI, here: SI
  6. ↑ a b c d e f g h i j k l Dieter Härtwig : Fritz Reuter . In: Institute for Saxon History and Folklore (Ed.): Saxon Biography .
  7. ^ A b c Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 21.
  8. ^ A b Association of German Composers and Musicologists , Music Information Center (ed.): Composers and Musicologists of the German Democratic Republic. Short biographies and catalogs of works . 2nd expanded edition, Verlag Neue Musik, Berlin 1968, p. 169.
  9. ^ Karl Josef Funk: Hermann Abert - musician, musicologist, music pedagogue . JB Metzler, Stuttgart 1994, ISBN 3-476-45065-1 , p. 361.
  10. ↑ ZDB -ID 2340592-2
  11. ^ Siegmund Helms , Reinhard Schneider, Rudolf Weber : New Lexicon of Music Education . Person Teil , Bosse, Kassel 1994, ISBN 3-7649-2541-8 , pp. 191f.
  12. ^ Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 22.
  13. ^ A b c Walter Clemens, Werner Busch: In memory of Fritz Reuter . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). S. I-VI, here: S. II.
  14. ↑ a b c d e f g h Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 23.
  15. ^ Heinz Wegener: Bibliography Fritz Reuter . In the S. (Red. Ed.): Commemorative publication Fritz Reuter (= scientific journal of the Humboldt University of Berlin. Social and linguistic series 15 (1966) 3). S. I-VIII, here: S. IVf.
  16. ^ Heinz Wegener: Bibliography Fritz Reuter . In the S. (Red. Ed.): Commemorative publication Fritz Reuter (= scientific journal of the Humboldt University of Berlin. Social and linguistic series 15 (1966) 3). S. I-VIII, here: S. III.
  17. ^ Alfred Szendrei : "My Leipzig Years" . In: Max Pommer (Ed.): In the turquoise-blue garden. The way of the Kapellmeister AS von Leipzig into emigration is told by himself . Verlag JG Seume, Leipzig u. a. 2014, ISBN 978-3-9814045-4-8 , pp. 11–161, here: p. 121.
  18. ^ Fred K. Prieberg: Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 6104.
  19. ^ A b c Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 6106.
  20. ^ Werner Heldmann: Musisches Gymnasium Frankfurt am Main 1939–1945. A school in the field of tension between educational responsibility, artistic freedom and political doctrine . Lang, Frankfurt am Main a. a. 2004, ISBN 3-631-51987-7 , pp. 599f.
  21. ^ Sonja Häder: Social portrait of the Pedagogical Faculty of the University of Halle-Wittenberg from its foundation in 1946/47 to its dissolution in 1955. Structural change vs. civil continuity . In: Peter Huebner (Ed.): Elites in Socialism. Contributions to the social history of the GDR (= contemporary historical studies . Volume 15). Böhlau, Cologne et al. 1999, ISBN 978-3-412-13898-1 , pp. 381-403, here: p. 395.
  22. ^ Jan-Hendrik Olbertz : Traditions and perspectives of pedagogy in Halle . In the S. (Ed.): Educational science. Traditions - Topics - Perspectives . Leske and Budrich, Opladen 1997, ISBN 3-8100-1674-8 , pp. 51–86, here: p. 77.
  23. ↑ Bernd Fröde, Walter Heise , Rudolf Weber : Interview with Werner Kaden (* 1928) . In: Dies: Same endeavor in separate countries. Music education in the two German states after 1945 - contemporary witnesses report (= IfMpF monograph . No. 17). Institute for Music Education Research, Hannover 2007, ISBN 3-931852-77-6 , pp. 251-293, here: pp. 259f.
  24. ^ Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 16.
  25. ↑ Bernd Fröde, Walter Heise , Rudolf Weber : Interview with Hella Brock (* 1919) . In: Dies: Same endeavor in separate countries. Music education in the two German states after 1945 - contemporary witnesses report (= IfMpF monograph . No. 17). Institute for Music Education Research, Hannover 2007, ISBN 3-931852-77-6 , pp. 165–193, here: p. 188.
  26. ^ A b Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 174.
  27. ↑ Thomas Buchholz (Red.): Hallische Musiktage 1955-2005 . Edited by the Saxony-Anhalt Regional Association of German Composers V., Halle (Saale) 2005, p. 5; buchholz-verbindist.de (PDF).
  28. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 232 / fn. 352.
  29. ↑ a b c d e f g h i j k l Ludwig Holtmeier :  Reuter, Fritz. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 13 (Paladilhe - Ribera). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1133-0 , Sp. 1588–1590 ( online edition , subscription required for full access)
  30. ↑ Werner Busch: For guidance . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). o. S.
  31. ↑ Bernd Fröde, Rudolf Weber: Interview with Lothar Höchel (* 1931) . In: Bernd Fröde, Walter Heise , Rudolf Weber : Same endeavors in separate countries. Music education in the two German states after 1945 - contemporary witnesses report (= IfMpF monograph . No. 17). Institute for Music Education Research, Hanover 2007, ISBN 3-931852-77-6 , pp. 383–411, here: p. 391.
  32. ^ Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 19.
  33. ^ HL: Youth concerts in the timetable. Way and work of the general music director Rolf Reuter . In: Neue Zeit , April 14, 1962, vol. 18, issue 89, p. 3.
  34. ↑ a b c d Walter Clemens, Werner Busch: In memory of Fritz Reuter . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). S. I-VI, here: SV
  35. ^ Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , pp. 9567f.
  36. ^ Fritz Reuter exhibition in the State Library . In: Berliner Zeitung , July 7, 1988, vol. 44, issue 159, p. 7.
  37. ^ Entry on Fritz Reuter in Kalliope
  38. ^ Alfred Sendrey in the Lexicon of Persecuted Musicians of the Nazi Era (LexM)
  39. ↑ See Hermann Grabner : Correspondence with Fritz Reuter . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). Pp. 343-345.
  40. ^ A b Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 29.
  41. ^ A b Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 25.
  42. ^ Stefan Weiss: The Dresden Cultural Association and New Music (1946–1950) . In: Matthias Herrmann , Hanns-Werner Heister (Ed.): Dresden and advanced music in the 20th century. Report on the colloquium organized by the Dresden Center for Contemporary Music and the Institute for Musicology at the "Carl Maria von Weber" University of Music in Dresden (= Music in Dresden . Volume 5). Part 2: 1933-1966 . Laaber, Laaber 2002, ISBN 3-89007-510-X , pp. 213-226, here: p. 226.
  43. ↑ Thomas Buchholz (Red.): Hallische Musiktage 1955-2005 . Edited by the Saxony-Anhalt Regional Association of German Composers V., Halle (Saale) 2005, p. 12 ( PDF (PDF)).
  44. ^ Dieter Härtwig: The Dresden Philharmonic between Paul van Kempen and Heinz Bongartz. At world premieres from 1934 to 1964 . In: Matthias Herrmann , Hanns-Werner Heister (Ed.): Dresden and advanced music in the 20th century. Report on the colloquium organized by the Dresden Center for Contemporary Music and the Institute for Musicology at the "Carl Maria von Weber" University of Music in Dresden (= Music in Dresden . Volume 5). Part 2: 1933-1966 . Laaber, Laaber 2002, ISBN 3-89007-510-X , pp. 189–202, here: p. 194.
  45. ^ Ernst Krause : Oper A – Z. An opera guide . 2nd, improved and expanded edition, Deutscher Verlag für Musik VEB, Leipzig 1978, p. 358.
  46. ↑ Hansjörg Schneider : Hope between ruins. Dresden theater after 1945 (= Dresden miniatures . Volume 7). Hellerau-Verlag, Dresden 1999, ISBN 3-910184-66-9 , p. 62.
  47. ^ Jörg Krämer: The reception of Goethe's Singspiele - contemporary effects and later approximations . In: Gabriele Busch-Salmen (ed.): Goethe manual . Supplements, Volume 1: Music and Dance in Stage Works . Metzler, Stuttgart a. a. 2008, ISBN 978-3-476-01846-5 , pp. 75-96, here: p. 94.
  48. ^ Dieter Härtwig: The Dresden Philharmonic between Paul van Kempen and Heinz Bongartz. At world premieres from 1934 to 1964 . In: Matthias Herrmann , Hanns-Werner Heister (Ed.): Dresden and advanced music in the 20th century. Report on the colloquium organized by the Dresden Center for Contemporary Music and the Institute for Musicology at the "Carl Maria von Weber" University of Music in Dresden (= Music in Dresden . Volume 5). Part 2: 1933-1966 . Laaber, Laaber 2002, ISBN 3-89007-510-X , pp. 189–202, here: pp. 200f.
  49. ↑ Jonathan Gammert: Polarism as a political issue. The music theory of Fritz Reuters and Sigfrid Karg-Elerts as the subject of ideological criticism . In: Musiktheorie 29 (2014) 1, pp. 51–64, here: p. 52.
  50. ↑ Magret Hager: Fritz Reuters Practical Harmonics of the 20th Century. A contribution to the history of music theory . In: Ariane Jessulat, Andreas Ickstadt, Martin Ullrich (Hrsg.): Between composition and hermeneutics. Festschrift for Hartmut Fladt . Königshausen and Neumann, Würzburg 2005, ISBN 3-8260-3211-X , pp. 129–137, here: p. 131.
  51. ↑ Günther Eisenhardt : Fritz Reuter's commitment to the harmonology Karg-Elerts . In: Thomas Schinköth (Ed.): Sigfrid Karg-Elert and his Leipzig students. The presentations of the colloquium of the Karg-Elert-Gesellschaft in Leipzig from November 1st to 3rd, 1996 (= communications of the Karg-Elert-Gesellschaft . 1997/98). Von Bockel, Hamburg 1999, ISBN 3-928770-85-3 , pp. 187-199, here: pp. 191ff.
  52. ↑ Alexander J. Cvetko, Stefan Hörmann: Historical music pedagogy . In: Michael Dartsch , Jens Knigge, Anne Niessen, Friedrich Platz, Christine Stöger (eds.): Handbuch Musikpädagogik. Basics - Research - Discourses . Waxmann / UTB, Münster u. a. 2018, ISBN 978-3-8252-5040-9 , pp. 460–463, here: p. 460.
  53. ↑ Alfred Einstein (arrangement): Hugo Riemanns Musik-Lexikon . 11th edition, M. Hesse, Berlin 1929, p. 1499.
  54. ↑ Wolfgang Martin: Studies on music education in the Weimar Republic. Approaches to a theory of music learning by W. Kühn, F. Reuter, G. Schünemann and R. Wicke (= music pedagogy . Volume 19). Schott, Mainz a. a. 1982, ISBN 3-7957-1718-3 , p. 13.
  55. ^ Wilfried Gruhn: History of music education. A cultural and social history from singing lessons in educational pedagogy to aesthetic and cultural education . Wolke-Verag, Hofheim 1993, ISBN 3-923997-55-8 , p. 399.
  56. ↑ See William Geissler: Fritz Reuter. His development from a bourgeois bandmaster, composer and musicologist to a pioneer for socialist school music education . Dissertation A, University of Halle 1973.
  57. ^ Maria Luise Schulten , Kai Stefan Lothwesen: Empirical research in music education . In this. (Ed.): Methods of empirical research in music education. An application-oriented introduction . Waxmann, Münster 2017, ISBN 978-3-8309-3590-2 , pp. 9-26, here: pp. 14f.
  58. ^ Wilfried Gruhn: History of music education. A cultural and social history from singing lessons in educational pedagogy to aesthetic and cultural education . Wolke-Verag, Hofheim 1993, ISBN 3-923997-55-8 , p. 401.
  59. ↑ Frank Kämper in conversation with Gerd Rienäcker : … to free you from moral connotations. About GDR music history before and after 1989/90 . In: Neue Zeitschrift für Musik 171 (2010) 2, pp. 12–15, here: p. 13.
  60. ^ Heinz Wegener: Bibliography Fritz Reuter . In the S. (Red. Ed.): Commemorative publication Fritz Reuter (= scientific journal of the Humboldt University of Berlin. Social and linguistic series 15 (1966) 3). P. I-VIII, here: P. VII.
  61. ^ Heinz Wegener: Bibliography Fritz Reuter . In the S. (Red. Ed.): Commemorative publication Fritz Reuter (= scientific journal of the Humboldt University of Berlin. Social and linguistic series 15 (1966) 3). S. I-VIII, here: S. VIII.
  62. ^ Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 28.
  63. ^ Gabriele Baumgartner: Reuter, Rolf . In: Gabriele Baumgartner, Dieter Hebig (Hrsg.): Biographisches Handbuch der SBZ / DDR. 1945–1990. Volume 2: Maaßen – Zylla . Addendum to Volume 1, KG Saur, Munich 1997, ISBN 3-598-11177-0 , p. 708.
  64. ^ Annette Thein:  Schubert Manfred. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, supplement for both parts. Bärenreiter / Metzler, Kassel et al. 2008, ISBN 978-3-7618-1139-9  ( online edition , subscription required for full access)
  65. ^ Kerstin Hansen: Bust, Günter , in: Online portal Musikkoffer Sachsen-Anhalt, musikkoffer-sachsen-anhalt.de; accessed on February 17, 2019.
  66. ^ Günter Fleischhauer:  Fleischhauer, Günter. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 6 (Eames - Franco). Bärenreiter / Metzler, Kassel et al. 2001, ISBN 3-7618-1116-0  ( online edition , subscription required for full access)
  67. ^ Günter Bust, Kerstin Hansen: Irrgang, Horst Artur Alfred. In: Guido Heinrich, Gunter Schandera (ed.): Magdeburg Biographical Lexicon 19th and 20th centuries. Biographical lexicon for the state capital Magdeburg and the districts of Bördekreis, Jerichower Land, Ohrekreis and Schönebeck. Scriptum, Magdeburg 2002, ISBN 3-933046-49-1 ( article online ).
  68. ↑ Ingeburg Kretzschmar: Art must always be a source of strength. Introduced: Erhard Ragwitz, professor of composition and composer . In: Berliner Zeitung , March 15, 1986, vol. 42, issue 63, p. 10.
  69. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 125.
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  71. ↑ Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Col. 20.
  72. ^ Thomas Schinköth: Jewish Musicians in Leipzig (1855-1945) . Kamprad, Altenburg 1994, ISBN 3-930550-00-8 , p. 51.
  73. ^ Göran Bergendal:  Larsson, Lars-Erik. In: Grove Music Online (English; subscription required).
  74. ^ Werner Neumann :  Neumann, Werner. In: Friedrich Blume (Hrsg.): The music in past and present (MGG). First edition, Volume 9 (Mel - Onslow). Bärenreiter / Metzler, Kassel et al. 1961, DNB 550439609
  75. ↑ Horst Seeger: Musiklexikon. In two volumes . Volume 2: L-Z . Deutscher Verlag für Musik VEB, Leipzig 1966, p. 337.
  76. ↑ Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Sp. 1059.
  77. ↑ Ludwig Holtmeier:  Schacht, Peter. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 14 (Riccati - Schönstein). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1134-9  ( online edition , subscription required for full access)
  78. ↑ Gernot Maria Grohs:  Trexler, Georg Max. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, supplement for both parts. Bärenreiter / Metzler, Kassel et al. 2008, ISBN 978-3-7618-1139-9  ( online edition , subscription required for full access)
  79. ^ Günther Noll: Fritz Reuter (1896–1963). A homage on the occasion of his 100th birthday . In: Rudolf-Dieter Kraemer (Ed.): Music pedagogical biography research. Technical history - contemporary history - life history (= music pedagogical research . Volume 18). Verlag Die Blaue Eule, Essen 1997, ISBN 978-3-89206-828-0 , pp. 14–35, here: p. 30.
  80. ^ Paul Mies: The Concerto for Violin and Orchestra by Fritz Reuter . In: Heinz Wegener (Red. Ed.): Gedenkschrift Fritz Reuter (= scientific journal of the Humboldt-Universität zu Berlin. Society and linguistic series 15 (1966) 3). Pp. 419-422, here: p. 422.
  81. ^ Markus Voigt: Organ movement in the GDR. Consideration of a contrary economic, cultural and political environment from 1945 to 1990 (= series of studies on musicology . Volume 17). Kovač, Hamburg 2009, ISBN 978-3-8300-4627-1 , p. 160.
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personal data
SURNAME Reuter, Fritz
BRIEF DESCRIPTION German composer, musicologist, teacher and conductor
DATE OF BIRTH September 9, 1896
PLACE OF BIRTH Löbtau
DATE OF DEATH 4th July 1963
Place of death Dresden