Gustav Flügel (composer)

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Carl Gustav Flügel (born July 2, 1812 in Nienburg an der Saale , † August 15, 1900 in Stettin ) was a German composer .

Gustav Flügel (1812–1900) around 1860

life and work

Ancestors and childhood

The baptism entry of Gustav Flügel in the parish church of St. Johannis u. St. Marien Nienburg / Saale

Carl Gustav Flügel was born on July 2, 1812 in Nienburg an der Saale as the son of the ducal ferry operator Johann Karl Flügel (1770-1828) and his third wife Johanna Friederike Heinze (1786-1855). The parents had married in 1809, the mother came from a family of locksmiths and schoolmasters. In addition to an older brother who died early (1810), Gustav Flügel had three younger siblings, Auguste (* 1814), Carl (1823–1833) and Friederike (* 1824).

Gustav was "determined to music" by his father. As a poor boy, his father had already sung along in the church choir in Koethen , “ and, since he had a keen musical ear, had occasionally had to act as a soloist. "" Flügel's father was a thoroughly musical nature, which can be seen from the fact that, without ever having enjoyed regular lessons, he had acquired some skill on various instruments and knew how to tune the piano properly. "Grand piano himself writes of his father:

“ My father's love for music was incomprehensible; he was able to make great sacrifices for it. I can still hear him playing the violin in vespers. It is touching how he tried to expose me to chorals only after hearing, went to church with me on Sundays, also visited the churches in the area with me, where I tried my musical strength; gave me the opportunity to listen to concerts and copied a lot of music for myself; fetched the town musician from Staßfurt with his people to make music with them. "

The father is venerated by Flügel all his life. He still remembers the day of his death in old age. The mother, on the other hand, is only mentioned in passing by Flügel. It should also have contributed not a little to your son's musicality. In this context, a passage from a later essay by Wing is of interest:

“ What means does a tenderly loving mother resort to when no one else wants to strike any more to calm her crying child? she sings a song to her darling, no matter how rusty her voice was; and the child becomes calm under the mother's audition; it is as if the child's soul is immediately touched and appeased by these notes of the mother's voice. "

Gustav Flügel received his first organ lessons from the cantor Thiele, the father of the organ virtuoso Louis Thiele, whom he was soon allowed to represent on the organ bench during the summer holidays. From 1822 he attended high school in Bernburg and continued his organ lessons at the local churches. The eighty-year-old spoke of this time as his “first musical love”.

Studies under Ms. Schneider in Dessau (1827–1830)

From 1827 to 1830 he studied music with Friedrich Schneider in Dessau , who generously supported the young musician. In the summer of 1828, Flügel performed his first work with friends in the Nienburg “Schwan”: “Der Gang nach dem Eisenhammer” (after Schiller) for solo voices, choir and piano. Already in January 1829 the father died in Nienburg. Dessau provided a role model and inspiration for the aspiring musician through concerts by musical greats of the time. a. Henriette Sontag , Adolph Hesse and Niccolò Paganini . “I have never experienced a more wonderful crescendo and decrescendo again,” Flügel wrote in his autobiography in 1882. Together with Schubring , Flügel studied unprinted organ compositions by Bach , whom he admired all his life.

Nienburg, Bernburg, Köthen (1830–1836)

Between 1830 and 1836 he worked as a music teacher in Nienburg, Bernburg and Köthen . In Köthen he also represented the sick organist at the Catholic Church that was newly built by Bandhauer , and could have taken over his position if he had "managed to become Catholic through himself".

On June 26, 1835, the young Gustav Flügel visited Robert Schumann (first mention in the Neue Zeitschrift für Musik ), with whom he kept in personal and letter contact for years. (The moths Op. 16 are dedicated to Clara Schumann ).

Flugel's Opus 1, Eight Songs for a Singing Voice, published in Magdeburg, 1836

Magdeburg (1836)

On Schumann's advice, Flügel moved to Magdeburg in April 1836 , where Richard Wagner was also working at the city theater at that time . It was here that he met his future wife, the piano teacher Minna Oppermann (1813–1847). Songs, piano sonatas and several (now lost) string quartets were written and performed in private. Two letters from Flugel to Schumann were anonymously reprinted in the Neue Zeitschrift für Musik and are thus the earliest surviving testimony from the music writer Flügel:

"* * * AeBr. Magdeburg. 23rd June. I was happy to write you a lot about the local music scene, but music is practiced here quietly and only seriously by a few. Everything is schoolmasters and is far too prosaic. The Singverein rehearses for the Braunschweig music festival. The young music association was on the verge of dissolution, but it still exists, but is now particularly rarely visited. The HH. The Ganz brothers from Berlin have been expected here for several weeks. - A great loss for Magdeburg's musical life is the departure of Schappler, cellist, a very talented young man who wants to go to Leipzig at the end of July or August. - On June 9th the creation was performed in Burg at 27 ° C and with a full house. Mr. Teacher Kühne directed studies and performances, Schappler and Maizier (violinist) from Magdeburg participated. The execution deserves all encouragement with so little means and with so much zeal. "
"* * * A. e. Br. Magdeburg. Beginning August. - You must have read about the major fires in Magdeburg? These set the musical firemen in motion again. The singing society gave a concert for the burned down. The music association will follow soon. Among other things, Spontini's overture to the Olympia will be performed with 60 fingers for three grand piano instruments; also the great scene of the 2nd act with choir; also the C minor quartet by Mozart (written in April 1787); Finale from Oberon etc. - In addition to the various musical associations, there is also a quartet for string instruments in which Beethoven's works of this genre are performed in weekly private meetings. In this quartet Maizier and Fischer take turns playing first, Mühling jun. and Schefter second violin; Wendt viola and Schappler cello. Each member honestly contributes to the success of the whole and everyone is inspired by the best will. Every art lover is also welcomed. […] - For the preliminary celebration of August 3rd, Mr. MD Wachsmann organized a concert in the cathedral hall. A Beethoven piano concert was played with great skill by a high school student, Mr. Weick, Ehrlich's student. - Mr. MD Wachsmann is an avid promoter of classical music, he works unseen, in silence. If only funds were available to him. "

Schönebeck aE (1838-1840)

In the spring of 1838, the board of the choir at Schönebeck an der Elbe asked Flügel to settle there and take over the management. He accepted the office at the end of March 1838 and thus achieved his first permanent position, although he continued to work as a music teacher and probably had to stay.

“ And I was all the more willing to do so, because it brought me back into the vicinity of those Magdeburg musicians who were friends of me and with whom I had been very friendly in the past. At the end of March I left Koethen and moved to Schönebeck, which I already knew from Ruprecht. What could be more obvious than paying a visit to neighboring Magdeburg after the facility was finished. - Through Schefter, I was introduced to the Oppermann family, where they played hard music; Fraulein Minna, who also gave music lessons, played me Beethoven's C major Sonata op. 53 at the time; But it was not only good musically, but with a thorough education *) possessed a spirit directed towards the noble and lofty. "
“ When I gave my first concert in Schönebeck on May 8, 1838 with the participation of Schefter, Schapler, Wendt and Fischer, I was able to introduce Miss Minna Oppermann to the friends as my bride and on September 11 of the same year we were at St. Jacobi - Church of Magdeburg married. A whole new chapter of my life begins here - "

On September 11, 1838, Gustav Flügel married Wilhelmine (Minna) Oppermann in St. Jacobi in Magdeburg. A year of quiet domestic happiness followed.

“We lived, as restrictive as possible, quiet and withdrawn. Besides my friend Friedrich Ebeling from Schönebeck, who later came to the parish office in Halberstadt, it was especially the musical family Grunow with whom we liked to hang out. Private lessons, the management of the choir, with which I performed Spohr's 'Jessonda' and Anacker's 'Bergmannsgruß' **), continued care of the piano, for concerts and occupation with musical composition took up my time completely. In order to relax, I sometimes hiked with the quartet in Magdeburg and the Magdeburgers also came to see us in Schönebeck. So the first year of our marriage passed in a very happy coexistence. "

In October, Flügel conducted a performance by the choir with “ Handel's Hallelujah , Finale from Don Juan and choirs from Christ on the Oelberg (Beethoven)”. But happiness was short-lived.

“ On October 5th, 1839, a boy was born to us. From then on we had a very gloomy time. - My wife was thrown into a long and difficult bed, probably as a result of her difficult delivery; at the same time I had to survive a gastric-nervous fever with a relapse - we got worries and hardships. "

Flügel decided to open up a new sphere of activity in a larger city. The choice fell on Szczecin.

“ The Grunow family in Schönebeck recommended me to Mrs. Emma Grunow in Stettin, and this musically highly educated lady conveyed that I decided to move to Stettin at the end of March 1840. I had to leave my wife and child behind for the time being; they were welcomed by my in-laws in Magdeburg. "

First time in Szczecin (1840-1850)

Letter from Robert Schumann to Gustav Flügel in Stettin (October 11, 1846)

In 1840, Flügel moved to Stettin, where he worked as a private music teacher in the first houses in the city (Wilsnach, Lobedan, Schallehn etc.) and came into contact with the city's notables (Bishop Carl Ritschl , Carl August Dohrn ). In the first four years he conducted concert opera performances as a conductor. As a composer of piano pieces, the grand piano achieved general recognition, the breakthrough came in 1846 with the Sonatas Op. 4 and 7. Within five years (1845–1849), Flügel published no fewer than 26 works.

In Leipzig he visited Schumann, Mendelssohn and Brendel. The contacts to the most important musicians are reflected in the dedications of his works, including Liszt (Op. 5), Clara Schumann, Spohr (Sonata No. 4 Op. 20) and last but not least Mendelssohn , who dedicated himself to the piano sonata (No. 3 in B flat major Op. 13) thanked them with the most friendly words.

In terms of family and health, however, Flügel lived close to the catastrophe that culminated in 1844 and only came to an extremely unhappy end with the death of his first wife Minna in 1847.

During a visit to Leipzig in the summer of 1846, the grand piano inspired Franz Brendel to convene the first German Tonkünstlerversammlung, which took place in Leipzig on August 13th and 14th, 1847 with around 150 participants. Elisabeth Brendel performed the piano sonata Op. 20 from the manuscript, “a very interesting work that met with great acclaim” in 1848, together with Carl Koßmaly, Flügel himself founded the Szczecin branch of the Tonkünstlerverein, which organizes concerts and lectures. In 1848, Flügel joined the Neue Zeitschrift für Musik and published a large number of reviews and also essays on music theory here and in other journals.

Seminar music teacher in Neuwied (1850-1859)

In 1850 he was called to Neuwied as a seminar music teacher , where he also gave piano lessons to Elisabeth zu Wied , who later became Queen of Romania ("Carmen Sylva"). Nevertheless, Flugel's time in Neuwied was torn between the greatest honors, the worst abuse, and lasting success.

At first, Flügel was overwhelmed with official work as a seminar music teacher, which also included playing the organ. This was also evident in the quantitative decline in composition activity. He liked to dedicate the works created here to his superiors (Bühring, Landfermann) and the Prussian royal house, the Princess of Prussia the Concert Overture (Op. 26) and the Prince of Prussia the Lieder Op. 35. Under the direction of Flugel, Hoffmann von Fallersleben, who was living in Neuwied at the time, was made an honorary member of the Liedertafel. On September 1, 1853 the then completely unknown Johannes Brahms visited the famous composer piano and spent the day with him partly outdoors and partly at the piano.

After a brilliant start, in 1853 - very similar to what happened at the same time with Schumann in Düsseldorf - Flugel's demands collided with the Rhinelanders' need for socializing. There was an ugly rift, including a newspaper fight, the effects of which continued to have an effect until the last few years of his new time.

In the period that followed, Flügel devoted himself more and more to composition. In the seven years from 1853-1859, 28 works appeared in print. He became a music teacher at the Princely House of Neuwied, and continued to associate and correspond with the musical greats of the time such as Schumann, Liszt and Brahms. In 1856 he received the title of royal. Music director and in 1858 (together with Richard Wagner) was made an honorary member of the Ndl. Association for the Promotion of Tonkunst. (The archive of Toonkunstbiblioteek Amsterdam preserves some of the very rare original manuscripts of Flugel).

His students and the teachers' choir founded by him in the Middle Rhine region kept his memory in honor for decades. The friendship with the pedagogue Ernst Julius Hentschel was significant in many respects and led to lively correspondence and Flugel’s collaboration in the Euterpe until his death.

Palace organist in Stettin (1859–1898)

In 1859, Flügel was appointed organist in the castle church in Stettin . The last four decades of his life were no longer portrayed autobiographically by Flügel and have to be reconstructed from individual sources.

Flügel's second time in Szczecin can be roughly divided into four phases after decades:

The Grüneberg organ of the Stettin Castle Church (drawing by Th. Völker)

a) 1859–1870 construction . First, Flügel built up his new place with great energy. The organ building association he founded was able to shine after just four years with a new organ by Barnim Grüneberg. Wing taught at the institute and founded a mixed choir. While the youngest of Flugel's children were being born, the son Ernst successfully followed in his father's footsteps as a pianist and composer. There was little room for printing compositions during this period. However, the interesting chorale prelude op. 60.

Melody of the song 'Die rothe rothe Rose' (autograph by Gustav Flügel from 1871, original in the possession of M. Bielke, Lübeck)

b) 1870–1880 consolidation . In addition to nationalistic derailments, piano composed increasingly for choir in various line-ups. In addition, many of the important chorale preludes were written, including his main work, the Prelude Book Op. 72 as well as various songs. Flügel also made a name for himself as an outstanding piano and organ virtuoso. He took an extremely active interest in the musical life of Stettin, which u. a. in his extensive concert reviews of the years 1877–1882. In addition to the regular chamber music evenings, the orchestra concerts by Koßmaly / Jancovius and the choir performances by CA Lorenz, Flügel also attended performances by foreign artists, mostly pianists, violinists or singers. A special feature - not only for Szczecin - is the Jubilee Singers ( Negro Spirituals ) concert on April 8, 1878 for the liberation of slaves.

c) 1880–1890 retreat and review . Massive depressive moods appeared as early as 1879. Wing withdrew more and more inwards and outwards. During this time, Flügel updated his catalog raisonné (1880), he wrote down his memoirs and published them together with his correspondence with musicians such as Mendelssohn, Spohr, Hentschel and Kühmstedt in various magazines. With the death of his son Carl (February 2, 1882), Flügel finished composing secular chants, he no longer gave private lessons and from then on concentrated strictly on his official, ecclesiastical duties as an organist.

d) 1890–1900 last climax . In the last decade of his life, Flügel once again developed enormous creative power, despite considerable physical complaints. During this time practically all of the great concert pieces for organ Op. 99 to 120, as well as a large number of chorale auditions (Op. 100, 115 and 121), all of which received great attention in contemporary reviews and concerts. The aged old master (affectionately called 'Papa Flügel') received a lot of recognition from his numerous students and admirers.

Gustav wing around 1897

Dismissal and death (1898–1900)

“ I did not think that I would still be 84 years old and yet it seems so. I am devoted to the will of God, although the loss of physical strength, especially of the more noble parts, is often quite a nuisance to me, quite apart from the pain associated with it. Playing the organ is all over, I can no longer attend musical performances because my nervousness does not allow it. It is difficult for me to write, and yet I still have enough thanks. “So wrote Flügel on May 30th 1896 in a letter to his son Paul in Lübeck.

In the secondary services he was now represented, for the main services he struggled up the narrow stairs to the organ.

In 1898, Flügel had to give up his work as an organist completely. Since, even after almost 40 years as the palace organist, Flügel was not entitled to any pension, the work was initially only assigned to his successor on a voluntary basis on April 3, 1898. Flügel was allowed to stay in the official apartment at Königsplatz 11.

Flügel died on August 15, 1900 in Stettin in his official residence at Königsplatz 2. Of Flugel's 19 biological children, many of whom died early, only the son Ernst Flügel (* 1844, organist in Breslau) followed in his father's footsteps.

estate

Autograph notes for the first three performances of Op. 47.3

The handwritten estate of Flugel, which came to Vienna via the children of his son Ernst, was lost here towards the end of the Second World War . A small number of autograph music manuscripts are kept in the Toonkunst Archive in Amsterdam (choral preludes and choral pieces). Two of the rare autograph chorale preludes can be found in the Leipzig Music Library. Whether the 18 letters, acquired by the historical archive of the city of Cologne in 1996 and written to the Cologne music publisher Michael Schloss (1823-1891) between July 1850 and January 1855, are lost forever with the collapse of the archive currently completely unclear. The music department of the Berlin State Library is keeping 16 letters or postcards from Flügel to musician friends such as Brendel, Bock and Dörffel, as well as Mendelssohn's letter to Flügel dated October 19, 1845, including the letter from Flugel to Alfred Dörffel v. April 28, 1868. Three letters can be found in the University Library in Frankfurt / M. And one in Munich. Two letters to and one from Louis Spohr have been preserved in Kassel. A large number of private letters from the second period in Szczecin are with descendants in Lübeck.

In time for the composer's 200th birthday, the Pomeranian Library in Szczecin / Stettin has put a large number of original sheet music prints online. These are mostly the hand copies of the wing into which the composer z. T. has entered the receipt, small corrections, first performances known to him and other notifications. Apparently these valuable specimens ended up in the library after the death of their son Ernst Flügel (1912). The Berlin State Library has also recently started to put its works online.

style

Flugel's creative period spanned around eight decades. Like hardly any other composer, he reflects the developments of the 19th century. The spectrum ranges from the early piano sonatas, based on Weber and Beethoven, to the late concert pieces for organ with Wagnerian coloring. Wing follows its own style and has never let itself be defined. The famous music theorist JC Lobe says:

“ Among a hundred reviews of musical works you may find one that is thoroughly satisfied, one that has to acknowledge, with all my heart and full conviction, a genuinely powerful compositional talent entitled by God. But I don't know exactly how few out of a hundred reviews are read. How easily it is included among these unread ones who would have been worth the effort of reading! This is one of the reasons why the real artistic spirit often only succeeds so late, sometimes not at all, to make itself heard with its genuine sounds under the market bells and pimps. One should therefore not seek to help important artists merely with reviews, but shout out boldly, firmly and loudly in small leading articles of the musically tumultuous world: turn your ear and your attention here, there are ways of the heart singing and ringing. I'm talking about Gustav Flügel. "
“ He is first of all he and no other. His imagination blossoms and glows in full youthful freshness. Whatever heartache and lust of the heart, from heavy-blooded night dreams at all levels to the laughing images of joke, live in the human being, it lives in wings and wells and sounds easily in its tone poems. He always has something in front of his spiritual gaze. Hence, nowhere is there a mere ear piece, just as no mean lump of thoughts or frivolous fashion fool dares to come close to his noble artistic spirit. He asked for a very delicate artistic conscience. Whatever the greatest masters of aesthetic, guiding maxims that were capable of making art, he has listened to them and absorbed as laws, but he leaves their thoughts to them and works his structures from his own material. I am not weighing here which of his works I like more or less, the public may do that. I just want to write these few words as a hint for those who do not yet know grand piano but deserve to know him, and I have indicated his artistic qualities because he only has these. "

How time-bound the contemporary judgments are here becomes clear from the example of a criticism of Op. 25.2: “ In“ Meeresstimmen ”we encounter a real jumble of figures and empty phrases that are just as incapable of presenting a picture to the soul as mere splashes of color make up a painting .” Similar to Bernstein, but Keferstein judges Op . 16.4 “ At sunset”: “Very dreamy, often losing itself, which causes the sharpness of the Contur to suffer. It reminded us of certain landscapes, the whole charm of which lies in the color tone poured over them; It is precisely through the unity of the color that melts them that the individual objects in the landscape acquire their charm. So it happened to us with this rhapsody, which, interwoven with exuberance of feeling, reminds us of Robert Schumann's beautiful models. Flügel is one of those artists who have a future, and we do not meet many of them now . ”It is possible that Flügel was so far ahead of his time back then that he could well be understood as a“ pioneer of Impressionism ”today, but that is precisely what Piano work still awaits rediscovery. Wing himself also pointed out that the particularly positive reviews "only gave him resentment"

Although committed to the classical school (grand piano tended to the strict forms of the sonata, the canon and the fugue throughout his life), he did not follow Brahms' appeal "Against the New Germans" (1860). In 1877 he reported enthusiastically about the performances in Bayreuth. His chorale preludes are particularly captivating due to their "high sound beauty".

meaning

Flugel's recognition as a composer spanned more than 60 years. Schumann calls the 22-year-old “young Mozart” with a slight irony. Ten years later, Flugel's piano sonatas are mentioned several times in the same breath as Beethoven's. “The final movement is truly ingenious, in the rondo full of Beethoven's humor […]” Prof. L. Bischoff dares to say at a distance: “We don't think we're saying too much when we compare the five great sonatas of Flügel's directly to the sonatas of Beethoven, F. Schubert and CM von Weber rank. “Flügel's variation works are added to those of Bach, Beethoven, Weber and Schumann. Some of his character pieces are "among the best that the genius of an artist has ever produced" (Alfred Dörffel) or are "to be added to the best compositions of this kind by Mendelssohn." For Keferstein, Flügel is one of "the most capable and most hopeful composers of our time ". Ernst Hentschel counts wing 1872 among the best masters of the present, for Em. Klitzsch wing 1882 has "a high rank among the best organ composers", Fritz Lubrich calls the greisen wing 1897 even "the Bismarck of the organists", ...

The lasting importance of Gustav Flügel lies above all in the organ composition , for which he created masterful works at a time when German church music was largely paralyzed. He left behind an oeuvre of 121 printed compositions, of which the concert pieces for organ deserve special mention, which in terms of mood already hint at Reger. Individual chorale preludes are repeatedly included in newer collections. Op. 82nd, 85, 88 and 109 were recorded for the SFB , further large concert pieces and chorale preludes have been reissued since 1997, which document the lasting value.

Systematic catalog raisonné (works with opus number)

Flugel himself published his catalog raisonnés, which were separated according to the occupation and consecutively numbered regardless of the opus number, in 1869, 1874 and 1880 in Euterpe .

Instrumental music

Piano music

Piano pieces
  • Op. 2 (moon) waltzes for the pianoforte (1837, Magdeburg, Ernst Wagner & Richter,)
  • Op. 6 Hungarian March and Serenade for the Pianoforte (1845, Magdeburg, Heinrichshofen)
  • Op. 9 Phalaenen for the pianoforte, (1846, Bonn, N. Simrock) gew. Carl August Dohrn
  • Op. 10 Night Ghost, Night Storm and Prayer for the Pianoforte (1847, Mainz, B.Schott's Sons) Gustav Adolf Keferstein ; (Szczecin copy online)
  • Op. 11 fantasy pictures for the pianoforte, (1846, Mainz, B.Schott's sons) Bishop Carl Benjamin Ritschl
  • Op. 14 Nachtfalter (First Issue) for the Pianoforte, (1846, Leipzig, F. Whistling) gew. Elisabeth Brendel (née Tautmann)
  • Op. 15 Caprice heroique for the pianoforte, (1846) gew. Franz Liszt (?)
  • Op. 16 Nachtfalter (second volume) for the pianoforte, (1846, Leipzig, F. Whistling) gew. Clara Schumann (née Wieck)
  • Op. 17 Tagfalter for the pianoforte, (Leipzig, Fr. Hofmeister) gew. Friedrich Schmidt
  • Op. 18 moonlight pictures for the pianoforte, (Leipzig, Fr. Hofmeister) gew. Ernst Ferdinand Wenzel, teacher at the Conservatory of Music in Leipzig; (Stettiner copy online) (Berlin copy online)
  • Op. 22 Two easy pianoforte pieces, wt. his student Emil Silberschmidt (1849, Berlin, Bote & Bock); (Szczecin copy online)
  • Op. 24 New moths for the pianoforte (1849, Leipzig, Fr. Hofmeister) (Stettiner copy online)
  • Op. 25 IV Fantasy clay pieces for the pianoforte, (Berlin, Schlesinger) gew. Dr. Heinrich Marschner ; (Stettin copies Op. 25, 2-4 online)
  • Op. 27 Picking Flowers for the Pianoforte, (1849, Leipzig, F. Whistling) gew. Auguste Warh; (Szczecin copy online)
  • Op. 29 wild flowers for the pianoforte, (1849, Berlin, Trautwein) gew. Wilhelm Taubert (Berlin copy online)
  • Op. 31 Capriccio (E minor) for the pianoforte (Leipzig, Breitkopf and Härtel), wt. Julius Knorr (Berlin copy online)
  • Op. 32 Small tone poems for the pianoforte (1850, Cassel, C. Luckhardt) “dedicated to the youth”; (Szczecin copy online)
  • Op. 34 Four Piano Pieces, (1853, Coblenz, CJ Falckenberg), wt. Mrs. E. Grunow
  • Op. 38 Three Piano Pieces (1856, Leipzig, Merseburger), w. his friend Alfred Dörffel
  • Op. 40 folk poetry. Two Fantasies for the Pianoforte, (Leipzig, Siegel), gew. Friedrich Kühmstedt
  • Op. 41 melancolia. Night piece for the Pianoforte, (Leipzig, Siegel), gew. C. Seal
  • Op. 44 Humoresque for the pianoforte (1856, Mainz, Schott)
  • Op. 62 Nine Pianoforte Pieces (1869, Neu-Ruppin, A. Oehmigke)
  • Op. 63 Pictures of Mary. Twelve small instructive piano pieces, wt. Elisabeth zu Wied (1869/70, Neu-Ruppin, A. Oehmigke)
  • Op. 64 gymnastics scenes. Six pianoforte pieces (1869/70, Neu-Ruppin, A. Oehmigke)
Piano variations
  • Op. 5 variations on three German folk songs for the pianoforte (1845, Magdeburg, Heinrichshofen)
  • Op. 12 variations on German folk songs for the pianoforte (1846, Bonn, N. Simrock) (Stettiner copy online)
  • Op. 37 easy, instructive piano variations, (1856, Leipzig, Merseburger)
  • Op. 42 folk sounds. A varied theme for the pianoforte, (Leipzig, Siegel) gew. Amalia Prince
Piano sonatas
  • Op. 4 Great Sonata No. 1 (B major) for the pianoforte (comp. 1839/40), (1845, Leipzig, Breitkopf & Härtel), w. Friedrich Schneider (Berlin copy online)
  • Op. 7 Sonata No. 2 (B minor) for the pianoforte (1845, Stettin, self-published; 1854 Magdeburg, Heinrichshofen) (Mendelssohn played on July 21, 1846 in Leipzig)
  • Op. 13 Sonata No. 3 (B flat major) for the pianoforte, (1846, Stettin, self-published; Hamburg, Schuberth & Co.) Felix Mendelssohn Bartholdy (Stettiner copy online)
  • Op. 20 Sonata No. 4 (C minor) for the pianoforte, (1848, Leipzig, Hofmeister) won. Louis Spohr (Berlin copy online)
  • Op. 36 Sonata No. 5 (C major) for the pianoforte, (1854, Leipzig, Breitkopf & Härtel) (Berlin copy online)
  • Op. 53 Sonata No. 6 (C major) for the pianoforte, (1857, Erfurt and Leipzig, GW Körner) w. Louis Koehler
  • Op. 54 Little Roland. Sonatina, No. 7 of the Sonatas for the Pianoforte, (1859, Leipzig, Merseburger) won. "The musical youth"

Organ music

Choral preludes and organ studies
  • Op. 33 13 chorale preludes for the organ (1853/54, Erfurt and Leipzig, GW Körner)
  • Op. 39 Six Organ Pieces (1854, Rotterdam, WC de Vletter./ Leipzig, CF Leede)
  • Op. 51 10 Organ Pieces (1857, Offenbach, André) wt. Paul Selbach
  • Op. 57 VI Preludes for Organ, (1871, Brieg, Richard Bräuer) gew. Consistorialrath D Carus (Stettiner copy online)
  • Op. 59 Twenty-four short chorale preludes for organ (1862, Leipzig, C. Merseburger), w. Dr. Jasper , Royal Superintendent General of the Province of Pomerania; (New edition 2008)
  • Op. 60 14 Choral Preludes for Organ (1868, Leipzig, A. Dörffel)
  • Op. 71 Small Organ Pieces, (1872, Berlin, Th. Chr. Fr. Enslin) gew. Ludwig Erk
The Book of Preludes Op. 72 - Flügel's chorale prelude main work, with autograph dedication to son Carl (13th Nov. 1872)
  • Op. 72 Prelude Book (1872, Berlin, Th. Chr. Fr. Enslin) won. Ernst Hentschel in Weissenfels on his 50th anniversary in office
  • Op. 75 Twelve epilogues to the Passion and Easter for the organ (1874, Magdeburg, Heinrichshofen)
  • Op. 78 initial studies for the obligatory pedal playing in three-part small organ pieces, which can also serve as preludes and aftermaths (1878/79, Leipzig, Merseburger)
  • Op. 89 preludes and aftermaths for the organ (1883, Leipzig, CF Kahnt)
  • Op. 93 48 small organ pieces, (preludes and aftermaths) in all major and Minor keys. For use in public church services, such as to encourage expressive organ playing, (1885, Leipzig, J. Rieter-Biedermann) gew. Dr. Jasper , Royal Superintendent General of the Province of Pomerania on his 50th anniversary in office
  • Op. 100 50 chorale arrangements for organ (1893, Bremen / Leipzig, Carl Klinner) J. Heinrich Lützel , professor and music director in Zweibrücken on a friendly basis
  • Op. 108 52 short chorale preludes with accompanying analysis, together with finger and foot setting for the organ (1894, Langensalza, Hermann Beyer & Sons) Dedicated to Fritz Lubrich, Cantor in Gnadenfrei Reg. Bez. Breslau, Editor-in-Chief of the Leipzig church music newspaper "Die Orgel". (Szczecin copy online)
  • Op. 111 50 short chorale preludes and 50 introductions for the organ. Dedicated to his dear friend Mr. Friedrich Gartz for devotions in higher educational establishments as well as for worship services (1894, Zittau, Loebel)
  • Op. 114 20 light preludes and epilogues for organ, for use in worship services and for study in seminars and preparatory institutions. (1895, Neuwied / Leipzig, Louis Heuser)
  • Op. 115 50 figured chorales for organs with a manual a. Pedal, for worship as well as for study. (1895, Langensalza Hermann Beyer & Sons) (Stettiner copy online)
  • Op. 121 31 rhythmic chorale preludes for organ, (1899, Leipzig, Leuckart) Robert Frenzel , organist at St. Wolfgang in Schneeberg i. S. appropriated amicably
The great concert pieces for organ
  • Op. 74 II Organ Pieces (probably 1874, Leipzig, Kühn), dedicated to AW Gottschalg
  • Op. 77 II Organ Pieces (How beautiful, ...) (1879, Berlin, Schlesinger), dedicated to August Haupt ; (New edition 2000)
Gustav Flügel: Title of Op. 82
  • Op. 82 Should I not sing to my God Fantasy (1881, Magdeb., Heinrichshofen), dedicated to August Gottfried Ritter
  • Op. 83 Sonata (E major) (1881, Magdeburg, Heinrhfn.), Dedicated to his son Ernst Flügel
  • Op. 85 Spring Fantasy (1882, Leipzig, Leuckart), dedicated to Wilhelm Freudenberg; (New edition 2007)
  • Op. 88 Should I not sing to my God canonical chorale arrangement (1882, Leipzig, Kahnt), dedicated to Carl Piutti ; (New edition 1996)
  • Op. 96 Festive Postlude with Introduction (1886, Leipzig, CFW Siegel)
  • Op. 97 Phantasy (F sharp minor) (1888, Strasbourg, CF Schmidt)
  • Op. 99 III Fugen (1890, Leipzig, Rieter-Biedermann), dedicated to the cross organist Emil Höpner
  • Op. 101 III Fugen in Cdur (1891, Leipzig, Leuckart), dedicated to Elisabeth Krahnstöver
  • Op. 102 II Organ Pieces (You whose eyes flowed ...) (1891, Leipzig, Leuckart), dedicated to Carl Adolf Lorenz
  • Op. 103 II Organ Pieces (Tocc. And others) (1891, Leipzig, Rieter-B.), Dedicated to Carl Rundnagel
  • Op. 104 Toccata and Fuge (1892, Leipzig, Rieter-B.), Generalsup. Dedicated to Pötter
  • Op. 105 Toccata and Fugue (1892, Leipzig, Leuckart), dedicated to Otto Türke
  • Op. 106 Fugue in F (1893, Leipzig, Rieter-B.), Dedicated to Gustav Hecht
  • Op. 107 Toccata in F (1893, Langensalza, Beyer), dedicated to Paul Taggatz
  • Op. 109 Alone Gott in der Höh '… (1894, Zittau / Zurich, Loebel), dedicated to Otto Zimmer; (New edition 1999)
  • Op. 110 Elegy and Fugue (1894, Leipzig, Rieter-B.), Dedicated to Theophil Forchhammer
  • Op. 112 Toccata appassionata (1894 Zittau / Zurich, Loebel), dedicated to Otto Paulstich (composed as early as September 1847!); (New edition 2012)
  • Op. 113 Through night to light (1895 Zittau / Zurich, Loebel), dedicated to Marie Margarete Paulstich; (Stettiner copy online) (New edition 1999)

Chamber music

String quartet
Chamber music with organ
  • Op. 86 Adagio for organ, horn quartet and harp (1882, Leipzig, Leuckart) gew. Emanuel Klitzsch
  • Op. 90 Three lyrical clay pieces for violin and organ (1882, Leipzig, Rieter) Paul Wild; (New edition 2004)
  • Op. 119 Elegy for violin and organ (1900, Langensalza, H. Beyer & Sons) gew. E. Forchhammer
  • Op. 120 Two chorale melodies for violoncello and organ (1900, Langensalza, Beyer) (Warsaw copy of No. 1 online)

Orchestral music

Vocal music

Songs for a singing voice

  • Op. 1 Eight songs for a voice with pianoforte (1836, Magdeburg, Ernst Wagner & Richter), wt. Agnes et al. Charlotte Loose.
  • Op. 3 Eight songs for a voice with pianoforte (“In memory of the performance of Freischütz Stettin, February 6, 1842”), (1842, Stettin, Bulang), w. Madame Wilsnach; (Szczecin copy online)
  • Op. 8 ten youth songs for a voice with pianoforte (1845, Magdeburg, Heinrichshofen)
  • Op. 19 Six songs for one voice with pianoforte (1846, Leipzig, Breitkopf & Härtel) gew. Betty Lobedan and Franziska Schallehn (née Schlüter)
  • Op. 21 12 songs and chants for one voice with pianoforte, (1848, Leipzig, Breitkopf & Härtel) gew. Karl Schmidt and Wilhelm Ritschl
  • Op. 28 Three Chants for an Alto Part with Pianoforte (1849, Leipzig, Peters)
  • Op. 43 Spiritual songs from the Spanish songbook f. a sing. with pianof. (1855, Leipzig, Merseburg)
  • Op. 45 Six Songs for a Voice with Piano (1855, Kassel, Carl Luckhardt)
  • Op. 52 sacred songs for mezzo-soprano with piano accompaniment (1857, Aachen, Ernst ter Meer) Chamber singer Ernst Koch in Cologne; (Szczecin copy online)
  • Op. 69 Six Patriotic Songs a) for a voice with pianoforte (1871, Leipzig, Carl Merseburger)
  • Op. 73 Two sacred songs for a voice with organ (1875, Leipzig, Carl Merseburger) won. FAL Jacob
  • Op. 92 A Luther Word for a Singing Voice with Piano (1883, Leipzig, Carl Merseburger), w. Baron Senfft von Pilsach
  • WoOp. Cheeky Finlay . (Rob. Burns) Song for a voice with pianoforte (Liederkranz No. 33) (1850) (Stettiner Exemplar online)
  • WoOp. "Nobody" (Rob. Burns) Song for a voice with pianoforte (Liederkranz No. 34) (1850) (Stettiner copy online)

For women u. Children's choir

  • Op. 48 Pater Noster for three equal voices, (1857, Mainz, B. Schott's Sons) won. Dietrich Wilhelm Landfermann
  • Op. 49 Sanctus o Salutaris for three equal voices (1857, Mainz, B. Schott's sons) elected Dr. Lucas, teacher in Koblenz
  • Op. 50 cantatas, responsories and Vota Apostolica for spiritual children's choir, (1857, Leipzig, C. Merseburger) gew. F. Stiehl , Secret Upper Government and Lecturing Council in the Royal Prussian Ministry / the Spiritual Teaching and Medical Affairs
  • Op. 61 spring songs a) for 2 sopranos (2 sopranos and alto), b) for 2 sopranos (2 sopranos and alto) with pianoforte (1869, Neu-Ruppin, Alfred Oehmigke)
  • Op. 66 Twelve three-part choir songs (1870, Leipzig, Brandstetter)
  • Op. 69 Six Patriotic Songs c) for 2 sopranos and alto (1871, Leipzig, C. Merseburger)
  • Op. 84 Three small three-part motets (1881, Magdeburg, Heinrichshofen)
  • Op. 91 God and nature. Three-part polyphonic songs (1884, Leipzig. C. Merseburger)

For male choir

  • Op. 30 Three Christmas Cantatas for Male Choir, (1853, Koblenz, Falckenberg) gew. Ernst Hentschel
  • Op. 35 Prussian kings, heroes, wars and wars Siegeslieder, (1854, Neuwied, JH Heuser), gew. the Prince of Prussia
  • Op. 46 Bible verses for male choir, (1856, Erfurt and Leipzig, Körner); (Szczecin copy online)
  • Op. 47 Bible hymns for the spiritual male choir, (1856, Erfurt and Leipzig, Körner) won. Dr. Friedrich Theodor Trinkler ; (Szczecin copy online)
  • Op. 55 cantata for male choir with organ or piano accompaniment, (1857, Neuwied, FJ Steiner) gew. "The teachers of the festival choir of the united synods Simmern, Kreuznach, Trier etc."
  • Op. 58 3 cantatas for male choir, (1859, Leipzig, CF Kahnt) gew. "The Cologne men's choir"
  • Op. 67 Six songs for male choir, (1870, Berlin, Adolph Stubenrauch)
  • Op. 69 Six Patriotic Songs b) for male choir
  • Op. 79 Twelve psalm verses for the spiritual male choir, (1878, Magdeburg, Heinrichshofen)
  • Op. 87 “Great things have been done by the Lord”. Cantata for male choir a. Solo quartet, (1882, Leipzig. FEC Leuckart) gew. Friedrich Eduard Fetz

For mixed choir

Opus 117, Flugel's last choral work (composed 1896): Psalm 126 “When the Lord will redeem the captives of Zion”
  • Op. 65 Six easy choir songs for mixed choir (1870, Breslau, Hientzsch)
  • Op. 68 Four songs for mixed choir (1870, Berlin, Ad. Stubenrauch)
  • Op. 70 small cantatas on Christian feasts on biblical texts for mixed voices, (1871, Berlin, Ad. Stubenrauch)
  • Op. 80 Three sacred quartets, (1879, Magdeburg, Heinrichshofen) won. the Crown Princess of Prussia
  • Op. 81 Three quartets, (1881, Magdeburg, Heinrichshofen) won. Wilhelm Sachse
  • Op. 94 Seven sacred chants for mixed choir (1886/87 Leipzig, Licht & Meyer) (Stettiner copy online)
  • Op. 95 Small Motets and Responsories for Soprano, Alto and Baritone, (1885, Leipzig, Rieter-Biedermann) gew. G. Carus
  • Op. 98 Three church choirs for soprano, alto, tenor and bass, (1889 (?), Kaiserslautern, Tascher) gew. "The evangelical church choir for the Palatinate"
  • Op. 117 Psalm 126. Motet for mixed choir, (Comp. 1896) (Neuwied and Leipzig, Heuser) gew. Thomaskantor Gustav Schreck , first performance Thomaskirche Leipzig 21 Nov. 1896
  • WoOp. The 46th psalm “God is our confidence” (jubilee song to celebrate the Reformation festival) (1884) (Stettiner copy online)

In particular, previously unknown works with opus numbers

  • Op. 56 (presumably as part of a collection)
  • Op. 76 (presumably as part of a collection)
  • Op. 116 (A psalm, possibly for mixed choir, comp. 1896)
  • Op. 118 (A psalm, possibly for mixed choir, comp. 1896)

Arrangement of works by other composers

  • WA Mozart, Symphony No. 38 in D major (“Prager” 1786), KV 504, arrangement for pianoforte for 4 hands (around 1845? Magdeburg, Heinrichshofen; Berlin, Trautwein)

Lost Works

The following manuscripts of Flugel remained unprinted and have not yet been found. They must be presumed lost.

Orchestral music

  • Festival march for the Duke's entry (Dessau, 1830)

Chamber music

  • First string quartet (G minor) (Magdeburg, 1836)
  • several string quartets (Köthen, 1837/1838)
  • Movement for clarinet and piano (?) (Stettin, 1848)
  • Trio (D minor) for pianoforte, violin and cello (Stettin, 1849/50; first performed in Berlin February 27, 1850)
  • Prelude for organ, violins, trumpets and trombones on "You whose eyes flowed" (Stettin, around 1878)

Piano music

  • Variations for pianoforte (Bernburg, 1831/32)
  • Variat. av. Introd. et Finale pl pft. sur la Tyrolienne de l'Opèra: Tell de Rossini. (Koethen, 1834/35)
  • Sonata (B flat major) for piano for four hands (Köthen, 1837)
  • several sonatas for piano for two hands (Köthen, 1837)
  • "Other piano compositions" (Köthen, 1837/38)

Choral music

  • The walk to the Eisenhammer for (male) choir and solos with piano accompaniment (Dessau, 1828/29, first performed in Nienburg / S., August 1829)
  • Cantata about Psalm 145, 10-13 for acc. Choir and orchestra (Magdeburg, 1836; first performed in Bernburg, harvest festival 1836)
  • Spring cantata for gem. Choir with instrument. Companion (Stettin, 1849, first performed Stettin, April 26, 1849)
  • 2 choral songs for mixed choir (SATB) without accompaniment (text by Oser) (Neuwied, 1856)
    • "Big are the waves"
    • "Who Trusts in God the Lord"
  • 2 choir songs for mixed choir (SATB) without accompaniment (text by Oser) (Stettin, 1864)
    • "Glory to our God alone"
    • "Tides of woe rushing up"
  • Works for male choir (TTBB) (Stettin, before 1869) (manuscript from Bädeker, but as far as recognizable unpublished)
    • At Christmas: "Glory to God on high"
    • Easter: (1.Cor.15, 55.57.) "Death is swallowed up in victory"
    • Ascension: "Christ went to heaven"
    • Pentecost: "Come Holy Spirit"
    • Solomon's prayer: "So will you for your servant" (1 Kings 3: 9)
  • Hymn for male choir (TTBB) (Stettin, 1872)
  • “The vines are blooming” for male choir (TTBB) a cappella
  • Old boys song. "And yet it's true and remains true" (possibly for male choir) (before October 24, 1884)
  • "Praise God" for male choir (Stettin around 1886, first performed in Altdorf April 14, 1886)

Songs for a singing voice

  • "Many songs" (Köthen, 1837/38)
  • 7 songs by Fr. Oser for a voice with piano accompaniment (Neuwied, 1856)
    • "You are the Lord after all!"
    • "Be quiet to the Lord and wait for him." (Also executable for SATB)
    • "Soul, what are you grieving?" (Oser) (also for SATB)
    • "Well Lord, know should I be comforted?" (Also for SATB)
    • "Only the one who was sad is happy." (Also for SATB)
    • "Your word, sir, in the mouth." (Also for SATB)
    • "O most beautiful star!" (Also for SATB)
  • 11 songs on the death of a child for mezzo-soprano with piano accompaniment (text by Fr. Oser) (Neuwied, 1856)
    • ("Love never shines more beautifully", the first song in this collection was published in 1879)
    • "You bloom like the rose"
    • “Be of good cheer! The shepherd can do it "
    • "We long and are weighed down"
    • "And I'll sing all my life"
    • "Now sleep in cool earth!" (Appeared as an arrangement for the choir)
    • "Mother! was your first word "
    • "Take the dearest, sir!"
    • "Surrounded with violets be your grave!"
    • "And how far I wander"
    • "Whatever new suffering comes."
  • "Come Holy Spirit" for alto solo with organ accompaniment (first performance in Stettin, early February 1871)
  • Psalm 121 "I lift my eyes up to the mountains" for soprano (Urauff. Stettin, May 7, 1882)
  • "Holy Night" song. (first recorded performance: Hanau, January 20, 1896)

Literature (selection)

Monographs

  • Gotthold Frotscher: History of organ playing and organ composition . Merseburger Verlag, Kassel 1988 (repr. Of the Berlin 1935 edition).
  1. ISBN 3-87537-016-3
  2. ISBN 3-87537-017-1
  • Elisabeth Müller: The Choral Play in the 19th Century. Using the example of the minor master Gustav Flügel . Lübeck University of Music 1992 (diploma thesis).
  • William S. Newman: The Sonata since Beethoven . Norton Books, New York 1983, ISBN 0-393-95290-8 .
  • Gerhard Puchelt: Variations for piano in the 19th century. The flowering and decay of an art form . Scientific Book Society, Darmstadt 1973, ISBN 3-534-06489-5 .
  • Hugo Riemann (first name): Brockhaus-Riemann-Musik-Lexikon . Direct Media, Berlin 2004, ISBN 3-89853-438-3 (1 CD-ROM).
  • August Scheide: On the history of the chorale prelude . Gadow, Hildburghausen 1923.
  • Bruno Weigl: Handbook of the organ literature . Leuckart, Munich 1988 (repr. Of the Leipzig 1932 edition).

Essays

  • Peter Brusius: “Gustav Flügel (1812–1900). A forgotten organ composer of the Romantic era ”. In: Ars Organi 35th Vol. No. 2 (1987), pp. 91-93.
  • AW Gottschalg: “Gustav Flügel, Royal Music Director and Castle Organist in Stettin. A picture of life. ” Urania 53. Vol. 7 (1896), pp. 49–51.
  • Johann Bapt. Heindl: "Gustav Flügel, royal music director in Neuwied." In: (ders.): Gallery of famous pedagogues, deserving schoolmen, youth and folk writers and composers from the present in biographies and biographical sketches . Finsterlin publishing house, (1st volume, 1st department) (Munich, 1859), pp. 136-140. (With list of works Op. 1–53).
  • Michael Heinemann : Symphonic chorales. On organ music by Gustav Flügel (1812–1900). In: Studies on Organ Music. Volume 1 (1998), pp. 89-95.
  • Fritz Lubrich: "Gustav Flügel." The organ. Monthly for organ music and Protestant church singing , Volume 3, No. 7 (1892), pp. 49–53.
  • Gustav Wandel: "From the life of a German church musician". In: Sunday paper of the Reichsbote , 3rd year (Berlin, June / July 1912).
  • Eckhard Wendt: Gustav wing. In: Eckhard Wendt: Stettiner Lebensbilder (= publications of the Historical Commission for Pomerania . Series V, Volume 40). Böhlau, Cologne / Weimar / Vienna 2004, ISBN 3-412-09404-8 , pp. 155–157.
  • Michael Wilfert: “Gustav Flügel (1812–1900). An unjustly forgotten Szczecin musician ”. In: Baltic Studies , New Series Vol. 90, 2005, pp. 181–204, ISBN 3-937719-02-4 .

Web links

Footnotes

  1. ↑ Flodoard Geyer: “Berlin. Gustav Flügel. “In: Berlinische Nachrichten von Staats- und schehrte Dinge ('Spener'sche Zeitung') No. 297 (Berlin, December 20, 1849) word for word in: Joh. Bapt. Heindl: Galerie famous Pädagogen Schulmänner etc., Vol. I (1858) p. 136. The two almost identical short biographies seem to go back independently on a model by Flügel himself and are therefore to be regarded as the composer's earliest autobiographical testimony.
  2. ↑ Gustav Wandel: "From the life of a German church musician" in: Sunday paper of the Reichsbote No. 26 (Berlin, June 30, 1912) p. 205, after a handwritten note by Gustav Flügel. In this same choir later (1807–1809) Flügel's older colleague from Stettin, Carl Loewe, sang . Flugel's father was initially employed as a lackey at the court of Prince August Christian Friedrich von Anhalt-Köthen (1769-1812), possibly due to his musical abilities. As in Bach's time, the servants expanded the princely orchestra. It is questionable whether this position could be called lucky: “The prince was no friend of intellectual work. He loved hunting and eating. The prince beat up those around him, from court officials to lackeys, which meant that no one stayed with him for long. [...] Anyone who belonged to the prince's dog or horse stable could easily count on the prince's affection, and was given court positions even if he was not suitable. In retaliation, the servants who were beaten with the dog whip plundered the kitchen and cellar and told the prince that the pig had been there again and knocked over bottles and kitchen boards. Of course the servants beat up the kitchen boards and chased the terrible prince into bed. ”(Oskar Hartung: History of the city of Cöthen up to the beginning of the 19th century . Köthen 1900, p. 65 f.)
  3. ↑ Fritz Lubrich: "Gustav Flügel" in: Die Orgel Jg. III No. 7. (1892) p. 49. Johann Andreas Jakob Flügel (1738–1800), Gustav Flügel's grandfather, was probably a night watchman who possessed some musical skills to have. The proverbial guardian song could also be heard in Koethen. The guard duty of the night watch was in close connection with the town piper, who was until the collapse of the church tower at the beginning of the 17th century. also took care of the night tower watch. Then a special night tower watchman was appointed instead of the piper. This had the day with Horn, Zincken, trombones and "trumpets" blow from the tower, and "every Sunday the churches music after previously plowed exercitio circumspectly do." (Sh Oskar Hartung. History of the city Cöthen until the beginning of the 19th century . (Koethen, 1900) 156-161). In any case, the night has acquired a special meaning in the work of Gustav Flügel ( moths op. 14 and 16, through night to light op. 113 etc.)
  4. ↑ G. Flügel: "What should happen with regard to singing before attending elementary school and the seminar (with special consideration for seminar aspirants)?" Schulblatt für die Provinz Brandenburg , Vol. 21, No. 9/10 (1856) p . 543-558, here: p. 545.
  5. ↑ The identity results from the letter book notes Schumann No. 380 u. 417 (serial no. Of the Berlin correspondence 1836–1846)
  6. ↑ NZfM 5.2 (July 5, 1836) 8.
  7. ↑ NZfM 5.20 (September 6, 1836) 81.
  8. ↑ In the years before 1836, Flügel had often visited his old friend and classmate, the music teacher Louis Ruprecht from Egeln, in Schönebeck ( Urania 39.5 (1882) 68). In Magdeburg he lived in 1836 with Ruprecht, " who had left Schönebeck as a married man, in the same house at the Wasserkunst " ( Urania 39.5 (1882) 6)
  9. ↑ "Biographical Character Pictures of the Present. (Continued) Gustav Flügel. ”(Autobiography) Urania 39.9 (1882) 134 f.
  10. ↑ G. Flügel in: Urania 39.9 (1882) 135.
  11. ↑ G. Flügel in: Urania 39.9 (1882) 135.
  12. ↑ G. Flügel in: Urania 39.9 (1882) 135.
  13. ↑ G. Flügel in: Urania 39.9 (1882) 135.
  14. ↑ “ I say: I carried myself with the idea of ​​a gathering of German Tonkünstler, but without taking the task closer into consideration, and giving myself up to the hope of a realization. A coincidence decided; an external cause gave the impetus to put into practice what had long been recognized as necessary. It was last summer [1846] when the HH Schefter from Magdeburg and Flügel from Stettin visited Leipzig. In talking about the current state of music we came to the extent to which a union, how much a personal approach of the Tonkünstler and a consequent, unified and vigorous action was desirable, and the agreement in our views quickly gave rise to the idea of ​​a Tonkünstler meeting, a An assembly which, in order to have a practical starting point, in order to immediately acquire a certain character, must take an association of music teachers as its starting point. "(Franz Brendel in: NZfM 27.16 (23 August 1847) 96)
  15. ↑ NZfM 27.16 (23 August 1847) 93-96; 27:18 (August 30, 1847) 105-108; 27:19 (September 2, 1847) 113; 27.20 (September 6, 1847) 117 119; 21 (September 9, 1847) 121-126; 27.24 (September 20, 1847) 141-144; 27.26 (September 27, 1847) 153-156; 27.28 (October 4, 1847) 165-167; 27.30 (October 11, 1847) 177-180; see. Euterpe 7.11 & 12 (1847) 188ff.
  16. ^ Wiener Allgemeine Musik-Zeitung 7.99 (August 19, 1847) 400; see. Ernst Gottschald: "The first German Tonkünstlerversammlung in Leipzig, August 13th and 14th, 1847." Berliner musical newspaper 4.35 (August 18, 1847)
  17. ↑ “ Stettin. After the so-called anniversary singers in the Berlin Singakademie, in Leipzig, Cologne, Frankfurt a. M. and. have performed with success elsewhere, Stettin also took place on 9th of December. Mts. Opportunity to give full sympathy to the noble purpose of the company: "To offer slaves means and ways to soar to the dignified enjoyment of their freedom". The evening hall was packed and the repeated applause could only be taken as a sign of satisfaction. Apart from the purely musical-artistic point of view, we can only pay our full appreciation for the execution of the program, which was based on religious texts in English. Miss Porter (soprano) and Mr. Londin (bass) have voices with an unusual fullness of tone and have enjoyed a good education, which is gratifying proof of the musical ability of the Negro Race. But the ensemble of six women (four sopranos and two old men) and four men (two tenors and two basses) leaves nothing to be desired. The intonation of individual voices such as the choir is done with almost infallible certainty. A monotony that easily occurs in psalm-modifying chants is, if not completely lifted, at least softened by the modulation ability of these trained voices. A surprising effect is the formal evaporation of the choir, piano pianissimo, which is usually not heard in choral performances; unfortunately it is used in almost every piece, and hence to the manner. The quick-wittedness with which a single voice suddenly breaks out, without any noticeable preparation, purely and safely intoning its singing, and the choir also joins it, while the ten people sit quietly, is always of surprising effect. The trio "O rest'less Meer" by EA White, sung by Miss Porter, Mr. Londin and Mr. Butling (tenor) accompanied by Miss Ella Sheppard, found such a favorable reception that the end of the same had to be repeated on request. "O süße Heimat" offered sounds that were well known and popular in Germany, while the "I've been redeemed" with its trivial rhythm to the deeply religious texts really seemed like a completely unknown transatlantic world, and nothing less than a " noble rescue song ”. - But if one considers that those "slave tunes" heard by negroes, which, by the way, are quite effectively harmonized, arise from the sorrows and joys of a tormented race, then even the musician will not be able to deny them the participation that is given to folk songs from all corners of the sky, and in any case one experienced an art-historical event. ” (G. Flügel in: Allgemeine Deutsche Musik-Zeitung, 5th vol. No. 18 (May 3, 1878) p. 161). These are the famous Jubilee Singers from Tennessee, Maggie Porter (1853–1942), Frederick Loudin, Thomas Rutling (!) And Ella Sheppard are named by Flügel
  18. ↑ “But the good father is completely hypochondriac and makes life unnecessarily difficult for himself and others [?]; in the 14 days that I was there, we didn't even see him smile or even disgruntled ”(letter from son Carl to brother Paul dated February 23, 2879; in private.)
  19. ↑ G. Flügel: “Biogr. Character pictures d. Present. Gustav wing. " Urania 39.Jg. No. 3 (1882) pp. 34–36 (= Autobiogr. 1812–1827), Urania 39th year. No. 4 (1882) pp. 50-54 (= Autobiogr. 1827-1830); 39th year No. 5 (1882) pp. 68-70 (= Autobiogr. 1830-1836); 39th year No. 7 (1882) pp. 102-104 (= Autobiogr. 1836-1838); 39th year No. 9 (1882) pp. 134-136 (= Autobiogr. 1838-1842); 39th year No. 10 (1882) pp. 150-153 (= Autobiogr. 1842-1849); 40th year No. 1 (1883) pp. 2-4 (= Autobiogr. 1848 to 1850); 40th year No. 5 (1883) pp. 68-72 (= Autobiogr. 1850 to 1858). Flügel's autobiography, written at the age of 70, encompasses the first 46 years of his life on around 24 printed pages. Over the next 40 years as a palace organist in Szczecin, he did not comment in public.
  20. ↑ Correspondence with Hentschel : G. Flügel: "Memories." Euterpe 39th Vol. 8 (1880) pp. 129-131; No. 9 (1880) pp. 153-157; No. 10 (1880) pp. 173f .; No. 1 (1881) pp. 9f .; No. 2 (1881) pp. 27-32; No. 3 (1881) pp. 49-52; No. 4 (1881) pp. 65f. - Correspondence with Kühmstedt : Euterpe 42nd year (1883) pp. 129-31; 143-145; 175f., Parts of it he had already published in 1858 in the Utrecht Cäcilia : Cäcilia 15 vol. No. 5 (March 1, 1858) title page (45f.); No. 6 (March 15, 1858) title page (57f.). - He had published his correspondence with Mendelssohn as early as 1854: Euterpe 14th vol. No. 2 (1854) pp. 19f .; No. 3 (1854) pp. 40-43; Spohr's letters in extract as early as 1857 ( Niederrheinische Musikzeitung 5th year No. 24 (June 13, 1857) p. 191), and in full in 1860 in Euterpe, 19th year No. 6 (1860) p. 98f.
  21. ↑ Gustav Flügel: Letter to Alfred Dörffel . Berlin State Library - Prussian Cultural Heritage. April 28, 1868. Retrieved April 25, 2019.
  22. ↑ JC Lobe: "Gustav Flügel." Allgemeine Musikalische Zeitung ( AMZ ) 49th year. No. 38 (September 22, 1847) Col. 650f.
  23. ↑ Allgemeine Musikalische Zeitung 49 (1847), Col. 620
  24. ^ Letter from Johannes Brahms (around May 5, 1860) from Hamburg to Joachim in which he reported that he agreed to his “Declaration against the New Germans”: “Our“ Declaration ”was signed by acquaintances from the Rhine, Kirchner, v. Perfall, Reinecke [...] wings, Schäffer don't do it; their 'because' is of no interest. ”(A. Moser (Ed.): Brahms Briefwechsel, Vol. V. Letters with Joachim 1st volume (Berlin, 1908) 268)
  25. ↑ G. wing: "R. Wagner's performances in Bayreuth “ Euterpe 36.1 (1877) 9–11; “Continuation” 36.2 (1877) 37-40; “Continuation” 36.3 (1877) 51-55; "Conclusion" 36.4 (1877) 75-77.
  26. ↑ Allgemeine Musikalische Zeitung ( AMZ ) 48.14 (April 8, 1846) Col. 233.
  27. ↑ Niederrheinische Musik-Zeitung 4.23 (June 7, 1856) 181.
  28. ↑ AMZ 48.42 (October 21, 1846) Col. 704-706
  29. ^ Neue Zeitschrift für Musik ( NZfM ) 25.29 (October 7, 1846)
  30. ↑ Berliner Musik-Zeitung 4.27 (July 3, 1847).
  31. ↑ AMZ 48.25 (June 24, 1846) Col. 420 f.
  32. ^ Quote from Euterpe 40.3 (1881) 51
  33. ↑ NZfM 78.24 (June 9, 1882) 255.
  34. ↑ Op. 82 = SFB Telcom 401898; Op. 85 = SFB Telcom 400922, Op. 88 = SFB Telcom 400923; Op. 109 = SFB Telcom 400924.
  35. ↑ (works for pianoforte) in: Euterpe 28th vol. No. 10 (1869) p. 175; “Gustav Flügel's piano works” in: Euterpe 33rd vol. No. 7 (1874) pp. 119f .; "For mixed choir" No. 1-18 in: Euterpe 28.Jg. No. 9 (1869), p. 156; "For mixed choir" No. 1-47 (No. 1-18 not identical to 1869!) In: Euterpe 39th year No. 9 (1880) pp. 156f .; "For the male choir" No. 1-70 in: Euterpe 28.Jg. No. 8 (1869) pp. 149f .; "For the male choir" No. 71-111 in: Euterpe 39.Jg. No. 8 (1880) pp. 129f .; “For 2 sopranos u. Alt “No. 1-6 in: Euterpe 39. Vol. 8 (1880) pp. 130f .; “For 2 sopranos u. Alt “No. 7-91 in: Euterpe 39.Jg No. 9 (1880) p. 153f .; "For organ" in: Euterpe 39.Jg. No. 9 (1880) pp. 156f. Finally, his “Directory of Organ Composition by Gustav Flugel” (up to and including Op. 113) appears in: der Urania 51. Vol. No. 9 (1894) p. 71.
personal data
SURNAME Wing, Gustav
ALTERNATIVE NAMES Wing, Carl Gustav (full name)
BRIEF DESCRIPTION German composer
DATE OF BIRTH July 2, 1812
PLACE OF BIRTH Nienburg on the Saale
DATE OF DEATH 15th August 1900
Place of death Szczecin