Hans Engel (musicologist)

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Hans Engel (born December 20, 1894 in Cairo , † May 15, 1970 in Marburg ) was a German musicologist .

Life

As the son of leprosy doctor Franz Engel Bey , Hans Engel attended the German School in Cairo, then the Berthold Gymnasium in Freiburg and the Realgymnasium in Munich. In Munich he studied from 1913 to 1915 and from 1918 to 1922 piano with Eduard Bach, organ with Joseph Maier and composition with Friedrich Klose at the Academy of Music. From 1922 to 1924 he took private conducting lessons from Hugo Röhr and then received his doctorate with a dissertation on the subject of the development of the German piano concerto from Mozart to Liszt .

He turned completely to musicology and completed his habilitation in 1925 at the Prussian University of Greifswald . Here in 1926 he became director of the musicology seminar, initially as a private lecturer, then from 1932 as an associate professor . One of the main areas of Engels in Greifswald was the musical history of Pomerania: He initiated the establishment of the Association for the Care of Pomeranian music, with whose support he the monuments of Music in Pomerania could give out in four volumes, and in 1932 the magazine Music in Pomerania that after his His successor Walther Vetter continued to leave Greifswald until 1942. Engel was also particularly active in the field of new music. He performed works by Béla Bartók , Paul Hindemith , Arnold Schönberg and other avant-garde composers - also against the resistance of the emerging National Socialism - and founded the Free Association for the Care of Contemporary Music with the conductor Erich Peter in 1927 .

In 1935 Engel was appointed associate professor at the Albertus University in Königsberg , where in 1936 he became the choir leader for East Prussia. After he became a member of the NSDAP ( membership number 8.902.866) on October 1, 1941 , he was given a chair in Königsberg in 1944 .

Nevertheless, he claimed in the court proceedings to have been an "active opponent of National Socialism". He was able to credibly substantiate this statement with an exceptionally high number of Persil notes , some from relevant opponents of the regime such as Konrat Ziegler , the Righteous Among the Nations . After denazification , he was appointed full professor of musicology at the Philipps University of Marburg in 1946 , where he held the first chair for musicology. Up to his retirement in 1967 he expanded the institute considerably and was one of the "most influential musicologists in Germany in the early post-war period ".

Works

  • Monuments of Music in Pomerania , 4 vols., Leipzig 1930–1936.
  • Germany and Italy in their musical-historical relations (Von deutscher Musik, vol. 68/70), Regensburg 1944.
  • Music and society. Building blocks for a music sociology (Voices of the 20th Century, Vol. 3), Berlin-Halensee 1960.
  • The solo concert ( Das Musikwerk , vol. 25), Cologne 1964.

literature

  • Jörg Rothkamm, Jonathan Schilling: Forty-two Persil notes and the new music. Hans Engel's path to the University of Marburg and his work in the early post-war period. In: Jörg Rothkamm, Thomas Schipperges (Hrsg.): Musicology and politics of the past. Research and teaching in early post-war Germany . Munich 2015, pp. 123–173.

Web links

Individual evidence

  1. a b c Erich H. Müller: German Musicians Lexicon. Dresden 1929.
  2. a b Fred K. Prieberg : Handbook of German Musicians 1933–1945 , CD-Rom 2004, p. 1414.
  3. ^ Hilde Göbber: Preliminary remark . In: Baltic Studies . Volume 65 NF., 1979, pp. 79-81.
  4. See Rothkamm / Schilling 2015, pp. 141–145 et al
  5. ^ A b Ernst Klee : The cultural lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5 , p. 136.
  6. See the chapter “Denazification of Engels” in Rothkamm / Schilling 2015, pp. 127-133
  7. Rothkamm / Schilling 2015, p. 149.