Karl Amadeus Hartmann

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Marble bust of Karl Amadeus Hartmann by Wolfgang Eckert in the Munich Hall of Fame

Karl Amadeus Hartmann (born August 2, 1905 in Munich ; † December 5, 1963 there ) was a German composer . He was the founder of the musica viva concert series , which, along with the Donaueschingen Music Days , the summer courses in Darmstadt and the Witten Days for Contemporary Music, is the most important concert series of contemporary music with a focus on orchestral music.

Life

Karl Amadeus Hartmann was the youngest son of the teacher and painter Friedrich Richard Hartmann and his wife Gertrud Hartmann. He grew up in an educated middle class family. The oldest of his three brothers was the portrait painter Adolf Hartmann .

In 1919 he began a teacher training course in Pasing , which he broke off after three years. Even then, music was his real career aspiration. Between 1924 and 1929 Hartmann studied trombone and composition at the State Academy of Music in Munich (with Joseph Haas ). From 1928 he presented his first works to a larger audience in the opera studio of the Bavarian State Opera and in concerts by the “ jury-free ”. Experiments with Dadaist and jazz- influenced compositions also fell during this period. However, Hartmann later destroyed these works. In addition, he got to know Hermann Scherchen , who was to become a role model and whom he met several times in Switzerland during the Second World War.

In 1934 he married Elisabeth Reussmann, whom he had met among the jury-free group. The following year son Richard was born.

After the “ seizure of power ” by the National Socialists , he retired, according to Fred K. Prieberg, “to Kempfenhausen on the Starnberger See and, although a member of the RMK , boycotted the Nazi regime by keeping his work off the German market and placing it abroad a loophole in the culture chamber legislation, which is why the RMK could not intervene ". From 1933 he composed his orchestral work Miserae, which premiered in Prague in 1935, and which he understood as an expression of protest against National Socialism. He dedicated it “My friends, who have had to die a hundred times over, who sleep for eternity, we will not forget you. Dachau 1933/34 ". Until the end of National Socialism in 1945, with the exception of incidental music for Shakespeare's Macbeth (1942), his plays were not performed in Germany. Hartmann himself was not persecuted, but had withdrawn into " inner emigration ", composed mostly "for the drawer" and lived mainly from the support of his in-laws. During this time he composed the 1st string quartet "Carillon" (1933), the 1st symphony (1935/1936) and the Concerto funèbre (1939). Brief lessons with Anton Webern in Maria Enzersdorf near Vienna in November 1942 had some influence on his subsequent work .

In 1945 Hartmann became a dramaturge at the Bavarian State Opera . In the following years he published his revised works , mostly under the working title Symphony . In addition, with the support of the Allies of World War II and the Bavarian Radio, which was founded after 1945, he founded the Munich concert series Musica Viva for the performance of avant-garde music, a task to which he paid a lot of attention until his death. The series still exists today.

After the war, he erased most of the political references from his work and, after initial arguments, reconciled himself with the composers Carl Orff and Werner Egk, who remained active during the Nazi era . Although he was critical of the restoration in the Federal Republic, he turned down an invitation from the GDR state to relocate.

With the increasing number of performances of his works, so did his recognition, which was expressed in many honors.

On December 5, 1963, Karl Amadeus Hartmann died of complications from cancer. He was buried in the Munich forest cemetery. A memorial plaque is attached to his house on Franz-Josef-Straße in Schwabing .

Compositions (selection)

Stage works

Vocal compositions

  • Cantata (1933) for 6-part male choir a cappella
    Sequence of sentences: 1.  Coal bread. Text: Johannes R. Becher - 2.  We have a world to win. Text: Karl Marx
  • 1st symphony. Attempt of a Requiem (1935/36; revised 1954/55) for alto voice and orchestra. Text: Walt Whitman
  • Friede anno 48 (“World, boast what you want”; 1936/37). Cantata for soprano, 4-part mixed choir and piano. Text: Andreas Gryphius
  • Lamento (1955). Cantata for soprano and piano. Texts: Andreas Gryphius
    Sentence sequence: 1.  Misery - 2.  To my mother - 3.  Peace
  • Ghetto (1961). Text: Jens Gerlach. Contribution to the joint project Jüdische Chronik (with Paul Dessau , Boris Blacher , Rudolf Wagner-Régeny , Hans Werner Henze ) for alto, baritone, chamber choir, 2 speakers and small orchestra. Premiere January 14, 1966 Cologne ( WDR Sinfonieorchester , conductor: Christoph von Dohnányi )
  • Singing scene (1962/63; fragment) for baritone and orchestra. Text: Jean Giraudoux (from Sodom and Gomorrah )

Ensemble and orchestral works

  • Burlesque music (1931) for wind instruments, percussion and piano
    Movement sequence: 1.  Prelude - 2.  Fast dance - 3.  Intermezzo - 4.  Slow dance - 5.  March
  • Small concert (1931/32) for string quartet and percussion
  • Lied (1932) for trumpet and wind ensemble (= 2nd movement from the lost concerto for trumpet and orchestra )
  • Concertino (1933) for trumpet with 7 solo instruments
  • Miserae (1933/34). Symphonic poem for orchestra
  • Chamber concert (1930/35) for clarinet, string quartet and string orchestra
    Movement sequence: 1.  Introduction - 2.  Dance Variation - 3.  Fantasy
  • 1st symphony. Attempt of a Requiem (1935/36; revised 1954/55): see under vocal compositions
  • L'Œuvre (1937/38). Symphony for orchestra
    Movement sequence: 1.  Toccata variata (introduction - theme with variations) - 2.  Adagio
  • Concerto funebre (1939 as Music of Mourning ; revised 1959) for violin and string orchestra
    Movement sequence: 1st  introduction (Largo) - 2nd  Adagio - 3rd  Allegro di molto - 4th  chorale (slow march)
  • Symphonic Overture (1942, as Symphonic Overture "China fights"; revised 1947)
  • Sinfonia tragica (1940/43) for orchestra
  • Symphonic hymns (1941/43) for large orchestra
  • Lamentation (1944/45) for large orchestra
  • Adagio (2nd Symphony) (1946) for large orchestra
  • 3rd Symphony (1948/49) for large orchestra
  • 4th Symphony (1948) for string orchestra
    Movement sequence: 1.  Lento assai con passione - 2.  Allegro di molto, risolato - 3.  Adagio appassionato
  • Symphonie concertante (Symphony No. 5) (1950) for orchestra
    Movement sequence: 1st  Toccata - 2nd  melody (Hommage à Stravinsky ) - 3rd  Rondo
  • 6th Symphony (1951/53) for large orchestra
    Movement sequence: 1.  Adagio - 2.  Toccata variata
  • Concerto (1953) for piano, wind instruments and percussion
    Sequence of movements: 1.  Andante et Rondeau varié - 2.  Mélodie - 3.  Rondeau variè
    • Extended new version: Concerto (1954/56) for viola and piano accompanied by wind instruments and percussion
      Movement sequence: 1st  rondo - 2nd  melody - 3rd  rondo variè
  • 7th Symphony (1958) for large orchestra
    Movement sequence: 1.  Ricercare - 2.  Adagio mesto - 3.  Finale: Virtuoso Scherzo
  • 8th Symphony (1960/62) for large orchestra

Chamber music

  • Jazz Toccata and Fugue (1928) for piano
  • Sonatina (1931) for piano
    Sentence sequence: 1.  Extremely lively - 2.  Very broad, expressive
  • Dance Suite (1931) for clarinet, English horn, bassoon, trumpet and trombone
    Movement sequence: 1.  Funny (quarter) - 2.  Very slow quarter - 3.  Quiet quarter - 4.  Lively, very energetic (march)
  • 1st string quartet ("Carillon") (1933)
    Sentence sequence: 1.  Slow - very lively - 2.  MM = 66 - 3.  MM = 120
  • Sonata (April 27, 1945) for piano
    Movement sequence: 1.  Moved - 2.  Scherzo - 3.  Adagio marciale - 4.  Allegro furioso (stormy, passionate)
    A contemporary historical document, to which Hartmann added the following words: "On April 27 and 28, 1945 a stream of people from Dachau 'protective prisoners' dragged past us - the stream was endless - the misery was endless - the suffering was endless -"
    There are two manuscripts of this sonata.
  • 2nd string quartet (1945/46)
    Movement sequence: 1.  Slow - extremely lively and very energetic - 2.  Andantino - 3.  Presto

literature

From Karl Amadeus Hartmann:

About Karl Amadeus Hartmann:

  • Karl Amadeus Hartmann and the String Quartet - With historical and new voice recordings by the Hartmann family. 3 SACDs with historical voice recordings by Karl Amadeus Hartmann, Ulrich Dibelius in conversation with Karl Amadeus Hartmann's wife Elisabeth, Mirjam Wiesemann in conversation with Karl Amadeus Hartmann's son Richard. Cybele Records, Edition Artists in Conversation, 2009, ISBN 978-3-937794-06-8 .
  • Carola Arlt: From the jury free to musica viva - Karl Amadeus Hartmann and the new music in Munich. Peter Lang, Frankfurt am Main 2010, ISBN 978-3-631-60308-6 .
  • Ulrich J. Blomann: Karl Amadeus Hartmann am Scheideweg - A German composer between democratic renewal and the Cold War 1945–1947. Dortmund, Techn. Univ., Diss., 2009 (summary in: liquidmusicology.org ).
  • Ulrich Dibelius : Karl Amadeus Hartmann. Composer in conflict. Bärenreiter-Verlag, Kassel 2004.
  • Norbert Götz: Counteraction - Karl Amadeus Hartmann. Exhibition catalog for the Hartmann exhibition in the Munich City Museum. Edition Minerva, Wolfratshausen 2005.
  • Inga Mai Groote (Ed.): Karl Amadeus Hartmann: Composer between the fronts and times. Schneider, Tutzing 2010, ISBN 978-3-86296-009-5 .
  • Constantin Grun: Richard Strauss and Karl Amadeus Hartmann - two people from Munich between war and peace. In: The music research . 62nd vol. (2009), No. 3, ISSN  0027-4801 , pp. 251-261.
  • Barbara Haas: Contemporary witnesses and documents - for the composer's 100th birthday. Foreword by Joachim Kaiser. Heinrichshofen 2004 (in conversation with over 111 contemporary witnesses).
  • Barbara Haas: The Munich composers triad Hartmann-Orff-Egk. In: Ulrich Dibelius (Ed.): Karl Amadeus Hartmann. Composer in conflict. Kassel 2003.
  • Werner Heister: I sit and look at all the plagues of the world ... - Karl Amadeus Hartmann's composition against fascism and war. In: Lück and Senghaas: From Audible Peace. Suhrkamp, ​​Frankfurt am Main 2005, ISBN 3-518-12401-3 .
  • Jost Hermand: Hermann Scherchen, Wolfgang Petzet and Karl Amadeus Hartmann: Simplicius Simplicissimus (1934/35) - the opera as a political display framework. In: Ders .: Splendor and misery of German opera. Böhlau, Cologne 2008, ISBN 978-3-412-20098-5 .
  • Andreas Jaschinski: Karl Amadeus Hartmann - Symphonic tradition and its dissolution. Musikverlag Emil Katzbichler, Munich 1982, ISBN 3-87397-118-6 .
  • Mathias Lehmann: The Thirty Years War in Music Theater during the Nazi Era. Investigations into political aspects of music using the example of Karl Amadeus Hartmann's " Des Simplicius Simplicissimus Jugend ", Ludwig Maurick's "Simplicius Simplicissimus", Richard Mohaupt's "The crooks of Courasche", Eberhard Wolfgang Möllers and Hans Joachim Sobanski's "Das Frankenburger Würfelspiel" and Joseph Gregors and Richard Strauss ' " Peace Day ". Hamburg 2004.
  • Andrew D. McCredie: Karl Amadeus Hartmann. His life and work. Florian Noetzel Verlag, Wilhelmshaven 2004, ISBN 3-7959-0297-5 .
  • Franzpeter Messmer: Karl Amadeus Hartmann Year 2005 in Bavaria. Hartmann, Munich 2004.
  • Peter Petersen : Hans Werner Henze and Karl Amadeus Hartmann. A look back at their friendship and cooperation. In: Archives for Musicology . Vol. 71, 2014, issue 1, pp. 65–83, JSTOR 24467177 .
  • Fred K. Prieberg : Music and Power . Fischer, Frankfurt am Main 1991, ISBN 3-596-10954-X .
  • Ulrich Tadday (Ed.): Karl Amadeus Hartmann. Simplicius Simplicissimus (= music concepts. Issue 147). edition text and criticism, Munich 2010, ISBN 978-3-86916-055-9 .
  • Jürgen Schläder (Ed.): How one becomes what one is. The Bavarian State Opera before and after 1945 . Henschel, Leipzig 2017, ISBN 978-3-89487-796-5 , Karl Amadeus Hartmann, p. 310 f .
  • Rudolf Stephan:  Hartmann, Karl Amadeus. In: New German Biography (NDB). Volume 7, Duncker & Humblot, Berlin 1966, ISBN 3-428-00188-5 , p. 745 ( digitized version ).
  • Raphael Woebs: The Political Theory in New Music. Karl Amadeus Hartmann and Hannah Arendt. Wilhelm Fink Verlag, Munich 2010, ISBN 978-3-7705-4936-8 .

Awards

Web links

Commons : Karl Amadeus Hartmann  - Collection of images, videos and audio files

Individual evidence

  1. ^ Quote from Fred K. Prieberg, in: Handbook of German Musicians 1933–1945. CD-Rom Lexicon. Kopf, Kiel 2004, DNB 976582554 , pp. 2.680–2.681.
  2. ^ Quotation from Fred K. Prieberg, in: Handbook of German Musicians 1933-1945. CD-Rom Lexicon. Kopf, Kiel 2004, p. 2.680.
  3. ^ Fred K. Prieberg: Handbook of German Musicians 1933–1945. CD-Rom Lexicon. Kopf, Kiel 2004, p. 2.682.
  4. ↑ Jürgen Schläder (Ed.): How one becomes what one is. The Bavarian State Opera before and after 1945 . Henschel, Leipzig 2017, ISBN 978-3-89487-796-5 , Karl Amadeus Hartmann, p. 310 f .
  5. ^ Website of the Musica Viva at the BR
personal data
SURNAME Hartmann, Karl Amadeus
BRIEF DESCRIPTION German composer
DATE OF BIRTH 2nd August 1905
PLACE OF BIRTH Munich , Kingdom of Bavaria , German Empire
DATE OF DEATH 5th December 1963
Place of death Munich , Bavaria , Federal Republic of Germany