Peter Cahn (musician)

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Peter Cahn (born October 23, 1927 in Frankfurt am Main ; † January 29, 2016 ibid) was a German music teacher , composer and musicologist .

Life

Peter Cahn was the son of the well-known Frankfurt lawyer and notary Max Ludwig Cahn (1889-1967) and his wife Ottilie (Tilly) Therese Pauline Schulze (born January 4, 1892). As a pupil he learned to play the piano with Lotte Kahn and took lessons on the cello from Alexander Molzahn . As the son of a Jewish father, he was denied both the Abitur at the Lessing Gymnasium and the Hoch Conservatory .

After 1945 he studied composition privately with Johann Friedrich Hoff and Kurt Hessenberg , piano with August Leopolder and choral conducting with Kurt Thomas . This was followed by studies in musicology, music education and classical philology at the Frankfurt University of Music and at the Johann Wolfgang Goethe University .

From 1954 on, Peter Cahn taught at Frankfurt grammar schools and at the conservatory. From 1962 he worked at the musicological institute of the Johann Wolfgang Goethe University as a lecturer for form theory and music theory , where he headed the Collegium Musicum . At the same time he was given a teaching position for composition , form theory and aural training at the Frankfurt University of Music and Performing Arts , which appointed him professor of music history and music theory in 1982 .

He composed two and four-handed piano compositions, chamber music of various instrumentations, songs and cantatas, stage music and orchestral works.

As a musicologist, in addition to the Festschrift Das Hoch'sche Konservatorium in Frankfurt am Main, from 1878 to 1978 he published works on design in Beethoven's work , on Paul Hindemith and Hans Pfitzner, as well as numerous articles on Frankfurt's music history. From 1986 to 2006 he was co-editor of the magazine "Musiktheorie". In addition to his participation in the Funkkolleg "Musikgeschichte", he also worked on the complete edition of Paul Hindemith's works.

Cahn had been a member of the Frankfurt Telemann Society, which he co-founded, since 1992 . Since 2010, Cahn has been an honorary senator at the Frankfurt University of Music and Performing Arts. In 2013 he was awarded the Goethe plaque from the city of Frankfurt am Main “in recognition of his special services” .

literature

  • Composers in Frankfurt . Booklet accompanying the exhibition in the City and University Library June 11 - July 19, 1979, ed. by Hartmut Schaefer, p. 74 f.
  • Hans Riebsamen: Frankfurt faces: Peter Cahn . Frankfurt: Frankfurter Allgemeine Zeitung, February 12, 2005
  • Gerhard Schroth: A musician for Frankfurt , in: Taunus Edition. Magazine for Culture and Lifestyle , 6th year, winter 2007/2008, p. 10 f.

Fonts (selection)

Independent publication

  • The Hoch Conservatory in Frankfurt am Main (1878–1978) , Frankfurt am Main 1979 (also Diss. Phil. Frankfurt 1980).

Essays

  • About the function of the horns and trumpets in the classical orchestral setting. In: P. Cahn, U. Aarburg, W. Stauder (eds.): Festschrift H. Osthoff . Tutzing 1969.
  • The scene in Debussy's Pelléas et Mélisande. In: Congress report Bonn 1970. Kassel 1971, pp. 207–212.
  • Hindemith's cadences. In: Hindemith yearbook. 1971 / I, pp. 80-134.
  • Hindemith's apprenticeship in Frankfurt. In the Hindemith yearbook. 1972 / II, pp. 23-47; also in: L. Schader, S. Schaal (Ed.): About Hindemith. Essays on work, aesthetics and interpretation. Mainz 1996, pp. 15-39.
  • On the prehistory and early days of the Hoch Conservatory. In: Joseph Hoch on the 100th anniversary of his death. Frankfurt am Main 1974, pp. 37-53.
  • Paul Hindemith in Frankfurt. In: Hindemith yearbook. 1976 / V, pp. 21-42.
  • A Reichenau manuscript in Frankfurt a. M .: The music treatise of Joh. Floeß (1419). In: L. Finscher (Ed.): Renaissance Studies. Festschrift H. Osthoff. Tutzing 1979, pp. 9-27.
  • The orchestral works by Gerhard Frommel. In: P. Cahn, W. Osthoff, JP Vogel (Eds.): Gerhard Frommel. The composer and his work. Tutzing 1979, pp. 97-119.
  • On some aspects of material thinking in 20th century music. In: Hindemith yearbook. 1980 / IX, pp. 193-205.
  • Mimi Kwast and Percy Grainger. An unknown chapter in Pfitzner's biography. In: Communications from the Hans Pfitzner Society. 43, 1981, pp. 78-90.
  • Church music to St. Katharinen. In: J. Proescholdt (Ed.): St. Katharinen zu Frankfurt am Main. Frankfurt am Main 1981, pp. 277-296, pp. 291-293, pp. 293-315.
  • Aspects of the final design in Beethoven's instrumental works. In: Archives for Musicology . 39, 1982, pp. 19-38.
  • On the character of Pfitzner's late style using the example of the Small Symphony, Op. 44. In: W. Osthoff (Ed.): Symposium Hans Pfitzner Berlin 1981. Tutzing 1984, pp. 99–113.
  • Traditional contexts in Shostakovich's string quartets. In: KW Niemöller, Z. Zaderackij (Hrsg.): International Shostakovich Symposium Cologne 1985. Regensburg 1986, pp. 397-416.
  • From early letters by Hans Werner Henze. In: Dieter Rexroth (Ed.): The composer Hans Werner Henze. Schott, Mainz 1986, pp. 20-30.
  • Wilhelm Furtwängler in the mirror of unknown letters. In: New magazine for music. 147, 1986, pp. 262-279.
  • Carl Czerny's first description of the sonata form (1832). In: Music Theory. I, 1986, pp. 262-279
  • Christoph Graupner's symphonies. In: O. Bill (Ed.): Chr. Graupner, Hofkapellmeister in Darmstadt. Mainz 1987, pp. 213-268.
  • “Ars poetica und musica poetica ” in music theory of the 15th and 16th centuries. In: FR Varwig (ed.): Ainigma. Festschrift H. Rahn. Heidelberg 1987, pp. 23-33.
  • Hindemith's clarinet quintet and its two versions. In the Hindemith yearbook. 1987 / XVI, pp. 138-152.
  • Johannes Brahms, Intermezzo in B flat major op. 76 No. 4. In: Musica. 42, 1988, pp. 47-51.
  • Scheibe's criticism of Bach and the end of the Baroque. In: Funkkolleg Musikgeschichte. Study cover letter 5. Weinheim / Mainz 1988, pp. 11–59; expanded in: S. Ehrmann-Herfort, L. Finscher, G. Schubert (eds.): European music history. Volume 1. Kassel 2002, pp. 407-469.
  • On the prehistory of the “Opus perfectum et absolutum” in the musical view around 1500. In: K. Hortschansky (Ed.): Signs and structure in the music of the Renaissance. Symposium Münster 1987. Kassel 1989, pp. 11-26.
  • Gabriel Fauré's last Verlaine setting (“Prison”) and the tradition of “Plainte” and “Lamento”. In: Martin Just, Reinhard Wiesend (ed.): Lied studies. Wolfgang Osthoff on his 60th birthday. Tutzing 1989, pp. 453-471.
  • Kurt Hessenberg's string quartets. In: P. Cahn (Ed.): K. Hessenberg, contributions to life and work. Mainz 1990, pp. 67-86.
  • A handwritten theory of forms by Bernhard Sekles. In: J. Kuckertz u. a (Ed.): Festschrift R. Stephan. Laaber, Laaber 1990, pp. 417-426.
  • On Beethoven's Piano Trio in E flat major, Op. 70 No. 1. In: R. Bockholdt, P. Weber-Bockholdt (Eds.): Beethoven's Piano Trios. Symposium Munich 1990. Munich 1992, pp. 130-144.
  • Gottfried Weber and the music of the Viennese classical period. In: A. Beer (Hrsg.): Studies on Gottfried Weber's work and his view of music. Mainz 1993, pp. 3-26.
  • Gerhard Frommel's “Nachtstück I” from “Caprichos. 6 piano pieces op. 14 “. In: Musica. 47, 1993, p. 182 f.
  • Humperdinck's Pfitzner reviews. Text and context. In: Communications from the Hans Pfitzner Society. 53, 1993, pp. 3-25.
  • Counterpoint features in Pfitzner's songs. In: W. Osthoff (ed.): Hans Pfitzner and the musical poetry of his time. Symposium Hamburg 1989. Tutzing 1994, pp. 13-39.
  • Humperdinck as a critic of the Frankfurter Zeitung. In: AB Kersting (Hrsg.): 100 years "Hansel and Gretel". Mainz 1994, pp. 62-71.
  • Beethoven, 3 string trios in G major, D major and C minor op. 9. In: A. Riethmüller, C. Dahlhaus, A. Ringer (Eds.): Beethoven. Interpretations of his works. Volume I. Laaber, Laaber 1994, pp. 60-71; Violin Sonata in A minor, Op. 23. Laaber, Laaber 1994, pp. 190-196; Violin Sonata in G major op. 96. Volume II. Laaber, Laaber 1994, pp. 86-92.
  • Soliloquium and dialogue. Augustine on music. In: P. Ackermann, U. Kienzle, A. Nowak (Eds.): Festschrift W. Kirsch. Zutzing 1996, pp. 11-20.
  • Hans Pfitzner's Violin Concerto. In: W. Keil (Ed.): Music of the 20s. Hildesheim 1996, pp. 59-85.
  • Fauré's "Á Clymène". Reflections on the “forme nouvelle” in the “Cinq Mélodies de Venise”. In: P. Jost (Ed.): Gabriel Fauré. Work and reception. Kassel 1996, pp. 130-141.
  • Rameau's theory as a source of musical expression. In: Yearbook of the State Institute for Music Research Prussian Cultural Heritage. 1999, pp. 77-91.
  • On the relationship between academic music research and contemporary music in Germany between the end of the First World War and the early 1960s. In: A. Gerhard (Ed.): Musicology - a belated discipline. Academic music research between belief in progress and denial of modernity. Stuttgart / Weimar 2000, pp. 233-256.
  • Telemann's Frankfurt Chamber Music. In: P. Cahn (Ed.): Telemann in Frankfurt. Mainz 2000, pp. 196-207.
  • The Filippo - Posa scene in Verdi's “Don Carlos”. In: D. Goldin Folena, W. Osthoff (Ed.): Verdi and the German literature. Conference in the Centro Tedesco di Studi Veneziani , 20./21. November 1997. Laaber, Laaber 2002, pp. 249-277.
  • Goethe and the Frankfurt musical life of his time. In: A. Ballstaedt, U. Kienzle, A. Nowak (eds.): Music in Goethe's work - Goethe's work in music. Schliengen 2003, pp. 11-29.
  • Frankfurt as a station for traveling virtuosos in the 18th century. In: C. Meyer (Ed.): Le musicien et ses voyages. Pratiques, réseaux and presentations. Berlin 2003, pp. 127–141.
  • Problems of form in Beethoven's “Freyer Sonate” op. 102, no.1. In: S. Brandenburg, I. Maass, W. Osthoff (eds.): Beethoven's works for piano and violoncello. Report on the international specialist conference. Bonn, 18. – 20. June 1998. Bonn 2004, pp. 239-263.
  • Clara Schumann and Bernhard Scholz: Unknown evidence of the “reorganization” of the Hoch Conservatory. In: M. Fend, M. Noiray (eds.): Musical Education in Europe (1770-1914). Volume 2. Berlin 2005, pp. 503-515.
  • Beethoven's drafts for a D minor symphony from 1812. In: Musiktheorie. 20, 2005, pp. 123-129.
  • The festival on Solhaug and the melodramas. In: R. Franke, W. Osthoff, R. Wiesend (eds.): Hans Pfitzner and the musical theater, report on the Thurnau symposium 1999. Tutzing 2007, pp. 1–17.
  • New sources on the family of the organist and concert entrepreneur Johann Matthäus Kayser in Frankfurt am Main. In: G. Busch-Salmen (Ed.): Philipp Christoph Kayser (1755–1823). Composer, writer, educator, friend of Goethe's youth. Hildesheim 2007, pp. 25-45.
  • Franz Schubert's Thekla songs. In: H. Geyer, W. Osthoff (Ed.): Schiller and the music. Cologne / Weimar 2007, pp. 17–33.
  • Telemann's years in Frankfurt. In: Evelyn Brockhoff (Ed.): Archive for Frankfurt's history and art. 71. Frankfurt 2008, pp. 17-26.

expenditure

  • Frankfurt music history studies , Helmuth Osthoff on his 70th birthday, Tutzing 1969.
  • Gerhard Frommel. The composer and his work , ed. by P. Cahn, W. Osthoff and JP Vogel, Tutzing 1979.
  • Carl Israel, Frankfurter Concert Chronicle from 1713–1780 . Reprographic reprint of the 1876 edition with foreword, appendix and register, Frankfurt 1986.
  • Kurt Hessenberg. Contributions to life and work , Mainz 1990.
  • De Musica et Cantu. Studies on the history of church music and opera , Helmut Hucke on his 60th birthday, ed. by P. Cahn and A. Heimer, Hildesheim 1993.
  • Hans Pfitzner, “The Heart” and the transition to the late work . Symposium Rudolstadt 1993, ed. by W. Osthoff and P. Cahn, Tutzing 1997.
  • Telemann in Frankfurt. Report on the Symposium Frankfurt am Main, 26./27. April 1996 , Mainz 2000.

Music editions

  • Paul Hindemith, Complete Works , on behalf of the Hindemith Foundation ed. by K. v. Fischer and L. Finscher, Series V Volume 6: Streicherkammermusik III , Mainz 1976.
  • Paul Hindemith, Complete Works , on behalf of the Hindemith Foundation, Series V, Volume 1: Bläserkammermusik I , ed. by P. Cahn and A. Heimer.
  • Georg Philipp Telemann, "It's in vain that you get up early", cantata for the 5th Sunday after Trinity (1720), based on the manuscript of the Frankfurt University Library, ed. by E. Hanau and P. Cahn, Frankfurt / M. 2001.

Articles for encyclopedias

  • The music in the past and present . Second revised edition (MGG 2), ed. by L. Finscher, in it by P. Cahn: Diatonik-Chromatik-Enharmonik , Frankfurt am Main , Canon , Composition C. Aspects of the history of composition from approx. 1600 to approx. 1950 , Georg Draud (Draudius), Gerhard Frommel , Pythagoras , Quintilian (Marcius Fabius Quintilianus).
  • Concise Dictionary of Musical Terminology , ed. by HH Eggebrecht, A. Riethmüller, Stuttgart 1973 ff. (therein by P. Cahn: Transitus ; Retardatio, ritardando ; Repercussio ).

Works (selection)

Chamber music and piano works

  • Sonata for violin and piano (1951)
  • Sonata for cello and piano (1953)
  • Seven easy pieces for piano 4 hands (1953)
  • Divertimento for flute, oboe and bassoon (1954)
  • Three Duos for 2 Violins (1954)
  • Quintet movement for 3 violins, viola and cello (1955)
  • Five piano pieces (1975/76)
  • Two songs for soprano and flute (1980)
  • Trio for violin, cello and piano (1981)

Orchestral works

  • Concertino for flute and string orchestra (1950)
  • Concertante music for violin and string orchestra (1956)
  • Concerto for small orchestra (1956)
  • Three pieces for string orchestra (1958)

Earlier compositions and subsidiary works

Piano and chamber music

  • Bolero for piano (1942)
  • Capriccio for piano (1943)
  • Rondo in E flat major for piano (1944)
  • Rondo in E minor for piano (1944)
  • Sonatina in E flat major for piano (1945)
  • Sonata in B minor for violin and piano (1945/46)
  • Capriccio for piano 4 hands (1946)
  • String quartet in D major (1947/48)
  • Aria e Capriccio for piano (1949)

Stage music

  • Incidental music for Shakespeare's Midsummer Night 's Dream (1949)
  • Incidental music for The Chalk Circle (1949)

Stage music for puppet theater performances

  • Goethe, Faust II (1947)
  • Hofmannsthal, The Salzburg World Theater
  • Ibsen, Peer Gynt
  • Claudel, The Silk Shoe (1953)

Songs with piano accompaniment

  • Ghaselen motto (Platen) "The lily waves in the water" (1942)
  • Please (Lenau) "Because on me, you dark eye" (1943)
  • Abendbild (Lenau) "Peaceful evening descends on the field" (1943)
  • Reiselied (Hofmannsthal) "Water rushes to devour us" (1944)
  • Ghasel (Platen) "Dust of paint on the swing arm" (1948)
  • 2 songs from Sweeney Agonistes (TS Eliot) (1949/50) "Under the bamboo tree" / "My little island-girl"
  • Music moves me that I remember you (Ricarda Huch) (1951)

cantata

  • A ship comes loaded choir cantata for a low solo part, 2 violins, four-part mixed choir and organ (1954)

Individual evidence

  1. ^ Peter Cahn obituary notice , FAZ, February 13, 2016
  2. ^ Homepage of the Telemann Society

Web links

personal data
SURNAME Cahn, Peter
BRIEF DESCRIPTION German composer and musicologist
DATE OF BIRTH October 23, 1927
PLACE OF BIRTH Frankfurt am Main
DATE OF DEATH January 29, 2016
Place of death Frankfurt am Main