Philippine Schick

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Philippine Schick (born February 9, 1893 in Bonn ; died January 13, 1970 in Munich ) was a German composer and university lecturer .

Life

Philippine Schick was the daughter of Joseph Schick , from 1897 Professor of English in Munich, and his wife Mary Butcher, who came from England. She grew up bilingual, took piano lessons from the age of eight and then violin lessons. As a thirteen year old she tried her hand at writing and composed her first songs and piano pieces. In 1910, after completing the girls' school, she passed the teacher’s exam and began studying. Her father refused to finance her to study composition because he did not give a girl any chance of success. Schick, who had a great interest in languages, first studied ancient languages ​​and literatures as well as mathematics at the University of Munich . She also learned Chinese characters and Egyptian hieroglyphics .

When her father was drafted in 1914 when the First World War broke out, she enrolled at the Royal Academy of Music in Munich . Her teachers included Friedrich Klose , August Schmid-Lindner , Hermann Zilcher and Wolfgang Ruoff . She was also able to convince her father of her progress and passed the exam in 1918. Then she turned to Hermann Wolfgang von Waltershausen , to whom she presented her string quartet, whereupon he accepted her as a private student. She married him in 1927 and had their daughter Leonore (Lore) with him the following year. Since Waltershausen did not give her own artistic work enough freedom, but needed her as a cook and secretary, Schick divorced him in 1932.

From 1924 she was a music teacher herself. In the Society of German and Austrian Artists (GEDOK) she was a co-founder of the music department.

During the time of National Socialism she came to terms with the regime in order to be allowed to continue performing. A concert attempt in April 1933 together with Lotte Leonard led to a scandal and she was excluded from the GEDOK. After a year, however, Schick was able to re-join and was not harassed any further, at the end of the 1930s she even became a music adviser to the ReichsGEDOK. Schick was a member of the Deutsches Frauenwerk , but stayed out of party events. The "apolitical artist" rejected an approach by Mathilde Ludendorff , for example . She gave adult courses in music, performed (in 1939, for example, on a tour through seven German cities) and trained herself as a conductor. In 1940 she wrote the appeal " Perform our women composers" in order to gain attention as an artist, which she succeeded in doing: Alongside Grete von Zieritz , she was one of the most famous "serious composers" during the Third Reich. Half of her compositions date from between 1933 and 1942; almost all of them were also performed. From 1941 to 1943 she published on women composing and emphasized her strict standards for composing.

From 1946 to 1956 she was lecturer for music theory and English at the University of Munich . Her music students included Horst Leuchtmann and Rolf Agop . She was also known to Aloys Fleischmann . She also published English studies.

Schick has been characterized as a highly performance-oriented personality who always pushed himself to achieve success or to surpass previous successes. After her death, her works were rarely performed.

Honors

literature

  • Regina Brühs, Philippine Schick, Regina Reitzer, Franzpeter Messmer: Composers in Bavaria, Volume 46: Philippine Schick 2005. ISBN 3795211840 .

Individual evidence

  1. Philippine Schick . In: Signals for the musical world . June 26, 1929, p. 793 ( ANNO - AustriaN Newspapers Online [accessed January 14, 2020] short biography with portrait photo).
  2. Ulrike Keil: Biography on Munzinger .
  3. Isolde Weiersmüller-Backes: short biography of the Certosa publishing
  4. ^ A b Claudia Friebel: Women composing in the Third Reich. Attempt to reconstruct the reality of life and the prevailing image of women. Münster / Hamburg, 1995. ISBN 3825823768 . Page 108.