Musikwissenschaftler Hans Heinz Stuckenschmidt (1901-1988): Letter Berlin 1961

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You are bidding on onetyped, signed letter ofmusicologist and music critic Hans Heinz Stuckenschmidt (1901-1988).

Dated Berlin, 21. Nov 1961.

addressed to the pianist, composer, writer and music critic Erwin Kroll (1886-1976) in Berlin.

Stuckenschmidt thanks for an article about his 60th birthday. Birthday in the newspaper "Der Tag" for which Kroll worked. "I am all the more sorry that you are unable to attend on 1. November even tried to get to me. They couldn't have known that I had escaped the festival by traveling."

Scope: one A4 page; without envelope.

Condition: Paper slightly browned. Bi Please also note the pictures!

Internal note: Kroll 21-12-20 autograph autograph

aboveHans-Heinz Stuckenschmidt and Erwin Kroll (Source: wikipedia):

Hans-Heinz Stuckenschmidt (* 1. November 1901 in Strasbourg; † 15 August 1988 in Berlin) was a German musicologist and music critic.

Biography: Stuckenschmidt, who came from an officer's family, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19 he wrote music reviews as a Berlin correspondent for the Prague magazine Bohemia, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, committed himself early to avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Berlin November Group, and in 1929 he succeeded Adolf Weißmann as music critic for the Berliner Zeitung am Mittag. Many of his essays were published in Anbruch. Stuckenschmidt also had compositional ambitions, but of the six short piano pieces he wrote between 1919 and 1926, only two were printed in out-of-the-way magazines. Since taking part in Arnold Schönberg's analysis seminars in 1931–1933, he has dealt with the composer's life and work and was the first to evaluate his estate for a biography (Arnold Schönberg, 1951, 1957, 1974). He wrote books about Boris Blacher, Ferruccio Busoni and Maurice Ravel, among others. In 1932 he married the soprano Margot Hinnenberg-Lefèbre.

In 1934 he was banned from writing because of his commitment to contemporary music and Jewish musicians. The trigger was a denunciation by Fritz Stege. The procedure was based, as Frank Hilberg judges, on "mostly unfounded allegations ('lack of moral maturity')". Hilberg continued: "The Nazi Fritz Stege had started the Kesseltrieb in 1933 and used all his connections to National Socialist organizations to get rid of Stuckenschmidt (and other advocates of new music). Rarely is there the opportunity to understand in detail such a process driven by lies, denunciation and opinion judgments. The dimension of such arbitrary rule is oppressive – it not only leads to existential questions, but also affects family members. In 1934 Stuckenschmidt was expelled from the Reich Association of the German Press.”

In 1937 Stuckenschmidt emigrated to Prague, where he first wrote for the Prager Tagblatt and from 1939 to 1942 for the occupation newspaper Der Neue Tag. In 1942 he was drafted into the Wehrmacht as an interpreter and released from American captivity in 1946.

After the end of the war, Stuckenschmidt became head of the New Music department at the RIAS Berlin broadcaster, music critic for the Neue Zeitung in 1947, published the magazine “Stimmen” with Josef Rufer from 1947 to 1949 and had been a lecturer since 1948, since 1949 an associate professor and from 1953 to 1967 a full professor of music history at the Technical University of Berlin. From 1956 to 1987 he was a music critic for the Frankfurter Allgemeine Zeitung.

Stuckenschmidt received numerous awards for his work, he was a member of the PEN Club and the German Academy for Language and Poetry, Darmstadt. In 1974 he became a member of the Academy of Arts Berlin (West), in 1977 the University of Tübingen awarded him an honorary doctorate.

Stuckenschmidt was buried in the Wilmersdorf cemetery.

compositions

1921 New Music. Three piano pieces: 1. Expression Violet, 2. The champagne cobler and the green sun, 3. March of Alexander the Great over the bridges of Hamburg.

writings

1951 Arnold Schoenberg. Zurich and Freiburg, 2teA 1957

1951 New Music. Book 2 of the Between the Two Wars series. Berlin.

1954 ed. by Ferruccio Busoni Draft of a new aesthetics of musical art. Frankfurt.

1957 Glory and Misery of Music Criticism. Berlin.

1957 Stravinsky and his Century. Berlin.

1958 Creator of New Music. (20 portraits of composers), Suhrkamp, ​​Frankfurt.

1963 Boris Blacher. Berlin, revised version by H. Kunz 1985.

1964 Opera in this time - European opera events from four decades. Velber near Hanover.

1965 Johann Nepomuk David. Wiesbaden.

1966 Maurice Ravel - Variations on Person and Work. Frankfurt, English Translation 1968.

1967 Ferruccio Busoni - Timeline of a European. Zurich, English Translation 1970.

1969 What is Music Criticism? Thoughts on the annihilation of art judgment through sociology. in: Studies on Valuation Research. vol. 2, pp. 26–42, ed. Harald Kaufmann, Graz.

1969 Twentieth Century Music. London and New York, French Translation 1969; German 20th century music century. Munich: Kindler, 1979, ISBN 3463007401.

1970 Twentieth Century Composers. London, the German original was published in 1971: The great composers of our century. Munich.

1974 Arnold Schönberg - life, environment, work. Zurich, Atlantis.

1976 The Music of Half a Century. 1925-1975, essay and criticism. Munich/Zurich, Piper.

1979 Born to Hear. A life with the music of our time. Autobiography, Munich, Piper.

1981 Margot - Portrait of a Singer. Munich.

1983 Creator of Classical Music - Images and Revisions. Settlers, Berlin.

appreciation

Of the music critics and writers on music in Europe, Hans Heinz Stuckenschmidt is the only one who has gained a high reputation far beyond the borders of our continent. His work as a music critic for a number of international daily newspapers, open to Allen current problems and exercised with the greatest competence, would have been enough to establish a reputation that spread east to Japan and west to the coasts of the Pacific Ocean. (...) The explosiveness of his language, which arose from his passionate interest in bold forays into new musical territory, was often provocatively bold, especially in those early years, but was always paired with elegance and was a novelty in the field of music criticism enthusiastic approval; (...). – New Zurich newspaper, 1971.

Erwin Kroll (* 3. February 1886 in Deutsch Eylau, East Prussia; † 7 March 1976 in West Berlin) was a German pianist, composer, writer and music critic. Like his friend Otto Besch, Kroll was a tone poet from East Prussia.

life : Around 1900 Kroll came to Königsberg i. Pr. and attended the royal hoof high school with Otto Besch. At the Albertus Univers ity he studied philology and music. With a doctoral thesis on ETA Hoffmann, who has always been revered in Königsberg, for a Dr. phil. after his doctorate, he went into teaching. In 1919 he devoted himself entirely to music and continued his studies in Munich, which he had begun with Otto Fiebach and Paul Scheinpflug. There he found an important teacher, especially in Hans Pfitzner. He later dedicated a highly acclaimed book to him. In addition to his studies, Kroll was a répétiteur at the Munich State Opera and secretary of the Hans-Pfitzner-Verein für Deutsche Tonkunst, which Thomas Mann had called for to found. In 1925 Kroll returned to East Prussia and became a music critic for the Hartungsche Zeitung, and from 1930 its features editor. From 1934 he worked in Berlin as a critic and writer on music. After the Second World War he headed the music department of the Northwest German Broadcasting Corporation in Berlin until 1953. With his book, Kroll has set a monument to the (forgotten) importance of Königsberg as a music city.

factories

East Prussian homeland - orchestral work

Violin Sonata in B flat major

Sonatina in F major

East Prussian Dances

Der Adebar - Fantasy on East Prussian folk tunes for large orchestra

Vocal works and song arrangements

Songs for solo voices and choral songs

writings

Music city Koenigsberg

Ernst Theodor Amadeus Hoffman. Breitkopf & Haertel, Leipzig 1923.

Hans Pfitzner. Three masks publishing house, Munich 1924.

The theater. Festschrift for the 25th anniversary of the municipal theater in Dortmund. The Theater, Berlin 1930.

Carl Maria Weber. Athenaion, Potsdam 1934.

Music city Koenigsberg. Atlantis, Freiburg i. brother 1966.

honors

Order of Merit of the Federal Republic of Germany, Cross of Merit on Ribbon (27. January 1956)

Culture Prize of the East Prussian Association (1960)

Biography: Stuckenschmidt, who came from an officer's family, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19 he wrote music reviews as a Berlin correspondent for the Prague magazine Bohemia, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, committed himself early to avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Berlin November Gr Biography: Stuckenschmidt, who came from an officer's family, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19 he wrote music reviews as a Berlin correspondent for the Prague magazine Bohemia, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, committed himself early to avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Berlin November Gr Biography: Stuckenschmidt, who came from an officer's family, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19 he wrote music reviews as a Berlin correspondent for the Prague magazine Bohemia, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, committed himself early to avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Berlin November Gr
Autogrammart Schriftstück
Erscheinungsort Berlin
Material Papier
Sprache Deutsch
Autor Hans Heinz Stuckenschmidt
Original/Faksimile Original
Genre Geschichte
Eigenschaften Erstausgabe
Eigenschaften Signiert
Erscheinungsjahr 1961
Produktart Maschinengeschriebenes Manuskript
  • Autograph Type: Document
  • Place of Publication: Berlin
  • Material: Paper
  • Language: German
  • Author: Hans Heinz Stuckenschmidt
  • Original/Facsimile: Original
  • Genre: History
  • Properties: First Edition, Signed
  • Date of Publication: 1961
  • Type: Maschinengeschriebenes Manuscript
  • Brand: Unbranded

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