Germany Music Part 12

Germany Music Part 12

According to, the art, although very learned, of this young, vehement composer is oriented towards a counterpoint made light and lively by the strength of the rhythm. In addition to the theater (Cardillac, the farce Neues vom Tage, etc.) it manifests itself in all sorts of compositions, from the highest forms (concerts, quartets, etc.) to simple collections of school studies. Next to him we must remember, in the same objectivist address, E. Krenek, well known for the farce Johnny spielt auf, inspired by jazz; E. Toch, author of instrumental music dense with polyphony; Kurt Weill with the musical drama Die Bürgschaft, etc. A separate place is occupied by H. Kaminski, a composer of mystical nature who is connected with his choral works and with a large Concerto to the more austere tradition of Bach and Beethoven.

One of the movements that today can entrust us for the vitality of German art, in conditions such as today, not really favorable, is the Musikalische Juhgendbewegung (F. Jöde and W. Hensel), whose purpose is above all of a practical nature; to bring the cult of music back into the bosom of the multitude by means of societies of singers, guilds, etc., on the traces of ancient German traditions. One of the most important means of achieving this return of musical practice in families and schools is seen by the Jugendbewegung in a radical reform to be implemented in the school’s choral education.

The reconstruction work is vigorously helped by the contributions of musicology, which in Germany has always been in honor.

We only mention the exponents of this science in the last two centuries: in the eighteenth century we find the names of Mattheson, M. Gerbert (Scriptores ecclDe musica sacra, Paris 1784) and JN Forkel (Allgemeine Geschichte der Musik, Leipzig 1788-1801), by C. Prinz and JG Walther (authors of the oldest German music history and the oldest German music dictionary respectively). In the nineteenth century AW Ambros of Prague studied ancient polyphony (History of music, 1862-76); O. Jahn with his Mozart (1856), Bro. Chrysander with his Handel (1858), and Ph. Spitta with his Bach (1879) gave the example of modern bio-critical work. Edited by H. Kretzschmar an important collection of works is published, each one dedicated to the history of a genre, while H. Riemann composes an important musical dictionary and, among other things, a substantial manual of the history of music. In the same century, complete critical editions of Bach, Haendel, Schütz, Lasso, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Wagner, Brahms appear, and the publication of Praetorius, Buxtehude, Scheidt, Haydn, Weber, Liszt, Bruckner begins.. A rich educational material is offered by the Denkmäler deutscher Tonkunst (up to now seventy files) and by the Bavarian and Austrian alike; from Publikationen älterer Musik, as well as from important periodicals Vierteljahrsschrift für Musikwissenschaft (1884-94), Monatshefte für Musikgeschichte (1869-1904), Sammelbände der internatMusikgesellschaft (1898-1914), Archiv für Musikwissenschaft (1918-24) and Zeitschrift für Musikwissenschaft (1918). Musicology is represented in the German university more than in other countries (around 50 professors). Higher schools of music (in addition to the German conservatories of Vienna and Prague) are located in Berlin, Munich, Leipzig, Cologne, Stuttgart, Würzburg, Weimar, Karlsruhe, in addition to numerous municipal or private conservatories. There is also a state academy for sacred and didactic music in Berlin. In Germany there are more than 50 opera houses and more than 100 symphony orchestras; almost in every city there are concert and choral societies; in the Deutsche Sängerbund, in the Arbeiter S ȧ ngerbund and in the Reichsverband der gemischten Chöre about two million singers are organized. Furthermore, each category of musicians and people who have relations with musical life is framed in its own organization, from publishers to critics, from instrument makers to concert subscribers (Bühnenvolksbund, etc.). Important music libraries are open in Berlin, Dresden, Leipzig, Munich, Regensburg, Münster.

Germany Music 12

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