ERWIN SCHULHOFF

 

erwin schulhoff

Erwin Schulhoff (1894-1942).

Erwin Schulhoff was a Czech composer and pianist. He was one of the figures in the generation of European musicians whose successful careers were prematurely terminated by the rise of the Nazi regime in Germany and whose works have been rarely noted or performed.

In the 1930s, Schulhoff faced mounting personal and professional difficulties. Because of his Jewish descent and his radical politics, he and his works were labelled degenerate and blacklisted by the Nazi regime. He could no longer give recitals in Germany, nor could his works be performed publicly.

His communist sympathies, which became increasingly evident in his works, also brought him trouble in Czechoslovakia. In 1932 he composed a musical version of The Communist Manifesto (Op. 82). Taking refuge in Prague, Schulhoff found employment as a radio pianist, but earned barely enough to cover the cost of everyday essentials. When the Nazis invaded Czechoslovakia in 1939, he had to perform under a pseudonym. In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and imprisoned before he could leave Czechoslovakia.

In June 1941, Schulhoff was deported to the Wülzburg concentration camp near Weißenburg, Bavaria. He died there on 18 August 1942 from tuberculosis.

String Quartet #1 (1924) (with score)

 

Sting Quartet #2 (1925) (with score)

NIJINSKY & NUREYEV

nureyevnijinsky

Vaslav Nijinsky (1889-1950)
Rudolf Nureyev (1938-1993)

“Prélude à l’après-midi d’un faune”, known in English as “Prelude to the Afternoon of a Faun”, is a symphonic poem for orchestra by Claude Debussy (1862-1918) approximately 10 minutes in duration. It was first performed in Paris on December 22, 1894, conducted by Gustave Doret.
Debussy’s work later provided the basis for the ballet “Afternoon of a Faun” choreographed by Vaslav Nijinsky.

 

“It was well known that Madame Danilova, the famous teacher and former ballerina with the Ballet Russe, had a phrase that she would always repeat whenever anyone gushed to her about the performance of a danseur. The phrase was, “Yes, but I saw Nijinsky.” So one night, Madame came to see the Nijinsky program, the homage to the Ballet Russe with Nureyev and the Joffrey Ballet, the company you see here: L’apresmidi, Petrouchka, and Spectre de la Rose. Afterward, she went backstage where she was received with utmost respect by Nureyev. “Rudolf,” she said, “you know what I always say.” He answered with humility, “Yes, Madame. I do.” And she said, “This time, I do not say it.” That’s about the highest praise I can imagine for one of the two greatest dancers of the 20th century, both gone way too soon.?” – Lin Hiril (Google +)

 

GUILLAUME DE MACHAUT

Guillaume de Machaut (1300-1377)
“Messe de Nostre Dame”, 1365.
Performed by Ensemble Gilles Binchois
Directed by Dominique Vellard.

0:54 – Introit [polyphonic chant]
6:16 – Kyrie
13:30 – Gloria
18:44 – Gradual [chant]
31:28 – Credo
38:54 – Offertory [chant]
44:03 – Sanctus
48:33 – Communion [chant]
50:35 – Agnus Dei
54:28 – Post-Communion [polyphonic chant]
1:01:23 – Ite Missa Est