A passage from Toch’s 1921 Die chinesische Flöte, based on the same Hans Bethge collection of oriental poetry that spurred Mahler’s Das Lied von der Erde.
“Schreker was widely regarded as Jewish though he had been brought up as Roman Catholic by his mother, a member of Austria’s impoverished aristocracy. Alfred Heuß greeted the premiere of Der Schatzgräber in… Continue reading
A new recording of Schreker’s Der Schatzgräber, captured at De Nederlandse Opera last September, will be released later this year on Challenge Classics.
“Schreker had nevertheless been the object of frequent anti-Semitic vilification even before the Nazi dictatorship of 1933, forcing his move from Berlin’s Music Academy to the Prussian Academy of Arts. With Hitler’s arrival,… Continue reading
A mini-documentary about the Orchestra of the Swan, an ensemble has done a huge amount to re-establish Hans Gál’s music within the repertoire.
“Gál was a master of his craft. He was an accomplished pianist and a fine cellist and, as with many other Adler students, he was also a musical polymath: his doctoral dissertation had… Continue reading
“Charlie Chaplin, Eisler’s friend in postwar Hollywood, described the ruthlessness of the Eisler siblings as coming out of one of Shakespeare’s histories. Hanns Eisler’s use of music as a ‘political weapon’ would be… Continue reading
“Korngold went on to concoct a Johann Strauss pastiche entitled Das Lied der Liebe as a vehicle for Richard Tauber, as well as arranging two operettas by Leo Fall: Rosen aus… Continue reading
“Operetta by Jewish composers and librettists suffered a particularly iniquitous post-Hitler legacy. The Third Reich’s guardians of public morality removed popular works and replaced them with alternatives from which all social satire and… Continue reading
“While it is true that Erich Wolfgang Korngold’s most progressive music was composed while still a teenager, he equally loved the nostalgia of Viennese operetta. In arranging the works of others, he saw a… Continue reading