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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.

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“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

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  A new recording of Schreker’s Der Schatzgräber, captured at De Nederlandse Opera last September, will be released later this year on Challenge Classics.

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“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

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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.

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“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

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“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

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    “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

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“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