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 Asunto: Re: La otra ópera
NotaPublicado: 02 Ene 2022 0:46 
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Gran post.

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 Asunto: Re: La otra ópera
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Giacinto Cornacchioli (1598–9 - 1673) He was born in Ascoli Piceno. He is first heard of on 28 December 1607 when he received payment in grain for his service during the year as a choirboy at Ascoli Cathedral. He was organist there from June 1612 to 28 December 1615, when he was removed from the post. Following a petition he was reinstated on 9 January 1616 but was finally replaced on 28 December 1616. From a deed of 22 February 1619, in which his father, overcome by debts, sold his house, we know that Giacinto was the oldest child and was no more than 20, and that among the witnesses were two Parisian relations. Between May and November 1619 he served as organist of the church of the Buon Gesù, Carcassai.

In 1629 his opera Diana schernita (text by G.F. Parisani) was performed in Rome, possibly for an academy during Carnival in the house of Baron von Hohen Rechberg. The work was subsequently printed by G.B. Robletti, with a dedication dated 6 June to Prince Taddeo Barberini, nephew of Pope Urban VIII. In 1633 Cornacchioli was maestro di cappella in Siena, where between July and December he met Galileo Galilei, who had just come from his trial by the Holy Office in Rome and was guest of Archbishop Ascanio Piccolomini. Galilei heard and enjoyed the singing of a ‘castratino’ pupil of Cornacchioli. In 1635 he was chaplain, musician and singing teacher at the Munich court, where he met Galilei’s nephew, Alberto Cesare, a violinist and lutenist at the court. In 1640 and 1642, in the service of Archduke Leopold Wilhelm of Austria, he was often in Italy to recruit musicians and buy musical materials (these activities are detailed in 17 letters to the Archduke and his adviser, now in the Staatsarchiv, Vienna). He engaged in futile negotiations for the post of Kapellmeister with Carissimi and Francesco Foggia; even the recommendations of his friend G.B. Ghiavarino failed to bring him success. From a letter dated 9 December 1642 we know that Cornacchioli intended to enter the Cistercian monastery of Heiligenkreuz, Lower Austria, but his name never appears in their registers. It appears that in December 1647, not 23 February 1653 as believed up until now, he was a witness to Luigi Rossi’s will. He may have been maestro di cappella of Ascoli Cathedral in 1651 and/or after 1658, but this cannot be ascertained. It is certain, however, that on 27 September 1657 he was elected maestro di cappella of Fermo Cathedral, bringing with him at his own expense a ‘castratino da M. Alto [Montalto Marche]’, but on 2 August 1658 the post was already vacant. On 1 September 1673 he was guaranteed 36 scudi a year by his younger brother Simone (1600–1674), in exchange for a donation received.

Cornacchioli’s only known work, Diana schernita (score in GB-Lbl, I-Rsc), a favola boscareccia in five acts, is one of the earliest comic operas. Parisani’s text, clearly influenced by the work of Marino, mixes three myths of love under the rule of Cupid. It presents an original approach to the themes of Florentine courtly opera, treating the characters in a more realistic manner and introducing comic elements into the pastoral for the first time. The alternation between fixed poetic structures and freer verse forms in the prayer to the moon, act 3, may symbolize the contemporary vicissitudes of Galilei (after initially receiving support from Pope Urban VIII, he was made to recast his views in 1633). Support for Galilei was strong among Germans and Protestants, and this may explain the dedication of the work to Baron von Hohen Rechberg.

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Diana schernita, favola boscareccia en cinco actos (1629). Aria: Gran pianeta del ciel.

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 Asunto: Re: La otra ópera
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Josep Soler i Sardà (*1935) Nació en Villafranca del Panadés, Barcelona. Soler hizo su primera formación en Vilafranca -hasta el Bachillerato- en el seno de una familia burguesa dedicada al negocio de la industria harinera. Sin embargo, manifestó una fuerte vocación artística desde la primera niñez hacia la composición. Se inició en los estudios musicales de la mano de Rosa Lara en su ciudad natal, para posteriormente (en 1960) desplazarse a París y estudiar con René Leibowitz, alumno de Arnold Schoenberg, Anton Webern y Maurice Ravel. Su maestro principal, no obstante, será Cristòfor Taltabull, quien fue discípulo de Felipe Pedrell y de Max Reger en Múnich. Pionero de la escuela expresionista en Cataluña, su música mantiene una profunda filiación ideológica con el universo estético germano-vienés y la Segunda Escuela de Viena, especialmente con la obra de Arnold Schoenberg y Alban Berg. Tras una primera etapa dodecafónica, el lenguaje armónico de Soler desde mediados de los años setenta se basa en un uso personal del acorde de Tristán e Isolda de Richard Wagner, de quien recibe por otro lado gran influencia estética, especialmente respecto a su concepción de la obra dramática. Su pensamiento estético parte de una hermenéutica especialmente centrada en Parménides, Platón, la teología negativa, Spinoza, el idealismo alemán y el segundo Heidegger a la luz de los conceptos principales de la matemática y la física teórica del siglo XX, principalmente Einstein, Gödel y Roger Penrose. Paralelamente, su armazón teórico está acompañado de una labor exegética constante acerca del concepto de "predestinación" en los Evangelios y en textos del Islam. Soler ha desempeñado una intensa labor pedagógica, principalmente fuera de los ámbitos denominados "académicos", aunque posee una larga experiencia educativa desarrollada en el Conservatorio Municipal de Música de Barcelona y en el Conservatorio Profesional de Música de Badalona, el cual dirigió hasta junio de 2010. Entre los autores que han sido discípulos suyos o que en algún momento han trabajado con él cabe destacar los nombres de Benet Casablancas, Alejandro Civilotti, Albert Sardà, Armand Grèbol y Agustí Charles, entre otros. En noviembre de 2013 rechazó la Medalla de Oro al mérito en las Bellas Artes, para manifestar su rechazo a la política cultural y educativa del gobierno del momento, del Partido Popular, al que acusó de «estar acabando con la cultura y la educación». El fondo personal de Josep Soler se conserva en la Biblioteca de Cataluña.

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Edipo y Yocasta, ópera en dos actos (1972). Acto I, Escena II.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Ene 2022 19:21 
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Władysław Marcjan Mikołaj Żeleński (1837-1921) Żeleński was born in Grodkowice. He studied in Kraków with Jan Germasz (piano) and Franciszek Mirecki (harmony), then (from 1859) in Prague with Alexander Dreyschock (piano) and Joseph Krejčí (composition). From 1866 to 1870 he studied composition in Paris with Henri Reber and Berthold Demcke. He had earlier studied philosophy at the University of Kraków and in 1862 received the PhD from the University of Prague. In 1871 he returned to Poland. He was appointed professor of harmony and counterpoint at the Warsaw Music Institute (1872–1878) and became director of the Warsaw Music Society (1878). In 1881 he moved to Kraków, where he was initially a teacher of theory at the music school. In 1888 he helped to establish the conservatory of the music society in Kraków, and became its director. He also conducted symphony concerts and wrote articles for the Kraków journal Czas.

Żeleński is considered the most significant 19th-century Polish opera composer after Moniuszko. There are obvious influences from French grand opera, such as the inclusion of grandiloquent choral sections and ballet numbers in Konrad Wallenrod; from the Polish operatic tradition, especially Moniuszko (folklore elements and lyrical solo parts); and from Wagner, in the harmony, the blurring of divisions between scenes and the use of leitmotifs, and in the dominant role of the orchestra in Stara baśń (‘Old Fable’). His songs also have a lyrical quality. They are mainly on Polish texts (including Mickiewicz and Krasiński) and occupy an important position in the development of 19th-century Polish song after Moniuszko.

In general, Żeleński's compositional language is conservative, similar to that of Mendelssohn. His instrumental music is in Classical forms and shows structural symmetry combined with clearly tonal, functional harmony. The majority of Żeleński's published works are piano pieces and solo songs; the few published symphonic and vocal-instrumental works were issued mainly in piano reductions. Most of his works are lost and it is therefore difficult to establish a comprehensive list. It is also difficult to establish the number of pieces within genres, because the sources are unreliable and contradictory, often using different titles to refer to the same piece.

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Janek, ópera en dos actos (1900). Aria: Gdy ślub weźmiesz z twoim Stachem.

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 Asunto: Re: La otra ópera
NotaPublicado: 28 Ene 2022 20:32 
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Davide Perez (1711-1778) He was born in Naples, the son of Giovanni Perez and Rosalina Serrari, both Neapolitans. At the age of 11 he became a student at the Conservatorio di S Maria di Loreto in Naples, where he remained until 1733, studying counterpoint with Francesco Mancini, singing and keyboard playing with Giovanni Veneziano, and violin with Francesco Barbella. On completion of his studies, Perez immediately entered the service of the Sicilian Prince d’Aragona, Naselli. From 1734 date his first known pieces, the Latin cantatas Ilium Palladio astu Subducto Expugnatum and Palladium performed in Palermo's Collegio della Società di Gesù, for the laurelling festivities. In the following years, he was active both in Palermo and Naples, as his patron became Chamberlain of the newly crowned king, Carlo I. His first opera, La nemica amante, was composed for the king's birthday on 4 November 1735 and presented in the gardens of the Neapolitan royal palace and later in the Teatro S Bartolomeo. In the libretto's dedication the impresario of the theatre, Angelo Carasale, referred to Perez and Pergolesi as 'dei buoni virtuosi di questa città'. Unlike Pergolesi's opera, which was then considered a failure, Perez's was a great success, and his early career granted him, in 1738, an appointment as vicemaestro di cappella at Palermo's Cappella Palatina, the Church of St. Peter in the royal palace, to become maestro the next year upon the death of its former titular, Pietro Puzzuolo.

In the early 1740s Perez firmly established himself as a mature master. The opera he composed for the Roman Teatro d’Alibert, in the Carnival of 1740, was not presented due to the sudden death of Pope Clement XII, but on Perez's return to Naples he staged an opera buffa, I travestimenti amorosi and a serenata L’amor pittore for the court, and an opera seria, Il Siroe, for the Teatro San Carlo. Caffarelli and Manzuoli sang in the later. Opera was not an easy enterprise in Palermo and, until 1745, most of Perez's compositions as chapel master there were cantatas or serenatas and church music - including in 1742 a setting of Metastasio's oratorio La Passione di Gesù Cristo. In addition he composed church music for Naples, and two operas for the Genovese Carnival season of 1744. After March 1748 Perez was granted a leave of absence and never returned to Palermo, though he continued to receive half of his Palermo salary until his death. In rapid succession, he then staged his operas in Naples, Rome, Florence, Venice, Milan, Turin, and Vienna. In February 1749 Perez competed with Niccolò Jommelli in a public examination for the position as chapel master in the Vatican. The influence of Cardinal Albani and Cardinal Passionei granted Jommelli the appointment, even though Perez was the musicians' favourite (Girolamo Chiti, the chapel master of another Papal chapel, St. John in Lateran, commented that Perez 'composes, sings and plays as an angel' and 'is very much superior to Jommelli in groundwork, singing and playing. He is, however, an imaginary hypochondriac').

n 1752 King José I of Portugal invited Perez to become mestre de capela and music master to the royal princesses, a position he occupied until his death. The annual stipend, coupled with the excellent musical and theatrical resources of the Portuguese court, undoubtedly influenced his decision to remain in Lisbon. The ambition of the recently crowned Portuguese king was to depart from his father's musical policy, almost uniquely concerned with church music, and to give Italian opera a central position in the court. Sumptuous scenic treatment was the rule, and Perez's operas were mounted by such famous designers as Berardi, Dorneau, Bouteux and Galli-Bibiena. Equally important were the great singers who appeared at the Portuguese court, including Raaf, Elisi, Manzuoli, Gizziello and Caffarelli. The terrible earthquake that destroyed Lisbon on 1 November 1755, changed forever Perez's output. The Ópera do Tejo was destroyed six months after opening and the court withdrew from the theatres. No operas were produced for the next seven years, and thereafter only in a less spectacular fashion. During the last 23 years of his life, Perez wrote just three new operas. Instead he composed a huge amount of church music, covering almost all the rituals and practices of the two main musical chapels of Lisbon, the Royal and the Seminário da Patriarcal. He never left Portugal, so that his international acclaim slowly declined. Still, Gerber noted that since 1766 Perez's compositions were known and in demand in Germany and that he was in 1790 'one of the most celebrated and beloved composers among the Italian masters, one of the latest composers who maintained the rigour of counterpoint'. J. C. Krause named Hasse, Perez and Paisiello as satisfactory models. In 1774 Perez became by acclamation a member of the London Academy of Ancient Music, and had the only full-scale piece printed in his lifetime, the Mattutino de' Morti (his third set of the Office of the Dead), published there by Bremner. His music, especially the religious, was widely copied in Italy. During the last four years of his life Perez suffered from a chronic disease, eventually losing his sight, but continued to compose. In 1778 his pupil, now Queen Maria I of Portugal, made him a Knight of the Order of Christ; when he died in Lisbon, she ordered an elaborate funeral at the Crown's expense.

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L'Olimpiade, ópera en tres actos (1753). Aria: Più non si trovano.

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Bo Holten (*1948) After Studies in musicology at the university of Copenhagen and bassoon at the Royal Academy of Music Bo Holten worked some years as music teacher and as critic at various newspapers in Copenhagen. He established the vocal group ARS NOVA in 1979 with whom he since then made app 450 concerts; the works performed include almost 120 world premieres. Bo Holten and Ars Nova have recorded 15 CDs with both contemporary and early music. Apart from conducting Ars Nova Bo Holten has conducted most Danish professional symphony orchestras in both own and other composers' works and he was appointed Guest conductor of the BBC Singers of London in 1991. Recently Bo Holten and Ars Nova have parted and Holten has established a new outstanding vocal group, Musica Ficta, who already have proved to be a dominant factor in Danish musical life. Bo Holten has composed more than 100 works of which 2 symphonies, 5 solo concertos, several works for chorus and orchestra, 2 operas and 2 musicals deserve a mention. Furthermore a number of works for chamber ensemble, 3 song cycles and some pieces for percussion ensemble. Besides music to several films, TV-series, jingles etc. The works for chorus with or without instruments have a dominant position in his production. As composer and musician Bo Holten is thoroughly extrovert and it is important to him that the music is understandable and has an influence on people, and according to him musical composition is always an activity which is part of concrete musical practice. Bo Holten was a member of the State's Music Council 1979-1983 and chairman of the music committee of the State's Arts Council 1990-1993 and has received several distinguished awards including the Herman Sandby Prize 1980, Rostrum of Composers, Paris 1982, Danish Composers Association's Anniversary Grant 1983, The Art Council's Production Reward 1984 and the Mogens Wöldike Prize 1984.

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Schlagt sie tot!, ópera en dos actos (2017). Nun habt Ihr uns genug gelangweilt.

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Joseph Phibbs (*1974) He was born in London, the son of actors Giles Phibbs and Mary Gillingham. A pianist and cellist, he started composing at the age of ten, and from 1988 to 1992 attended the Purcell School for Young Musicians with the assistance of a scholarship from Suffolk County Council. During this time he received tuition in composition from Param Vir. In 1992 he continued his studies at King's College London, where he was taught by Sir Harrison Birtwistle, and where he obtained a BMus degree with a First, taking the Purcell Prize: in 1996 he received an MMus in Composition, having received a British Academy grant. In that year he was a winner of the BBC Young Composers' Forum, which marked the beginning of a long association with the BBC. A commission in 2001 for his first large-scale orchestral work, In Camera, was premiered at the Barbican by the BBC Symphony Orchestra under Leonard Slatkin; Lumina, for the Last Night of the Proms 2003, was televised from the Royal Albert Hall; and more recently Partita was a joint BBC/Serge Koussevitzky Foundation Award commission. From 1997 to 2001 he studied at Cornell University towards a doctorate of Musical Arts with Steven Stucky, a teacher and later friend who became a major influence on his music. Many of his orchestral and chamber works are now published by Ricordi (part of the Universal Music Publishing Group), with a number of unaccompanied choral works published by Boosey & Hawkes.

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Juliana, ópera de cámara (2018). Final.

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Francesco Mancini (1672-1737) He was born in Naples. Mancini entered the Conservatorio di S Maria della Pietà dei Turchini in 1688 as a student of organ, where he studied with Provenzale and Ursino; after six years he was employed as an organist. At the beginning of the 18th century he entered the service of the viceroy and in 1704 became the principal organist of the royal chapel. He was appointed maestro di cappella there in 1708 but by December of that year the post was returned to Alessandro Scarlatti and Mancini became his deputy (in 1718 he obtained a guarantee that he would succeed Scarlatti). In 1720 he became Director of the Conservatorio di S Maria di Loreto, and so played an important part in the training of a new generation of composers. Mancini succeeded Scarlatti in 1725, remaining in the post until his death. In 1735, however, he suffered a stroke and remained semi-paralysed until his death two years later.

As far as is known, Mancini’s first composition was the pastoral opera Il nodo sciolto e ligato dall’affetto, written for Rome. From 1702 onwards Mancini worked almost continuously at composing and arranging operas. He was most productive when he was Scarlatti’s deputy; his creative output slowed down following his appointments as Director of S Maria di Loreto and then as maestro of the royal chapel. While Mancini composed serenades, pieces for special occasions and cantatas throughout his life, his oratorios are concentrated in the period 1698–1708, with several later exceptions, including his last oratorio, Il zelo animato, which appears to have been intended as an exercise for his pupils at S Maria di Loreto.

Mancini’s contribution to sacred music was considerable, and the wide distribution of his music in libraries throughout Europe is a reflection of its popularity. Instrumental music was not of primary concern to Mancini, and that which remains appears to have been intended for teaching purposes (for example the two toccatas for harpsichord). The peculiarity of his instrumental writing can be seen in his sonatas, for example the rich harmonies accompanying the melodies and the contrapuntalism of the second movements, which are often almost proper fugues.

While Mancini did not travel far from Naples, except for the occasional trip to Rome, stylistically his music fits into the transition between Scarlatti’s generation and the era of the spread of Neapolitan opera across Europe. His operas, which display a preference for the pathetic style (but he was no stranger to the comic), make simultaneous use of archaic features, such as a thick contrapuntal texture, swift rate of harmonic change and fast-moving bass line, as well as more modern features, such as the precise delimitation and greater extension of the sections of his arias and the use of the harmonic pedal. Mancini’s instrumentation is varied and colourful; the many directions for the bass part, which often indicate detailed orchestration and which may vary within a single aria, are also of importance. He was a skilful writer of melodies, able to achieve a perfect balance between words and intonation, even in recitatives, and able to shape the vocal line effectively as well as simply.

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Alessandro il grande in Sidone, dramma per musica en tres actos (1706). Aria: Spirti fieri alla vendetta.

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Il Trajano, dramma per musica en tres actos (1723). Aria: Spera si, mio caro bene.

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David Walter Del Tredici (* 1937) He was born in Cloverdale, California. Del Tredici started his musical life as an aspiring pianist at the age of twelve, and has said that if he had not been a pianist, he would have become a florist. He attended the University of California, Berkeley, where he studied piano and played primarily Romantic works. At Berkeley, he attended the Aspen Music Festival and School. The pianist he was going to study with was "mean" to him, however, so Del Tredici tried his hand at composing music instead. He composed Opus 1, his first composition, and was invited to perform it for Darius Milhaud. After Milhaud complimented him on the piece, Del Tredici went back to Berkeley to concentrate on composition rather than performance. During his early development as a composer, he found influence in his piano teachers Bernhard Abramovitch and Robert Helps, whom he found more creative and supportive of trusting "your instincts" than were his composition professors. After studying at the University of California, Berkeley, he attended Princeton University. There he studied composition with Roger Sessions, Earl Kim, and Seymour Shifrin. At Princeton he was initially influenced by serialism, but abandoned that school of composition within a year of starting it. He left Princeton to live in New York City for two years before returning to the university.

In 1964, Del Tredici met Aaron Copland at Tanglewood; they would be friends for the remainder of Copland's life, and his musical style remains an influence on Del Tredici. Del Tredici taught at Harvard University, where he worked alongside Leon Kirchner, and was a part of the modernism movement. He has stated that "anything bad appeals to any young composer", including himself. Much of Del Tredici's work has been inspired by literature, including author and poet James Joyce. As a fellow lapsed Catholic, Del Tredici was attracted to Joyce's struggles with his own Catholic past and "tortured life", which found voice in Del Tredici's "dissonant and nearly atonal" style. He also found inspiration in Martin Gardner's The Annotated Alice and its commentary on the works of Lewis Carroll. During this period, he found himself moving back towards tonality, which he felt was more appropriate for works such as his Final Alice and Adventures Underground.

Del Tredici was Composer-In-Residence at the New York Philharmonic from 1988 until 1990. In 1999 and 2000 he taught at Yale University. He also has taught at Boston University, Juilliard School, and the University of Buffalo. As of 2013, he was a faculty member of the City College of New York. Today, Del Tredici continues to draw on literature for his song cycles. His work has continued to draw on Lewis Carroll (particularly Alice in Wonderland), but he has also been inspired by contemporary American poets. He has also created works celebrating "gayness", acknowledging that many great composers were gay and that "it's something to be celebrated". A reviewer has noted that themes in his work examine "tormented relationships, personal transformations, and the joys and sorrows of gay life".[ He is a member of the American Academy of Arts and Letters and has held additional residencies at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony.

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Final Alice, an opera written in concert form (1976). A Boat 'neath a Sunny Sky.

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¿Un jueves?


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 Asunto: Re: La otra ópera
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Gracias por recordarme que día es hoy. :lol:

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 Asunto: Re: La otra ópera
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La semana blanca. :P

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 Asunto: Re: La otra ópera
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¿Y este Del Tredici no es neo también?

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Neísimo. Todas esas viñetas las pongo para todos aquellos que se quejan de que la música actual no es "melodiosa". A mi francamente no me interesan.

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Walter Gronostay (1906-1937) He was born in Berlin. His family came from East Prussia and his ancestors were probably Polish farmers. The name Gronostay is of Mongolian origin and means 'ermine'. Gronostay's musical upbringing included piano lessons (from the age of six), violin (from ten) and composition and orchestral conducting (from fourteen). A modest contribution towards his tuition from his needy father was supplemented by playing the violin in dance halls and giving music lessons. At the age of seventeen Gronostay gained his conducting diploma and began to conduct theatre music and operettes. In 1926, hardly twenty years old, he was accepted by the Prussian Academy of Art for masterclasses under Arnold Schönberg, who initially assessed his very young pupil's progress as "sufficient" and later as "very good". Among the pieces composed in this period are the String Trio, performed by members of the famous Kolisch Quartet on 20 May 1927, and the short opera In zehn Minuten, first performed on 20 July 1928 at the Baden-Baden Festival.

After studying with Schönberg for two years, Gronostay devoted himself to a wide range of musical activities; besides music for the concert hall these included pioneering work in the field of film, radio and gramophone, the particular requirements of which were hardly mainstream. In 1929 Gronostay was appointed department chief of the 'Berliner Funkstunde'. He held distinct views on the function of broadcasting in the 'Rundfunk Versuchsstelle' and wrote and lectured extensively on the medium of radio, with particular concern for broadcasting 'art music in relation to the masses' and for 'unorganized listening'. In the field of film music too Gronostay was a man of the first hour. He wrote music for the first sound-films (for the Dadaist, painter and film maker Hans Richter among others) and became one of the leading film composers in the 1930s. Gronostay was in such demand that he passed some commissions on to his earlier fellow Schönberg pupil Bernd Bergel, an unemployed Jew who sought safety under the pseudonym Gronostay.

Naturally, the political developments of the time did not go unnoticed in Gronostay's life. In 1934 he was dismissed at the radio because he refused to comply with the demand to divorce his three-quarters Jewish wife Eva Schönveldt, whom he had married in 1930. He retained his post at the 'Reichsfilmkammer', being too important to be missed, and his earnings there were of vital importance to the pair. Consequently he was obliged to provide the music for several 'Blut und Boden' films by Leni Riefenstahl and others, and a fanfare for the 1936 Olympic Winter Games in Garmisch Partenkirchen. But he also enjoyed considerable freedom, and took advantage of it in Strassenmusik, for example, a film about the poet and cabaret artist Karl Valentin; Gronostay created the screenplay himself and incorporated the Internationale, which to his good fortune remained unnoticed by the Nazis. At the end of his life, considering the possibility of emigration, Gronostay sought contact with his colleague film composer Groth in Hollywood. His wife was pregnant and he desired his child to be born on an English ship in order to avoid it having the German nationality. His early death in 1937, at the age of thirty-one, brought an end to his plans; he died within six hours from an acute inflammation of the liver.

W. H.

Mord, ein Hörspiel (1928).

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