[ Pobierz całość w formacie PDF ]
1 3, cond. Ilya Stupel. Danacord DACOCD 404/6 (1994).
Lili Boulanger (21 Aug. 1893 15 Mar. 1918)
Both Boulanger s parents were musicians, but the greatest help and encourage-
ment in her early development as a musician probably came from her elder
sister, Nadia (1887 1979; see Nadia Boulanger ). Her earliest compositions
apparently date from 1906: these are two lost songs, La lettre de mort and
Les pauvres, and the opening four bars of a violin sonata. An incomplete
valse in E for piano also dates from around this time. Some larger works
mainly psalm settings for voices and orchestra followed during 1907 through
1909, but these too are lost and it is unclear whether they were ever com-
pleted or even progressed much beyond the planning stage. Her first extant
work, a Morceau for melody instrument (possibly the flute) and piano, dates
from 1910, though its harmony is strikingly advanced and suggests that several
earlier works must have been composed.
Potter, Caroline, Nadia and Lili Boulanger (Aldershot, U.K.: Ashgate, 2006).
Max Darewski (1894 [?] 26 Sep. 1929)
Darewski s date of birth is given variously as 1892 and 1894, but even if the
older date is accepted, his early progress is remarkable. He is reported in his
obituary to have composed a waltz at the age of five and conducted an orches-
tral composition of his own three years later; no fewer than fourteen publica-
tions from before 1911 are listed in Lbl (see the following list of works). He
later developed mainly in the field of light and popular music, as both pianist
and composer. Works (all piano unless specified):
Le Reve, valse, Op. 1, 1904
England s Crown, march, Op. 2, 1904
The Kilties, march, Op. 3, 1904
Barcarolle, Op. 4, 1905
Nelson s Victory, march, 1905
Royal Standard, march, 1906
190 Chapter 9
A World of Roses, song, 1906
Fantasia Impromptu, 1907
I Dreamed of a Beautiful Garden, song, 1907
Franco-British March, 1908
The Diamond Jubilee, march, 1909
The Trumpeter s March, 1909
A Nightingale s Courtship, song, 1910
Rose of Night, song, 1910
Anonymous, Obituary, The Musical Times 70 (1929): 1039.
Erwin Schulhoff (8 June 1894 18 Aug. 1942)
Schulhoff composed a Melodie for violin and piano that appeared in Prague as
early as 1903, but he did not begin composing prolifically until 1910. That
year he wrote several works, including a set of three pieces for string orchestra,
and many more followed in later years.
Mario Castelnuouvo-Tedesco (3 Apr. 1895 16 Mar. 1968)
Castelnuouvo-Tedesco was first taught the piano by his mother, and his earli-
est published compositions appeared when he was ten years old. Among his
early works are a few songs, but most are for piano, including Arie antiche
(1905) and an English Suite for piano or harpsichord a very surprising choice
of instrument for that time (1909). Another piano work, his Cielo di settembre
(September Sky) of 1910 was designated as his Op. 1 and was orchestrated five
years later. In later life he continued as a composer and pianist, and settled in
the United States in 1939. Works (piano, except where stated):
Arie antiche, 1905
Nocturne and Berceuse, 1905
English Suite, piano or harpsichord, 1909
Calma a Giramonte, 1910
Cielo di settembre, Op. 1, 1910
Chansons grises (songs), 1910
Primavera fiorentina, 1911
Otero, Corazon, Mario Castelnuovo-Tedesco (Newcastle-upon-Tyne, U.K.: Ashley
Mark, 1999).
Paul Hindemith (16 Nov. 1895 28 Dec. 1963)
Neither of Hindemith s parents was a musician by profession, but his father
was very knowledgeable about music and sufficiently interested in it to ensure
Composers Born between 1851 and 1900 191
that Hindemith, along with his younger brother and sister, received intensive
musical training from an early age. Hindemith appears to have begun compos-
ing around the age of nine; a fragment of one of his manuscripts, from circa
1904 or 1905, is reproduced in Heinrich Strobel s Paul Hindemith: Zeugnis in
Bildern (1955, 4). Most of his later childhood compositions are lost (destroyed
in World War II), but they included two piano trios, some violin sonatas, cello
sonatas, piano fantasias, a string quartet, and about twenty lieder (Strobel 1955,
5), all written before he began studying composition at the Hoch Conserva-
tory in Frankfurt in 1912.
Among the surviving works, the most prominent is a set of seven lieder
that date from about 1908 and 1909, published in volume VI/1 in the Hin-
demith collected edition (1983, 149 61). In these songs Hindemith s word
setting is almost entirely syllabic, with careful attention to verbal rhythm, but
the accompaniments are quite varied, from the florid but evocative Nacht-
lied (No. 1) to the whimsical Georgslied (No. 7). Mein Sterben (No.
4) is noteworthy for Hindemith s experimental and forward-looking use of
[ Pobierz całość w formacie PDF ]
