641:, the above listed works can be taken as examples of music of the "New German School". Estimating their artistic value, or even getting knowledge of them, is however a difficult task. Nearly all of the works have disappeared from the regularly played concert repertoire, and the scores can only be accessed in archives. The music of the "New German School" up to 1886, including most of Liszt's works, was neglected or ignored even by scholarly research for a long period, with the exception of that of Wagner. Only relatively late in the 20th century did interest revive.
839:, Leipzig, but the consent of original publishers of Liszt's works was needed. Most of them refused to take part. According to the legal situation of that time, Liszt's works were not free until 30 years after his death, i.e. in 1916. The edition commenced in 1907 with volumes containing works, such as the Symphonic Poems, originally published by Breitkopf & Härtel. Until 1936 further volumes appeared. In the following year 1937, when the
508:
663:
1345:
See: Lucke-Kaminiarz, p. 225f, and: Walter (2000), p. 317. During Liszt's lifetime, the musical department received about 20 scores each year from composers who wished their works to be performed. In the beginning of the 20th century this became an annual amount of about 130, and in the
939:
were hyper modern. The songs by Paul
Stuiber were caterwauling, and with the songs by Strauss, not fit to be sung as they were, impotence and decadence had reached their height. After World War I had been lost by the "Deutsche Reich", according to Schrader, a cultural retaliatory battle against a
333:
at different locations were to be arranged, with performances of important, rarely heard, and especially new musical works of all kinds. However, older works that were only seldom or not at all heard, but of interest because of their importance, were also to be performed. In addition, new works,
291:
After Liszt's death on 31 July 1886, Marie
Hohenlohe-Schillingsfürst, daughter of Princess Wittgenstein, founded in 1887 a "Franz Liszt Stiftung" (Franz Liszt Foundation). The funds were destined for editing a complete edition of Liszt's musical works, as well as for stipends. Amongst artists
713:
wanted to resign. Strauss, at that time regarded as avant-garde composer, and a successful one, was an ideal candidate. However, there were severe divergences between him and the rest of the leading committee concerning his activities in favour of a change of the legal rights of composers of
714:
instrumental music, regarding royalties from performances of their works. For these reasons, after Fritz
Steinbach had been elected as new president, Strauss was on 24 September 1898 excluded from the steering committee. He founded own organisations, but 1901 returned to the
626:. In 1876, 1880 and 1883, the Symphony in E-flat major of Borodin was played. However, not all of Liszt's suggestions regarding Russian composers found acceptance. For example, in 1885 it was Liszt's suggestion to perform the Symphony in C major by
462:
with 30 performances of 24 works. Many of his works were new discoveries after they had for the first time been published in the complete edition of the "Bach-Gesellschaft" (Bach-Society). After Liszt the most frequently performed contemporary composer was
500:. After a dispute with Bülow, who vehemently voted against, Liszt's suggestion was accepted. After 1869, Brendel having died the previous year, works by Brahms were regularly performed; and 1887, after Liszt's death, Brahms became himself a member of the
170:("On the situation of artists"). In his first articles, he had taken a critical look at contemporary Parisian musical life which he found wanting in all aspects. In his last article he had made suggestions for a reorganisation of musical life.
835:, Strauss was responsible for the complete edition of Liszt's musical works, as projected by the "Franz Liszt Stiftung". In this respect, due to legal difficulties, a delay occurred. The edition was to be undertaken by the publishing-house
177:
in außerordentlichen
Diensten" ("Conductor in extraordinary services"). At that time he was travelling virtuoso, touring with concerts through Europe. In the beginning of 1848 he had settled in Weimar. Since 1849 he had tried to install a
311:
Further foundations were a "Mansouroff-Stiftung", founded 1889, a "Hermann-Stiftung", founded 1893, and a "Richard-Wagner-Stiftung", founded 1915 and dedicated to supporting performances of music dramatic works. In 1937, when the
316:
was closed, the foundations still existed, although there had been losses of considerable amounts due to World War I and subsequent economic crisis. Traces of the foundations can be found until 1943, but are lost thereafter.
765:. Brahms, Berlioz, Liszt and Wagner, however, were more and more regarded as classics. While their works were still performed, works of the present generation of young composers, with exception of Strauss, were missing. The
135:
as a member of the
Committee of the Allgemeiner Deutscher Musikverein. I also vote especially for Stein (of Sondershausen), Eduard Liszt, Herbeck, Ambros, David – without a word against the rest of the names which you have
84:, the organisers, Liszt and Brendel, wanted to open the path for the foundation of a "Allgemeiner Deutscher Musikverein" (General German Music Association), to embody what they thought of as the core principles of the
182:-Stiftung" ("Goethe Foundation") for the purpose of supporting the arts as suggested in his article series of 1835. During the 1850s it became clear that the project could not be realized. The foundation of the
780:. Its central aim was now cultivating and supporting German musical life in the sense of new developments. The literary department and the paragraphs concerning performances of older works were removed, the
132:
His
Highness adheres always firmly and faithfully to the endeavors of the "New German School," and is desirous of supporting it still further. On this account I think it would be desirable to elect Seifriz
264:
became trustee of several foundations. The earliest was a "Beethoven-Stiftung" (Beethoven
Foundation), (1871) funded by the assets of Sophie and Robert Pflughaupt, and enlarged by gifts of Liszt and
1734:
1252:
Max
Seifriz (1827–1885) was conductor of the Prince's Court Orchestra in Löwenberg. Under his direction, the orchestra frequently played works by Liszt; see: Walker (1989) p. 299.
788:(Musicians Festivals), and performances of works of the older "New Germans" were reduced to exceptions. Until World War I, the most frequently performed contemporary composer at the
1087:, suggested his resignation in favour of Raabe, who should be elected instead. The suggestion was accepted, since leading members hoped, with Raabe's uniting both positions the
58:
338:
was to have an own library, and to edit an annual almanac. Of the almanac, only volumes for the years 1868, 1869 and 1870 were realized. Until 1892, the main organ of the
265:
757:
of
Prussia as well as works by Brahms, Berlioz, Liszt and Wagner were performed. The works of historical styles met an increasing interest of that time in music of the
363:, the latter selected musical works to be performed. Until his death in 1886, Liszt was the head of the musical department. Other prominent members over the years were
1146:
should be dissolved. Raabe tried to convince his colleagues that the
Reichsmusikkammer was the proper cultural advocate of musicians. He also assured them that future
193:
were formulated by Liszt together with Brendel. They resembled those of the projected "Goethe-Stiftung". In the early 20th century, there were attempts to rename the
1065:, was installed, responsible for all parts of German musical life. In July 1935 Strauss had to resign due to his collaboration with Jewish artists, especially with
1749:
1744:
1668:
1739:
96:
on the afternoon of 3 June 1861. It was supported in speeches by prominent persons, among them Liszt, and then accepted. On 7 August 1861, at the next
1134:
and Richard Strauss, the authors of the letter apologized. The letter, however, together with two further ones in which the liquidation of the
568:
Carl Müller-Hartung – Psalm 42 for solo, chorus and orchestra (1872), Psalm 84 for baritone, solo-quartet and threesome male chorus (1878), a
1111:. Suggestions by National Socialistic organisations had not sufficiently been taken into consideration. Besides, publishing-houses, such as
690:, his Piano Quartet, Op. 13, for was performed. During 1890–98 Strauss was member of the "musikalische Sektion". As such he supported
726:
and Friedrich Rösch were close friends of Strauss, who in 1909 was nominated as Honorary President. Until World War I he dominated the
486:
against the New German School. But an artist's career can hardly be reduced to a single event. Even in 1864, in connection with the
372:
260:
aimed at both musical performance and practical support. Absence of funds delayed support initiatives. In the course of time the
1661:
710:
496:
213:
1637:
1051:, the "Reichsministerium für Volksaufklärung und Propaganda" (Ministry for the Enlightening of the People and Propaganda) of
901:
162:
1016:
as music of an intellectually overfed brain. Rathau in his Second Symphony had created a dissonant soup. Nevertheless, the
1724:
344:
1321:
1262:
1175:
1055:
made known that a reorganization of cultural life had to take place. In November 1933, as part of Goebbels' Ministry, a
1154:
in Nuremberg. As Raabe found no support in decisions of two further general assemblies, in June and November 1937, the
951:. The "New Germans" thus were regarded as representatives of a misplaced traditionalism. Strauss’s Tone Poems, such as
57:
475:
12 works in 22 performances. In places 6 to 12 were Raff, Cornelius, Lassen, Schumann, Draeseke, Beethoven and Bülow.
367:, Carl Friedrich von Weitzmann, Louis Köhler, Carl Riedel, Bronsart von Schellendorff, Felix Draeseke, Eduard Lassen,
454:
During Liszt's lifetime, he was himself by a long way the most frequently performed composer at the concerts of the
1654:
1107:, rector of the composers department at the Reichsmusikkammer, with complaints about the steering committee of the
948:
482:
may at first sight be surprising, as he had been often characterized by reference to the "Manifesto" he wrote with
179:
733:
During the last years of Bronsart's time as president discontent arose over the repertoire of the concerts at the
884:
146:
were to be very close, not to say identical. For the purpose of reaching this aim, the steering committee of the
792:
was Strauss himself, but there were also works such as Mahler's Symphonies Nos. III and VI, Pfitzner's Overture
619:
836:
142:
The letter shows that, according to Liszt's wishes, the endeavors of the "New German School" and those of the
127:
he was guest of the Prince of Hohenzollern-Hechingen. In a letter to Brendel of 16 September 1861, he wrote:
1463:, p. 243, according to which his understanding of music history commenced with Liszt's Symphonic Poems.
761:
or even earlier periods of music history. Performing these works was in congruence with the statutes of the
754:
695:
615:
384:
1080:
977:
953:
750:
722:" the old steering committee was removed, and Strauss was elected as president. The subsequent presidents
591:
225:
124:
957:, ten years earlier still regarded as avant-garde music, were now viewed as works of times of yore. His
459:
812:
1533:
Kaminiarz: (1995), p. 18. Black was meant as colour of the Church, and red as that of Socialists.
963:
was old-fashioned and even scraping the borders of program music, which was no longer acceptable. His
1729:
742:
1641:
1632:
802:
273:
825:
776:
Strauss, who did not share the interest in music of historical times, changed the statutes of the
959:
723:
611:
422:
took place. After that, with exception of the years 1866, 1875 and 1915–18 (World War I), annual
221:
1377:
In Lucke-Kaminiarz, p. 234, erroneously "26 Werke" is printed, while "16 Werke" was meant.
17:
1677:
1131:
1057:
981:
821:
607:
388:
376:
368:
364:
359:
had a literary and a musical department; the former decided about lectures to be given at the
305:
85:
70:
51:
1484:
For details, see the letter by Strauss to Cosima Wagner of 20 April 1905 in: Wagner-Strauss:
1130:
After a heated debate with further accusations against Joseph Haas, Siegmund von Hausegger,
908:
895:, Op.70, songs with orchestral accompaniment by Paul Stuiber, the String Quartet, Op.31, by
746:
575:
1151:
1062:
1052:
1008:
there were different opinions regarding these works. By some, Hindemith's dance pantomime
965:
679:
464:
297:
217:
42:, "General German Music Association") was a German musical association founded in 1861 by
980:. Until the early 1930s, works of a large scope of different styles, among them works by
93:
1142:. In December 1936, Raabe told the leading committee, Goebbels had said to him that the
1703:
1693:
1566:
Richard Strauss, Briefe aus dem Archiv des Allgemeinen Deutschen Musikvereins 1888–1909
1181:
993:
896:
627:
483:
472:
468:
392:
277:
1205:"Alles Vergängliche ist nur ein Gleichnis" (Anything perishable is only a symbol) the
308:
was supported with an annual sum of 1,000 Marks, the maximum grant of the foundation.
1718:
1001:
912:
817:
691:
380:
293:
285:
205:
174:
47:
1112:
1104:
1066:
1032:
997:
985:
932:
773:, as installed by Liszt, with interests of a diocese or the conceit of a regiment.
637:
Due to the close connection between Liszt himself, the "New German School" and the
269:
603:
507:
197:
as "Liszt Verein" or "Neudeutscher Musikverein" ("New German Music Association").
1355:
See the list in: Kaminiarz (1995), p. 20. The list is incomplete, since the
969:, premiered in 1909 and at that time attacked as ultra progressive, was old hat.
1698:
1166:
1074:
1020:
had once again proven itself to be the leading institution of musical progress.
928:
458:. In 135 performances 96 of his works were played. The second place was held by
229:
209:
43:
28:
1277:
For details concerning the "Goethe-Stiftung" see: Raabe (1931), pp. 201ff.
662:
1346:
1920s an annual amount of up to 700 scores; see: Kaminiarz (1995), p. 25.
989:
927:
was attacked by critics from different sides. According to Bruno Schrader, an
719:
400:
396:
108:
took place. The association started with 202 members, 37 of them from abroad.
426:
were arranged. In several cases, 1903, 1910 and 1932, places in Switzerland,
797:
554:
Eduard Lassen – Symphony in four movements (1867) and the music to Hebbel's
491:
419:
281:
431:
1048:
504:. Shortly afterwards he was elected as member of the steering committee.
1573:
Der Allgemeine Deutsche Musikverein und seine Tonkünstlerfeste 1859–1886
1004:
and Karol Rathau, were performed. Unavoidably, among the members of the
883:, Symphonic variations on the nursery-rhyme "Schlaf, Kindchen, schlaf",
867:
restarted with a concert program consisting of Karl Prohaska's Oratorio
843:
was closed, the Liszt edition, although by far incomplete, was stopped.
1459:
See his letter to Cosima Wagner of 30 October 1901 in: Wagner-Strauss:
1139:
1096:
947:
was trying to reconstruct the cultural life of the "Deutsche Reich" of
758:
738:
687:
120:
81:
1194:
1189:, in its final version, had for the first time been performed at the
860:
703:
237:
101:
1646:
1091:
could maintain independence; but this was an error. In 1936, at the
200:
Until the end of his life, Liszt was the intellectual rector of the
602:
Frequently Liszt also suggested works by Russian composers such as
1320:
See his letter to Brendel of 16 September 1861 in: La Mara (ed.):
661:
506:
427:
158:
1628:
519:
During 1861–1886, among the works on Liszt's suggestions were:
439:
204:, but did not want to be its president. The first president was
89:
1650:
414:
of 1861 in Weimar, there was a break of three years. In 1864 a
1127:
was also accused of being reigned by a "black-red coalition".
1120:
943:
Other critics had opposite views. From their perspective, the
940:
French, Belgian and Polish invasion of art had to take place.
919:
for piano, violin and violoncello, and songs by Heinz Tiessen.
292:
supported by the "Franz Liszt Stiftung" were Robert Franz and
1201:
had taken place. A circle had closed. With the sounds of the
976:
elected new presidents, in 1919 Friedrich Rösch, and in 1925
478:
The strong position of Brahms in the concert programs of the
157:
had nearly all been Liszt's. In 1835 he had published in the
56:
551:
Leopold Damrosch – Serenade for violin and orchestra (1861)
1103:. It was a letter by some National Socialistic members to
630:, dedicated to him himself. Instead, Balakirev's Overture
334:
either musical or scholarly ones, were to be printed. The
186:
was Liszt's next attempt, and this attempt was a success.
1099:, Raabe read out a letter to the general assembly of the
935:
inclination, most of the productions as performed at the
268:. Artists supported by the "Beethoven-Stiftung" included
1450:
Details will be found in: Walter (2000), pp. 291ff.
1119:, although their catalogues were promoting the works of
541:
Bronsart von Schellendorff – Piano Concerto, Op. 10
494:, it was Liszt who suggested a performance of Joachim's
406:
The musical department also decided at which places the
153:
The main initiatives which led to the foundation of the
1604:, 3. erweiterte Auflage, ed. Erich Kloss, Leipzig 1910.
1073:. His successor, until his death on 12 April 1945, was
173:
In October 1842 Liszt had been nominated in Weimar as "
682:. He was a member from 1887. In the same year, at the
150:
should consist solely of persons with his confidence.
1359:
of 1859 in Leipzig and of 1919 in Berlin are missing.
899:, a violin sonata by Julius Kopsch, Richard Strauss'
471:, 14 works were performed in 23 performances, and of
208:, until his death in 1868. Brendel's successors were
1039:
was attacked by the National Socialists. During the
1035:had become Chancellor of the "Deutsche Reich", the
581:
Heinrich Schulze-Beuthen – Psalms 42 and 43 (1870),
69:For detailed background on events before 1859, see
879:with Trio accompaniment, Siegmund von Hausegger's
266:Karl Alexander, Grand Duke of Saxe-Weimar-Eisenach
824:Rhapsody Op. 1 for piano and orchestra, and
709:In 1898 a new president was to be elected, since
678:after Liszt's death is linked with the career of
1368:See the table in: Lucke-Kaminiarz, p. 234f.
572:in C major (1884), and soprano songs (1886)
1735:1861 establishments in the German Confederation
123:, where, from 22 August until 19 September, in
1638:Detaillierte Concert programs, ADMV, 1859–1937
379:, Max von Schillings, Siegmund von Hausegger,
189:In their version of 1861, the statutes of the
119:Liszt left Weimar on 18 August, travelling to
1662:
8:
1161:In 1937, in Darmstadt and Frankfurt, a last
1012:was taken as evil prank, and Krenek's opera
27:"ADMV" redirects here. For Maluma song, see
224:, until 1919, Friedrich Rösch, until 1925,
216:, until 1898, Fritz Steinbach, until 1901,
92:) of music. The proposal was introduced by
1669:
1655:
1647:
1165:with concerts took place. As last pieces,
634:and some of his piano pieces were played.
434:, and once again Zürich, were chosen. The
352:received "Mitteilungen" (Communications).
1609:Franz Liszt, The Weimar Years (1848–1861)
1176:Piano Concerto No. 1 in E-flat major
348:. Afterwards, until 1933, members of the
1542:Kaminiarz: (1995), pp. 18–19.
1061:("Imperial Music Chamber"), directed by
598:(1870) as well as a Cello Sonata (1874).
544:Peter Cornelius – Terzet from the opera
1285:
1283:
1235:
1233:
1231:
1218:
1602:Briefwechsel zwischen Wagner und Liszt
1471:
1469:
1437:
1435:
1416:
1414:
1412:
1410:
800:Piano Quartet in D minor op.113,
50:, to embody the musical ideals of the
1750:Musical groups disestablished in 1937
1584:Die Leipziger Tonkünstler-Versammlung
467:with 25 performances of 16 works. Of
7:
325:As part of the artistic aims of the
1600:Wagner, Richard, and Liszt, Franz:
1241:Der Allgemeine Deutsche Musikverein
1138:was demanded, had been sent to the
889:Variationen über ein Thema von Bach
1745:Musical groups established in 1861
769:hence was accused of confusing an
698:was performed in June 1894 at the
497:Violin Concerto in Hungarian style
387:, Peter Raabe, Jean Louis Nicodé,
236:was closed on order of the German
25:
1740:1937 disestablishments in Germany
1689:Allgemeiner Deutscher Musikverein
1629:Allgemeiner Deutscher Musikverein
36:Allgemeiner Deutscher Musikverein
1611:, Cornell University Press 1989.
1590:, 50 (1859), pp.282ff and 289ff.
828:String Quartet in C minor.
718:. In a so-called "revolution of
527:(1861) as well as songs and the
80:(Musicians Assembly) of 1859 in
1395:Lucke-Kaminiarz, pp. 229f.
1209:dismissed itself from history.
214:Hans Bronsart von Schellendorff
18:Allgemeine Deutsche Musikverein
1616:Richard Strauss und seine Zeit
1551:Kaminiarz: (1995), p. 19.
1524:Kaminiarz: (1995), p. 17.
1475:Kaminiarz: (1995), p. 15.
1441:Kaminiarz: (1995), p. 24.
1429:Lucke-Kaminiarz:, p. 229.
1404:Lucke-Kaminiarz, p. 228f.
1336:Lucke-Kaminiarz, p. 224f.
1197:, where the foundation of the
1150:would be as marvellous as the
1083:, until then president of the
877:Lieder auf indische Dichtungen
730:as has Liszt in former times.
410:should be arranged. After the
391:, Heinz Tiessen, Joseph Haas,
1:
1618:, Laaber-Verlag, Laaber 2000.
1420:Kaminiarz (1995), p. 14.
1386:Lucke-Kaminiarz, p. 230.
1289:Lucke-Kaminiarz, p. 223.
1225:See: Pohl (1859) p. 296.
891:, Op. 59, and his scene
871:, Friedrich Klose's Oratorio
622:, all of them members of the
1597:, Stuttgart und Berlin 1931.
1497:Walter (2000)', p. 312.
1014:Der Sprung über den Schatten
534:Hans von Bülow – song cycle
168:De la situation des artistes
1515:Walter (2000), p. 318.
1506:Walter (2000), p. 316.
596:Die Hochzeit des Prometheus
578:– 2nd Piano Concerto (1881)
515:19–22 June 1890 in Eisenach
1766:
1588:Neue Zeitschrift für Musik
1298:Raabe (1931), p. 229.
1069:, librettist of the opera
855:After World War I, at the
711:Bronsart von Schellendorff
446:Concert repertoire of the
345:Neue Zeitschrift für Musik
68:
26:
1684:
1357:Tonkünstler-Versammlungen
782:Tonkünstler-Versammlungen
749:, Johann Sebastian Bach,
735:Tonkünstler-Versammlungen
456:Tonkünstler-Versammlungen
424:Tonkünstler-Versammlungen
408:Tonkünstler-Versammlungen
361:Tonkünstler-Versammlungen
331:Tonkünstler-Versammlungen
296:. In 1903 and 1904, when
1571:Lucke-Kaminiarz, Irina:
1564:Kaminiarz, Irina (ed.):
1115:, were supported by the
915:, Paul Juon's tone poem
747:Pietro Antonio Locatelli
741:, for example, works by
620:Pyotr Ilyich Tchaikovsky
561:Heinrich Herzogenberg –
104:, the foundation of the
1575:, in: Altenburg (ed.):
1309:Richard Strauss, Briefe
1191:Tonkünstler-Versammlung
1163:Tonkünstler-Versammlung
1093:Tonkünstler-Versammlung
1047:again, of that year in
1045:Tonkünstler-Versammlung
954:Also sprach Zarathustra
700:Tonkünstler-Versammlung
684:Tonkünstler-Versammlung
674:The development of the
670:1–5 June 1894 in Weimar
667:Tonkünstler-Versammlung
616:Nikolai Rimsky-Korsakov
529:Requiem in B minor
512:Tonkünstler-Versammlung
488:Tonkünstler-Versammlung
436:Tonkünstler-Versammlung
416:Tonkünstler-Versammlung
412:Tonkünstler-Versammlung
385:Alexander von Zemlinsky
98:Tonkünstler-Versammlung
78:Tonkünstler-Versammlung
1595:Liszts Schaffen, Cotta
1586:, Erster Artikel, in:
1081:Siegmund von Hausegger
978:Siegmund von Hausegger
837:Breitkopf & Härtel
751:Georg Friedrich Händel
671:
546:Der Barbier von Bagdad
516:
438:of 1905 took place in
226:Siegmund von Hausegger
61:
808:Lemminkäinen's Return
665:
644:
510:
373:Engelbert Humperdinck
300:was president of the
60:
1725:German music history
1071:Die schweigsame Frau
875:, Julius Weismann's
831:As president of the
743:Alessandro Scarlatti
563:Deutsche Liederspiel
1642:McMaster University
1633:Carleton University
1043:, now being called
911:, a string trio by
803:The Swan of Tuonela
649:after Liszt's death
592:Camille Saint-Saëns
371:, Richard Strauss,
100:, for this time in
1577:Neudeutsche Schule
1031:Since 1933, after
960:Sinfonia Domestica
816:, Op. 22, of
813:Lemminkäinen Suite
794:Das Christ-Elflein
724:Max von Schillings
672:
612:Alexander Glazunov
586:Pastoral-Ouverture
556:Nibelungen-Trilogy
517:
238:National Socialist
222:Max von Schillings
166:an article series
62:
1712:
1711:
1678:New German School
1614:Walter, Michael:
1579:, pp. 221ff.
1239:Lucke-Kaminiarz:
1185:were played. The
1148:Tonkünstler-Feste
1132:Hermann Abendroth
1058:Reichsmusikkammer
982:Arnold Schoenberg
893:David und Absalom
851:after World War I
790:Tonkünstler-Feste
786:Tonkünstler-Feste
658:up to World War I
608:Alexander Borodin
523:Felix Draeseke –
389:Emil von Reznicek
377:Felix Weingartner
306:Arnold Schoenberg
86:New German School
71:New German School
52:New German School
16:(Redirected from
1757:
1671:
1664:
1657:
1648:
1552:
1549:
1543:
1540:
1534:
1531:
1525:
1522:
1516:
1513:
1507:
1504:
1498:
1495:
1489:
1488:, pp. 253f.
1482:
1476:
1473:
1464:
1461:Ein Briefwechsel
1457:
1451:
1448:
1442:
1439:
1430:
1427:
1421:
1418:
1405:
1402:
1396:
1393:
1387:
1384:
1378:
1375:
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1366:
1360:
1353:
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1305:
1299:
1296:
1290:
1287:
1278:
1275:
1269:
1259:
1253:
1250:
1244:
1237:
1226:
1223:
1041:Tonkünstler-Fest
937:Tonkünstler-Fest
929:ultranationalist
909:Clemens Brentano
857:Tonkünstler-Fest
784:were renamed as
576:Xaver Scharwenka
274:August Göllerich
228:until 1935, and
163:Gazette musicale
21:
1765:
1764:
1760:
1759:
1758:
1756:
1755:
1754:
1715:
1714:
1713:
1708:
1680:
1675:
1625:
1582:Pohl, Richard:
1561:
1556:
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1550:
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1541:
1537:
1532:
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1381:
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1367:
1363:
1354:
1350:
1344:
1340:
1335:
1331:
1327:, No. 260.
1319:
1315:
1306:
1302:
1297:
1293:
1288:
1281:
1276:
1272:
1261:La Mara (ed.):
1260:
1256:
1251:
1247:
1238:
1229:
1224:
1220:
1215:
1203:Chorus mysticus
1169:Symphonic Poem
1123:composers. The
1063:Richard Strauss
1053:Joseph Goebbels
1029:
873:Der Sonne Geist
853:
771:esprit de corps
680:Richard Strauss
669:
660:
651:
525:Germania-Marsch
514:
452:
323:
298:Richard Strauss
254:
252:Supporting aims
249:
232:. In 1937, the
218:Richard Strauss
117:
74:
67:
32:
23:
22:
15:
12:
11:
5:
1763:
1761:
1753:
1752:
1747:
1742:
1737:
1732:
1727:
1717:
1716:
1710:
1709:
1707:
1706:
1704:Richard Wagner
1701:
1696:
1694:Hector Berlioz
1691:
1685:
1682:
1681:
1676:
1674:
1673:
1666:
1659:
1651:
1645:
1644:
1635:
1624:
1623:External links
1621:
1620:
1619:
1612:
1607:Walker, Alan:
1605:
1598:
1593:Raabe, Peter:
1591:
1580:
1569:
1568:, Weimar 1995.
1560:
1557:
1554:
1553:
1544:
1535:
1526:
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1300:
1291:
1279:
1270:
1254:
1245:
1243:, p. 224.
1227:
1217:
1216:
1214:
1211:
1187:Faust Symphony
1182:Faust Symphony
1028:
1022:
994:Paul Hindemith
907:, on poems by
885:Georg Schumann
869:Frühlingsfeier
852:
845:
737:. In 1896, in
696:Symphony no. 1
659:
652:
650:
643:
628:Mily Balakirev
600:
599:
589:
582:
579:
573:
570:Fest-Ouverture
566:
559:
552:
549:
542:
539:
536:Die Entsagende
532:
451:
444:
393:Paul Hindemith
369:Eugen d'Albert
365:Hans von Bülow
322:
319:
278:Felix Draeseke
253:
250:
248:
242:
220:, until 1909,
212:, until 1888,
140:
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63:
24:
14:
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1639:
1636:
1634:
1631:, history at
1630:
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1330:
1326:
1324:
1323:Liszts Briefe
1317:
1314:
1311:, p. 12.
1310:
1304:
1301:
1295:
1292:
1286:
1284:
1280:
1274:
1271:
1267:
1265:
1264:Liszts Briefe
1258:
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1002:Heinz Tiessen
999:
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987:
983:
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913:Erwin Lendvai
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692:Gustav Mahler
689:
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635:
633:
629:
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587:
584:Carl Stöhr –
583:
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398:
394:
390:
386:
382:
381:Hans Pfitzner
378:
374:
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366:
362:
358:
353:
351:
347:
346:
341:
337:
332:
328:
321:Artistic aims
320:
318:
315:
309:
307:
303:
299:
295:
294:Claudio Arrau
289:
287:
286:Hans Pfitzner
283:
279:
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271:
267:
263:
259:
251:
247:
243:
241:
239:
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227:
223:
219:
215:
211:
207:
206:Franz Brendel
203:
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187:
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176:
175:Kapellmeister
171:
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55:
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49:
48:Franz Brendel
45:
41:
37:
30:
19:
1688:
1615:
1608:
1601:
1594:
1587:
1583:
1576:
1572:
1565:
1559:Bibliography
1547:
1538:
1529:
1520:
1511:
1502:
1493:
1486:Briefwechsel
1485:
1480:
1460:
1455:
1446:
1425:
1400:
1391:
1382:
1373:
1364:
1356:
1351:
1341:
1332:
1322:
1316:
1308:
1303:
1294:
1273:
1263:
1257:
1248:
1240:
1221:
1206:
1202:
1198:
1190:
1186:
1180:
1174:
1170:
1162:
1160:
1158:was closed.
1155:
1152:Nazi Rallies
1147:
1143:
1135:
1129:
1124:
1116:
1108:
1105:Paul Graener
1100:
1092:
1088:
1084:
1079:
1070:
1067:Stefan Zweig
1056:
1044:
1040:
1036:
1033:Adolf Hitler
1030:
1025:
1017:
1013:
1009:
1005:
998:Ernst Krenek
986:Anton Webern
973:
971:
964:
958:
952:
944:
942:
936:
933:anti-Semitic
924:
922:
918:
903:Sechs Lieder
902:
900:
892:
888:
880:
876:
872:
868:
864:
856:
854:
848:
840:
832:
830:
811:
807:
801:
793:
789:
785:
781:
777:
775:
770:
766:
762:
755:Friedrich II
734:
732:
727:
715:
708:
699:
683:
675:
673:
666:
655:
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636:
631:
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569:
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555:
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511:
501:
495:
487:
479:
477:
455:
453:
447:
435:
423:
415:
411:
407:
405:
403:and others.
360:
356:
354:
349:
343:
339:
335:
330:
326:
324:
313:
310:
301:
290:
288:and others.
270:Robert Franz
261:
257:
255:
245:
244:Aims of the
233:
201:
199:
194:
190:
188:
183:
172:
167:
161:
154:
152:
147:
143:
141:
134:
131:
118:
113:
105:
97:
94:Louis Köhler
77:
75:
39:
35:
33:
1730:Franz Liszt
1699:Franz Liszt
1307:Kaminiarz:
1193:of 1861 in
1075:Peter Raabe
1024:End of the
897:August Reuß
859:of 1919 in
538:op.8 (1861)
230:Peter Raabe
210:Carl Riedel
44:Franz Liszt
29:ADMV (song)
1719:Categories
1268:, No. 260.
1213:References
1179:, and the
990:Alban Berg
949:Wilhelm II
720:Heidelberg
460:J. S. Bach
450:until 1886
401:Ernst Toch
397:Alban Berg
65:Background
54:of music.
1010:Der Dämon
881:Aufklänge
810:from the
632:King Lear
604:César Cui
492:Karlsruhe
420:Karlsruhe
329:, annual
282:Max Reger
125:Löwenberg
1325:, Band 1
1266:, Band 1
1049:Dortmund
905:, Op. 68
826:Kodály's
822:Bartók's
818:Sibelius
694:, whose
342:was the
240:regime.
159:Parisian
136:proposed
1171:Orpheus
1167:Liszt's
1140:Gestapo
1097:Leipzig
966:Elektra
917:Litania
798:Reger's
759:Baroque
739:Leipzig
688:Cologne
588:(1861),
484:Joachim
469:Berlioz
121:Silesia
82:Leipzig
76:At the
1195:Weimar
1173:, his
1121:Jewish
1113:Schott
931:of an
863:, the
861:Berlin
704:Weimar
565:(1879)
558:(1872)
548:(1861)
531:(1883)
473:Wagner
465:Brahms
432:Zürich
180:Goethe
102:Weimar
428:Basel
1207:ADMV
1199:ADMV
1156:ADMV
1144:ADMV
1136:ADMV
1125:ADMV
1117:ADMV
1109:ADMV
1101:ADMV
1089:ADMV
1085:ADMV
1037:ADMV
1026:ADMV
1018:ADMV
1006:ADMV
974:ADMV
972:The
945:ADMV
925:ADMV
923:The
865:ADMV
849:ADMV
847:The
841:ADMV
833:ADMV
806:and
778:ADMV
767:ADMV
763:ADMV
753:and
728:ADMV
716:ADMV
676:ADMV
656:ADMV
654:The
647:ADMV
645:The
639:ADMV
624:ADMV
618:and
502:ADMV
480:ADMV
448:ADMV
440:Graz
357:ADMV
355:The
350:ADMV
340:ADMV
336:ADMV
327:ADMV
314:ADMV
302:ADMV
262:ADMV
258:ADMV
256:The
246:ADMV
234:ADMV
202:ADMV
195:ADMV
191:ADMV
184:ADMV
155:ADMV
148:ADMV
144:ADMV
114:ADMV
112:The
106:ADMV
90:q.v.
46:and
40:ADMV
34:The
1095:in
887:'s
702:in
686:in
490:in
418:in
1721::
1640:,
1468:^
1434:^
1409:^
1282:^
1230:^
1077:.
1000:,
996:,
992:,
988:,
984:,
820:,
796:,
745:,
706:.
614:,
610:,
606:,
594:–
442:.
430:,
399:,
395:,
383:,
375:,
304:,
284:,
280:,
276:,
272:,
1670:e
1663:t
1656:v
178:"
138:.
88:(
73:.
38:(
31:.
20:)
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