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part. Here, one has the result of sustained work, with which such a fine gradation of sound has been reached that one scarcely has the impression that four people are performing. And yet, despite all the humble subsuming of the individual to the group, the individuality of each artist can be recognized. The ensemble technique (rhythmic precision, dynamics, simultaneity of initial and final consonants) leaves nothing to be desired." Kienzl had just one complaint: "It is regrettable that this elite quartet does not perform four-voice
42:
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wrote, "There are not many people who have the least idea either of the wonderful musicianship of
Therese Behr Schnabel, ... or of the debt her husband owed to her. She was older than he by several years, and it was she who, after his infant prodigy days, forced him on the German public by insisting
352:
wrote of the ensemble, "The characters of the four beautiful voices fit unusually well together, as if they had been selected with love and understanding from hundreds of singers by someone with a fine ear. Of course, the singers' own artistic intelligence and sense for style also play a significant
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remarked that "it was a hazardous undertaking for a woman to sing this intensely romantic song cycle, set to a series of poems which so obviously are the outpourings of a love-sick youth, and which in the realistic public's mind called for a man's voice." Nonetheless, the concert was met with such
203:. The two married in 1905. They frequently performed together, and it was Behr's fame as a singer of Lieder—and her insistence that her husband accompany her—that drew the public's attention to Schnabel's ability as a pianist. The Schnabels' twelve-room apartment on Wielandstrasse in
280:(1972–2002), who was also a pianist, found their last resting place in the tomb, too. In 2006, the municipality of Schwyz declared the grave site a protected monument wherefore it is exempted from regulations that stipulate the removal of the remains after a certain period.
222:, and winters in London. Summers in Tremezzo, for these years, were also an opportunity for Behr, Schnabel, and their son Karl Ulrich Schnabel (1909-2001) to teach summer courses. The family relocated to New York in 1939, where Behr continued teaching.
326:
In 1903, Behr co-founded the
Berliner Vokalquartett (Berlin Vocal Quartet) with soprano Jeanette Grumbacher-de Jong, tenor Ludwig Hess, and bass Arthur van Eweyk. The quartet was renowned for its performances with orchestra of works such as
391:, "serious will joined hands with the most perfect ability. These Schubert, Schumann, and Brahms evenings offered all participants hours of pure, unadulterated joy of sound." In the winter of 1909/10, Behr and Schnabel performed Schubert's
225:
Behr returned to Europe for the first time in 1946, after the war. Thereafter, she spent summers in
Switzerland and Italy. After Schnabel's death in 1951, she moved back to Tremezzo permanently, and remained there until her death in
446:
Behr was widely recognized for her rich voice and her "instinctive sense of phrasing and emphasis". Wilhelm Kienzl wrote that she "treated her soft, beautifully balanced mezzo-soprano with artistic refinement". Her voice inspired
168:
Therese Behr was born to interior designer Carl Behr and his wife Lina Behr (née Zenegg) in
Stuttgart on 14 September 1876. In 1881, the family moved to Mainz. Therese Behr's brother, the conductor and violinist
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declared that "a genuine high priestess of the art has arisen once again." The following years saw performances of Lieder in London, Paris, St. Petersburg, Moscow, Budapest, and
Brussels, among others.
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535:
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The
Schnabels – A Musical Legacy, Unpublished and Lost Historic Recordings. Mozart, Schumann, Schubert, C.P.E. Bach, J.S. Bach, Mendelssohn, Paradisi. (CD: TownHall Records THCD74A-B)
214:
came to power in 1933, Behr and
Schnabel left Berlin, as Schnabel very clearly foresaw the political troubles that were to come. For the next few years, they spent summers in
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he appear as her accompanist. She had the most unerring musical tact of anyone I have ever known, and this came out in her singing even when she had no voice left at all."
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acclaim that the duo performed all
Schubert's song cycles over the next few years. They repeated this feat in the Schubert centennial year 1928 in concerts that critic
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Behr's and
Schnabel's first encounter in 1900 was also the beginning of a lifelong musical collaboration. The two were known for their interpretations of the Lieder of
254:(1912–1999). Karl Ulrich Schnabel's daughter Ann Schnabel Mottier currently manages the Schnabel Music Foundation together with her husband François Mottier.
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The duo performed not only works by established German masters, but also
Schnabel's own songs for voice and piano, many of which were dedicated to his wife.
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After the birth of her sons, Behr appeared in public less frequently, accompanied almost always by her husband and, later, her son Karl Ulrich Schnabel.
300:. Her "tentative" first appearance in 1897 was followed by a second debut on 21 January 1899 at the Berlin Singakademie, accompanied by the
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276:. Their son Karl Ulrich, his wife Helen, née Fogel (1911–1974), a pianist from the USA, and Therese's great-grandson
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A few other recordings from the 1930s exist; these recordings were made well past the height of Behr's career:
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described as "the highest possible integration of interpretative powers applied to deep and sincere feeling".
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380:. Their concerts were described as exhibiting the "most subtle, finest taste"; in them, wrote reviewer
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was hired to accompany Behr, who already had a successful international career, on a concert tour in
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The only recording of Behr from the height of her career is a private acoustic recording from 1904:
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soon became a meeting point for Berlin music circles. Behr also taught voice lessons in their home.
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594:. By Artur Schnabel. Lynn Matheson; Anicia Timberlake (eds.). Hofheim: Wolke. pp. 8–9.
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Behr was best known as a singer of Lieder, but she was also acclaimed as a soloist with
184:; she studied with Stockhausen from 1893 until 1895, and then continued in Cologne with
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365:. These would—even because of the sound alone—bring some variety into the program."
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Therese Schnabel was buried next to her husband in his grave at the cemetery of
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Im Konzert: von Tonwerken und nachschaffenden Tonkünstlern empfangene Eindrücke
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on 30 January 1959. Therese Behr's papers are held at the Music Archive of the
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in Cologne. In 1898, at the age of 22, she moved to Berlin to study with
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Schubert and Schnabel – An Historical Recording, Volume IV. (New York:
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826:(in German). Allgemeiner Verein für deutsche Literatur – via
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180:, arranged for her to have music lessons in nearby Frankfurt with
572:. By Artur Schnabel. St. Martin's Press. p. xv – via
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to compose his song "Traum durch die Dämmerung" (1895) for her.
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466:, and Richard Strauss. British writer and friend of the family
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in Frankfurt am Main, and continued her musical education with
438:, Erika Stiedry-Wagner, Mary Simmons, and Randolph Symonette.
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in 1905. Behr and Artur Schnabel had two sons, the pianist
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Behr; 14 September 1876 – 30 January 1959) was a German
536:
Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit
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Kleefeld, Wilhelm (1906). "Ein Berliner Musikwinter".
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Behr taught throughout her life. Her students include
846:
458:; her early career saw performances with conductors
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911:Emigrants from Nazi Germany to the United States
426:, Eva Leßmann, Hilde Ellger, Gertrud Hindemith,
308:. This performance, which featured the music of
156:. She was best known for her interpretations of
820:(1908). "Das Berliner Vokal-Quartett (1905)".
288:Behr began her singing career as a student of
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191:She moved to Berlin in 1898 to study with
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27:German contralto lieder singer and teacher
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316:, was received very positively: the
195:. In 1900, the then-unknown pianist
760:Velhagen & Klasings Monatshefte
613:"Therese Behr Schnabel (1876–1959)"
652:"Where is the Schnabel Grave Site"
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261:The family grave in January 2024.
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319:Allgemeine musikalische Zeitung
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592:Walking Freely on Firm Ground
840:Artur Schnabel: A Biography
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901:German operatic contraltos
701:Neue Zeitschrift für Musik
250:(1909–2001) and the actor
656:Schnabel Music Foundation
617:Schnabel Music Foundation
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916:Musicians from Stuttgart
400:. Schnabel's biographer
531:"Therese Behr-Schnabel"
483:Symposium label CD 1356
232:Academy of Arts, Berlin
115:singer, singing teacher
564:(1963). Introduction.
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906:German voice teachers
538:, Universität Hamburg
269:, the capital of the
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205:Berlin-Charlottenburg
146:Therese Behr-Schnabel
34:Therese Behr-Schnabel
708:(17). 19 April 1905.
278:Claude Alain Mottier
248:Karl Ulrich Schnabel
242:She married pianist
134:Karl Ulrich Schnabel
46:Therese Behr in 1903
357:songs, such as old
842:. London: Cassell.
836:Saerchinger, César
290:Julius Stockhausen
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182:Julius Stockhausen
67:Kingdom of Prussia
721:Missing or empty
590:(2014). Preface.
588:Grünzweig, Werner
568:My Life and Music
562:Crankshaw, Edward
496:Arabesque Records
464:Felix Weingartner
430:, Lotte Leonard,
402:César Saerchinger
306:Alfred Reisenauer
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59:14 September 1876
16:(Redirected from
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81:30 January 1959
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193:Etelka Gerster
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89:(aged 82)
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171:Hermann Behr
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56:Therese Behr
18:Therese Behr
896:1959 deaths
891:1876 births
746:Kienzl 1908
475:Discography
432:Peter Pears
420:Doda Conrad
385: [
174: [
101:Nationality
885:Categories
661:2024-01-17
503:References
442:Reputation
393:song cycle
355:a cappella
271:homonymous
210:After the
85:1959-01-31
863:Biography
456:orchestra
359:madrigals
348:Reviewer
339:Beethoven
220:Lake Como
154:contralto
113:contralto
63:Stuttgart
838:(1957).
766:(2): 46.
622:3 August
543:3 August
374:Schumann
370:Schubert
310:Schubert
304:student
216:Tremezzo
130:Children
849:Portals
811:Sources
498:, 1987)
334:Messiah
83: (
732:online
378:Brahms
376:, and
363:motets
329:Handel
314:Brahms
284:Career
274:canton
267:Schwyz
238:Family
228:Lugano
158:lieder
120:Spouse
104:German
93:Lugano
508:Notes
389:]
302:Liszt
212:Nazis
178:]
727:help
624:2023
545:2023
361:and
337:and
312:and
164:Life
78:Died
52:Born
706:101
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331:'s
150:née
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