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is set in a
Parisian antique shop around 1830. A student, Novalis, is captivated by a picture of a girl hanging on a wall of the shop. The picture comes to life, and in typical Busoni fashion, the scene immediately dissolves into a fantastical Chinese temple. The opera ends with Novalis awaking from
261:
festival. Not long afterwards, his affair with de Senger came to an end. His distress over the breakup, combined with the shock of the new music he had heard in Paris and
Salzburg, seems to have led to a new maturity in his compositional style. Two weeks after his affair ended, he composed the song
292:
Germany. The opera was premiered in Berlin on 1 April 1943 in the presence of
Schoeck. Schoeck himself did not harbor Nazi sympathies, but the angry Swiss reaction to his actions damaged his reputation and put great strain on Schoeck. He suffered a heart attack in March 1944, but continued to
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from 1916 onwards, coupled with the income from his appointment as conductor of the St Gall
Symphony orchestra in 1917 (with special permission to remain resident in Zürich), allowed Schoeck to give up choral conducting and devote more time to composition instead.
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to escape the adverse effects of the war. Busoni was not alone in coming to Zurich. The war had turned "provincial" Zurich, in neutral
Switzerland, into an international metropolis. Schoeck was a great admirer of the songs of
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Around 1918 Schoeck's music began a stylistic shift. At this time he became involved with the pianist Mary de Senger, who appears to have had a profound influence on his compositional style. The second act of his next opera,
181:; Busoni disliked them, and he said so. Despite their differences, their relationship quickly developed into one of mutual respect, and even one with a bit of affection. In fact, it was Busoni's suggestion that Schoeck use
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was a landscape painter, and as a young man, Othmar seriously considered following in his father's footsteps and attended classes an art school in Zürich before dropping out to go to the
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Schoeck earned his living in Zurich initially as a chorus director and as a freelance accompanist and conductor. An annuity given him by the
Winterthur industrialist
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his dream-state and escaping from the shop into the reality of the street. It is one of
Schoeck's most unusual creations, "almost minimalist in conception."
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were The Othmar
Schoeck Memorial Society for the Preservation of Unusual and Disgusting Music, which later became the Asparagus Valley Cultural Society.
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in Paris, he began to feel isolated by his stylistic conservatism. By 1922 his former mentor, Busoni, who was now back in Berlin, wrote a letter to
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Jumeau-Lafond Jean-David, "Venus d'Othmar
Schoeck ou le commandement de la statue", in "De l'archet au pinceau", (Dir. Philippe Junod), Payot /
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204:(Frankfurt, 1911). Jarnach suggested that one of these short stories might be suitable for an opera. Busoni immediately wrote a libretto,
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234:(1919–1921), employs interesting polyrhythmic and bitonal effects. As he became acquainted with the work of
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266:(1923), which was "as much a farewell to the tonal world of his previous music as to his departed lover."
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273:(1923), the Sonata for Bass Clarinet and Piano (1927–28), and the Suite in A flat for Strings (1945) to
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379:. Eastman Studies of Music. Rochester, NY: University of Rochester Press. pp. 71–74.
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344:. Eastman Studies of Music. Rochester, NY: University of Rochester Press. p. 13.
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Schoeck was not given to overt signs of gratitude, but he dedicated the song cycle
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Othmar
Schoeck String Quartet No.1 in D Major, Op.23-Sound-bites and short bio
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Commanders Crosses of the Order of Merit of the Federal Republic of Germany
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Walton, Chris (September 1986). "Othmar Schoeck: Politics and Reputation".
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656:. University of Rochester Press, Rochester NY 2009; xvii, 444 p., ill. (
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in 1907/08, but otherwise spent his whole career in Zürich. His father,
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in 1999. He wrote a handful of instrumental compositions, including two
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The Eye of the Storm: Ferruccio Busoni's Zurich friends & disciples
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Walton, Chris (2000). Essay in booklet accompanying the CD
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His work with the German poet Hermann Burte on the opera
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681:– a 2009 biography of the composer by Chris Walton.
65:He was known mainly for his considerable output of
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622:The New Grove Dictionary of Music and Musicians.
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43:(1 September 1886 – 8 March 1957) was a Swiss
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212:, and in three days, produced the new opera.
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620:Sadie, S., & Tyrrell, J., eds. (2001).
257:in Paris, and he later participated in the
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202:Chinesische Geister- und Liebesgeschichten
704:International Music Score Library Project
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501:Lawson, Colin James (14 December 1995).
168:In 1916, Schoeck became acquainted with
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509:. Cambridge University Press. pp.
505:The Cambridge Companion to the Clarinet
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303:List of compositions by Othmar Schoeck
253:In the summer of 1923 Schoeck visited
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449:Walton, Chris. "Schoeck, Othmar,"
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690:Karadar entry on Othmar Schoeck
624:New York: Grove's Dictionaries.
465:Letter (original in German) to
172:, who had moved to Zurich from
654:Othmar Schoeck. Life and Works
376:Othmar Schoeck. Life and Works
341:Othmar Schoeck. Life and Works
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941:Swiss male conductors (music)
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79:, which was premiered at the
976:20th-century Swiss composers
189:as the subject of an opera.
27:Swiss composer and conductor
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87:in 1927 and revived at the
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308:Popular culture references
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921:Swiss classical composers
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605:Columbia University Press
132:, studied briefly at the
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658:Eastman Studies in Music
601:Busoni: Selected Letters
284:, for production at the
187:Don Ranudo de Colibrados
488:13 October 2006 at the
647:University of Lausanne
373:Walton, Chris (2009).
338:Walton, Chris (2009).
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911:Swiss opera composers
469:, dated 28 May 1922.
124:Early life and career
35:
750:List of compositions
134:Leipzig Conservatory
128:Schoeck was born in
107:'s first concerto),
103:, dedicatee also of
685:Othmar Schoeck Site
635:Ramsen, Switzerland
581:Penn and Teller FAQ
282:Das Schloss Dürande
164:Influence of Busoni
146:Zürich Conservatory
916:Romantic composers
789:Das Schloß Dürande
286:Berlin State Opera
95:and concertos for
48:classical composer
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666:978-1-58046-300-3
649:, Lausanne, 1996.
554:(1722): 485–487.
548:The Musical Times
520:978-0-521-47668-3
386:978-1-58046-300-3
351:978-1-58046-300-3
264:Die Entschwundene
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633:, pp. 3–6.
153:World War I
105:Béla Bartók
101:Stefi Geyer
76:Penthesilea
71:song cycles
895:Categories
583:. faqs.org
422:, p. 262n.
410:, pp. 3–4.
326:References
301:See also:
236:Alban Berg
210:Don Ranudo
81:Semperoper
473:, p. 353.
452:New Grove
395:1071-9989
360:1071-9989
293:compose.
179:Hugo Wolf
138:Max Reger
119:Biography
67:art songs
60:conductor
834:Category
814:Notturno
486:Archived
471:Beaumont
420:Beaumont
200:'s book
56:musician
45:Romantic
847:Portals
706:(IMSLP)
702:at the
590:Sources
483:Musinfo
437:, p. 4.
271:Gaselen
240:Les six
151:During
130:Brunnen
85:Dresden
18:Schoeck
817:(1933)
809:(1922)
807:Elegie
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765:Venus
564:JSTOR
231:Venus
136:with
109:cello
99:(for
662:ISBN
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381:ISBN
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346:ISBN
317:and
290:Nazi
238:and
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