630:, 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.
828:, 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
497:
652:
1334:
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
928:
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
322:
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,
280:
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
702:
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
703:
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
615:. 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
451:
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
489:. 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
159:("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.
824:, 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
166:
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
300:
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
305:
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.
754:. 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
124:
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
73:, 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
47:
171:-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
769:. 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
121:
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
253:
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
1241:
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.
777:(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
1076:, 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
327:
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
746:
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
352:, 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
1135:
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
182:
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
1054:, 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
1723:
254:
85:
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
1738:
1123:
and Richard Strauss, the authors of the letter apologized. The letter, however, together with two further ones in which the liquidation of the
557:
Carl Müller-Hartung – Psalm 42 for solo, chorus and orchestra (1872), Psalm 84 for baritone, solo-quartet and threesome male chorus (1878), a
1100:. Suggestions by National Socialistic organisations had not sufficiently been taken into consideration. Besides, publishing-houses, such as
679:, his Piano Quartet, Op. 13, for was performed. During 1890–98 Strauss was member of the "musikalische Sektion". As such he supported
1733:
1657:
1728:
715:
and Friedrich Rösch were close friends of Strauss, who in 1909 was nominated as Honorary President. Until World War I he dominated the
475:
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
249:
aimed at both musical performance and practical support. Absence of funds delayed support initiatives. In the course of time the
1626:
1040:, the "Reichsministerium für Volksaufklärung und Propaganda" (Ministry for the Enlightening of the People and Propaganda) of
151:
1005:
as music of an intellectually overfed brain. Rathau in his Second Symphony had created a dissonant soup. Nevertheless, the
1310:
1251:
1044:
made known that a reorganization of cultural life had to take place. In November 1933, as part of Goebbels' Ministry, a
1143:
in Nuremberg. As Raabe found no support in decisions of two further general assemblies, in June and November 1937, the
940:. The "New Germans" thus were regarded as representatives of a misplaced traditionalism. Strauss’s Tone Poems, such as
464:
12 works in 22 performances. In places 6 to 12 were Raff, Cornelius, Lassen, Schumann, Draeseke, Beethoven and Bülow.
356:, Carl Friedrich von Weitzmann, Louis Köhler, Carl Riedel, Bronsart von Schellendorff, Felix Draeseke, Eduard Lassen,
443:
During Liszt's lifetime, he was himself by a long way the most frequently performed composer at the concerts of the
1096:, rector of the composers department at the Reichsmusikkammer, with complaints about the steering committee of the
471:
may at first sight be surprising, as he had been often characterized by reference to the "Manifesto" he wrote with
361:
722:
During the last years of Bronsart's time as president discontent arose over the repertoire of the concerts at the
1650:
699:
485:
202:
135:
were to be very close, not to say identical. For the purpose of reaching this aim, the steering committee of the
781:
was Strauss himself, but there were also works such as Mahler's Symphonies Nos. III and VI, Pfitzner's Overture
890:
131:
The letter shows that, according to Liszt's wishes, the endeavors of the "New German School" and those of the
1713:
116:
he was guest of the Prince of Hohenzollern-Hechingen. In a letter to Brendel of 16 September 1861, he wrote:
1452:, p. 243, according to which his understanding of music history commenced with Liszt's Symphonic Poems.
750:
or even earlier periods of music history. Performing these works was in congruence with the statutes of the
333:
1164:
711:" the old steering committee was removed, and Strauss was elected as president. The subsequent presidents
946:, ten years earlier still regarded as avant-garde music, were now viewed as works of times of yore. His
1643:
937:
168:
1522:
Kaminiarz: (1995), p. 18. Black was meant as colour of the Church, and red as that of Socialists.
952:
was old-fashioned and even scraping the borders of program music, which was no longer acceptable. His
873:
608:
825:
765:
Strauss, who did not share the interest in music of historical times, changed the statutes of the
743:
684:
604:
411:
took place. After that, with exception of the years 1866, 1875 and 1915–18 (World War I), annual
373:
46:
1366:
In Lucke-Kaminiarz, p. 234, erroneously "26 Werke" is printed, while "16 Werke" was meant.
1069:
966:
942:
739:
214:
580:
348:
had a literary and a musical department; the former decided about lectures to be given at the
1473:
For details, see the letter by Strauss to Cosima Wagner of 20 April 1905 in: Wagner-Strauss:
448:
1119:
After a heated debate with further accusations against Joseph Haas, Siegmund von Hausegger,
884:, Op.70, songs with orchestral accompaniment by Paul Stuiber, the String Quartet, Op.31, by
801:
113:
1718:
731:
997:
there were different opinions regarding these works. By some, Hindemith's dance pantomime
31:, "General German Music Association") was a German musical association founded in 1861 by
8:
1630:
1621:
969:. Until the early 1930s, works of a large scope of different styles, among them works by
791:
1131:. In December 1936, Raabe told the leading committee, Goebbels had said to him that the
262:
1555:
Richard Strauss, Briefe aus dem Archiv des Allgemeinen Deutschen Musikvereins 1888–1909
948:
814:
712:
600:
210:
1194:"Alles Vergängliche ist nur ein Gleichnis" (Anything perishable is only a symbol) the
297:
was supported with an annual sum of 1,000 Marks, the maximum grant of the foundation.
1666:
1120:
1046:
970:
596:
377:
365:
357:
294:
74:
59:
40:
353:
897:
810:
762:, as installed by Liszt, with interests of a diocese or the conceit of a regiment.
735:
626:
Due to the close connection between Liszt himself, the "New German School" and the
564:
186:
as "Liszt Verein" or "Neudeutscher Musikverein" ("New German Music Association").
1344:
See the list in: Kaminiarz (1995), p. 20. The list is incomplete, since the
1140:
1051:
1041:
958:, premiered in 1909 and at that time attacked as ultra progressive, was old hat.
954:
668:
453:
286:
206:
1009:
had once again proven itself to be the leading institution of musical progress.
447:. In 135 performances 96 of his works were played. The second place was held by
82:
1692:
1682:
1266:
For details concerning the "Goethe-Stiftung" see: Raabe (1931), pp. 201ff.
1170:
982:
616:
472:
461:
457:
381:
266:
1335:
1920s an annual amount of up to 700 scores; see: Kaminiarz (1995), p. 25.
916:
was attacked by critics from different sides. According to Bruno Schrader, an
885:
97:
took place. The association started with 202 members, 37 of them from abroad.
1707:
990:
901:
806:
680:
415:
were arranged. In several cases, 1903, 1910 and 1932, places in Switzerland,
369:
282:
274:
194:
163:
36:
543:
Eduard Lassen – Symphony in four movements (1867) and the music to Hebbel's
1101:
1093:
1055:
1021:
986:
974:
921:
258:
592:
1687:
1155:
1063:
917:
493:. Shortly afterwards he was elected as member of the steering committee.
218:
198:
32:
17:
1562:
Der Allgemeine Deutsche Musikverein und seine Tonkünstlerfeste 1859–1886
993:
and Karol Rathau, were performed. Unavoidably, among the members of the
872:, Symphonic variations on the nursery-rhyme "Schlaf, Kindchen, schlaf",
856:
restarted with a concert program consisting of Karl Prohaska's Oratorio
832:
was closed, the Liszt edition, although by far incomplete, was stopped.
1448:
See his letter to Cosima Wagner of 30 October 1901 in: Wagner-Strauss:
978:
936:
was trying to reconstruct the cultural life of the "Deutsche Reich" of
708:
389:
385:
1178:, in its final version, had for the first time been performed at the
786:
496:
480:
408:
270:
1635:
1080:
could maintain independence; but this was an error. In 1936, at the
420:
189:
Until the end of his life, Liszt was the intellectual rector of the
1037:
651:
591:
Frequently Liszt also suggested works by Russian composers such as
1309:
See his letter to Brendel of 16 September 1861 in: La Mara (ed.):
1128:
1085:
747:
727:
676:
109:
70:
1617:
508:
During 1861–1886, among the works on Liszt's suggestions were:
193:, but did not want to be its president. The first president was
1183:
849:
692:
403:
of 1861 in Weimar, there was a break of three years. In 1864 a
226:
90:
1116:
was also accused of being reigned by a "black-red coalition".
932:
Other critics had opposite views. From their perspective, the
929:
French, Belgian and Polish invasion of art had to take place.
908:
for piano, violin and violoncello, and songs by Heinz Tiessen.
281:
supported by the "Franz Liszt Stiftung" were Robert Franz and
1190:
had taken place. A circle had closed. With the sounds of the
965:
elected new presidents, in 1919 Friedrich Rösch, and in 1925
467:
The strong position of Brahms in the concert programs of the
416:
147:
146:
had nearly all been Liszt's. In 1835 he had published in the
434:
540:
Leopold Damrosch – Serenade for violin and orchestra (1861)
428:
78:
1092:. It was a letter by some National Socialistic members to
619:, dedicated to him himself. Instead, Balakirev's Overture
323:
either musical or scholarly ones, were to be printed. The
175:
was Liszt's next attempt, and this attempt was a success.
1109:
1088:, Raabe read out a letter to the general assembly of the
924:
inclination, most of the productions as performed at the
257:. Artists supported by the "Beethoven-Stiftung" included
1439:
Details will be found in: Walter (2000), pp. 291ff.
1108:, although their catalogues were promoting the works of
530:
Bronsart von Schellendorff – Piano Concerto, Op. 10
483:, it was Liszt who suggested a performance of Joachim's
395:
The musical department also decided at which places the
142:
The main initiatives which led to the foundation of the
1593:, 3. erweiterte Auflage, ed. Erich Kloss, Leipzig 1910.
1062:. His successor, until his death on 12 April 1945, was
162:
In October 1842 Liszt had been nominated in Weimar as "
671:. He was a member from 1887. In the same year, at the
139:
should consist solely of persons with his confidence.
1348:
of 1859 in Leipzig and of 1919 in Berlin are missing.
888:, a violin sonata by Julius Kopsch, Richard Strauss'
460:, 14 works were performed in 23 performances, and of
197:, until his death in 1868. Brendel's successors were
1028:
was attacked by the National Socialists. During the
1024:had become Chancellor of the "Deutsche Reich", the
570:
Heinrich Schulze-Beuthen – Psalms 42 and 43 (1870),
58:For detailed background on events before 1859, see
868:with Trio accompaniment, Siegmund von Hausegger's
255:Karl Alexander, Grand Duke of Saxe-Weimar-Eisenach
813:Rhapsody Op. 1 for piano and orchestra, and
698:In 1898 a new president was to be elected, since
667:after Liszt's death is linked with the career of
1705:
1357:See the table in: Lucke-Kaminiarz, p. 234f.
561:in C major (1884), and soprano songs (1886)
1724:1861 establishments in the German Confederation
633:
112:, where, from 22 August until 19 September, in
1627:Detaillierte Concert programs, ADMV, 1859–1937
368:, Max von Schillings, Siegmund von Hausegger,
178:In their version of 1861, the statutes of the
108:Liszt left Weimar on 18 August, travelling to
1651:
835:
642:
1150:In 1937, in Darmstadt and Frankfurt, a last
1001:was taken as evil prank, and Krenek's opera
16:"ADMV" redirects here. For Maluma song, see
213:, until 1919, Friedrich Rösch, until 1925,
205:, until 1898, Fritz Steinbach, until 1901,
81:) of music. The proposal was introduced by
1658:
1644:
1154:with concerts took place. As last pieces,
623:and some of his piano pieces were played.
423:, and once again Zürich, were chosen. The
341:received "Mitteilungen" (Communications).
1598:Franz Liszt, The Weimar Years (1848–1861)
1165:Piano Concerto No. 1 in E-flat major
337:. Afterwards, until 1933, members of the
1531:Kaminiarz: (1995), pp. 18–19.
1050:("Imperial Music Chamber"), directed by
650:
587:(1870) as well as a Cello Sonata (1874).
533:Peter Cornelius – Terzet from the opera
495:
1274:
1272:
1224:
1222:
1220:
1706:
1591:Briefwechsel zwischen Wagner und Liszt
1460:
1458:
1426:
1424:
1405:
1403:
1401:
1399:
789:Piano Quartet in D minor op.113,
39:, to embody the musical ideals of the
1739:Musical groups disestablished in 1937
1665:
1639:
1573:Die Leipziger Tonkünstler-Versammlung
456:with 25 performances of 16 works. Of
1269:
1217:
314:As part of the artistic aims of the
1589:Wagner, Richard, and Liszt, Franz:
1455:
1421:
1396:
1230:Der Allgemeine Deutsche Musikverein
1127:was demanded, had been sent to the
878:Variationen über ein Thema von Bach
232:
13:
1734:Musical groups established in 1861
1012:
758:hence was accused of confusing an
687:was performed in June 1894 at the
486:Violin Concerto in Hungarian style
376:, Peter Raabe, Jean Louis Nicodé,
240:
225:was closed on order of the German
45:
14:
1750:
1729:1937 disestablishments in Germany
1678:Allgemeiner Deutscher Musikverein
1618:Allgemeiner Deutscher Musikverein
1611:
25:Allgemeiner Deutscher Musikverein
1600:, Cornell University Press 1989.
1579:, 50 (1859), pp.282ff and 289ff.
817:String Quartet in C minor.
707:. In a so-called "revolution of
516:(1861) as well as songs and the
309:
69:(Musicians Assembly) of 1859 in
1547:
1534:
1525:
1516:
1507:
1498:
1489:
1480:
1467:
1442:
1433:
1412:
1387:
1384:Lucke-Kaminiarz, pp. 229f.
1378:
1369:
1360:
1351:
1338:
1328:
1319:
1198:dismissed itself from history.
203:Hans Bronsart von Schellendorff
1605:Richard Strauss und seine Zeit
1540:Kaminiarz: (1995), p. 19.
1513:Kaminiarz: (1995), p. 17.
1464:Kaminiarz: (1995), p. 15.
1430:Kaminiarz: (1995), p. 24.
1418:Lucke-Kaminiarz:, p. 229.
1393:Lucke-Kaminiarz, p. 228f.
1325:Lucke-Kaminiarz, p. 224f.
1303:
1290:
1281:
1260:
1244:
1235:
1208:
1186:, where the foundation of the
1139:would be as marvellous as the
1072:, until then president of the
866:Lieder auf indische Dichtungen
719:as has Liszt in former times.
399:should be arranged. After the
380:, Heinz Tiessen, Joseph Haas,
1:
1607:, Laaber-Verlag, Laaber 2000.
1409:Kaminiarz (1995), p. 14.
1375:Lucke-Kaminiarz, p. 230.
1278:Lucke-Kaminiarz, p. 223.
1214:See: Pohl (1859) p. 296.
1201:
880:, Op. 59, and his scene
860:, Friedrich Klose's Oratorio
611:, all of them members of the
53:
1586:, Stuttgart und Berlin 1931.
1486:Walter (2000)', p. 312.
1003:Der Sprung über den Schatten
523:Hans von Bülow – song cycle
157:De la situation des artistes
7:
1504:Walter (2000), p. 318.
1495:Walter (2000), p. 316.
585:Die Hochzeit des Prometheus
567:– 2nd Piano Concerto (1881)
504:19–22 June 1890 in Eisenach
100:
10:
1755:
1577:Neue Zeitschrift für Musik
1287:Raabe (1931), p. 229.
1058:, librettist of the opera
844:After World War I, at the
700:Bronsart von Schellendorff
435:Concert repertoire of the
334:Neue Zeitschrift für Musik
57:
15:
1673:
1346:Tonkünstler-Versammlungen
771:Tonkünstler-Versammlungen
738:, Johann Sebastian Bach,
724:Tonkünstler-Versammlungen
445:Tonkünstler-Versammlungen
413:Tonkünstler-Versammlungen
397:Tonkünstler-Versammlungen
350:Tonkünstler-Versammlungen
320:Tonkünstler-Versammlungen
285:. In 1903 and 1904, when
1560:Lucke-Kaminiarz, Irina:
1553:Kaminiarz, Irina (ed.):
1104:, were supported by the
904:, Paul Juon's tone poem
736:Pietro Antonio Locatelli
730:, for example, works by
609:Pyotr Ilyich Tchaikovsky
550:Heinrich Herzogenberg –
93:, the foundation of the
1564:, in: Altenburg (ed.):
1298:Richard Strauss, Briefe
1180:Tonkünstler-Versammlung
1152:Tonkünstler-Versammlung
1082:Tonkünstler-Versammlung
1036:again, of that year in
1034:Tonkünstler-Versammlung
943:Also sprach Zarathustra
689:Tonkünstler-Versammlung
673:Tonkünstler-Versammlung
663:The development of the
659:1–5 June 1894 in Weimar
656:Tonkünstler-Versammlung
605:Nikolai Rimsky-Korsakov
518:Requiem in B minor
501:Tonkünstler-Versammlung
477:Tonkünstler-Versammlung
425:Tonkünstler-Versammlung
405:Tonkünstler-Versammlung
401:Tonkünstler-Versammlung
374:Alexander von Zemlinsky
87:Tonkünstler-Versammlung
67:Tonkünstler-Versammlung
1584:Liszts Schaffen, Cotta
1575:, Erster Artikel, in:
1070:Siegmund von Hausegger
967:Siegmund von Hausegger
826:Breitkopf & Härtel
740:Georg Friedrich Händel
660:
535:Der Barbier von Bagdad
505:
427:of 1905 took place in
215:Siegmund von Hausegger
50:
797:Lemminkäinen's Return
654:
499:
362:Engelbert Humperdinck
289:was president of the
49:
1714:German music history
1060:Die schweigsame Frau
864:, Julius Weismann's
820:As president of the
732:Alessandro Scarlatti
552:Deutsche Liederspiel
1631:McMaster University
1622:Carleton University
1032:, now being called
900:, a string trio by
792:The Swan of Tuonela
638:after Liszt's death
581:Camille Saint-Saëns
360:, Richard Strauss,
89:, for this time in
1566:Neudeutsche Schule
1020:Since 1933, after
949:Sinfonia Domestica
805:, Op. 22, of
802:Lemminkäinen Suite
783:Das Christ-Elflein
713:Max von Schillings
661:
601:Alexander Glazunov
575:Pastoral-Ouverture
545:Nibelungen-Trilogy
506:
227:National Socialist
211:Max von Schillings
155:an article series
51:
1701:
1700:
1667:New German School
1603:Walter, Michael:
1568:, pp. 221ff.
1228:Lucke-Kaminiarz:
1174:were played. The
1137:Tonkünstler-Feste
1121:Hermann Abendroth
1047:Reichsmusikkammer
971:Arnold Schoenberg
882:David und Absalom
840:after World War I
779:Tonkünstler-Feste
775:Tonkünstler-Feste
647:up to World War I
597:Alexander Borodin
512:Felix Draeseke –
378:Emil von Reznicek
366:Felix Weingartner
295:Arnold Schoenberg
75:New German School
60:New German School
41:New German School
1746:
1660:
1653:
1646:
1637:
1636:
1541:
1538:
1532:
1529:
1523:
1520:
1514:
1511:
1505:
1502:
1496:
1493:
1487:
1484:
1478:
1477:, pp. 253f.
1471:
1465:
1462:
1453:
1450:Ein Briefwechsel
1446:
1440:
1437:
1431:
1428:
1419:
1416:
1410:
1407:
1394:
1391:
1385:
1382:
1376:
1373:
1367:
1364:
1358:
1355:
1349:
1342:
1336:
1332:
1326:
1323:
1317:
1307:
1301:
1294:
1288:
1285:
1279:
1276:
1267:
1264:
1258:
1248:
1242:
1239:
1233:
1226:
1215:
1212:
1030:Tonkünstler-Fest
926:Tonkünstler-Fest
918:ultranationalist
898:Clemens Brentano
846:Tonkünstler-Fest
773:were renamed as
565:Xaver Scharwenka
263:August Göllerich
217:until 1935, and
152:Gazette musicale
1754:
1753:
1749:
1748:
1747:
1745:
1744:
1743:
1704:
1703:
1702:
1697:
1669:
1664:
1614:
1571:Pohl, Richard:
1550:
1545:
1544:
1539:
1535:
1530:
1526:
1521:
1517:
1512:
1508:
1503:
1499:
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1413:
1408:
1397:
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1374:
1370:
1365:
1361:
1356:
1352:
1343:
1339:
1333:
1329:
1324:
1320:
1316:, No. 260.
1308:
1304:
1295:
1291:
1286:
1282:
1277:
1270:
1265:
1261:
1250:La Mara (ed.):
1249:
1245:
1240:
1236:
1227:
1218:
1213:
1209:
1204:
1192:Chorus mysticus
1158:Symphonic Poem
1112:composers. The
1052:Richard Strauss
1042:Joseph Goebbels
1018:
862:Der Sonne Geist
842:
760:esprit de corps
669:Richard Strauss
658:
649:
640:
514:Germania-Marsch
503:
441:
312:
287:Richard Strauss
243:
241:Supporting aims
238:
221:. In 1937, the
207:Richard Strauss
106:
63:
56:
21:
12:
11:
5:
1752:
1742:
1741:
1736:
1731:
1726:
1721:
1716:
1699:
1698:
1696:
1695:
1693:Richard Wagner
1690:
1685:
1683:Hector Berlioz
1680:
1674:
1671:
1670:
1663:
1662:
1655:
1648:
1640:
1634:
1633:
1624:
1613:
1612:External links
1610:
1609:
1608:
1601:
1596:Walker, Alan:
1594:
1587:
1582:Raabe, Peter:
1580:
1569:
1558:
1557:, Weimar 1995.
1549:
1546:
1543:
1542:
1533:
1524:
1515:
1506:
1497:
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1350:
1337:
1327:
1318:
1302:
1289:
1280:
1268:
1259:
1243:
1234:
1232:, p. 224.
1216:
1206:
1205:
1203:
1200:
1176:Faust Symphony
1171:Faust Symphony
1017:
1011:
983:Paul Hindemith
896:, on poems by
874:Georg Schumann
858:Frühlingsfeier
841:
834:
726:. In 1896, in
685:Symphony no. 1
648:
641:
639:
632:
617:Mily Balakirev
589:
588:
578:
571:
568:
562:
559:Fest-Ouverture
555:
548:
541:
538:
531:
528:
525:Die Entsagende
521:
440:
433:
382:Paul Hindemith
358:Eugen d'Albert
354:Hans von Bülow
311:
308:
267:Felix Draeseke
242:
239:
237:
231:
209:, until 1909,
201:, until 1888,
129:
128:
105:
99:
55:
52:
9:
6:
4:
3:
2:
1751:
1740:
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1656:
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1649:
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1642:
1641:
1638:
1632:
1628:
1625:
1623:
1620:, history at
1619:
1616:
1615:
1606:
1602:
1599:
1595:
1592:
1588:
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1578:
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1390:
1381:
1372:
1363:
1354:
1347:
1341:
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1322:
1315:
1313:
1312:Liszts Briefe
1306:
1300:, p. 12.
1299:
1293:
1284:
1275:
1273:
1263:
1256:
1254:
1253:Liszts Briefe
1247:
1238:
1231:
1225:
1223:
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1211:
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1199:
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1016:
1010:
1008:
1004:
1000:
996:
992:
991:Heinz Tiessen
988:
984:
980:
976:
972:
968:
964:
959:
957:
956:
951:
950:
945:
944:
939:
935:
930:
927:
923:
919:
915:
910:
909:
905:
903:
902:Erwin Lendvai
899:
895:
893:
887:
883:
879:
875:
871:
867:
863:
859:
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847:
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804:
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772:
768:
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761:
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733:
729:
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718:
714:
710:
706:
701:
696:
694:
690:
686:
682:
681:Gustav Mahler
678:
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666:
657:
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637:
631:
629:
624:
622:
618:
614:
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602:
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594:
586:
582:
579:
576:
573:Carl Stöhr –
572:
569:
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556:
553:
549:
546:
542:
539:
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393:
391:
387:
383:
379:
375:
371:
370:Hans Pfitzner
367:
363:
359:
355:
351:
347:
342:
340:
336:
335:
330:
326:
321:
317:
310:Artistic aims
307:
304:
298:
296:
292:
288:
284:
283:Claudio Arrau
278:
276:
275:Hans Pfitzner
272:
268:
264:
260:
256:
252:
248:
236:
230:
228:
224:
220:
216:
212:
208:
204:
200:
196:
195:Franz Brendel
192:
187:
185:
181:
176:
174:
170:
165:
164:Kapellmeister
160:
158:
154:
153:
149:
145:
140:
138:
134:
126:
122:
119:
118:
117:
115:
111:
104:
98:
96:
92:
88:
84:
80:
76:
72:
68:
61:
48:
44:
42:
38:
37:Franz Brendel
34:
30:
26:
19:
1677:
1604:
1597:
1590:
1583:
1576:
1572:
1565:
1561:
1554:
1548:Bibliography
1536:
1527:
1518:
1509:
1500:
1491:
1482:
1475:Briefwechsel
1474:
1469:
1449:
1444:
1435:
1414:
1389:
1380:
1371:
1362:
1353:
1345:
1340:
1330:
1321:
1311:
1305:
1297:
1292:
1283:
1262:
1252:
1246:
1237:
1229:
1210:
1195:
1191:
1187:
1179:
1175:
1169:
1163:
1159:
1151:
1149:
1147:was closed.
1144:
1141:Nazi Rallies
1136:
1132:
1124:
1118:
1113:
1105:
1097:
1094:Paul Graener
1089:
1081:
1077:
1073:
1068:
1059:
1056:Stefan Zweig
1045:
1033:
1029:
1025:
1022:Adolf Hitler
1019:
1014:
1006:
1002:
998:
994:
987:Ernst Krenek
975:Anton Webern
962:
960:
953:
947:
941:
933:
931:
925:
922:anti-Semitic
913:
911:
907:
892:Sechs Lieder
891:
889:
881:
877:
869:
865:
861:
857:
853:
845:
843:
837:
829:
821:
819:
800:
796:
790:
782:
778:
774:
770:
766:
764:
759:
755:
751:
744:Friedrich II
723:
721:
716:
704:
697:
688:
672:
664:
662:
655:
644:
635:
627:
625:
620:
612:
590:
584:
574:
558:
551:
544:
534:
524:
517:
513:
507:
500:
490:
484:
476:
468:
466:
444:
442:
436:
424:
412:
404:
400:
396:
394:
392:and others.
349:
345:
343:
338:
332:
328:
324:
319:
315:
313:
302:
299:
290:
279:
277:and others.
259:Robert Franz
250:
246:
244:
234:
233:Aims of the
222:
190:
188:
183:
179:
177:
172:
161:
156:
150:
143:
141:
136:
132:
130:
123:
120:
107:
102:
94:
86:
83:Louis Köhler
66:
64:
28:
24:
22:
1719:Franz Liszt
1688:Franz Liszt
1296:Kaminiarz:
1182:of 1861 in
1064:Peter Raabe
1013:End of the
886:August Reuß
848:of 1919 in
527:op.8 (1861)
219:Peter Raabe
199:Carl Riedel
33:Franz Liszt
18:ADMV (song)
1708:Categories
1257:, No. 260.
1202:References
1168:, and the
979:Alban Berg
938:Wilhelm II
709:Heidelberg
449:J. S. Bach
439:until 1886
390:Ernst Toch
386:Alban Berg
54:Background
43:of music.
999:Der Dämon
870:Aufklänge
799:from the
621:King Lear
593:César Cui
481:Karlsruhe
409:Karlsruhe
318:, annual
271:Max Reger
114:Löwenberg
1314:, Band 1
1255:, Band 1
1038:Dortmund
894:, Op. 68
815:Kodály's
811:Bartók's
807:Sibelius
683:, whose
331:was the
229:regime.
148:Parisian
125:proposed
1160:Orpheus
1156:Liszt's
1129:Gestapo
1086:Leipzig
955:Elektra
906:Litania
787:Reger's
748:Baroque
728:Leipzig
677:Cologne
577:(1861),
473:Joachim
458:Berlioz
110:Silesia
71:Leipzig
65:At the
1184:Weimar
1162:, his
1110:Jewish
1102:Schott
920:of an
852:, the
850:Berlin
693:Weimar
554:(1879)
547:(1872)
537:(1861)
520:(1883)
462:Wagner
454:Brahms
421:Zürich
169:Goethe
91:Weimar
417:Basel
1196:ADMV
1188:ADMV
1145:ADMV
1133:ADMV
1125:ADMV
1114:ADMV
1106:ADMV
1098:ADMV
1090:ADMV
1078:ADMV
1074:ADMV
1026:ADMV
1015:ADMV
1007:ADMV
995:ADMV
963:ADMV
961:The
934:ADMV
914:ADMV
912:The
854:ADMV
838:ADMV
836:The
830:ADMV
822:ADMV
795:and
767:ADMV
756:ADMV
752:ADMV
742:and
717:ADMV
705:ADMV
665:ADMV
645:ADMV
643:The
636:ADMV
634:The
628:ADMV
613:ADMV
607:and
491:ADMV
469:ADMV
437:ADMV
429:Graz
346:ADMV
344:The
339:ADMV
329:ADMV
325:ADMV
316:ADMV
303:ADMV
291:ADMV
251:ADMV
247:ADMV
245:The
235:ADMV
223:ADMV
191:ADMV
184:ADMV
180:ADMV
173:ADMV
144:ADMV
137:ADMV
133:ADMV
103:ADMV
101:The
95:ADMV
79:q.v.
35:and
29:ADMV
23:The
1084:in
876:'s
691:in
675:in
479:in
407:in
1710::
1629:,
1457:^
1423:^
1398:^
1271:^
1219:^
1066:.
989:,
985:,
981:,
977:,
973:,
809:,
785:,
734:,
695:.
603:,
599:,
595:,
583:–
431:.
419:,
388:,
384:,
372:,
364:,
293:,
273:,
269:,
265:,
261:,
1659:e
1652:t
1645:v
167:"
127:.
77:(
62:.
27:(
20:.
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