You are bidding on one typewritten, signed letter of Composer, music theorist and archive director Heinrich Simbriger (1903-1976).

Autographs by Simbriger are rarely!


DatedRegensburg, 6. January 1967.

Aimed at thePianists, composers, writers and music critics Erwin Kroll (1886-1976) in Berlin.

Interesting content; about the printing and performance of his works and the archive of the artists' guild, which contains the works and estates of composers. Kroll was apparently asked about this.

Then about the high cost of copies. "Many of our colleagues - myself included - help themselves by no longer producing normal fair copies but instead writing everything with ink on tracing paper, after which one can then produce as many copies and blueprints as are needed at a relatively low cost. [...] Your 'music city Königsberg' interests me and is also interesting for the archive, because I am creating a small specialist library with works from our 'clients' [...]."

Signed"[Your very devoted] H. Simbriger."

Scope: Double-sided A4 sheet.

Attached is the original envelope (the recipient's address censored); addressed typewritten; the stamp is missing.

Condition: Paper slightly browned and slightly wrinkled; Envelope slightly damaged, stamp missing. bPlease also note the pictures!

Internal note: Kroll 2021-12-15 Autograph Autograph


OverHeinrich Simbriger and Erwin Kroll (source: wikipedia):

Heinrich Simbriger (*4. January 1903 in Aussig, Bohemia; † 16. July 1976 in Regensburg) was a composer, music theorist and archive director. Simbriger is the founder of a twelve-tone composition theory, which he called complementary harmony.

Life:He studied composition with Fidelio Fritz Finke in Prague from 1921 to 1923, then with Joseph Haas in Munich and Josef Lechthaler in Vienna. In 1929 he came into the circle of Josef Matthias Hauer, and in 1937 he received his doctorate, also in Vienna. “Gong and gong games” was the topic of his dissertation. During the Second World War, Simbriger worked as a music teacher in Tetschen-Bodenbach. From around 1950 Simbriger began working on his complementary harmony. In 1950 he received the Sudeten German Culture Prize for Music and in 1963 the Johann Wenzel Stamitz Prize[1]. In Regensburg, where Simbriger built up the artists' guild's music archive from 1966, he also completed his main music theory writings and subjected his compositional work to a critical overall revision.

Classification of his work: As a music theorist and composer, Simbriger was deeply influenced by the ideas of Josef Matthias Hauer, although he only turned to twelve-tone composition around 1950. On the basis of Hauer's theory of tropes, Simbriger developed his own music theory, complementary harmony, a comprehensive expansion and lexical cataloging of the trope system to all possible sound combinations that complement each other to form twelve-tone totality. Although Simbriger gives a special place in his theory of sound (due to their compositional suitability) to the complementary hexachords (6+6), which correspond to Hauer's tropes, and also to the ternary tetrachord (4+4+4), he still has all the others as well possible group formations are systematized. Apart from general studies, a detailed scientific analysis of Simbriger's theories has not yet taken place.

Simbriger's chamber music and song works received national attention during the composer's lifetime and were partly played by well-known performers. The music archive of the Esslingen Artists' Guild created by Simbriger (deposit in the Sudeten German Music Institute (SMI), Regensburg) includes almost all music archives from the third quarter of the 20th century. Century tangible works by composers who were expelled from the former German eastern territories after the Second World War.

Fonts (selection)

Gong and gong games, EJ Brill, Leiden 1939

Handbook of musical acoustics, Habbel, Regensburg 1951

Catalog of works by contemporary composers from the German eastern regions, vol. 1–6, The Artists' Guild eV, Esslingen 1955–1974

Secret of the middle. From the intellectual legacy of ancient China, diederichs , Düsseldorf 1961

On the legacy of German music from the Eastern regions, Laumannsche Verlagsbuchhandlung, Dülmen 1973

Complementary Harmony, The Artists' Guild, Esslingen 1979, 2. ed. 1980

The sound guidance in twelve-tone music. Peritonal Harmonics, The Artists' Guild, Esslingen undated (1991)

Work overview (selection)

Orchestral works

op. 38 Passacaglia for solo cello and small orchestra -

op. 54 Music for Violin and Orchestra -

op. 94 Elegy for English horn, solo violin and low strings -

op. 102 Music for piano and string orchestra -

op. 104 Small Concerto for Strings

Piano music

WoO 4 fantasy dance and minuet

WoO 8 variations, intermezzo and finale on a Chinese folk song

pieces (op. 2, op. 77, op. 109)

3 suites (op. 19, op. 47, op. 112)

Inventions (op. 36, op. 83)

Sonatas (op. 78, op. 86)

Six Lyrical Preludes (Op. 90)

fantasy (op. 108)

Ink pictures (op. 113)

Variations on an own song theme (op. 126)

Organ works

WoO 16 70 bars of organ music for the 70th. Birthday of Prof. Anton Nowakowski -

op. 89 Prelude and Fugue -

op. 111 Triptych -

op. 136 Musica spiritualis -

Secular choral works

op. 3 Five songs based on poems from “The Star of the Covenant” by Stefan George

op. 28 “Praise of the Homeland”. Cantata based on poems by Franz Höller

op. 34, 35 choirs based on old German texts

op. 48a “Wide Night” based on the words of Elisabeth von Langen

op. 56 Seven Sudeten German folk songs

op. 75 “Farewell”. Two male choirs based on poems by Erwin Ott

Religious music

op. 1 Missa alme pater

op. 17 motets

op. 18 Small Perlacher Messe

op. 43b Small mass

op. 60 Small Christmas Cantata

op. 63 Mary mother, pure maid

op. 64 Murnauer Festival Mass

op. 65 A little white dove flew. cantata

op. 67 Missa brevis

op. 70 Ave maris stella

op. 71 Four Angel Hymns

op. 119 Five spiritual songs

op. 125 words of the prophet Isaiah

Chamber music without piano

op. 26 Solo Suite for Viola

op. 62a Allegro espressivo for cello solo

op. 88 Two pieces for solo cello

op. 45 Trio for violin, viola and cello

op. 46 Trio for two violas and cello

op. 138 Three Preludes for string trio

op. 122 String Quartet No. 3

op. 124 String Quartet No. 4

op. 136 Musica spiritualis

For brass players alone

op. 23 Six short brass music in old keys (for brass sextet)

op. 93 Wind Quintet

op. 103 Variations for Wind Quintet

Chamber music with piano

WoO 6 Sonatina for violin and piano

WoO 7 Fantasy for violin and piano

op. 22 Suite for cello and piano

op. 25 Sonatina for violin and piano in the old style

op. 37 Little House Music for Violin and Piano

op. 49 Sonata for Viola and Piano

op. 51a As a reminder. Piece for violin and piano

op. 52 Small Song Suite. House music for cello and piano

op. 74 Canzona for violin and piano

op. 81 Sonata for cello and piano

op. 87 Sonatina for violin and piano

op. 97 Trio for violin, cello and piano

op. 100 sonata for viola and piano

op. 110 sonata for violin and piano

op. 116 Variations for Viola and Piano

op. 118 Trio concertante for violin, viola and piano

op. 131 Reflections for violin and piano

Songs

244 songs (in 39 cycles) based on texts by Joseph von Eichendorff, Hans Christoph Ade, Rabindranath Tagore, Rudolf Schott, Hans Nüchtern, Friedrich Jaksch, Ernst Leibl, Emil Merker, Theodor Kramer , Josef Moder, Friedrich Hölderlin, Bô Yin Râ, Rainer Maria Rilke, Imma von Bodmershof and others

Stage works

WoO 10 “Such a free bachelor”. Comic opera in one act by Otto Deiglmayr -

WoO 11 “Judith”. Opera tragedy in two acts by Hermann Ferdinand Schell

Erwin Kroll (*3. February 1886 in Deutsch Eylau, East Prussia; † 7. March 1976 in West Berlin) was a German pianist, composer, writer and music critic. Like his friend Otto Besch, Kroll was an East Prussian composer.

Life:Around 1900 Kroll came to Königsberg i. Pr. and attended the Royal Hufengymnasium with Otto Besch. At the Albertus UniversityHe studied philology and music. With a doctoral thesis on ETA Hoffmann, who has always been revered in Königsberg, he received his Dr. phil. received his doctorate, he went into teaching. In 1919 he turned entirely to music and continued his studies in Munich, which he had begun with Otto Fiebach and Paul Scheinpflug. There he found an important teacher, especially in Hans Pfitzner. He later dedicated a highly acclaimed book to him. In addition to his studies, Kroll was an accompanist at the Munich State Opera and secretary of the Hans Pfitzner Association for German Music, which Thomas Mann had called for to be founded. In 1925 Kroll returned to East Prussia and became music critic for the Hartungsche Zeitung, and from 1930 onwards it was its features editor.Since 1934 he worked in Berlin as a critic and music writer. After the Second World War he headed the music department of the Nordwestdeutscher Rundfunk in Berlin until 1953. With his book, Kroll has created a monument to the (forgotten) importance of Königsberg as a music city.

factories

East Prussian homeland - orchestral work

Violin Sonata in B major

Sonatina in F major

East Prussian dances

The Adebar - fantasy about East Prussian folk tunes for large orchestra

Vocal works and song arrangements

Songs for solo voices and choir songs

Fonts

Ernst Theodor Amadeus Hoffmann. Breitkopf & Härtel, Leipzig 1923.

Hans Pfitzner. Three Masks Verlag, Munich 1924 .

The theater. Festschrift for the 25th anniversary of the Dortmund Municipal Theater. The theater, Berlin 1930.

Carl Maria Weber. Athenaion, Potsdam 1934 .

Music city Königsberg. Atlantis, Freiburg i. Br. 1966.

Honors

Order of Merit of the Federal Republic of Germany, Cross of Merit on ribbon (27. January 1956)

Cultural Prize of the East Prussian State Team (1960)

Life:Around 1900 Kroll came to Königsberg i. Pr. and attended the Royal Hufengymnasium with Otto Besch. At the Albertus UniversityHe studied philology and music. With a doctoral thesis on ETA Hoffmann, who has always been revered in Königsberg, he received his Dr. phil. received his doctorate, he went into teaching. In 1919 he turned entirely to music and continued his studies in Munich, which he had begun with Otto Fiebach and Paul Scheinpflug. There he found an important teacher, especially in Hans Pfitzner. He later dedicated a highly acclaimed book to him. In addition to his studies, Kroll was an accompanist at the Munich State Opera and secretary of the Hans Pfitzner Association for German Music, which Thomas Mann had called for to be founded. In 1925 Kroll returned to East Prussia an