You are bidding on onetypewritten, signed letter ofmusicologist and music critic Hans Heinz Stuckenschmidt (1901-1988).

Dated Berlin, the 21st November 1961.

Aimed at the pianist, composer, writer and music critic Erwin Kroll (1886-1976) in Berlin.

Stuckenschmidt thanks for an article about his 60th birthday. Birthday in the newspaper “Der Tag”, for which Kroll worked. "I'm all the more sorry that you left on January 1st. I even tried to do it myself in November. They couldn't have known that I had avoided the festival by traveling."

Scope:one A4 page; without envelope.

Condition:Paper slightly browned. BiPlease also note the pictures!

Internal note: Kroll 21-12-20 Autograph Autograph


OverHans Heinz Stuckenschmidt and Erwin Kroll (Source: wikipedia):

Hans Heinz Stuckenschmidt (* 1. November 1901 in Strasbourg; † 15. August 1988 in Berlin) was a German musicologist and music critic.

Biography: Stuckenschmidt, who came from a family of officers, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19, he was already writing music reviews for the Prague magazine Bohemia as a Berlin correspondent, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, was an early advocate for avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Berliner Novembergruppe, and in 1929 he succeeded Adolf Weißmann as music critic at the Berliner Zeitung am Mittag. Many of his essays were beginning to appear. Stuckenschmidt also had ambitions to compose, but of the six short piano pieces he wrote between 1919 and 1926, only two were printed in out-of-the-way magazines. Since his participation in Arnold Schönberg's analysis seminars from 1931 to 1933, he has been concerned with the composer's life and work and was the first to evaluate his estate for a biography (Arnold Schönberg, 1951, 1957, 1974). He wrote books about Boris Blacher, Ferruccio Busoni and Maurice Ravel, among others. In 1932 he married the soprano Margot Hinnenberg-Lefèbre.

In 1934 he was banned from writing because of his commitment to new music and Jewish musicians. The trigger was a denunciation by Fritz Stege. As Frank Hilberg judges, the proceedings were based on “mostly unfounded accusations (‘lack of moral maturity’)”. Hilberg continued: “The Nazi Fritz Stege had opened the Kesseltreib in 1933 and used all his connections to National Socialist organizations to eliminate Stuckenschmidt (and other New Music advocates). Rarely is there an opportunity to understand in detail such a process, which is driven by lies, denunciation and opinion judgments. The dimension of such arbitrary rule is oppressive - which not only leads to questions of existence, but also affects family members. In 1934 Stuckenschmidt was expelled from the Reich Association of the German Press.”

In 1937 Stuckenschmidt emigrated to Prague, where he initially wrote for the Prager Tagblatt and from 1939 to 1942 for the occupation newspaper Der Neue Tag. In 1942 he was drafted into the Wehrmacht as an interpreter and released from American captivity in 1946.

After the end of the war, Stuckenschmidt became head of the new music department at the RIAS Berlin broadcaster, music critic for the Neue Zeitung in 1947, edited the magazine Stimme with Josef Rufer from 1947 to 1949 and was a lecturer from 1948, associate professor of music history from 1949 and full professor from 1953 to 1967 Technical University of Berlin. From 1956 to 1987 he was a music critic for the Frankfurter Allgemeine Zeitung.

Stuckenschmidt received numerous awards for his work; he was, among other things, a member of the PEN Club and the German Academy for Language and Poetry, Darmstadt. In 1974 he became a member of the Academy of Arts Berlin (West), and in 1977 the University of Tübingen awarded him an honorary doctorate.

Stuckenschmidt was buried in the Wilmersdorf cemetery.

Compositions

1921 New Music. Three piano pieces: 1. Expression Violet, 2. The champagne Cobler and the green sun, 3. March of Alexander the Great over the bridges of Hamburg.

Fonts

1951 Arnold Schönberg. Zurich and Freiburg, 2teA 1957

1951 New Music. Volume 2 of the series Between the Two Wars. Berlin.

1954 ed. by Ferruccio Busoni Draft of a new aesthetics of musical art. Frankfurt.

1957 The splendor and misery of music criticism. Berlin.

1957 Stravinsky and his century. Berlin.

1958 creator of new music. (20 composer portraits), Suhrkamp, ​​Frankfurt.

1963 Boris Blacher. Berlin, revised version by H. Kunz 1985.

1964 Opera at this time - European opera events from four decades. Velber near Hanover.

1965 Johann Nepomuk David. Wiesbaden.

1966 Maurice Ravel - Variations on Person and Work. Frankfurt, English Translation 1968.

1967 Ferruccio Busoni - timeline of a European. Zurich, English Translation 1970.

1969 What is music criticism? Thoughts on the destruction of the judgment of art through sociology. in: Studies on valuation research. Vol. 2, pp. 26–42, ed. Harald Kaufmann, Graz.

1969 Twentieth Century Music. London and New York, French. translation 1969; German Music of the 20th century century. Munich: Kindler, 1979, ISBN 3463007401.

1970 Twentieth Century Composers. London, the German original was published in 1971: The great composers of our century. Munich.

1974 Arnold Schönberg – life, environment, work. Zurich, Atlantis.

1976 The music of half a century. 1925-1975, essay and criticism. Munich/Zurich, Piper.

1979 Born to listen. A life with the music of our time. Autobiography, Munich, Piper.

1981 Margot – Portrait of a Singer. Munich.

1983 Creator of classical music – portraits and revisions. Settlers, Berlin.

Appreciation

Of the music critics and music writers in Europe, Hans Heinz Stuckenschmidt is the only one who has gained a high reputation far beyond the borders of our continent. His work as a music critic for several daily newspapers of international standing, open Allen current problems and carried out with the greatest competence, would have been enough to establish a reputation that spread eastwards to Japan and westwards to the coasts of the Pacific Ocean. (...) The explosiveness of his language, particularly in those early years, which was often provocatively bold, but always coupled with elegance, which emerged from his passionate participation in bold forays into new musical territory, which was a novelty in the field of music criticism, called for contradiction as much as for enthusiastic approval; (...). – Neue Zürcher Zeitung, 1971.

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

Music city Koenigsberg

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)


Biography: Stuckenschmidt, who came from a family of officers, was the son of the later Major General Johannes Stuckenschmidt and his wife Clara Viktoria Helene, née Cerf.[1] At the age of 19, he was already writing music reviews for the Prague magazine Bohemia as a Berlin correspondent, then lived as a freelance music writer in Hamburg, Vienna, Paris, Berlin and Prague, was an early advocate for avant-garde music and got to know numerous composers and performers personally. In the summer of 1920 he took part in the First International Dada Fair. In 1923/1924 he led the New Music concert cycle in Hamburg with Josef Rufer, lived in Vienna in 1924 and in Paris in 1925, where he became acquainted with the composers of the Groupe des Six. In 1927/1928 he helped organize the concerts of the Ber