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

are autographs by Simbriger Rare!

DatedRegensburg, 6. January 1967.

addressed to 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 includes works and legacies of composers. Kroll was apparently asked about this.

Then about the high cost of copies. "Many of our colleagues - including myself - help themselves by no longer making normal fair copies at all, but writing everything in ink on transparent paper, after which one can then make as many copies and blueprints as needed at a relatively low price. [...] Your 'Musikstadt Königsberg' interests me myself and is also interesting for the archive, because I am setting up a small specialist library with works by our 'clients' [...]."

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

Scope: A4 sheet written on both sides.

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

Condition: Paper slightly browned and somewhat creased; Envelope slightly damaged, stamp missing. BPlease also note the pictures!

Internal note: Kroll 2021-12-15 autograph autograph

aboveHeinrich Simbriger and Erwin Kroll (source: wikipedia):

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

Life:From 1921 to 1923 he studied composition with Fidelio Fritz Finke in Prague, then with Joseph Haas in Munich and Josef Lechthaler in Vienna. In 1929 he came into the circle around Josef Matthias Hauer, in 1937 he received his doctorate, also in Vienna. "Gong and gong games" was the subject of his dissertation. During World War II, Simbriger worked as a music teacher in Tetschen-Bodenbach. From about 1950 Simbriger began working on his Complementary Harmonics. 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 music archive of the artists' guild from 1966, he also completed his main writings on music theory and subjected his compositional work to a critical overall revision.

Classification of his work: As a music theorist and composer, Simbriger was strongly influenced by the ideas of Josef Matthias Hauer, although he only turned to twelve-tone compositions around 1950. On the basis of Hauer's theory of tropes, Simbriger developed his own music theory, the Complementary Harmonic, a comprehensive extension and lexical cataloging of the trope system to all possible sound combinations that complement each other to the twelve-tone totality. Although Simbriger in his theory of sound (because of their compositional suitability) gives the complementary hexachords (6+6), which correspond to the Hauer tropes, and also the ternary tetrachords (4+4+4) a special position, he also has all the others possible group formations are systematized. Apart from general studies, a detailed scientific review of Simbriger's theories has not taken place to this day.

During the composer's lifetime, Simbriger's chamber music and song oeuvre attracted national attention and some of them were performed by well-known interpreters. The music archive created by Simbriger for the Esslingen Artists' Guild (deposit in the Sudeten German Music Institute (SMI), Regensburg) includes almost all of the artists 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

Manual of musical acoustics, Habbel, Regensburg 1951

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

secret of the middle. From the spiritual 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. edition 1980

The sound management in twelve-tone music. Peritoneal harmony, The Artists' Guild, Esslingen n.d. (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 Little 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)

imagination (op. 108)

Ink pictures (op. 113)

Variations on an original song theme (op. 126)

organ works

WoO 16 70 bars of organ music for the 70th birthday birthday of prof. Anton Novakovsky -

op. 89 Prelude and Fugue -

op. 111 triptych -

op. 136 Musica spiritualis -

Secular choral works

op. 3 Five songs based on poems from "Der Stern des Bunds" by Stefan George

op. 28 “In praise of the homeland”. Cantata based on poems by Franz Höller

op. 34, 35 choruses based on old German texts

op. 48a "Wide Night" after words by Elisabeth von Langen

op. 56 Seven Sudeten German Folksongs

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

Religious music

op. 1 Missa alme pater

op. 17 motet

op. 18 Little Perlach Fair

op. 43b Small Mass

op. 60 Little Christmas Cantata

op. 63 Maria mother, pure maid

op. 64 Murnauer Festmesse

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 Sacred Songs

op. 125 words of the prophet Isaiah

Chamber music without piano

op. 26 Solo Suite for Viola

op. 62a Allegro espressivo for solo cello

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 horns alone

op. 23 Six short brass music pieces 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 Little Suite of Songs. 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 a tone poet from East Prussia.

Life:Around 1900 Kroll came to Königsberg i. Pr. and attended the royal hoof high school with Otto Besch. At the Albertus University he studied philology and music. With a doctoral thesis on ETA Hoffmann, who has always been revered in Königsberg, for a Dr. phil. after his doctorate, he went into teaching. In 1919 he devoted himself 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 a répétiteur at the Munich State Opera and secretary of the Hans-Pfitzner-Verein für Deutsche Tonkunst, which Thomas Mann had called for to found. In 1925 Kroll returned to East Prussia and became a music critic for the Hartungsche Zeitung, and from 1930 its features editor.From 1934 he worked in Berlin as a critic and writer on music. After the Second World War he headed the music department of the Northwest German Broadcasting Corporation in Berlin until 1953. With his book, Kroll has set a monument to the (forgotten) importance of Königsberg as a music city.

factories

East Prussian homeland - orchestral work

Violin Sonata in B flat major

Sonatina in F major

East Prussian Dances

Der Adebar - Fantasy on East Prussian folk tunes for large orchestra

Vocal works and song arrangements

Songs for solo voices and choral songs

writings

Ernst Theodor Amadeus Hoffman. Breitkopf & Haertel, Leipzig 1923.

Hans Pfitzner. Three masks publishing house, Munich 1924.

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

Carl Maria Weber. Athenaion, Potsdam 1934.

Music city Koenigsberg. Atlantis, Freiburg i. brother 1966.

honors

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

Culture Prize of the East Prussian Association (1960)