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toucan

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« on: March 28, 2011, 06:38:46 PM »
                               

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« Last Edit: February 18, 2012, 09:14:42 PM by ----- »

snyprrr

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Re: Schools of Schulhoff
« Reply #1 on: March 28, 2011, 08:45:30 PM »
I know Schulhoff from the two Capriccio cds of his Chamber Music, featuring the Peterson Quartet, and others. These string pieces are equal parts Milhaud and Janacek, to my ears, and his SQs 1-2 are particularly winning, in the best Czech tradition (also reminds of Haas and slightly drier Szymanowski). The Sextet also compares with Martinu, both pieces being more serious.

Also, we seem to forget that the post WWI years were the High Experimentationalism. Haba also.

Offline lescamil

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Re: Schools of Schulhoff
« Reply #2 on: March 28, 2011, 09:32:39 PM »
I've personally been looking everywhere for that disk of jazz inspired piano works everywhere. Those Supraphon disks are impossible to get. Schulhoff is certainly a great neglected composer that should be known more, and not just for his "jazzy" or futurist works. His ballet Ogelala is certainly a great piece of work ahead of its time, and it contains the first piece of music written for percussion alone, as far as I know. His piano music, especially his Piano Sonata No. 3, is certainly worth looking at, both for musical connoisseurs and pianists alike. I've made a small specialty of playing works by composers affected by the Holocaust, and I soon hope to add Schulhoff's music to my performing repertoire.
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Offline Dax

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Re: Schools of Schulhoff
« Reply #3 on: March 31, 2011, 11:57:20 AM »
One thing we may not know, however, is that 4'33" itself is nothing new. And the reason for that is, the 3rd of Ervin Schulhoff's Funf Pittoresken for piano - composed in 1919 and named - appropriately? - "in Futurum," is composed entirely of pauses.


Marche Funèbre

Composée pour les

FUNERAILLES D'UN GRAND HOMME SOURD

Précédée d'une Préface de l'Auteur




PREFACE

L'AUTEUR de cette Marche funèbre s'est inspiré, dans sa composition,
 de ce principe, accepté par tout le monde,
 que les grandes douleurs sont muettes.

Les grandes douleurs, étant muettes, les exécutants devront uniquement
s'occuper à compter des mesures,
au lieu de se livrer à ce tapage indécent qui
retire tout caractère auguste aux meilleures obsèques.

                                                                                                                                   A.A.

                                                                                                                 = ALPHONSE ALLAIS (1884)