Franz Schmidt, also Ferenc Schmidt (22 December 1874 – 11 February 1939) was an Austro-Hungarian composer, cellist and pianist. == Life == Schmidt was born in Pozsony/Pressburg, in the Hungarian part of Austria-Hungary (today Bratislava, Slovakia) to a half-Hungarian father – with the same name, born in the same city – and to a Hungarian mother, Mária Ravasz.
He moved to Vienna with his family in 1888, and studied at the Vienna Conservatory (composition with Robert Fuchs, cello with Ferdinand Hellmesberger, and, for a few lessons, counterpoint with Anton Bruckner, who was already seriously ill at that time), graduating "with excellence" in 1896. He obtained a post as cellist with the Vienna Court Opera Orchestra, where he played until 1914, often under Gustav Mahler.
He moved to Vienna with his family in 1888, and studied at the Vienna Conservatory (composition with Robert Fuchs, cello with Ferdinand Hellmesberger, and, for a few lessons, counterpoint with Anton Bruckner, who was already seriously ill at that time), graduating "with excellence" in 1896. He obtained a post as cellist with the Vienna Court Opera Orchestra, where he played until 1914, often under Gustav Mahler.
Schmidt worked mainly in large forms, including four symphonies (1899, 1913, 1928 and 1933) and two operas: Notre Dame (1904–6) and Fredigundis (1916–21).
He moved to Vienna with his family in 1888, and studied at the Vienna Conservatory (composition with Robert Fuchs, cello with Ferdinand Hellmesberger, and, for a few lessons, counterpoint with Anton Bruckner, who was already seriously ill at that time), graduating "with excellence" in 1896. He obtained a post as cellist with the Vienna Court Opera Orchestra, where he played until 1914, often under Gustav Mahler.
Also a brilliant pianist, in 1914 Schmidt took up a professorship in piano at the Vienna Conservatory, which had been recently renamed Imperial Academy of Music and the Performing Arts.
1880–1943), was confined in the Vienna mental hospital Am Steinhof in 1919, and three years after his death was murdered under the Nazi euthanasia program.
His second marriage in 1923, to a successful young piano student Margarethe Jirasek (1891–1964), for the first time brought some desperately needed stability into the private life of the artist, who was plagued by many serious health problems. Schmidt's worsening health forced his retirement from the Academy in early 1937.
(Apparently, when asked who the greatest living pianist was, Leopold Godowsky replied, "The other one is Franz Schmidt.") In 1925 he became Director of the Academy, and from 1927 to 1931 its Rector. As teacher of piano, cello and counterpoint and composition at the Academy, Schmidt trained numerous instrumentalists, conductors, and composers who later achieved fame.
(Apparently, when asked who the greatest living pianist was, Leopold Godowsky replied, "The other one is Franz Schmidt.") In 1925 he became Director of the Academy, and from 1927 to 1931 its Rector. As teacher of piano, cello and counterpoint and composition at the Academy, Schmidt trained numerous instrumentalists, conductors, and composers who later achieved fame.
Schmidt worked mainly in large forms, including four symphonies (1899, 1913, 1928 and 1933) and two operas: Notre Dame (1904–6) and Fredigundis (1916–21).
Their daughter Emma Schmidt Holzschuh (1902–1932, married 1929) died unexpectedly after the birth of her first child.
(Apparently, when asked who the greatest living pianist was, Leopold Godowsky replied, "The other one is Franz Schmidt.") In 1925 he became Director of the Academy, and from 1927 to 1931 its Rector. As teacher of piano, cello and counterpoint and composition at the Academy, Schmidt trained numerous instrumentalists, conductors, and composers who later achieved fame.
Schmidt experienced a spiritual and physical breakdown after this, and achieved an artistic revival and resolution in his Fourth Symphony of 1933 (which he inscribed as "Requiem for my Daughter") and, especially, in his oratorio The Book with Seven Seals.
Schmidt worked mainly in large forms, including four symphonies (1899, 1913, 1928 and 1933) and two operas: Notre Dame (1904–6) and Fredigundis (1916–21).
His second marriage in 1923, to a successful young piano student Margarethe Jirasek (1891–1964), for the first time brought some desperately needed stability into the private life of the artist, who was plagued by many serious health problems. Schmidt's worsening health forced his retirement from the Academy in early 1937.
The premiere was held in Vienna on 15 June 1938, with the Vienna Symphony Orchestra under Oswald Kabasta: the soloists were Rudolf Gerlach (John), Erika Rokyta, Enid Szánthó, Anton Dermota, Josef von Manowarda and Franz Schütz at the organ. ===Symphonies=== Schmidt is generally regarded as a conservative composer, but the rhythmic subtlety and [complexity of much of his music belie this.
Franz Schmidt, also Ferenc Schmidt (22 December 1874 – 11 February 1939) was an Austro-Hungarian composer, cellist and pianist. == Life == Schmidt was born in Pozsony/Pressburg, in the Hungarian part of Austria-Hungary (today Bratislava, Slovakia) to a half-Hungarian father – with the same name, born in the same city – and to a Hungarian mother, Mária Ravasz.
He was given a commission to write a cantata entitled The German Resurrection, which, after 1945, was taken by many as a reason to brand him as having been tainted by Nazi sympathy.
A CD recording of Notre Dame has been available for many years, starring Dame Gwyneth Jones and James King. ===Fredigundis=== No really adequate recording has been made of Schmidt's second and last opera Fredigundis, of which there has been but one "unauthorized" release in the early 1980s on the Voce label of an Austrian Radio broadcast of a 1979 Vienna performance under the direction of Ernst Märzendorfer.
A CD recording of Notre Dame has been available for many years, starring Dame Gwyneth Jones and James King. ===Fredigundis=== No really adequate recording has been made of Schmidt's second and last opera Fredigundis, of which there has been but one "unauthorized" release in the early 1980s on the Voce label of an Austrian Radio broadcast of a 1979 Vienna performance under the direction of Ernst Märzendorfer.
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