Karl Amadeus Hartmann (2 August 1905 – 5 December 1963) was a German composer.
6; probably his most widely known work, through performances and recordings, is his Concerto funebre for violin and strings, composed at the beginning of World War II and making use of a Hussite chorale and a Russian revolutionary song of 1905. Hartmann attempted a synthesis of many different idioms, including musical expressionism and jazz stylization, into organic symphonic forms in the tradition of Bruckner and Mahler.
He remained an idealistic socialist for the rest of his life. At the Munich Academy in the 1920s, Hartmann studied with Joseph Haas, a pupil of Max Reger, and later received intellectual stimulus and encouragement from the conductor Hermann Scherchen, an ally of the Schoenberg school, with whom he had a nearly lifelong mentor-protégé relationship.
He also suppressed most of his substantial orchestral works of the late 1930s and the war years, either allowing them to remain unpublished or, in several cases, reworking them – or portions of them – into the series of numbered symphonies that he produced in the late 1940s and early 1950s. Perhaps the most frequently performed of his symphonies are No.
In the 1930s he developed close ties with Béla Bartók and Zoltán Kodály in Hungary, and this is reflected in his music to some extent.
His Miserae (1933-34) was dedicated to his 'friends...who sleep for all eternity; we do not forget you (Dachau, 1933-34)', referring to Dachau Concentration Camp, and was condemned by the Nazis.
Beginning in November 1945, the concerts reintroduced the German public to 20th-century repertoire, which had been banned since 1933 under National Socialist aesthetic policy.
An early symphonic poem, Miserae (1933–1934, first performed in Prague, 1935) was condemned by the Nazi regime but his work continued to be performed, and his fame grew, abroad.
It began in 1936 as a cantata for alto solo and orchestra loosely based on a few poems by Walt Whitman.
Hartmann also provided a platform for the music of young composers in the late 1940s and early 1950s, helping to establish such figures as Hans Werner Henze, Luigi Nono, Luigi Dallapiccola, Carl Orff, Iannis Xenakis, Olivier Messiaen, Luciano Berio, Bernd Alois Zimmermann and many others.
He also suppressed most of his substantial orchestral works of the late 1930s and the war years, either allowing them to remain unpublished or, in several cases, reworking them – or portions of them – into the series of numbered symphonies that he produced in the late 1940s and early 1950s. Perhaps the most frequently performed of his symphonies are No.
In the 1940s, he began to take an interest in Schoenbergian twelve-tone technique; though he studied with Webern his own idiom was closer to Alban Berg.
His piano sonata 27 April 1945 portrays 20,000 prisoners from Dachau whom Hartmann witnessed being led away from Allied forces at the end of the war. During World War II, though already an experienced composer, Hartmann submitted to a course of private tuition in Vienna by Schoenberg’s pupil Anton Webern (with whom he often disagreed on a personal and political level).
In 1945, he became a dramaturge at the Bavarian State Opera and there, as one of the few internationally recognized figures who had survived untainted by any collaboration with the Nazi regime, he became a vital figure in the rebuilding of (West) German musical life.
Beginning in November 1945, the concerts reintroduced the German public to 20th-century repertoire, which had been banned since 1933 under National Socialist aesthetic policy.
3) (ii) After 1945 Symphony No.
Hartmann also involved sculptors and artists such as Jean Cocteau, Le Corbusier, and Joan Miró in exhibitions at Musica Viva. He was accorded numerous honours after the war, including the Musikpreis of the city of Munich in March 1949.
Hartmann also provided a platform for the music of young composers in the late 1940s and early 1950s, helping to establish such figures as Hans Werner Henze, Luigi Nono, Luigi Dallapiccola, Carl Orff, Iannis Xenakis, Olivier Messiaen, Luciano Berio, Bernd Alois Zimmermann and many others.
His socialist sympathies did not extend to the Soviet Union's variety of communism, and in the 1950s, he refused an offer to move to East Germany. Hartmann continued to base his activities in Munich for the remainder of his life, and his administrative duties came to absorb much of his time and energy.
He also suppressed most of his substantial orchestral works of the late 1930s and the war years, either allowing them to remain unpublished or, in several cases, reworking them – or portions of them – into the series of numbered symphonies that he produced in the late 1940s and early 1950s. Perhaps the most frequently performed of his symphonies are No.
In the 1950s, Hartmann started to explore the metrical techniques pioneered by Boris Blacher and Elliott Carter.
Hartmann revised the work in 1954–55 as his Symphony No.
1, and published it in 1956.
Karl Amadeus Hartmann (2 August 1905 – 5 December 1963) was a German composer.
In 1963, he died of stomach cancer at the age of 58, leaving his last work – an extended symphonic Gesangsszene for voice and orchestra on words from Jean Giraudoux’s apocalyptic drama Sodom and Gomorrah – unfinished. ==Output and style== Hartmann completed a number of works, most notably eight symphonies.
Among his most-used forms are three-part adagio slow movements, fugues, variations and toccatas. ==Reputation and legacy== Significantly, championed his music following his death: Scherchen, his most noted advocate, died in 1966.
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