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Dialogo sobre musica


Enviado por   •  10 de Mayo de 2017  •  Apuntes  •  301 Palabras (2 Páginas)  •  133 Visitas

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Hot-Sonate for Alto Saxophone and Orchestra (1930) (arranger Richard Rodney Bennett)        

Erwin Schulhoff is a name not generally known to American audiences. He was born in Prague into a musical family of German-Jewish origins, for whom the rise of Nazism proved to be career-and eventually life-ending. Though not taken to Theresienstadt like his father, Schulhoff was arrested and placed in the Wülzburg internment camp, where he died of tuberculosis in 1942. He had freed himself from the post-Romantic idiom of his earlier works and allied himself with avant garde trends and people in post-World War I Europe (including Dadaism and composers like Berg, Webern, and Hindemith). Illustrating in the extreme his stepping away from traditional forms, there was his Dada-inspired In Futurum, a silent work that predates John Cage’s notorious 4’33 by more than 30 years. “Unlike Cage’s blank musical score, Schulhoff confronts the pianist with a succession of wildly precise instructions, including rests of all sizes and durations, that nevertheless add up to unbroken silence for the listener [and] admonishes the performer to play this soundless piece ‘with as much expression and emotion as you wish, continuously, right to the finish!’” (Jewish Daily Forward) He later became a Socialist and a Soviet citizen in 1939 (championing Soviet Realism and even setting parts of the Communist Manifesto as a cantata). Schulhoff was also a virtuoso pianist who concertized throughout Europe and performed live on the radio. He was one of the earliest classical composers influenced by American popular music, like ragtime and jazz, with the Hot-Sonate being a popular example. It premiered in 1930 in its original “chamber incarnation” as a piece for saxophone and piano during a broadcast of the Berlin Radio Hour. Schulhoff played piano, and jazz saxophonist Billy Barton played sax.

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