Smelling pool of broadcasting corporations bunch

smelling pool of broadcasting corporations bunch (of max dear man, 1918)

smelling pool of broadcasting corporations bunch (* 11. June 1864 in Munich; † 8. September 1949 in mixing part churches) was a German composer of the romance, that particularly for its telling music (Program music) and its operas admits became; In addition bunch was an important conductor.

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bunch became at the 11. June 1864 in Munich born. Its father Franz bunch was first bugler at the yard orchestra Munich, its nut/mother Josephine originated from the Bierbrauer - dynasty Pschorr, one of the richest families of Munich.

Lively through itsfrom music fulfilled parents' house, primarily by its father, began to compose smelling pool of broadcasting corporations bunch with six years themselves. It kept composition instruction later by the resident of Munich Kapellmeister Friedrich William Meyer. Under its guidance or from suggestion, resulted, after early piecesfor piano and singing, the first larger forms: Concerts and/or. Pieces of concert, large Sonate, one caper quartet, two Symphonien as well as a Bläserserenade.1882 began bunch a study at the University of Munich, fallow it certainly soon again off. 1883 it wenton an artist journey, it and. A. to Dresden and Berlin , where it attached important contacts, particularly to the famous conductor and director/conductor of the Meininger yard chapel led, Hans's von Bülow. 1885 got the young bunch to Bülow as a Kapellmeisterat the Meininger yard (here bunch learned and. A.Johannes Brahms know); when Bülow acknowledged soon thereafter its service, bunch up to the end of the season became 1885/86 its successor. Bunch had up to then in the style of the classical authors as well asfrom composers such as Schumann or also Brahms composes, then his musical orientation, when it became acquainted with Alexander knights , changed Wagner for violonist and married man of a niece of smelling pool of broadcasting corporations. It encouraged bunch to turn to the music of Wagners before however itselfto practice by support to the Symphoni seals of Franz Liszt in the orchestra style of Wagners.

The new composition way of bunch already suggests itself in its four-sowing goats Orchesterfantasie “made of Italy”, becomes however only in the following, from bunch usually “clay packings” mentionedorchestra works one-corrode-industrial union-by program directly clearly. After initial difficulties (of the first clay packing, Macbeth, gives it to not less than three versions) bunch found death and sea protest” (1888-1890) then in the clay packings “Don Juan” (after Lenau, 1888/89) and above all “its own unmistakableStyle, which made it rapidly well-known and famous. Some years later a second series of clay packings followed, among them thus spoke Zarathustra (1896), its initial clocks today particularly by the film 2001: Odyssey in space and as popular musicto the film and television commercial admits is. 1972 created the Brazilian jazz musician Eumir Deodato its own Crossover version and celebrated thereby in England and in the USA one large-follow.

Already 1887 begin bunch with the work on its first opera Guntram,however the 1894 only few performances experienced. More success brought fire emergency (1901). But only Salome and Elektra (premiere 1909 in Dresden) brought it international triumphs and the break-through as an opera composer. The tonal basis left bunch howevernever, from the Potenzial of the Elektra he drew not the conclusion of the break with the tonality. It was also the first opera, with the bunch with the poet Hugo of Hofmannsthal co-operated. The two common works created also later, howBunch its music language somewhat changed and thus large public successes like the Rosenkavalier (1910) created. Bunch wrote still numerous further operas until 1942, however its musical style, the large opera the woman without shade smoothed itself (1919)marks the terminator point of an dramatic-experimental phase in the work of bunch. In the later years more easily fassliche works in a klassizistischen style develop with Capriccio and Daphne. Dramaturgische security for the concert hall remains however, nearly everything its stage works is successes.

Smelling pool of broadcasting corporations bunch (of Emil Orlik, 1916

smelling pool of broadcasting corporations bunch was married with the singer Pauline bunch de Ahna (1863-1950), who sang the portion of the Freihild in its first opera Guntram. Furthermore it was a outstanding Interpretin of its songs, and bunch gavefrequently concerts with its wife.

Controversially the role of bunch is discussed in the time of the national socialism. Some opinions mean that bunch was completely apolitisch and never cooperated completely with the ruling powers. Others emphasize that it an official(President of the realm music chamber from 1933 to 1935) it was and that he, although its position was predominantly representative had been supposed himself to place nevertheless publicly against the national socialists.

Strauss' daughter-in-law Alice was half Jewess, thus was in accordance with the race ideology of the national socialists alsoits Enkelkinder Jewish. This may have been a reason for it that he refrained from it, to oppose openly. With the publication of the opera the silent woman on a libretto of the Jewish writer Stefan branch bunch a considerable risk was received. BecauseBunch during the premiere on it existed that the name Stefan branch on the program note and the posters is printed, stayed away from Hitler from protest of the performance. The regime left bunch thereupon to fall. In addition there are some assumptions that bunch itsofficial position used, in order to protect some its Jewish friends and colleagues.

1948 completed bunch its last large work, four last songs, for high voice and orchestra (Urauff. 1950 by Kirsten Flagstad under William Furtwängler in London), those surelyits most well-known song compositions are. These songs were not planned of bunch as cycle. Its last completed composition was terminated a further song, Malven, to 23. November. The score was discovered only 1982 in the deduction by Maria Jeritza. Malven becamefor the first time 1985 of Kiri of width unit Kanawa sung and 1990 together with their second bringing in of four last songs taken up. The finally last composition, meditation, after texts by Hermann Hessian, choir and orchestra mixed for, remained a fragment. Toothis time were however already somewhat old fashionable Strauss' harmonies and melodies, compared to works of younger composers.

Smelling pool of broadcasting corporations bunch was not only an ingenious composer, he determined also the position of the musician in the society again. Although among other things by itsOrigin mütterlicherseits financially independently, he exerted himself for the fact that composers of their work can live. This was not under any circumstances natural in its time. It demanded among other things that a composer with each performance of its music in the incomes are taken partmust. It assumed composing was a civil occupation and accordingly the height of its remuneration must be with the work of a lawyer or a physician comparable. This opinion contradicted the past role of the artist in the society.Bunch had itself to therefore resist the reproach, it is particularly skillful and money greedy, an opinion, which held itself into the today's time.

In order to achieve its goals, it stepped 1898 together with Hans's summer and Friedrich Rösch to create a composer cooperative. Also works, which are no longer in copyright matters protected, with deliveries should flow occupied and the incomes young or emergency obtained from it to suffering composer. And. A. due to its employment 1903 those became GEMA based.

Note: Smelling pool of broadcasting corporations bunch was not related to Johann bunch and/or. the Viennese tome - dynasty bunch.


clay packings

further orchestra compositions

  • Symphonie D-Moll (1880)
  • Symphonie f-Moll OI. 12 (1883)
  • Burleske for piano and orchestra, D-Moll (1890),
  • two piano concerts
  • festive PräludiumOI. 61 for large orchestra and organ for the opening of the Viennese concert hall (1919)
  • Japanese fixed music
  • of two horn concerts
  • concert for oboe and small orchestra D major (1945)
  • Duett Concertino for clarinet, bassoon and orchestra
  • Festmusiken, opportunity compositions, fanfares, Suiten
  • Orchestersuiten: instrumentale uncoupling from stage works.
  • “Film music” to the Rosenkavalier - film (treatment of orchestras) (1925)



  • Josephslegende (1914)
  • impact waiter (1924)

further ones of works (selection)

  • piano and orchestra songs,
  • chamber music,
  • piano music,
  • metamorphosis for 23 solo strike ago (1945)
  • fourlast songs


  • the evening
  • to the tree Daphne
  • German Motette
  • the goddess in the finery room
  • of man choirs

see also

list of German composers of classical music

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