“Entartete” Music— Hugo Distler and the Harpsichord Larry Palmer
ntartete—“degenerate”—was a de- more attention was directed toward me than probably would have been the case Erogatory term used in Nazi Germany if a public performance had taken place. to characterize art works deemed to be The Quartet was premiered soon after in “un-German” or “impure.” The word Frankfurt by the Lenzewski Quartet, ex- itself originated as a biological term cellently, and with success, and not much to describe a plant or animal that has later in an independent concert of this en- changed so much that it no longer be- semble in Berlin as well.11 longs to its species. In 1937 a large exhibition of entartete Hessenberg apparently had a more san- paintings and graphic arts was mounted guine outlook than Distler (whom, he in Munich, birthplace of the National wrote, he had met only twice, despite the Socialist movement. Works by Max fact that both were students at the same Beckmann, Marc Chagall, Wassily Kan- time in the same city). Balanced and ge- dinsky, Paul Klee, Max Ernst, Oskar Ko- nial in character as in music, Hessenberg koschka, Ernst Ludwig Kirchner, Emil adapted well to pre- and post-war neces- Nolde and many others were displayed sities, living until 1984. to show the degradation of modern art Other harpsichord offerings from the by artists unacceptable to the regime: Germany of the 1930s include Music for Nazi-denounced “Jews, Bolsheviks, per- 2 Violins and Cembalo 1932 by Hein- sons of color, and perverts.” rich Kaminski (1886–1946), composed As contrast, directly across the plaza, in post-Regerian thick texture by a fa- there was another exhibition, many of its vorite composer of Thomaskantor Karl pieces chosen by Adolph Hitler himself. Straube, and the appropriately spare This show demonstrated “true German 1934 Spinettmusik by Rudolf Wagner- art”—realistic representations of heroic Régeny (1903–1969), composer, pianist blond Aryan fi gures by the Führer’s fa- and clavichordist of Romanian origin, vorite sculptor Arno Breker, and his perhaps historically shunned because “court painter” Adolf Ziegler. he was one of two approved surro- That music, too, could be degenerate Hugo Distler (1908–1942) at his harpsichord gates who wrote pure “Aryan” alterna- was a concept put forward as justifi ca- tive music to replace the banned Mid- tion for denying performances of works How did church composer Hugo Dist- concerto, which would have soon been summer Night’s Dream music of Felix by such contemporary masters as Arnold ler come to write a major composition for fi nished, was unfortunately interrupted Mendelssohn (for performance at the Schoenberg, Paul Hindemith, and Kurt harpsichord, a far from ubiquitous key- by another task [a Luther Cantata for a 1935 Reichstagung of the Nazi Kultur- Weill. For the most part, the creators of board instrument in the 1930s? As Wanda Lübeck Reformation Festival] . . .” gemeinde in Düsseldorf).12 these works were forced to fl ee Hitler’s Landowska remarked (about J. S. Bach), In another communication dated 17 Wagner-Régeny’s seven short pieces oppressive totalitarian regime or face to understand the greatness of a master August, this one to Gerhard Schwarz, compare favorably with Distler’s Dreissig incarceration in concentration camps. composer, one needs to place it in the the young composer wrote, “I have also Spielstücke of 1938,13 and since Distler, To fi nd a score by Distler among those context of music by his contemporaries. completed a Concerto for Harpsichord too, joined the Nazi party on May 1, 1933, deemed modernist and unfi t for German Urged by Leipzig professor Hermann and Eleven Solo Instruments that I have perhaps one need no longer cast neither ears seems unimaginable to present-day Grabner to base his composition studies given to Professor Ramin to look over; so aspersions nor stones at either composer auditors, but such a travesty did occur. on music of the past, specifi cally that of far as I can tell, he would like to perform for such ancient political miscalculations. During October of that same year, the Baroque, and infl uenced further by it this winter, perhaps even in Berlin. In At least in Distler’s case, it is evident that 1937, a week-long Festival of German his organ teacher, Günther Ramin, one addition, Frau Mann-Weiss wants to do he became increasingly unsympathetic Church Music took place in Berlin. of Germany’s pioneering harpsichordists it in Hamburg for the New Music series, with the government authorities, and fi - Among a plethora of new music, several during the 1920s,3 Distler was evidently also this winter.”8 nally committed the ultimate act of civil of Hugo Distler’s compositions were drawn to the instrument. In addition to However, it was more than additional disobedience by removing himself from heard. In addition to the choral and or- Ramin’s public performances, there was commissions that prevented the fi rst per- earthly existence altogether. gan music that had secured his reputa- new music for harpsichord being cre- formance, expected in March of 1933. Unquestionably the compositional tion as one of the most talented compos- ated during Distler’s student days. In The presumptive dedicatee and soloist of high point encountered thus far among ers of his generation, Distler’s secular 1927 Carl Orff (who was to become a the Chamber Concerto for Harpsichord examples of Third Reich harpsichord magnum opus, the Concerto for Harpsi- household name ten years later with his and Eleven Solo Instruments, Günther music is Distler’s (Second) Harpsichord chord and Strings, opus 14, was given a wildly successful choral/orchestral work Ramin, did not like the score as it was Concerto, with its vivacious Stravinskian prominent place in a Sunday concert at Carmina Burana) composed a Kleines presented to him, and asked for extensive fi rst movement; hauntingly lovely, lyri- the Philharmonic Concert Hall, with the Konzert nach Lautensätzen for winds, revisions. In a letter to his fi ancée, Wal- cal second movement featuring arching composer’s Lübeck colleague, Marien- harpsichord, and percussion. Based on traut Thienhaus, Distler expressed anger solo violin lines above percussive, insis- organist Walter Kraft, as soloist. The lute pieces by Vincentio (Vincenzo) Gali- at his former teacher’s request. The work, tent rhythmic fi gures from the harpsi- conductor was none other than Dr. Peter lei and Jean-Baptiste Besard, the work is missing many pages by the time of its re- chord; and culminating with a rollick- Raabe, president of the Nazi music regu- a 13-minute precursor to a similar work discovery in 1968, was not performed un- ing third movement based on Samuel latory board (the Reichsmusikkammer), by Francis Poulenc, the Suite Française til 1998. Although it is now available in Scheidt’s four-part harmonization of the so one might have expected that the of- (1935), also based on Renaissance dance a performing edition by Michael Töpel, folk song Ei, du feiner Reiter. Distler’s fi cial press would use only superlatives to music (by Claude Gervaise), and scored I fi nd it a fl awed and unpleasant work.9 variations on this sturdy German tune praise the concert. for the same instrumental forces. Score one for Professor Ramin! certainly display wit and good humor, Not so! Here is an excerpt from one of Forced by economic necessity to leave Further annoyance for the young especially in a solo harpsichord parody the more scathing reviews: the conservatory course before complet- composer may have been triggered by of the mechanistic technique-build- ing his degree, Distler auditioned for the fact that Ramin DID play a Cham- ing keyboard exercises of Carl Czerny. . . . there was the general aggravation of and won the position of organist at the ber Concerto for Harpsichord and String Two further keyboard solo variations Hugo Distler’s Concerto for Harpsichord, Jakobikirche in the north German city of Orchestra in the spring of 1933, but it (six and twelve) show an idiomatic va- an “in-your-face” example of degenerate Lübeck, a position he assumed on Janu- was a work by Distler’s exact contempo- riety of texture. The note C held over art. The delicate domestic harpsichord was 10 utilized in an unnatural way—like a piano. ary 1, 1931. There he began a brilliant rary Kurt Hessenberg, later to be asso- by the second violin serves as a breath- At the Finale the young composer seemed career as composer of choral and organ ciated in Frankfurt with another Leipzig taking common tone modulation for the to be driven by the devil! This motoric noisy music, with the smaller of the church’s fellow student, the blind German organ- A-fl at major return of the theme, set music chattered endlessly on . . . Listen- two baroque instruments as his special ist Helmut Walcha. Although I have not as a phrase by phrase dialog between ers could only laugh. Perhaps it would have muse and guide.4 Somehow, despite a seen a score of Hessenberg’s Concerto, if strings and harpsichord, concluding been better had they whistled and pon- meager salary, Distler managed to ac- it holds as much musical charm as several with a whimsical employment of ever- dered the biblical quotation: He mocked 1 quire a two-manual Neupert concert of the Zehn Kleine Präludien für Klavier longer periods of silence, à la Haydn, only himself . . . harpsichord in November of that same oder Clavichord, opus 35 (published by from which the fi nal expected answer year5 and used it on November 29 for the Schott in 1949), it may be a work worth by the harpsichord never occurs at all. An earlier description of the Concerto’s fi rst performance of his Kleine Advents- searching for. This lengthy silence is ended when the 1936 premiere in Hamburg, read: musik, opus 4.6 Through the succeeding Hessenberg, too, endured the political exasperated strings plunge, pall-mall, years of his tenure at St. Jakobi, Distler idiocy of the 1930s. He recounted, into a repetition of the wildly motoric Stuttering rhythms, fractured mood and frequently employed his harpsichord for tenth variation to provide a vigorous fi - brutal background sounds fulfi ll the intel- a series of vesper concerts, as well as for My Second String Quartet . . . has a nale. Quirky, or even sarcastic, yes, but lectual aspect of the formal side . . . only chamber music in other Lübeck venues. special “history”: its premiere by the Len- scarcely degenerate! to a very limited extent. It appears to be Distler actually began writing an ex- zewski Quartet was on the program of a At the fi rst performance of this Con- diffi cult for some people to break loose concert [sponsored by] the Reichsmusik- from the idolatry of an outgrown, stereo- tended harpsichord concerto during the kammer in Berlin [1937]. However, be- certo the work had an additional move- typical [Kurt] Weill era. Distler must—in early 1930s, a fact that went unnoticed cause I was still very much unknown, the ment, Allegro spirituoso e scherzando, our opinion—change a great deal at the until I discovered fair-copy segments piece was performed before a board from expanding by more than six minutes human level in order to properly exploit his of it in a trunk of musical manuscripts the aforementioned institution in my ab- a work that already clocked in at more considerable abilities.2 recently found and sent from Lübeck, sence for approval, and provoked the dis- than half an hour! Several critics sug- then stored beneath the guest bed at pleasure of that body. So the piece, which gested pruning the composition by Distler’s music degenerate, brutal, dia- Frau Distler’s post-war home in Bavar- in spite of its adherence to tonality reveals deleting this extra movement, and the bolic? Possibly, perhaps, to ears deafened ia.7 The physical remnants of this work the infl uence of Hindemith, perhaps also composer took their advice. Subsequent of Bartòk, was dropped from the program. by militaristic brass bands or the loud explained a seeming time discrepancy in This decision was criticized at that time performances utilized only the three general cacophony of the government his letter to Hermann Grabner (dated 17 in a music journal, as a result of which movements described above, and the propaganda, but otherwise, unlikely. April 1931): “Work on my harpsichord printed score presents this three-move-
22 THE DIAPASON
Aug 08 pp. 22-23.indd 22 7/10/08 12:40:27 PM the chromatic scale.) edition (Concordia). at St. Jakobi in Lübeck,” The American Or- Opus 9/I. An die Natur (1933). First per- ganist, April 1982, 174–177. Five years after the Concerto perfor- formed 16 August 1933 at the National- Larry Palmer: “Hugo Distler’s Harpsichord mance so stigmatized by the Nazi press, sozialistischen Musikfest in Bad Pyrmont. Concerto,” The Diapason, May 1969, the composer’s mounting dread of mili- Bärenreiter 683. 12–13. “Hugo Distler: Some Infl uences on tary conscription fueled his descent into Opus 11/I. Choralkantate Wo Gott zuhaus His Musical Style,” The American Organ- depression, and led him to turn on the nit gibt sein Gunst, harpsichord or organ. ist, November 2002, 50–51. “Hugo Distler: gas in the Berlin apartment where he Composed 1933, published 1935. Bärenre- 60 Years Later,” The Diapason, Novem- ended his life on November 1, 1942. iter 758. ber 2002, 22. Ironically, only a few days later his name Opus 14. Konzert für Cembalo und Streich- appeared on the Führerliste—a register orchester (1935–1936). First performed 29 Discography April 1936, Hamburger Musikhalle, Hugo The most satisfactory way to “know” Hugo of those individuals permanently ex- Distler, harpsichordist, Dr. Hans Hoff- Distler is through his music. The following empted from the military draft, persons mann, conductor. Published October 1936; compact disc recordings are recommended: deemed to be more important at home Bärenreiter 7393. An additional movement, than in the armed forces. deleted from the original published edition Organ works Hitler’s much-vaunted “thousand year Allegro spirituoso e scherzando is now Complete Organ Works (two discs, also in- Reich” survived Distler by only three available as Bärenreiter 7393, edited by cluded are works by Bach, Buxtehude, and years, falling 988 years short of its self- Michael Töpfel. Scheidt). John Brock plays two Brombaugh proclaimed longevity. But as we celebrate Opus 17. Geistliche Konzerte für eine hohe organs. Calcante Recordings, Ltd CD022 Singstimme [Three Sacred Concertos for (1998). the composer’s centenary, his music con- High Voice and Keyboard: Organ, Harpsi- Of historic interest (primarily for the instru- tinues increasingly to move and beautify chord, or Piano]. Composed in 1937, pub- ments—Distler’s house organ and the Ja- our musical life. Political movements are lished 1938. Bärenreiter 1231. English edi- kobi instruments, all of which have been transient; artistic worth endures. ■ tion (Concordia). changed since Distler played them): Com- Opus 18/I. Dreissig Spielstücke für die plete Organ Works played by Armin Schoof. Notes Kleinorgel oder andere Tasteninstru- Thorofon CTH2293 and CTH2294. 1. Erich Roeder: “Neue Musik—ohne mente. 1938. Published June 1938. Bären- Also of “historic” interest: Larry Palmer plays und mit Bedenken,” in Der Angriff 238, Ber- reiter 1288. the large partitas and several smaller cho- lin Edition, 11 October 1937, p. 4 [Cited in Opus 21/II. Kleine Sing- und Spielmusik: rale works: Musical Heritage Society LP Lüdemann, Hugo Distler, 179]. Variations on “Wo soll ich mich hinkeh- 3943 (out of print). Robert Sipe organ of 2. Heinz Fuhrmann, “Musikfeste und ren?” (Piano or harpsichord). Composed Zumbro Lutheran Congregation, Roches- Tagungen, Hamburg” in Zeitschrift für Musik 1941 (doubtful according to Lüdemann), ter, MN (1978). 103 (1936), p. 748. Translated by Janet & Mi- published 1952. Bärenreiter 2046. Hugo and Waltraut chael Berridge in Notes to Thorofon CTH Choral works 2403. Without opus number Liturgische Sätze (selections from opus 13, ment version. The additional movement 3. See Martin Elste: Meilensteine der Bach Kammerkonzert für Cembalo und elf Soloin- opus 5, opus 11, and opus 6/2). Thorofon works as a stand-alone piece with strings, Interpretation 1750–2000. Stuttgart & Wei- strumente (1932). Mss incomplete. First CTH 2420. mar: J. B. Metzler and Kassel: Bärenreiter- performed 28 November 1988, Martin Choralpassion, opus 7. Kammerchor der the manner in which I played its mod- Verlag, 2000, a major study of Bach perfor- Haselböck, harpsichordist and conductor. Universität Dortmund, conducted by Willi ern premiere during the 1980 American mance styles and historical recordings of Bach Published 1988. Bärenreiter 7687. Gundlach. Thorofon CTH2185. Guild of Organists national convention works. The accompanying compact disc in- Ritter Blaubart (1940)—Theatre music for Totentanz, opus 12/2 (same choir and conduc- in Minneapolis.14 cludes a 1928 recording of the fi rst movement Ludwig Tieck’s play. Chamber orchestra tor), plus Motet and Organ Partita on Wa- That the composer found the harp- (Siciliano) from Bach’s Sonata in C Minor for includes harpsichord (prominently). First chet auf. Thorofon CTH 2215. sichord to his liking was shown in one Violin and Cembalo, with Licco Amar, violin, performed 29 September 2002. Bärenre- Die Weihnachtsgeschichte, opus 10. Thom- further extended work, until recently and Professor Ramin, harpsichord (track 5). iter 7711, published 2001. anerchor Leipzig, Hans-Joachim Rotzsch. known only as a reference citation, the 4. Preface to Orgelpartita: Nun komm, der Vom Himmel hoch, da komm ich her. Berlin Classics 0092462BC. Heiden Heiland, opus 8/I. Bärenreiter 637. Kleines Konzert and Choral. Neue Weih- Totentanz and Mottetten, opus 12 (including Schauspielmusik zu Ritter Blaubart 5. Letter from J. C. Neupert to Distler Ar- nachtsmusik für Klavier, Orgel, und andere the opening and closing choruses for the [Theatre Music for Knight Bluebeard]. chiv, 30 September 1975. See Lüdemann, p. Tasteninstrumente. Bärenreiter Collection never-completed St. John Passion). Ber- Parts for this incidental music assembled 52, note 8. (1935), edited by Reinhard Baum. liner Vokalensemble, conducted by Bernd for a cancelled Berlin production of Lud- 6. See the listing of the Vesper program Stegmann. Cantate C 58007. wig Tieck’s play were among manuscripts with the notation “am Cembalo” in Palmer: A basic bibliography turned over to the Bärenreiter-Verlag by Hugo Distler and his Church Music, p. 168. A Books Instrumental works Waltraut Distler, a few years after the practical reason for using harpsichord might Larry Palmer: Hugo Distler and his Church Harpsichord Concerto, opus 14, and Inciden- end of the war. Since there were other be simply a logistical one: the small organ in Music. St. Louis: Concordia Publishing tal Music to the Play Ritter Blaubart. Musi- a swallow’s nest gallery allowed little room House, 1967. (Out of print; often available caphon M 56860 (issued 2008). items both complete and more market- for singers or instrumentalists; thus the organ through Amazon.com or Alibris.com). Harpsichord Concertos, Martin Haselböck, able to bring into print, the stage music would be far distant from the ensemble. The most comprehensive (and recent) book harpsichord and conductor, with the Wie- was basically overlooked. Reassembled 7. See Palmer, “Hugo Distler’s Harpsi- on Distler is available only in German, ner Akademie. Both early and late concerti, and organized by Michael Töpel, the chord Concerto,” in The Diapason, May Winfried Lüdemann: Hugo Distler—Eine plus the deleted movement from opus 14. score was published, at last, at the turn 1969, 12–13. musikalische Biographie. Augsburg: Wiss- Thorofon CTH 2403. of the new millennium, and given a fi rst 8. Quoted in Ursula Herrmann, “Forty ner-Verlag, 2002 [ISBN 3-89639-353-7]. An performance in 2002. Now there is a re- Years of the Berlin Church Music School, exhaustive biography based on all available Special appreciation to my former organ cording (Musicaphon M 56860), issued Spandau” in program booklet (1968). Trans- letters and archival holdings. Complete list- student Simon Menges (Berlin) for sending lated by Larry Palmer and quoted in the ar- ing of Distler’s works, analysis of the music; the Musicaphon compact disc before it be- early in 2008. ticle cited above. Frau Mann-Weiss is usually many photographs and musical examples. came available in the United States. Distler recycled quite a lot of his referred to as Edith Weiss-Mann. In addition Harpsichord Concerto for this inciden- to being one of the foremost German harpsi- Periodical literature in English Larry Palmer’s fi rst article for HET DIAPA- tal music, with very interesting addi- chordists of her generation, she was mother to Jan Bender: “Hugo Distler and his Organ Mu- SON in November 1962 was “Hugo Distler: 20 tions of wind instruments to the original the eminent musicologist and choral director sic” [An interview conducted by William Years Later.” Appointed Harpsichord Editor in strings. Three short, newly composed Alfred Mann. It had puzzled me that Distler Bates], The American Organist, December 1969, he continues to write, record, play, and vocal insertions have secco harpsichord should mention a Harpsichord Concerto in 1982, 42–43. teach: since 1970 as Professor of Harpsichord accompaniments. One movement [War 1931 when the published work with that title Mark Bergass: “Hugo Distler’s First Vespers and Organ in the Meadows School of the Arts, was dated 1936. Music] is an orchestral version of two 9. Recorded by Martin Haselböck (Thoro- pieces from Distler’s Eleven Piano fon CTH 2403). Pieces, opus 15 [Fanfare; With Drums 10. Information from Hessenberg’s autobi- and Pipes]. Most appealing is the sara- ography (Kleine Selbstbiographie from Kurt bande-like Overture to the Second Act Hessenberg: Beiträge zu Leben und Werk (Pe- (arranged for harpsichord and strings ter Cahn, editor), B. Schott’s Söhne, Mainz, Fratelli Ruffatti invests its time and money from the second movement of String 1990). The Chamber Concerto is his opus 3. Quartet in A minor, opus 20/I), truly See
AUGUST, 2008 23
Aug 08 pp. 22-23.indd 23 7/10/08 12:40:49 PM