Walter Braunfels: Childhood/Youth

“The whole of is also saturated with artistic creativity…” by Katrin Pollems

English translation by Maroula Blades and Joerg Heinrich

Walter Braunfels’ family came from . His father, the jurist and ‘the man of letters’ Ludwig Braunfels, had in his second marriage with the 32 year younger Helene Spohr, a great-niece of the , four children. Walter Braunfels was born on 19.12.1882. He was the youngest. When he was only three years old, his father died at the age of 75. His childhood was primarily determined by the musical world of his mother. Vocally talented, the mother had played with Liszt, the older sister Tilli was a pupil at famous Hochschen Conservatory in Frankfurt, studying under Clara Schumann and others. As a child Walter Braunfels musical talent was recognised at an early stage. He remembers “already with seven years he played the Bach’s Inventions off by heart and a little later Suites and Partites.” 1 But later he found his ability to read notes and to play from musical scores insufficient, that’s why his mother ‘searched’ a way through, “to overcome my resistance to systematic studying. She read to me, how much Mozart had to practice, yes and how his father tied him to the chair if he didn’t want to practice sufficiently, whereupon I rudely declared: ‘But I don’t want to be a Mozart.’ ” 2

He rather loves to improvise on the piano and to compose modest lyrical pieces. At the age of twelve he is accepted as a student at the Hochschen Conservatory and a pupil of . “Often we were allowed to publicly play on two , like a Clementi-Sonata, and then Bach’s C-Major-Concert, and we were just too mischievous, not to make a joy out of it, that one after the other came in after about one and a half bars and then we played that atonal construction through with military rage.” 3 One evening as James Kwast spoke about his daughter to Walter Braunfels: “Think about it, now Mimi has eloped with Pfitzner,” he feels especially touched, “that this man not only made , but also began his life so romantically.” 4 This is the beginning of a great and mutual respect from both . Pfitzner performs works from Walter Braunfels. After one performance of the “Vögel” (“Birds”) he wrote: “Thank God, you still write music.” 5 Braunfels becomes a committee member in 1918 in the Hans Pftizner Organisation, which was founded by Thomas Mann Pfitzner and later introduced under others the Cologne premier of Pfitzner’s “Christelflein.”

The humanitarian high school enriched Walter Braunfels musical world. He rearranges the Roland-Saga to an libretto and translates Greek dramas. Already his father created the translation of “Don Quixote” and the “Nibelungenliedes,” which is still valid today. In 1921 it appears to the composer, as his own librettist, as still “never possible to compose a ‘finished’ text, the word forms itself to me only in the moment of musical growth. Only then it submits itself to the music in contrary to the dramatic liveliness of the opera.” 6 In his work dominates the setting of lyrics to music, which he often changes. Unlike Richard Strauss, he does not find a congenial librettist like Hugo von Hofmansthal, which is why he chooses works from world literature from different epochs as a presentation for his . Beside Artisophanes (“Die Vögel”–“The Birds”), Tirso de Molina (“Don Gil von den grünen Hosen”–“Don Gil from the green trousers”) and de Coster (“Ulenspiegel”), he is occupied with E.T.A Hoffmann (“”–“Princess Brambilla”), Grillparzer (“Der Traum ein Leben”–“The Dream one Life”) and Paul Chaudel (“Verkündigung”–“Proclamation”).

The whole artistic storms and urges of the youth ends curiously in the knowledge at seventeen years old: “possibly I am already talented enough to become a good musician, but the music is not beautiful enough to dedicate the life to.” 7 And so after he passes his six form examinations, he decides to study law and national economics – to give his life a “more world facing direction.”

Walter Braunfels as a student in Munich (about 1902)

He goes to Munich in the summer term of 1901. He already dispels the fears of his mother in one of the first letters: “Such a young fellow in such a large foreign city, that perhaps must seem strange. But look, Munich may have the size of London, I might not know a soul closer here and I would immediately feel at home here anyway. For the highest goddess of the Munich society, the informality in knowing how to lull the worst homesickness of a youth driven from distant shores by soothing and sprinkling balsam into the deepest wounds of the soul…” 8 The Munich of the prince regent time “shined”… Many windows are open, and out of many, music vibrates on the streets, exercises on the piano, the violin or the violoncello, sincere and well-meant amateur efforts. But in the ‘Odeon’, like one hears, there are serious studies on numerous grand pianos. Young people, that are whistling the Nothung-Motive and in the evening filling the back of the modern playhouse, carrying literary newspapers in the side pockets of their jackets, wander in and out of the university and the city library.” 9 It is the heyday of the city as a city of art, which is described in the famous first line of Thomas Manns narration “Gladius Dei” published in 1902. Walter Braunfels eagerly falls into the realm of music and theatre life of the city and outlines in long, spontaneous letters to hismother, the fascination of the art- drenched atmosphere for the recipient. Only on direct enquires from his mother, he dutifully reports about his studies; his accounts concerning theatre and concert impressions read much more enthusiastically with its entire impartiality, the judgement is formed rashly sometimes, but often it does not take itself too seriously: “It followed Richard Strauss ‘Tod und Verklärung’ (‘Death and Transfiguration’), from his symphonic works so far as I know them, definitely the most important. It has parts that are so ingeniously felt in truth, one is really stunned. On one place like the last struggle from death’s already firm packed body, as the last gurgled pain-rattle of the dying is painted in tones, I believe I would sink unconsciously from the chair, if I would not have such a good nature…” 10 Beside the studies he resumes an arrangement of the Oedipus material and composes the first songs. He represents a friend as music critic, what makes his reports home somewhat more differentiated, but none the less drastic. “Monday: Kaim Concert. The newest Marter-Symphony from Mahler, which he conducts himself. The 1 st set: After the instruments have thoroughly attempted all positions of the highs and lows, it comes as a rising leitmotif (notes following with signature Margarethe) led by popular songs which are instantly pleasant. At the 2 nd set the ‘Scherzo’ I had the opportunity to observe on a woman who sat in front of me, wearing a low décolleté, how it looks when someone experiences tingles down the spine. 3 rd set Mozart-like in character with R. Strausscher over orchestration, the final set mainly engages a very simple poem out of the “Knaben Wunderhorn,” which a Viennese female vocalist with a sweet glib tongue very charmingly performed. The whole work took 50 minutes, the artistic mob cried with delight over this ‘feat’, and I have never had in my life such bliss.” 11 He began again to make a great deal of music. Braunfels is introduced into the society and enjoys the reputation, which is acknowledged through his musicality and his over extravagant playing lust. “On Sunday there was a great dinner from Hofrat Schmidt. Naturally I had to play. The people were so satisfied and begged so often for more [and they meant it seriously, that I could finally remembered the following programme 1) Fantasy and Fugue G-minor, Bach 2) Ballad from Brahms 3) 2 Etudes from Chopin] Fantasy over Nibelungs 5) Rhapsody from Liszt 6) Fantasy over the bell ( … ) But the final effect still had to come. I don’t know how, but the conversation came to the magnificent: ‘Alle meine Entchen…’ (A German nursery rhyme). There my host teased me: When you can do something, you should fantasize over it.”

At the Munich Artists Theatre Walter Braunfels introduced himself as a stage composer – with his music to Shakespeare’s “Was ihr wollt”. Here is a backdrop sketch, which Julius Diez created for the then production (1908).

That appealed to my sense of honour and I managed to bring the best fantasy to life, from Bach to Richard Strauss – an exalted hymn on it! – how everything in the world connects. The guests appeared to be somewhat baffled. They chattered excessively. Only a very charming son of the house stood glumly in a corner and sighed: Now I can’t hear anymore: ‘Now everyone thank God,’ without thinking about ‘Alle meine Entchen’. That is decisively painful for a religious soul.” 12 Walter Braunfels was one of last pianists, who ended his piano evenings with a theme given by the audience over which he freely improvised. Many of his later orchestral works, which had themes developing in free variation form, are full of passion for virtuosic improvisation. In 1902 he broke loose innerly from the overheated Munich atmosphere and forced the decision upon himself to leave the city: “Munich is a very beautiful episode in my life. ( … ) The whole of Munich is also saturated with artistic creativity, that one is eventually pulled into those whirlpools where ¾ of the principle of life is a lie, self-deception is…”13 So he took the escape to Kiel, so he could wholly concentrate on his national economy studies. But here solidifies his decision to become a musician, and with the diligence that was missing in his studies of law, he begins to continue his autodidactic music studies: “Earlier I was satisfied with less. I was amateur and as such an excellent player. I want to become an artist now, but as such I know nothing of.” He was strengthened by Keller, the music director in Kiel, his admiration he writes to his mother about: “Unfortunately he is not able to discriminate because he generally only says: I believe in Wagner, Liszt and Braunfels. One can’t do anything about it.” 16 (14) When he realizes that he is unable improve his piano technique alone, he enrols in the winter term of 1902 by Theodor Leschetitzky in Vienna. Great pianists like Arthur Schnabel and Ignaz Paderewski came out of the school of this important piano tutor. Walter Braunfels must change himself completely and Leschetitzky judges him sceptically: “My fingers are good, but without any teaching, unfortunately they are already overplayed (…) So much I know already, Leschetitzkys finger exercises are really painful and terribly tiring. Also his finger positioning is nearly diametral contrary to mine.” 15 But he is convinced from the correctness of the new technique and he will not only keep it for life, but also assign it to his own pupils. “Because in fact it is not a technical exercise in the ordinary sense, but a highly refined well thought out technical cure that is painful (the danger of overplaying is always existing), but it is also a secure guide to the goal. My hand has already changed externally. It is noticeably broader (by all means the joints are driven apart), by lifting the fifth finger muscles and tendons surface, from which I had no idea about before. The aim of this torture is to subtly differentiate coordination of sound colours according to Leschetitzkys Motto: “In an emergency, if you do not know how to use in 10 bars one hundred different sound colours you are not an artist.” 17

Wilhelm Furtwängler and his then fiancé Bertele von Hildebrand, who became the wife from Walter Braunfels in 1909.

In the beginning of the year 1903 Walter Braunfels enrolled by Karl Nawratil to study harmonic theory, counterpoint and composition. His solid basic theory he owes to Nawratil, by whom also Schoenberg studied, which throughout his life awarded his compositions. In September 1903 he moves back to Munich and becomes a student of Ludwig Thuilles. Once more he must change himself completely: “While Nawratils method was a splendid brain massage, but which had nothing to do with the practical needs of modern composition, Thuille prefers to concentrates on this. He knows no strict phrase, but only the art of beautiful sounding harmonization that is the counterpoint.” 18 After alternating teachers, Walter Braunfels debuts as a pianist in 1904. Alexander Berrsche characterises him as an “extremely spiritual musician (…) structure, rhythm, articulation of a work, in short everything purely spiritual, he arranges with clarity and out from the deepest knowledge of the musical organisms.” 19 It is prophesised to him that he will have a great career as a pianist, “If he wouldn’t prefer, mainly to live for the composition.” 20 So Alfred Einstein writes in 1920: “I have always had the feeling as though he is also as pianist in the eminent sense a idyllic reproducer.” 21

In 1905 he becomes acquainted with the family of the important archaeologist Adolf von Furtwaengler, whose son Wilhelm was known from an early age as a very talented musician. In autumn of the same year he is acquainted with the sculptor Adolf von Hildebrand: “I played a lot recently, since then, his house is open to me. That means more than these lines can say because I have never in my life had the impression of a great personality, standing here before me. I feel for the first time a great unconditional admiration and the picture of a complete world.” 22 It is an absolutely different world from the “Wahnmoching” by Wolfskehl, Stefan Georges, Ricarda Huchs and the other literati of the “youth” and the painter of the “Blauen Reiter” (“Blue Rider”). In the house of the Hildebrand’s governs informal classics and the joyfulness of the Florentine early renaissance. Together with Wilhelm Furtwängler, who was engaged with Bertele, Hildebrand’s youngest daughter, and her siblings, social activities follow and he is increasingly accepted into this house. In autumn 1906 Bertele pleaded with Walter Braunfels to be her teacher, she was already taught by Reger, three years later she becomes his wife. In these three years he composes his first main work, the opera “Prinzessin Brambilla” (“Princess Brambilla”) from a novel by E.T.A. Hoffmann.

Felix Mottl, the “significant music coach” of the young Walter Braunfels

Since the summer 1906 he is challenged as solo repetiteur by , the significant music coach of his younger years, 23 with the rehearsals for the premier of “Salome” by Richard Strauss at the National Theatre. “In his confident sense of style, the secure knowledge of artistic worth and by avoiding every sensation in his connection to warm sincerity with healthy objectivity and distancing himself from every mode.” 24 Mottl surely had the strongest influence on Braunfels’ musical education. supported him very much through encouraging words and care, but Braunfels is only provisionally standing in the row of the Thuille-students Courvoisier, Boehe, Mars, Siegel and Klenau, the so-called “Munich School.” As a result Braunfels was recognised as a very advanced mind and a courageous innovator of new tones in his early years.

1 Walter Braunfels, biographical fragment, quote from U. Jung, Walter Braunfels (1882-1954), Regensburg 1980, quote P. 5 (abbreviated in the following: Jung)

2 - P. 5 ditto 3 - P. 7 ditto 4 - P. 8 ditto 5 - Hans Pfitzner, map of the 8.7. 1922, Michael Braunfels family archives (in the following quote FA MB)

6 - Walter Braunfels: From a libretto. P. 628, about operalyrics in general, in: Rheinische Thalia. Blätter für Badische und Pfälzische Kultur. Weekly periodical of the Mannheim national theatre. 23rd exercise book. Ed. by Adolf Kratzer, Mannheim 1922

7 - Walter Braunfels, life periods, Zeitschrift für Musik (newspaper for music), P. 438 8 - Walter Braunfels, letter to his mother on the 21. IV.01, FA MB 9 - Mann, Thomas, Gladius Dei, Der Wille zum Glück und andere Erzählungen, (The Will to Luck and other Stories), Frankfurt (Fischer) 1987, P. 217

10 - Walter Braunfels, letter to his mother “Donnerstag Abend” (“Thursday evening”) (May 1901) FA MB

11 - Walter Braunfels, letter to his mother of the 28.11.1901 (FA MB) 12 - ibid 13 - Walter Braunfels, letter to his mother without a date (8.2.1902) (FA MB) 14 - Walter Braunfels, letter to his mother from the 11. VII.02 (FA MB) 15 - Walter Braunfels, letter to his mother from the 11.10.02 (FA MB) 16 - Walter Braunfels, letter to his mother from the 25.10.02 FA MB 17 - Walter Braunfels, letter to his mother from 5.12.1902 (FA MB) 18 - Walter Braunfels, letter to his mother from 20.9.03 (FA MB) 19 - A. Berrsche in Münchner Zeitung from the 31.1.1914, quote from U. Jung, P. 423 20 - W. Glöckner in Rheinische Musik- und Theaterzeitung (Rhenish Music and Theatre Newspaper) from the 31.1.1914 P. 69, quote from U. Jung, P.423

21 - Alfred Einstein in the Münchner Kunstschau (Munich art show), 21.4.1920, quote from U. Jung, P. 424

22 - Walter Braunfels, letter to his mother from 20. Nov. 1905 (FA MB) 23 - Walter Braunfels, life periods, in the Bodensee-Zeitschrift, Amriswil, Feb. 1954, P.60 24 - Walter Braunfels, obituary on Felix Mottl in Süddeutsche Monatshefte, VIII. Vol. 8, Munich Aug. 1911,

S. 254-259; quote from Jung, P. 12