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Harald Genzmer

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© Schott Music / Peter Andersen Harald Genzmer Contemporary BIOGRAPHY Harald Genzmer Harald Genzmer was one of the most versatile and productive contemporary composers. Ever wary of the dogmas of the avant-garde – a quality he shared with his teacher Paul Hindemith – he has always championed music that appeals directly to players and listeners alike. “Music should be vital, artful and accessible,” Genzmer described his artistic philosophy. “It should appeal to performers by being practicable and to listeners by being intelligible.” Genzmer was born in Bremen on 9 February 1909. His artistic development was decisively influenced by his encounter with the music of Paul Hindemith, with whom he began composition studies in Berlin in 1928. After wide-ranging activities in many different fields of music, Genzmer was finally appointed to the staff of the newly-founded Musikhochschule in Freiburg as a composition teacher. In 1957 he became professor of composition in Munich, where he has lived ever since. Genzmer has always been a passionate and committed teacher. In this capacity he can draw on a remarkably varied compositional oeuvre, on an all-encompassing knowledge of music history sustained by deep admiration and respect, on his masterly creative abilities and compositional craftsmanship, and a connoisseur’s grasp of other disciplines, ranging from literature and the visual arts to the natural sciences. His work reflects the influence of composers as wide-ranging as Debussy, Hindemith, Bartók and Stravinsky, but he has always cultivated an individual style and spoken with his own voice in an astonishingly variegated body of music. Genzmer’s uncommonly rich catalogue of works encompasses orchestral music, vocal compositions and chamber music for all imaginable instruments. Particularly striking is his emphasis on the instrumental concerto and the concertante style. It is here, Genzmer feels, that the individuality of the musician and the qualities of the instruments are most thoroughly explored and revealed. Harald Genzmer is distinguished for his admirable knowledge of these capabilities and a respectful empathy with the tasks of the performing musician. Equally noteworthy are his virtually inexhaustible imagination and his vitality in discovering and probing new avenues of creativity that lend his music a distinctive élan and timbral sensuality. “The basic principle of composition is to serve humankind”: thus the aesthetic of a composer who once claimed that his greatest wish is to instill a spirit of joy and contemplation. Harald Genzmer died on December 16th 2007 in Munich Leipzig London New York C. F. Peters Ltd & Co. KG Peters Edition Ltd C. F. Peters Corporation Talstraße 10 2 – 6 Baches Street 70 – 30 80th Street 04103 Leipzig London N1 6DN Glendale NY 11385 Deutschland UK USA ( +49 (0) 341 9897 9231 ( +44 (0) 20 7553 4033 ( + (1) 718 416 7822 * [email protected] * [email protected] * [email protected] BIOGRAPHIE Harald Genzmer Harald Genzmer gehörte zu den wichtigsten deutschen Komponisten dieses Jahrhunderts. Den Dogmen der Avantgardebewegungen gegenüber immer skeptisch und darin seinem Lehrer Paul Hindemith verwandt, stand er als Künstler für eine Musik ein, die Spieler und Hörer unmittelbar ansprechen möchte. “Musik soll vital, kunstvoll und verständlich sein. Als praktikabel möge sie den Interpreten für sich gewinnen, als erfaßbar sodann den Hörer.” So Genzmer selbst über seine Haltung. Genzmer wurde am 9. Februar 1909 in Bremen geboren. Entscheidende Impulse für seinen künstlerischen Weg erhielt er durch die Begegnung mit dem Werk Paul Hindemiths, bei dem er 1928 in Berlin Komposition zu studieren begann. Nach umfänglichen Aktivitäten in den verschiedensten Bereichen des Musiklebens wurde Genzmer schließlich 1946 als Lehrer für Komposition an die neugegründete Hochschule für Musik nach Freiburg i.Br. berufen. 1957 folgte der Ruf als Professor für Komposition nach München, wo er seitdem lebte. Genzmer war ein leidenschaftlicher Lehrer und er konnte sich dabei auf ein ungewöhnliches und vielfältiges kompositorisches Œuvre, auf eine enorme, von Bewunderung und Ehrfurcht getragene Kenntnis der Geschichte der Musik, auf eine meisterliche schöpferische Fähigkeit und kompositorisch-handwerkliche Kompetenz sowie auf eine ganz erstaunliche Kennerschaft anderer Disziplinen berufen, seien es Literatur, Bildende Kunst oder auch naturwissenschaftliche Fächer. Viele Komponisten wie beispielsweise Debussy, Hindemith, Bartók, Strawinsky haben ihn beeinflußt; doch als Komponist hatte er seinen eigenen Stil, seine eigene Sprache gefunden und in erstaunlich vielen Werkgestalten ausgeprägt. In der Tat ist Genzmers Werkkatalog ungewöhnlich reich, umfaßt Orchesterwerke, Vokalkompositionen und Kammermusik für alle Instrumente. Auffallend dabei ist, welche Bedeutung für den Komponisten die Gattung des Konzerts und der konzertierende Stil haben. Im Konzertieren entfalteten und offenbarten sich für Genzmer am sinnfälligsten sowohl die Individualität des musizierenden Künstlers wie die Eigenarten der verschiedenen Instrumente. Eine bewundernswerte Kenntnis dieser Möglichkeiten sowie die respektvolle Einfühlung in die dem Musiker zugewiesene Aufgabe zeichneten Harald Genzmer aus. Hinzu kommen eine fast unerschöpfliche Fantasie und eine Vitalität im Auf- und Ausspüren kreativ experimenteller Möglichkeiten, die seiner Musik die ihr eigene Lebendigkeit und klangsinnliche Farbigkeit verleihen. “Das Prinzip Komponieren ist auch Dienst am Menschen” - hat Genzmer einmal bekannt. Harald Genzmer verstarb im Alter von 98 Jahren am 16. Dezember 2007 in München WORK LIST Works for Orchestra Concerto for Orchestra No. 2 GeWV 111 (1963) 18’ for orchestra 2.2.3.2 - 3.2.3.1 - timp - perc - 8.7.6.5.4 First performed 21 March 1963, Munich, by Symphonie-Orchester des Bayrischen Rundfunks, cond.: Jan Koetsir EP 5818 Fest-Ouvertüre GeWV 132 (1999) 8’ for orchestra 2.2.2.2 - 2.2.2.1 - timp - perc(2) - 8.7.6.5.4 First performed 29 September 1999, Landau (D), by Staatsphilharmonie Rheinland-Pfalz, cond.: Theodor Guschlbaur EP 12071 Hölderlin-Fragmente I–V GeWV 119 (1977) 33’ for orchestra Hölderlin-Fragmente I GeWV 119 (1977) 11’ for orchestra 2.2.2.2 - 4.2.0.0 - timp - perc(2) - hp - 8.7.6.5.4 First performed 27 February 1978, Wolfsburg (D), by Nordwestdeutsche Philharmonie, cond.: Janos Kulka EP 12072 Hölderlin-Fragmente II GeWV 119 (1977) 8’ for orchestra 2.2.2.2 - 3.2.1.0 - timp - perc(2) - hp - 8.7.6.5.4 First performed 29 October 1979, Hagen (D), by Orchester der Stadt Hagen, cond.: Michael Halász EP 12073 Hölderlin-Fragmente III GeWV 119 (1977) 3’ for orchestra 2.2.2.2 - 4.2.1.0 - timp - perc - hp - 8.7.6.5.4 First performed 29 October 1979, Hagen (D), by Orchester der Stadt Hagen, cond.: Michael Halász EP 12077 Hölderlin-Fragmente IV GeWV 119 (1977) 3’ for orchestra 2.1.2.2 - 4.0.0.0 - timp - perc(2) - hp - 8.7.6.5.4 First performed 10 December 1979, Saarbrücken (D), by Saarländisches Staatsorchester, cond.: Matthias Kuntzsch EP 12074 Hölderlin-Fragmente V GeWV 119 (1977) 8’ for orchestra 2.2.2.2 - 4.2.1.0 - timp - perc - hp - 8.7.6.5.4 First performed 10 December 1979, Saarbrücken (D), by Saarländisches Staatsorchester, cond.: Matthias Kuntzsch EP 12075 Prolog II GeWV 125 (1991) 9’ for orchestra 2.2.2.2 - 2.2.2.1 - timp - perc - 8.7.6.5.4 First performed 23 September 1994, Hof (D), by Hofer Symphoniker, cond.: Hikotaro Yazaki EP 12092 Sinfonia per giovani GeWV 120 (1979) 24’ for youth orchestra 3.2.2.2 - 4.2.3.1 - rec(5) - sax(4) - timp - perc(4) - guit(3) - 8.7.6.5.4 First performed 16 June 1979, Gladbeck (D), by Vereinigte Jugendorchester des Bezirks Gladbeck (ca. 500 players) EP 8448 WORK LIST Sinfonia per giovani - Parergon GeWV 126 (ca. 1992) 14’ for saxophone orchestra sopran sax - alto sax(2) - tenor sax - baritone sax - bass sax First performed 23 April 1993, Ochsenhausen (D), by students of the saxophone workshop of Sigurd M. Raschèr EP 12795 Sinfonietta giocosa GeWV Anh. 6 (ca. 1994) 12’ for string orchestra EP 11468 Symphony No. 3 GeWV 121 (1983/86) 30’ for orchestra 3.2.3.3 - 4.2.2.1 - timp - perc(2) - 8.7.6.5.4 First performed 20 June 1986, Munich, by Münchner Philharmoniker, cond.: Sergiu Celibidache EP 8621 Symphony No. 4 GeWV 124 (1990) 28’ for orchestra 3.3.3.2 - 3.2.2.1 - timp - perc - 8.7.6.5.4 First performed 03 October 1996, Bielefeld (D), by Philharmonisches Orchester der Stadt Bielefeld, cond.: Rainer Koch EP 12096 Der Zauberspiegel (Ballet Suite) GeWV 138 (1965) 18’ for orchestra 2.2.2.2 - 3.2.2.1 - timp - perc(2) - pf - hp - 8.7.6.5.4 First performed 11 July 1967, Munich, Herkulessaal der Residenz, by Münchner Philharmoniker, cond.: Reinhard Peters EP 5921 WORK LIST Solo Concertos with Orchestra / Ensemble Concertino GeWV 150 (1972) 15’ for clarinet in Bb and chamber orchestra cl in Bb solo - perc - str (8.7.6.5.4) EP 8235 (full score and parts) EP 8236 (solo part and piano reduction) Concertino No. 2 GeWV 160 (1963) 21’ for piano and string orchestra pf solo - str (8.7.6.5.4) First performed 12 November 1963, Frankfurt (Main), by Edgar Trauer and Frankfurter Kammerensemble, cond.: Rudolf Lück EP 5973 (study score) EP 5973a (solo part) Concerto for Clarinet and Orchestra GeWV 152 (1992/93) 22’ cl solo - 2.1.0.2 - 2.2.1.0 - timp - perc - hp - 8.7.6.5.4 First performed 17 November 1994, Kaiserslautern (D), by Eduard Brunner and Staatsphilharmonie Rheinland- Pfalz, cond.: Jean Fournet EP 12511 Concerto for Harp and Strings GeWV 155 (1965) 21’ hp solo - 8.7.6.5.4 First performed 18 October 1965, Kiel (D), by Helga Storck and Kieler Städtisches Orchester, cond.: Herman Michael EP 5988 Concerto for Organ and Orchestra No. 1 GeWV 161 (1970) 21’ org solo - hn(2) - trp(2) - timp - strings (8.7.6.5.4) First performed 19 March 1971, Nuremberg, Meistersingerhalle, by Hedwig Bilgram and Nürnberger Philharmoniker, cond.: Hans Gierster EP 8138 Concerto for Organ and Strings No.
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