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Wie Aus Dem Moment Gestaltet Hansheinz Schneeberger Zum Achtzigsten Geburtstag
A-Schneeberger 6.10.2006 17:39 Uhr Seite 15 Schweizer Musikzeitung Nr. 10 / Oktober 2006 15 Wie aus dem Moment gestaltet Hansheinz Schneeberger zum achtzigsten Geburtstag Wenn ein Geiger regelmässig Solorezitale gibt, ist dies heute eher ungewöhnlich. Wenn dieser achtzig Jahre alt und noch auf der Höhe seines technischen Könnens ist, ja von Jahr zu Jahr wie ein edler Wein immer farbiger und tiefgründiger wird, dann kann es sich nur um das Phänomen Hansheinz Schneeberger handeln. Thomas Gartmann Als unlängst Thomas Zehetmair für das Violin- konzert Malchuth von Daniel Glaus absagte, zö- gerte er kaum, rechnete sich aus, dass er sechs bis sieben Tage für die Einstudierung brauche, grummelte etwas über zwei, drei vertrackte Grif- fe, suchte sich die Fingersätze und spielte eine wunderbar belebte Interpretation von höchster Prägnanz und Virtuosität ein. Auf der Geige begonnen hat der 1926 in Bern geborene Schneeberger mit sechs Jahren. Bis zum Diplomabschluss 1944 studierte er bei Wal- ter Kägi am heimischen Konservatorium, an- Hansheinz Schneeberger: «Es ist Aufgabe des Interpreten, die Fixierung in ein quasi improvisatorisches Werk schliessend bei Carl Flesch in Luzern und bei Bo- zurückzuführen.» ris Kamensky in Paris. 1958 bis 1961 war er Erster Konzertmeister im Sinfonieorchester des NDR Mal war es mit einer anderen Überra s c h u n g , Begeistert war er auch als Lehrer tätig, zuerst Hamburg; als Solist konzertierte er noch unter e i ner weiteren Verzögerung, einer neuen Fär- an den Konservatorien von Biel und Bern, ab Ernest Ansermet in Wien, Warschau, Stanford bung – und immer überzeugend, atemstockend. 1961 mit einer Meisterklasse an der Musikakade- und an der Weltausstellung in Montreal. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
WNIB Program Schedule December 1971
u 1 , 1 The Advent Mode! 201 Tape Deck is, to our way of thinking, the ideal source for playing music in the home. It combines the important characteristics of a high-performance open-reel tape recorder with the convenience of cassettes. The Advent I Model 201 wit! make recordings that are indistinguishable from most source material, including the best stereo records and FM broadcasts. Of equal importance, the Mode! 201 realizes the full potential of the new "Dolbyized" commercially recorded cassettes, the most significant source I of recorded music since the introduc tion of the stereo disc. The best of the "Dolbyized" pre-recorded cas settes are easily the equivalent of the best disc recordings, and the number of releases will be continually in creasing. The Mode! 201 has the ruggedness and day-to-day operating dependability of the best home recorders, and wi!I maintain its original performance over long and constant use. $2 Beverly Near North Morton Grove Oak Park 2035 W. 95 th 48 E.Oak 5700 W Dempster 7045 W. North The performance of the Model 201 337-4\50 967-6690 38'.l-7006 is the result of several important departures in the design and manu 1\JfS()AY. WHJN(Sl)AY FRIDA.¥ & SATURDAY JOAM- 6 PM; MONDAY & THURSDAY 1D AM-9l'M facture of a cassette recorder. "Seigneur, dans votre main''; Louis BROQUET ''Beau Chevalier''; Otto BARBLAN "Hymne a la PROGRAM HEDUlE patrie"; Robert MERMOUD "Pour toi, pays"; Carlo HEMMERLING "0 petit pays"; Gustave DORET "Priere du Ruetli"; Carlo BOLLER I fm December, 1971 "Chant du drapeau"; Emile JAQUES-DALCROZE "Los Vieux11 ; Jean APOTHELOZ "Grand Guillau me"; Joseph BOVET "L'Alpee"; Hermann LANG "Mon pays, rustique sejour''; Henri PLUMHOF "La chanson des etoiles"; Joseph BOVET "La montee a l'alpage"; Gustave DORET "Le peuple des bergers" - Choeurs d'homrnes remands/ Andre Charlet (Swiss Composers CT 64-28) WNIB P rog-ram Schedule is published by Radio Station WNIB, 25 East Chestnut, Chicago, Illinois 60611. -
BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist. -
Historic Organs of SWITZERLAND
Historic Organs of SWITZERLAND May 12-25, 2014 with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible through the generosity of Mr. and Mrs. Wesley C. Dudley, by a grant from the MAHADH Fund of HRK Foundation, by the contributions of listeners to American Public Media stations, and through the support of the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of !ne instruments heard throughout the country and abroad, with information on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Historical Background - Organs Page 3-6 Alphabetical List of Organ Builders Page 7-10 Historical Background - Organists Page 11-13 Organ Observations: Some Useful Terms Page 14-16 Discography Page 17-19 Bios of Hosts and Organists Page 20-23 Tour Itinerary Page 24-27 Organ Sites Page 28-128 Rooming List Page 129 Traveler Bios Page 130-133 Hotel List Page 134 Map Inside Back Cover !anks to the following people for their valuable assistance in creating this tour: Els Biesemans in Zurich Valerie Bartl, Janelle Ekstrom, Cynthia Jorgenson, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site speci"c websites, we gratefully acknowledge the following sources for this booklet: Orgelverzeichnis Schweiz by Peter Fasler: www.orgelverzeichnis.ch Orgues et Vitraux by Charles-André Schleppy: www.orgues-et-vitraux.ch PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael.. -
Endangered Species the Harpsichord and Its New Repertoire Since 1960
Endangered Species The Harpsichord and its New Repertoire since 1960 Chau-Yee Lo Submitted in accordance with the requirements for the degree of PhD The University of Leeds School of Music July 2004 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. II Contents Contents List of Examples iv Preface vi Acknowledgements viii Abstract ix Chapter 1 Introduction 1 Chapter 2 The Twentieth-Century Harpsichord 12 The Landowska Pleyel and the Modern Pedal Harpsichord 13 The Historical Harpsichord 19 Chapter 3 A Historical Narrative 27 Chapter 4 Finding New Sounds: Maurice Ohana's Carillons 47 Chapter 5 Continuum and After: Texture as a Formal Determinant 66 n'Dame scheert haar benen (1981) by Chiel Meijering 71 Schrootsonate (1990) by Ton Bruynel 81 Khod (1976) by Iannis Xenakis 88 Conclusion 102 Chapter 6 A Masterpiece, by an American Composer: Elliott Carter's Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961) 105 Introduction and Context 105 Elliott Carter and the Harpsichord 106 The Double Concerto 114 Preliminaries to the Analysis 118 Texture and Continuity: An Analysis of the Double Concerto 121 Towards a Critical History 168 Conclusion 170 Chapter 7 Conclusion: Endangered Species 173 Appendix A GyOrgy Ligeti: Facsimile of the Autograph Manuscript of -
Grosse Schweizer Und Schweizerinnen
Grosse Schweizer und Schweizerinnen Erbe als Auftrag Hundert Porträts Herausgegeben von Erwin Jaeckle und Eduard Stäuble Th. Gut & Co. Verlag Inhalt Porträts Autoren Seite Wilhelm Teil Jean-Francois Bergier 6 Mythos oder Realität? (Übersetzung: Otto Frei) Ein falsches Problem Nikiaus von Flüe Georg Holzherr 17 1417-1487 Adrian von Bubenberg* Rudolf von Fischer 25 ca. 1430-1479 Matthäus Schiner* Gonzague de Reynold 31 1465-1522 Nikiaus Manuel* Walter Muschg 39 1484-1530 Huldrych Zwingli Fritz Büsser 44 1484-1531 Joachim Vadian Georg Thürer 55 1484-1551 Paracelsus Erwin Jaeckle 61 1493-1541 Die Platter Edgar Bonjour 67 Thomas Platter I. 67 1499-1582 Felix Platter 70 1536-1614 Thomas Platter II. 73 1574-1628 Heinrich Bullinger Fritz Büsser 75 1504-1575 Aegidius Tschudi Georg Thürer 89 1505-1572 Johannes Calvin Ernst Saxer 95 1509-1564 Conrad Gessner* Bernhard Milt 103 1516-1565 731 D. Fontana - C. Maderno - Werner Oechslin 111 F. Borromini — C. Fontana Domenico Fontana 113 1543-1607 Carlo Maderno 115 ca. 1556-1629 Francesco Borromini 117 1599-1667 Carlo Fontana 120 1638-1714 Johann Rudolf Wettstein Edgar Bonjour 123 1594-1666 Jakob I. Bernoulli* Eduard Fueter 132 1654-1705 Johann Jakob Scheuchzer* Eduard Fueter 137 1672-1733 Jacques B. Micheli du Crest* Carl J. Burckhardt 143 1690-1766 Johann Jakob Bodmer MaxWehrli 150 1698-1783 Leonhard Euler* Andreas Speiser 158 1707-1783 Albrecht von Haller Eduard Stäuble 165 1708-1777 Hans Ulrich Grubenmann Rosmarie Nüesch-Gautschi 173 1709-1783 Jean-Jacques Rousseau Fritz-Peter Hager 177 1712-1778 Salomon Gessner Max Wehrli 190 1730-1788 Ulrich Bräker Karl Pestalozzi 195 1735-1798 H.-B. -
Internationale Musik- Festwochen Semaines Internationales De Musique
Internationale Musik- Festwochen 19! Semaines internationales de Musique Internationale Musik- Festwochen 1959 Semaines internationales de Musique Luzern - Lucerne 15. August- 10. September Zum Programmheft 1959 «Obwohl dieses Werk, die Krone der ORGANISATION DER oratorischen Musik, überall und in jeder Gestalt wird willkommen INTERNATIONALEN MUSIKFESTW0CHEN geheissen werden, und obwohl der urkundliche Nachweis, dass der Messias in vier und zwanzig Tagen komponiert wurde, sicherlich eine Abbildung des Autographs rechtfertigt: so würde mich solches allein noch nicht dazu veranlasst haben, wenn nicht ein bereits vor Ehrenkomitee handenes, aber fehlerhaftes und unwürdiges Facsimile es mir zur Herr Bundesrat Dr. Philipp Etter, Bern, Ehrenpräsident Pflicht gemacht hätte, demselben gegenüber Händels Autograph in Sr. Gnaden Stiftsprobst Mgr. Josef Alois Beck, Luzern seiner wirklichen Gestalt zur Geltung zu bringen ...» — so lesen Herr Regierungsrat Dr. Werner Bühlmann, Schultheiss des Standes wir in der Einleitung der Facsimile-Ausgabe «Das Autograph des Luzern Oratoriums .Messias' von G.F. Händel» die Friedrich Chrysander Herr Nationalrat Dr. h. c. Armin Meili, Präsident der Schweizerischen 1892 in Hamburg für die deutsche Händelgesellschaft herausgab. Verkehrszentrale, Zürich Die hitzige Polemik gegen ebendasselbe «fehlerhafte und unwürdige Herr Stadtpräsident Paul Kopp, Präsident des Verkehrsvereins Luzern Facsimile» (es erschien 1868 in London), welche dieser Einleitung über Seiten folgt, interessiert uns heute allerdings weniger als die hervorragende Wiedergabe des Originalmanuscriptes zum «Messias». Organisationskomitee Wir haben einige Seiten des «Autographs» aus der Hand Georg Fried Herr Dr. Walter Strebi, Advokat, Präsident, Luzern rich Händels als grafischen Schmuck dieses Programmheftes ver Frl. Hortense Bührle, Zürich wendet, nebst einigen andern Darstellungen und Dokumenten aus Herr Werner Burri, Architekt, Luzern dem Leben dieses Schöpfers des Oratoriums, dessen Todestag sich Herr Otto Dreyer, Architekt, Luzern am 14. -
ARSC Journal
BIBLIOGRAPHY OF DISCOGRAPHIES ANNUAL CUMULATION--1976 Compiled and Edited by Michael H. Gray and Gerald D. Gibson Editorial Associates Gary-Gabriel Gisondi and Dean Strohmeyer INTRODUCTION This 1976 cumulation of the Bibliography of discographies is the fifth of the ongoing series in the ARSC Journal. Two editorial associates have been added to the list of compilers: Gary-Gabriel Gisondi of the staff of the New York Public Library and Dean Strohmeyer of the Library of Congress. Their help has given us additional eyes and pens to help us keep track of the ever-increasing flow of discographic material. In addition to the citations they have found and submitted, Dan Allen of Toronto, Canada, has provided his usual contribution of jazz disco graphies. As in the previous Bibliographies a single A-to-Z alphabet of subjects has been used to organize the material. The form of personal names and subjects is based on the authority lists of the Library of Congress; where appropriate cross-references linking variant subjects or name forms have been made. A seven-element annotative code is used to identify elements in the discography which we believe to be important to users. These coded elements appear in double parentheses "(( ))" included in or following the citation. The symbol "((--))" is used to signify that no coded elements appear in the discography. Disco graphic entries enclosed in double brackets "mi' have not been examin ed by the compilers and therefore are not coded. The elements and their symbols are: ·1 Noncommercial recordings 2 Not used 3 Matrix numbers 4 Index 5 Release dates 6 Take numbers 7 Place and/or date of recording Information of additional citations not included in this cumulation should be sent to Gerald D. -
The Works for Clarinet Commissioned by the Concours
THE WORKS FOR CLARINET COMMISSIONED BY THE CONCOURS INTERNATIONAL D’EXÉCUTION MUSICALE DE GENÈVE: A CRITICAL SURVEY AND PERFORMANCE GUIDE Anthony Joseph Allgeier III, B.A., M.M. Dissertation Prepared for the Degree DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2010 APPROVED: James Gillespie, Major Professor Donna Emmanuel, Minor Professor John Scott, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies for the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Allgeier III, Anthony Joseph, The Works for Clarinet Commissioned by the Concours International d’Exécution Musicale de Genève: A Critical Survey and Performance Guide. Doctor of Musical Arts (Performance), August 2010, 99 pp., 52 illustrations, bibliography, 59 titles. Beginning in 1939, the Concours International d’Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. -
Facsimiles of 20Th-Century Music
Twentieth Century Music Facsimiles & OMI - Old Manuscripts & Incunabula PO Box 6019 FDR Station, New York NY 10150 selected editions tel/fax 212/ 758-1946 • www.omifacsimiles.com • [email protected] 9 September 2021 Contemporary Music. Manuscript facsimiles (autographs & copyist manuscripts), together with a selection of modern editions & studies. For ordering information go to: www.omifacsimiles.com/contactomi.html ALBÉNIZ, Isaac, 1860-1909 835 The Husband’s Grief for Voice and Piano / A férj keserve. Énekhangra 716 Iberia. Revisión integral de Guillermo González. Edición facsímil de los zongorakísérettel. [Edited by Peter Bartók]. manuscritos y estudio histórico-documental a cargo de Jacinto Torres. Homosassa, 2002. 4˚, 16 pp. Line-cut of the autograph composing copy, together Madrid, 1998. 31 x 41 cm, vi, 161 facs, xlii pp. Color facsimile of the working (and with a new practical edition. The composer’s last arrangement of a folk song written final) autograph copy now dispersed among four libraries. This collection of 12 in 1945–a Ukranian song with humorous text about a man and his wife who can movements, a masterpiece of the piano repertoire composed in 1905 and 1908, never completely agree with one another. For tenor or mezzo soprano. Wrappers. evince the technical heights of the postromantic piano. Handsome binding with $11 orange cloth boards, gold lettering and pasted illustration by Laura Albéniz (from the first edition of Iberia, Paris, 1906-7). Commentary in Sp-Eng. Linen. $229 http://www.omifacsimiles.com/brochures/albeniz.html 886 Liebeslieder for Voice and Piano (1900). Facsimile of the Manuscript. Homosassa, 2002. 4°. 24 pp. A work from the composer's youth, of 19 years, written as a present to a young lady. -
Fritz Brun: a Short Biography and Introductory Notes to His Orchestral Works
BOOKLET 2 CONTENTS INHALT Page 3 Fritz Brun: A short biography and introductory notes to his orchestral works Page 61 Fritz Brun: Kurzbiographie, Einführungen in seine Orchesterwerke, Literaturverzeichnis und Diskographie Page 127 Fritz Brun - A biographical photo album Page 133 Artist’s biographies – Künstlerbiographien Page 143 The Fritz Brun Project: Souvenir and session photos Page 159 Songtexts CDs 8 & 10 3 FRITZ BRUN 1878-1959 A short biography and introductory notes to his orchestral works by Adriano 4 CONTENTS Fritz Brun: A short biography …………………….. 5 Fritz Brun: The conductor and instrumentalist … 6 Symphonies: Symphony No. 1 …………………………………… 8 Symphony No. 2 …………………………………… 14 Symphony No. 3 …………………………………… 19 Symphony No. 4 …………………………………… 22 Symphony No. 5 …………………………………… 25 Symphony No. 6 …………………………………… 26 Symphony No. 7 …………………………………… 28 Symphony No. 8 …………………………………… 31 Symphony No. 9 …………………………………… 37 Symphony No. 10 ………………………………….. 39 Other orchestral works: From the Book of Job ………………………………. 40 Overture to a Jubilee Celebration …………….….. 41 Symphonic Prologue ……………………………….. 42 Rhapsody for orchestra ……………………………. 44 Concertos and concertante works: Concerto for piano and orchestra ………………… 45 Variations for string orchestra and piano ……….. 48 Divertimento for piano and strings ……….……… 50 Concerto for violoncello and orchestra ………….. 51 Works with choir and vocal soloist: Promise …………………………………………….… 54 Limitations of Humanity ….…………………..…… 56 Othmar Schoeck: Three songs (Orch. Brun) ……… 57 Fritz Brun: Five songs (Arr. Adriano) ……………. 58 The following CD liner notes, written between 2003 and 2012, were revised and updated by the author in 2017. Cover photo: The Fritz Brun Estate, Zentralbibliothek Zürich (Musikabteilung). More information on Fritz Brun can be found on: www.fritzbrun.ch www.adrianomusic.com © 2017 Adriano Productions, Zürich ISBN 3-85531-006-8 5 Fritz Brun: A short biography Fritz Brun was born in Luzern, Switzerland, on 18th August 1878.