Franz Schreker

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Schreker, Franz

 

Born Mar. 23, 1878, in Monaco; died Mar. 21, 1934, in Berlin. Austrian composer, conductor, and teacher.

Schreker received his musical education at the Vienna Conservatory, where he studied violin with A. Rosé and theory with R. Fuchs and H. Grädener. In 1908 he organized and led the Vienna Philharmonic Chorus, which under his direction premiered many works by modern composers. He achieved his greatest popularity as a composer of works for the stage, written, as a rule, to his own librettos.

Schreker’s works show certain symbolist features and are distinguished by an erotic sensuousness and by subjectivism; at the same time they are notable for their brilliant color and dramatic tension. This combination of qualities explains the widespread, though short-lived, popularity of Schreker’s music in the 1920’s, when his operas Der ferne Klang (A Distant Bell; 1912), Der Schatzgräber (The Treasure-seeker; 1920), and Irrelohe (Errant Flame; 1924) were widely performed.

Schreker taught composition at the Akademie der Tonkunst in Vienna from 1912 to 1920, when he was appointed director of the Hochschule für Musik in Berlin; in 1932 and 1933 he was a professor at the Prussian Academy of Arts, where he held a master class for composition.

REFERENCE

F. Shreker i ego opera “Dal’nii zvon”: Stat’i. Leningrad, 1925.
References in periodicals archive ?
Similarly, this past autumn's new production of Franz Schreker's Die Gezeichneten (The Branded) reflected that theatricality.
Alois Haba studied with Vitezslav Novak at the Prague Conservatory and Franz Schreker at both the Music Academy in Vienna and the Musikhochschule in Berlin.
While Ziolkowski consciously sets aside the sociopolitical implications in favor of the libretto's integrity as a literary text, sociopolitical considerations are put to the fore in the works of the post-Wagnerians Franz Schreker, Hans Pfitzner, and Paul Hindemith.
Schreker, "In einem Lande ein bleicher Konig" (Der ferne Klang).
Composers like Kurt Weill, Hanns Eisler, Franz Schreker, Franz Schreker, Alban Berg, Paul Hindemith, Arnold Schoenberg and Hans Pfitzner emerged from this era.
The Bolshoi Theatre put a special emphasis on the scores published by Universal Edition in the 1920s, when a few productions of such modern composers as Richard Strauss, Ernst Krenek, and Franz Schreker were staged.
Human capital concerns are explored in Ted Schreker's analysis of public health and Richard Macclure, Refaat Sabbah, and Daniel Lavan's study of educational policies and practices.
It opens with a rare performance of the Chamber Symphony by Franz Schreker, whose richly melodious music put him on a level with the best of the late German Romantics, whose colourful Le bourgeois gentilhomme suite brings tonight's concert to a rousing climax.
For a start, it included the rarely-heard suite by Franz Schreker, The Birthday of the Infanta, a highly inventive collection of short pieces written for the Vienna Art Show of 1908.
gedenken mein in plaas van gedenke en die korrekte titel van Schreker se opera (p.
Refusing to get hung up on the conventional, seemingly non-modernist aspects of these works, Frisch shows the efforts of such little-known (to the general public) composers as Franz Schreker to escape the Wagnerian legacy, experiment with new forms, and explore the depths of psychological man.
The Distant Sound will communicate coherently, if not in its full dimensions, to readers unaware that the title is taken from an opera by Franz Schreker, and Choral Fantasy is applauded by audiences who may not realize that Jonke is drawing for his title and his structure directly on Beethoven's Opus 80 (Schonherr 70-71).