Schmid Erich
(01. 01. 1907 - 17. 12. 2000)
Schmid Erich
Genre: Musique Classique
Biographie
* 01. 01. 1907, † 17. 12. 2000.
Erich Schmid was born on January 1, 1907, in Balsthal (canton Solothurn) and died on December 17, 2000, in Zurich. The ecclesiastical musical environment in the Balsthal Vicarage, where his father was the protestant priest, greatly influenced the would-be musician. Schmid's aptitude for music was nurtured by playing music together with his father who played the violin. He received his first musical instruction at the teacher training seminar in Solothurn which he attended from 1922 until 1926. There he enjoyed tuition in musical theory given by the composer Max Kaempfert (1871-1941) and composed his first works. The cantata 'Aus tiefer Not schrei ich zu dir' was produced in cooperation with Kaempfert between the summer of 1926 and 1927. An influential encounter with the music of the New Viennese School followed in 1924 with the performance of Schönberg's choral work 'Friede auf Erden' op. 13 (1907). After a short period as a primary school teacher Schmid chose, in 1927, to attend the 'Hoch'sche Konservatorium' in Franfurt am Main where he studied composition and music theory under Bernhard Sekles (1872-1934), piano under Fritz Malata (1882-1949) and conducting under Hermann Schmeidel (1894-1953). The works op. 1-3 were also produced during Schmid's stay in Frankfurt. He received a scholarship from the Mozart Foundation (Frankfurt) between 1928 and 1932 which led to the broadcasting of his compositions including the 'Sonatine' op. 1, highly praised by Schönberg on hearing it. This encouraged Schmid to attend Schönberg's masterclass in Berlin and so he studied at the Prussian Academy of the Arts in Berlin between Autumn 1930 and summer 1931. The object of tuition was not so much the compositions of Schönberg himself but more those of Beethoven, Brahms and Wagner. Schmid's fellow students at that time included Norbert von Hannenheim (1898-1944/45?), Nikos Skalkottas (1904-1949), Peter Schacht (1901-1945) and Natalie Prawossudowitsch (1899-1988). The string quartet op. 4, which was elaborately discussed during classes, was performed for the first time on June 2, 1931, in a 'Concert by the School for Master Musical Composers of Professor Arnold Schönberg'. Schönberg encouraged Schmid to take his music teacher exams in Frankfurt where he was to remain until 1933, during which time he produced the works op 5-8 and worked as a freelance musician for the radio.
He returned to Switzerland in 1933, not only because further studies under Schönberg were financially impossible but also for reasons of a political nature. A composers evening planned by Theodor W. Adorno for January 30, 1933, with work by Schmid was cancelled because of the increasing political tensions. Schmid succeeded Jacob Gehrings (1888-1970) as musical director in Glarus in 1934 and retained this position until 1949. He became conductor of the 'Caecilienvereins Glarus' and the 'Männerchor Frohsinn' as well as of other ensembles. Furthermore he was an organist and teacher for voice at the city school. During his time in Glarus (1934-1940) Schmid produced the works op. 9-15. The only composition he produced after 1943 was the piece 'Mura' op. 16, dedicated to his children born of his marriage to Martha Stiefel (1936). On February 7, 1940, Schmid conducted the Winterthur City Orchestra for the second time. Anton Webern commended Schmid's conducting of 'Passacaglia' op. 1 in the presence of the composer.
In 1949 Schmid succeeded Volkmar Andreae as conductor of the 'Tonhalleorchester' in Zurich and shared his position with the regular guest conductor Hans Rosbaud (1895-1962). He simultaneously conducted the 'Gemischten Chores Zürich' (1949-1975). Schmid increasingly integrated contemporary music into the programme of the 'Tonhalle' and introduced the 'Musica-Viva-Zyklus'. After eight years conducting the 'Tonhalleorchester' Schmid surprisingly turned to radio in 1957 and conducted the 'Radioorchester Beromünster' until 1970. Here he found increasing possibilities to realise his own programme ideas. Schmid succeeded Hermann Hofmann in 1961 as conductor of the 'Männerchors Zürich' but stepped down from this position quite soon after in 1964. His presidency over the Zurich regional group 'Pro Musica' of the International Society for Contemporary Music from 1960 until 1967 stands as a testament to Schmid's strong interest in contemporary musical works. He held a teaching position in conducting at the 'Musikakademie Basel' (Basel Academy of Music) from 1963 until 1967. Schmid was increasingly active as a guest conductor, particularly in England, but also in Germany, Hungary, Israel and Denmark etc. He was, in addition, a regular guest conductor of the City of Birmingham Symphony Orchestra.
Lukas Näf
Erich Schmid was born on January 1, 1907, in Balsthal (canton Solothurn) and died on December 17, 2000, in Zurich. The ecclesiastical musical environment in the Balsthal Vicarage, where his father was the protestant priest, greatly influenced the would-be musician. Schmid's aptitude for music was nurtured by playing music together with his father who played the violin. He received his first musical instruction at the teacher training seminar in Solothurn which he attended from 1922 until 1926. There he enjoyed tuition in musical theory given by the composer Max Kaempfert (1871-1941) and composed his first works. The cantata 'Aus tiefer Not schrei ich zu dir' was produced in cooperation with Kaempfert between the summer of 1926 and 1927. An influential encounter with the music of the New Viennese School followed in 1924 with the performance of Schönberg's choral work 'Friede auf Erden' op. 13 (1907). After a short period as a primary school teacher Schmid chose, in 1927, to attend the 'Hoch'sche Konservatorium' in Franfurt am Main where he studied composition and music theory under Bernhard Sekles (1872-1934), piano under Fritz Malata (1882-1949) and conducting under Hermann Schmeidel (1894-1953). The works op. 1-3 were also produced during Schmid's stay in Frankfurt. He received a scholarship from the Mozart Foundation (Frankfurt) between 1928 and 1932 which led to the broadcasting of his compositions including the 'Sonatine' op. 1, highly praised by Schönberg on hearing it. This encouraged Schmid to attend Schönberg's masterclass in Berlin and so he studied at the Prussian Academy of the Arts in Berlin between Autumn 1930 and summer 1931. The object of tuition was not so much the compositions of Schönberg himself but more those of Beethoven, Brahms and Wagner. Schmid's fellow students at that time included Norbert von Hannenheim (1898-1944/45?), Nikos Skalkottas (1904-1949), Peter Schacht (1901-1945) and Natalie Prawossudowitsch (1899-1988). The string quartet op. 4, which was elaborately discussed during classes, was performed for the first time on June 2, 1931, in a 'Concert by the School for Master Musical Composers of Professor Arnold Schönberg'. Schönberg encouraged Schmid to take his music teacher exams in Frankfurt where he was to remain until 1933, during which time he produced the works op 5-8 and worked as a freelance musician for the radio.
He returned to Switzerland in 1933, not only because further studies under Schönberg were financially impossible but also for reasons of a political nature. A composers evening planned by Theodor W. Adorno for January 30, 1933, with work by Schmid was cancelled because of the increasing political tensions. Schmid succeeded Jacob Gehrings (1888-1970) as musical director in Glarus in 1934 and retained this position until 1949. He became conductor of the 'Caecilienvereins Glarus' and the 'Männerchor Frohsinn' as well as of other ensembles. Furthermore he was an organist and teacher for voice at the city school. During his time in Glarus (1934-1940) Schmid produced the works op. 9-15. The only composition he produced after 1943 was the piece 'Mura' op. 16, dedicated to his children born of his marriage to Martha Stiefel (1936). On February 7, 1940, Schmid conducted the Winterthur City Orchestra for the second time. Anton Webern commended Schmid's conducting of 'Passacaglia' op. 1 in the presence of the composer.
In 1949 Schmid succeeded Volkmar Andreae as conductor of the 'Tonhalleorchester' in Zurich and shared his position with the regular guest conductor Hans Rosbaud (1895-1962). He simultaneously conducted the 'Gemischten Chores Zürich' (1949-1975). Schmid increasingly integrated contemporary music into the programme of the 'Tonhalle' and introduced the 'Musica-Viva-Zyklus'. After eight years conducting the 'Tonhalleorchester' Schmid surprisingly turned to radio in 1957 and conducted the 'Radioorchester Beromünster' until 1970. Here he found increasing possibilities to realise his own programme ideas. Schmid succeeded Hermann Hofmann in 1961 as conductor of the 'Männerchors Zürich' but stepped down from this position quite soon after in 1964. His presidency over the Zurich regional group 'Pro Musica' of the International Society for Contemporary Music from 1960 until 1967 stands as a testament to Schmid's strong interest in contemporary musical works. He held a teaching position in conducting at the 'Musikakademie Basel' (Basel Academy of Music) from 1963 until 1967. Schmid was increasingly active as a guest conductor, particularly in England, but also in Germany, Hungary, Israel and Denmark etc. He was, in addition, a regular guest conductor of the City of Birmingham Symphony Orchestra.
Lukas Näf
Liste des oeuvres
Sonatine, op. 1 (1929)
Instrumentation: für Violine und Klavier
1. Zart bewegt
2. Scherzando
3. Langsam (Variationen)
4. Sehr bewegt
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Suite, op. 2 (1929/1930/1936)
Instrumentation: für Mezzosopran und Kammerorchester (1,1,2,1 - 0,1,0,0 - 1,1,0,1))
Texte: Rainer Maria Rilke
1. Präludium
2. Bangnis
3. Klage
4. Ende des Herbstes
5. Herbst
Texte aus "Das Buch der Bilder".
Durée: 13' 40"
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Drei Sätze, op. 3 (1930/1936)
Instrumentation: für Orchester (2(Picc-Fl),2,1,B-Klar,2,Co-Fag - 2,3,2,0 - Pk, Schlgz(Tam-tam, Be, Tr, Kl-Tr), Hfe - Str)
1. Gehende Viertel
2. Variationen für 12 Soloinstrumente
3. Rasche Viertel - Grazioso
Durée: 15' 00"
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Streichquartett, op. 4 (1930-1931/1934)
(In modo classico)
Instrumentation: für Streichquartett
1. Ruhig beginnend - Allegro
2. Andante con moto
3. Allegro
Instrumentation: für Streichquartett
1. Ruhig beginnend - Allegro
2. Andante con moto
3. Allegro
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Vier Chöre, op. 15 (1930-1940)
Instrumentation: für Chor a cappella
Texte: Bruno Schönlank
1. Verzückte ihr, wie schmücken sich die Wege (SATB)
2. Zement und Stahl (TBarB)
3. Wieder wölbt sich über mir (SMezzoA)
4. Nun schweisset Stahl (SSATB)
Aus "Gesänge der Zeit".
Durée: 7' 44"
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Trio, op. 5 (1931)
Instrumentation: für Klarinette, Violoncello und Klavier
1. Im Tempo eines Marsches
2. Variationen
3. In raschem Tempo
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Suite Nr. 1, op. 7 (1931)
Instrumentation: für Blasorchester (2,0,2,B-Klar,1 - 2,2,2,1- Pk) und Schlagzeug
1. Introduktion
2. Tanz
3. Intermezzo I
4. Walzer
5. Intermezzo II
6. Marsch
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Sechs Stücke, op. 6 (1932)
Instrumentation: für Klavier
1. Ziemlich flott
2. Langsam
3. Rasche Achtel
4. Sehr langsam
5. Ziemlich beschwingt
6. Bewegt
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Zwei Sätze (Sonatine II), op. 8 (1932-1938)
Instrumentation: für Violine und Klavier
1. Langsam
2. Leidenschaftlich bewegt
Durée: 7' 14"
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Widmungen, op. 9 (1933-1935)
Fünf kleine Stücke
Instrumentation: für Klavier
1. Rigoroso
2. Äusserst ruhig und ausdrucksvoll
3. Grazioso
4. Ruhig fliessend
5. Risoluto
Instrumentation: für Klavier
1. Rigoroso
2. Äusserst ruhig und ausdrucksvoll
3. Grazioso
4. Ruhig fliessend
5. Risoluto
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Notturno, op. 10 (1935)
Instrumentation: für Oboe, Bassklarinette, Violine und Violoncello
1. Sehr langsam (Meditation)
2. Bewegt (Action I)
3. Ruhig schreitend (Canon)
4. Fliessend (Action II)
5. Ruhige Viertel, Variationen (Conclusion)
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Rhapsodie, op. 11 (1936)
Instrumentation: für Klarinette und Klavier
1. Fantasie
2. Arabeske
3. Recitativo
4. Berceuse
5. Capriccio
Durée: 11' 30"
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Kleines Hauskonzert, op. 13 (1937-1940)
Zwölf Stücke
Instrumentation: für verschiedene Instrumente und Gesang
Texte: Achim von Arnim; Clemens Brentano
1. Satz für Streichquartett
2. Invention I für Klavier
3. Kleines Lied für Sopran, Viola und Violoncello (Könnst du meine Äuglein sehen)
4. Stück für Violoncello und Klavier (Nachtstück)
5. Invention II für Klavier
6. Canon cancricans sopra B.A.C.H. für Streichquartett
7. Invention III für Klavier
8. Stück für Violine und Klavier
9. Stück für Viola allein
10. Lied für Sopran und Klavier (Ich wollte mich zur lieben Maria vermieten)
11. Invention IV für Klavier in der Form einer freien Kadenz
12. Variationen für Streichquartett
Texte aus "Des Knaben Wunderhorn".
Instrumentation: für verschiedene Instrumente und Gesang
Texte: Achim von Arnim; Clemens Brentano
1. Satz für Streichquartett
2. Invention I für Klavier
3. Kleines Lied für Sopran, Viola und Violoncello (Könnst du meine Äuglein sehen)
4. Stück für Violoncello und Klavier (Nachtstück)
5. Invention II für Klavier
6. Canon cancricans sopra B.A.C.H. für Streichquartett
7. Invention III für Klavier
8. Stück für Violine und Klavier
9. Stück für Viola allein
10. Lied für Sopran und Klavier (Ich wollte mich zur lieben Maria vermieten)
11. Invention IV für Klavier in der Form einer freien Kadenz
12. Variationen für Streichquartett
Texte aus "Des Knaben Wunderhorn".
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Drei Gesänge, op. 12 (1938-1941)
Instrumentation: für Bariton und Klavier
Texte: Michelangelo Buonarotti (Rainer Maria Rilke)
1. Ich irre, Herr, und sehe auch mein Irrn
2. Gebt meinen Augen wieder Quellen
3. Entgangen, Herr, der Bürde
Nach Sonetten von Michelangelo-Rilke.
Durée: 10' 08"
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Fünf Bagatellen, op. 14 (1943)
Instrumentation: für Klavier
1. Andante espressivo
2. Allegretto grazioso
3. Sehr flott (Toccatina)
4. Langsam
5. Sehr fliessend (Perpetuum mobile)
Durée: 11' 36"
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Mura, op. 16 (1955)
Kleines Trio
Instrumentation: für Flöte, Violine, Violoncello
1. Allegro moderato (alla marcia)
2. Sehr langsam
3. Scherzo (nicht rasch)
4. Allegretto (Berceuse)
5. Allegro
Widmung: für Ursula, Martin und Andreas.
Durée: 13' 25"
Instrumentation: für Flöte, Violine, Violoncello
1. Allegro moderato (alla marcia)
2. Sehr langsam
3. Scherzo (nicht rasch)
4. Allegretto (Berceuse)
5. Allegro
Widmung: für Ursula, Martin und Andreas.
Durée: 13' 25"
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Discographie
Collegium Novum Zürich (Musiques Suisses Nr. MGB CTS-M 135, 2012)
Käser, Mischa: City 1 (2004)
Holliger, Heinz: Arnold Schönberg: 6 kleine Klavierstücke, op. 19 (2006)
Scartazzini, Andrea Lorenzo: Kassiopeia (2008)
Kelterborn, Rudolf: Das Ohr des Innern (2011)
Interprètes:
Collegium Novum ZürichŒuvres:
Schmid, Erich: Notturno, op. 10 (1935)Käser, Mischa: City 1 (2004)
Holliger, Heinz: Arnold Schönberg: 6 kleine Klavierstücke, op. 19 (2006)
Scartazzini, Andrea Lorenzo: Kassiopeia (2008)
Kelterborn, Rudolf: Das Ohr des Innern (2011)
Swiss String Quartets (Guild Nr. GMCD 7303, 2006)
Schaeuble, Hans: Musik, op. 19 (1934-1935/1979/1980)
Schütter, Meinrad: Streichquartett (1990)
Œuvres:
Schmid, Erich: Streichquartett, op. 4 (1930-1931/1934)Schaeuble, Hans: Musik, op. 19 (1934-1935/1979/1980)
Schütter, Meinrad: Streichquartett (1990)
Info: www.fonoteca.ch
Erich Schmid (Grammont Porträt Nr. 33-2)
Keller, Christoph
Zimansky, Robert
Näf, Fritz
Basler Madrigalisten
Schmid, Erich: Zwei Sätze (Sonatine II), op. 8 (1932-1938)
Schmid, Erich: Rhapsodie, op. 11 (1936)
Schmid, Erich: Drei Gesänge, op. 12 (1938-1941)
Schmid, Erich: Fünf Bagatellen, op. 14 (1943)
Interprètes:
Wyttenbach, JürgKeller, Christoph
Zimansky, Robert
Näf, Fritz
Basler Madrigalisten
Œuvres:
Schmid, Erich: Suite, op. 2 (1929/1930/1936)Schmid, Erich: Zwei Sätze (Sonatine II), op. 8 (1932-1938)
Schmid, Erich: Rhapsodie, op. 11 (1936)
Schmid, Erich: Drei Gesänge, op. 12 (1938-1941)
Schmid, Erich: Fünf Bagatellen, op. 14 (1943)
Info: www.fonoteca.ch
Dernière mise à jour: 2020-10-06 16:48:10