Hans Schaeuble was a composer born the son of German parents (St. Blasien and Warnemünde) on may 31, 1906, in Arosa and died on December 19, 1988, in Zurich. His father, Dr. Alfred Schaeuble, was a chemist whose prosperity in Arosa enabled his son to lead a carefree later life. Hans Schaeuble initially attended the canton school in Trogen and then in Lausanne where he completed his undergraduate education, studied one semester at the university and lived until 1926. Performances of mostly French music (including Strawinsky) by the 'Orchestre de la Suisse Romande' under the direction of Ernest Ansermet (1883-1969) awoke in Schaeuble the desire to compose. Following auto-didactical studies he relocated to Leipzig in 1927 in order to attend the conservatory. There he studied composition under Hermann Grabner (1886-1969) who had been the professor for composition in Leipzig since 1932. His piano teacher was the educationalist Carl Adolf Martienssen (1881-1955). Hugo Distler (1908-1942) and Wolfgang Fortner (1907-1987) were amongst his fellow students. Schaeuble, although still studying, pursued an ambitious project to produce an opera after Theodor Storm's 'Dagmar', op.2. His first concert at the provincial conservatory and on the radio with the piano music 1929 (op.5) suggested a promising musical career. Further concerts followed in 1932, for instance at the 'Schweizerischen Tonkünstlerfest' (Swiss Musician's Festival) in Vevey, Switzerland and met with admirable success.
In 1931 Schaeuble relocated to Berlin where he met Helene Höhener whom he married in 1937, however Mrs Schaeuble died just one year later of breast cancer. Schaeuble's homosexual tendencies were suppressed during his marriage to Helene, such that the risk of exposure under the National Socialist regime was slight. Schaeuble appeared to have little interest in politics, his main worries revolved around his work. His first compositional success in concert halls and on radio was confirmed by a publishing contract from Bote & Bock who, in the following years, published Schaeuble's op. 18 to 23 and, post war, op. 38 and 39. He achieved further success in Berlin with, for example in 1934, the chamber musical evening of the Swiss Club in Berlin. The 'Lutz-Quartett' of Winterthur interpreted the works op. 19, op. 5 and op. 13 and the German press reacted, on the whole, positively to Schaeuble's work. His Symphonic Music for a Large Orchestra op. 22 was performed for the first time by the Berlin Philharmonic Orchestra under the direction of Carl Schuricht in March 1939. Schaeuble returned to Switzerland as a result of the increasing risk of war (with the general mobilisation of troops on August 29, 1939) only to return again to Berlin in the summer of 1941 and finally leaving for good in the Autumn of 1942. At the end of the war the long residency in Berlin contributed to repeated reproaches inflicted on Schaeuble that he had been 'too German friendly' during the Third Reich.
Schaeuble's occupation as a composer decreased and he was no longer able to rely on his pre-war success, nevertheless his Symphony op. 25 was world premiered in Winterthur by Hermann Scherchen in 1945. He did, however, have to tolerate numerous rejections including those from Volkmar Andreae and Radio Bern. It became obvious that Schaeuble no longer felt comfortable living in Switzerland, he blamed a conspiracy against him for his asserted misfortune. Indeed this speculation was confirmed in the statement by Hermann Scherchen that 'one can not perform the works of Schaeuble as he was a Nazi.' Schaeuble sued for libel and won the case. He realised the opera Dorian Gray after Oscar Wilde in 1947/1948, a large project for which Schaueble found no suitable stage; there was no question of it being performed on a provincial stage which was the only offer he received. The work was not performed until its world premiere at the opera house of the University of North Texas in Denton on February 6, 2004. The piano concert op. 34 from 1949 and op. 18 both deal with dodecaphony but in a very superficial manner. His later years were occupied with the meticulous reworking of his earlier works, there exist no original compositions from this time. The Hans Schaeuble Foundation, dedicated to the furtherance of young musicians and musicologists and to the care of the benefactors own musical works, was founded in 1988 following his death.
Lukas Näf
Elenco delle opere
Sieben Winter-Lieder, op. 1 (1926)
Strumentazione: für Alt und Klavier
Testo: Hans Roelli
1. Anfang: "Das Land ist bis zur Ferne hart"
2. Erster Schnee: "Und war die Dämmerung lange hier"
3. Schnee: "Und woher aus welchen Fernen kommt der Schnee so still und zart"
4. Winterwald: "Begleite mich. Ich gehe in ein Wunder ein"
5. Die unerträgliche Stille: "Schnee, ich werfe Dich rastlos auf"
6. Am Jahresend zu singen: "In dieser Nacht ist jeder Mensch"
7. Ende: "Das Scheien ist zu Ende"
Strumentazione: für Stimmen, Chor (SATB) und Orchester (2,2,Engl-Hn, 2, B-Klar,2 - 4,0,0,0 - Str)
Testo: Theodor Storm (Hans Schaeuble)
Personen:
Dagmar (S)
Ihr Vater, Schlosshauptmann auf Haderslevhuus (B)
Die Base, Dagmars Erzieherin (A)
Rulf Lembeck, zweiter Mann Wulfhilds (T)
Wulfhild, sein Weib, eine geborene Schauenburgerin (S)
Gaspard der Raber, ihr Schreiber und Vertrauter (Bar)
Vier Kriegsgesellen (TTBB)
Magd (stumme Rolle)
Wirt (stumme Rolle)
Page (Knabensopran oder T)
Priester (B)
Nonnen, Edle, Ritter, Burgvolk, Bediente, Pagen
Strumentazione: für Alt und Streichquartett oder Klavier
1. Besonnenheit: "Sinkst du nieder" [Archilochos (Hans Voss)]
2. Mondlied: "Vor dir bergen ihr Antlitz alle Gestirne" [Sappho (Hans Voss)]
3. Elegie: "Gleich den Blättern im Wald" [Mimnermos (Hans Voss)]
Die Gesänge aus Hellas, op. 4 wurden in die Gesänge aus Hellas, op. 28 aufgenommen.
Strumentazione: für Alt- und Baritonsolo, gemischten Chor und Orchester (2,2,2,2 - 2,2,2,1 - Pk, Klav - Str)
Testo: Robert Prechtl
1. Vom irdischen Leben: "Des Menschen Leben ist mit Flammenzeichen ins ewige Buch des Schicksals eingeschrieben"
2. Vom Sterben: "Weisst du, was sterben heisst?"
3. Vom ewigen Leben: "Auf Gewesenem stehst du wo du auch bist"
Strumentazione: für Sopran, Oboe, Violine und Viola
Testo: Hans Leifhelm
1. Sinfonia
2. Recitatif und Arioso: "Also ward auch gegeben allen ein Werdegebot"
3. Duo/Kanon: "Samenknospen und Blüten"
4. Aria: "Jedes kommt und vergeht"
5. Choral: "Uns ist geboten zu hüten"
1. Büblein, nun fängst auch du die Bahn
2. Sind deine Tage wie die meinen
3. Im Feuer schmilzt das Gold
4. Ob auch Gebirg und Tal
5. Und wieder liegt ein Kindlein
Strumentazione: für grosses Orchester (3(3. auch Picc-Fl),2(2. auch Engl-Hn),3(3. auch B-Klar),2(2. auch Co-Fag) - 4,3,3,0 - Pk - Str)
1. Langsam - Schnell - Langsam
2. Langsam
3. Schnell
Schaeuble hat den zweiten Satz der "Sinfonie", op. 25 für zwei Klaviere bzw. als zweiten Satz des "Konzerts für Klavier und Orchester", op. 50 bearbeitet.
Strumentazione: für Orchester (2(2. auch Picc-Fl),2(2. auch Engl-Hn),2(2. auch B-Klar), 2(2. auch Co-Fag) - 4,3,3,0 - Pk - Str)
1. Andantino (Präambel)
2. Allegro vivace (Scherzo)
3. Moderato
4. Allegro (Finale)
Der 1. Satz ist eine Umarbeitung des "Praeludiums für Orchester", op. 15a.
1. Introduktion (Choral-Vorspiel "Wenn ich einmal soll scheiden")[1a.] Weisst du was Sterben heisst
2. Arioso: "Noch einmal lasse mich die Sonne schau'n"
3. Meditation: "Zu sterben spricht sich leicht"
4. Fugato
5. Doch wem das dunkle Los geworfen wird
6. Ein grosser Lehrherr ist der Tod
[7.] Choral-Vorspiel, da capo
Diese Kantate ist eine Bearbeitung vom zweiten Teil des "Requiems", op. 6.
1. Concerto grosso
2. Romanze - Scherzando - Trio - Scherzando - Romanze
3. Finale
Der Schlusssatz Finale ist eine Bearbeitung des Vorspiels aus "Die Rose und der Schatten", op. 43.
1. Moderato - Poco meno - Moderato
2. Gique
3. Moderato - Poco meno
4. Intermezzo
5. Allegro deciso
Eine Bearbeitung des "Concertino für Flöte und Streichorchester", op. 47.
Strumentazione: für Klarinette und Streichorchester
1. Allegro
2. Andante (Elegie)
3. Allegro vivace
Zweite Fassung des "Concertino für Klarinette und Streichorchester" mit einem hinzukomponierten dritten Satz (umgearbeiteter dritter Satz des "Cellokonzerts", op. 41).