Hermann scherchen haydn biography
- Hermann Scherchen (21 June 1891 – 12 June 1966) was a German conductor, who was principal conductor of the city orchestra of Winterthur from 1922 to 1950.
- Scherchen restores the danger to Haydn's music, showing it to possess qualities of urgency, elation, despair and even neurosis that pass beyond Mozart and.
- Largely self-taught as a musician, Hermann Scherchen joined the Blüthner Orchestra as a viola player in 1907, and played with the Berlin Philharmonic Orchestra.
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SCHERCHEN...
MELMOTH
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Well...
Those who read Me here know my absolute love of a conductor that I
consider as one of the 5 or 10 greatest conductors...I named Hermann
SCHERCHEN...
I am therefore going to tell you (in several episodes) the incredible
life of this fabulous man !...
My source : the little book of more than 100 pages
(French/English...With a remarkable iconography) included in an
extraordinary Tahra box set (5 CDs - TAH 185-189), containing works of
Bach, Beethoven, Schönberg, Krenek, Berlioz Prokofiev, and
Kalinnikov...
NB: This conductor is probably, among all the conductors of the XXth
century, the one who played and recorded the widest repertoire, and was
in particular, as you will see, an ardent defender of the composers of
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This remarkable, disquieting set in DG’s Original Masters series contains the series of Haydn symphonies that Hermann Scherchen recorded for the Westminster label in Vienna between 1950 and 1958. Their existence may come to many as a something of a surprise. Scherchen is so closely associated in the public imagination with the 20th-century avant-garde, that the realisation that a considerable part of his discography consists of 18th-century music inevitably causes something akin to dismay.
We think of him primarily as one of the great champions of Mahler, the conductor of early performances of “Pierrot Lunaire”, who went on to put “Moses und Aron” on the map in the years following Schoenberg’s death. This was also the man who founded the left-wing contemporary music journal “Melos” in the wake of the collapse of the Austro-Hungarian Empire and years later set up the “Centre for Electro-Acoustic Research” at Gravesano in Switzerland.
Haydn initially seems to sit uneasily with such a biography, rooted, as it is, in radica
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