Book contents
- Frontmatter
- Contents
- List of Illustrations
- List of Musical Examples
- Acknowledgments
- Abbreviations
- Introduction: Schoeck and the Swiss
- 1 Childhood and Youth
- 2 Wolf amidst the Sheep
- 3 Leipzig, Munich, and an Awful Little Moustache
- 4 Back in the Fold
- 5 Hermann Hesse, via the Dentist
- 6 Look Back in Melancholy
- 7 Chamber Music
- 8 The Art of Counterpoint
- 9 Busoni
- 10 The Picture on the Wall
- 11 Touch of Venus
- 12 Silent Bronze
- 13 Sucking Sweet Folly
- 14 Self Portrait, with Sandwich
- 15 Elegy
- 16 Goodbye to Geneva
- 17 The Bee in the Rose
- 18 Raging Queen
- 19 Storms in the Pigeon Loft
- 20 Into the Vortex
- 21 Wrong-Note Rag
- 22 Hildebill
- 23 Variations and Fugue on an Age-Old Theme
- 24 Put to the Wheel
- 25 Gisela
- 26 Lost in the Stars
- 27 Whores and Madonnas
- 28 “… he can write music all right…”
- 29 Tea with (Ms.) Hitler
- 30 Aryanizing Music
- 31 Arms and the Man
- 32 Castles in the Air
- 33 Goering's Bullshit
- 34 Collapse
- 35 The People at Home
- 36 The Reckoning
- 37 Transfigured Summer Nights
- 38 Silent Lights
- 39 Fair Measure
- 40 Rather Nice Horn
- 41 Sleepless in Wollishofen
- 42 Echoes and Elegies
- 43 Running on Empty
- Epilogue
- Othmar Schoeck: Concise Work Catalogue and Discography
- Notes
- Bibliography
- Index
- Eastman Studies in Music
3 - Leipzig, Munich, and an Awful Little Moustache
Published online by Cambridge University Press: 12 September 2012
- Frontmatter
- Contents
- List of Illustrations
- List of Musical Examples
- Acknowledgments
- Abbreviations
- Introduction: Schoeck and the Swiss
- 1 Childhood and Youth
- 2 Wolf amidst the Sheep
- 3 Leipzig, Munich, and an Awful Little Moustache
- 4 Back in the Fold
- 5 Hermann Hesse, via the Dentist
- 6 Look Back in Melancholy
- 7 Chamber Music
- 8 The Art of Counterpoint
- 9 Busoni
- 10 The Picture on the Wall
- 11 Touch of Venus
- 12 Silent Bronze
- 13 Sucking Sweet Folly
- 14 Self Portrait, with Sandwich
- 15 Elegy
- 16 Goodbye to Geneva
- 17 The Bee in the Rose
- 18 Raging Queen
- 19 Storms in the Pigeon Loft
- 20 Into the Vortex
- 21 Wrong-Note Rag
- 22 Hildebill
- 23 Variations and Fugue on an Age-Old Theme
- 24 Put to the Wheel
- 25 Gisela
- 26 Lost in the Stars
- 27 Whores and Madonnas
- 28 “… he can write music all right…”
- 29 Tea with (Ms.) Hitler
- 30 Aryanizing Music
- 31 Arms and the Man
- 32 Castles in the Air
- 33 Goering's Bullshit
- 34 Collapse
- 35 The People at Home
- 36 The Reckoning
- 37 Transfigured Summer Nights
- 38 Silent Lights
- 39 Fair Measure
- 40 Rather Nice Horn
- 41 Sleepless in Wollishofen
- 42 Echoes and Elegies
- 43 Running on Empty
- Epilogue
- Othmar Schoeck: Concise Work Catalogue and Discography
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Summary
Schoeck arrived in Leipzig on 7 April 1907. As he had promised back in February, Reger soon put him in touch with his own publisher, Lauterbach and Kuhn, though after hearing Schoeck play to them for three hours they still showed no interest. By contrast, the Leipzig representative of the Zurich publishing house of Hug, Alexander Bartusch, was very keen indeed. Schoeck had met him on his second day in the city and was immediately impressed. Bartusch not only provided free coffee whenever they met at his apartment but also recommended a Zurich family from whom Schoeck could rent a room: a Mrs Eisele and her daughter Anny, a former student of the Zurich Conservatory who was now making a name for herself as a pianist. Schoeck moved in straightaway. He also promptly fell in love with Anny, though his letters to Armin Rüeger confirm his disappointment upon finding her possessed of firm moral fibre: “I'm not used to this!” he wrote. A piano concerto for her was planned, though it was swiftly forgotten as it became clear that she had no intention of submitting to his charms. The link to Bartusch proved profitable, though: by 25 June 1907 Schoeck had signed a contract with Hug for his first eleven opus numbers. Opus 1 was his Serenade for small orchestra (for which he received one hundred marks), while the following ten numbers were of assorted lieder (at twenty marks per song).
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- Othmar SchoeckLife and Works, pp. 26 - 31Publisher: Boydell & BrewerPrint publication year: 2009