Ca. 1900-1905. Folio (338 x 270 mm. [i] (title), 2-11, [ii] (blank) pp. Notated in ink on printed 10-stave music paper "C. F. Zeller No. 8." In C minor. Tempo and expression markings in German, with some orthographical errors. The form of the work is cyclical; the final piece takes up the music of the first.
With notational corrections and annotations in pencil, possibly autograph, including fingering to no. 3 and "finis" to end of final piece.
Somewhat browned; title slightly soiled and frayed at edges.
An unpublished early work. Listed in MGG2 and on the website of the Dansk Komponist Forening (Danish composers' union). Not in Grove Music Online.
Danish composer Paul von Klenau spent most of his life in Germany and Austria. "With his move in 1902 to the Berlin Hochschule für Musik, where he studied composition under Bruch and the violin under Haliř, he started to enter Germanic circles, and as he did so came to receive less recognition in Denmark. In 1904 he went to Munich as a pupil of Thuille... [and later] to Stuttgart, where he studied with von Schillings (1908) and took a post at the Hofoper (1909). A large number of letters from Klenau to Alban Berg, dated from 1920 until the latter’s death in 1935, attest to a close friendship. Some letters to Schoenberg also show that, while probably not a pupil of his, Klenau was certainly intimate with the Schoenberg circle... Klenau... turned in his later years to composing operas and symphonies in which his style moved... towards Schoenbergian atonal procedures. Such a move, particularly during the Third Reich, aroused considerable controversy. Yet the composer skilfully managed to circumvent charges of decadence by proclaiming his loyalty to the Nazi regime, and by publishing a series of articles claiming that his use of 12-note technique derived from Wagner, avoiding any mention of Schoenberg." Thomas Michelsen and Erik Levi in Grove Music Online. Item #25255
Price: $250.00 other currencies