Continuation of the cycle »1700 Years of Jewish Life in Germany« under the musical direction of General Music Director Srba Dinić with works by Gustav Mahler, Erich Wolfgang Korngold, Alexander Zemlinsky and Erwin Schulhoff.
Jazz came to loom large in Schulhoff’s creative and professional life: He worked as a jazz pianist, and his use of that idiom in his compositions was the real (European, not American) thing, not superimposed from outside of himself. Schulhoff wrote the present work in 1921, calling it “Suite in the new style,” the new style, of course, being jazz. Later he changed the title to Suite for Chamber Orchestra, Op. 37. At the time he was well into Dada, the movement based on the principles of deliberate irrationality, anarchy, cynicism, and the rejection of laws of beauty and social organization. He didn’t continue in the Dadaist ideals, but he did preface the Opus 37 Suite with a nonsense poem in its style: Grant me unheard-of powers/I will eat you all/Into the sausage machine with you/Band of Pigs!!!/Then, then comes the moment in the Cosmos/When I will be transformed in “BAYER Aspirin.”
Mahler wrote the poetry for Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) himself, though he was heavily influenced by the folk verses in the collection Des Knaben Wunderhorn (“The Youth’s Magic Horn,” selections from which he would later set for voice and orchestra).
The cycle of four Lieder for low voice (often performed by women as well as men) was written around 1884-1885 in the wake of Mahler’s unhappy love for soprano Johanna Richter (1858-1943), whom he met while conductor of the opera house in Kassel, Germany, and orchestrated and revised in the 1890s.
Erich Wolfgang Korngold, the great Austrian opera composer, coined and composed film music in America with great success and brought his European note there. The tone poem “Tomorrow” from 1944 presents its musical language with a great symphony orchestra sound, supported by the choir and vocal soloist.
The music of Alexander Zemlinsky’s Sinfonietta lies somewhere between Mahler-style late-romanticism and a linear objectivity, with the second movement, a Ballade, coming closest to the spirit of Mahler. The work shows what Viennese music can sound like without Schönberg’s influence.