Concerto funebre
Encyclopedia
Concerto funèbre is a violin concerto
by the German
composer
Karl Amadeus Hartmann
. Written in 1939 and substantially revised in 1959, it is by far Hartmann's best known work, especially noted for its lyrical final movement. It is scored for string orchestra only.
Unlike many of his works, which were substantially reworked on an ongoing process, the Concerto funebre was completed in a relatively short timespan, principally in autumn 1939. Originally entitled Musik der Trauer (Music of Mourning) it was retitled in 1959. It is cast in four movements:
Hartmann said in a letter to the conductor Hermann Scherchen
that the structure was designed to reflect
It was premiered at St. Gallen
, Switzerland on 29 February 1940 by the St. Gallen Chamber Orchestra under the direction of Ernst Klug; the soloist was the violinist Karl Neracher. Hartmann's (minimal) revision was first performed at Braunschweig
on 12 November 1959. The soloist at that performance was Wolfgang Schneiderhan, one of the work's strongest advocates.
The piece bears a dedication to Hartmann's son, Richard.
Violin concerto
A violin concerto is a concerto for solo violin and instrumental ensemble, customarily orchestra. Such works have been written since the Baroque period, when the solo concerto form was first developed, up through the present day...
by the German
Germans
The Germans are a Germanic ethnic group native to Central Europe. The English term Germans has referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages....
composer
Composer
A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media...
Karl Amadeus Hartmann
Karl Amadeus Hartmann
Karl Amadeus Hartmann was a German composer. Some have lauded him as the greatest German symphonist of the 20th century, although he is now largely overlooked, particularly in English-speaking countries.-Life:...
. Written in 1939 and substantially revised in 1959, it is by far Hartmann's best known work, especially noted for its lyrical final movement. It is scored for string orchestra only.
Unlike many of his works, which were substantially reworked on an ongoing process, the Concerto funebre was completed in a relatively short timespan, principally in autumn 1939. Originally entitled Musik der Trauer (Music of Mourning) it was retitled in 1959. It is cast in four movements:
- Introduktion. Largo
- Adagio
- Allegro di molto
- Choral. Langsamer Marsch
Hartmann said in a letter to the conductor Hermann Scherchen
Hermann Scherchen
Hermann Scherchen was a German conductor.-Life:Scherchen was originally a violist and played among the violas of the Bluthner Orchestra of Berlin while still in his teens...
that the structure was designed to reflect
The intellectual and spiritual hopelessness of the period... contrasted with an expression of hope in the two chorales in the beginning and at the end. The opening Chorale is sustained for the most part by the solo voice... The second Chorale at the end has the character of a slow march with a song-like melody.
It was premiered at St. Gallen
St. Gallen
St. Gallen is the capital of the canton of St. Gallen in Switzerland. It evolved from the hermitage of Saint Gall, founded in the 7th century. Today, it is a large urban agglomeration and represents the center of eastern Switzerland. The town mainly relies on the service sector for its economic...
, Switzerland on 29 February 1940 by the St. Gallen Chamber Orchestra under the direction of Ernst Klug; the soloist was the violinist Karl Neracher. Hartmann's (minimal) revision was first performed at Braunschweig
Braunschweig
Braunschweig , is a city of 247,400 people, located in the federal-state of Lower Saxony, Germany. It is located north of the Harz mountains at the farthest navigable point of the Oker river, which connects to the North Sea via the rivers Aller and Weser....
on 12 November 1959. The soloist at that performance was Wolfgang Schneiderhan, one of the work's strongest advocates.
The piece bears a dedication to Hartmann's son, Richard.