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Published online by Cambridge University Press: 04 February 2010
Since the Bavarian composer Karl Amadeus Hartmann died in 1963, his music has probably not received the recognition it deserves as one of the most important continuations of the German symphonic tradition in the 20th century. This is partly due to the fact that, despite studying briefly with Webern in 1942, Hartmann did not adopt the serial method espoused by his younger contemporaries (whom he materially assisted by organizing the famous Musica Viva concert series in Munich), but preferred to draw upon a variety of styles. In the ‘post-Modern’ hindsight of the last decade or so this creative approach has now assumed complete respectability. Hartmann's cause has also been strengthened by the scholarship of Andrew D. McCredie, who has compiled the thematic catalogue of the oeuvre and, in the process, drawn attention to the considerable significance of the composer's early output.
1 It appears that Hartmann contemplated a continued existence for the portions of the two wartime scores which he left unused in Symphony No.3, by combining them into a single sequence entided Symphonische Sätze. Andrew McCredie has recently edited the music in this form also.
2 Andrew D. McCredie: ‘Die Entwicklung zum Bekenntnismusiker’, in: Bayerischer Rundfunk. 8. Symphoniekonzert 90/91.
3 Zuber, Barbara: ‘Tumultuoso – Gegenaktion. Karl Amadeus Hartmanns Sinfonia Tragica (1940/1943)’, in: Karl Amadeus Hartmann-Zyklus Nordrhein-Westfalen 1989/1990, pp.156–67Google Scholar (H. K. Metzger and R. Riehn (Editors), Musik-Konzepte extra).
4 See Letter by Collaer, Paul to Hartmann, K.A., Bruxelles 22.10.1940, in: Karl Amadeus Hartmann und die Musica Viva. (München, 1980), p.278 Google Scholar.
5 Details are discussed by Hell, Helmut in his article ‘Der musikalische Nachlass Karl Amadeus Hartmanns in der Bayerischen Staatsbibliothek’, in: Karl Amadeus Hartmann und die Musica Viva, pp.147–160 Google Scholar.
6 See Footnote 2.
7 Quotations of section and bar nos. for Klagegesang are taken from the recently printed score, Ed. Schott 7887 (Mainz, 1990). The three illustrations are from the photocopy of the autograph (Autograph B) in the Bavarian State Library in Munich, reproduced with the kind permission of Elisabeth Hartmann, the composer's widow. Quotations of section and bar nos. for the Third Symphony are taken from the printed score, Ed. Schott 4273 (Mainz, 1951).
8 Wergo No.60086.
9 Hartmann, , 8 Symphonies, Gesatigs-Szene, Wergo No.60086: Ulrich Dibelius: Introduction to the works, p.16 Google Scholar.
10 Letter from 4 February 1946, in: McCredie, Andrew D.: Karl Amadeus Hartmann. Sein Leben und Werk (Wilhelmshaven, 1980), p.148 Google Scholar.
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