TEMPO OF RECOLLECTION - Hosfeld Artist Management
TEMPO OF RECOLLECTION - Hosfeld Artist Management
TEMPO OF RECOLLECTION - Hosfeld Artist Management
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
<strong>TEMPO</strong> <strong>OF</strong> <strong>RECOLLECTION</strong><br />
Music of Erwin Schulhoff<br />
in a much more serious tone, however still written in<br />
an audience-friendly style, as opposed to the Song<br />
from the Funf Gesange heard earlier. This work demonstrates<br />
Schulhoff’s experimentation with a popular<br />
dance form in a more formalized concert setting. Placing<br />
this work at this point in the show begins to give<br />
context for Schulhoff’s eclectic tastes and capabilities,<br />
ranging from vernacular popular songs to serious concert<br />
works.<br />
Symphonica Germanica<br />
Symphonica Germanica is a short dada-esque work, similar to the<br />
Sonata Erotica in that it is categorized as “opus extra” and is designed<br />
to be a shocking send-up of “normal” music. Again, like the<br />
Sonata Erotica, it is notated, however in a manner purposefully unplayable<br />
in any conventional sense as it is scored for right hand, left<br />
hand, nose, head, etc. and contains the melody and words to<br />
Deutchland Uber Alles, the German National Anthem. At this point<br />
in the action, the waiter, who has seen a variety of different performances<br />
throughout the evening steps forward and decides he<br />
can join in the fun as well by very earnestly presenting this grotesque<br />
version of Symphonica Germanica.<br />
Dneska kazda modni zena<br />
The bourgeois singer, after her triumph with the Sonata Erotica<br />
and now fully appreciating the appropriate tone for the room,<br />
sings this gently lilting Czech song accompanied by Schulhoff on<br />
the piano. The melody is in a style that would be popular for a<br />
fashionable woman of the 1930s, very appropriate for a common<br />
radio audience for which it was probably originally written. Just<br />
like the “Susi. Fox-Song”, Schulhoff writes it using a pseudonym,<br />
in this case George Hannel. Several of the musicians in the<br />
dancehall, recognizing the tune, gladly join in. This final song<br />
before the performance of the string quartet serves to further illustrate<br />
the range of Schulhoff’s eclectic taste, from the popular<br />
to the serious.<br />
visit www.TempoOfRecollection.com<br />
Music Descriptions Page 5