Bernhard Ernst Scholz 1835-1916

[eschiss1]

There is a partial, needs-work list here and the Op.41 sonata for piano may be not a sonata but one of a group of sonatinas.

[giles.enders]

Malinconia - Mark is correct, Malinconia is an overture.  I took my information for this from a 1946 Everyman Dictionary.  On a second look I see the punctuation is  what confused me.

[Alan Howe]

Now all that remains is to hear some of his music...

[eschiss1]

Agreed. Besides Matesic's upload of the quartet to hear there's not much of any kind of recording, I think...
hrm. A video search turns up a mention of him in a video of a work by Wetzler his pupil, ah well, no joy. Score & I think complete parts of sym 1 @ IMSLP fwiw...

[eschiss1]

Ah. One work of his does turn up on a Brahms & friends CD of low distribution ("Trotzkopf op. 40", see http://www.worldcat.org/oclc/314048464.)

[Alan Howe]

It's worth reading the preface to the MpH score of the PC to which Mark provided a lnk:

Bernhard Ernst Scholz (b. Mainz, 3. March 1835 - d. Munich, 26. December 1916)

Concerto for Piano and Orchestra op. 57

Bernhard Ernst Scholz was a German conductor, composer, theorist and pedagogue, who is also remembered as the father of Hans Scholz. His music education took place under Heinrich Esser and the celebrated pianist Ernst Pauer; however, he also studied counterpoint and composition with Siegfried Dehn and was a pupil of the famous singer Antonio Sangiovanni. He had also studied lithography in Paris, to obey his father's wish, and undertook travels in Southern Europe as part of his artistic education. His teaching activity started at the Conservatory of Musich, where he became Professor of theory in 1856; later he taught at the Conservatories of Kullak and Stern. He was also a leading figure in the music life of his time, being the music director at the Operas of Zurich and Nuremberg, and, later, the assistant of Marschner in Hanover, the director of the Società Cherubini in Florence and a celebrated conductor in Berlin (Philharmonic Concert, Caecilian Society).

He had been a member of the most important cultural circles in the Germany of his time, being a friend of the Schumanns, Brahms, Dilthey and many others. In 1860, he had been associated with Brahms in the unfortunate crusade against the new German music style represented by Liszt and his epigones, whose "new and senseless theories" were contrary to "the innermost spirit of music". In the original plan, a numerous group of intellectuals would have signed a manifesto against the new artistic vogue, which was planned not to appear until after the festival of Zwickau. However, during the revision process undertaken by Brahms and Joachim, a copy of the manifesto reached the enemy field, and an unmerciful parody of the text was published on the Neue Zeitschrift für Musik (May 4th, 1860); two days later, a mutilated copy of what had been meant to be just a provisional text was published by the Berliner Musik-Zeitung Echo, signed only by Brahms, Joachim, Julius Otto Grimm and Bernhard Scholz.

Although the result of the operation was very far from what had been planned and expected, the fiasco did not discourage the Brahmsian field; however, they did not give further textual contributions to the quarrel, and followed Ferdinand Hiller's thoughtful advice: for him, "the best means of struggle would be to create good music". And this was what they constantly strove to accomplish, encouraging each other in their compositional activity.

Bernhard Scholz was actually one of the most active friends who sought to persuade Brahms to write symphonies, and who supported him in the most difficult moments of his compositional career.

In 1871, Scholz had become the music director of Breslau's Symphony Orchestra, and therefore he regularly invited his friend Brahms and featured his works in the concert programmes. It should be pointed out, however, that in Scholz's very first appearance as the music director in Breslau, the most modern work was by Wagner instead of Brahms, notwithstanding Scholz's "conservative" fame. The programme actually included an overture and the Seventh Symphony by Beethoven together with Wagner's Lohengrin Prelude and Mendelssohn's Scherzo from the Midsummer Night's Dream. In March 1876, however, Scholz included Brahms's First Piano Concerto in the musical programme of Breslau's Symphony Orchestra.

Another famous work by Brahms is clearly attributable to Scholz's encouragement. Brahms had been awarded a honorary doctorate by the University of Breslau, but, at first, he had shown his gratitude merely through a postcard. Upon Scholz's insistence, however, Brahms eventually decided to dedicate a work to the University: the Academic Festival Overture was the result of Scholz's efforts, and the letters between Brahms and Scholz testify upon their common quest for a suitable title (Viadrina, the Latin name of Breslau's river Oder had been one of the options).

Scholz's own compositional activity was by no means a minor side of his artistic life, as documented by his victories in composition competitions. Scholz's String Quartet in G op. 46 was awarded the Florentine Quartet Prize in 1877; in the same year, his String Quintet in E minor op. 47 obtained the second prize (first not awarded) at a competition organised by the Society for Chamber Music in St. Petersburg. It should be mentioned that young Gustav Mahler had been one of the candidates, and had probably participated in the competition with his exquisite Quartettsatz for piano and strings. On the other hand, Scholz's operas (among which Carlo Rosa, Anno 1757 and Mirandolina) did not enjoy a comparable success, although Scholz was very appreciated for his symphonies, chamber works and Lieder.

Two years earlier, in 1875, Scholz's Piano Concerto which constitutes the object of the present publication had been premiered by no less than Clara Wieck, who was by then one of the most famous and appreciated pianists and pedagogues of her time. Piero Rattalino has pointed out that Scholz's Piano Concerto was the most modern work she included in her repertoire, which did not follow the vogues of the time.

When, in 1883, Scholz became Raff's successor as the director of the Hoch Conservatory in Frankfurt, Clara defined the fact as a true "revolution", since Scholz was thought to be an "archconservative" and Raff had been a keen supporter of Liszt and Wagner. Actually, this label did not correspond to reality. Since the very first years of his compositional activity, Scholz had been truly "Romantic", as even Dilthey had pointed out. And although his fugues were skilful and famous, they were not mere archaisms, and had a genuinely modern taste. Even later, Scholz's models were Mendelssohn and Brahms rather than the Classicist composers: the former's influence is clearly discernible in such works as Scholz's famous Requiem, the latter in the equally celebrated Variations op. 54 for two pianos. Moreover, as it has been pointed out earlier, Scholz was not prejudiced against performance of Wagnerian works and included them in his concert programmes; it should be highlighted, furthermore, that the famous manifesto was, by then, more than twenty years old.

Nonetheless, the opposition between the two parties was still deeply felt; and Scholz's appointment contributed to the establishment of Frankfurt as the conservatives' fortress. In disagreement with the new director, some members of the Conservatory's faculty resigned, thus leaving free space to a monopoly of the conservative party, and founded a competing Conservatory which was polemically christened as "Raff Conservatory". Bülow's pointed remarks against Scholz and Clara Schumann did not calm things down, until, eventually, in 1890, Humperdinck was the first member of the Wagnerian party to be reappointed at the Hoch Conservatory.

Scholz kept the appointment until 1908, when, after having resigned, he passed the years of his retirement travelling to Florence and Munich. Among Scholz's other activities there was also the direction of F. W. Rühl's Choral Union (from 1884), and the promotion of music among the working classes: Scholz founded the first German Volkschor in 1897, testifying of his patriotic and social concerns.

Scholz is also remembered as an innovative pedagogue, as he created methods for the musical education of children from the age of eight, which where inspired by the forms and principles of humanistic education.

The complex net of musical and cultural interests and influences which marked Scholz's life and compositional experience are discernible in the Piano Concerto, which is rightfully thought to be one of his masterpieces and which bears witness of his powerful treatment of the form and of his architectural skills, which he constantly used to convey the deep emotional content and passionate style of his music.

[eschiss1]

I found that to be interesting biographically- and of practically no interest at all -as regards the piano concerto-, beyond providing a date for the premiere (which I'm trying to find corroboration for, though. Clara Schumann mentions Scholz in her letters to Brahms/vice versa, and her repertoire contained a concerto by him- in "A minor"- according to an older book; might there have been such a work now lost, and one only assumes that it's the B major that she performed because she mentions his concerto (somewhere I've yet to find) (or someone else, in primary source-land ca.1870s, mentions her playing a concerto of his? or something?...)? Or, well, because typo?...)

Re Clara playing A minor concerto: this actually from the 1913 book by Berthold Litzmann, "Clara Schumann: An Artist's Life, based on material found in diaries and letters" (as translated by Hadow and found, in a © moved to 2013 copy, on Google. So her (new?) works performed/repertoire in 1875 include Brahms' variations Op.56b and Scholz' "concerto in A minor"- possibly abstracted, the latter, from the concert below where she played Scholz' capriccio (key?) and _Robert Schumann's_ concerto in A minor in Breslau...)

Clara Schumann did play (it was announced she'd play?) Scholz' capriccio op.35 for piano and orchestra in Breslau in the 3rd Abonn.-Concert of their orchestra series, noted in Musikalisches Wochenblatt, 3 December 1875, p.624.  Not the same work though. Still, haven't done a really good bit of research though... (and speaking of that capriccio, I wonder if it still exists.)

[eschiss1]

Scholz' capriccio Op.35 by the way is, in some form (not sure which- full score, parts, 2-piano reduction, but some form) currently being digitized at Berlin State Library; the page says "come back later". So I guess as to that (key?) I asked there , also "come back later". (Ah: according to their card catalog: 1871 partial autograph score & parts (fragliches Autograph).) Key is - as seemed likely (Scholz, concerto, A minor...?) given as a-moll !

I'm thinking that the author of the MPH preface saw a reference to a Scholz concerto - maybe Litzmann's to the "concerto" (capriccio) in A minor - in 1875, assumed that Litzmann meant the B major, and went from there. Litzmann meant the capriccio op.35 performed in December 1875 or maybe January 1876. Barring further info, anyway...

[cypressdome]

It appears that in addition to the published B major concerto (Op.57), the Capriccio (Op.35), and the unpublished Concert-Fantasie in C minor there are two concertos (unpublished?) in manuscript at the Berlin State Library.   Both have been digitized: a Concerto in G major (1856) and a Concerto in D minor (1897).

[FBerwald]

Now if we only had some samples of his music ... It might be eligible for a nice CD or 2 in the Hyperion RPC series!

[eschiss1]

Question: has any cellist here had a look at his cello sonata Op.81 in A minor (http://imslp.org/wiki/Cello_Sonata,_Op.81_(Scholz,_Bernhard)?)

[eschiss1]

I know it's been awhile, but just saw something else really interesting @ IMSLP in this composer's category: a nonet in C minor (also playable as a sinfonietta) in manuscript. No idea of performance history, the hosting library (Berlin) estimates 1890 or so... (the parts @ IMSLP haven't been unlocked yet, but they can be viewed @ here.)

Edit: re FBerwald's statement above... yes, it might at that. Hope this upcoming release isn't the last.

[semloh]

As we know from the Hyperion PC thread, in late June we'll have the Concerto and the Capriccio available on Hyperion... and the snippets sound most enjoyable. In case you haven't heard them, there are short excerpts at:
https://www.tashmina.co.uk/news/callaghans-next-cd-hyperion-june/
https://www.bbc.co.uk/music/artists/5137d2c2-5668-49e1-a0ed-71ed361ae9b4

I do hope this leads to more of his compositions being recorded. I wonder what might prove most feasible and attractive....

[Alan Howe]

Let's keep this thread for general news and views about Scholz's music and post comments on the forthcoming Hyperion release of his PC, etc. here:
http://www.unsungcomposers.com/forum/index.php/topic,6756.msg71840.html#msg71840