zeisl eric (4 Ergebnisse)

Softbound. Zustand: Very Good-. Quarto, stapled paper covers with minor wear, 35 pp. Text is in Transliterated Yiddish,

Soft cover. Zustand: Very Good. 1st Edition. 117 Pp. Softcover, Large Format. Inscribed Jan. 3 1954 By Zeisl To His Friend Hugo (Apparently A Close Friend Of The Schoenfeld Sisters, Violinists). Erich Zeisl (1905 - 1959) (Often Spelled Eric) Was An Austrian-Born American Composer. Born To A Middle Class Jewish Family In Vienna, Zeisl Was The Son Of Kamilla (Feitler) And Siegmund Zeisl. His Musical Precocity Enabled Him To Gain A Place At The Vienna State Academy (Against The Wishes Of His Family) When He Was 14, At Which Age His First Song Was Published. While There, He Studied With Richard Stöhr, Joseph Marx And Hugo Kauder. He Won A State Prize For A Setting Of The Requiem Mass In 1934, But His Jewish Background Made It Difficult To Obtain Work And Publication. After The Anschluss In 1938 He Fled, First To Paris, Where He Began Work On An Opera Based On Joseph Roth's Job, And Then To New York City. Eventually He Went To Hollywood Where He Worked On Film Music But Increasingly Felt Isolated And Ill At Ease With The Production-Line Demands Of His Employers. Among The Films For Which He Wrote Music Were The Postman Always Rings Twice (1946), And Abbott And Costello Meet The Invisible Man (1951). Zeisl's Style Was Essentially Tonal, And Conservative Compared To Contemporaries Such As Arnold Schoenberg, And Thus Not Totally Unsuited To Film Music Composition. But His Heart Lay Elsewhere. At One Stage He Was Employed To Arrange The Music For A Highly Inaccurate Stage Show About The Life Of Tchaikovsky, Song Without Words. His Anguish About His Reduction To Such Work (Together With The Straits To Which Other Émigré Composers In America Were Reduced At The Time) Is Evident In A Letter Written To A Friend In 1945: 'Even Milhaud, Stravinsky, Tansman Are Struggling. Béla Bartók Died In New York Of Hunger! [.] Last Year I Orchestrated A Tchaikowsky Operetta Which Provided [A] Living For 8 Months, But Why Does Tchaikowsky Have To Be Put Into An Operetta? [.] No Composer Is Important Here'. Nonetheless Zeisl Was Able Eventually To Find Academic Appointments And Time To Compose In His Own Style. These Works Included A Variety Of Chamber Music, A Piano Concerto, A Concerto For Cello (Written For Gregor Piatigorsky), And A Setting For Choir, Soloists, And Orchestra Of Psalm 92 In Hebrew, Which He Titled Requiem Ebraico (Hebrew Requiem), Written In 1944-5 In Memory Of His Father. A Work Of Variations For Orchestra Was Based On The Christmas Carol "It Came Upon A Midnight Clear." His Opera Hiob (Job) Was Never Completed. Zeisl Was Married To Gertrud Susanne (Jellinek). His Daughter Barbara Zeisl Schoenberg Married Ronald Schoenberg, The Son Of The Composer Arnold Schoenberg. His Grandson Is Lawyer E. Randol Schoenberg. Zeisl's Status As A Proscribed Musician Under The Nazi Regime Has Been One Element In A Revival Of Interest In His Music, Some Of Which Is Now Available On Cd. The Premiere Performance Of The Requiem Ebraico Was Held In Los Angeles In The Hollywood First Methodist Church On April 8, 1945 By Hugo Strelitzer Conducting The Fairfax Temple Choir. Inscribed by Author(s).

Softcover. Zustand: vg to near fine. Folio. Two pages (unopened) with musical score in facsimile of Eric Zeisl's "Wunderthema im Orchester", bound in textured faux-leatherette wrappers. Inscribed by Zeisl in blue ink on inside of front cover: "To Mr. & Mrs. Frederic a. Sabel zur Erinnerung herzlichst gewidmet Eric Zeisl, Hollywood / Aug. (?) 1957." Minor rubbing to edges of wrappers. Interior in very good to near fine condition. Eric Zeisl was a 20th century Austrian composer. He was a upcoming successful young composer in 1930's Europe. In 1934, he won a state prize for a setting of Mozart's "Requiem Mass." Unfortunately his career came to a halt after Austria's Anschluss into Hitler's Reich. During the pogroms of Kristallnacht in September 1938, Zeisl and his wife fled Vienna for Paris, eventually landing in America in 1939. For a short period of time he worked as a film composer but soon returned to more 'serious composition'. Among the films for which he wrote music were Lassie Come Home (1943), The Postman Always Rings Twice (1946), and Abbott and Costello Meet the Invisible Man (1951). Prof. Malcom Cole once described Zeisl's style as "notable for expressive melody, rich harmonies, strong dance-derived rhythms, and imaginative scoring." Unique inscription by the Austrian artist who was one of the youngest emigré composers at the time.

Folio. 8 pp. Auf dem Titelblatt die Widmung an die Sängerin Frau Leonie Rysanek | in Freundschaft und Verehrung | herzlich zugeeignet". Während seines Studiums begann Zeisl zu komponieren. Zwischen 1922 und 1929 entstanden 26 Lieder, drei Klaviertrios, eine Suite für Violine und Klavier, eine Klaviersuite, ein Lied für Bariton und Orchester, die Orchestersuite zum Ballett Pierrot in der Flasche sowie die einaktige Oper Die Sünde. Zeisls Lieder stehen in der Tradition von Beethoven, Schubert und Hugo Wolf.Nach Beendigung seiner Ausbildung wirkte er anfangs als Lehrer für Klavier. Parallel dazu komponierte er; erste Erfolge als Komponist ließen allerdings auf sich warten. Nach dem Anschluss" Österreichs an das Deutsche Reich wurden alle Aufführungen von Zeisls Werken abgesagt, er zum Volljuden" erklärt und einige Familienmitglieder von der Gestapo verhaftet. 1938 emigrierte Zeisl nach Paris. Im September 1939 ließ sich Zeisl in den USA nieder (siehe Hans Kafka und Erich Zeisl). In Hollywood schrieb er einige Auftragswerke für Filmproduktionen; der Erfolg als Komponist blieb ihm jedoch versagt. Er übernahm daher verschiedene Stellungen als Lehrer für Musik, erst an der Southern California Music School, später am City College in Los Angeles.Von seiner 19231924 entstandenen Suite für Klaviertrio op. 8 erstreckt sich der Bogen bis hin zum Trio für Flöte, Viola und Harfe, das er zwei Jahre vor seinem Tode schrieb. Auffallend ist, dass der Komponist nur eine geringe kompositorische Entwicklung durchgemacht hat. Allenfalls lässt sich im Spätwerk, dem auch das Streichquartett Nr. 2 (1952/53) zuzurechnen ist, ein verstärktes kontrapunktisches Interesse feststellen. Seine Werke legen Zeugnis ab von einer handwerklichen Versiertheit und es ist der durchaus eigenständige, oft schwermütig-resignative Tonfall, der ihnen Eigenständigkeit verleiht.Sein kompositorisches Schaffen umfasst hauptsächlich Lieder, deren Zahl in die Hunderte geht, Ballette, Kammermusik sowie Chormusik und Opern. In der Weiterentwicklung des Kunstliedes sah er sich vor allem in der Tradition von Beethoven, Franz Schubert und Hugo Wolf. Als bekannteste Interpreten seiner Lieder sind Hans Duhan, Alexander Kipnis sowie Tatiana Menotti anzusehen. Sprache: it.