ABSTRACT Title of Dissertation: INFLUENCES IN ERWIN SCHULHOFF?S PIANO CHAMBER WORKS AND LIEDER Ju Young Lee, Doctor of Musical Arts, 2022 Dissertation directed by: Professor Rita Sloan, School of Music This performance dissertation explored the music of Erwin Schulhoff (1894 ? 1942) in a series of three performances. Similarities in musical language and style found in Schulhoff?s selected piano chamber works and Lieder were compared to the works of his most influential contemporaries, including his teacher, Max Reger (1873-1916), Richard Strauss (1864-1949), Claude Debussy (1862-1918), and Leo? Jan??ek (1854-1928). From the juxtaposition of Schulhoff?s works with works by the above composers, each recital displayed his ability to adopt distinctive musical elements from historical western musical genres and utilize them in achieving his own unique polystylistic voice in his musical compositions. Schulhoff was a Czech musician who was born into a German-Jewish family centered in Prague. He left behind almost 200 compositions in almost every genre and in many different styles which encompass a wide musical range, including late German romanticism, Impressionism, and Czech folk music. His compositions did not receive much attention nor were they extensively studied or actively performed during his lifetime and immediately after his death, since, as a victim of the Nazis, he was forgotten for about 40 years after dying in the W?lzburg concentration camp in Bavaria in 1942. More recently, interest in his compositional output has grown exponentially and his works are being studied, performed, and recorded with regularity, a confirmation of their musical quality and emotional content. The first recital explored Schulhoff?s early compositions of 1911, reflecting the style of German romanticism in which Schulhoff was influenced by his composition teacher, Max Reger, as well as Richard Strauss. The second recital focused on the influences of both Claude Debussy and Strauss on works of Schulhoff written in 1913 and 1914. The third recital featured the connection between the works of Schulhoff and Leo? Jan??ek, as both composers incorporate Czech and Slavic folk idioms. The recitals were performed on October 25th, December 8th, 2021, and March 17th, 2022 at the University of Maryland School of Music?s Gildenhorn Recital Hall. Recordings can be found in the Digital Repository at the University of Maryland (DRUM). INFLUENCES IN ERWIN SCHULHOFF?S PIANO CHAMBER WORKS AND LIEDER by Ju Young Lee Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2022 Advisory Committee: Professor Rita Sloan, Chair Professor Craig Kier Professor Justina Lee Professor Delores Ziegler Professor Byung-Eun Kim, Dean?s Representative ? Copyright by Ju Young Lee 2022 Acknowledgements Thank you to my family, my daughter Gia, and my husband, for their never-ending love and support. Thank you to my advisor and teacher, Professor Rita Sloan, for her time, support, and constant encouragement throughout my DMA program. To my dissertation committee, for their times and wonderful insights. To collaborators, Haerin Jee, Ji Youn Jung, Anna Luebke, Connor Locke, and Danielle Kim, for their great collaborations throughout three dissertation recitals. ii Table of Contents Acknowledgements..........................................................................................................................ii Table of Contents............................................................................................................................iii Introduction: Erwin Schulhoff: His Three Compositional Periods.................................................1 Recital I: The influence of Max Reger (1873-1916) and Richard Strauss (1864-1949) ................8 Program ..............................................................................................................................8 Program Notes ....................................................................................................................9 Recital II: The influence of Claude Debussy (1862-1918) and Richard Strauss (1864-1949) ....16 Program ............................................................................................................................16 Program Notes ..................................................................................................................17 Recital III: The influence of Leo? Jan??ek (1854-1928) ..............................................................30 Program ............................................................................................................................30 Program Notes ..................................................................................................................31 Conclusion ....................................................................................................................................38 Recording Track Listing ...............................................................................................................42 Appendix I: Texts and Translations of Recital I............................................................................43 Appendix II: Texts and Translations of Recital II.........................................................................45 Annotated Bibliography ................................................................................................................50 iii INTRODUCTION ERWIN SCHULHOFF: HIS THREE COMPOSTIIONAL PERIODS His musical education and early compositions of 1911-1914 Erwin Schulhoff was born on June 8, 1894, in Prague, into a German-Jewish family: his father was named Gustav (1860-1942), and his mother, Louise (1861-1938). Although his parents were not musicians, his maternal grandfather was Heinrich Wolff (1813-1898), a respected violinist and the concertmaster of the theater orchestra in Frankfurt, and his great uncle was Julius Schulhoff (1825-1898), a virtuoso pianist under the patronage of Frederic Chopin (1810-1849).1 Schulhoff showed a great talent for music, especially for the piano, from an early age. In 1901, Antonin Dvor?k (1841-1904) recommended the seven-year-old Schulhoff study piano privately with Heinrich von K?an-Alb?st (1852-1926)2 at the Prague Conservatory.3 At the age of 10, he entered the piano studio of K?an-Alb?st and briefly studied with Josef Jir?nek (1855- 1940), who was a pupil of Bed?ich Smetana4 (1824-1884).5 1906 marked a milestone for the twelve-year-old pianist who was already a composer. It was his first time seeing an opera: the performance was of Salome by Richard Strauss (1864- 1 Scott Cole, ?Ervin Schulhoff: His Life and Violin Works? (D.M. diss., Florida State University, 2001), 3-4. 2 Heinrich von K?an-Alb?st was a piano virtuoso and teacher at Prague Conservatory and a principal from 1907 to 1918. The resource was found at https://imslp.org/wiki/Category:K%C3%A0an-Alb%C3%A9st%2C_Heinrich_von (accessed March 2, 2022). 3 Maria Alene Harman, ?Erwin Schulhoff (1894?1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86? (D.M.A. diss., University of North Texas, 2011), 6. 4 Bed?ich Smetana is a Czech composer, described as the ?father? of Czech national music. The resource was found in Grove Music Online (October 2020), https://doi-org.proxy- um.researchport.umd.edu/10.1093/omo/9781561592630.013.3000000151 (accessed October 29, 2020. 5Josef Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online (2001), https://doi-org.proxy- um.researchport.umd.edu/10.1093/gmo/9781561592630.article.25128 (accessed February 21, 2022). 1 1949) at the New German Theater in Prague.6 This performance made a strong impression upon Schulhoff, who was later to reflect the Straussian melodic and harmonic influence in many of his compositions, especially the songs of 1909-1911. His mother, Louise, encouraged him to look outside Prague for opportunities to study with a world-famous piano teacher. In July of 1906, he left the conservatory and moved to Vienna, studying with Willi Thern (1847-1911), a Hungarian teacher renowned for his technical approach to the instrument. After Schulhoff realized that he was not able to thrive on Thern?s rigid approach, his passion turned to composition, and he left Vienna and returned to a conservatory curriculum.7 At the age of fourteen, he entered the Leipzig Conservatory and was significantly influenced by his composition teacher, Max Reger (1873-1916). Although ?some of the critics accused him (Reger) of crude violations of the laws of harmony and counterpoint,?8 Schulhoff was one of the young composers who admired Reger as a model. Schulhoff not only enjoyed Reger?s lessons but also believed that Reger?s techniques, exceeding the boundaries of tonality, ?would break the traditional tonal method and further enhance the development of modern music.?9 Reger?s chromatic and harmonic ideas later provided a huge inspiration for many of Schulhoff?s early compositions, such as the Suite for Violin and Piano, Op.1, WV 18. After Schulhoff completed his studies in Leipzig, he embarked upon a series of concert tours as a virtuoso pianist in Germany in the years of 1910-1911.10 6 Ibid. 7 Cole, ?Ervin Schulhoff,? 6-7. 8 Josef Bek, Erwin Schulhoff: Leben und Werk (Hamburg: Von Bockel, 1994), 17. 9 Miguel Alejandro Lesmes, ?Erwin Schulhoff (1894-1942): Life, Work, Analysis of String Quartet No.2 (WV 77)? (D.M.A. diss., The University of Memphis, 2020), 12. 10Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online (accessed February 21, 2022). 2 From 1911 to 1914, he extended his studies at the conservatory in Cologne under Fritz Steinbach (1855-1916)11 in conducting and composition and Lazzaro Uzielli (1861-1943)12in piano.13 Steinbach, especially, took an important role as a composition teacher by encouraging Schulhoff to compose Lieder and piano chamber works. Although he had already undertaken attempts to compose songs from Goethe to Chamisso during his student days in Leipzig, all these works were lost unfortunately.14 One of the early surviving Lieder was Drei Lieder f?r Sopran und Klavier Op. 14, WV 12, a composition assignment given by Steinbach to Schulhoff in 1911. Schulhoff created settings for poems by the German poet C?sar Flaishlen (1864-1920) and the German writer Otto Falckenberg (1873-1947), as well as Friedrich Adler (1878-1942), a Jewish- German artist.15 These early songs reflect the influence of Strauss? musical language in both the voice and piano parts.16 In addition to song assignments, Steinbach eventually gave Schulhoff assignments for instrumental compositions. The first attempt was his violin work, Suite for Violin and Piano, Op.1, WV 18, considered his first mastery of a large form. Schulhoff successfully evoked the compositional style of Reger by using extreme chromaticism and romantic freedom in both melody and harmony.17 During his studies in Cologne, Schulhoff became acquainted with the style of French Impressionism through the masterful works of Claude Debussy (1862-1918).18 In Prague, Pr?lude ? l?apres-midi d?une faune had been performed regularly since 1905, and Pell?as et 11 Fritz Steinbach was a German conductor and composer, and he was also the director of the conservatory in Cologne. Herta M?ller, ?Steinbach, Fritz,? Grove Music Online (accessed March 2, 2022). 12 Lazzaro Uzielli was an Italian pianist and music educator. This resource was found at https://peoplepill.com/people/lazzaro-uzielli (accessed March 2, 2022). 13Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online (accessed February 21, 2022). 14 Klaus Simon, ?Foreword for Volume I,? (Schott, 2016). 15 Cole, ?Ervin Schulhoff,? 13-14. 16 Ibid., 6. 17 Harman, ?An Analytical Study,? 18. 18 Lesmes, ?Erwin Schulhoff (1894-1942),? 13. 3 Melisande was premiered at the New German Theater in 1908.19 Admiring Debussy tremendously, Schulhoff went to Paris to study with him in 1913, however the lessons lasted for a short period of time because Debussy taught him only the traditional principles of composition. Nevertheless, Schulhoff incorporated the notable French Impressionist style of Debussy into his works of 1913-1914, such as the Sonata for Violin and Piano, Op. 7, WV 24, Drei Stimmungsbilder f?r eine Sopranstimme, Violine und Klavier, Op.12, WV 30, and Drei Lieder f?r Altstimme mit Klavierbegleitung, Op.15, WV 33; Schulhoff employed the use of whole-tone scales, parallel movements, augmented intervals, unresolved dissonances, etc.20 World War I (1914-1918) and Dada, Jazz, and Expressionism (1919-1923) When World War I broke out, Schulhoff was not able to compose since he served in the Austro-Hungarian Army until 1918. During the rise of German Fascism, his military experience made him a convinced socialist and he was a supporter of the early communist movement.21 After the war, Schulhoff lived with his sister Viola, who was a painter, for a brief time in Dresden, Germany. At Schulhoff?s apartment, musicians, visual artists, and literati met together and discussed new art, music, and politics. Schulhoff became interested in Dadaism, the new anti-art22 and anti-establishment movement.23 As a rebellion to the most fundamental principles 19 Cole, ?Ervin Schulhoff,? 11-12. 20 Ibid., 19. 21 Harman, ?An Analytical Study,? 8. 22 The term of Anti-art is associated with the Dada movement. ?Dada theorists sought to create art that was opposite to the conventional definitions of art and this ideal is also part of the Anti-art aesthetic.? This quote was found at http://www.arthistory.net/anti-art/ (accessed February 26, 2022). As many Anti-art movements associated with political movement, Dadaists began to be aligned with radical Communism, so Schulhoff was, after World War I. Both art and politics had been merged to simply define the meaning of ?anti-establishment for artists who wanted to break with old forms of art and governance.? This quote was found at http://www.arthistory.net/anti-art/ (accessed February 26, 2022). 23 Cole, ?Ervin Schulhoff,? 19. 4 of composition, Schulhoff?s Dadaism was prominently exhibited in the third movement ?In futurum? from F?nf Pittoresken Op. 31, WV 51. This movement is a silent movement, comprised of written-out rests with nonsensical time signatures, such as 3/5 and 7/10, and question marks, exclamation marks, sketched faces, etc... F?nf Pittoresken was composed in 1919, which is thirty-three years earlier than the famous composition 4?33? by John Cage (1912- 1992)24, which instructs the performer not to play the piano during the entire duration of four minutes and thirty-three seconds.25 Schulhoff also became acquainted with the Dadaist painter George Grosz (1893-1959)26, who introduced him to recordings of contemporary American jazz.27 Fascinated with American jazz, he became one of the first European jazz pianists as well as jazz-inspired composers who used elements of jazz in many of his works until the mid-1930s. As an adherent of Dadaism, Schulhoff also admired the works of Expressionism for a few years. While having a warm relationship with the Expressionist composer Alban Berg (1885-1935)28, he organized a concert series, entitled ?Fortschrittskonzerte? (Progressive concerts), featuring the works of the Second Viennese school, led by Arnold Schoenberg (1874-1951)29. His first attempt at a solo piano work in the idiom of Expressionism was Zehn Klavierst?cke Op. 30, WV 50, composed in 1919. However, he ultimately rejected Expressionism and the twelve-tone system being more convinced of the revolutionary attitudes of Dadaism.30 24 John Cage was one of the leading American composers of the postwar in avant-garde style in 20th century. James Pritchett. ?Cage, John.? Grove Music Online (accessed March 2, 2022). 25Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online (accessed February 21, 2022). 26 Virginia Gorlinski, ?Geroge Grosz,? Britannica (accessed March 2, 2022). 27Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online, (accessed February 21, 2022). 28 Alban Berg was an Austrian composer who was a pupil of Arnold Schoenberg. Douglas Jarman, ?Berg, Alban,? Grove Music Online (accessed March 2, 2022). 29 As an Austrian American composer, Schoenberg is famous for creating new methods of musical composition involving atonality and the 12-tone row. Kathleen Kuiper, ?Arnold Schoenberg,? Britannica (accessed March 2, 2022). 30 Lesmes, ?Erwin Schulhoff (1894-1942),? 17-18. 5 Folk influences and final years 1923-1942 In 1921, Schulhoff married Alice Libochowitz and the couple remained in Berlin for about two more years. They moved to Prague with their son, Peter Heinrich Wolf Edmund in 1923.31 The return of Schulhoff to Prague, his homeland, made him end his Dadaist phase and set a new creative stage in which he combined the continuing European mainstream tradition and ?Czech music, which had retained its ties with native folklore.?32 One of most influential Czech composers of the time was Leo? Jan??ek (1854-1928). In 1924, Schulhoff wrote an essay about Jan??ek, admiring ?the seventy-year-old Jan??ek?s youthful vigor, his break with the traditional Germanic musical language, and the genuine flavor of his nationalistic style.33 In 1927, Schulhoff set off on a concert tour of Paris and London, to promote works by Czech composers. While he was on tour, he befriended the French flautist Ren? Le Roy (1898- 1985) and composed the Sonata for Flute and Piano, WV 86 and premiered it with him on April 10, 1927.34 Even though this sonata does not possess characteristic sonata qualities from traditional Classical formal procedures, its four movements fit the sonata mold in number and capture Czech and Slavic folk idioms, such as the use of accented downbeats and modal elements. After the occupation of Czechoslovakia on March 15, 1939, by the Nazis, Schulhoff, as a Jew, was subject to the Nuremberg Laws35 and banned from employment either in the protectorate or in Germany. After Stalin signed a non-aggression pact with Hitler, Schulhoff felt 31 Cole, ?Ervin Schulhoff,? 32-33. 32Bek, ?Schulhoff, Erwin [Erv?n],? Grove Music Online, (accessed February 21, 2022). 33 Cole, ?Ervin Schulhoff,? 36. 34 Ibid., 43. 35 On September 15, 1935, the Nazi regime announced a new law, became known as the Nuremberg Laws. They enacted these laws because they were able to isolate and exclude Jews from the German society. This resource was found at https://encyclopedia.ushmm.org/content/en/article/the-nuremberg-race-laws (accessed March 2, 2022). 6 that emigration to the Soviet Union might be better for his family. He applied for Soviet citizenship and finally received it for his family members in 1939. On June 13, 1941, he prepared for the emigration by picking up their travel visa to Soviet Union. However, only ten days afterwards, his family was arrested and imprisoned in one of detention centers in Prague by the Nazis. While many of his Jewish colleagues, composers such as Gideon Klein, Viktor Ullman, Hans Krasa, and Karel Ancerl, were sent to Theresienstadt (?Terez?n? in Czech), Schulhoff and his son were transported to the different concentration camp, W?lzburg, due to their Soviet citizenship. On August 28, 1942, he died of tuberculosis in the camp and was buried later in Weissenburg, Germany.36 36 Cole, ?Ervin Schulhoff,? 60-63. 7 PROGRAM I October 25, 2021, 8:00 PM Gildenhorn Recital Hall Ju Young Lee, piano with Haerin Jee, violin Ji Youn Jung, soprano Max Reger (1873-1916) Suite in A minor for Violin and Piano, Op. 103a (1908) I. Pr?ludium II. Gavotte III. Aria IV. Burleske V. Menuet VI. Gigue - Intermission - Erwin Schulhoff (1894-1942) Suite for Violin and Piano, Op.1, WV18 (1911) I. Pr?ludium II. Gavotte III. Menuetto IV. Walzer V. Scherzo Richard Strauss (1864-1949) - St?ndchen, Op. 17, No.2 (1886) - Kling, Op. 48, No.3 (1900) Erwin Schulhoff (1894-1942) Drei Lieder f?r Sopran und Klavier op. 14 (WV12) (1911) I. Februarschnee II. Sommerabend III. D?mmerstunde 8 RECITAL I: PROGRAM NOTES Suite for Violin and Piano, Op. 1, WV 18 The year 1911 marked a milestone for Erwin Schulhoff as a composer; he completed his first instrumental work for violin while studying under Steinbach at the Conservatory in Cologne. The Suite for Violin and Piano, Op.1, WV 18, may have been modeled on Max Reger?s (1873-1916) Suite in A minor for Violin and Piano, Op.103a, which was composed 3 years earlier than the Schulhoff?s. There is no direct evidence that Schulhoff was modeling Reger however there are similarities between both works: the use of Baroque dance forms, arch structures within the same key, the use of the sound of the Musette, and extreme chromatic lines. Reger?s suite consists of six movements, Pr?ludium, Gavotte, Aria, Burleske, Menuett, and Gigue. Schulhoff also emulates some of the Baroque dance forms by starting with a Pr?ludium (Prelude in German), subtitled ?Erotik.? Schulhoff also set his Gavotte as the following movement after the Pr?ludium. The rest of the movements are Menuetto, Walzer, and Scherzo, subtitled "Tanz der Teufelchen" (Dance of the little Devil). Reger achieved an arch structure in this work by having both the first movement (Pr?ludium) and last movement (Gigue) of the suite in the same key, a minor. On the other hand, Schulhoff puts the same key signatures with two flats in B and E, applied to all five movements, probably looking for unity in tonality. However, he also emulates Reger?s suite by having the first and last movements of his suite both in g minor, thereby creating his own arch. According to Rien de Reede, Reger was called ?the second Bach? because ?his musical style is marked by chromatic harmony often cast in forms from the Baroque 9 periods.?37 The following example shows Reger?s trademarks, the predominance of chromaticism, and the use of pedal point. Ex. 1, L?istesso tempo, mm.43-51, from the Gavotte by Max Reger In the entire L?istesso tempo from the Gavotte, Reger puts the interval of a 5th (A and E) in the left hand of the piano under the chromatic descending lines of the violin part. Schulhoff may well have seen Reger's work prior to his own undertaking, especially for his Gavotte. The following example is the Musette in Schulhoff?s Gavotte. 37 This quote was found in the program notes written by Rien de Reede at https://www.riendereede.nl/en/program- notes/ (accessed March 1, 2022). 10 Ex. 2, Musette, mm.29-33, from Gavotte by Erwin Schulhoff. Compared to Reger?s section titled ?L?istesso tempo,? Schulhoff instead titled this comparable section Musette in his Gavotte. It is probably because the use of the interval of a fifth (G and D) in the violin part throughout the Musette is evocative of the sound of the Musette38, a musical instrument of the bagpipe family during the Baroque period. At the same time, Schulhoff did not forget to apply the chromatic descending line in the alto and bass lines of the piano part. Drei Lieder f?r Sopran und Klavier Op. 14, WV 12 As mentioned earlier in his biography, Schulhoff devoted himself to different genres for his compositions, such as piano music and chamber music. However, he was also a lied 38 Musette, a small bagpipe, achieved its popularity in France in the 17th and early 18th centuries. This term could refer to ?a dance-like piece of pastoral character whose style is suggestive of the sound of the musette or bagpipe.? Robert A. Green. ?Musette (i).? Grove Music Online (accessed March 2, 2022). 11 composer, contributing 89 compositions to the genre of accompanied solo Lieder (alongside two duets.). 52 Lieder (including a few fragments) composed between 1910 and 1915, the early vocal works, are especially significant as not only do they contain the majority of Schulhoff?s Lieder, but also show the young composer?s development towards maturity, clearly influenced by the late Romantic style.39 Drei Lieder f?r Sopran und Klavier Op. 14, WV 12 was one of Schulhoff?s early song cycles, composed in 1911, five years after he had encountered Richard Strauss? opera Salome. There has been no research proving a direct imitation of or quotation from Strauss? works onto Schulhoff?s songs, but there are similarities displaying Strauss? influences: the selection of unpopular texts with expressive images, and the use of a single accompanying pattern at the piano for the entire piece. As an active Lieder composer, Strauss preferred to use text with striking expressive images or situations, but by lesser-known poets, such as Adolf Friedrich von Schack (1815- 1894) for St?ndchen, Op. 17, No.240 and Karl Henckell (1864-1929) for Kling, Op. 48, No.3.41 Similar to Strauss? preference in text choice, Schulhoff also simply took poems from the common poetry anthologies of his time42, German Lyric Poetry since Liliencron, published in 1905, for the his song cycle Op.14.43 The texts come from three different poets, which may make this set of songs not seem like much of a song cycle. However, all three songs are tied together by depicting different feelings of love which correspond to seasons and time. 39 Klaus Simon, ?Foreword for Volume I,? (Schott, 2016). 40 Bryan Gilliam, The Life of Richard Strauss (Cambridge University Press, 1999), 47. 41 Lorraine Gorrell, The Nineteenth-Century German Lied (Amadeus Presss, 1993), 325. 42 Simon, ?Foreword for Volume I.? (Schott, 2016). 43 Cole, ?Ervin Schulhoff,? 13. 12 In both works, St?ndchen and Kling, Strauss successfully accomplished unity by maintaining a single accompanying pattern throughout: a feathery accompaniment of broken- chord arpeggios for St?ndchen (Ex. 3) and swooping ascending arpeggios for Kling (Ex. 4).44 Ex. 3, Strauss? St?ndchen, mm. 1-4. Ex. 4, Strauss? Kling, mm.12-15. Equivalent to the above works of Strauss, Schulhoff also attempted to express the mood of each poem and the atmospheric images by using a single accompanying formula on the piano, 44 Carol Kimball, Song: A Guide to Art Song Style and Literature (Hal Leonard, 2006), 134. 13 thereby defining the character of the entire song.45 The appropriate examples are shown in the first song, Februarschnee, (Ex. 5) and the last song D?mmerstunde (Ex. 6): Ex. 5, Schulhoff?s Februarschnee, mm. 1-3. Ex. 6, Schulhoff?s D?mmerstunde, mm. 1-4. 45Klaus Simon, ?Foreword for Volume I,? (Schott, 2016). 14 In addition to similar approaches in the piano patterns, Schulhoff also utilized the same key of F-sharp major, a similar tempo marking (a lively and uplifting 6/8 meter), and frequent octave leaps in the voice in his Februarschnee, as compared to Strauss? St?ndchen (see Ex. 7) Ex. 7, Strauss? St?ndchen, mm. 1-4 and Schulhoff?s Februarschnee, mm. 11-13. Similar to other composers? early outputs which are characterized as somewhat immature and unpolished, the vocal part in Schulhoff?s early Lieder ?remains somewhat artless, displaying a lack of experience in the handling of the human voice?46 according to Josef Bek. On the other hand, well-constructed piano parts in his early works are ?pleasant to play and highly impressive.?47 46 Bek, Erwin Schulhoff, 26. 47 Simon, ?Foreword for Volume.? 15 PROGRAM II December 8, 2021, 5:00 PM Gildenhorn Recital Hall Ju Young Lee, piano with Connor Locke, mezzo soprano Anna Luebke, violin Ji Youn Jung, soprano Claude Debussy (1862-1918) Chansons de Bilitis (1897-1898) I. La fl?te de Pan II. La Chevelure III. Le tombeau des Na?ades Erwin Schulhoff (1894-1942) Drei Stimmungsbilder f?r eine Sopranstimme, Violine und Klavier, Op.12, WV 30 (1913) I. Klangen Geigen ?berm See II. Schlie?e deine Augen zu III. Wei?t Du Erwin Schulhoff (1894-1942) Drei Lieder f?r Altstimme mit Klavierbegleitung, Op.15, WV33 (1914) I. Madonna mia II. Rosa Mystika III. E Tenebris - Intermission - Erwin Schulhoff (1894-1942) Sonata No. 1 for Violin and Piano, Op. 7, WV 24 (1913) I. Allegro risoluto II. Tranquillo III. Presto IV. Allegro molto Richard Strauss (1864-1949) - C?cilie, Op. 27, No.2 (1892-1893) - Zueignung, Op.10, No.1 (1882-1883) - Ruhe, meine Seele! Op, 27, No.1 (1892-1893) - Morgen, Op. 27, No.4 (1892-1893) 16 RECITAL II: PROGRAM NOTES Drei Stimmungsbilder f?r eine Sopranstimme, Violine und Klavier, Op. 12, WV 30 Schulhoff?s early Lieder, composed in 1911, were very much oriented towards a lyrical late Romantic style; in contrast, Schulhoff?s other vocal works composed in 1913 and 1914, even though they belong to his early phase, showed his stylistic development towards maturity. Through his settings of texts by Hans Steiger (1889-1943) and Oscar Wilde (1854-1900) as well as the direct influences coming from Debussy?s French Impressionistic style48, Schulhoff moved into a new direction. Instead of choosing poems from different poets, Schulhoff, who was intensely preoccupied with the poems of Steiger, composed 17 Lieder and three fragments based on Steiger?s texts. In 1913, Schulhoff finally made a triumphant conclusion with the Drei Stimmungsbilder f?r eine Sopranstimme, Violine und Klavier [Three Atmospheric Pictures for soprano, violin, and piano], Op.12, WV 30. According to Klaus Simon, Steiger?s Die Garbe [The Sheaf] contained ?lyrical love poetry, reflective poems, images from everyday life,? which inspired Schulhoff to successfully transform his mood or feeling of the moment into music.49 For his Lieder Op. 12, Schulhoff attempted to process the French Impressionistic influence of Debussy: the tonal ambiguity and the descriptive sound of evoking specific scenes or objects. Compared to his early Lieder in 1911, which was organized in a relationship with reference to a center and a tonic, based on the key signature, this Lieder created tonal ambiguity: there was an absence of key signatures, an extensive use of accidentals, and an unresolved 48 Klaus Simon, ?Foreword to Volume II,? (Schott, 2016). 49 Ibid. 17 dissonance of cadences. In particular, there are more similarities between Debussy?s Chansons de Bilitis (completed in 1898) and Schulhoff?s song cycle Op. 12. Debussy launched his song cycle with the ascending line of a whole-tone scale in the piano part clearly describing the sound of a flute (Ex. 8).50 In Plus lent (Ex. 9), Debussy started with staccato notes followed by grace notes in the left hand of the piano with the dynamic of pp to evoke the sound of cricket in the peaceful moonlight. Ex. 8, Debussy?s la fl?te de Pan from Trois Chansons de Bilitis, mm.1-2. Ex. 9, Debussy?s la fl?te de Pan from Trois Chansons de Bilitis, mm.21-26. In the first song of Op.12, Klagen Geigen ?bern See, Schulhoff started with one measure of the violin solo line prior to the soprano?s singing ?Klagen Geigen ?bern See? [the sound of violins across the lake] (Ex. 10). He also added one measure of violin solo, evoking the sound of an owl, after the words ?Irgendwo ein K?uzlein rief? [Somewhere an owl called] (Ex. 11). 50 Schulhoff did not use the whole tone scale in both of his song cycles Op.12 and Op.15 but used it later in his Sonata No.1 for Violin and Piano, Op.7, WV 24. 18 Ex. 10, Schulhoff?s Klangen Geigen ?bern See, mm. 1-2. Ex. 11, Schulhoff?s Klangen Geigen ?bern See, mm. 8-13. Drei Lieder f?r Altstimme mit Klavierbegleitung, Op. 15, WV 33 This song cycle is Schulhoff?s first work composed for low female voice, as specifically marked in the title, Drei Lieder f?r Altstimme mit Klavierbegleitung [Three Lieder for alto and 19 piano accompaniment].51 It used the texts of Irish writer, Oscar Wilde (1854-1900).52 Additionally, this cycle showed a further stage of artistic development by employing some of Debussy?s compositional techniques from Chansons de Bilitis: the parallel movement of fifths in the left hand of the piano part (Ex. 12) and the speech-like vocal line (see Pressez un peu in Ex. 13). In the first song, Madonna Mia, Schulhoff applied the movement of parallel fifths in the left hand of the piano as well for the entire song (Ex. 14). Ex. 12, Debussy?s la fl?te de Pan from Trois Chansons de Bilitis, mm.1-2. Ex. 13, Debussy?s la fl?te de Pan from Trois Chansons de Bilitis, mm. 24-26 51 Simon, ?Foreword to Volume II.? 52 Oscar Wilde was famous for his plays rather than poems. Anthony Parr, ?Wilde, Oscar,? Grove Music Online (accessed March 6, 2022). 20 Ex. 14, Schulhoff?s Madonna Mia, mm.1-3. In the last song, E Tenebris, the tempo indication is ?Langsam, doch eindringlich, wie eine Litanei? [slow, but urgent, like a litany], a monotone-like vocal line which sustains the same note or uses a small intervallic movement creating the effect of recitative with a church bell-like piano accompaniment (Ex. 15). Ex. 15, Schulhoff?s E Tenebris, mm. 2-4. Comparing examples of similar musical language found both in Schulhoff?s early Lieder, Op.12 and Op.15, and Debussy?s Chansons de Bilitis, the Schulhoff songs clearly show that he absorbed the French Impressionistic style into his song cycles. After the end of the World War I, 21 towards the end of 1918, his compositional style in the genre of lied even extended to political songs, arrangements of folksongs, and even popular songs.53 Sonata No. 1 for Violin and Piano, Op. 7, WV 24 Schulhoff?s Violin Sonata No. 1 was composed in 1913, which came only about eighteen months after his violin suite. However, this sonata revealed a remarkable progress in the composer?s technique. Schulhoff finally began to use the sonata form,54 especially in the first movement, and utilized the sonata genre in a four-movement work: Allegro risoluto, Tranquillo, Presto, and Allegro molto. In addition to these common practices in the Western instrumental tradition, he added tonal ambiguity and a whole-tone scale into his harmonic palette. Compared to his violin suite, which made use of key signatures, this sonata presented tonal ambiguity, one of Debussy?s influences, by lack of the key signature at the beginning of each movement. However, Schulhoff provided references to each key at the final cadence of each movement. For example, the final chord on a C Major triad in the third movement is shown in m. 121 (Ex. 16.) Another of Debussy?s techniques, the use of the whole-tone scale, can be found prior to the final cadence in the third movement (Ex. 16). The piano part has ?a non- functional series of triads moving by whole tones.?55 53 This project does not include Schulhoff?s political songs, arrangements of folksongs, and popular songs because they do not fit into the criteria for inclusion. Klaus Simon, ?General Foreword,? (Schott, 2016). 54 The three basic elements of sonata form are exposition, development, and recapitulation. The musical subject is stated, explored, and restated. Bernard Jacobson, ?Sonata form: Musical form,? Britannica (accessed March 9, 2022). 55Cole, ?Ervin Schulhoff,? 75. 22 Ex. 16, Schulhoff?s Sonata No.1 for Violin and Piano, movement III, m. 119-121. As described in Schulhoff?s biography, this young boy was influenced first by Strauss in 1906 and then by Debussy in 1913. However, this sonata showed the influences of Strauss much more than Debussy; he absorbed Straussian gestures, including the use of triplet figures, the use of non-resolving chords, and the distribution of equal roles in both the solo instrument and the piano.56 During the entire sonata, both the violin and piano parts are clearly dominated by triplet figures which enhance the driving force of the music in a forward motion and build its dynamic tension to the greatest point (Ex. 17). Strauss? triplet rhythms are easily found in the piano accompaniment of his famous songs, one example being C?cilie, Op.27, No.2 (Ex. 18). 56 Ibid., 65. 23 Ex. 17, Schulhoff?s Sonata No.1 for Violin and Piano, movement I, mm. 61-62. Ex. 18, Strauss? C?cilie, Op. 27, No. 2, mm. 1-2. Schulhoff did not simply incorporate active triplet rhythms throughout his sonata. Prior to the repeated triplet chords in the piano part, Schulhoff even added a bold bass octave, which needs to be sustained for a full measure (Ex. 19). These transformed triplet figures can also be found in Strauss? Zueignung, Op.10, No.1 (Ex. 20). 24 Ex. 19, Schulhoff?s Sonata No. 1 for Violin and Piano, movement I, mm. 94-97. Ex. 20, Strauss? Zueignung, Op.10, No.1, mm. 25-30. 25 Strauss? Op.10 to Op.49 songs, composed during his most productive ?song period? (1899-1901),57are mostly tonal. However, Strauss? Ruhe, meine Seele! Op.27, No.1, delayed the appearance of tonality. From the beginning, there is no key signature. Its tonal motion is not completed until m. 39 (Ex. 21), finally resolving into the tonic in C major in the piano part (m. 42, Ex. 21). The first movement of Schulhoff?s sonata also does keep the unstable tonality during the entire movement by avoiding key signature and postponing the appearance of tonality until the end of the movement. One difference in terms of resolution, Schulhoff held up the last chord in the piano which failed to resolve in the traditional manner, for example, the ambiguous chord, the B-flat triad with an added sixth (G) and a suspended second (C) until the end of the first movement (Ex. 22). 58 Ex. 21, Strauss? Ruhe, meine Seele! Op.27, No.1, mm. 37-43. 57 Kimball, Song, 132. 58 Cole, ?Ervin Schulhoff,? 74. 26 Ex. 22, Schulhoff?s Sonata No.1 for Violin and Piano, movement I, mm. 103-105. Especially for the genre of lied, Strauss had never assigned the pianist to simply accompany the vocal line underneath. Instead, he gifted the important role to the pianist in presenting the melody prior to when the voice enters, for example in the prelude to Morgen, Op.27, No.4 (only the first phrase shown in Ex. 23). Schulhoff?s sonata did not contain such an extended piano solo. However, he equally distributed the parts between the violin and piano not only having the two instruments interact conversationally but also had the piano make an appearance with the melody before the violin?s entrance (see the first measure of the Poco meno in the first movement (Ex. 24) and the first measure of fourth movement (Ex. 25). Ex. 23, Strauss? Morgen, Op.27, No.4, mm. 1-4. 27 Ex. 24, Schulhoff?s Sonata No.1 for Violin and Piano, movement I, m. 105. Ex. 25, Schulhoff?s Sonata No.1 for Violin and Piano, movement IV, mm. 1-2. Even though his Sonata No. 1 for violin and piano is still categorized with the earlier works, Schulhoff successfully completed a work in a different genre, the sonata, with indebtedness to the compositional techniques of Debussy and Strauss, incidentally creating his own musical language in the sonata genre. 28 The selection of the particular Strauss? songs for this dissertation was made to show a comparison between Straussian piano techniques and the piano writing in Schulhoff?s sonata. For my second dissertation recital, I presented these four Strauss songs, C?cilie, Zueignung, Ruhe, meine Seele, and Morgen. My particular program order was based on following the concept of the timeline in Frauenliebe und Leben, Robert Schumann's iconic song cycle. Starting with C?cilie, a young girl is passionately longing for her lover to come and spend his life with her. In Zueignung, a mature woman is sending her solemn dedication to her loved one. The third song, Ruhe, meine Seele! depicts a plea for peace in her life; she is reassuring herself that all her sufferings and troubles will soon be over and is telling herself ?Rest, my soul". The final song, Morgen, imparts a message of eternal love; the hope of two lovers that morning will still see them closely united, lost to the world in each other?s eyes. 29 PROGRAM III March 17, 2022, 5:00 PM Gildenhorn Recital Hall Ju Young Lee, piano with Haerin Jee, violin Danielle Kim, flute Lecture: Erwin Schulhoff (1894-1942)?s short biography and examples of influences by Max Reger (1873-1916), Richard Strauss (1864-1949), Claude Debussy (1862-1918), and Leo? Jan??ek (1854-1928) - Intermission - Leo? Jana?c?ek (1854-1928) Sonata for Violin and Piano (1914) I. Con moto II. Ballada III. Allegretto IV. Adagio Erwin Schulhoff (1894-1942) Sonata for Flute and Piano (1927) I. Allegro moderato II. Scherzo: Allegro giocoso III. Aria: Andante IV. Rondo-Finale: Allegro molto gajo 30 RECITAL III: PROGRAM NOTES Sonata for Flute and Piano Schulhoff became interested in Czech folk music in the mid 1920s. After becoming familiar with Leo? Jan??ek?s opera Jen?fa, he became an admirer of Jan??ek?s nationalistic style. In 1924, Schulhoff published an article about Jan??ek, who was one of most influential Czech composers of his time: ?Just as Marc Chagall (1887-1985)59 paint his beloved Russian earth in devout simplicity, as Dostoevsky [Fyodor Dostoevsky] (1821-1881)60 describes it in his writings, so too does Jan??ek musically present his Moravian earth.?61 While on tour in Paris in 1927, Schulhoff became friendly with the French flautist Ren? Le Roy (1898-1985) and subsequently composed the Sonata for Flute and Piano, WV 86.62 The Prague critic Frantisek Bartos gave him the most positive review in describing this sonata which ?has all of the signature trends of Schulhoff?s creation. Through lightness, entertainment, and melodic flow complicated by numerous rhythmic refinements, it behaves daringly and flirts at the same time with archaic methods? Influenced by Jan??ek in the melody?filled with easily rousing musicality, well conceived technically and instrumentally.63 From his experiences in listening and studying Jan??ek?s compositions, Schulhoff?s flute sonata clearly shows the strong influence of Jan??ek?s folk characteristics. One of the most folk- influenced chamber works by Jan??ek is his Sonata for Violin and Piano, composed in 1914. Comparing Schulhoff?s flute sonata and Jan??ek?s violin sonata, one can easily hear the distinct 59 Chagall was a Russian-born, French artist. His main source of inspiration was clearly Nazi barbarism. He also drew on his experience of anti-Jewish pogroms during his youth in Russia. Alastair Smart, ?10 things to know about Marc Chagall,? https://www.christies.com/features/Marc-Chagall-7810-1.aspx (accessed March 10, 2022). 60 Dostoevsky was a Russian novelist. Morson, Gary. ?Fyodor Dostoyevsky.? Britannica (accessed March 10, 2022). 61 This quote was taken from Schulhoff?s essay about Leo? Jan??ek as cited by Scott Cole. Cole, ?Ervin Schulhoff,? 36. 62 Cole, ?Ervin Schulhoff,? 43. 63 Bek, Erwin Schulhoff, 93. 31 and different atmosphere in each work. Jan??ek?s sonata reflects a mood of uncertainty. According to the pianist Karel Solc,64 his violin sonata showed a connection with World War I in the agitated rendering of high tremolo in the final Maestoso section of the fourth movement, evoking ?the Russian armies entering Hungary.?65 On the other hand, Schulhoff?s sonata is pastoral-like, lighter, and gajo (means joyful, a tempo marking of fourth movement). Despite the different moods that Jan??ek and Schulhoff created, both sonatas utilized important features derived from Czech folk music: the use of accented downbeats, the Lydian mode, and the alteration of major and minor keys. In contrast to the German language, which uses unstressed articles, Czech speech tends to start with accented syllables. Thus, Jan??ek put the accented downbeat in both first themes of the first and second movements of his sonata (Ex. 26). Schulhoff used this technique in both first themes of the second and fourth movements of his as well (Ex. 27). 64 Karel Solc (1893-1985) was the pianist who performed Jan??ek?s Violin Sonata with the concertmaster of the Czech Philharmonic Orchestra, Stanislav Novak, at the Second Festival of the International Society for Contemporary Music in Salzburg during the first week of August 1923. Danijela Gualdi, ?Leo? Jan??ek?s Violin Sonata and How it Compares to the Violin Sonatas of Brahms and Debussy? (M.M. dis., Carnegie Mellon University, 2001), 14. 65 Karel?s opinion about the relationship between wars and Jan??ek?s violin sonata was found in Jaroslav Vogel?s book, Leo? Jan??ek, as cited by Gualdi, ?Leo? Jan??ek?s Violin Sonata,? 14. 32 Ex. 26, Jana?c?ek?s first movement theme, m.4, and second movement theme, mm.1-2. Ex. 27, Schulhoff?s second movement theme, mm.1-3, and fourth movement theme, mm.1-3. 33 Schulhoff also incorporated the Lydian mode and transformed it to the Lydian dominant modal shape, the Lydian (F#) plus Dominant (Bb) in C (Ex. 28). Ex. 28, Schulhoff?s first movement, m.6. Utilizing the Lydian dominant mode was quite common in Czech folk music because ?the tuning of shepherd?s pipes (in Prague) often produced the Lydian #4 scale degree and/or the Mixolydian ?7 scale degree.?66 This was the setting that Schulhoff probably attempted to describe by using the Lydian dominant mode.67 Another source for his inspiration could be derived from the Lydian minor mode, which was Jan??ek?s favorite mode. In his violin sonata, the Lydian minor mode is most apparent in the third movement. In an A? scale, the pitch C? in rapid descending passages in the violin part and the pitch D? in the piano part produce the sound of the Lydian minor (Ex. 29).68 66 Sara Marie Schuhardt, ?The Flute Works of Erwin Schulhoff? (D.M. diss., University of Northern Colorado, 2019), 94-95. 67 Ibid. 68 Gualdi, ?Leo? Jan??ek?s Violin Sonata,? 20. 34 Ex. 29, Jana?c?ek?s 3rd movement, mm. 10-14. In addition to the influences of the Lydian mode, Jan??ek frequently used sudden alterations of major and minor keys. This is one of the typical characteristics for modulations in Czech folk songs facilitating mood changes. This example occurs in the second movement?s Meno mosso; the subject in D? major is modulated to A? major but concluded by shifting to D? minor (C# minor) (Ex. 30).69 Ex. 30, Jana?c?ek?s 2nd movement, mm. 15-24. 69 Ibid., 18-20 35 Schulhoff also incorporated the same technique in the flute sonata?s second movement: a sudden shift from B? major to B? minor in mm. 25-26 in the piano part (Ex. 31). Ex. 31, Schulhoff?s 2nd movement, mm. 16-27. Another modulation that Schulhoff adopted from Jan??ek?s harmonic language was modulating to the key of the subtonic (?VII). This modulation was labeled the ?Moravian 36 modulation? by Jan??ek after he collected and researched Moravian folk songs.70 In mm. 4-5, a sudden shift occurs in the melody by taking the key down by a whole step. (Ex. 32).71 Ex. 32, ?Moravian modulation? in a folk song72 Although Jan??ek did not use the ?Moravian modulation? for his violin sonata, Schulhoff incorporated this modulation by shifting the tonal center C minor to B? in mm. 18-19 of the second movement (see Ex. 31)73 of the flute sonata. 70 As a traditional region in central Europe, Moravia became part of the modern state of Czechoslovakia in the 20th century. Britannica (accessed March 2, 2022). 71 Gualdi, ?Leo? Jan??ek?s Violin Sonata,? 33-34. 72 John K. Novak, ?What?s Folk about Jan??ek?: The Transformation of Folk Music Concepts in Jan??ek?s Mature Orhestral Works,? International Journal of Musicology Vol. 8 (1999), 268. 73 Schuhardt, ?The Flute Works of Erwin Schulhoff,? 127. 37 CONCLUSION ?His [Erwin Schulhoff?s] story is one of precocious talent, war-service that opened his eyes, a striking career as concert pianist, an almost too prolific gift for composition, constant adaptation to the moment.? 74 Leo Black, 1995 Schulhoff was a composer who felt passionately about composing in different styles and using many compositional techniques. German Romanticism, Impressionism, Dadaism, Jazz, Expressionism, and Slavic folk style were all integrated into his compositional language. This was his unique approach in absorbing and interpreting the world in which he was living. The quote from Miguel Lesmes75 states it best: ?Many of his works are a kaleidoscope of various different styles of composition that were popular during the early twentieth century.? In the late 19th century when Schulhoff was student of Reger, German Romanticism was still the primary movement in music. Reger was the most influential teacher for the young Schulhoff, successfully teaching him how to combine chromatic harmonic language with Baroque and Classical styles (i.e., Reger?s Violin Suite). As has been demonstrated in this dissertation, we can see how Schulhoff modeled Reger?s suite by using Baroque dance forms and extreme chromatic lines within the Romantic palette. Straussian musical language also had a strong impact on the twelve-year old Schulhoff. Strauss? influences are easily heard in both his piano chamber works and Lieder. As a talented pianist, Schulhoff was very interested in using Straussian gestures in the piano parts, including 74 Leo Black, ?The Return of the Repressed,? 231. 75 Lesmes, ?Erwin Schulhoff (1894-1942),? 12. 38 the use of triplet figures (i.e., Schulhoff?s Violin Sonata No.1), the use of a repeating pattern and the creation of an equal role for the piano in his early Lieder. After Schulhoff became acquainted with the masterful works of Debussy, his compositions immediately began reflecting French Impressionism, which included tonal ambiguity, parallel movement, whole tone scales, and speech-like vocal lines. After his bitter experiences in World War I, he began to express his anger against war through his music, which became aggressively modern as he dabbled in Dadaism and Expressionism (1919-1923). Fascinated by jazz, he also played a remarkable part in the jazz scene as one of the first European jazz pianists and jazz-inspired composers. Moving back to his homeland and the city of Prague and being an admirer of Jan??ek?s music found him adopting the aesthetics of traditional Czech folk music into his own works; he emulated the linguistic characteristics of the Czech language and applied common features from Czech folk songs, the use of Lydian mode and abrupt shifts in modulation. Because Schulhoff?s compositions comprised many different influences, it may give the wrong impression that his compositions can seem to be a bit disorderly or a sort of messy collage. However, he cleverly utilized distinctive compositional elements from the works of his most influential contemporaries and successfully achieved his own unique polystylistic76 voice in his musical compositions. It is possible to pose the question of why Schulhoff?s compositions remained unknown for about 40 years after his death and did not influence or inspire other composers in later generations. One possibility would be the simple fact that his life ended prematurely with his 76 The term ?Polystylism? was created by Russian composer, Alfred Schnittke (1934-1996), who wrote an essay ?Polystylistic Tendencies in Modern Music? (1971). Schmelz, Sonic Overload, 51. 39 death at the hands of the Nazis. I believe that he would have won much fame worldwide and cemented his place in the western musical canon if he was not targeted as one of their victims. According to Scott Cole77, there are two more possible reasons. His contract expired with his Viennese publisher, Universal Edition in 1931, so none of the subsequent works composed through the end of his life were published prior to his death. Also, his published compositional output might have fallen into stylistic cracks, or as stated by Cole: ?His music was not as radical as that of composers such as Arnold Schoenberg?, nor was it as accessible to the public as late- romantic or popular composers of the time.?78 Despite being unrecognized for decades after his death, Schulhoff?s work began receiving much attention in the late 1980s, when the violinist Gidon Kremer featured his chamber works and a review in the Neue Musikzeitung publication of 1988 was published.79 From the start of the new century, appreciation of Schulhoff?s oeuvre has grown enormously due to performances80, conferences81, and lectures, for example James Conlon?s82 multimedia series, which introduced Schulhoff as ?a fascinating, prolific, and multi-faceted composer.?83 Schulhoff?s biography reveals ?the array of styles present in his compositional idiom as well as the stylistic shifts that occurred throughout his lifetime.?84 77 Cole, ?Ervin Schulhoff,? 95-96. 78 Ibid. 79 Bek, Erwin Schulhoff, 8. 80 Three concerts were solely devoted to the music of Erwin Schulhoff in New York from April 30 to May 2, 2004. Fred Mazelis, ?The rediscovered music of Erwin Schulhoff.? https://www.wsws.org/en/articles/2004/05/schu- m11.html (accessed March 13, 2022). 81 The conference, titled ?reimagining Erwin Schulhoff, Viktor Ullmann and the German-Jewish-Czech World,? was held in Arizona State University on March 4-5, 2012. https://jewishstudies.asu.edu/legacies (accessed March 13, 2022). 82 James Conlon is an American composer and considered as ?one of classical music?s most recognized interpreters.? https://jamesconlon.com/ (accessed March 13, 2022). 83 James Conlon, ?Recovered Voices 2021: Schulhoff and More,? Colburn. https://www.colburnschool.edu/community-initiatives/recovered-voices/recovered-voices-2021/ (accessed March 12, 2022). 84 Schuhardt, ?The Flute Works of Erwin Schulhoff,? 7. 40 Through this dissertation, both in performance and in the analysis of the influences found in Schulhoff?s selected piano chamber works and Lieder, I hope to contribute a deeper understanding of his music and contribute to its well-deserved recognition in the hope that it can be enjoyed by future generations. This unique composer?s invaluable musical contributions to the world should be shared, acknowledged, and appreciated by a wider audience and his voice no longer silenced. 41 RECORDING TRACK LISTING Recital I 1-1: Max Reger ? Suite in A minor for Violin and Piano 1-2: Erwin Schulhoff ? Suite for Violin and Piano 1-3: Richard Strauss ? St?ndchen and Kling 1-4: Erwin Schulhoff ? Drei Lieder f?r Sopran und Klavier Recital II 2-1: Claude Debussy ? Chansons de Bilitis 2-2: Erwin Schulhoff ? Drei Stimmungsbilder f?r eine Sopranstimme, Violine und Klavier 2-3: Erwin Schulhoff ? Drei Lieder f?r Altstimme mit Klavierbegleitung 2-4: Erwin Schulhoff ? Sonata No.1 for Violin and Piano 2-5: Richard Strauss ? C?cilie, Zueignung, Ruhe, meine Seele! and Morgen Recital III 3-1: Lecture 3-2: Leo? Jan??ek ? Sonata for Violin and Piano 3-3: Erwin Schulhoff ? Sonata for Flute and Piano 42 APPENDIX I RECITAL I: TEXTS AND TRANSLATIONS Richard Strauss (1864-1949), St?ndchen, Op. 17, No.2 Text by Adolf Friedrich von Schack Translation by ? Richard Stokes, author of The Book of Lieder, published by Faber, provided courtesy of Oxford Lieder (www.oxfordlieder.co.uk) Mach auf, mach auf! doch leise, mein Kind, Open up, open up! but softly, my child, Um Keinen vom Schlummer zu wecken! So that no one?s roused from slumber! Kaum murmelt der Bach, kaum zittert im Wind The brook hardly murmurs, the breeze hardly moves Ein Blatt an den B?schen und Hecken; A leaf on the bushes and hedges; Drum leise, mein M?dchen, da? nichts sich regt, Gently, my love, so nothing shall stir, Nur leise die Hand auf die Klinke gelegt! Gently with your hand as you lift the latch! Mit Tritten, wie Tritte der Elfen so sacht, With steps as light as the steps of elves, Um ?ber die Blumen zu h?pfen, As they hop their way over flowers, Flieg leicht hinaus in die Mondscheinnacht, Flit out into the moonlit night, Zu mir in den Garten zu schl?pfen! Slip out to me in the garden! Rings schlummern die Bl?ten am rieselnden Bach The flowers are fragrant in sleep Und duften im Schlaf, nur die Liebe ist wach. By the rippling brook, only love is awake. Sitz nieder! Hier d?mmerts geheimnisvoll Sit down! Dusk falls mysteriously here Unter den Lindenb?umen. Beneath the linden trees. Die Nachtigall uns zu H?upten soll The nightingale above us Von unseren K?ssen tr?umen Shall dream of our kisses Und die Rose, wenn sie am Morgen erwacht, And the rose, when it wakes at dawn, Hoch gl?hn von den Wonneschauern der Nacht. Shall glow from our night?s rapture. Richard Strauss (1864-1949), Kling, Op. 48, No.3 Text by Karl Henckell | Translation by the pianist Kling! Ring! Meine Seele gibt reinen Ton. My soul gives a pure tone, Und ich w?hnte die Arme And I imagined the poor one Von dem w?tenden Harme From the raging affliction Wilder Zeiten zerrissen schon. Of turbulent times already torn. Sing! Meine Seele, den Beichtgesang Sing, my soul the confession song Wiedergewonnener F?lle! Of reclaimed abundance! Hebe vom Herzen die H?lle! Lift from the heart the cover! Heil dir, gel?uterter Innenklang! Hail to thee, purified inner sound! Kling! Ring, my soul, ring your life, Meine Seele, dein Leben, Ring, flowing, fresh creation. Quellendes, frisches Gebild! Blooming has come to pass 43 Bl?hendes hat sich begeben On the dried-up field. Auf dem verdorrten Gefild. Ring, my soul, Ring. Erwin Schulhoff (1894-1942), Drei Lieder f?r Sopran und Klavier, Op.14 (WV12) Text by C?sar (Otto Hugo) Flaischlen | Translation by the pianist Februarschnee February Snow Februarschnee tut nicht mehr weh, February snow no longer hurts, denn der M?rz ist in der N?h! because March is near! aber im M?rz but in March h?te das Herz, guard the heart, da? es zu fr?h nicht knospen will! that it won't bud too soon! warte, warte und sei still! wait, wait and be quiet! Und w?r der sonnigste Sonnenschein, And if the sunniest sunshine und w?r es noch so still auf Erden, and if it were still so quiet on earth, warte, warte und sei still: wait, wait and be quiet: es mu? erst April gewesen sein, it must be April first bevor es Mai kann werden! before it can become May. Text by Otto Falckenberg | Translation by the pianist Sommerabend Summer Evening Die Luft verd?mmert, Noch von Sonne warm?. The air grows dark still warm from the sun?. Sieh, wie die Berge fern im Blau zerrinnen, See how the mountains melt away in the blue Erreichbar kaum den m?dgewachten Sinnen. hardly accessible to the tired senses. F?hlst Du die Trauer, Die mein Herz bef?llt? Do you feel the sadness that afflicts my heart? Sieh, unsere W?nsche sind zu arm f?r diese Welt. See, our desires are too poor for this world. Text by Friedrich Adler | Translation by the pianist D?mmerstunde Twilight Hour Sprich nur, sprich! Just speak, speak! Ich h?re die Rede rinnen, ich h?re dich. I hear the speech running, I hear you. Sprich nur, sprich! Just speak, speak! Durch das Ohr nach innen gleitet die Welle; The wave slides inward through the ear; Frieden tr?gt sie und Helle t?nend mit sich. She carries peace and brightness with her. Ich h?re die Worte rinnen, I hear the words trickle I don't want to think about ich will mich auf keins besinnen, ich h?re dich. anything, I hear you. Sprich nur, sprich! Just speak, speak! 44 APPENDIX II RECITAL II: TEXTS AND TRANSLATIONS Claude Debussy (1862-1918), Chansons de Bilitis (1897) Text by Pierre Lou?s (1970-1925) | Translation by Pierre Bernac La fl?te de Pan The Flute of Pan Pour le jour des Hyacinthies For Hyacinthus day il m?a donn? une syrinx he has given me a pipe faite de roseaux bien taill?s, made of well-cut reeds, unis avec la blanche cire bound with white wax qui est douce ? mes l?vres comme le miel. that is sweet to my lips like honey. Il m?apprend ? jouer, assise sur ses genoux; He teaches me to play, sitting on his knee; mais je suis un peu tremblante. but I am a little tremulous. Il en joue apr?s moi, He plays it after me, si doucement que je l?entends ? peine. so softly that I scarcely hear it. Nous n?avons rien ? nous dire, We have nothing to say, tant nous sommes pr?s l?un de l?autre; so close are we to each other; mais nos chansons veulent se r?pondre, But our songs wish to respond et tour ? tour nos bouches s?unissent sur la fl?te. and from time to time our mouths join upon the flute. Il est tard; It is late; voici le chant des grenouilles vertes here is the song of the green frogs qui commence avec la nuit. that begins at nightfall. Ma m?re ne croira jamais My mother will never believe que je suis rest?e si longtemps that I have stayed so long ? chercher ma ceinture perdue. to look for my lost girdle. La Chevelure The Tresses of Hair Il m?a dit: He said to me: ?Cette nuit, j?ai r?v?. ?Tonight I dreamed. J?avais ta chevelure autour de mon cou. I had the tresses of your hair around my neck. J?avais tes cheveux comme un collier noir I had your hair like a black circlet autour de ma nuque et sur ma poitrine. around the nape of my neck and on my breast. Je les caressais, et c??taient les miens; I caressed it and it was my own; et nous ?tions li?s pour toujours ainsi, and we were united for ever thus, par la m?me chevelure la bouche sur la bouche, by the same tresses mouth upon mouth, ainsi que deux lauriers n?ont souvent qu?une racine. like two laurels that often have but one root. Et peu ? peu, il m?a sembl?, And little by little, it seemed to me, tant nos members ?taient confondus, so intermingled were our limbs, que je devenais toi-m?me that I became part of you ou que tu entrais en moi comme mon songe.? or you entered into me like my dream.? Quand il eut achev?, When he had done, il mit doucement ses mains sur mes ?paules, he put his hands gently on my shoulders, et il me regarda d?un regard si tendre, and he looked at me with so tender a look, que je baissai les yeux avec un frisson. that I lowered my eyes with a shiver. 45 Le tombeau des Na?ades The Tomb of the Naiads Le long du bois couvert de givre, je marchais; Along the wood covered with frost, I walked; mes cheveux, devant ma bouche, my hair, hanging down before my mouth, se fleurissaient de petits gla?ons, was bespangled with little icicles, et mes sandales ?taient lourdes and my sandals were heavy de neige fangeuse et tass?e. with muddy, packed snow. Il me dit: ?Que cherches-tu?? He said to me: ?What do you seek?? ??Je suis la trace du satyre. ??I follow the track of the satyr. Ses petits pas fourchus alternent His little cloven hoof marks alternate comme des trous dans un manteau blanc.? like holes in a white mantle.? Il me dit: ?Les satyres sont morts. He said to me: ?The satyrs are dead. Les satyres et les nymphes aussi. The satyrs and the nymphs too. Depuis trente ans il n?a pas fait un hiver aussi terrible. For thirty years there has not been so terrible a winter. La trace que tu vois est celle d?un bouc. The track that you see it that of a buck. Mais restons ici, o? est leur tombeau.? But let us stay here, where their tomb is.? Et avec le fer de sa houe And with the iron of his spade il cassa la glace de la source o? jadis He broke the ice of the spring where riaient les na?ades. Formerly the naiads had laughed. Il prenait de grands morceaux froids, He took some big, cold pieces, et les soulevant vers le ciel p?le, and raising them towards the pallid sky il regardait au travers. he looked through them. Erwin Schulhoff (1894-1942), Drei Stimmungsbilde f?r eine Sopranstimme, Violine und Klavier, Op.12, WV 30 (1913) Text by Hans Steiger (1889-1943) | Translation by the pianist Klangen Geigen ?bern See? The Sound of Violins across the Lake ... halbvergessnes Liebesweh. ? half-forgotten love affair. ? Wei? nicht, wie der Klang verging. I don't know how the sound drifted by? Lange ich in Tr?umen hing Long in dreams I languished? lange? long? Irgendwo ein K?uzlein rief. ? somewhere a little owl called. ? Nacht und Wald und See so tief? Night and forest and lake so deep ... Alles wunderstill und sacht! Everything is wonderfully quiet and gentle! Meine Seele trank die Nacht. My soul drank the night. Schliesse deine Augen zu... Close your Eyes ... Lass nicht sehn, Don't look, Wie sie gross im Brande stehn! How big the fire is! Mach sie zu... Close your eyes... Zu deinem Kindergesicht passt es nicht, Your innocent face should not see this? wenn das bange Weinen der Entsagung unaufhaltsam When the anxious weeping from rejection ceaselessly meine Wange bettelt... runs down my cheeks?. Schliesse deine Augen zu... Close your eyes ... 46 Lass nicht sehn, Don?t look? Wie sie gross im Brande stehn! How the fire consumes everything?! Mach sie zu... Mach sie zu... Mach sie zu... Close your eyes? close your eyes? close your eyes? Wei?t du? Do you know? da? der sonnenm?de, nachtstille Garten How the sun-weary, nocturnal garden meine Wehmut liebt? Loves my melancholy? Sieh! ? Look! ? Er h?ngt die schwarzen T?cher der Trauerweiden It hangs black cloths on weeping willows tief ?ber die weissen Laternen... deep over the white lanterns ... die mir so wehtun. ? Ah! this pains me so much. ? Ah! F?hlst du sein feuchtes Mooshaar? ? Do you feel the damp moss? ? Es hat die Nacht mit mir geweint... It has cried with me the night ... ... Liebste!... ... Dearest! ... Erwin Schulhoff (1894-1942), Drei Lider f?r Altstimme mit Klavierbegleitung, Op.15, WV 33 (1914) ? Text by Oscar Wilde (*Schulhoff?s German version) | Original text by Oscar Wilde (1854-1900) *There are some missing words in German version. Madonna Mia Madonna Mia Ein Lilienm?dchen, fremd im Erdenleben, A lily-girl, not made for this world's pain, mit braunem Haar, geflochten dicht am Ohr, With brown, soft hair close braided by her ears, sehns?cht'gen Augen, halb im Tr?nenflor And longing eyes half veiled by slumberous tears wie blaustes Wasser unterm Regenweben: Like bluest water seen through mists of rain: Die Wangen nie ergl?ht in heissem Beben, Pale cheeks whereon no love hath left its stain, Die Unterlippe eingezogen bang in Furcht vor Liebe, Red underlip drawn in for fear of love, und den Hals entlang im Marmorweiss nur eine Ader And white throat, whiter than the silvered dove, eben. Through whose wan marble creeps one purple vein. Doch soll mein Mund auch ohne Rast ihr singen, Yet, though my lips shall praise her without cease, selbst ihre F?sse k?sst'ich nimmermehr, Even to kiss her feet I am not bold, weil ?berschattet von der Ehrfurcht Schwingen Being o'ershadowed by the wings of awe, wie Dante, als mit Beatricen Like Dante, when he stood with Beatrice er unter des Greisen Brust, die Flammen schlug, Beneath the flaming Lion's breast, and saw im siebten Himmel sah den gold?nen Zug. The seventh Crystal, and the Stair of Gold. Rosa Mystica (?Requiescat? as original) Requiescat Still, da? sie es nicht h?rt, Tread lightly, she is near leise hier geh! Under the snow, Wachsen das Masslieb h?rt Speak gently, she can hear sie unterm Schnee. The daisies grow. All ihr Haar hell wie Gold All her bright golden hair des Moders Raub, Tarnished with rust, sie, die so jung und hold She that was young and fair sank in den Staub. Fallen to dust. Weiss wie Schnee, lilienklar, Lily-like, white as snow, wusste sie kaum, She hardly knew da? sie ein M?gdlein war, She was a woman, so wuchs wie im Traum. Sweetly she grew. 47 Sarg nun und schwerer Coffin-board, heavy stone, Stein lasten auf ihr; Lie on her breast, Ich qu?l'mein Herz allein, I vex my heart alone sie schlummert hier. She is at rest. Frieden! Nicht Lautenschall H?rt Peace, Peace, she cannot hear sie noch Lieder; Lyre or sonnet, hier ruht mein Leben all All my life?s buried here, werft Erde nieder! Heap earth upon it. E Tenebris E Tenebris Komm, Christus, hilf mir! Reich mir deine Hand! Come down, O Christ, and help me! reach thy hand, In wilden Fluten ring'ich im Gebet For I am drowning in a stormier sea Als Simon auf dem See Genezareth! Than Simon on thy lake of Galilee: Der Wein des Lebens rinnt dahin im Sand. The wine of life is spilt upon the sand, Mein Herz ist wie ein hunerw?sstes Land, My heart is as some famine-murdered land, Wo alles Gute hinstarb, Whence all good things have perished utterly, und gewiss: Sollt'ich vor Gott aus dieser Finsternis, And well I know my soul in Hell must lie Ich m?sste liegen in der Sonne Brand. If I this night before God?s throne should stand. "Er schl?ft vielleicht, ritt wohl zur Jagd, ?He sleeps perchance, or rideth to the chase, Wie Baal, wenn alle Tag von Karmels Felsens?ulen Like Baal, when his prophets howled that name seine Propheten jenen Namen heulen." From morn to noon on Carmel?s smitten height.? Nein, still, noch vor der Nacht schau'ich zumal Nay, peace, I shall behold before the night, die erznen F?sse, das brandweisse Kleid, The feet of brass, the robe more white than flame, die wunde Hand, das Antlitz voller Leid. The wounded hands, the weary human face. Richard Strauss (1864-1949) Richard Strauss (1864-1949), C?cilie, Op. 27, No.2 Text by Heinrich Hart (1855-1906) | Translation by Waldo Lyman and Kathleen Maunsbach C?cilie Cecily Wenn du es w??test, was tr?umen hei?t If you but knew what it is to dream Von brennenden K?ssen, vom Wandern Of burning kisses, of wandering, Und Ruhen mit der Geliebten, Of reposing with the loved one, Aug? in Auge und kosend und plaudernd. Of gazing into each other?s eyes, and caressing, and murmuring, Wenn du es w??test, du neigtest dein Herz! If you but knew it, you would let your heard consent! Wenn du es w??test, was bangen hei?t If you but knew what it is to be afraid In einsamen N?chten, umschauert vom Sturm, Through the lonely nights, assailed by storms, Da niemand tr?stet milden Mundes die kampfm?de Seele, When the strife-weary soul is not soothed by gentle words, Wenn du es w??test, du k?mest zu mir. If you but knew it, you would come to me. Wenn du es w??test, was leben hei?t, If you but knew what it is to live Umhaucht von der Gottheit weltschaffendem Atem, Enveloped in the immense breath of divinity, Zu schweben empor, lichtgetragen zu seligen H?h?en, To soar upwards, raised and carried to sublime heights, Wenn du es w??test, du lebtest mit mir. If you but knew this, you would live with me. Richard Strauss (1864-1949), Zueignung, Op.10, No.1 Text by Hermann von Gilm (1812-1864) | Translation by Waldo Lyman and Kathleen Maunsbach 48 Zueignung Dedication Ja, du wei?t es, teure Seele, Ah, you know it, dear soul, Dass ich fern von dir mich qu?le, That, far from you, I anguish, Liebe macht die Herzen krank, Love causes hearts to ache, - Habe Dank! To you my thanks! Einst hielt ich, der Freiheit Zecher, Once, drinking to freedom, Hoch den Amethysten-Becher, I raised the amethyst cup, Und du segnetest den Trank, And you blessed the drink, - Habe Dank! To you my thanks! Und beschworst darin die B?sen, You exorcised the evil spirits in it, Bis ich, was ich nie gewesen, So that I, as never before, Heilig, heilig an?s Herz dir sank, Cleansed and freed, sank upon your breast, Habe Dank! To you my thanks! Richard Strauss (1864-1949), Ruhe, meine Seele! Op, 27, No.1 Text by Karl Henckell | Translation by Waldo Lyman and Kathleen Maunsbach Ruhe, meine Seele Rest, my Soul Nicht ein L?ftchen regt sich leise, Not a breeze is stirring, Sanft entschlummert ruht der Hain; Softly slumbering lies the grove; Durch der Bl?tter dunkle H?lle Through the dark cover of foliage Stiehlt sich lichter Sonnenschein. Steal the bright sunbeams, Ruhe, ruhe, meine Seele, Rest, rest, my soul, Deine St?rme gingen wild, Your turmoil has been furious, Hast getobt und hast gezittert, You have raged and trembled, Wie die Brandung, wenn sie schwillt! Like the surf when it swells! Diese Zeiten sind gewaltig, These times are turbulent Bringen Herz und Hirn in Not? They cause distress to heart and mind. Ruhe, ruhe, meine Seele, Rest, rest, my sould, Und vergi?, was dich bedroht! And forget what threatens you! Richard Strauss (1864-1949), Morgen, Op. 27, No.4 Text by John Henry Mackay | Translation by Waldo Lyman and Kathleen Maunsbach Morgen! Tomorrow Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, Und auf dem Wege, den ich gehen werde, And on the path that I will follow, Wird uns, die Gl?cklichen, sie wieder einen It shall again unite us, happy ones, Inmitten dieser sonnenatmenden Erde ... Upon this sun-breathing earth? Und zu dem Strand, dem weiten, wogenblauen, And to the wide shore, with its blue waves, Werden wir still und langsam niedersteigen, We will quietly and slowly descend, Stumm werden wir uns in die Augen schauen, Speechless, we shall look into each other?s eyes, Und auf uns sinkt des Gl?ckes stummes Schweigen ... And upon us will descend the muted silence of happiness? 49 ANNOTATED BIBLIOGRAPHY Bek, Josef. Erwin Schulhoff: Leben und Werk. Hamburg: Von Bockel, 1994. Josef Bek is a Czech musicologist and leading Schulhoff scholar. This book provides a comprehensive biography of Schulhoff. Bek, Josef. ?Schulhoff, Erwin [Erv?n].? Grove Music Online (2001). https://doi-org.proxy- um.researchport.umd.edu/10.1093/gmo/9781561592630.article.25128 (accessed February 21, 2022). This article includes relevant information about Schulhoff?s education, life, and compositional style. Black, Leo. "The Return of the Repressed." The Musical Times Vol. 136, no. 1827, 1995: 230- 232. An article which reflects on the careers of three Jewish composers, Goldschmidt, Ullmann, and Schulhoff, those whose voices were suppressed. I found a perfect quotation describing Schulhoff?s compositional style and incorporated it into the conclusion. Cole, Scott. ?Ervin Schulhoff: His Life and Violin Works.? D.M. diss., Florida State University, 2001. This thesis was very helpful with background information on Schulhoff?s life and an in- depth look at his violin works. It also quotes extensively from Josef Bek?s works. Gilliam, Bryan. The Life of Richard Strauss. Cambridge University Press, 1999. The author has written a biography of Richard Strauss and discussed his compositional style. This was a valuable resource for learning about his preference in the use of texts by lesser-known poets for his songs. Gorrell, Lorraine. The Nineteenth-Century German Lied. Amadeus Press, 1993. A major study of the great songs (Lieder) of 19th-century composers, especially Richard Strauss. Gualdi, Danijela. ?Leo? Jan??ek?s Violin Sonata and How it Compares to the Violin Sonatas of Brahms and Debussy.? M.M. diss., Carnegie Mellon University, 2001. This masters? thesis is quite helpful in understanding the formal analysis of Leo? Jan??ek?s Violin Sonata. 50 Harman, Maria Alene. ?Erwin Schulhoff (1894?1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86.? D.M.A diss., University of North Texas, 2011. Harman?s dissertation provides a beneficial resource about the life of Schulhoff and an analysis of two of Schulhoff?s works for flute. Harman relates Schulhoff?s life to his compositional style, especially the Flute Sonata. Kimball, Carol. Song: A Guide to Art Song Style and Literature. Hal Leonard, 2006. An encyclopedic listing of classical art songs arranged by nationality and composer. The book was extremely helpful in learning about Richard Strauss? compositional style in his Lieder. Lesmes, Miguel Alejandro. Erwin Schulhoff (1894-1942): Life, Work, Analysis of String Quartet No.2 (WV 77) (D.M. diss., The University of Memphis, 2020), 12. A biography of Schulhoff which illustrates how Schulhoff?s life and compositional style were affected by the environment in which he lived. Novak, John K. ?What is Folk about Jan??ek?: The Transformation of Folk Music Concepts in Jan??ek?s Mature Orchestral Works.? International Journal of Musicology Vol. 8, 1999. Novak?s article examines unique features of Moravian folk music. It also discusses the influences of Moravian folk music on Jan??ek?s compositions. Schmelz, Peter John. Sonic overload: Alfred Schnittke, Valentin Silvestrov, and polystylism in the late USSR. New York: Oxford University Press, 2021. A useful resource in understanding the origin of the term polystylism. Schuhardt, Sara Marie. ?The Flute Works of Erwin Schulhoff.? D.M. diss., University of Northern Colorado, 2019. This thesis provides an analysis of Schulhoff?s flute works as well as explaining the influence of the elements of Czech folk music on his work. Simon, Klaus. ?General Foreword.? Schott, 2016. ????. ?Foreword for Volume I.? Schott, 2016. ????. ?Foreword to Volume II.? Schott, 2016. I found the editor Simon?s notes in the front of each volume of Schulhoff?s vocal works extremely helpful. His notes are essential resources in understanding Schulhoff as a lied composer and learning about Schulhoff?s creative process in composing his Lieder. 51 MUSIC SCORES Debussy, Claude. Chansons de Bilitis. Paris: Jean Jobert, 1968. Jan??ek, Leo?. Sonata for Violin and Piano, edited Rudolf Reissig. Prague: Hudebn? Matice, 1922. Reger, Max. Suite for Violin and Piano, Opus 103a. Leipzig: Lauterbach & Kuhn, 1908. Schulhoff, Erwin. Complete Songs for Voice and Piano, Volume 1: Early Songs I, edited by Klaus Simon. Mainz: Schott, 2016. ????. Complete Songs for Voice and Piano, Volume 2: Early Songs II, edited by Klaus Simon. Mainz: Schott, 2016. ????. Sonata for Flute and Piano. London: Chester Music, 1996. ????. Sonata for Violin and Piano, revised by Vlastimil Musil. Mainz: Schott, 1966. ????. Suite for Violin and Piano, edited by Isolde von Foerster. Mainz: Schott, 2004. Strauss, Richard. 30 Songs for Voice and Piano. New York: International Music Company, 1961. 52