Lortzing, (Gustav) Albert, celebrated German composer b. Robert Alexander Schumann, Schumann, Robert (Alexander), great German composer of surpassing imaginative power whose music expressed the deepest spirit of the Romantic era, hus… Gustav Albert Lortzing, Lortzing, (Gustav) Albert Nicolas Slonimsky/Laura Kuhn/Dennis McIntire
Frey, “Was sagt ihr zu diesem Erfolg:” F. L.s “Die lustige Witwe”: Versuch einer sozialen Theorie der Operette (Frankfurt am Main and N.Y., 1988) S. Marten, Die Operette als Spiegel der Gesellschaft: F. L.: Eine Biographie in Zitaten (Innsbruck, 1984) C. L.: Bibliographie zu Leben und Werk (Vienna, 1970) O. Grun, Gold and Silver: The Life and Times of F.L. Murray, Fortune’s Favourite: The Life and Times of F. L.: Seine Musik, sein Leben (Vienna, 1950) W.
L.: Sein Weg und sein Werk (Berlin, 1940 new ed., 1957, as Schon ist die Welt: F. pieces, including several symphonic poems 2 violin concertos about 65 waltzes, the most famous being Gold und Silber (1899) more than 50 marches various works for piano, including sonatas over 90 songs etc. film: Die grosse Attraktion (1931) Es war einmal ein Walzer (1932) Grossfürstin Alexandra (1934) Die ganze Welt dreht sich um Liebe (1936) Une Nuit à Vienne (1937). opera: Der Kürassier (1891-92 unfinished) Rodrigo (1893 unfinished) Kukuška (Leipzig, Nov. 30, 1926) A Pacsirta (Wo die Lerche singt) (Budapest, Jan. as the opera Garabonciás diák, Budapest, Feb. 5, 1907) Der Mann mit den drei Frauen (Jan. 30, 1905) Peter und Paul reisen im Schlaraffenland (Max und Moritz reisen ins Schlaraffenland) (Dec. 11, 1913 rev.as Die Tangokönigin, Vienna, Sept. as Der Schlüssel zum Paradies, Leipzig, Oct. in Vienna unless otherwise given): operetta: Fräulein Leutnant (1901) Arabella, die Kubamerin (1901 unfinished) Das Club-Baby (1901 unfinished) Wiener Frauen (Der Klavierstimmer) (Nov. a thematic index of his works (London, 1985). Lehár’s music exemplifies the spirit of gaiety and frivolity that was the mark of Vienna early in the 20 th century his superlative gift for facile melody and infectious rhythms is combined with genuine wit and irony a blend of nostalgia and sophisticated humor, undiminished by the upheavals of wars and revolutions, made a lasting appeal to audiences. After World War II, Lehár went to Zürich (1946) thenreturned to Bad Ischi shortly before his death. Ironically, Die lustige Witwe was one of Hitler’s favorite stage works. Lehár’s last years were made difficult by his marriage to a Jewish woman, which made him suspect to the Nazis. 4, 1928), and Das Land des Lächelns (Oct. For Berlin, he wrote Der Zarewitsch (Feb. From then on Vienna played host to most of his finest scores, including Der Graf von Luxemburg (Nov.
30, 1905 it subsequently received innumerable performances throughout the world. His most celebrated operetta, Die lustige Witwe, was first performed in Vienna on Dec. 20, 1902), he established himself as a composer for the theater. Although his early stage workswere unsuccessful, he gained some success with his marches and waltzes. From 1890 to 1902 Lehár led military bands in Pola, Trieste, Budapest, and Vienna. in Elberfeld in 1889, entered his father’s band (50 th Infantry) in Vienna, and assisted him as conductor. In 1888 he became a violinist in a theater orch. In 1887 Lehár submitted 2 piano sonatas to Dvořák, who encouraged him in his musical career. In 1885 he was brought to the attention of Fibich, who gave him lessons in composition independently from his studies at the Cons. He then entered the Prague Cons, at 12 and studied violin with A. He began his music training with his father, Franz Lehár (1838–98), a military bandmaster. Lehár, Franz(actually, Ferenc), celebrated Austrian operetta composer of Hungarian descent b.
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