2019-02-09: Aulin: VC2
2019-02-08: Heiss: VC
2019-01-10: Geissler: VC1
2019-01-07: Marteau: Coelum
2019-01-07: Cliquet-Pleyel: PC
2018-12-20: Marteau: Andante
2018-12-19: Massimo: Sancto
2018-11-29: Verley: Sclava
2018-11-15: Otsa: VC
2018-11-13: Eitan: VC
2018-11-11: Nilson Fysher
2018-10-25: Geissler: VC2
(also known as: Hans Schimmerling, Hanus Aldo Schimmerling)
Hanns Schimmerling was born on 5 September 1900 in Brno (Moravia, today Czech Republic) into a well-off family with his father being a dentist. He learned the piano at the age of 6 and the cello at the age of 11. From the age of 14 Hanns Schimmerling received lessons in music theory from Joseph Gustav Mraczek. He was not drafted for military service in World War I and so could finish his school in 1918. Hanns Schimmerling then moved to Vienna. He started to study medicine on demand of his father. But he quit medicine shortly afterwards and switched to law, all the while he continued his music studies as well. In 1920 Hanns Schimmerling moved to Prague and became a student of Alexander Zemlinsky at the "Deutsche Akademie für Musik und darstellende Kunst". Some sources also mention Franz Schreker and Frantisek Neumann as his teachers. He graduated in both law and music in 1924.
Hanns Schimmerling became the conductor of the German Opera in Prague in 1924/25. He then toured the US as a piano accompanist for a Berlin opera star, spent some time at the Metropolitan Opera in New York, enrolled a summer course at the Sorbonne in Paris and became the accompanist for Michael Bohnen, the leading Metropolitan Opera bass, in 1926. In 1928 Hanns Schimmerling moved back to Vienna where he worked as a pianist, composer and singer. In 1938 Hanns Schimmerling and his wife Mathylda fled from Vienna just before the invasion of Hitler. After a long trip via Prague and Trieste they finally arrived in New York. Hanns Schimmerling lived in New York for the next decade, worked as a composer, conductor, teacher and writer and became a US citizen in 1944. In the 1950s the Schimmerlings bought a house in Woodstock, NY and moved there. Hanns Schimmerling then taught music at different elementary schools in the area and developed different music school programs like "The American Parade" until his retirement in 1960.
Hanns Schimmerling died on 10 November 1967 in Kingston, NY.
Hanns Schimmerling was a promising young composer in the 1920s and 30s but his career was cut short by the rise of the Nazi regime and his emigration to the US. He could not requicken his reputation as a distinguished composer and sank more and more into oblivion. This neglect is unjustified and deplorable because Hanns Schimmerling was one of the up-and-coming composers in the 1920s. In a special issue of the music journal "Musikblätter des Anbruch" for the music festival in Prague in 1925 the author Erich Steinhardt mentioned five promising composers: Erwin Schulhoff, Fidelio Finke, Victor Ullmann, Hans Krasa and Hanns Schinmmerling! An illustrious list of names - the first four all became renowned composers with only Hanns Schimmerling being forgotten nowadays.
The work catalogue of Hanns Schimmerling comprises opera, orchestral and chamber music, songs and choral works. Due to a missing detailed online work catalogue I list here all the larger compositions by Hanns Schimmerling to give an overview on his oeuvre:
In my possession is the autograph full score of the "Sinfonietta parisienne, for orchestra and voice op.18" by Hanns Schimmerling. The work was composed in 1925 and premiered on 7 November 1926 by the Orchester Stadttheater Brünn under Frantisek Neumann. The composition is dedicated to the city of Paris and a musical picture of different places in Paris. The 5 movements are:
Below one can find a computer realisation of the beginning of the first movement "Le Carrefour de l'Opera".
Hanns Schimmerling wrote a detailed preface to his composition where he described the origin of the Sinfonietta and the images of each movement. About the first movement he wrote the following:
"The noise and uproar an the opera junction creates a chaos of wild voices. To identify a straight-line theme for the 1. movement of my Parisian Sinfonietta is just the sign of a musical nursery and I only dared to compose a fugue (albeit with almost only sixteenth notes) because I wanted to find the most obvious musical form for the opera junction (Le Carrefour de l'Opera) for which I should not be ashamed to have ever studied at a conservatory. However I would like to beg automobile industrialist's and instrument maker's pardon, when I mistook horns in F for Ford and Fiat and trumpets in C for Citroen and Cadillac. But that is the only liberty I took in a strict four-part movement with car horn accompaniment. The traffic at the Boulevard de Capucines is the subject and the vertical Rue de l'Opera is the secondary theme. Fortunately the traffic controlling constable in the junction. What an embarassing incident, the collision of the subject with the secondary theme, a harmonical mess which cannot even be justified according to the laws of a post-Schoenbergian harmonics."