![]() ![]() Schilde has contributed fingerings to almost 100 Henle Urtext editions. There are numerous radio and television broadcasts with Klaus Schilde as well as CD recordings. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he also taught for decades as a professor. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. ![]() From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. After moving to the west in 1952 he studied with Walter Gieseking and Edwin Fischer, as well as with Marguerite Long, Lucette Descaves and Nadia Boulanger in Paris. From 1946–1948 he studied at the music conservatory in Leipzig with Hugo Steurer. There he was greatly influenced by Walter Engel, who taught him the piano (Kodaly method), composition and violin. Klaus Schilde, born in 1926, spent his childhood in Dresden. Publication of the book “Portraits et souvenirs.”Ĭantata “Le feu celeste” in praise of electricity, for the opening of the Exposition Universelle. Composition of “The Carnival of the Animals,” the publication of which he forbade during his lifetime. 3 in C minor): major work with thematic transformation after Liszt’s model. Performance in London of his Organ Symphony (Symphony No. Publication of the treatise “Harmonie et mélodie.” Performance in Paris of his opera “Henry VIII.” Performance in Weimar of his opera “Samson et Dalila.” He teaches at the École de Musique Classique et Religieuse Niedermeyer.įounding of the Société Nationale de musique.Ĭomposition of symphonic poems “Le rouet d’Omphale” (“The Wheel of Omphale,” 1871), “Phaéton” (1873), “Danse macabre” (1874), “La jeunesse d’Hercule” (1877).Īttends the performance of the Ring in Bayreuth. 4 (1856) he attempts to arrive at unique forms. Early comprehensive education.įirst large-scale works: Symphony No. As a critic and essayist he was involved in the first complete editions of Rameau’s and Gluck’s works. Regarded as a Classicist, he also wrote pieces with an Impressionist character to their sound, and one composition in quarter-tones. Saint-Saëns was one of the most multifaceted musicians of the second half of the nineteenth century in France. ![]()
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