Born in Obendorf am Neckar 21/11/1877. Died in Leipzig 9/4/1933.
After an self-study of music, he entered in Leipzig conservatory in 1897 where he was pupil of Reinecke and completed his study of music theory, composition and piano playing. Named for the professor of piano class in Magdeburg conservatory in 1902, he came back to Leipzig in 1907 to teach piano playing, music theory and composition.
In 1919, three years after the death of Max Reger, he succeeded the post of his Alma Mater. Besides brilliant career of piano virtuoso, he hoped in vain to be church musician.
He is one of the most important musicians who knew the real potential of Art Harmonium (harmonium sophisticated by Victor Mustel in France after 1855 and copied by the firm Titz in Germany) the composition for which concentrates in his youth.
This instrument seems to turn his eye onto the organ. As an organist, his technic was as poor as Reger (great composer is not always good player) however, his impressionism which is unique in German organ music is always fantastic.
For the harmonium people, it is interesting to know the difference of meaning of the term "expression" between in France and in Germany. In France on one hand "expression" means only the successive change of sound volume, on the other hand in Germany it means the successive change not only of sound volume but also sound color.
resume of the article by Michel Roubinet in "Guide de la Musique d'Orgue"
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Last modified : 15/9/1998
by Shoichiro TOYAMA Mr.