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Carl Gustav Flügel (2 July 1812 – 15 August 1900) was a German composer.

Gustav Flügel (1812–1900) around 1860
Gustav Flügel (1812–1900) around 1860

Life and work



Ancestors and childhood


Flügel was born on 2 July 1812 in Nienburg an der Saale as the son of the ducal ferryman Johann Karl Flügel (1770–1828) and his third wife Johanna Friederike Heinze (1786–1855). The parents had married in 1809, the mother came from a family of locksmiths and schoolmasters. Apart from an older brother who died early (1810), Flügel had three younger siblings, Auguste (born 1814), Carl (1823–1833) and Friederike (born 1824).

Gustav was "destined for music" by his father.[1]

The father had already sung as a poor boy in the church choir at Köthen, "and had, since he possessed a fine musical ear, occasionally had to act as soloist."[2]

"Flügel's father was, in fact, a thoroughly musically inclined nature, which is evident from the fact that, without ever having had regular lessons, he had acquired some skill on various instruments, and knew how to tune the piano purely." Flügel himself writes of his father:

"My father's love for music was incomprehensibly great, he was able to make great sacrifices for it. I can still hear him playing the violin at vespers. It is touching how, only by ear, he tried to expose me to chorales, went to church with me on Sundays, also visited with me the churches in the vicinity, where I tried my musical strength; gave me the opportunity to hear concerts and copied many musical works for me; brought the town musician from Staßfurt with his people to play music with them."[3]

The father was revered by Flügel throughout his life. Even in old age, he commemorated the day of his death. Flügel, on the other hand, only mentions his mother in passing. Yet she may well have contributed a great deal to her son's musicality. In this context, a passage from a later essay by Flügel is of interest: What means does a tenderly loving mother use to soothe her crying child when no other means will do? She sings a little song to her darling, even if her voice is rusty; and the child becomes calm under the mother's singing; it is as if the child's soul is immediately touched and soothed by the tones of the mother's voice.[4]

Flügel received his first organ lessons from the cantor Thiele, the father of the organ virtuoso Louis Thiele, whom he was soon allowed to replace on the organ bench during the summer holidays. From 1822, he attended the grammar school in Bernburg and continued his organ lessons in the churches there. The octogenarian spoke of this time as his "first musical love".


Studies under Fr. Schneider in Dessau (1827–1830)


From 1827 to 1830 he studied music under Friedrich Schneider in Dessau, who generously supported the young musician. In the summer of 1828, Flügel performed his first work with friends in the Nienburg "Schwan": Der Gang nach dem Eisenhammer (after Schiller) for solo voices, choir and piano. His father died in Nienburg as early as January 1829.

Dessau provided the aspiring musician with role models and inspiration through concerts by musical greats of the time, impressing him among others Henriette Sontag, Adolf Friedrich Hesse and Niccolò Paganini. "I have never again experienced a more wonderful crescendo and decrescendo," Flügel wrote in his autobiography in 1882.

Together with Julius Schubring, Flügel studied unprinted organ compositions by Johann Sebastian Bach, whom he revered throughout his life.


Nienburg, Bernburg, Köthen (1830–1836)


Between 1830 and 1836, he worked as a music teacher in Nienburg, Bernburg and Köthen. IThere, he also substituted for the sick organist at the newly built Catholic Church [de] by Gottfried Bandhauer [de], and could also have taken over his position if he had been "able to bring himself to become Catholic".

On 26 June 1835, the young Flügel visited Robert Schumann (first mention in the Neue Zeitschrift für Musik), with whom he kept in touch by letter and in person for years to come. (The Nachtfalter Op. 16 is dedicated to Clara Schumann).


Magdeburg (1836)


On Schumann's advice, Flügel moved to Magdeburg in April 1836, where Richard Wagner was also working at the city theatre at the time. There, Flügel also met his future wife, the piano teacher Minna Oppermann (1813–1847). They wrote songs, piano sonatas and several (now lost) string quartets, which were performed in private. Two of Flügel's letters to Schumann were printed anonymously in the Neue Zeitschrift für Musik and are thus the earliest surviving testimony of Flügel as a music writer:[5]


Schönebeck a.E. (1838–1840)


In the spring of 1838, Flügel was invited by the board of the singing society in Schönebeck to settle there and take over the directorship. He accepted the post at the end of March 1838 and thus gained his first permanent position, although he continued to work as a music teacher on the side and probably had to remain so. "And I was all the more willing to do so, since this brought me back into the vicinity of those Magdeburg musicians who were friends of mine and with whom I had previously had much friendly contact. At the end of March I left Köthen and moved to the town already known to me through Ruprecht"[8] known Schönebeck over. What could be more natural than to pay a visit to the neighbouring Magdeburg after finishing the establishment? – Through Schefter, I had been introduced to the Oppermann family, where music was diligently played; Fräulein Minna, who also gave music lessons, played Beethoven's Piano Sonata No. 3 op. 53 for me at that time; however, she was not only well-musical, but, with a thorough education*), possessed a spirit directed towards the noble and high."[9]

"When I gave my first concert in Schönebeck on 8 May 1838 with the participation of Schefter, Schapler, Wendt and Fischer, I was able to present Fräulein Minna Oppermann to my friends as my bride and on 11 September of the same year we were married in St. Jacobi's Church in Magdeburg. Herewith begins a whole new chapter of my life"[10]

On 11 September 1838, Flügel married Wilhelmine (Minna) Oppermann in St. Jacobi in Magdeburg. A year of quiet domestic happiness followed.

"We lived quietly and in seclusion, restricting ourselves as much as possible. Apart from my friend from Schönebeck, Friedrich Ebeling, who later came to Halberstadt as a pastor, it was especially the musical Grunow family with whom we enjoyed socialising. Private lessons, the direction of the singing society, with which I performed Spohr's 'Jessonda' and Anacker's 'Miner's Greeting'**), continued cultivation of piano playing for concert events, as well as occupation with musical composition took up all my time. For my recreation I sometimes went to the quartet in Magdeburg and the Magdeburgers also came to us in Schönebeck. Thus the first year of our marriage passed in very happy cohabitation."[11] In October, Flügel conducted a performance by the Gesangverein of Hallelujah (Handel) [de], finale from Don Giovanni and choruses from Christ on the Mount of Olives. But the happiness was short-lived. "On 5 October 1839 a boy was born to us. From then on, a very gloomy time began for us. – My wife, probably as a result of her not easy delivery, was thrown onto a long and heavy bed of sickness; at the same time I had to endure a gastric-nervous fever with a relapse – we were in trouble and distress".[12]

Flügel decided to open up a new sphere of activity in a larger city. The choice fell on Stettin. "Through the Grunow family in Schönebeck, I was recommended to Frau Emma Grunow in Stettin, and this musically highly educated lady arranged for me to move to Stettin at the end of March 1840. I had to leave my wife and child behind for the time being; they were kindly received by my parents-in-law in Magdeburg."[13]


First period in Stettin (1840–1850)


In 1840, Flügel moved to Stettin, where he worked as a private music teacher in the first houses of the city (Wilsnach, Lobedan, Schallehn etc.) and came into contact with the notabilities of the city (bishop Carl Ritschl, Carl August Dohrn). In the first four years, he conducted concert opera performances. Flügel gained general recognition as a composer of piano pieces, his breakthrough coming in 1846 with the Sonatas Op. 4 and 7. Within five years (1845–1849), Flügel published no fewer than 26 works.

In Leipzig he visited Schumann, Mendelssohn and Brendel. His contacts with the most eminent musicians were reflected in the dedications of his works, including Liszt (Op. 5), Clara Schumann, Spohr (Sonata No. 4 Op. 20) and, last but not least, Mendelssohn, who thanked him with the kindest words for the Piano Sonata (No. 3 in B flat major Op. 13) dedicated to him.

In terms of family and health, however, Flügel lived close to disaster, which culminated in 1844 and only came to an exceedingly unhappy end with the death of his first wife Minna in 1847.

During a visit to Leipzig in the summer of 1846, Franz Brendel's grand piano inspired him to convene the first "German Tonkünstler Assembly"[14] which took place in Leipzig on 13 and 14 August 1847 with about 150 participants.[15] Elisabeth Brendel performed Flügel's still unprinted Piano Sonata Op. 20 from the manuscript, "a very interesting work which met with much applause"[16] Flügel himself founded the Stettin branch of the Tonkünstlerverein in 1848 together with Carl Koßmaly [de], which organised concerts and lectures.

In 1848, Flügel became a contributor to the Neue Zeitschrift für Musik and published there and in other journals a large number of reviews and also essays on music theory.


Seminary music teacher in Neuwied (1850–1859)


In 1850, he was appointed seminary music teacher in Neuwied, where he also gave piano lessons to Elisabeth of Wied, later Queen of Romania ("Carmen Sylva"). Nevertheless, Flügel's time in Neuwied was torn between the greatest honours, the vilest vituperations and lasting successes.

At first, Flügel was swamped with official work as a seminary music teacher, which included playing the organ. This was also reflected in his declining compositional activity. He liked to dedicate the works he wrote here to his superiors (Bühring, Landfermann) and to the Prussian royal family, to the Princess of Prussia the Concertouverture (Op. 26) and to the Prince of Prussia the Lieder Op. 35. Under Flügel's direction, Hoffmann von Fallersleben, who was living in Neuwied at the time, was appointed honorary member of the Liedertafel. On 1 September 1853, the then completely unknown Johannes Brahms visited the famous composer Flügel and spent the day with him partly outdoors, partly at the piano.

After a brilliant start, in 1853 – much like Schumann in Düsseldorf at the same time – Flügel's demands collided with the Rhinelander's need for conviviality. This led to an unpleasant quarrel, including a newspaper fight, the effects of which lingered into the last years of his time in Neuwied.

In the following period, Flügel devoted himself increasingly to composition. In the seven years from 1853–1859, 28 works appeared in print. He became a music teacher for the princely house of Neuwied and continued to communicate and correspond with the musical greats of the time such as Schumann, Liszt and Brahms. In 1856, he received the title of Royal Music Director and in 1858, (together with Richard Wagner), he was appointed honorary member of the Ndl. Verein zur Beförderung der Tonkunst. (The archives of the Toonkunstbiblioteek Amsterdam preserve some of Flügel's very rare original manuscripts).

His students and the Central Rhenish Teachers' Singing Society, which he founded, honoured his memory for decades. In many respects, his friendship with the pedagogue Ernst Julius Hentschel [de] was significant, which resulted in a lively correspondence and Flügel's collaboration in the Euterpe until his death.


Castle organist in Szczecin (1859–1898)


In 1859, Flügel was appointed organist of the Schlosskirche zu Stettin [de]. The last four decades of Flügel's life have not been described autobiographically and must be reconstructed from individual sources.

Flügel's second period in Stettin can be roughly divided into four phases according to decades:

(a) 1859–1870 Aufbau. At first Flügel built up his new place with great energy. The organ building society he founded was able to shine after only four years with a new organ built by Barnim Grüneberg. Flügel taught at the institute and founded a mixed choir. While the youngest of Flügel's children were born, his son Ernst successfully followed in his father's footsteps as a pianist and composer. There was little room for printing compositions during this time. However, the interesting chorale prelude book Op. 60 was produced.

b) 1870–1880 Consolidation. In addition to nationalistic aberrations, Flügel increasingly composed for choir in various instrumentations. He also wrote many of the important chorale preludes, including his main work, the Prelude Book Op. 72, as well as various songs. Flügel also made a name for himself as an outstanding piano and organ virtuoso. He took an extremely active part in the musical life of Stettin, which is evident among others in his extensive concert reviews of the years 1877–1882. In addition to the regular chamber music evenings, the orchestral concerts by Koßmaly/Jancovius and the choral performances by C.A. Lorenz, Flügel also attended the performances of foreign artists, mostly pianists, violinists or singers. A special event – not only for Szczecin – was the concert of the Jubilee Singers (Black Gospel music) on 8 April 1878 for the liberation of the slaves.[17]

c) 1880–1890 Retreat and Review. As early as around 1879, massive depressive moods became apparent.[18] Flügel withdrew more and more, both internally and externally. During this time, Flügel updated his catalogue raisonné (1880), he wrote down his memoirs and published them[19] along with his correspondence with musicians such as Mendelssohn, Spohr, Hentschel and Kühmstedt in various journals.[20] With the death of his son Carl (2 February 1882), Flügel stopped composing secular songs, he no longer gave private lessons and from then on concentrated strictly on his official, church duties as organist.

d) 1890–1900 Letzter Höhepunkt. In the last decade of his life, Flügel once again developed enormous creative power despite considerable physical complaints. During this period, he wrote practically all of the great concert pieces for organ, Op. 99 to 120, as well as a large number of chorale preludes (Op. 100, 115 and 121), all of which were highly acclaimed in contemporary reviews and concerts. The aged old master (affectionately known as "Papa Flügel") received much recognition from his numerous pupils and admirers.


Dismissal and death (1898–1900)


I did not think that I would live to see out my 84th year, and yet it seems so. I am devoted to the will of God, even though the decline of my bodily strength, especially of the nobler parts, is often quite annoying to me, quite apart from the pain that is connected with it. Playing the organ is completely over, I can no longer attend musical performances because my nervousness does not allow it. Writing becomes difficult for me, and yet I still have enough to be thankful for. So wrote Flügel on 30 May 1896 in a letter to his son Paul in Lübeck.

In the secondary services he now had himself substituted, for the main services he struggled up the narrow stairs to the organ.

In 1898, Flügel had to give up his work as organist altogether. Since he was not entitled to any pension even after almost 40 years as castle organist, the work was initially assigned to his successor on an honorary basis on 3 April 1898. Flügel was allowed to continue living in the official flat at Königsplatz 11.

Flügel died on 15 August 1900 in Stettin in his official residence at Königsplatz 2 at the age of 88. Of Flügel's 19 biological children, many of whom died early, only the son Ernst Flügel (born 1844, organist in Breslau) followed in his father's footsteps.


Legacy


Flügel's handwritten estate, which came to Vienna via the children of his son Ernst, was lost there towards the end of the Second World War. A small number of autograph manuscripts of music are preserved in the Toonkunst Archive in Amsterdam (chorale preludes and chorale pieces). Two of the rare autograph chorale preludes can be found in the Leipzig Music Library.

Whether Flügel's 18 letters, which he wrote to the Cologne music publisher Michael Schloss (1823–1891) between July 1850 and January 1855 and which were acquired by the historical archive of the city of Cologne in 1996, were also lost forever with the collapse of the archive is currently completely unclear. 16 letters or postcards from Flügel to musician friends such as Brendel, Bock and Dörffel, as well as Mendelssohn's letter to Flügel of 19 October 1845, are preserved in the music department of the Berlin State Library, including Flügel's letter to Alfred Dörffel dated 28 April 1868.[21] Three letters can be found in the Frankfurt University Library, and one in Munich. Two letters to and one from Louis Spohr are preserved in Kassel. A larger number of private letters from the second Stettin period are with descendants in Lübeck.

In time for the composer's 200th birthday, the Pomeranian Library in Szczecin put a large number of Flügel's original printed music online. Most of these are Flügel's hand copies, in which the composer has entered the receipt, small corrections, first performances known to him and other notices. Apparently, these valuable copies came into the library after the death of his son Ernst Flügel (1912). The Berlin State Library has also recently begun to put his works online.


Style


Flügel's creative period spans around eight decades. The developments of the 19th century are reflected in him like in hardly any other composer. The spectrum ranges from the early piano sonatas oriented towards Weber and Beethoven to the late concert pieces for organ with Wagnerian colouring. Flügel follows his own style and has never allowed himself to be pinned down. The famous music theorist Johann Christian Lobe opined: "Among a hundred reviews of musical works, one might find one that is completely satisfied, one that has to acknowledge with all its heart and conviction a God-justified, original compositional talent. But among a hundred reviews, I do not know exactly how few are read. How easy it is to include among these unread ones those that would have been worth the effort of reading! This is one of the reasons why the true artistic spirit often succeeds so late, sometimes not at all, in making itself heard with its genuine sounds amidst the market bells and pimping. Therefore, one should not only try to help important artists with reviews, but should call out boldly, firmly and loudly in small leading articles to the musically surrounded world: direct your ear and your attention here, there sing and sound the ways of the heart. I am talking about Gustav Flügel." He is first and foremost he and no other. His imagination blossoms and glows in full youthful freshness. Whatever heartache and heart's desire may live in a person, from heavy-blooded night dreams through all stages to the laughing images of jest, it lives in Flügel and wells up and sounds out easily in his tone poems. He always has something before his mind's eye. That is why nowhere does mere ear candy appear, just as no common thoughtless or frivolous fashionistas dare to come near his noble artistic spirit. He asked for a very delicate artistic conscience. What the greatest masters carried in them in the way of aesthetically guiding maxims that enable art, he has eavesdropped on and absorbed into himself as laws, but he leaves them their thoughts and works his creations out of his own material. I am not weighing up here which of his works I like more or less; that is for the audience to do. I only want to write these few words as a hint for those who do not yet know Flügel but deserve to know him, and I have hinted at his artistic qualities because he has only these."[22]

How time-bound the contemporary judgements are becomes clear in the example of a critique of Op. 25.2 by the Flügel quite well-meaning E. Bernsdorf: "In the Sea Voices we encounter a veritable confusion of figures and phrases, which are just as incapable of presenting a picture to the soul as mere splashes of colour make up a painting". Similarly to Bernstein, but much more positively, Keferstein judges Op. 16.4 At Sunset: "Very dreamy, often losing itself in itself, whereby the sharpness of the contour suffers. It reminded us of certain landscapes whose entire charm is based on the colour tone poured over them; the individual objects of the landscape only receive their charm through the unity of the colour that merges them. This is what happened to us with this rhapsody, which, interwoven with exuberance of feeling, reminds us of Robert Schumann's beautiful models. Flügel is one of those artists who have a future, and we do not meet many of them now."[23]

It is possible that Flügel was so far ahead of his time at the time that he could well be understood as a "forerunner of Impressionism" in today's world, but it is precisely the piano works that are still awaiting rediscovery. Flügel himself pointed out in passing that the particularly positive reviews "only gave him ill-will".

Although committed to the classical school (Flügel was inclined to the strict forms of the sonata, canon and fugue throughout his life), he did not follow Brahms's appeal "Against the New Germans" (1860).[24] In 1877, he reported enthusiastically on the performances in Bayreuth.[25] His chorale preludes are particularly enchanting for their "high beauty of sound".


Importance


Flügel's recognition as a composer spans a period of more than 60 years. Schumann calls the 22-year-old the "young Mozart" with a touch of irony. Ten years later, Flügel's piano sonatas are repeatedly mentioned in the same breath as those of Beethoven. "Truly ingenious is the final movement, in the Rondo full of Beethovenian humour [...]"[26] Prof. L. Bischoff ventures the statement at a distance: "We do not think we are saying too much when we place Flügel's five great sonatas directly next to the sonatas of Beethoven, F. Schubert and C. M. von Weber."[27] Flügel's variation works are placed next to those of Bach, Beethoven, Weber and Schumann.[28] Individual character pieces by him are "among the best ever produced by the genius of an artist",[29] (Alfred Dörffel) or are "to be placed alongside Mendelssohn's best such compositions."[30] For Keferstein, Flügel is one of "the most capable and hopeful tone poets of the present."[31] Ernst Hentschel counts Flügel in 1872 among the best masters of the present,[32] for Em. Klitzsch, Flügel in 1882 possesses "a high rank among the best organ composers",[33] Fritz Lubrich even calls the aged Flügel in 1897 'the Bismarck of organists', ...

Flügel's lasting importance lies above all in organ composition, for which he created masterly works at a time when German church music was largely in decline. He left behind an œuvre of 121 printed compositions, of which the concert pieces for organ, which already point to Reger in terms of mood, are particularly noteworthy. Individual chorale preludes find their way into more recent collections. Op. 82, 85, 88 and 109 were recorded for the Sender Freies Berlin,[34] Other large concert pieces and chorale preludes have experienced new editions since 1997, which document their lasting value.


Systematic catalogue of works (works with opus number)


Flügel himself published his lists of works, numbered consecutively according to instrumentation, irrespective of opus number, in 1869, 1874 and 1880 in the Euterpe[35]


Instrumental music



Piano music


Piano pieces


Piano variations


Piano sonatas


Organ music


Choral Preludes and Organ Lessons


The great concert pieces for organ


Chamber music


String quartet


Chamber music with organ


Orchestral music


Vocal music



Songs for one singing voice


For women's and children's choir


For male choir


For mixed choir


Works with opus numbers not yet known by name



Arrangement of works by other composers



Lost work


The following manuscripts by Flügel remained unprinted and have not yet been found. They must be considered lost.

Orchestral music

Chamber music

Piano music

Choral music

  1. "Fluthen des Jammers heran rauschen" (Floods of misery rush in)

Lieder for one voice

  1. We long and are weighed down #
    • Und sang' ich all mein Leben lang (And I sing all my life)

Further reading


Monographs

  1. ISBN 3-87537-016-3
  2. ISBN 3-87537-017-1

Essays


References


  1. Flodoard Geyer: "Berlin. Gustav Flügel." in Berlinische Nachrichten von Staats- und gelehrten Sachen ('Spener'sche Zeitung') No. 297 (Berlin, 20 December 1849) identical in wording in Joh. Bapt. Heindl: Galerie Berühmter Pädagogen Schulmänner etc., vol. I (1858) p. 136. The two short biographies, which are almost identical in wording, seem to go back independently to a draft by Flügel himself and are thus to be regarded as the earliest autobiographical testimony of the composer.
  2. Gustav Wandel: "Aus dem Leben eines deutschen Kirchenmusikers" in Sonntagsblatt des Reichsboten No. 26 (Berlin, 30 June 1912) p. 205, after a handwritten note by Flügel. Flügel's older colleague from Stettin, Carl Loewe, later sang in this same choir (1807–1809). Flügel's father was initially employed as a footman at the court of Prince Augustus Christian Frederick, Duke of Anhalt-Köthen (1769–1812), possibly because of his musical abilities. As in Bach's time, the servants also augmented the princely orchestra. It is questionable whether this position could be called fortunate: "The prince was no friend of intellectual work. He loved hunting and eating. The prince beat up his surroundings, from the court official to the footman, with the result that no one lasted long with him. [...] Anyone who belonged to the prince's dog or horse stable could easily count on the prince's affection, and was given court offices even if he was not suitable for them. In retaliation, the dog-whipped servants ransacked the kitchen and cellar and told the prince that the sauigel had been there again, knocking over bottles and kitchen boards. Of course, the servants beat up the kitchen boards and used them to chase the frightened prince to bed." (Oskar Hartung: Geschichte der Stadt Cöthen bis zum Beginn des 19. Jahrhunderts. Köthen 1900, pp. 65 f.)
  3. Fritz Lubrich: "Gustav Flügel" in Die Orgel Jg. III No. 7. (1892) p. 49. Johann Andreas Jakob Flügel (1738–1800), Flügel's grandfather, may have possessed some musical skills as a night watchman. The proverbial watchman's song was also heard in Köthen. The night watch was closely connected with the town piper, who was also responsible for the night watch until the church tower collapsed at the beginning of the 17th century. After that, a special night watchman was appointed in place of the piper. During the day, this guard had to blow from the tower with horns, tines, trombones and "drums", and also "carefully perform the church music every Sunday according to the 'exercitio' that had previously been cultivated". (see Oskar Hartung: Geschichte der Stadt Cöthen bis zum Beginn des 19. Jahrhunderts. (Köthen, 1900) 156–161). In any case, the night has a special meaning in Flügel's work. (Nachtfalter Op. 14 and 16, Durch Nacht zum Licht Op. 113 etc.)
  4. G. Flügel: "Was sollte in Bezug auf Gesang vor dem Besuche der Elementarschule und des Seminars (mit besonderer Rücksicht auf Seminar-Aspiranten) geschehen?" Schulblatt für die Provinz Brandenburg 21. Jg. No. 9/10 (1856) pp. 543–558, here p. 545.
  5. Die Identität ergibt sich aus den Briefbuchvermerken Schumanns No. 380 and 417 (Lfd. Nr. der Berliner Correspondenz 1836–1846)
  6. NZfM 5.2 (5 July 1836) 8.
  7. NZfM 5.20 (6 September 1836) 81.
  8. Flügel had already frequently visited his old friend and fellow pupil, the music teacher Louis Ruprecht from Egeln, in Schönebeck in the years before 1836, (Urania 39.5 (1882) 68). In Magdeburg in 1836, he lived with Ruprecht, "who had left Schönebeck as a married man, in the same house at the Wasserkunst" (Urania 39.5 (1882) 6)
  9. "Biographische Charakterbilder der Gegenwart. (Fortsetzung) Gustav Flügel." (Autobiography) Urania 39.9 (1882) 134 f.
  10. G. Flügel in Urania 39.9 (1882) 135.
  11. G. Flügel in Urania 39.9 (1882) 135.
  12. G. Flügel in Urania 39.9 (1882) 135.
  13. G. Flügel in Urania 39.9 (1882) 135.
  14. "I say: I entertained the idea of an assembly of German Tonkünstler, without however considering the task more closely and giving myself over to the hope of its realisation. A coincidence decided; an external cause gave the impetus to put into action what had long been recognised as necessary. It was in the summer of last year," [1846] "when H.H. Schefter from Magdeburg and Flügel from Stettin visited Leipzig. In conversation about the current state of music, we came to the conclusion how desirable an association, how desirable a personal coming together of the music artists and a unified and powerful action that would result from this, and the agreement in our views quickly gave rise to the idea of an assembly of music artists, an assembly which, in order to gain a practical starting point, in order to immediately gain a certain character, would have to take an association of music teachers as its starting point. (Franz Brendel in NZfM 27.16 (23 August 1847) 96)
  15. NZfM 27.16 (23 August 1847) 93–96; 27.18 (30 August 1847) 105–108; 27. 19 (2 September 1847) 113; 27.20 (6 September 1847) 117 119; 21 (9 September 1847) 121–126; 27.24 (20 September 1847) 141–144; 27.26 (27 September 1847) 153–156; 27.28 (4 October 1847) 165–167; 27. 30 (11 October 1847) 177–180; cf. Euterpe 7.11 & 12 (1847) 188ff.
  16. Wiener Allgemeine Musik-Zeitung 7.99 (19 August 1847) 400; cf. Ernst Gottschald: "Die erste deutsche Tonkünstlerversammlung zu Leipzig, den 13 und 14 August 1847." Berliner musikalische Zeitung 4.35 (18 August 1847)
  17. "Szczecin. After the so-called Jubilee Singers had given successful concerts in the Berlin Singakademie, in Leipzig, Cologne, Frankfurt and elsewhere, Szczecin also found an opportunity on the 9th of this month to give full participation to the noble purpose of the enterprise: "to offer slaves ways and means to rise to the worthy enjoyment of their freedom". The hall was packed and the repeated applause could only be taken as a sign of satisfaction. Apart from the purely musical-artistic point of view, we can only pay full tribute to the performance of the programme, which was based on religious texts in English. Miss Porter (soprano) and Mr. Londin (bass) have voices with an unusual fullness of tone and have enjoyed a good education, which provides pleasing proof of the musical ability of the Negro Race. But also the ensemble of the six ladies (four sopranos and two altoes) and four gentlemen (two tenors and two basses) leaves nothing to be desired. The intonation of individual voices as well as of the choir is done with almost unfailing certainty. The monotony that easily occurs in psalm-modulating chants is, if not completely lifted, at least softened by the modulation ability of these trained voices. Surprisingly, there is a formal evaporation of the choir, piano pianissimo, which is not usually heard in choral performances; unfortunately, it is used in almost every piece and is therefore a mannerism. The quick-wittedness with which a single voice suddenly bursts forth, without any noticeable preparation, intoning its song with purity and certainty, and the choir joins in in the same way, while the ten people remain seated quietly, is always surprisingly effective. The trio "O ruh'los Meer" by E. A. White, sung by Miss Porter, Mr. Londin and Mr. Butling (tenor) accompanied by Miss Ella Sheppard, met with such a favourable reception that the conclusion of it had to be repeated on request. "O süße Heimat" offered sounds generally known and loved in German lands, whereas "I've been redeemed", with its trivial rhythm and deeply religious lyrics, really seemed to us like something from a transatlantic world completely unknown to us, and nothing less than a "noble rescue song". – If one considers, however, that these "slave tunes" heard by Negroes, which, by the way, are quite effectively harmonised, arose from the sufferings and joys of a tormented race, then the musician will not be able to deny them the sympathy that is accorded to folk songs from all parts of the world, and in any case, one has experienced an event in the history of art. (G. Flügel in: Allgemeine Deutsche Musik-Zeitung 5. Jg. Nr. 18 (3 May 1878) p. 161). These are the famous Jubilee Singers from Tennessee, Maggie Porter (1853–1942), Frederick Loudin, Thomas Rutling (!) and Ella Sheppard are mentioned by name by Flügel
  18. "The good father, however, is a complete hypochondriac and makes life unnecessarily difficult for himself and others; in the 14 days I have been there, we have not seen him smile once, nor have we seen him disgruntled" (letter from the son Carl to the brother Paul, 23 February 2879; in private collection)
  19. G. Flügel: "Biogr. Charakterbilder d. Gegenwart. Gustav Flügel." Urania 39.Jg. No. 3 (1882) pp. 34–36 (Autobiogr. 1812–1827), Urania 39.Jg. No. 4 (1882) pp. 50–54 (Autobiogr. 1827–1830); 39.Jg. No. 5 (1882) pp. 68–70 (Autobiogr. 1830–1836); 39.Jg. No. 7 (1882) pp. 102–104 (Autobiogr. 1836–1838); 39th Jg. No. 9 (1882) pp. 134–136 (Autobiogr. 1838–1842); 39th Jg. No. 10 (1882) pp. 150–153 (Autobiogr. 1842–1849); 40th Jg. No. 1 (1883) pp. 2–4 (Autobiogr. 1848 to 1850); 40th Jg. No. 5 (1883) p. 68–72 (Autobiogr. 1850 to 1858). Flügel's autobiography, written at the age of 70, covers the first 46 years of his life on about 24 printed pages. He did not comment further publicly on the following 40 years as castle organist in Stettin,
  20. Letter exchange with Hentschel: G. Flügel: "Erinnerungen." Euterpe 39th Jg. no. 8 (1880) pp. 129–131; no. 9 (1880) pp. 153–157; no. 10 (1880) pp. 173f.; no. 1 (1881) pp. 9f.; no. 2 (1881) pp. 27–32; no. 3 (1881) pp. 49–52; No. 4 (1881) pp. 65f. – correspondence with Kühmstedt: Euterpe 42.Jg. (1883) p. 129–131; 143–145; 175f., He had already published parts of it in the Utrecht "Cäcilia" in 1858: "Cäcilia", 15th volume, no. 5 (1 March 1858), title page (45f.); no. 6 (15 March 1858), title page (57f.). – He had already published the correspondence with Mendelssohn in 1854: Euterpe 14. jg. no. 2 (1854) p. 19f.; no. 3 (1854) p. 40-43; the letters of Spohr in excerpt already in 1857 (Niederrheinische Musikzeitung 5.Jg. no. 24 (13 June 1857) p. 191), and completely in 1860 in Euterpe 19. Jg. Nr. 6 (1860) p. 98f.
  21. Gustav Flügel (28 April 1868). "Brief an Alfred Dörffel". Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. Retrieved 31 January 2021.
  22. J.C. Lobe: Gustav Flügel in Allgemeine Musikalische Zeitung (AMZ) 49.Jg. No. 38 (22 September 1847) Sp. 650f.
  23. Allgemeine Musikalische Zeitung 49 (1847), sp. 620
  24. Letter from Johannes Brahms (c. 5 May 1860) to Joachim in which he reports his approval of his 'Declaration against the New Germans'. May 1860) from Hamburg to Joachim in which he reports on the approval of his 'Declaration against the New Germans': "Our 'Declaration' has been signed by the acquaintances from the Rhine, Kirchner, v. Perfall, Reinecke [...] Flügel, Schäffer do not; their Weil is not of interest." (A. Moser (ed.): Brahms Briefwechsel, vol. V. Briefwechsel mit Joachim 1st volume (Berlin, 1908) 268)
  25. G. Flügel: 'R. Wagner's performances at Bayreuth' Euterpe 36.1 (1877) 9-11; 'Continuation' 36.2 (1877) 37–40; 'Continuation' 36.3 (1877) 51–55; 'Conclusion' 36.4 (1877) 75–77.
  26. Allgemeine Musikalische Zeitung (AMZ) 48.14 (8 April 1846) Sp. 233.
  27. Niederrheinische Musik-Zeitung 4.23 (7 June 1856) 181.
  28. AMZ 48. 42 (21 October 1846) Sp. 704–706
  29. Neue Zeitschrift für Musik (NZfM) 25. 29 (7 October 1846)
  30. Berliner Musik-Zeitung 4.27 (3 July 1847).
  31. AMZ 48.25 (24 June 1846) Sp. 420 f.
  32. citing Euterpe 40.3 (1881) 51
  33. NZfM 78.24 (9 June 1882) 255.
  34. Op. 82 = SFB Telcom 401898; Op. 85 = SFB Telcom 400922, Op. 88 = SFB Telcom 400923; Op. 109 = SFB Telcom 400924.
  35. (works for pianoforte) in Euterpe 28th Jg. No. 10 (1869) p. 175; "Gustav Flügel's piano works" in Euterpe 33rd Jg. No. 7 (1874) pp. 119f.; "for mixed choir" No. 1-18 in Euterpe 28.Jg. No. 9 (1869), p. 156; "for mixed choir" No. 1-47 (No. 1-18 not identical with 1869!) in Euterpe 39.Jg. No. 9 (1880) pp. 156f.; "for male choir" No. 1-70 in Euterpe 28.Jg. No. 8 (1869) pp. 149f.; "for male choir" No. 71-111 in Euterpe 39.Jg. No. 8 (1880) pp. 129f.; "for 2 sopranos u. alto" nos. 1–6 in Euterpe 39th Jg. no. 8 (1880) pp. 130f.; "for 2 sopranos and alto" nos. 7–91 in Euterpe 39th Jg. no. 9 (1880) pp. 153f.; "for organ" in Euterpe 39th Jg. no. 9 (1880) pp. 156f. Finally, his "Verzeichniß der Orgel-Compositionen Gustav Flügels." (up to and including Op. 113) in Urania 51st Jg. No. 9 (1894) p. 71.
  36. Geschichte des Orgelspiels und der Orgelkomposition. 1 on WorldCat



На других языках

[de] Gustav Flügel (Komponist)

Carl Gustav Flügel (* 2. Juli 1812 in Nienburg an der Saale; † 15. August 1900 in Stettin) war ein deutscher Komponist.
- [en] Gustav Flügel

[ru] Флюгель, Густав (композитор)

Густав Флюгель (нем. Carl Gustav Flügel; 2 июля 1812 (1812-07-02), Нинбург — 15 августа 1900, Штеттин) — немецкий органист и композитор .


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