Hans Gal
1890-1987
Hans Gál (1890-1987) was a prolific composer, teacher and scholar throughout his long life. At the height of his powers and his popularity, he was forced to leave Germany and Austria, never again able to achieve the cultural significance he had enjoyed during the years of the Weimar Republic. Gál arrived in England just before the war, and his assimilation was postponed when he, like many other Jewish refugees, was imprisoned in several internment camps for enemy aliens. After the war he became a revered figure in Edinburgh’s musical life and continued composing well into his nineties.
Life
Gál was born near Vienna in 1890. Unlike many other composers of the time, he did not really become seriously interested in music until his early teens. Rather, he was a well-rounded child with a broad cultural background. This stood him well in his career, which represents an unusual synthesis of scholarship and creativity.
Attending the New Vienna Conservatory, Gál became a pupil of Richard Robert and also studied music history and theory. His serious efforts at composition began around this time. In 1912 his cantata Von ewiger Freude was completed and performed a year later at the Gesellschaft der Musikfreunde. In the years preceding the war, he wrote a series of works and had his initial successes. In 1915 he won the newly created “State Prize for Composition.”
He was drafted into the army in 1915 and spent time in Serbia and the Polish Carpathians. While he had many tasks to perform he kept up with his composition, sowing the seeds for his first important opera Der Arzt der Sobeide (Sobeide’s Doctor) set in 16th-century Granada. This work, drawing on Spanish musical idioms received rave reviews at the time and launched Gál’s successful career as an opera composer.
The 1920’s was the time of Gál’s rapid rise as a composer and teacher. Awarded the Rothschild Prize in 1919 he was appointed as a lecturer in Music Theory at the University of Vienna. He also worked at the Neue Wiener Buhne where he provided instrumental music for the theater. In 1924 his opera Die Heilige Ente (The Sacred Duck), with a Chinese setting and a libretto by Karl Michael von Levetzow was premiered and was a great success, performed in more than twenty theaters, remaining in the repertoire until 1933. His many contacts at the time with conductors George Szell and Erich Kleiber, and with composers Berg and Webern, went hand-in-hand with his growing popularity as a creative figure in the Weimar Republic. He won a prize for his first published symphony, and his Overture to a Puppet Play became an international hit.
It was during this period that he also began to work as a serious scholar. He was co-editor of the complete works of Brahms, along with Eusebius Mandyczewski, editing ten volumes, and he also edited numerous volumes in other series as well.
In 1929 Gál became Director of the Conservatory in Mainz, a sign of great distinction since he was chosen from more than 100 applicants and supported by such figures as Fritz Busch and Furtwängler. At this point he was a leading figure in German musical life, and his activities as a composer continued to thrive in the genres of chamber music, orchestral music and opera. It was during this period that he completed what was to be his last opera composed on European soil, Die Beiden Klaas (Rich Claus, Poor Claus).
Gál’s standing in the world of German music came to a complete and sudden end in March of 1933 when, shortly after the Nazis occupied Mainz, Gál was summarily fired from his position at the conservatory. Misunderstanding the nature and intentions of the Nazis, Gál tried for more than a year to protest this decision, eventually moving back to Austria. During this period several planned productions of Die Beiden Klaas were aborted because of the political climate, including a performance to be conducted by Bruno Walter at the Vienna State Opera. It was only premiered in England in 1990, on the occasion of what would have been the composer’s 100th birthday.
Gál’s return to Austria was no happy occasion. Political activity in Austria already forecasted the Anschluss of 1938. Gál, like many others, had to scramble to make ends meet, yet continued to compose and occupy himself as an editor. His most ambitious piece of the time was De profundis, a setting of Baroque poems. Composed at a time of despair and scant hope, it was, in the composer’s words dedicated to “the memory of this time, its misery and its victims.” Things, however, would not get better, and by 1938 the Gáls realized they would have to get out. Several family members who stayed behind were either killed or committed suicide.
Intending originally to come to the United States, Gál settled in England with his family. At first his luck was good: he met one of the great figures of English musical life, Sir Donald Tovey, who very much wanted him to become a part of the conservatory in Edinburgh. Shortly after this, though, Tovey had a heart attack, and Gál’s plans did not come to fruition. Gál remained in London and did not move to Edinburgh until war broke out.
In one of the less pleasant moves in the history of the Second World War in Britain, Winston Churchill, like Roosevelt in the United States, decided to imprison many so-called “enemy aliens.” This absurdly created a situation where actual Nazis were imprisoned side by side with Jewish refugees who were fleeing Nazism. Gál was arrested in March of 1940 and kept imprisoned, first in Huyton near Liverpool, and then on the Isle of Man until the fall. While the process was disorienting, unpleasant and sometimes frightening, many musicians and intellectuals were incarcerated, and they quickly set up lectures and concerts. Gál wrote a Huyton Suite for two violins and flute, the only instruments available, and later wrote music for a revue, What a Life based on camp experiences.
Although the moments after the war were filled with uncertainty, Gál finally did receive a position at the University of Edinburgh, and was awarded an honorary doctorate there in 1948. He had also been offered a position at the University of Vienna, but decided he could not uproot once again, though he went back in 1958 to receive the Austrian State Prize. Gál became an essential part of Edinburgh’s musical life, particular with his role in the creation and ongoing success of the Edinburgh Music Festival, under the initial direction of Rudolf Bing.
For the remaining forty years of his life, following the end of the war, Gál was productive as a teacher, scholar and as a composer. It was during this period that he wrote monographs on Brahms, Wagner, Schubert and Verdi. Although he no longer commanded the European stage, as he had during the 1920s, Gál’s compositional activity was unabated, and his music from this period is attractive, innovative and distinctive. Considering the composer’s identification with the music of his native Vienna, and his love for Brahms, Schubert and Johann Strauss, as well as his interest in Early Music, it is fitting that his last listed composition is a Moment Musical for treble recorder composed at age ninety-six the year before his death.
Works List
Operas
Der Arzt der Sobeide (Sobeide‘s Doctor), Op.4 (1917-1918).
Die Heilige Ente (The Sacred Duck), Op.15 (1920-1921).
Das Lied der Nacht (The Song of the Night), Op.23 (1924-5).
Die Beiden Klaas (Rich Claus, Poor Claus) Op. 42(1932-1933).
Orchestral
Serbische Weisen (Serbian Dances), Op.3 (1916).
Ouvertüre zu einem Puppenspiel (Overture to a puppet play), Op.20 (1923).
Divertimento, Op.22 (1924).
Requiem for Mignon, Op.26 (1922).
Symphony No. 1, Op.30(1927).
Ballet Suite ‘Scaramuccio’ Op.36 (1929).
Der Zauberspiegel (The Magic Mirror), Op.38 (1930).
Burlesque, Op.42b (1932-1933).
A Pickwickian Overture, Op.45 (1939-1944).
Serenade, Op.46 (1937).
Lilliburlero, Op.48 (1945?).
Symphony No. 2, Op.53 (1942-1943).
Caledonian Suite, Op.54 (1949).
Symphony No. 3, Op.62 (1951-1952).
Biedermeier Dances, Op.66 (1954).
Mäander (Meanders), Op.69 (1954-1955).
Lebenskreise (Life Cycles), Op.70 (1955).
Music for String Orchestra, Op.73 (1957).
Idyllikon, Op.70 (1958-1959).
Sinfonietta No. 1, Op.81 (1961).
Sinfonietta No. 2, Op.86 (1966).
Triptych, Op.100 (1970).
Symphony No. 4, Op. 105 (1974).
Capriccio (1973).
Hin und Her (1933).
Promenadenmusik (1926).
Vorspiel zu einer Feier (Prelude to a Pageant) (1965).
Brahms: Hungarian Dances nos. 8 and 9
Gluck: Symphony in G minor (1934).
Haydn: Overture to ‘Armida’ (1939).
Haydn: Symphony in B flat (1938).
Wolf: Corregidor Suite
Beethoven: Three Marches
Handel: Overture to ‘Bérénice’
Handel: Overture to ‘Faramondo’
Divertissement (1939).
Schubert: Two Marches Militaires
Concertos
Concerto for violin and orchestra, Op.39 (1932).
Concertino for piano and string orchestra, Op.43. (1934).
Concertino for violin and string orchestra, Op.52 (1939).
Concertino for organ and string orchestra, Op.55 (1948).
Concerto for piano and orchestra, Op.57 (1948).
Concerto for violoncello and orchestra, Op.67 (1944-1949).
Concertino for treble recorder (flute) and string quartet (string orchestra or piano), Op.82(1961).
Concertino for cello and string orchestra, Op.87 (1966).
Suite for viola/alto saxophone and orchestra (piano), Op.102a/b (1949-1950).
Chamber Music
Heurigen Variations for piano trio, Op.9 (1914).
Five intermezzi for string quartet, Op.10 (1914).
Four chamber pieces for mandolin, violin, viola and liuto, Op.10a (also for mandolin orchestra, op. 10b). (1937).
Quartet for violin, viola, cello and piano, Op.13 (1914?).
String Quartet I, Op.166 (1916).
Piano Trio, Op.18 (1923).
Two religious songs for soprano, organ and gamba/cello, Op.21 (1923).
Divertimento for wind octet, Op.22 (also for orchestra = Op. 22a). (1924).
String Quartet II, Op.35 (1929).
Serenade for string trio, Op.41 (1932).
Nachtmusik (Night Music) for soprano solo, male-voice choir, flute, cello and piano, Op.44 (1933).
Little Suite for two violins and violoncello (piano ad lib.), Op.49a (1947-1948).
Trio for piano, violin (flute, oboe) and violoncello, Op.49b.
Sonatina for 2 mandolins, Op.59a. (1952).
Suite for 3 mandolins, Op.59b (1952).
Improvisation, Variations and Finale on a Theme by Mozart for mandolin, violin, viola and liuto (also mandolin orchestra), Op.60 Also for string quartet = Op. 60b. (1934).
Biedermeier Dances for mandolin orchestra, Op.66 (or mandolin, violin, mandola, guitar, mandoloncello and bass mandolin = Op. 66b). (1954).
Suite for recorder and violin, Op.68a. (1954-1955).
Six two-part inventions for descant and treble recorder, Op.68b.
Divertimento for 2 treble recorders and guitar, Op.68c.
Quartettino for recorder quartet, Op.78.
Divertimento for mandolin and harp or piano (flute, viola and harp), Op.80. (1957).
Trio-Serenade for treble recorder (flute), violin and cello, Op.88 (1966).
Divertimento for bassoon and cello, Op.90(1) (1958).
Divertimento for violin and cello, Op.90(2) (1967).
Divertimento for violin and viola, Op.90(3) (1969).
Huyton Suite for flute and 2 violins, Op.92 (1940).
Serenade for clarinet, violin and cello, Op.93 (1935).
Trio for oboe, violin and viola, Op.94
String Quartet III String quartet, Op.95 (1969).
Sonata for 2 violins and piano, Op.96 (1941).
Trio for violin, clarinet and piano, Op.97 (1950).
Divertimento for 3 recorders, Op.98 (1970).
String Quartet IV String quartet, Op.99 (1970).
Trio for violin, viola d‘amore (viola) and cello, Op.104 (1971).
String quintet, Op.106 (1976-1977).
Quintet for clarinet and string quartet,Op.107 (1977).
Intrata Giocosa for 3 recorders, 2 violins and cello. (1958).
Lyrical Suite to Browning‘s ‘Pippa passes’, for soprano, flute and string quartet (flute, mandolin and string trio). (1934).
Scherzando for two violins and cello.
What a Life for middle voice(s), flute, clarinet, string quartet and piano. (1940).
Handel: Suite of Airs and Dances arr. for strings (various) and piano ad lib.. (1954).
Vocal Works
Von ewiger Freude (Of Eternal Joy) Cantata for four female voices and double female choir, with organ and two harps, Op.1 (1912).
Vom Bäumlein, das andere Blätter hat gewollt (The Tree that
Wanted Different Leaves) for alto solo, six-part female choir and small orchestra, Op.2 (1916).
Phantasien (Fantasias) for alto solo, female choir, clarinet, horn, harp (piano) and string quartet (string orchestra), Op.5 (1919).
Two songs for 4-part male-voice choir a cappella, Op.8 (1914).
Three songs for 3- and 4-part male-voice choir with piano (small orchestra), Op.11 (1910-1911).
Three songs for female choir with piano, Op.12 (1910-1913).
Kinderverse (Children‘s verses) for female choir a cappella, Op.14 (1921?).
Motette (Motet) for mixed choir a cappella, Op.19 (1924).
Two religious songs for soprano, organ and gamba/cello. Op.21 (1923).
Herbstlieder (Autumn Songs) for female choir a cappella, Op.25 (1918-1925).
Requiem for Mignon for baritone, 2 choirs, organ and orchestra, Op.26 (1922).
Epigrams for mixed choir a cappella, Op27. (1926).
Three songs for 3 female voices/female choir with piano, Op.31 (1928).
Five Serious Songs for male-voice choir a cappella, Op.32 (1928).
Five songs for middle voice and piano (+ harp), Op.33 (1917-1921).
Drei Porträtstudien (Three Portrait Studies) for male-voice choir with piano, Op.34 (1929).
Three Songs for mixed choir a cappella, Op.37 (1929/30).
Three Idylls to poems by Wilhelm Busch for 4-part male-voice choir with piano, Op.40 (1934).
Nachtmusik (Night Music) for soprano solo, male-voice choir, flute, cello and piano, Op.44 (1933).
Summer Idylls (Stille Lieder) Four songs for female choir a cappella, Op.47 (1935).
De Profundis Cantata to German barock poems, for four soloists, mixed choir and orchestra, Op.50 (1936-1937).
Four Madrigals for mixed choir (SATB) a cappella, Op.51 (No.1, 2, 3 also for female choir a cappella = Op.51a). (1939).
Four part-songs for mixed voices a cappella, Op.61 (1953?).
Two songs for male-voice choir a cappella, Op.63 (1954).
Lebenskreise (Life Cycles) Symphonic cantata to poems by Hölderlin and Goethe, for 4 soloists, mixed choir and orchestra, Op.70 (1955).
Satirikon Four aphorisms for 4 male voices a cappella, Op.72
Jugendlieder (Songs of Youth) Five songs for female voices a cappella,
Op.75 (1959).
A Clarion Call for double female choir a cappella, Op.76 (1959).
Of a Summer Day Lyrical suite for 3-part female choir with (mezzo)soprano solo and string orchestra, Op.77 (1951).
Spätlese Six songs for male-voice choir a cappella, Op.91 (1966/67).
Quodlibet: ‘Loreley‘ or ‘On the Rhein Steamer‘ for four voices (SATB) a cappella. (1928).
In neue Räume (Into New Rooms) for mixed choir, flute, oboe, two clarinets, bassoon, two horns and strings. (1965).
Lyrical Suite to Browning’s ‘Pippa passes’, for soprano, flute and string quartet (flute, mandolin and string trio). (1934).
Six Women’s Choruses
Six part-songs for mixed voices (SATB). (1939, 1966).
Lyric Poems for mixed voices and piano. (1942).
Three vocal quartets for mixed voices and piano. (1934).
Two Anthems (1) for mixed voices and organ ad lib; (2) for soprano, mixed voices and organ. (1936-1937).
Vom heiligen Ehstand (On the holy marriage state) for soprano and baritone solo with piano. (1928).
What a Life for middle voice(s), flute, clarinet, string quartet and piano. (1940).
Folksongs from the Volksliederbuch für die Jugend arr. by Hans Gál.
Four British folk-songs arr. for mixed choir (SATB) a cappella (English and German).
Handel: 6 Italian Arias arr. for soprano, violin and piano by Hans Gál.
Morgengruss, Lockruf der Mutter Provençale folk-songs arr. for female voices a cappella.
Schütz: Two Dialogues ed. and arr. for mixed voices and piano (organ) by Hans Gál.
Six folk-songs arr. for male chorus (TTBB) a cappella. (1930-1931).
Three German folk-songs arr. for male-voice choir (TTBB).
Three old songs arr. for male-voice choir (TTBB).
Zelter: Bundeslied arr. for 4-part male-voice choir.
Five Provençale folk-songs arr. for female choir (SSA) a cappella by Hans Gál.
Purcell: ‘No, resistance is but vain’ duet for soprano and alto with continuo (or string orchestra) arranged and edited by Hans Gál.
Bibliography
Books
Waldstein, W.: Hans Gál. Eine Studie. Wien: Elisabeth Lafite (Österreichischer Bundesverlag), 1965.
Exhibitions/Catalogues
100 Jahre Mainzer Conservatorium. Peter Cornelius Conservatorium, Mainz, 1982.
Musikalische Dokumentation: Hans Gál. Musiksammlung der Österreichischen Nationalbibliothek. Institut für Österreichische Musikdokumentation, 1987.
Hans Gál zum 100. Geburtstag. Zu einer Austellung im Mainzer Rathaus mit Dokumenten zu seinem Leben und Wirken in Mainz. (Centenary Exhibition). Kulturdezernat der Stadt Mainz, Mainz, 1990.
Haas, Michael and Patka, Marcus G.: Musik des Aufbruchs: Hans Gál und Egon Wellesz. Continental Britons. Mandelbaum Verlag, Vienna 2004. Exhibition at the Jewish Museum, Vienna, 25th Feb-2nd May, 2004. ISBN 3-85476-116-3.
Articles
Anderson, M.J.: ‘Hans Gál’. In British Music Society Journal IX, p.33-44, 1987.
Badura-Skoda, P.: ‘Zum Gedenken an Hans Gál’. In Österreichische Musikzeitschrift, Vol. 43 No.4, 1988, p.177.
Becker, Alexander: ‘Hans Gál’. Der österreichische Komponist Hans Gál im Fokus der Zupfmusik. Part I: Leben und Werk, in ZUPFMUSIKmagazin 4, 2002, p. 159-60. Part II: Das Zusammenwirken in Wien mit Vinzenz Hladky, in Concertino 2003/2, p. 76-78. Part III: Kammermusik mit Mandoline, in Concertino 2003/3. Part IV: Werke für Zupforchester, in Concertino 2004/1.
‘Bemerkenswerte Hans-Gál-Aufführungen’. In Das Podium, Mainzer Liedertafel und Damengesangverein. Mainz, 1958, p.2.
Beyer, J.: ‘In conversation with Dr. Hans Gál’. In Edinburgh Quartet Newsletter. Edinburgh: November, 1985.
de Souza, C.: ‘The Continentals – Second Phase’. In British Opera in Retrospect. The British Music Society, 1986. p.115-116.
‘Dr.Hans Gál OBE.’ In Recorder & Music VI, 11, p.325, 1980.
Fox Gál, E. & Fox, A.: ‘Hans Gál’. In Music & Musicians, August, 1985, p.12-13
Fox Gál, E.: ‘Hans Gál’. In Österreichische Musikzeitschrift, Vol. 43 No. 4, 1988, p.174-176.
Gail H.R.: ‘Das Schaffen Hans Gáls. Eine Skizze zur Gegenwartsmusik’. In Mainzer Journal 277, 28.November, 1932.
Green, P.: ‘Attention please for Dr. Hans Gál … ‘A Contemporary Romantic’’. In Clarinet & Saxophone Vol. XI, 4, p.22-23, 1986.
Green, P.: ‘Hans Gál 1890-1987’. In Clarinet & Saxophone Vol. XIII, 2, 1988, p.8.
Holler, K.-H.: ‘Hans Gál zu Ehren’. In Mitteilungen der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte 25. Mainz, 1972.
Keim, A.M.: ‘‘Der Dom in meinen Zimmer über dem Kamin …”. Zum Tod des Komponisten und Dirigenten Hans Gál’. In Allgemeine Zeitung, Mainz: 14.Oktober, 1987.
Keim, A.M.: ‘Erinnerungen an Hans Gál’. In Mainz, 8, 1988, p.71-73.
Kroll, E.: ‘Vom Schaffen Gál‘s’. In Simrock Jahrbuch 2, p.168-175, 1929
Lang, I.: ‘Hundert Jahre Mainzer Konservatorium’. In Hundert Jahre Mainzer Konservatorium, p.22-32. Mainz, 1982.
Leighton K.: ‘Obituary’. In The Independent, London: 9.October, 1987.
Lewinski, W.-E.von: ‘Ein Komponist und Wissenschaftler. Hans Gál zum 75. Geburtstag’. Allgemeine Zeitung, Mainz: 4.August, 1965.
Lewinski, W.-E.von: ‘Gedenkblatt für Hans Gál. Zum 80.Geburtstag des Komponisten’. Allgemeine Zeitung, Mainz: 8.August, 1970.
Lewinski, W.-E.von: ‘Heiter und hintersinnig. ’Hommage à Hans Gál‘ zum 90.Geburtstag des Komponisten‘. Allgemeine Zeitung, Mainz: 23.September 1980.
Moncrieff, Margaret: ‘Hans Gál (1890-1987). A personal tribute and memoir’. In The British Music Society News, 97, March 2003, pp. 369-74. Also available on the web: http://www.musicweb.uk.net/classrev/2003/Mar03/Gál.htm
Nettl P.: ‘Hans Gál’. In Musikpädagogische Zeitschrift XVI (5), p.1-3, 1926
Nettl P.: ‘Hans Gál.In Neue Musikzeitung XXXXIII, p.91, 1921
‘Obituary’. In The Times, London: 7.October, 1987.
Oehl K.: ‘Ehrung für Hans Gál’. In Das Neue Mainz. Mainz: Municipal Press Office, January 1961.
Oliver, R. ‘Remembering three great musicians’. In Sound Waves 12. The Royal Borough of Kensington & Chelsea Libraries and Arts Service, Winter, 1987.
Oliver, R.: ‘Hans Gál at 95’. In Tempo 155, 1985. p.2-7.
Oliver, R.: ‘Hans Gál, b. 5 August 1890’. In Sound Waves II. The Royal Borough of Kensington & Chelsea Libraries and Arts Service, Juni, 1985
Oliver, R.: ‘Hans Gál. The Compleat Musician’. In Composer 38, 1971, p.5-9.
Petri, L.: ‘Hans Gál – dem 80jährigen’. In Das Neue Mainz. Mainz, August 1970, p.6.
Purser, J.: ‘Hans Gál – a personal appreciation’. In Stretto Vol. 7 No. 4, Winter, 1988, p.24-27.
Rickards, G.: ‘Three emigrés: Gál, Gerhard and Goldschmidt’. http://www.musicweb.uk.net/ggg.htm, 2001 (update 2003).
Schmidtgen O.: ‘Lebenskreise. Symphonische Kantate von Hans Gál’. In Das Podium, Mainzer Liedertafel und Damengesangverein. Mainz, 1956.
Schmidtgen, O.: ‘Hans Gál und sein Werk’. In Das Podium. Mainzer Liedertafel und Damengesangverein. Mainz: August 1960, p.5-7.
Schmidtgen, O.: ‘Hans Gál’. In Österreichische Musikzeitschrift p.1-2, 1957.
Schmidtgen, O.: ‘Hans Gáls neues Klavierwerk’. In Das Podium. Mainzer Liedertafel und Damengesangverein. Mainz: Januar/Februar 1961, p.1-2.
Schmidtgen, O.: ‘Vier Werke von Hans Gál’. In Das Podium. Mainzer Liedertafel und Damengesangverein. Mainz: November 1960.
Schneider, R.: ‘Vier Erstaufführungen von Hans Gál’. In Das Podium. Mainzer Liedertafel und Damengesangverein. Mainz: December 1960.
Schönzeler H.-H.: ‘Hans Gál. The man and his music’. In Music and Musicians International, Januar, 1988, p.22-23.
Seifert, W.: ‘Gespräch mit Hans Gál’. In Zeitschrift für Musikpädagogik 17, März, 1982, p.3-13.
Stefan, P.: ‘Hans Gál. Zur Stunde österreichischer Komponisten’. In Radio Wien 29, p.5, 1929 (Broadcast 21st April, 1933).
Weiskopf, H.: ‘Hans Gál’. In Rheinische Musik- und Theaterzeitung. Köln, 8. April 1930, p.106-108