Hans Pfitzner Hans Pfitzner was born in Moscow in 1869 and moved with his parents to Frankfurt am Main in 1872. There he received his first music lessons from his father and began his studies at the Hoch Conservatory, where he focused particularly on piano and composition.[1][5] After his first professional positions in Mainz, he moved to Berlin, where he created important works such as the opera "Die Rose vom Liebesgarten" (The Rose of the Garden of Love). His greatest success was the premiere of the opera "Palestrina" under the direction of Bruno Walter, which is considered his "musical legend."[2][5] Although his relationship with Richard Strauss was fraught with tension, Pfitzner's music continued to be highly regarded.
The Piano Concerto Op. 31, composed in 1922, is among Pfitzner's most important orchestral works. It is often seen as a counterpart to the piano concertos of Brahms and is compelling due to its symphonic structure. The financial success of this composition was accompanied by much praise for its powerful yet melodic structure, which continues to be recognized today.
With the rise of the National Socialists, Pfitzner, due to his conservative convictions and nationalistic stance, came under their scrutiny, even though he was never an official party member. He faced professional disadvantages, particularly after Hitler classified him as a "half-Jew." Nevertheless, his music remained popular during the Third Reich and was performed internationally.[4]
The political circumstances also influenced the dedication of the Piano Concerto: it was originally dedicated to Fritz Busch, but after Busch's dismissal by the National Socialists, Pfitzner had to change the dedication. Contemporary musicians like Braunfels, who had similar experiences during the Nazi regime, also enjoyed theatrical success, for example with the opera "Die Vögel" (The Birds). His musical style was highly regarded by figures such as Bruno Walter.
Braunfels's works, including orchestral pieces like "Tag- und Nachtstücke" (Day and Night Pieces), combine late Romantic traditions with modern timbres. After a period of obscurity, his compositions were rediscovered and appreciated, for example by Michael Korstick. Despite political repression, Braunfels' works are once again receiving attention today, combining musical heritage with innovation.