[독일-지휘자]한스 폰 뷜로(Hans Guido Freiherr von Bülow)

 

한스 폰 뷜로

1830년 1월 8일 ~ 1894년 2월 12일)는 독일 낭만주의 시대의 지휘자, 피아니스트, 작곡가이다. 가장 유명한 19세기 지휘자 중 한명이며, 그의 활동이 리하르트 바그너 등 당시의 주요 작곡가가 성공하는데 큰 몫을 했다.

클라라 슈만의 아버지 프리드리히 비크에게 피아노를 사사했으나 양친의 희망으로 라이프치히 대학에서 법률을 공부했다. 1857년 프란츠 리스트의 딸 코지마와 결혼했지만 1869년에 이혼했고 코지마는 리하르트 바그너의 후처가 됐다.

주요 초연 지휘

• 바그너 - 트리스탄과 이졸데 - 뮌헨, 1865년 6월 10일
• 바그너 - 뉘른베르크의 명가수 - 뮌헨, 1868년 6월 21일

작품[편집]

• Arabesques on Themes of Verdi's Rigoletto, Op. 2
• 5 Lieder, Op. 5
• Reverie Fantastique, Op. 7
• Ballade, Op. 11
• Mazurka-Fantaisie, Op. 13

정확하고 예리하며 심오한 해석, 특히 바그너 음악의 해석으로 유명하며 지휘자로서 거장의 면모를 보여 후대 사람들에게 원형이 되었다. 예리하고 위트 있는 음악평론가로도 활동했다.

어린시절 클라라 슈만의 아버지 프리드리히 비크에게 피아노를 배웠고, 라이프치히대학교에서 법률을 공부했다. 이후 베를린의 민주정치모임에서 활동하면서 독일 민족음악운동에 대한 바그너 이론을 보급했다.

1850년 바그너에게 지휘를 배웠고, 이듬해 리스트에게서 피아노를 배웠다. 1853년에는 연주회 피아니스트로 순회공연을 다녔고, 1855~64년에 베를린 스테른 음악원에서 피아노과 과장을 지냈다. 피아니스트로서 당대의 거의 모든 주요작품들을 연주했다. 1857년 리스트의 딸 코지마와 결혼했고, 1864년에 뮌헨 궁정음악감독이 되면서 그곳에서 〈트리스탄과 이졸데 Tirstan und Isolde〉·〈마이스터징거 Die Meistersinger〉를 초연했다. 아내 코지마가 바그너와 결혼하기 위해(1870) 그를 버렸지만, 이후에도 계속 바그너 음악의 선전에 힘썼다.

하노버(1877~80)와 마이닝겐(1880~85)에서 지휘를 하면서 이 단체들을 당대 유럽 최고의 관현악단으로 만들었다. 누구보다도 먼저 브람스와 리하르트 슈트라우스의 작품들을 사람들에게 알렸고, 암보 지휘의 전통을 세우기도 했다. 그의 음악 해석은 감정적 힘과 견고성으로 명성을 날렸다. 베토벤과 크라머에 대한 평론집과 여러 관현악곡들, 바그너 오페라 〈트리스탄과 이졸데〉 등의 피아노 편곡집을 출판했다. 1893년에는 건강이 악화되어 카이로로 건너갔다.[다음백과]

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Hans von Bülow

Hans Guido Freiherr[1] von Bülow (January 8, 1830 – February 12, 1894) was a German conductor, virtuoso pianist, and composer of the Romantic era. As one of the most distinguished conductors of the 19th century, his activity was critical for establishing the successes of several major composers of the time, especially Richard Wagner and Johannes Brahms. Alongside Carl Tausig, Bülow was perhaps the most prominent of the early students of the Hungarian virtuoso pianist, conductor and composer Franz Liszt; he gave the first public performance of Liszt's Sonata in B minor in 1857. He became acquainted with, fell in love with and eventually married Liszt's daughter Cosima, who later left him for Wagner. Noted for his interpretation of the works of Ludwig van Beethoven, he was one of the earliest European musicians to tour the United States.

 

Life and career

Undated portrait of Hans von Bülow

 

Bülow was born in Dresden, to members of the prominent Bülow family. From the age of nine, he was a student of Professor Friedrich Wieck (the father of Clara Schumann). However, his parents insisted that he study law instead of music, and they sent him to Leipzig. There he met Franz Liszt, and on hearing some music of Richard Wagner—specifically, the premiere of Lohengrin in 1850—he decided to ignore the dictates of his parents and make himself a career in music instead. He studied the piano in Leipzig with the famous pedagogue Louis Plaidy. He obtained his first conducting job in Zurich, on Wagner's recommendation, in 1850.

Hans Guido von Bülow ca. 1889

 

Bülow had a strongly acerbic personality and a loose tongue; this alienated many musicians whom he worked with. He was dismissed from his Zurich job for this reason, but at the same time he was beginning to win renown for his ability to conduct new and complex works without a score. In 1851, he became a student of Liszt, marrying his daughter Cosima in 1857. They had two daughters: Daniela, born in 1860 and Blandina, born in 1863. During the 1850s and early 1860s he was active as a pianist, conductor, and writer, and became well known throughout Germany as well as Russia. In 1857, he premiered Liszt's Piano Sonata in B minor in Berlin.

In 1864 he became the Hofkapellmeister in Munich, and it was at this post he achieved his principal renown. He conducted the premieres of two Wagner operas, Tristan und Isolde and Die Meistersinger von Nürnberg, in 1865 and 1868 respectively; both were immensely successful. Meanwhile, however, Cosima had been carrying on an affair with Richard Wagner and gave birth to their daughter Isolde in 1865. Two years later, they had another daughter, Eva. Although Cosima and Wagner's affair was now open knowledge, Bülow still refused to grant his wife a divorce. Finally, she gave birth to one final child––a son, Siegfried––and it was only then that the conductor at last relented. Their divorce was finalized in 1870, after which Cosima and Wagner married. Bülow never spoke to Wagner again and he did not see his former wife for 11 years afterwards, although he apparently continued to respect the composer on a professional level, as he still conducted his works and mourned Wagner's death in 1883. In July 1882 he married the actress Marie Schanzer.[citation needed]

In 1867 Bülow became director of the newly reopened Königliche Musikschule in Munich. He taught piano there in the manner of Liszt. He remained as director of the Conservatory until 1869. Bülow's students in Berlin included Asger Hamerik and Joseph Pache.

In addition to championing the music of Wagner, Bülow was a supporter of the music of both Brahms and Tchaikovsky. He was the soloist in the world premiere of the Tchaikovsky Piano Concerto No. 1 in B-flat minor in Boston in 1875. He was also a devotee of Frédéric Chopin's music; he came up with epithets for all of Chopin's Opus 28 Preludes,[2] but these have generally fallen into disuse. On the other hand, the D-flat major Prelude No. 15 is widely known by his title, the "Raindrop."[3]

He was the first to perform (from memory) the complete cycle of Beethoven's piano sonatas,[4] and with Sigmund Lebert, he co-produced an edition of the sonatas.

For the winter season of 1877–1878 he was appointed as conductor of the orchestral subscription concerts presented at the newly opened St Andrew's Hall in Glasgow by Glasgow Choral Union, touring with their orchestra to repeat these programmes in other Scottish cities. Among the works he conducted there was the recently revised version of Brahms Symphony No 1.

From 1878 to 1880 he was Hofkapellmeister in Hanover but was forced to leave after fighting with a tenor singing the "Knight of the Swan [Schwan]" role in Lohengrin; Bülow had called him the "Knight of the Swine [Schwein]". In 1880 he moved to Meiningen where he took the equivalent post, and where he built the Meiningen Court Orchestra into one of the finest in Germany; among his other demands, he insisted that the musicians learn to play all their parts from memory.

It was during his five years in Meiningen that he met Richard Strauss (though the meeting actually took place in Berlin). His first opinion of the young composer was not favorable, but he changed his mind when he was confronted with a sample of Strauss's "Serenade". Later on, he used his influence to give Strauss his first regular employment as a conductor.[5] Like Strauss, Bülow was attracted to the ideas of Max Stirner, whom he reputedly had known personally. In April 1892 Bülow closed his final performance with the Berlin Philharmonic (where he had been serving as Principal Conductor since 1887) with a speech "exalting" the ideas of Stirner. Together with John Henry Mackay, Stirner's biographer, he placed a memorial plaque at Stirner's last residence in Berlin.[6]

Some of his orchestral innovations included the addition of the five-string bass and the pedal timpani; the pedal timpani have since become standard instruments in the symphony orchestra. His accurate, sensitive, and profoundly musical interpretations established him as the prototype of the virtuoso conductors who flourished at a later date. He was also an astute and witty musical journalist.

In the late 1880s he settled in Hamburg, but continued to tour, both conducting and performing on the piano.

Bülow suffered from chronic neuralgiforme headaches, which were caused by a tumor of the cervical radicular nerves.[7] After about 1890 his mental and physical health began to fail, and he sought a warmer, drier climate for recovery; he died in a hotel in Cairo, Egypt at the age of 64, only ten months after his final concert performance.