Name Wladimir Vogel | Role Composer | |
Died June 19, 1984, Zurich, Switzerland |
Wladimir vogel thyl claes 1937 1938
Wladimir Rudolfowitsch Vogel (b. 17 February/29 February 1896 in Moscow; d. 19 June 1984 in Zurich) was a Swiss composer of German and Russian extraction.
Contents
- Wladimir vogel thyl claes 1937 1938
- Wladimir vogel chaconne d amour
- Life
- Compositions selective list
- References
Wladimir vogel chaconne d amour
Life
Vogel first studied composition in Moscow with Scriabin, then between 1918 and 1924 with Heinz Tiessen and Ferruccio Busoni in Berlin, where he subsequently taught (1929–33) at the Klindworth-Scharwenka Conservatory. He was close to the expressionist circle around Herwarth Walden and was active (together with George Antheil, Hanns Eisler, Philipp Jarnach, Stefan Wolpe, and Kurt Weill) in the music section of the November Group of Max Butting and Hans Heinz Stuckenschmidt.
In 1933, branded a “degenerate artist” by the Nazi regime, he left Germany and went to Strasbourg, Brussels, Paris, and London. He first turned to twelve-tone technique with his Violin Concerto in 1937. From 1939 he lived in Switzerland, at first in Ascona and from 1964 in Zürich. Until he became a Swiss citizen in 1954, he was not allowed to work in Switzerland, and relied on the support of wealthy patrons and his wife, the writer Aline Valangin. During this time, he taught composition privately, was active in the ISCM, participated in Hermann Scherchen’s ‘Sessions d’études musicales et dramatiques’ in Strasbourg, and organized the International Twelve-Tone Music pre-conference in Osilina in 1949. His students include Erik Bergman, Tauno Marttinen, Maurice Karkoff, Rodolfo Holzmann, Robert Suter, Einojuhani Rautavaara, and Rolf Liebermann. See: List of music students by teacher: T to Z#Wladimir Vogel.
Compositions (selective list)
Vogel composed a symphony, pieces for orchestra, string orchestra, wind ensemble, a concerto for violin and another for cello, works for choir, soloists and orchestra—the most important of which, called "drama-oratorios", are based on a synthesis of speech and song—and chamber-music works.