1927 ANTON BRUCKNER TE DEUM Felix Gatz Choir Emmy von Stetten Karl Joken ODEON

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THIS IS THE FIRST recording of the Te Deum by Bruckner, Felix Maria Gatz - The Forgotten Bruckner PioneerThis is the first ever recording of Bruckner's Te Deum and is the only existing recording featuring Felix Maria Gatz conducting the music of Bruckner. The recording was made on December 19, 1927. BRUCKNER: Te Deum (excerpts) (7'46")-The Deum laudamus-Tu rex gloria, Christie-Felix Maria Gatz-Staatskapelle Berlin-Bruckner Choir-Emmy von Stetten, soprano-Julia-Lotte Stern, alto-Karl Joeken, tenor-Theodor Hess van der Wyk, bassGerman Odeon pressing O-6572(Matrix XXB 7901 and XXB 7902) Orig issue GERMAN ODEON 12" 78 rpm record Condition: Better than EXCELLENT PRISTINE plays EXCEPTIONALLY QUIET rare ticksA CHOICE COPY Felix Maria Gatz was born in Berlin on May 15 of 1892. He studied at the Universities of Berlin, Heidelberg andErlangen and received his Doctor of Philosophy degree in 1917. He studied conducting under Artur Nikisch andconducted the Lübeck Civic Opera from 1922 to 1923.1 Other activities included teaching positions in Vienna,Leipzig and Berlin. 2 His conducting activities took him to Vienna, Breslau, Dresden and Budapest. In 1923, Gatz became the Founder of the Bruckner Society in Berlin and as the chief conductor for the Societyproceeded to schedule numerous performances of Bruckner’s music. From the list below, given bothchronologically and numerically in terms of compositions, it can be seen that Felix Maria Gatz was clearly thegreatest proponent of Bruckner’s music at that time.These Bruckner Society concerts were performed by the Bruckner Society Orchestra, which was essentially thesame players as the Berlin Philharmonic Orchestra. Thus it can be said that the Berlin Philharmonic’s longassociation with the music of Bruckner took seed under the guidance of Felix Maria Gatz. During the 1927/28concert season, Gatz conducted the first Bruckner cycle in Berlin (Symphonies 1-9 plus the Overture in G Minor).4It should be noted however, that Gatz was not a “Johnny One Note.” His repertoire was wide and far-reaching andincluded orchestral, choral and operatic presentations.But in the 1930s, the political scene in Germany was changing rapidly and as the National Socialists gained power,they aligned themselves with the International Bruckner Gesellschaft, a parallel organization but one that was abetter fit for the ideologies of the Third Reich. During the next few years, the IBG became linked to the activities ofthe Bruckner–Gesamtausgabe and the cultural festivals organized by the Nazi Propaganda Ministry. With theseshifts, the Bruckner Society quickly found itself without government financial support and Gatz, being Jewish, sawan immediate need to abandon his activities and to further his career elsewhere. During this time, Professor Gatzwas assisted by the Emergency Committee in Aid to Displaced German Scholars which was founded in New YorkCity in 1933 to assist scholars who were barred from teaching, persecuted, and threatened with imprisonment bythe National Socialists. In a report prepared by the Emergency Committee in May of 1937, Professor Gatz is listedas the recipient of a grant for the academic year of 1934-35.6 As Gatz left for the United States, his colleague FranzMoissl wrote a tribute to his departing friend. It was written both as a tribute and a reference for Professor Gatz ashe embarked on a new career.7In May of 1934, it was announced that Gatz would become Professor ofAesthetics at the College of Liberal Arts at Duquesne University in Pittsburgh,Pennsylvania. His position was endorsed by Rev. J.J. Callahan, President ofDuquesne University. He arrived in Pittsburgh on August 27, 1934, andimmediately stated his goals. “My first aim, now that I am in this country, isto serve Duquesne University. My second is to introduce the works ofBruckner to the American people through my teachings here.”8 His teachingduties would commence in September of that year.9As soon as Professor Gatz arrived in Pittsburgh, he began a new phase ofBruckner promotions. Using the new medium of radio, he immediately setout on a series of radio lectures on Bruckner. The lectures were broadcast over radio stations KQV (ABC Network)and WJAS (Columbia Network).10 The Bruckner Society of America took note of this extraordinary activity, and itmay be best to let their article in “Chord and Discord” describe his activities.It should be noted that Professor Gatz was also active in establishing a student orchestra and choir at Duquesne.During his tenure, he presented a series of “educational concerts” where he preceded each work with a shortpresentation. In October of 1934, he was busy preparing for a performance of Wagner’s “Parsifal.” He alsointroduced the concept of an Opera Ball, where a Christmas holiday dance would be preceded by a short opera. InDecember of 1934, he scheduled such an event with arias from Mozart’s opera “Bastien and Bastiene.” The soprano soloist at this event was Lura Stover (1914-2009) who was well known to concert audiences in and aroundPittsburgh.13 Over the course of the next year, Gatz presented several concerts where Miss Stover was featured.Their collaboration soon blossomed into a full romance. Now, Professor Gatz had yet another project to pursue ashe became interested in furthering his Lura Stover’s career.In May of 1936, there was a major restructuring at Duquesne. Professor Gatz’s mentor, J.J. Callahan took a writingsabbatical. The new acting president, Father Stephen J. Byran eliminated six positions. The eliminations includedthe Dean of the School of Music and Professor Gatz. Both were released from their positions at the end of theacademic year.14 15 Professor Gatz’s position was already in jeopardy since his renewed grant from the EmergencyCommittee in Aid of Displaced German scholars expired that year.16Felix Gatz and Lura Stover moved to New York City, and they were married in Manhattan on July 13, 1937. Theylived at 61 West 106th Street.17 During the 1937 academic year, Gatz lectured at New York University. Thistemporary position was arranged via the Emergency Committee. 18 During his time at NYU, he attended theInternational Congress of Aesthetics and Science of Art in Paris where he was appointed a permanent member ofthat committee.19 In September of 1937 it was announced that Professor Gatz would be joining the faculty at SaintThomas College in Scranton, Pennsylvania.20 As Gatz moved from one position to another, he must have realizedhis tenuous position. In Germany, his status was well documented and celebrated, but due to the National Socialisttakeover, all of that recognition and security had been stripped away. Now it seemed that his career – from Berlinto Pittsburgh and now Scranton - was in a downward spiral.Upon arrival, Gatz was quick to get things startedonce again. He formed a choral group and astudent orchestra, and he began producing operaproductions including “Parsifal,” “Il Trovatore,”and “The Barber of Seville,” all presented at thenewly constructed Masonic Temple. His wife, LuraStover was featured in several productions togreat critical acclaim. In spite of numeroussetbacks, Felix Gatz was determined torestructure his career.In May of 1938, Gatz became a US citizen. Wheninterviewed by the press, he stated, “I am bothhappy and proud to become an American citizen,for two reasons. To me, being an American meansto be a democrat and a pioneer, two things whichI love with all my heart." 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Price: 74.99 USD

Location: San Francisco, California

End Time: 2024-12-16T17:28:14.000Z

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Artist: CLICK RIGHT ARROW > FOR CONDITION, Felix Maria Gatz, Staatskapelle Berlin, Bruckner Choir, Bruckner Chor, Emmy von Stetten, Karl Joeken, Theodor Hess van der Wyk, Theodor Hess

Format: Record

Release Title: Bruckner Te Deum

Material: Shellac

Type: Single

Genre: Classical, Opera

Record Label: Odeon Records

Record Size: 10"

Style: A Capella, Aria, Ars Nova, Ballad, Barcarolle, Canon, Cantata, Canzona, Chorale, Duet, Eastern European Music, Elegy, Film Score/Soundtrack, France & Belgium, French Music & Chansons, German music, Germany & Austria, Italian Music, Lied, Lullaby, Madrigal, Mass, Motet, Musical/Original Cast, Oratorio, Requiem, Russian Music, Spanish Music, Traditional & Vocal, Vocal

Speed: 78 RPM

Catalog Number: O-6572, O 6572, O6572

Sub-Genre: Symphonic & Orchestral

Language: German, Italian