(Mind you, as an aside, this is his Erotic Sonata, which “calls for a female singer to moan orgasmically”, and is also from 1919 – three years before Molly Bloom said “yes and his heart was going like mad and yes I said yes I will Yes.”)
(Mind you, as an aside, this is his Erotic Sonata, which “calls for a female singer to moan orgasmically”, and is also from 1919 – three years before Molly Bloom said “yes and his heart was going like mad and yes I said yes I will Yes.”)
Unfortunately, Schulhoff was a Czech Jew, and – what with that, and being artistic, non-conformist, and politically radical – he didn’t survive the *next* world war. He tried to get to Russia (which wasn’t exactly safe for Jews either), but was caught and died (of TB) in prison in 1942
This is the full New Yorker piece. There isn’t a huge amount out there about Schulhoff, who was rather forgotten about after his early death, but this piece (from 2004) marked a weekend dedicated to his work, so he is starting to be heard more again
And, strangely, even Schulhoff had a forerunner – although this wasn’t performed. Marche funèbre composée pour les funérailles d’un grand homme sourd (Funeral March for the Obsequies of a Deaf Man) was ‘composed’ by French writer Alphonse Allais as a joke in 1897
What a thread!
Thank you!
Now this is an interesting footnote, because it reminds me of another work of Allais’...
He also produced a book, Album primo-avrilesque (roughly: April Fool-ish album), which consisted entirely of works like these
Another footnote:
And another!
Ooh, an intriguing, creativity-encouraging footnote...
Excellent. I love the one above it, too
I like the patriot/possum one, too!