20th century
Baroque
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Genzmer Harald
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Sonata for flute and piano No. 2 in E minor
Sonata for flute and piano No. 2 in E minor
Harald Genzmer: Sonata for flute and piano No. 2 in E minor was written in 1945 and dedicated to the German flautist Gustav Scheck. Scheck was a leading figure in the revival of both Baroque and contemporary flute music in Germany and a close associate of the Hindemith circle.
The Sonata is characterized by linear counterpoint, motoric rhythms, and a "cool" tonal language. Unlike the French Impressionism of Gaubert, Genzmer’s Second Sonata focuses on thematic economy and a rugged, intellectual energy.
The piece is considered a pivotal work of the German "Neue Sachlichkeit" (New Objectivity) movement, reflecting the composer's transition into the post-war era.
1945 was a year of total upheaval for Genzmer. He had spent the war years teaching at the Berlin Musikhochschule and serving as a clerk in the military. Additionally, he was obliged perform as a pianist at military hospitals to aid in the psychological recuperation of wounded officers and soldiers.
The composition of this Sonata coincided with the collapse of the Third Reich and the beginning of Germany's "Stunde Null" (Zero Hour).
As a star pupil of Paul Hindemith, Genzmer remained committed to the concept of Gebrauchsmusik (utility music)—music that was technically challenging yet structurally clear and "objective." In 1945, Genzmer was one of the primary figures keeping the Hindemith aesthetic alive in Germany while Hindemith himself was in exile.
Shortly after composing this work, Genzmer moved to the Freiburg Musikhochschule (founded in 1946), where he joined the dedicatee, Gustav Scheck, to rebuild the German musical education system.
Wiktor Szymański (piano), live performance, March, 2016
1. Allegro moderato; 2. Scherzo; 3. Introduktion und Finale
Genzmer Harald
Harald Genzmer (1909-2007) was one of Germany’s most prolific 20th-century composers and a primary exponent of the "Neue Sachlichkeit" (New Objectivity).
Born in Bremen, Germany, Genzmer was raised in an intellectual and musical environment. His father, Felix Genzmer, was a prominent lawyer and scholar of Old Norse literature, which exposed Harald to a broad cultural education from a young age. His formative years were spent in Marburg, where he received his initial musical training.
Later, in the Berlin Musikhochschule, he became a "star pupil" of Paul Hindemith. Genzmer adopted Hindemith’s philosophy of Gebrauchsmusik (utility music)—the idea that music should be technically accessible, structurally logical, and socially functional.
In the 1930s, Genzmer collaborated with Friedrich Trautwein and Oskar Sala to become the first major composer for the Trautonium, an early electronic synthesizer. His Trautonium Concertos remain foundational works in the history of electronic music.
During WWII, he served in a medical unit as a pianist for wounded soldiers. Following the war, he became a monumental figure in German music education, co-founding the Freiburg Musikhochschule (1946) and later teaching at the Munich Academy of Music (1957–1974).
His style is characterized by linear counterpoint, clear textures, and a "cool," objective tonality. He famously rejected the emotional excesses of late Romanticism and the perceived "chaos" of total serialism.
Most of his works were written during his teaching career in Freiburg and Munich.
Among his numerous compositions for orchestra, voice, various instruments, and chamber music groups, the most common form of Genzmer's composition is the instrumental concerto and concertante. The most popular works: Sinfonietta for Strings (1955), Concerto for Flute, Harp and Strings (1993), Concerto piccolo for recorder and percussion (1978).