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Felix Draeseke a Forgotten Artist

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In his childhood, Felix Draeseke was a passionate admirer of the New German School, whose melodies gave the concentration of Liszt. In his elderly age, nonetheless, unable to hear and maybe disappointed by too various years useless education and too minority years in advance tributes as a compositor, Felix had become conventional, attacking the immoderation of the Strauss age group even at the same time as preserving an personal technique of his own. Felix Draeseke came into the Leipzig Conservatory at 17 years old, learning with Julius Rietz. He discarded the school three years afterward, subsequent to listening to Wagner’s Lohengrin.

Obsessed with this fresh, discriminating, German-nationalist figure of musical expression, he started an opera in a related element: “König Sigurd” that involved the help of Franz Liszt. In 1861, Franz’s plays in Weimar of Draeseke's Germania-Marsch assembled with annoyed protests. Germany appeared to have a fresh musical agitator on its lands. Felix congregated with Wagner in Lucerne, and the youthful compositor, too, would travel to Switzerland in 1861. He lived there for 15 years, working as a pianist professor in cities in the region of Lake Geneva and never thought for his own melodies that his early infamy recommended would come simply. Franz performed Felix’s Sonata quasi Fantasia, wrote throughout this era, as the top piano symphony since Schumann, but hardly any other cognoscenti appeared to share this view.

Felix Draeseke’s symphonies fell into shadows; merely a dark project of his “Tragic” Symphony preserved his name active in the 2nd half of the 20th century, even though since 1986 the International Draeseke Society has revitalized his projects recording and published.

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