Emil von Reznicek
Emil Nikolaus Joseph, Freiherr von Reznicek (4 May 1860, Vienna – 2 August 1945, Berlin) was an Austrian composer of Romanian-Czech ancestry. (The family never used the Czech version of this name).
Reznicek's father was the Austrian officer Josef Resnitschek/Reznicek (1812-1887), who entered the army as a cadet and later became Feldmarschall-Liutenant, the second-highest rank in the Austrian army. He got an ordinary diploma of nobility in 1851 and in 1859 the rank as a Baron (Freiherr). His mother, Clarisse Fürstin Ghika Budești (1837-1864), belonged to the influential Ghika-family of Romania. His grandfather, Josef Resnitschek (1787-1848), was a trumpet virtuoso and leader of the band of the k.k regiments Nr. 32 (Esterhazy) at Budapest) and Nr. 60 (Gustav Wasa) in Vienna. In Vienna he often played together with Johann Strauss Sr. and Joseph Lanner. Ferdinand von Reznicek (1868-1909) was the half-brother of Emil Nikolaus. His daughter Felicitas (1904-1997) became a journalist and writer and a pioneer of female mountain-climbing. During the Nazi-era she was part of the German resistance movement. Later she became an agent of MI6 and one of its most important informants.
Emil von Reznícek spent his childhood at Vienna. In 1874 his family moved to Graz. He had piano lessons starting in 1871. His first compositions date from his time at Graz and Marburg an der Drau (Maribor) 1876-1878, where he visited the Staatsgymnasium. He studied law and music simultaneously in Graz from 1878-1880. He did not finish his law degree (1880), but continued to study music, his teacher being Wilhelm Mayer (also known as W. A. Rémy). Finally he went to Leipzig, to study with Carl Reinecke and Salomon Jadassohn. He got his diploma as a composer on the 9th of June 1882. Subsequently, he conducted at the theaters in Graz, Zürich, Stettin, Jena, bochum, Berlin and Mainz. In 1887 he moved to Prague. From 1890 to 1892 he was Kapellmeister of the 88th Infantry of Prague, and it was here that he saw his greatest triumph with the premiere of Donna Diana (16 December 1894). This also paved the way for his further career as conductor. He briefly ran for the succession of Eduard Lassen at Weimar; from 1896-99 he became Hofkapellmeister at Manheim. In June, 1897, his first wife Milka Thurn-Valsassina (1864-1897) died. In 1899 he maried his second wife Berta Juillerat-Chasseur (1874-1939). From 1899 to 1902 the couple settled at Wiesbaden, where Reznicek wrote his fifth opera Till Eulenspiegel, which premiered in 1902 at Karlsruhe, directed by Felix Mottl. In the autumn of 1902, Reznicek moved to Charlottenburg, then a wealthy suburb of Berlin, where he remained for the rest of his live.
At Berlin, he had a good start with the first performance of his first symphonny and the revival of Till Eulenspiegel at the Court-opera. But then Reznicek distanced himself from the circles of Emperor Wilhelm II. In 1905 he composed some songs with obvious left-wing tendencies. For economic reasons he was forced to accept the position of chief-conductor of the Warsaw Philharmonic Orchestra (1906-1908) and the Warsaw Opera (1907/08). There, he introduced the operas Salome by Richard Strauss and Die Meistersinger von Nürnberg by Richard Wagner. In 1909-1911 Reznicek assumed the position of chief-conductor at Hans Gregors Komische Oper an der Weidendammbrücke at Berlin. (Not identical with the modern Komische Oper of Berlin). Today, Gregor is considered to be the founder of modern Regietheater. This experience clearly influenced Reznicek with his further operas, beginning with Ritter Blaubart (1915-1917). Gregor closed down his enterprise, when he became Intendant at the Court Opera at Vienna in 1911. Therefore, Reznicek lost his job as the conductor.
1911 proved to be a decisive year for Reznicek. His second wife, Berta, fell seriously ill and for a month it was not known whether she would survive. As Reznicek makes it clear in his autobiography of 1940, at that time he was seriously considering suicide. Finally all his fears and feelings were artistically condensed with his autobiographical tone-poem Schlemihl (1912). Originally a type of musical testament, like the sixth symphony of Tchaikovsky, Schlemihl met immediate success and became the starting point of Reznicek's second career as a composer. Like Janáček he wrote his most important work after the age of 50. First he completed Schlemihl by adding Der Sieger (1913) and Frieden - Eine Vision (1914), thus forming a trilogy of Tome-Poems. In 1914/15 (at the beginning of WW I) he wrote In memoriam, a requiem for fallen soldiers of all nations. In 1915/16 came his next opera, Ritter Blaubart, but imperial censorship forbade the presentation during the war, so its premiere happened only in 1920 at Darmstadt. All these works established his reputation as a composer of modern music. In the 1920s, he was considered to be of equal importance as Strauss and Pfitzner. With the Weimar Republic came public recognition: Reznicek was nominated Professor at the Hochschule für Musik at Berlin and Member of the Prussian Academy of Fine Arts. Reznicek himself responded with a continuous flow of new music until the spring of 1935.
When the Nazi Party came to power in 1933, Reznicek (who was not interested in politics) had a problem: his wife Berta was of Jewish origin. Soon there were threats to blackmail the family. Berta only in the very last moment was prevented from suicide. She retired completely from the public and died early in 1939 from a heart-attack. Reznicek's daughter Felicitas tried to leave Germany and to settle in Switzerland, but received no permit to work there. Therefore, she remained in Berlin, where she entered the German resistance movement as early as 1934. Later, she also collaborated with the British MI6, becoming one of its most important informants. She had a personal relationship with Hitler's Adjudant Fritz Wiedemann and therefore access to the innermost circles of the Nazi regime. (Winston Churchill bestowed on her British citizenship in 1951). Strangely, her brother Emil-Ludwig (1898-1940), Reznicek's youngest son, was a fervent Nazi-sympathiser even before 1933. He was a member of the party and even the SS. When he appeared in Nazi-uniform in 1933, Reznicek was outraged and a complete split of the family was prevented only with the promise never to discuss politics. First Reznicek tried not to become involved. But in 1934 he accepted the invitation of Richard Strauss to become the German delegate at the ständige Rat für die Internationale Zusammenarbeit der Komponisten. Contrary to the opinion promulgated by Ernst Krenek this was not a Nazi-organisation but an invention of Richard Strauss tolerated by the Nazi-Propaganda. With some restrictions the Rat operated rather independently (at least up to 1941); organizing festivals and concerts with modern music in all its member states. Reznicek organized these concerts in Germany and in due course he was able to present compositions which were not particularly in-line with the Nazi-ideology. (E.g. the music of Jewish composers like Dukas or Wladigeroff or jazz-inspired works like The Rio Grande by Constant Lambert. When the Nazi-party tightened the grip on the Rat in 1942, Reznicek tried to resist and eventually resigned. Already in 1940 he had raised some suspicion at the Reich Ministry of Public Enlightenment and Propaganda with his autobiography, which was destined for publication but prohibited by censorship. During his final years the performance of his works in Germany diminished considerably. In 1943 he was evacuated from Berlin to Baden (near Vienna). There he suffered a stroke on Christmas Day 1943, from which he never fully recovered. Becoming more and more demented he was allowed to come back to Berlin n February 1945. He died on 2nd of August 1945 from hunger-typhus.
Reznicek was a personal friend of Richard Strauss. However, relations between the two were ambivalent. Reznicek's symphonic poem Schlemihl (1912) has been seen as a direct parody of Strauss' A Hero's Life, but in his autobiography, Reznicek strictly refused such an interpretation. The composer with the greatest influence on his own work was, according to Reznicek, Gustav Mahler. The use of (often sarcastic) humor is a feature of much of Reznicek's music, from the jibbering Blaubart in the opera Ritter Blaubart through the sardonic Dance around the Golden Calf from Der Sieger ("The Victor") (1913) to the expressionist Tarantella last movement of his Dance Symphony (No. 5, 1925). His opera Till Eulenspiegel, based on the German literary prankster Till Eulenspiegel, was troublesome in a world that was unaccustomed to the use of humour in music and art.
Today, Reznicek is mainly remembered for the overture to his opera Donna Diana, composed in 1894. The overture is a popular stand-alone piece at symphonic concerts, and it served as the theme for the American radio (1947–1955) series Challenge of the Yukon, which later migrated to the TV series (1955–1958) Sergeant Preston of the Yukon. It was also used in the 1950s on the BBC's Children's Hour by Stephen King-Hall for his talks on current affairs.
Reznicek's break-through as a composer came with Donna Diana in 1894. This opera differs considerably from his first three operas written for Prague. Historically Donna Diana (written exactly at the same time as Humperdink's Hansel and Gretel opera) marks the decisive step away from Wager-imitation to Wagner-reception in the way of going beyond Wagner. (Strauss, with his Guntram failed to achieve this aim.) Reznicek's next opera Till Eulenspiegel goes further in exploiting the concept of a Volksoper including older music styles. In the 1908 revision of Donna Diana he eliminated further hints of Wagner. Nevertheless, in the years after Donna Diana he did not fulfill the expectations, Donna Diana had raised. It was only with his experience at the Komische Oper Berlin and the illness of his second wife, that Reznicek found a new and very personal style, that can be described as a sort of musical expressionism. In a letter to Ernst Déczy in 1921 he claimed to have modernized his style considerably. He never left the realm of tonal composition, but he often made use of bi-tonal constructions. And in the dramaturgy of his operas he was clearly influenced by silent-movie aesthetics. Reznicek was skeptical about the Schoenberg concept of twelve-tone composition, but not against atonalism per se. He greatly admired Alban Bergs Wozzeck and Lulu. Reznicek also was open to all types of music as possible souces for his own compositions; old music from the pre-Bach era, but also modern dance music and Jazz. (He make use of a Jazz-band in his Operas Satuala, Benzin, das Oper and even the ballet Das goldene Kalb. All this he amalgamated into his own post-Wagnerian style, creating an early example of Polystilistic Composition. The critics of his time did not understand this concept and often accused him of Eulenspiegelei.
In the late 1920s he was respected as one of the most important German composers of the 1860's generation. But even then his fame began to be surpassed by the modern music of younger composers. Like so many composers who had adhered to tonal music in the 20th century, and being still active after WW I, his music fell to oblivion after WW II with the rise of serialism. In the case of Reznicek, the situation was also aggravated by the false accusation, that he had been a Nazi-sympathizer. In the 1970s, the only conductor, who tried to give Reznicek's music some auditions was the late Gordon Wright. Together with Felicitas von Reznicek he founded the Reznicek society with such prominent members as Maurice Abravanel, Max Burle-Marx and Igor Kipnis. But with the passing of Gordon Wright this society stopped all activities. In 2012 Reznicek's great-grandson founded the Reznicek-Archiv at Wedemark, which is now the central point for all Reznicek research. The archive also digitized all printed Reznicek-scores and inserted them in the International Music Score Library Project. In 2013 the Editio Reznicek also began, with the aim to publish the numerous scores of Reznicek, which had remained in manuscript.
- Symphony No. 1, "Tragic" in D minor (composed 1902)
- Symphony No. 2, "Ironic" in B-flat (composed 1904)
- Symphony No. 3, "Im alten Stil" in D major (composed 1918)
- Symphony No. 4 in F minor (composed 1919)
- Symphony No. 5, "Tanz-Symphonie" (composed 1924)
- Studysymphony (Graz 1881, lost)
- Studysymphony Nr. 1 (Leipzig 1882, lost)
- Studysymphony Nr. 2 (Leipzig 1882, lost)
- Eine Lustspielouvertüre (1881/1896; also Piano4hg.)
- Sinfonische Suite Nr. 1 e-Moll (1883)
- Sinfonische Suite D-Dur (1884) (fragment only)
- Grünne-Marsch Band (1890; also Piano4hg)
- Probszt-Marsch Band (1891) [only Pf-Score extant]
- Gebet aus der Oper Emerich Fortunat Band (1891)
- Der rote Sarafan Band (1891)
- Sinfonische Suite Nr. 2 D-Dur (1896)
- Wie Till Eulenspiegel lebte, Sinfonisches Zwischenspiel in Form einer Ouvertüre (1900; = Zwischenaktmusik from Till Eulenspiegel)
- Sinfonie [Nr. 1] d-Moll Tragische (1902)
- Goldpirol: Idyllische Ouvertüre (1903); (2. Version 1936 as: Frühlingsouvertüre: Im deutschen Wald)
- Sinfonie [Nr. 2] B-Dur Ironische (1904)
- Praeludium und chromatische Fuge für großes Orchester cis-Moll (1904; 1. Version; 2. Version; also arr. for Organ 1921)
- Nachtstück für Violine or Violoncello and small Orchestra (1905)
- Serenade G-Dur Strings (1905, rev. 1920)
- Introduktion und Valse-Capriccio for Violin and Orchestra D-Dur (1906; lost)
- Schlemihl – Ein Lebensbild, Sinfonische Dichtung (with Tenor-Solo; 1912)
- Praeludium und (Ganzton-)Fuge c-Moll (1913, also arr. for Organ 1920)
- Der Sieger – Ein symphonisch-satyrisches Zeitbild, Sinfonische Dichtung (with Alt-Solo, mixed Choir; 1913)
- Der Frieden – A vision for Oragan, Orchestra and mixed Choir (1914)
- Marsch for Orchestra/Band/Piano (1915)
- Konzertstück für Violine und Orchester E-Dur (1918)
- Konzert für Violine und Orchester e-Moll (1918)
- Sinfonie [Nr. 3] D-Dur Im alten Stil (1918)
- Sinfonie [Nr. 4] f-Moll (1919) [Nr. 3: Trauermarsch auf den Tod eines Kommödianten arr. also for Pf-solo]
- Thema und Variationen Tragische Geschichte (mit Bariton-Solo; 1921) (also version without Bariton-Solo)
- Traumspiel-Suite for small orchestra (1921; also Pf.-solo)
- Potpourri aus Die wunderlichen Geschichten des Kapellmeister Kreisler for Salonorchestra (1922; also for Pf-Solo)
- Valse pathetique für Orchestra/Salonorchestra/Piano (1923)
- Valse serieuse (Ernster Walzer) (1924; original 3rd. movement of Tanzsinfonie)
- Sinfonie [Nr. 5] fis-Moll Tanzsinfonie (1925) [= Ballett Marionetten des Todes]
- Raskolnikoff, Fantasie-Ouvertüre Nr. 1 (1925)
- Raskolnikoff, Fantasie-Ouvertüre Nr. 2 (1925) (lost)
- Suite aus Die beste Polizei für Strings (1926)
- Festouvertüre Dem befreiten Köln (1926)
- Sinfonische Variationen über Kol Nidrey (1929) [Theme = Vorspiel zur Oper Holofernes]
- Raskolnikoff, Fantasie-Ouvertüre Nr. 3 (1. Version 1929; 2. Version 1930)
- Karneval-Suite for small orchestra (1931/43 = Zwischenaktmusik aus Gondoliere des Dogen)
- Mea culpa Strings (1932; = Vorspiel zu Das Opfer)
- Die Jungfrau von Orleans, opera in 3 acts after Friedrich Schiller (composed 1884-86)
- Andreas Hofer, Singspiel in 1 Akt by Albert Lortzing (Revision by Emil Nikolaus von Reznicek [including two numbers compsed by Reznicek)] (composed 1887
- Satanella, opera in 2 acts on a libretto by Reznicek (composed 1887)
- Emerich Fortunat, opera in 2 acts on a libretto by Reznick/Dubsky (composed 1888)
- Donna Diana, opera in 3 acts after Agustín Moreto's El desdén con el desdén (composed 1894, revised 1908 and 1933)
- Till Eulenspiegel, opera in 2 acts after Johann Fischart's Eulenspiegel Reimensweiss (composed 1900, revised 1933/34)
- Die verlorene Braut, operetta (composed 1910) (not performed)
- Der Arzt wider Willen, opera in 2 acts by Charles Gounod (translated and arranged for the German stage by Emil Nikolaus von Reznicek) (1910)
- Die Angst vor der Ehe, operetta after Taufstein and Urban (composed 1912)
- Ritter Blaubart, opera in 2 acts on a libretto by H. Eulenberg (composed 1915-17)
- Traumspiel, Stage music to August Strindbergs drama (1915)
- Nach Damaskus III, Stage music to August Strindbergs drama (1918, not performed)
- Die wunderlichen Geschichten des Kapellmeister Kreisler, (1922; Stage music to Carl Meinhards drama after E.T.A.Hoffmann) lost
- Kreislers Eckfenster (1923; Stage music to Carl Meinhards drama after E.T.A.Hoffmann) [lost]
- Holofernes, opera in 2 acts after Friedrich Hebbel's Judith und Holofernes (composed 1922)
- Die beste Polizei (1926; Stage music to Herbert Eulenbergs drama)
- Marionetten des Todes, Ballett in 4 parts Bi (1927; = Tanzsinfonie with coreapraphy by Ellen von Cleve-Petz)
- Satuala, opera in 3 acts on a libretto by R. Laukner (composed 1927)
- Benzin, opera in 2 acts on a libretto by Calderón de la Barca (composed 1929)
- Spiel oder Ernst?, opera in 1 act on a libretto by Poul Knudsen (composed 1930)
- Der Gondoliere des Dogen, opera in 1 act on a libretto by Poul Knudsen (composed 1931) [The Doge's Gondolier]
- Das Opfer, opera in 1 act on a libretto by Poul Knudsen (composed 1932)
- Das goldene Kalb, ballet in 4 parts on a scenario of Viggo Cavling (composed 1934/35) [The Golden Calf]
- Nachtstück Violine or Violoncell and Piano (1905; also arr. for small orchestra)
- Stringquartet Nr. 1 c-minor (1882) [Altmann Nummer 1]
- Stringquartet Nr. 2 c-sharp minor (1906)
- Stringquartet-Fragment c-sharp minor (ca 1920; only Mov. 1.-3)
- Stringquartet Nr. 3 c-sharp minor (1921) [Altmann Nr. 2]
- Stringquartet Nr. 4 d-minor (1922) [Movement 1.+ 2. arranged from Stringquartet c-sharp minor 1907; Movement 3.+ 4. new ][Altmann Nr. 3]
- Allegro alla polacca for Stringquartet (1922; originally new 4th movement for Quartett in d minor)
- Stringquartet Nr. 5 e-minor (1925/30)
- Stringquartet Nr. 6 B Major (1932) [2.+3. movement taken from Quartet Nr. 5 e-minor] [Altmann Nr. 4]
- 2 Movements for Stringquartet(?; Fragments)
- Vorspiel zu Holofernes (Kol Nidrey) Violin and Piano (1925)
- Für unsere Kleinen – Movement for Pianotrio (1921)
- Walzer-Lied für Pianotrio (1924; Excerpt from Valse pathetique; also Piano solo)
- Hexenszene aus Macbeth (composed Marburg 1876-78) (lost)
- Zwei Fantasiestücke (compsed Marburg 1876–1878; published 1882/1896)
- Letzte Gedanken des Selbstmörders for piano (composed 1878-81) [Last Thoughts of the Suicide] (lost)
- Vier Klavierstücke (composed 1880)
- Eine Lustspiel-Ouvertüre, reduction for four-hands piano (composed 1883, published 1896)
- Probszt-Marsch (composed 1891)
- Sinfonische Suite Nr. 2 D maior, reduction for Piano four hands (1896)
- Marsch (1915; alsoOrchestra, Band)
- Traumspiel-Suite, reduction for piano (composed 1921)
- Potpourri from Die wunderlichen Geschichten des Kapellmeister Kreisler (1922; also version for Salonorchestra)
- Walzer-Lied (1924; Excerpt from Valse pathetique; arr. also for Pianotrio)
- Ernster Walzer (composed 1924)
- Valse Pathétique (composed 1924, orchestrated 1924)
- Vier sinfonische Tänze, (composed 1924, including Ernster Walzer; orchestrated in 1925 with newly added Ländler as 3rd. movement)
- Menuett, piano reduction from the stage music to Polizei (composed 1926)
- Liebeserklärung (composed 1943)
- Präludium und chromatische Fuge in C sharp minor (composed 1907, arr. for Oran in 1921)
- Präludium und Fuge in C minor (composed 1913, arr. for Organ in 1918)
- Fantasie "Kommt Menschenkinder, rühmt und preist" (composed 1930)
Works for Choir
- Choir for a choir-concert at the Gymnasium of Marburg (1877) (lost)
- Requiem (Studywork Graz 1878–1881, lost)
- Requiem d-minor Josef Schmeykal for Soli, mixed Choir, Organ and Orchestra (1894; lost)
- Messe F-Maior for Soli, mixed Choir and Orchestra (1898 to commemorate the 50th Year of the ascension to the throne of Emperor Franz Josef 1; lost)
- In Memoriam, Alt, Bariton, mixed Choir, Organ and Strings (1915, 1929, 1936)
- Vater unser, Choralfantasie for mixed Choir and Organ (1919)
- Sieben deutsche Volkslieder from the 16. und 17. Century for mixed Choir/Piano (1924)
- Der steinerne Psalm for mixed Choir, Orgel and Orchestra (1929; Text: Karl Bröger)
- Vom ewigen Frieden, Kantate for Soli, mixed Choir and large Orchestra, (1930, Text: Reznicek, not performed)
- Wiewohl ein armer Narr ich bin: Deutsches Volkslied of the 16. Century for mixed Choir (1930) [1. Version]
- Von rechter Lieb und Stetigkeit. Deutsches Volkslied of the 16. Century for Voice/Pf or Chor/Organ (1933) [2.+3. Version]
- Sieben deutsche Volkslieder aus dem 16. und 17. Jahrhundert for mixed Chor/Klavier, 2. Folge (1936)
- Ruhm und Ewigkeit (Glory and eternity) Tenor or Mezzosopran and Orchestra (1903; Text: Nietzsche)
- Drei deutsche Volkslieder aus Des Knaben Wunderhorn for small Orchestra/Piano (1905)
- Zwei Balladen aus Friedericianischer Zeit, Bass and Orchestra/Piano (1912, Text: Friedrich de la Motte Fouqué, Georg von Kries)
- Vier Bet- und Bußgesänge für Alt or Bass and small Orchestra/Piano (1913, Text: Bibble)
- Drei Stimmungen (1883; Reznicek)
- Trois Mélodies (1897; ?, Goethe)
- Drei Gesänge eines Vagabunden (1904; M. Drescher)
- Drei Gedichte (1904; M. Drescher)
- Drei Gedichte (1904; Henckell)
- Drei Lieder (1905; Bierbaum, Forrer, Henckell)
- Schelmische Abwehr (1905; Henckell)
- Drei Lieder (1918; Owiglas; Mörike; Eichendorf)
- Die Schiffbrüchigen (1921; Drescher)
- Madonna a Rhein. ein deutsches Wiegenlied (1924; H.H.Cramer)
- Sieben Lieder für mittlere Singstimme und Klavier (1939; Ginzkey, Lilienkron, Höcker)
- Wächterlied (1939; nach einer Volksweise des 16. Jahrhunderts)
- Thema und Variationen über die "Tragische Geschichte" von Adelbert von Chamisso für großes Orchester und Bariton. Performed by the RSO Stuttgart conducted by Carl Schuricht (Schuricht-Edition Vol. 14, combined with works by Richard Strauss, Hans Pfitzner, and Max Reger) (Hänssler).
- Symphony No. 1 in D minor, "Tragic", CPO 777223-2.
- Symphony No. 2 ("Ironische"); and No. 5 ("Tanz-Symphonie"). Performed by the Bern Symphony Orchestra conducted by Frank Beermann (CPO 777 056-2)
- Symphony No. 3 in D major, Symphony No4 in F minor, was released by Schwann CD11091. (1984/85)
- Der Sieger (The Victor) for alto and orchestra. Performed by Beate Koepp (alto) and the WDR Symphony Orchestra and Choir (Cologne) conducted by Michail Jurowski (CPO 999 898-2).
- Schlemihl, Symphonisches Lebensbild für Tenor & Orchester; Raskolnikoff III (Schuld und Sühne, eine Phantasie-Ouvertüre 1930). Performed by Nobuaki Yamamasu (tenor) and the WDR Symphony Orchestra conducted by Michail Jurowski (CPO 999 795-2).
- Variationen über Kolnidrey (1929); Lustspiel-Ouvertüre (1883); Thema und Variationen nach einem Gedicht von Chamisso (1921); Ouvertüre aus "Donna Diana" (1894). WDR Sinfonieorchester Köln, Michail Jurowski (CPO 777 047-2).
- Konzertstück für Violine mit Orchester E Maior (1918); Wie Till Eulenspiegel lebte Sinfonisches Intermezzo in Form einer Ouvertüre (1901); Goldpirol-Ouvertüre (1903); Nachtstück (1905); Praeludium und Fuge c minor (1913). Performed by the Rundfunk-Symphonieorchetser Berlin, Sofia Jaffé (violin) conducted by Marcus Bosch. (CPO 777 983-2).
- Donna Diana (opera, 1894). Performed by Max Wittges (bass), Manuela Uhl (soprano) and others, Kiel Opera Chorus and Philharmonic Orchestra conducted by Ulrich Windfuhr (CPO 999 991-2).
- Ritter Blaubart (opera, 1918). Performed by David Pittman-Jennings (baritone), Arutjun Kotchinian (tenor) and others, Rundfunk-Sinfonieorchester Berlin conducted by Michail Jurowski (CPO 999 899-2).
- Benzin(opera, 1928). Prformed by Kouta Räsänen, Johanna Stojkovic, Guibee Yang, Susanne Thielemann, Matthias Winter, Chor der Oper Chemnitz, Robert-Schumann-Philharmonie, Frank Beermann. (CPO 777 653-2).
- String Quartet No. 3 in C-sharp minor (1921). Performed by the Franz Schubert String Quartet (Combined with Erich Wolfgang Korngold's String Quartet No. 1 in A major, Op. 16) (Nimbus 5506-2).
- Luzerner Neueste Nachrichten: Interview: Die Baronin, die für den MI6 spionierte. 18. Januar 1993
- Michael Wittmann: Emil Nikolaus von Reznicek: Kindheit und Jugend.
- Michael Wittmann: E. N. von Reznicek als Opern- und Konzertdirigent (with list of operas and concerts conducted by Reznicek.
- Michael Wittmann: E. N. v. Reznicek als Militärkapellmeister.
- Michael Wittmann: "Emil Nikolaus von Reznicek and the Permanent Council for the International Cooperation of Composers", Reznicek Studien 1, Musikverlag H. M. Fehrmann, Wedemark 2015.
- Felicitas von Reznicek/Leopold Nowak: Gegen den Strom. Leben und Werk von E. N. von Reznicek, Zürich, Leipzig, Vienna: Amalthea-Verlag 1960.
- Sigfrid Karg-Elert: "Freiherr E. N. von Rezniček", Die Musik-Woche, 27 and 28 (1904), pp. 210f. and 218f.
- Otto Taubmann, "Emil Nikolaus von Reznicek", in: Monographien moderner Musiker II, C. F. Kahnt Nachfolger, Leipzig 1907, p. 215–230.
- Max Chop: E. N. v. Reznicek, sein Leben und seine Werke. Eine biographische Studie, Wien u. a.: Universal-Edition o. J. [um 1920].
- Richard Specht: E. N. v. Reznicek. Eine vorläufige Studie, Leipzig u. a.: E. P. Tal & Co. Verlag 1923.
- Wilhelm Altmann, E. N. Von Reznicek, Neue Zeitschrift für Musik 97 (1930) p. 525–535.
- Emil Nikolaus von Reznicek, Tagebuch (Lebenserinnerungen), Manuskript, 1940.
- Felicitas von Reznicek/Leopold Nowak: Gegen den Strom. Leben und Werk von E. N. von Reznicek, Zürich u. a.: Amalthea-Verlag 1960. (Based on Rezniceks unpublished autobiography of 1940).
- Thomas Leibnitz, Österreichische Spätromantiker: Studien zu Emil Nikolaus von Reznicek, Joseph Marx, Franz Schmidt und Egon Kornauth; mit einer Dokumentation der handschriftlichen Quellen in der Musiksammlung der Österreichischen Nationalbibliothek, Tutzing 1986.
- Michael Wittmann: "Emil Nikolaus von Reznicek and the Permanent Council for the International Cooperation of Composers", Reznicek Studien 1, Musikverlag H. M. Fehrmann, Wedemark 2015.
- Michael Wittmann, "Emil Nikolaus von Reznicek. Ein Forschungsbericht", Reznicek-Studien 2, Musikverlag H. M. Fehrmann, Wedemark 2015.
- Michael Wittmann, "Emil Nikolaus von Reznicek. Bausteine zu seiner Biographie, Reznicek-Studien 3, Musikverlag H. M. Fehrmann, Wedemark 2018.
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