Kurt Gudewill

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Kurt Gudewill (1966)

Kurt Gudewill (3 February 1911 – 29 July 1995) was a German musicologist and University lecturer. From 1952 to 1976 he was professor at the musicological institute of the Christian-Albrechts-University of Kiel. He rendered outstanding services to Heinrich Schütz and Lied research.

Life[edit]

Birth and youth in Itzehoe[edit]

Born in Itzehoe, Gudewill came from a Prussian officer family. So was his uncle, Corvette Captain Hans Gudewill (1866-1904), commander of the German gunboat SMS Habicht and temporary commander of the Schutztruppen in German East Africa.[1] Pictorial material and an overview of the military career of his elder corvette captain, Lieutenant Colonel Max Hans August Gudewill (born in 1865) are handed down in the photo collection of the officers of the XIV Corps (German Empire) of the department Generallandesarchiv Karlsruhe [de] of the Landesarchiv Baden-Württemberg [de].[2]

As the son of Major Curt Caspar Adolf Gudewill (1868-1914), who was a departmental commander of the field artillery regiment during the first month of World War I[3] and was wounded in the battle of Tienen in Belgium and died four days later,[4] and his wife Margaretha Louise Auguste (1875-1953), née Luther, 1911 in Itzehoe, Province of Schleswig-Holstein, he became the "Luther Side relatives" counted.[5]

Gudewill received his first musical and practical lessons and passed a state private music teacher examination in music theory and musical composition in Itzehoe. As his first music teacher he named Thiel's and Richard Hage's student[6] Heinrich Laubach, who was the founder of the Itzehoe Concert Choir.[7] Furthermore, according to his own statement, his successor, Otto Spreckelsen, exerted musical influence on him.[8] Gudewill attended the Kaiser-Karl-Schule [de],[4] a reform Realgymnasium in his home town until the Abitur 1929

Study and Lectureship in National Socialism[edit]

From 1929 to 1935 Gudewill studied musicology as well as philosophy and phonetics at the University of Hamburg (among others with Walther Vetter and Wilhelm Heinitz) and 1930/31 at the Humboldt University of Berlin (among others with Arnold Schering, Friedrich Blume and Hans Joachim Moser). In 1935 he was appointed by Walther Vetter[9] in (historical) musicology at the University of Hamburg with a dissertation entitled Das sprachliche Urbild bei Heinrich Schütz und seine Abwandlung nach textbestimmten und musikalischen Gestaltungsgrundsätzen in den Werken bis 1650 to Dr. phil. promoted. The second opinion of the work took over Georg Anschütz.[10] The work was published in 1936 at Bärenreiter-Verlag in Kassel.

In the same year he became a research assistant by Friedrich Blume and a regular lecturer for music[11] at the Musicological Institute in Kiel. In 1944 he habilitated and applied to the Musicological Institute[12] of the Philosophical Faculty of the Christian-Albrechts-Universität zu Kiel on the topic Die Formstrukturen der deutschen Liedtenores des 15. und 16. Jahrhunderts. (The Form Structures of German Lied Tenors of the 15th and 16th Century). Excerpts from his work were presented in the first volume (1948) of the journal Die Musikforschung under the title Zur Frage der Formstrukturen deutscher Liedtenores.[13] Even before the end of the war, in January 1945, he received a Privatdozent (a lecture catalogue did not appear in the summer semester 1945 though).

Gudewill war member Nr. 166.492 of the NSDAP from November 1, 1929 to October 1, 1930 (see Alter Kämpfer) and again from May 1, 1937 (No. 4,782,103). He belonged to the SA (from 1933), the Hitler Youth (from 1940) and the NS-Dozentenbund (from 1942). Through the mediation of a musician colleague of the Semler Chapel in Itzehoe, the military music enthusiastic Gudewill successfully applied around 1933/34[14] on the place of the second[8] tenor horn in the music course of the Heider SA standard 85 "Dithmarschen". During the Kristallnacht (1938) his was decisively involved in the destruction of the synagogue in Friedrichstadt.[15] Das Machwerk Lexikon der Juden in der Musik, a publication of the Institute for Study of the Jewish Question of 1940, Gudewill commented favourably in a review. After the war, he justified his entry into the SA by saying that it was necessary for his professional advancement. The musicologist Fred K. Prieberg (2009) questioned Gudewill's self-assessment and criticized his silence about re-entering the party.[16]

Professor at the University of Kiel after 1945[edit]

From the summer semester 1946 Gudewill was again listed as part of the Kiel teaching staff in the "Personal- und Vorlesungsverzeichnis".[17] In 1948/49 he was a scholarship holder of the British Council. Guest lecturer at the University of Birmingham in England. In 1952 he received an extraordinary professorship in Kiel while retaining his music lecturing position, and from 1960 to 1976 he was scientific counselor and Professor of musicology.[18] He supervised several doctoral projects (Wulf Konold,[19] Karl-Heinz Reinfandt, Bernd Sponheuer among others) and a music-making circle for early music. The main focus of his work was historical research on 17th century Lutheran church music, especially on the composers Heinrich Schütz and Melchior Franck, as well as on 16th century German Lied. Thus he had a significant part in the fact that the musical genre "tenor song" could assert itself as term techicus.[20]

In 1957 Gutewill reactivated the Arbeitskreis für Neue Musik,[21] which he led until 1991. In 1959 he was accepted into the student working groups of the Studentenwerk Schleswig-Holstein [de]. The working group continued the "Working Group for New Music" initiated by Hans Hoffmann in 1929, which saw itself as alternative to the absence of a local group of the International Society for New Music.[22] 2003/07 Friedrich Wedell at the Musicological Institute of the University of Kiel revived the network as Forum for Contemporary Music.[23]

Gudewill gave several lectures at the Schleswig-Holsteinische Universitäts-Gesellschaft, the support association of the University of Kiel.

Music journalist and Schütz researcher[edit]

Volumes of the New Schütz Edition

As a reviewer, he published from the 1940s onwards in Deutsche Musikkultur, in Zeitschrift für Musikwissenschaft and in Die Musikforschung. In 1942 he began publishing the five-part anthology Frische teutsche Liedlein by the Renaissance composer Georg Forster. From 1948 on, he contributed to the first edition of the music encyclopaedia Die Musik in Geschichte und Gegenwart (MGG) published by his teacher Blume. Gudewill wrote person and material entries. Among others he contributed the first summarizing essay on the music history of Gottdorf (1965).[24] He was also the author of personal articles in the Neue Deutsche Biographie (NDB)[25] and in the Grove Dictionary of Music and Musicians (New Grove). Together with Blume he founded in 1956 the edition series Das Chorwerk [de].[26] After Blume's death in 1975 he took over the sole editorship of the series. In 1956 he was commissioned by the Neue Schützgesellschaft to become the editor of the Neue Schütz-Ausgabe (NSA; Heinrich Schütz: Neue Ausgabe sämtlicher Werke). In 1979 he was also significantly involved in the foundation of the Schütz-Jahrbuch [de].[27]

From 1956 he was vice president and from 1975 to 1988 he succeeded Karl Vötterle. President of the International Heinrich Schütz Society in Kassel. From 1968 to 1981 he was director of the Musikfreunde Kiel [de]

Family and estate[edit]

Gudewill, a Protestant, was married to a pianist and father of three daughters.[5] Alfred Zimmermann, professor of medicine in Kiel, was his father-in-law. His Nachlass can be found in the music collection of the Schleswig-Holsteinische Landesbibliothek [de] in Kiel.[28]

Gudewill died in Kiel at the age of 84.

Writings[edit]

  • Das sprachliche Urbild bei Heinrich Schütz und seine Abwandlung nach textbestimmten und musikalischen Gestaltungsgrundsätzen in den Werken bis 1650.[29] Bärenreiter-Verlag, Kassel 1936.
  • Bekenntnis zu Heinrich Schütz.[30] Bärenreiter-Verlag, Kassel among others 1954 (with Adam Adrio, Wilhelm Ehmann, Hans Joachim Moser and Karl Vötterle).
  • Franz Tunder und die nordelbingische Musikkultur seiner Zeit.[31] Kultusverwaltung der Hansestadt Lübeck, Lübeck 1967.
  • Geschichte der Christian-Albrechts-Universität, Kiel, 1665–1965. Vol 5: Geschichte der Philosophischen Fakultät. Teilband 1. Wachholtz, Neumünster 1969 (with Peter Rohs, Meinhart Volkamer, Hans-Georg Herrlitz, Wilhelm Kraiker and Hans Tintelnot) – Behandlung der Fächer Musikpflege und Musikwissenschaft.[32]
  • Michael Praetorius Creutzbergensis: 1571(?)–1621. Zwei Beiträge zu seinem und seiner Kapelle Jubiläumsjahr.[33] Möseler, Wolfenbüttel among others. 1971 (with Hans Haase).
  • Sprachkritik, Sprachmusik, Sprachsalat: Lyrik.[34] (Edition Fischer). R. G. Fischer, Frankfurt 1991, ISBN 3-89406-304-1 (2nd edition 1992).

Editions

  • Georg Forster: Frische teutsche Liedlein (1539–1556) (Das Erbe deutscher Musik [de]. Volumes 20 and 60–63). Text author: Wilhelm Heiske (1st part), Hinrich Siuts (2nd part) and Horst Brunner (3.–5. Teil). 5 parts, Möseler, Wolfenbüttel among others 1942, 1969, 1976, 1987 and 1997.
  • Melchior Franck: Drei Quodlibets (Das Chorwerk. 53th Issue). Möseler, Wolfenbüttel 1956.
  • Zehn weltliche Lieder aus Georg Forster: Frische teutsche Liedlein (Teil 3–5) zu 4, 5 und 8 Stimmen[35] (Das Chorwerk. Issue 63). Möseler, Wolfenbüttel 1957.

Autobiographical works

Literature[edit]

  • Paul Frank, Wilhelm Altmann, fortgeführt von Burchard Bulling, Florian Noetzel, Helmut Rösner: Kurzgefaßtes Tonkünstlerlexikon. Second part: Ergänzungen und Erweiterungen seit 1937. Volume 1: A–K. 15. Auflage, Heinrichshofen, Wilhelmshaven 1974, ISBN 3-7959-0087-5, p. 257.
  • Fred K. Prieberg: Handbuch Deutsche Musiker 1933–1945. 2nd edition, Kopf, Kiel 2009, ISBN 978-3-00-037705-1, p. 2727f. and 8958.
  • Heinrich W. Schwab: Kurt Gudewill (1911–1995). In Die Musikforschung 49 (1996) 1, S. 1f.
  • Friedrich Volbehr, Richard Weyl: Professoren und Dozenten der Christian-Albrechts-Universität zu Kiel: 1665–1954. Mit Angaben über die sonstigen Lehrkräfte und die Universitäts-Bibliothekare und einem Verzeichnis der Rektoren (Veröffentlichungen der schleswig-holsteinischen Universitätsgesellschaft. N.F., Nr. 7). Edited by Rudolf Bülck, completed by Hans-Joachim Newiger. 4th edition, Hirt, Kiel 1956, p. 201.

Festschrift

  • Uwe Haensel (ed.): Beiträge zur Musikgeschichte Nordeuropas: Kurt Gudewill zum 65. Geburtstag. Möseler, Wolfenbüttel among others 1978 (enthält Bibliographie, p. 342–348).

References[edit]

  1. ^ List of the dead 1904. In Biographisches Jahrbuch und Deutscher Nekrolog 10 (1907), p. 41.
  2. ^ Gudewill, Max Hans August; Oberstleutnant, born on 02.03.1865 in Verden an der Aller in the Deutsche Digitale Bibliothek (German Digital Library)
  3. ^ [Memories of the Semler Chapel in Itzehoe and of musicians from around the city. In Steinburger Jahrbuch 31 (1987), pp. 286–296, here p. 290
  4. ^ a b Cf. Alexander Kern [former church music director]: My youth in Itzehoe/Holstein 1911-1931. [1984], p. 69 (Photo of Gudewill on the cello, 1927), 71, published at https://archive.org/web/20160328051103/http://www.filmfast.de/kern_alex_memoiren1_A4_website.pdf} PDF at the Wayback Machine (archived 2016-03-28).
  5. ^ a b Ludwig Schmidt: Luthers Seitenverwandte. Eine Ergänzung zum Luther-Nachkommenbuch (Genealogie und Landesgeschichte. Vol. 38). Degener, Neustadt an der Aisch 1984, ISBN 3-7686-5056-1, p. 255f.
  6. ^ Musikberichte: Itzehoe. In Neue Zeitschrift für Musik 91 (1924), p. 456.
  7. ^ Kurt Gudewill: Memories of the Semler Chapel in Itzehoe and of musicians from around the city. In Steinburger Jahrbuch 31 (1987), pp. 286–29, here p. 287.
  8. ^ a b Kurt Gudewill: Memories of the Semler Chapel in Itzehoe and of musicians from around the town. In Steinburger Jahrbuch 31 (1987), pp. 286–296, here p. 292.
  9. ^ Peter Petersen: Musicology in Hamburg 1933 to 1945. In Eckhart Krause, Ludwig Huber, Holger Fischer Everyday life at the university during the Third Reich. The Hamburg University 1933-1945 (Hamburg Contributions to the History of Science. Vol. 3). Part 2: Faculty of Philosophy, Law and Political Science. Reimer, Berlin among others 1991, pp. 625–640, here p. 633.
  10. ^ Promotionen bei Walther Vetter, institutsgeschichte-muwi.blogs.uni-hamburg.de, retrieved on 11 May 2020.
  11. ^ Christian-Albrechts-Universität zu Kiel: Personal- und Vorlesungs-Verzeichnis. Summer Semester 1937. Mühlau, Kiel 1937, p. 22.
  12. ^ I. A./A. A. Abert: Report on the Musicological Institute of the University of Kiel. In Mitteilungen der Gesellschaft für Musikforschung, No. 2, 1947, pp. –36f.
  13. ^ Kurt Gudewill: Zur Frage der Formstrukturen deutscher Liedtenores. In Die Musikforschung (1948) 2/3, pp. 112–121, here p. 112.
  14. ^ Kurt Gudewill: Memories of the Semler Chapel in Itzehoe and of musicians from around the city. Inly Steinburger Jahrbuch 31 (1987), pp. 286–296, here p. 293.
  15. ^ Martin Gietzelt, Ulrich Pfeil: Dithmarschen im Dritten Reich 1933–1945. In Verein für Dithmarscher Landeskunde (ed.): Geschichte Dithmarschens. Boyens, Heide 2000, ISBN 3-8042-0859-2, pp. 327–360, here p. 342.
  16. ^ Fred K. Prieberg: Handbuch Deutsche Musiker 1933–1945. Kiel 2009, p. 2727f.
  17. ^ Christian-Albrechts-Universität zu Kiel: Personal- und Vorlesungsverzeichnis. Summer Semester 1946. Mühlau, Kiel o. J., p. 10f.
  18. ^ Christian-Albrechts-Universität zu Kiel: Personal- und Vorlesungsverzeichnis. Winter semester 1960/61. Mühlau, Kiel o. J., p. 28.
  19. ^ Wulf Konold: Secular cantatas in the 20th century. Contributions to a theory of functional music. Möseler, Wolfenbüttel among others 1975, p. 192.
  20. ^ Nils Grosch: Lied and change of media in the 16th century (Popular culture and music. Vol. 6). Waxmann, Münster among others 2013, ISBN 978-3-8309-2591-0, .
  21. ^ Haensel, Uwe (2001). "Kiel". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0.
  22. ^ Martin Thrun: New Music in German musical life until 1933 (Orpheus series of publications on fundamental questions of music. Vol. 76) vol 2, Orpheus-Verlag, Bonn 1995, ISBN 3-922626-75-0, p. 698.
  23. ^ "Forum for contemporary music". Archived from the original on 2018-06-24. Retrieved 2020-05-24.{{cite web}}: CS1 maint: bot: original URL status unknown (link), komponisten.lernnetz.de, accessdate: 24 May 2020.
  24. ^ Renate Brockpähler: Handbuch zur Geschichte der Barockoper in Deutschland (The Schaubühne. Vol. 62 ). Lechte, Emsdetten/Westphalia 1964, p. 179.
  25. ^ Author: Gudewill, Kurt Archived 2018-06-22 at the Wayback Machine, deutsche-biographie.de, retrieved on 22 May 2020.
  26. ^ Ludwig Finscher: Blume, Friedrich. In Ludwig Finscher (ed.): Die Musik in Geschichte und Gegenwart. Second edition, personal section, volume 3 (Bjelinski – Calzabigi). Bärenreiter/Metzler, Kassel among others. 2000, ISBN 3-7618-1113-6 (Online-Edition, subscription required for full access)
  27. ^ In memoriam Kurt Gudewill. In Schütz Yearbook 17 (1995), p. 5.
  28. ^ Nachlässe und Handschriftensammlungen der Schleswig-Holsteinischen Landesbibliothek, shlb.de, retrieved 11 May 2020.
  29. ^ Das sprachliche Urbild bei Heinrich Schütz und seine Abwandlung nach textbestimmten und musikalischen Gestaltungsgrundsätzen in den werken bis 1650 on WorldCCat
  30. ^ Bekenntnis zu Heinrich Schütz on WorldCat
  31. ^ Franz Tunder und die nordelbingische Musikkultur seiner Zeit on WorldCat
  32. ^ Friedrich Hermann Schubert: Geschichte der Christian-Albrechts-Universität Kiel 1665-1965, Vol. 5: Geschichte der Philosophischen Fakultät von Peter Rohs, Meinhart Volkamer, Hans-Georg Herrlitz, Wilhelm Kraiker, Hans Tintelnot, Kurt Gudewill, Karl Jordan and Erich Hofmann. In Historische Zeitschrift 213 (1971) 2, pp. 427–430, here p. 428.
  33. ^ Michael Praetorius Creutzbergensis. 1571 -1621 : zwei Beiträge zu seinem und seiner Kapelle Jubiläumsjahr on WorldCat
  34. ^ Sprachkritik, Sprachmusik, Sprachsalat Lyrik on WorldCat
  35. ^ Zehn weltliche Lieder : aus Georg Forster: Frische teutsche Liedlein (Teil III bis V) : zu 4, 5 und 8 Stimmen on WorldCCcaat

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