Robert Müller-Hartmann: Chamber Works
Erika Raum, Kevin Ahfat (piano), Thomas Wiebe, Marie Bérard, ARC Ensemble (chamber ensemble)
As always, the ARC Ensemble’s committed performances make the best possible case for re-evaluating this neglected composer.
Robert Müller-Hartmann: Chamber Works
Erika Raum, Kevin Ahfat (piano), Thomas Wiebe, Marie Bérard, ARC Ensemble (chamber ensemble)
Purchase product
As always, the ARC Ensemble’s committed performances make the best possible case for re-evaluating this neglected composer.
About
Robert Muller-Hartmann was born in Hamburg, in 1884, the son of the piano teacher and clarinettist Josef Muller and his wife, Jenny. He studied in Berlin for four years, but then returned to Hamburg where he pursued a successful career combining teaching, composing, and writing. His works were widely performed by conductors such as Karl Muck, Carl Schuricht, Richard Strauss, Otto Klemperer, and Fritz Busch, and regularly played on German Radio. With the advent of National Socialism, in 1933, Muller-Hartmann was forced to resign from his teaching posts at the University and Conservatory. He continued to teach at Hamburg's Jewish girls' school, and was an active contributor to the Judischer Kulturbund (Jewish Cultural Federation). In the mid 1930s, Eugenia and Jacob (Yanya) Hornstein, Hamburg friends of the Muller-Hartmanns, moved to the town of Dorking, some twenty-five miles south of London, and in 1937 the Muller-Hartmanns followed them. The thirteen years Robert spent in England saw the country scarred by the losses, destruction, and privations of war. There was very little time or opportunity for him to secure a place in his adoptive country's musical life, and despite his considerable success in Germany during the 1920s and '30s, his reputation had failed to cross the English Channel. A general antipathy to the inclusion of German musical exiles and his modest, rather retiring personality ensured that he would soon be forgotten.
Contents and tracklist
Awards and reviews
January 2024
As always, the ARC Ensemble’s committed performances make the best possible case for re-evaluating this neglected composer.
January 2024
These first recordings are no less well prepared, scrupulously engineered and sympathetically played than previous volumes in the series. If the album stirs up interest in the other two string quartets, so much the better