Karl Miller writes (referring to a thread which brought up a spectacularly
beautiful but wholly unoriginal piece by Thomas Canning):
>I wish I could find other works by Canning...all I can find are a
>few choral works and piece for organ.
Thomas Canning taught at Eastman for many years, but I couldn't find any
trace of other compositions of his either. It would be interesting to
know how he came to write the "Fantasy on A Hymn Tune by Justin Morgan".
Could it have been an academic exercize in copying RVW's style? If so,
it sure succeeds.
Another obscure but very fine composer I've run across is Anton
Schoendlinger: four chamber works of his are nicely performed by the
Italian Contemporanea Ensemble on CD 051-0034 of something called Real
Sound. His music is lyrical, modal/melodious while sometimes slightly
more chromatic/modernistic, generally developed contrapuntally, and all
in all something like Hindemith. There is also an occasional Hungarian
(or maybe rather Danubian) accent in fast movements.
Schoendlinger was one of the milliions of people orphaned by the
"progressive" developments of the 20th century. He was born in 1919
into the German minority in the middle Danube, in what had formerly been
part of the Hapsburg Dual Monarchy --- that polyglot structure which was
so much better at multiethnicity than 20th century disasters like the
USSR or the Yugoslav Federation, in which Schoendlinger grew up. WWII
brought him conscription into the Yugoslav army, capture, prison camp
in Germany, then conscription into the <i>German army</i>, and the loss
of a leg. After the War he ended up becoming a student of Hanns Eisler
in the GDR (East Germany), and a citizen of that paragon of secret police
Socialism. He found work in music for a time, but as his own music
conceded nothing to the diktats of socialist-realism, he ended up becoming
a non-person, and finally resettled in West Germany shortly before his
death in 1983.
Department of Gnome Sciences
University of Washington
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