ComposerMusic criticGermanRomanticism

Ferdinand Pfohl

Ferdinand Pfohl (1862-1949) was a prominent German music critic, writer, and composer known for his influential writings and late Romantic compositions.

1. Overview

Ferdinand Pfohl (Ferdinand PfohlpfoːlGerman; 1862-1949) was a prominent German music critic, music writer, music journalist, and composer. Regarded as one of Germany's most respected music critics, his opinions held significant weight within musical circles. Pfohl was particularly known for his extensive writings on music, including biographies of influential figures such as Arthur Nikisch and Richard Wagner, which are considered exemplary works of music criticism. As a composer, he adhered to a late Romantic style, heavily influenced by the New German School, especially Wagner. His compositions, which include orchestral works, piano pieces, and numerous Lieder, were frequently performed and positively received during his lifetime. His legacy is actively preserved and promoted by the Pfohl-Woyrsch-Society in Hamburg.

2. Life

Ferdinand Pfohl's life journey spanned from his birth in Bohemia, through his education in Prague and Leipzig, to a distinguished career as a music critic and educator in Hamburg.

2.1. Birth and Early Life

Ferdinand Pfohl was born on October 12, 1862, in Elbogen (now Loket n.O., Czech Republic), a town then part of Bohemia within the Austrian Empire.

2.2. Education

Pfohl pursued his early academic studies in Prague, where he focused on law. Following this, he moved to Leipzig to further his education. In Leipzig, he undertook private music studies under the tutelage of Oscar Paul, a notable music theorist and critic. Concurrently, Pfohl attended courses in philosophy at Leipzig University, broadening his intellectual foundation beyond music.

2.3. Early Career

During his time in Leipzig, up until October 1892, Ferdinand Pfohl began his professional career as a music critic. He contributed significantly to prominent local newspapers, including the Leipziger TageblattGerman and the Königlich-Leipziger ZeitungGerman, establishing his reputation in music journalism.

2.4. Main Career

In November 1892, Pfohl relocated to Hamburg, where he embarked on the most significant phase of his career. He served as the music editor for the influential newspaper Hamburger NachrichtenGerman from November 1892 until 1931. His articles on figures like Richard Wagner and Arthur Nikisch were considered models of music criticism. Beyond his journalistic endeavors, Pfohl also dedicated himself to music education. From 1913 to 1934, he held the position of teacher and co-director at the Vogt Conservatory in Hamburg. He was also honored with the titles of Professor honoris causa and Doctor of Philosophy honoris causa.

3. Musical Activities and Achievements

Ferdinand Pfohl made substantial contributions to the world of music, not only as a highly regarded critic but also as a composer and author of numerous musical publications.

3.1. Music Criticism

Pfohl was widely recognized as one of the most respected music critics in Germany, and his judgments were highly valued and influential within musical circles. He was particularly well-known among a broad audience of music enthusiasts in Germany as a music journalist and critic. His writings on composers such as Richard Wagner and conductors like Arthur Nikisch are considered exemplary works of music criticism.

3.2. Compositions

As a composer, Ferdinand Pfohl adhered to a late Romantic musical style. He was notably influenced by the New German School, particularly by the works of Richard Wagner. His compositions were frequently performed during his lifetime and generally received positive acclaim. His oeuvre includes works for orchestra, chamber music, piano pieces, and vocal music.

3.2.1. Orchestral Works

Pfohl composed several works for orchestra, showcasing his command of large-scale forms:

  • Die ApsaraseGerman for orchestra
  • Das Meer, Symphonische PhantasieGerman (The Sea, Symphonic Fantasy) for large orchestra, Op. 8
  • Eine BallettszeneGerman (A Ballet Scene) for large orchestra, Op. 12

3.2.2. Chamber Music

While specific titles are not detailed, Pfohl's body of work includes compositions intended for chamber ensembles.

3.2.3. Piano Works

His compositions for solo piano include early pieces, etudes, and works based on themes by other composers:

  • Zwölf frühe Stücke für KlavierGerman (Twelve Early Pieces for Piano) (undated early piano compositions), including:
    • NachlaufenGerman (Chasing)
    • PfänderspielGerman (Pawn Game)
    • WalzerGerman (Waltz)
    • EpigrammGerman (Epigram)
    • WalzerGerman (Waltz)
    • ScherzoGerman (Scherzo)
    • SonettGerman (Sonnet)
    • SerenadeGerman (Serenade)
    • NotturnoGerman (Nocturne)
    • Der DudelsackGerman (The Bagpipe)
    • Die PandektenGerman (The Pandects)
    • RomanzeGerman (Romance)
  • Frühe KlavierkompositionenGerman (Early Piano Compositions) (undated), including:
    • CapriccioGerman (Capriccio)
    • TanzGerman (Dance)
  • Hagbart, Nordische RhapsodieGerman (Hagbart, Nordic Rhapsody) for piano, based on a theme by Edvard Grieg (1882)
  • StrandbilderGerman (Beach Pictures) for piano, Op. 8
  • Suite ÉlégiaqueGerman (Elegiac Suite) for piano, Op. 11 (1894)

3.2.4. Choral and Vocal Works

Pfohl's works for choir and solo voice include:

  • TwardowskyGerman, a rhapsody for large orchestra, male choir, and mezzo-soprano (female choir also possible), Op. 10 (1894). The text is based on a poem by Otto Kaiser.

3.2.5. Solo Vocal Works

Pfohl composed numerous songs for solo voice with piano accompaniment, often setting poetry by notable authors. These include various cycles and individual Lieder:

  • Vier LiederGerman (Four Songs)
  • Zwei GesängeGerman (Two Songs) for a medium voice and pianoforte
  • MondrondelsGerman (Moon Rondels), fantastic scenes from Albert Giraud's Pierrot Lunaire, translated into German by Otto Erich Hartleben, for one singing voice (tenor) and pianoforte, Op. 4
  • Drei LiederGerman (Three Songs) for one high voice and piano, Op. 5 (with German, English, and French poems)
  • Vier LiederGerman (Four Songs) for one singing voice and piano, Op. 6
  • RückkehrGerman (Return), Op. 7-1 (1892), with his own poetry
  • SirenenliederGerman (Siren Songs), poems from Max Haushofer's Die Verbannten, for mezzo-soprano (alto) and piano, Op. 9
  • TurmballadenGerman (Tower Ballads), five poems from Max Haushofer's Die Verbannten, for a high singing voice and piano, Op. 14 (1901)
  • Das trunkene LiedGerman (The Drunken Song) (1915), based on a poem by Friedrich Nietzsche
  • MitternachtGerman (Midnight), a song for medium voice, based on Nietzsche's Also sprach Zarathustra (manuscript)
  • Der Kelch der LiebeGerman (The Chalice of Love), a song for low voice, based on a poem by Georg Jacobi
  • Im WaldesschattenGerman (In the Forest's Shadow), a song for medium voice, based on a poem by Joseph von Eichendorff (1942)
  • Am WaldseeGerman (By the Forest Lake), a song for low voice, based on a poem by Alfred Roth (1942, manuscript)
  • Grüße der LiebeGerman (Greetings of Love), a song with piano accompaniment, based on a poem by Wilhelm Raabe (1944, manuscript)
  • Süßer FriedeGerman (Sweet Peace), a song for low voice, based on a poem by Johann Wolfgang von Goethe (manuscript)
  • Alles Vergängliche ist nur ein GleichnisGerman (All that is Transitory is but a Parable), a song for medium/high voice, based on a poem by Goethe (December 14, 1944, manuscript)
  • Über allen Gipfeln ist RuhGerman (Over All the Peaks is Peace), a song with piano accompaniment, based on a poem by Goethe (manuscript)
  • SchilfliederGerman (Reed Songs) for a medium singing voice with symphonic piano accompaniment, based on poems by Nikolaus Lenau (composed from August 21, 1947, manuscript)
  • BirkenlegendchenGerman (Little Birch Legend), a song for medium/high voice with piano accompaniment, based on a poem by Börries von Münchhausen (composed July 28, 1949, his last composition, manuscript)

3.3. Writings

Ferdinand Pfohl was a prolific writer on music, authoring several books and articles. His notable literary contributions include:

  • Arthur Nikisch (1922), included in Heinrich Chevalley's Arthur Nikisch, Leben und Wirken.
  • Arthur Nikisch. Sein Leben, seine Kunst, sein Wirken. (Arthur Nikisch: His Life, His Art, His Work) (1925), a biography.
  • Friedrich Chrysander (1926).
  • Richard Wagner - Sein Leben und Schaffen. (Richard Wagner - His Life and Work) (1911), a comprehensive biography.
  • Ferruccio Busoni - persönliche Erinnerungen an den Menschen, den Künstler und Freund (Busoni - Personal Memories of the Man, the Artist, and Friend), published in Die Musikwelt (1925).
  • Gustav Mahler, Eindrücke und Erinnerungen aus den Hamburger Jahren (Gustav Mahler, Impressions and Memories from the Hamburg Years), edited by Knud Martner (1973).

4. Personal Life

Beyond his professional achievements, Ferdinand Pfohl was recognized with honorary titles, including Professor honoris causa and Doctor of Philosophy honoris causa, reflecting his esteemed status in academic and cultural circles.

5. Death

Ferdinand Pfohl passed away on December 16, 1949, in Hamburg-Bergedorf, Germany, at the age of 87.

6. Legacy and Assessment

Ferdinand Pfohl's legacy as a music critic and composer is significant in German music history. His critical opinions were highly influential, and his compositions, though rooted in the late Romantic tradition, were well-received during his lifetime. To preserve and promote his musical and literary heritage, the Pfohl-Woyrsch-Society (Die Pfohl-Woyrsch-Gesellschaft e.V. HamburgGerman) was established in Hamburg in 1993. The society aims to revive his music and provide information about his extensive body of work.

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