Ernst von Dohnányi

Often compared to his compatriot Franz Liszt in his musical versatility as a pianist, composer, conductor, teacher and administrative artist, the creative aspect of Ernst von Dohnányi's life was often ovnershadowed by his other activities. As a performer, he felt an affinity with new music from the very beginning and was an early supporter of his Hungarian generation colleagues Bartók and Kodály, with whom he formed close friendships. His own early works were particularly influenced by Johannes Brahms, who had personally inspired the first Viennese performance of Dohnányi's Piano Quintet op. 1. His chamber music in particular is often compared to Brahms in terms of its masterful formal design and its spiritual affinity with the melancholy expression of his older colleague. As the best-known work of this genre, the cheerful Serenade for String Trio in C major op. 10 enjoys unbroken popularity. Based on the classical-romantic tradition and developing it carefully into the 20th century, Dohnányi's work is characterised by the virtuoso technique of the piano music and the dazzling tonal colours of the orchestral works. Melodically, there are Hungarian influences - as a middle ground between stylised folklorisms and Kodály's and Bartók's authentic research - as well as connections to the German and Austrian tradition in the contemporary environment. For example, the popular wedding waltz from the ballet pantomime The Veil of Pierrette op. 18 is often described as a counterpart to Richard Strauss' ‘Rosenkavalier’ waltzes. With its charm, but also finely woven irony, Dohnányi's music retains its timeless popularity.

Christian Heindl