Rudolf Wagner-Régeny

In 1920 he enrolled at the Berlin Hochschule für Musik as a student of Rudolf Krasselt and Siegfried Ochs for conducting, and for orchestration of Emil von Řezníček, and with Friedrich Koch and Franz Schreker for musical composition, graduating in 1923. He served as choirsmaster at the Volksoper Berlin from 1923 to 1925. In 1927 joined Laban's dance company where he conducted productions for three years. Wagner-Régeny first gained notice as a composer with his theatre pieces for Essen. In 1929 he met the designer Caspar Neher, who wrote the texts for Wagner-Régeny's best-known operas. In 1930 Wagner-Régeny became a naturalized German citizen, and married, his wife being half-Jewish. Between 1930 and 1945 he worked as a freelance composer and teacher, and with the rise of the Nazis was promoted by a faction of the party as a composer of the future despite the stylistic closeness of his music to the proscribed Kurt Weill. He managed to gain the friendship and esteem of Baldur von Schirach and his works were performed by Karl Böhm and Herbert von Karajan. However, the success of his opera Der Günstling (after Georg Büchner, Dresden, February 20, 1935) was followed by doubts regarding his subsequent output, ending in a scandal with his opera Johanna Balk at the Vienna State Opera (April 4, 1941), which aroused the ire of Joseph Goebbels. After the close of World War II, Rudolf Wagner-Régeny opted for East instead of West Germany. He was director of the Rostock University of Music and Theatre from 1947 to 1950. In 1950 he was appointed as a professor of composition at the (East) Berlin Hochschule für Musik and at the Academy of Arts. He continued to work there until illness prevented it in 1968. He composed 12 operas of which Die Bürger von Calais (1936, libretto by Neher), Johanna Balk (1938), Das Bergwerk zu Falun (1958, after ETA Hoffmann) (cf. "The Mines of Falun") and Prometheus (1959) are considered his best work. His 1958 ballet Tristan is also greatly admired. He struggled to find a musical language distinct from the extremes of modernism but without any association with fascist aesthetics. His early compositions were inspired by Busoni, Kurt Weill and Schoenberg. His theatre collaborations with Neher and Bertolt Brecht were also of importance for the development of his style. After composing works along traditional lines, he adopted his own twelve-tone serial technique in 1950. In their transparency and austerity, his stage works follow the music theatre of Weill and Hanns Eisler and somewhat parallel those of Boris Blacher.

Rudolf Wagner-Régeny studied at Berlin University of the Arts. Training under Robert Teichmüller is recorded. Gerhard Rosenfeld is recorded as having studied under Rudolf Wagner-Régeny. The recorded working language is German. Subjects and genres recorded for the work are opera. Employment is recorded with Hanns Eisler Music School Berlin. Distinctions recorded are National Prize of East Germany.

Stage works Moschopuls (première, Gera, 1928) Der nackte König (Gera, 1928) Sganarelle or Der Schein trügt (Essen, 1929) La sainte courtisane (Gera, 1930) Der Günstling (Dresden, 1935) Die Bürger von Calais (Berlin, 1939) Johanna Balk (Vienna, 1941) Prometheus (Kassel, 1959) Das Bergwerk zu Falun (Salzburg, 1961) Persische Episoden (Rostock, 1963) Instrumental music Orchestral music with piano, 1935 String quartet, 1948 Two dances for Palucca, 1950 Three orchestral pieces: Mythological Figures, 1951 Three orchestral sets, 1952 Seven fugues, 1953 Introduction and ode for symphonic orchestra, 1967 Vocal music 10 Lieder on texts by Brecht, 1950 Cantata “Genesis”, 1956 Jüdische Chronik, 1961 Hermann Hesse songs "Gesänge des Abschieds", 1968/69 Three Fontane-Lieder, 1969