{"id":64915,"date":"2025-05-06T15:46:56","date_gmt":"2025-05-06T13:46:56","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=64915"},"modified":"2025-05-19T14:42:11","modified_gmt":"2025-05-19T12:42:11","slug":"paul-klees-geliebte-die-musik","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/berichte\/2025\/05\/paul-klees-geliebte-die-musik","title":{"rendered":"Paul Klee's lover, music"},"content":{"rendered":"
\"\"
Quintet in the studio of the Heinrich Knirr painting and drawing school in Munich (Paul Klee 1st from right), 1900, photographer unknown, 8.7 \u00d7 12.1 cm, Zentrum Paul Klee, Bern, Klee family donation<\/figcaption><\/figure>\n

Within the permanent exhibition Cosmos Klee. The collection<\/em> illuminate in the Paul Klee Center<\/a> Each year, several focus exhibitions focus on a specific aspect of his work or world of thought. The current show Klee musically<\/em> was organized by Fabienne Eggelh\u00f6fer, Chief Curator, and Marianne Keller, Archive Manager at the Zentrum Paul Klee, and runs until 1 June. A eight-part podcast<\/a> and a Video<\/a> deepen the few objects on display.<\/p>\n

The focus is introduced with the much-quoted sentence from a letter the artist wrote to his fellow student Hans Bloesch in 1898: \"My lover is and was music, and I embrace the oil-scented brush goddess simply because she is my wife.\" Klee's lifelong love was the music of Bach and Mozart. These two favorite composers are clearly evident both in the particularly revealing sheet music, which is displayed in a showcase and on a music stand, and in the shellac records that cover an entire wall.<\/p>\n

Not an avant-gardist when it comes to listening to music<\/strong><\/h3>\n

Surprisingly, Klee, an outstanding avant-gardist as a visual artist and innovative to the very end, only had very limited access to the music of his contemporaries. He almost completely ignored the Second Viennese School and the New Music of the 1920s, which was inspired by jazz and American fashionable dance. Thus, the only pieces on display in the exhibition are excerpts from Petrushka<\/em> (1911) can be heard alongside symphonic works from the Viennese Classical period.<\/p>\n

As the son of Hans Klee (1849-1940), a music teacher from Thuringia, Paul Klee learned to play the violin at the age of seven. For a long time, he found it difficult to decide whether to become a musician or a painter. During his training as a painter with Heinrich Knirr in Munich, he played in a string quintet whose partners included Fritz Stubenvoll. Whose Four songs from Stieler's \"Wanderzeit<\/em>\" bear the handwritten dedication \"Meinem lieben Paul Klee\/unserem trefflichen Primgeiger. Munich May 15, 1901\".<\/p>\n

Among the exhibits, they lead to the personal relationship that Klee later had with the Swiss composer Albert Moeschinger (1897-1985), who taught at the Bern Conservatory at the time. In 1934, Moeschinger dedicated to Klee a Con grandezza<\/em> titled piece for string quartet and was found in the painting The young Moe<\/em> (1938), which today belongs to the Philipps Collection in Washington. With his piano piece The flower eater<\/em> based on Klee's lost oil painting of the same name from 1927, Moeschinger created one of the first of more than 400 compositions inspired by works of art or ideas by Klee.<\/p>\n

Critic and cracking Bach player<\/strong><\/h3>\n

From 1903 to 1906, Klee wrote numerous concert reviews for the Berner Fremdenblatt & Verkehrs-Zeitung<\/em> and for the Tourist gazette for Bern and the surrounding area<\/em>. They have been Writings. Reviews and essays<\/em> published by Christian Geelhaar (Cologne 1976), but not included in the exhibition. In those years, Klee was also a violinist in the Bern Orchestra Society. He learned to play the viola in 1904, but made little use of it.<\/p>\n

Even before he married the German pianist Lily Stumpf in 1906, he played music with her passionately. He wrote to his mother Ida Frick (1855-1921), who was trained as a singer, in 1900: \"We play Bach so much that it just cracks.\" Klee owned two violins. He kept the precious one by Testore at home, where he made music with his wife. He played the other instrument in his studio.<\/p>\n

Bauhaus Week in Weimar<\/strong><\/h3>\n

The legendary \"Bauhaus Week\" in August 1923 included several works by contemporary composers who came to Weimar for the performances themselves. On this occasion, Paul and Lily Klee got to know B\u00e9la Bart\u00f3k and Ferruccio Busoni as well as Paul Hindemith and Igor Stravinsky personally. Apart from Stravinsky, whom Klee held in high esteem, but without playing anything by him, none of these composers found their way into Klee's extensive record collection.<\/p>\n

He wrote in his diaries: \"Parallels between music and the visual arts are becoming increasingly apparent to me.\" These are visualized in a very vivid way in the exhibition under various aspects in Rhythm and beat<\/em> and Polyphony<\/em> titled groups of works. Does the pen and ink drawing Sailing ships, easily moved<\/em> the movements of a baton, the drawing is Mirror canon (on 4 levels)<\/em> as a visual realization of a four-part, polyphonic composition. Klee included graphic realizations of Bach's music in his pedagogical texts.<\/p>\n

\"\"
Paul Klee, Sailing ships, 1927, 225, pencil and watercolor on paper on cardboard, 22.8 \u00d7 30.2 cm Zentrum Paul Klee, Bern<\/figcaption><\/figure>\n

As a frequent visitor to opera performances, he often expressed his impressions with irony. In the group of works Stage and podium<\/em> lithography, for example The singer of the comic opera<\/em> (1925) or allusions to compositions by Offenbach.<\/p>\n

As neither a guide nor a flyer or advertising card has been published for the exhibition, please refer to the book Paul Klee and music<\/em> on the exhibition of the same name at the Schirn, Kunsthalle Frankfurt (Nicolaische Verlagsbuchhandlung Beuermann, Berlin 1986). The Zentrum Paul Klee is also making eight ten-minute podcasts and a six-minute video available online.<\/p>\n

Link to the podcasts<\/a>\u00a0<\/strong><\/p>\n

Link to the video<\/a><\/strong><\/p>\n

\"\"
Paul Klee, The Singer of the Comic Opera, 1925, 225, lithograph 41.5 \u00d7 28.5 cm, Zentrum Paul Klee, Bern<\/figcaption><\/figure>","protected":false},"excerpt":{"rendered":"

A thematic focus at the Zentrum Paul Klee in Bern is dedicated to the violin-playing, Mozart-listening, Bach-loving, rhythm-painting artist. 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