Klughardt, August

August Klughardt – Suite für Orchester in A Minor, Op. 40

(b. Köthen / Anhalt, November 30, 1847 – d. Roßlau (today Dessau-Roßlau), August 3, 1902)

Ballade. p.3
Sarabande. p.38
Gavotte. p. 56
Scherzo. p. 67
Lied. p. 88
Finale p. 95

Preface
August Klughardt was a German composer and conductor born in 1847. Klughardt began learning piano and music theory when he was 10 years old, and soon after started composing his own works. After finishing school, he moved to Dresden in 1866 to further his compositional skills and began to have his music publicly performed. Klughardt made a living as a conductor one year later, an occupation to which he devoted the rest of his life, alongside composing. Passing theatre to theatre in Posen, then Neustrelitz, then Lübeck, he eventually found a job at the court theater in Weimar from 1869 to 1873, where he crossed paths with Franz Liszt. Their meeting held significant creative development for the remainder of Klughardt’s musical career. While Klughardt is overall a rather conservative composer for his time, his works reflect some aspects of Liszt’s and Wagner’s compositional techniques.

Suite für Orchester in A Minor, Op. 40 is a symphonic suite in six movements first published in 1883, well after his meeting with Franz Liszt. The date and location of the premiere are unknown, as are the location of the parts and manuscript score. Klughardt decided on a more traditional chamber orchestra style instrumentation, with only two horns and no low brass. The first movement, entitled Ballade, is very sprightly and energetic yet culminating in a relaxed resolve. The Sarabande introduces a solemn and sweeping theme in the strings, which the winds interrupt with an ardent flourish of fanfare, with the strings quickly taking part in moments later. The Gavotte is very stately yet with a dainty, playful air, hence its name. These sections, featuring the winds, are juxtaposed with full orchestra, initiating a classic call-and-response. Though the movement quickly explores differing ideas, this call-and-response motive is employed throughout, whether through melody or through texture. …

Read full preface / Das ganze Vorwort lesen > HERE