Schulhoff, Ervin 1894 - 1942
Author: Ozaki, Koichi
Last updated：January 1, 2010
Author: Ozaki, Koichi
Compared to how he was previously recognized as a composer whose life was tragically cut short by history, or as an excellent jazz pianist, the contemporary understanding of Schulhoff seems to be gradually aligning with the reality of his time. Nevertheless, these two evaluations of Schulhoff are certainly not incorrect; rather, they encompass significant elements within his image as a composer.
Being born in 1894 meant experiencing World War I at the age of 20 (he actually went to the battlefield) and having to confront a new major war as a mature individual in his 40s. Furthermore, being born in Bohemia and being of German-Jewish descent meant living through ethnic conflicts, at times as part of the ruling class within the country, and at other times as a target of the Holocaust. Indeed, Schulhoff passed away in a concentration camp before the end of the war, and his music, branded as 'degenerate music,' was also confined for a long time in a 'concentration camp' known as the communist bloc.
Amidst this turbulent era, industries continued to evolve rapidly. For musicians, newly created media such as radio and phonograph records became new avenues for expression, in addition to concert halls. Schulhoff paid attention to these and actively engaged with them, embracing jazz, which was the latest trend. In radio programs of the time, where live broadcasts were dominant, Schulhoff's music and name, with his exceptional virtuosity transmitted over the airwaves, became widely known to the public. Furthermore, he made numerous recordings of his own works and published sheet music. It is undeniable that Schulhoff achieved significant accomplishments in his crossover with jazz. However, his compositional style is not easily identifiable as belonging to a single genre.
Upon returning from World War I, Schulhoff gravitated towards pacifism and subsequently communism. While incorporating Dadaism as an artistic inclination, his music, which fundamentally flows from Czech music akin to Janáček's, possesses a universal quality while retaining a uniquely unparalleled character. It can be said that his characteristics—surreal, at times aggressive or exhibitionistic, yet popular—are most captivatingly expressed in his piano works, including his series of jazz pieces.
Works(11)
Concerto (1)
concerto (2)
Piano Solo (4)
sonata (2)
pieces (3)
suite (2)