Max Deutsch
| Max Deutsch | |
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17 November 1892 Vienna, Austria-Hungary |
| Died | 22 November 1982 (aged 90) Paris, France |
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Max Deutsch (17 November 1892 – 22 November 1982) was an Austrian-French composer, conductor, and academic teacher. He studied with Arnold Schönberg and was his assistant. Teaching at the Sorbonne and the École Normale de Musique de Paris, he influenced notable students such as Philippe Capdenat, Donald Harris, György Kurtág and Philippe Manoury. He tried to destroy all his own compositions.
Born in Vienna, Deutsch was a pupil of and assistant to Arnold Schönberg. He studied under him in Vienna before the First World War; and followed Schönberg as his assistant to Amsterdam in 1921. Deutsch was a Fellow and taught at UNESCO, and taught at the Sorbonne (Paris IV) from 1970 to 1971, and finally, from 1972 to the École Normale de Musique de Paris.
He founded in Paris the theater Der Jüdische Spiegel (The Jewish Mirror), where many works of composers such as Schönberg, Anton Webern and Alban Berg were first performed.
Konstantin Stanislavsky commissioned a work which was to become the opera Schach (Chess). His "film symphony" Der Schatz (The Treasure) came from a commission from German film director Georg Wilhelm Pabst to provide an original musical score for his 1923 film. In structure, Der Schatz was crafted in two formats: a film score and a stand-alone symphonic work. The five act symphony survived because the manuscript in the latter form was donated to the Deutsches Filminstitut in 1982, shortly before Deutsch died. A score of years later, DeutschlandRadio Berlin collaborated with the Staatsphilharmonie Rheinland-Pfalz, conducted by Frank Strobel, to produce a record of "this extremely rare and totally unknown symphonic work". The recording became the foundation of a "synchronized restoration" of the film. As film music the "piece is scored for a theater orchestra of the kind typically found in European cinemas of the day". It brings to mind the work of Kurt Weill and Stefan Wolpe, and foreshadows Max Steiner's modernist film scores, adopting expressionist atonal twelve tone leitmotifs. Mood setting and character are developed; pianos appear throughout.
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