Wolf-Dieter Hauschild
Wolf-Dieter Hauschild (6 September 1937 – 18 May 2023) was a German conductor, choirmaster, artistic director, composer, harpsichordist and university lecturer.
[5] For his final thesis he designed a stage version of Mozart's Singspiel Bastien und Bastienne, which was performed at the Staatsoper Unter den Linden.
[4] In 1963 in Weimar he brought Chodscha Nasreddin [de]'s opera[8] Der fröhliche Sünder of his teacher, Ottmar Gerster, for the world premiere.
[4] With the politician Erich Mückenberger, Hauschild at the time advocated a new venue, the future Konzerthalle Carl Philipp Emanuel Bach [de].
[14] Further premieres at the MaerzMusik in Berlin were to follow, among others in 1975 Jürgen Wilbrandt's Mein Haus hat Erde und Meer (speaker Horst Westphal)[15] and Ruth Zechlin's Klavierkonzert (with Eva Ander),[16] 1976 Wolfgang Strauß' 4.
Sinfonie mit Sopran-Solo (with Renate Frank-Reinecke)[17] and Siegfried Matthus' Laudate pacem (with Renate Krahmer, Elisabeth Breul, Annelies Burmeister, Armin Ude and Hermann Christian Polster) and in 1977 Köhler's Der gefesselte Orpheus and Lothar Voigtländer's Canto General (with Brigita Šulcová).
[19] Even after his move to Leipzig, he cultivated the connection to the capital and was a guest conductor at the Deutsche Staatsoper and the Komische Oper Berlin.
[21] On the other hand, he brought with the symphony orchestra and the chamber orchestra various Neue Musik works to world premieres – 1978 Edison Denisov' Konzert für Klavier und Orchester (with Günter Philipp), 1979 Lombardi's Sinfonie, Neubert's Notturno, Lohse's Konzert für Klavier und Orchester (with Gerhard Erber) and Dessau's Vierzehn Stücke aus "Internationale Kriegsfibel" (with Helga Termer, Elisabeth Wilke, Horst Gebhardt and Bernd Elze), 1980 Katzer's Konzert für Klavier und Orchester (with Rolf-Dieter Arens) and Wallmann's Stadien für Orchester und Klavier (with Bettina Otto),[23] 1981 Schenker's "Fanal Spanien 1936", 1983 Lombardis Zweite Sinfonie and Krätzschmar's Heine-Szenen (with Wolfgang Hellmich).
[29] Hauschild made several recordings with the orchestra, ranging from the music of Telemann and Schumann to Ives, Denissow, Thiele and Krätzschmar,[30] including the complete choral works of Johannes Brahms and several oratorios by Handel.
[31] After his departure from Leipzig, it took two seasons before the leadership positions could be filled again with Max Pommer (orchestra) and Jörg-Peter Weigle (choir).
[32] In the course of his opera performances in Leipzig, Berlin and Dresden, Hauschild became the "Wagner conductor of the hour" by the mid-1980s, as Robert Schuppert put it.
[33] At the turn of the year 1984/85, he conducted the orchestra which performed in the Palast der Republik in Berlin with the participation of the Leipziger Rundfunkklangkörper and the soloists Reiner Goldberg, Magdalena Falewicz, Uta Priew and Hermann Christian Polster Beethoven's 9.
[37] After an originally promised[37] double engagement Leipzig-Stuttgart did not come about due to "the rigid attitude of the GDR authorities", as Jörg Clemen explained,[10] Hauschild settled in Stuttgart in spring 1985 on the occasion of a guest performance.
[39] In a statement, he explained that in the summer of 1984, the city of Stuttgart approached him with the request for a permanent guest conducting position, whereby he would take over some of Hans Zanotelli's tasks.
He felt that he had a duty to the orchestra members and to the Stuttgart city administration and decided "with a heavy heart" to move to the BRD.
[40] In the GDR, on the other hand, he was declared persona non grata and was henceforth also known among fellow musicians as a notorious "class enemy [de]" his family only received permission to leave the country two years later.
[42] In the end, however, Hauschild left Stuttgart because "he had not succeeded in convincing the city of the need for additional orchestra positions for the Philharmonic," as Armbruster remarked.
[49] In his era the ballets Giselle by Adolphe Adam and Der grüne Tisch by Fritz Cohen as well as the operas Lady Macbeth von Mzensk by Dmitri Shostakovich and Tosca by Puccini were staged.
After seventy years, from 1994 to 1997, together with the director Klaus Dieter Kirst, whom he knew from Dresden, he brought the tetralogy Der Ring des Nibelungen to the stage.
[33] Hauschild also turned his attention to contemporary Eastern European music, premiering Suslin's Farewell in 1993 and Denissow's Concerto for Flute, Clarinet and Orchestra (with Dagmar Becker and Wolfgang Meyer) in 1996.
[60] Repeatedly he was then also artistic director for orchestral conducting at the Dirigentenforum [de] of the Deutscher Musikrat (Essen 1994, Koblenz 1998 and 2005, Halle (Saale) 2001, Rostock 2002 and 2004 and Bremen 2006).
