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Opera and lyrical music
Compositions sorted on opus (if available)
Op. 90/ 1
Op. 90/ 2
Op. 90/ 3
Sheet music for Hans Gal
Cello, Piano — piano reduction —
Composed by Hans Gal (1890-1987). Edited by Eva Fox-Gal / Anthony Fox. Arranged by Eva und Anthony Fox-Gal. Edition Breitkopf.
In 1944, Hans Gal composed his Violoncello Concerto in the most difficult circumstances, when World War II was still going on and his economic situation was very bad.Piano reduction. Breitkopf and Haertel #EB-8866. Published by Breitkopf and Haertel (BR.EB-8866).
clarinet in Bb and piano — — Classical
Clarinet and Piano. Composed by Hans Gal (1890-1987). This edition: Saddle stitching. Sheet music. Klarinetten-Bibliothek (Clarinet Library). Classical. Op. 84. 56 pages. Schott Music #KLB 44. Published by Schott Music (HL.49011072).
Piano, Violin — Softcover — Classical
Violin and Piano. Composed by Hans Gal (1890-1987). Boosey & Hawkes Chamber Music. Classical. Softcover. 74 pages. Boosey & Hawkes #M221121097. Published by Boosey & Hawkes (HL.48020712).
Composed by Hans Gal (1890-1987). With Standard notation. Universal Edition #UE012998. Published by Universal Edition (PR.UE012998).
Composed by Hans Gal (1890-1987). With Standard notation. Universal Edition #UE012999. Published by Universal Edition (PR.UE012999).
Mandolin, harp — Sheet Music — Modern
Composed by Hans Gal (1890-1987). Edited by Hladky. Mandolin Solo / Mandolin and Other Instruments. Modern. Sheet Music. Heinrichshofen Verlag #N1710. Published by Heinrichshofen Verlag (PE.N1710).
piano — — Classical
Composed by Hans Gal (1890-1987). This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1944. Op. 65. 20 pages. Duration 8'. Schott Music #ED 9297. Published by Schott Music (HL.49008372).
viola and piano — — Classical
For Viola and Piano. Composed by Hans Gal (1890-1987). Arranged by Julia Mueller-Runte. This edition: Saddle stitching. Sheet music. Viola Library. Classical. Composed 1940. 8 pages. Duration 3'. Schott Music #VAB 69. Published by Schott Music (HL.49017908).
recorder and violin — score and parts —
Composed by Hans Gal (1890-1987). Woodwind music. Score and parts. Op. 68a. Doblinger Music Publishers #HBR-00014. Published by Doblinger Music Publishers (DB.HBR-00014).
2 alto recorders and guitar — — chamber music
Composed by Hans Gal (1890-1987). Woodwind music. Chamber music. Op. 68c. 15 pages pages. Doblinger Music Publishers #HBR-00024. Published by Doblinger Music Publishers (DB.HBR-00024).
Gál composed in virtually every form, from operas to piano pieces. Although the basis of his style is traditional Austro-German (post-Brahmsian) tonality, he was guardedly open to 20th-century developments and in his mature works appears, as he is, a distinct contemporary of such composers as Korngold, Weigl and Zemlinsky, with post-Romantic and neo-classical features. Gál on composing: “One ought to take it for granted that musical creation must proceed from genuine feeling. It’s better not to compose lies, if only because it takes so many notes. And I can’t understand how so much music can be written to suit some passing fashion: that can only be deliberate suicide.”
Perhaps better-known as a musicologist than a composer, though he had a successful career in both professions, Gál was the son of a doctor and brother of the opera singer Erma Gál; a fellow-pupil at school was Erich Kleiber. He studied with Guido Adler and Brahms’s protege Eusebius Mandyczewski at Vienna University (1908–13) and after war service he taught there (1919–1929). While still a student he edited works of Johann Strauss (both I and II) and for his doctoral thesis wrote a book on Beethoven’s early style which was later published. With Mandyczewski, he was co-editor of the first Complete Brahms Edition published in the 1920s. He went on to become director of the Conservatoire in Mainz; driven from there by the Nazis in 1933 he became conductor of the Vienna Bach Choir. After the Anschluss he fled to Edinburgh, where Sir Donald Tovey appointed him a lecturer at the University. Apart from a brief period of internment as an “enemy alien” on the Isle of Man during World War II, he lived and taught in Edinburgh until his death at the advanced age of 97. Capaciously learned in what seemed the entire repertoire, he appeared capable of playing absolutely anything, impromptu, from memory. In addition to his compositions he wrote a number of books, including popular but scholarly studies of Brahms and Schubert.