'Music should bring primarily physical pleasure, even ecstasy, to the listener. It is not philosophy: its roots lie in ecstatic situations and its expression lies in rhythm.' Czech composer Erwin Schulhoff wrote these words in 1919. With this statement, the twenty-five year old composer seemed to side against the Second Viennese School, against the philosophical ideas of Theodor Adorno, even though he had been strongly influenced by Schönberg. And yet these words are perhaps understandable, coming as they do from a person who, at the age of ten, was being encouraged by Antonín Dvořák shortly before his death. On Dvořák's advice, Schulhoff first went to study at the Prague conservatory. Later he went to Vienna, and to Leipzig to study with Max Reger, where he won prizes for piano playing and composition. He even studied briefly with Debussy in Paris. Inside him there bubbled a mixture of Richard Strauss, Scriabin, Debussy, Schönberg, Janáček, and later even jazz. Although four years of military service during the First World War seemed to thwart Schulhoff's artistic ambitions, he still continued to compose, even though he had to fight to protect his hands from the severe frost on the Russian front. After the war Schulhoff stayed in Germany. There he associated himself with the Dadaistic movement, was influenced by jazz and forged his style from Schönberg's expressionism and Stravinsky's neo-classicism. After returning to Prague, Schulhoff was inspired by Czech folk music and the music of Léoš Janáček, whose opera Jenůfa he became acquainted with as repetiteur for a performance in Cologne in 1918.
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