Franz Reizenstein

Franz Reizenstein's parents were the well-known physician Dr. Albert Reizenstein (1871–1925) and his wife Lina Kohn (born 1880), both of Nuremberg, Germany. The family was Jewish and counted many professionals, scientists, bankers, and musically inclined people among its members. Reizenstein grew up in Nuremberg and was considered a child prodigy. He composed his first pieces when he was 5, and by the age of 17 he had written a string quartet. His well-to-do and artistic family encouraged him to play chamber music at home. Eventually he was sent to study composition under Paul Hindemith and piano under Leonid Kreutzer at the Berliner Hochschule für Musik. Hindemith's composition class also included Harald Genzmer, Oskar Sala and Arnold Cooke. Reizenstein remained a lifelong friend of Cooke and kept his Piano Concerto (1940) in his repertoire. In 1934 he emigrated to England at the age of 23 to escape the Nazis, one of the first of nearly 70 émigré musicians from Nazi Europe to do so between 1933 and 1945. Once in England, he furthered his studies under Ralph Vaughan Williams for composition and Constant Lambert for conducting at the Royal College of Music, and began to incorporate English musical influences into his works. He also studied the piano for eleven years with Solomon Cutner, and took a course of conducting under Felix Weingartner in Basel. He also played with the violinist Carl Flesch. Unfit for active service, he worked as a train conductor during the war, while continuing his composition and performance work. He married his wife Margaret Lawson, an English music critic, in 1942, and they had a son, John Reizenstein. They lived at 34, Hollycroft Avenue, London NW3. That year he gave the first public performance of his Piano Concerto No 1 with the London Philharmonic Orchestra, conducted by Sir Adrian Boult. Through his mother's Kohn family, Reizenstein was related to the writer Catherine Yronwode. ==Music==

Like fellow émigré composer Hans Gál, Reizenstein rejected the serial procedures followed by many of his contemporaries and adopted a tonal, expressive style influenced by Vaughan Williams and the English lyrical tradition, tempered with the objectivity and contrapuntal complexity of Hindemith. Hugo Cole divided his work into three periods: the first (1936–1945) emphasising motivic development, rhythmic energy and fugal counterpoint; the second (1947–1959) introducing more elegiac and expressive material; and the third (1960–1968) a late style more genial and relaxed, with freer thematic development and transformation. and concertos (such as the two Piano Concertos, the late Concerto for String Orchestra, a Violin Concerto and a Cello Concerto). A symphony remained unfinished at his death. The 12 Preludes and Fugues, heavily influenced by Hindemith's Ludus Tonalis, display Reizenstein's personal harmonic idiom (heavy with 4ths and semitones) and feature pairs of preludes and fugues that are closely related thematically. He also wrote two operas, Men Against the Sea (1949) and Anna Kraus (1952), and composed lavish orchestral scores for the Hammer horror film The Mummy (1959) and the cult British horror film Circus of Horrors (1960). Commercially available recordings include the piano music played by Martin Jones (Lyrita SRCD.2342, 2014), the Piano Concerto No 2 and Serenade in F with Oliver Triendl and the Nürnberger Symphoniker (CPO 555245-2, 2019), the Cello Concerto, played by Raphael Wallfisch, He recorded some of his own works, including the Piano Sonata, for the Lyrita record label in 1958. Hoffnung Festivals Reizenstein contributed the Concerto Popolare ("A piano concerto to end all piano concertos") to Gerard Hoffnung's first music festival in 1956. Hoffnung's festivals were comedy events, trading on the musical knowledge of the audience. The premise of the Concerto Popolare is that the orchestra believes it is playing Tchaikovsky's First Piano Concerto, but the pianist believes he or she is playing the Grieg Piano Concerto. A pitched musical battle ensues, dragging in other themes (notably from Rhapsody in Blue, the Warsaw Concerto and the song "Roll Out the Barrel"). The soloist at the premiere was Yvonne Arnaud (otherwise a renowned actress), who had been chosen after Hoffnung's first choice, Eileen Joyce, declined. At the 1958 Hoffnung Festival he contributed (with William Mann) ''Let's Fake an Opera or The Tales of Hoffnung'' Mann's libretto consisted of "ridiculously juxtaposed excerpts from more than forty operas, which delighted both Reizenstein and the audience". Daniel Snowman called it "an insane collage of opera plots and themes". Also popular was his set of Variations on The Lambeth Walk (a popular song of the 1930s), for solo piano, each variation being a parody of the style of a major classical composer. The composers parodied are Chopin, Verdi, Beethoven, Mozart, Schubert, Wagner and Liszt. ==Selected works==