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</script><h1>Waldemar von Baußnern</h1><div class="hd"><a href="http://en.instr.scorser.com/C/All/Waldemar+von+Bau%c3%9fnern/All/Alphabeticly.html">All Compositions</a></div><div class="clear10"></div><h2>Compositions for: Keyboard</h2><div class="clear10"></div><div class="clear10"></div><script async src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js?client=ca-pub-7958472158675518"
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</script><div class="clear10"></div><div class="clear10"></div><a href="https://en.wikipedia.org/wiki/Waldemar_von_Baußnern">Wikipedia</a><div class="p">Waldemar Edler von Baußnern (also Baussnern or Bausznern; 29 November 1866 – 20 August 1931) was a German composer and music teacher.</div><div class="p">Born in Berlin, and descended from Transylvanian Saxons, Baußnern was the son of a financial official. He grew up in both Transylvania and Budapest in the Austro-Hungarian Empire (in present-day Romania and Hungary respectively). Between 1882-1886 he was a student of <a href="http://en.instr.scorser.com/C/Keyboard/Friedrich+Kiel/All/Popularity.html">Friedrich Kiel</a> and <a href="http://en.instr.scorser.com/C/Keyboard/Woldemar+Bargiel/All/Popularity.html">Woldemar Bargiel</a> at the Berlin Musical Academy (Berliner Musikhochschule). He then conducted various choirs; after 1909 he became director of the Großherzoglichen Musikschule in Weimar. From 1916 to 1923 he served as director of the Hoch Conservatory in Frankfurt am Main. In 1923 he became undersecretary of the Academy of Arts, Berlin. He died in Potsdam.</div><div class="p">Baußnern's extensive catalogue of compositions includes almost all musical genres, yet it displays an emphasis on both choral symphonic and orchestral composition. As a composer, Baußnern found stimulation from poetry, for not only his vocal music, but also his instrumental music; the poetry of Johann Wolfgang von Goethe emerged as an especial source of inspiration. This compositional impetus is reflected in numerous titles of his works, yet his oeuvre lacks any programmatic design. Stylistically, Baußnern stands out as a maverick to his contemporaries, remaining a composer who defies classification. Generally, however, his music is rooted in the 19th century, yet exhibits independence of form, ranging from extremes of conventional tonality to frequently polyphonic chromaticism, nonetheless never metamorphosizing into atonality.</div><div class="p">Baußnern completed <a href="http://en.instr.scorser.com/C/Keyboard/Peter+Cornelius/All/Popularity.html">Peter Cornelius</a>'s fragmentary opera Gunlöd in 1906 and served as editor of the operatic section of a comprehensive edition of Cornelius' works.</div><div class="p">Sustained success eluded Baußnern during his life, and many of his compositions (for example, all of his symphonies) were never published. Research into Baußnern work remains in its infancy, but a Baußnern Society (Baußnern-Gesellschaft), founded by German composer Dietrich von Bausznern (1920–1980), Baußnern's grandson, seeks to promote awareness of his life's work. Current chair of the society is Angela Gehann-Dernbach.</div></body></html>