Emilie Marie Baroness von Bach (1896–1978) was born to a wealthy family in Vienna (no family of Johann Sebastian!) and grew up at Leesdorf Castle in Baden. Her father was a lawyer, painter and violinist, her mother was a singer and composer. In the Bach family household, art and music were the linchpin of daily existence. Famous personalities, such as Johannes Brahms, Arthur Nikisch, Oskar Kokoschka, Gustav Klimt and many others, were among the constant guests. From the age of six Maria Bach received piano lessons at the Grimm Music School in Baden. Over the years she received several prizes for her pianistic skills. From the age of fourteen she also took violin lessons.
In 1914, Maria Bach composed her 1st prelude. This was followed by songs and other piano pieces. On Sundays, Maria and her sister Henriette played at soirées organized by their family. In 1919, Bach began her composition studies at the Universität für Musik und darstellende Kunst Wien. She studied there with Joseph Marx, who helped her develop her own personal musical style. As a composer, Bach made her debut in 1921 with the song cycle Narrenlieder für Tenor und Orchester. Inspired by Joseph Marx, Maria Bach, who was influenced by late Romanticism, from then on occupied herself with Impressionism and the music of Mussorgsky, Scriabin and Stravinsky. In 1924 she wrote a sonata for cello and piano, in 1927/28 a piano quintet. Later followed a piano quartet, songs for voice and orchestra, chamber music and orchestral works. As a composer Maria Bach became more and more recognized, especially in Germany.
In 1952, Bach married Arturo Ciacelli, an Italian painter who taught at the Italian school in Vienna. Inspired by her husband and their travels in Italy, Bach painted Italian landscapes, and when she began exhibiting these paintings, they became extremely popular. In 1966 Arturo Ciacelli died, which meant that Maria Bach initially had no more creative energy. However, after some time she began again composing piano songs and cantatas. But times had changed and the public was no longer interested in Maria Bach's compositions, so her works were performed only in private circles. In 1962 she received a gold medal for her string quartet and in 1976 she was awarded the title of professor.
The string quintet from 1936 is played here by Christine Busch Violine, Elene Meipariani Violine, Klaus Christa Viola, Mathias Johansen Violoncello, and Conradin Brotbek Violoncello. The movements are: Bewegt, energisch; Thème e variations; and Sakraler Tanz. The highly nuanced tone colors of the string parts attest to a profound understanding of the technical and tonal possibilities of these instruments. In 1943 the critic and composer Fritz Skorzeny aptly summed up the fascination produced by Maria Bach's music when he wrote in the Wiener Tagblatt: »In Maria Bach’s oeuvre, manifold elements, exoticism, gripping writing, poetically inspired, are combined.«
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