Eugen Haile (February 21, 1873 – August 14, 1933) was a German-American composer, singer, and accompanist, primarily known for his songs."Haile, Eugen." Baker's Biographical Dictionary of Musicians. 8th ed. New York: Schirmer Books, 2001. In his lifetime, it was claimed that he was one of the "truly inspired melodists, a lineal descendent of the great lyricists, Schubert, Schumann, Franz and Brahms."Anon. (1917). "Eugen Haile: the New Yorker who preserves the tradition of the German lied." [?] Opinion [unreadable], (New York) July, 1917.
Biography
Early life Haile was born in Ulm, Germany, a town described by a columnist who interviewed Haile as "the old Suabian town of Meistersinger traditions",Von Ende, Amelia. "Calls music back to its simple purity of past: Tonal art must retrace its steps, maintains Eugen Haile, to pass the dangerous climax now reached in its development - would restore unselfish creative joy to composer". Musical America. (New York) 1/9/1915. "on the fringe of the Black Forest". His father was a local butcher.Moderwell, H. K. "Happy Ending proves beginning of career: Eugen Haile, composer, at last gains the recognition for which he has been striving for many long years." New York [?] [unreadable]. 8/10/1916.
During his childhood Haile liked the zither, and also played the flute, which he learned from "an old town musician ... The boy preferred to play by ear and in the open; or to improvise an obbligato to the deep bass of an old shoemaker friend whose singing of chorals he enjoyed." He loved "emotional spontenaity" and folksong, and had a "preference for simple sentiments simply and sincerely expressed".
In 1887, at age 14, he went to study at the Stuttgart Conservatory, where he learned violin, piano, and composition. Haile spent seven years there, until 1894.
Career and marriage During the next few years, Haile composed songs that he said were popular with audiences, but not with the musical authorities. Also, while in Stuttgart, Haile began work on an opera called Harald der Geiger. The librettist was a friend, who entered the priesthood and moved to America before the text was finished. Haile eventually followed him in 1903, settling in Scranton, Pennsylvania for a few years. While there, Haile conducted male singing societies, sent for his fiancée, Elise,"German folksong recital." Musical America (New York), 12/16/1911. and got married. His wife was a contralto, who was also from Germany, and had worked in Stuttgart."Eugen Haile, pianist-composer." The Musical Courier (New York). 12/27/1911.
Around 1905, Haile began work on a second opera, called Viola d'Amore. Its libretto was written by Baron Hans von Wolzogen (a "litterateur and musical critic," and a friend of Wagner).
In the first decade of the 20th century, the Hailes moved to New York City, living (at least at one time) on West 145th St.Haile, Eugen or Elise. Blank envelope with return address, c.1905-c.1930. From New York Public Library for the Performing Arts, Eugen Haile Papers. They became active in the musical life of the city. In November, 1907, the singer Theodore Van Yorx gave a recital of Haile's songs at Mendelssohn Hall in New York City, accompanied by the composer at the piano. The program consisted of readings by Van Yorx from Haile's autobiography, interspersed with songs."Van Yorx sings Haile's songs." Musical America (New York), Nov. 23, 1907.
Van Yorx frequently performed Haile's songs. The reviewer of the November 1907 concert said, "Van Yorx has sung these songs in over a dozen cities in the country"."[?] to sing Haile's songs: Theodore Van Yorx to introduce young composer's work." Musical America (New York). Nov. 7, 1907. Singer Ludwig Hess also performed Haile's songs in the original German, in several recitals, singing "Teufelslied," "Der fahrende Musikant," and "Es vegnet".
Haile was a baritone and frequent accompanist. Together with his wife, he also presented several concerts of his own songs in New York City.
In 1911, Haile was getting nearer to completing his opera Viola d'Amore. Some time in early to mid 1911, Mrs. Haile went back to visit Germany. The opera received private hearings in "German musical circles;" and Max Schillings, the music director of the Royal Opera House at Stuttgart, promised to produce it when it was finished.Moderwell, H. K. "Giving music in the theater position of rightful dignity: Way open, contends Eugen Haile, for American composer to enlarge his audience a hundred times over in providing poetical plays with serious musical background - his own experience with a play of this nature - a field of broad possibilities." Musical America(New York), Aug. 19, 1916. Many of Haile's songs were published in Germany shortly thereafter by Friedrich Hofmeister Musikverlag (see list of compositions, below).
The Hailes spent mid to late 1911 at "Blythewood, Barrytown," New York. Haile and his wife gave two recitals of his songs together on December 8 and 10, 1911, at Rumford Hall, New York City.
Haile and his wife gave two more New York City recitals of his songs together on January 9 and January 29, 1912, also at Rumford Hall. Haile played all accompaniments."The Haile's recital: A song composer and his wife in a programme of his own compositions." New York Times. Jan. 30, 1912. In the January 9th recital, Haile seems to have introduced a new, more declamatory and more modern compositional style. A reviewer said, "The translation of the sentiment of the poems into tonal utterances is his aim ... To the lover of melody, these songs offer little"."Recital of Haile songs." The Musical Courier. 1/17/1912. (See "Compositional style and compositions" section for longer quote.) In the recital on January 29, they performed his latest more conservatively styled songs; the audience's favorite was "König Elf". A reviewer from Musical America said that it "has great emotional power, especially the final picture of tragedy." Another song, "Verrat", was described as having a "quaint melody"."Eugen Haile's compositions: second concert of original works advances interesting songs." Musical America (New York). 2/3/1912.
Illness and later career Some time in 1912 or early 1913, Haile became almost entirely paralyzed, and was forced to stop all composing. On May 2, 1913, singer Ludwig Hess gave a benefit concert for Haile, because he was "grevously ill." Hess sang a group of six songs by Haile, and various works by other composers. Other performers included Sara Gurowitsch (cello), Cécile Behrens (piano), and the Hess Soloists Ensemble."A benefit for Eugen Haile: concert of chamber music given by Ludwig Hess in Aeolian Hall." New York Times. 4/3/1913. A Eugen Haile Society was formed in New York in 1914 to organize further performances of his music, to work for the publication of Haile's recent compositions, and to raise funds to support him and his family.
In 1915, a columnist wrote that Haile was paralyzed, and could not compose or teach, but could talk. He gave an interview to Amelia von Ende of Musical America. During their discussion, he said that contemporary music was too intellectual.Von Ende, Amelia. "Calls music back to its simple purity of past: Tonal art must retrace its steps, maintains Eugen Haile, to pass the dangerous climax now reached in its development - would restore unselfish creative joy to composer." Musical America (New York). 1/9/1915.
In 1916, while still unable to walk, Haile composed a musical setting to a play. He "dictated" the orchestral score in six months. The play was written by J. and L. du Rocher MacPherson, and directed by Arthur Hopkins. Entitled The Happy Ending, it was produced in New York City, at the Schubert Theatre."The Happy Ending." IBDB: Internet Broadway Database. Retrieved 4/5/2014 from: http://www.ibdb.com/show.php?id=4200 The show premiered on August 21, 1916. In the score, Haile combined spoken words with pitch inflections, in the manner of Sprechstimme. Happy Ending ran for about a month. An interviewer said: "This score might have been one of mere incidental music, but the composer saw in the imaginative and poetic quality of the text ... the music drama of his dreams". Haile composed it in his more declamatory, modern style, making free use of leitmotifs.
The actors in the play presented Haile with a testimonial, inscribed on parchment, expressing their admiration for his work."Actors honor Haile." [Unknown newspaper] (New York), [Late 1916]. [Clipping in the Eugen Haile Papers collection at the New York Public Library for the Performing Arts]
There does not seem to be any evidence that Haile ever finished his opera Viola d'Amore.
On May 8, 1917, another benefit concert was given for Haile. There were three singers and accompanists performing, some from the Metropolitan Opera: Marie Mattfeld and Mattfeld, Margarete Ober and Arthur Arndt, and Carl Braun and Richard Epstein. Many of Haile's songs were performed, including "Fitzebutze" (sung by Ms. Mattfeld), "Verlungene Weise" (sung by Braun), "Eidechs" (a comical song, also sung by Braun), and "Herbst." The concert also featured some works for cello and piano, played by Leo Schultz and Epstein. Epstein also played some solo piano works."Opera stars sing at Haile testimonial." Musical America (New York). 5/17/1917.
After the benefit, the National Society of Music published an article about Haile in their bulletin, that said, "Whatever may be Eugen Haile's ultimate place in music, one thing is certain: that he will always be recognized as one of the truly inspired melodists, a lineal descendent of the great lyricists, Schubert, Schumann, Franz and Brahms". Also shortly after the benefit, Haile gave another interview. The interviewer states that Haile was still bedridden, but could compose. The author describes Haile as a representative of the tradition of German lieder.
In 1924, H. W. Gray Co. published a children's book by Haile, entitled A Riddle Book with Melodies.Haile, Eugen. A riddle book with melodies. New York: H. W. Gray Co., 1924. Retrieved from WorldCat on April, 2014, from: https://www.worldcat.org
Haile lived to see an opera of his produced, Harold's Dream, performed in Woodstock, New York on June 30, 1933. It was performed on June 30, 1933, in the Romantic-style garden of the estate of and Mrs. Antonio Knauth of Kingston, New York."The Dream prelude to a new opera." Musical America (New York), July, 1933. The opera's plot is a fantasy, and was called "the Prelude to the romantic opera Harald", possibly indicating that it was related to his first, unfinished opera, Harald der Geiger.
The libretto was by Otto Lauxman. The cast included Winifred Haile, dramatic soprano, an orchestra, and a chorus. The music director was J. Peter Knauth; the Choral director was Harry Elmendorf; the Concertmaster was Gerald Kunz; Otto Riccobono and Agnes Schleicher were the Choreographers and Dance Directors; the scenery was by Konrad Cramer; and Louis Staketee and Robert Briggs were the Lighting Directors.
Haile died in Woodstock, New York."Eugene Haile: composer of several operas and incidental music." New York Times, 8/15/1933.
Compositional style and compositions
Compositional style
A reviewer of the November 1907 concert of Haile's works described his compositional style thus: "That Haile has real poetic genius and a facility in writing tender, dainty and delightful little songs, full of melody and feeling, there is no doubt."
In 1912, Haile seems to have begun to present works in a more modern style. A reviewer from the Musical Courier said of Haile's January 9, 1912 concert: