Werner Egk

Werner Egk (German pronunciation: [ˈɛk], 17 May 1901 – 10 July 1983), born Werner Joseph Mayer, was a German composer.

He was born in the Swabian town of Auchsesheim, today part of Donauwörth, Germany. His family, of Catholic peasant stock, moved to Augsburg when Egk was six. He studied at a Benedictine Gymnasium (academic high school) and entered the municipal conservatory. Egk demonstrated talents as a composer, graphic artist, and writer, and he moved first to Frankfurt to improve his piano talents and then, in 1921, to Munich. There, working as a theater composer and playing in the pit, he married Elizabeth Karl, a violinist. He derived his pen name "Egk" from his wife's initials: Elisabeth, geborne Karl (Elisabeth, née Karl). His only son, Titus, was born in 1924.

Egk moved to Berlin in 1928, meeting composers Arnold Schoenberg and Hanns Eisler. He intended to become a cinema composer and accompanied silent films. When radio broadcasting became available to the public, Egk immediately realised its importance as a mass medium and developed operas and radio plays. He was introduced to Hans Fleisch, an important radio executive (also Paul Hindemith's brother-in-law and a Jew), by composer Kurt Weill. He received his first commission for broadcasting from Fleisch's company.

He returned to Munich in 1929 to work for the local radio station and settled in Lochham, a suburb. He became associated with musicians Fritz Büchtger, Karl Marx, and especially, Carl Orff, whom he had met in 1921. His music of the period shows a debt to the compositional style of Igor Stravinsky. He also became friends with new-music conductor Hermann Scherchen and the owners of the music publisher, Schott Music in Mainz. His career as a composer took off with the premiere of his radio opera, Columbus, in July 1933 (staged in April 1934).

Any composer working in Germany at the time had to deal with the Nazi regime coming to power in 1933. Michael H. Kater, professor of German studies at York University labels Egk "The Enigmatic Opportunist" in his portrait of Eight German Composers of the Nazi Era, and by far the most extensive evaluation of the composer's wartime connections in English. As a German of Catholic heritage, Egk was in no danger of falling into disfavor with the regime's racial policies; rather, the professional hardships for Jewish composers and others created opportunities for him. Egk's contact with Scherchen soon lapsed, and the composer developed a complicated relationship as well as a professional rivalry with Orff, whose works ultimately found more lasting success.

Initially, Munich's cultural administrators had doubts about the compatibility of Egk's Stravinskian style with a Nazi audience, and he encountered difficulty with Munich's representative for Alfred Rosenberg's Kampfbund für deutsche Kultur (Militant League for German Culture), Paul Ehlers.

In 1935, he premiered his first opera Die Zaubergeige (The Magic Violin) in Frankfurt am Main. The work channeled Bavarian folksong and a diatonic idiom far less modernist than his earlier, more angular Columbus. This opera therefore matched Nazi artistic guidelines prescribing folk elements as being close to the people. Swiss composer Heinrich Sutermeister saw the stylistic change as "opportunistic." The success of the work led to a commission for ballet music related to the 1936 Summer Olympics (for which he received a gold medal in the Art Competition) and his appointment as conductor of the Berlin State Opera – a position he held until 1941. Egk's protector in Berlin was Heinz Tietjen, director of the Prussian state theaters and artistic director of the Bayreuth Festival.

November 1938 saw the première of his opera Peer Gynt based on Henrik Ibsen's play. Propaganda minister Joseph Goebbels wrote in his diary on 1 February 1939: "I am very enthusiastic and so is the Führer. A new discovery for the both of us". Oddly enough, Egk had returned to his more Stravinskian style in the work. More conservative critics found elements in the plot threatening to Nazi ideals of martial grandeur, and they also had difficulties with the reworking of the Nordic plot. One possible interpretation of the event lies in an argument Hitler had with his lieutenant Göring, who had warned Hitler not to go to the opera, "because none of your favorite singers were in it." It has been credibly suggested that Hitler and Goebbels decided to "like" the opera as a "taunt" to Göring for having the audacity to tell Hitler what he could and could not see.