(b Heligoland, 19 Aug 1881; d Dresden, 5 May 1936). German soprano. She studied in Dresden, where she made her début at the Hofoper in 1902 as Urbain (Les Huguenots). She remained a member of the company until her farewell performance in 1927 as Brünnhilde (Die Walküre). Her most notable creation there was Octavian, which she recorded, and she was also the first Dresden Ariadne, Dyer’s Wife (Die Frau ohne Schatten), Kundry, Tatyana and Maliella (I gioielli della Madonna). She was the first Covent Garden Octavian (1913) and Kundry (1914); she also appeared as Ariadne at His Majesty's Theatre in 1913. She toured the USA with the German Opera Company (1922–4), as Isolde and Sieglinde. Her large repertory also included Senta, Carmen, Louise, Tosca and Zazà. Osten's acting and beauty were much admired, as was her fine dramatic soprano voice. Her recordings, most notably of Elsa’s solos from Lohengrin, show the purity of her tone. She was married to the bass-baritone Friedrich Plaschke.
M. Scott: The Record of Singing, ii (London, 1979), 184–5
(b Veržej, Slovenia, 17 June 1895; dLjubljana, 23 May 1941). Slovenian composer. After lessons with Emerik Beran, a pupil of Janáček, in Maribor, he studied with Novák, Jirák and Hába at the Prague Conservatory (1925–7). He then taught at the conservatory in Ljubljana, establishing himself as a leader of Slovenian musical life: he founded a school of composer-disciples, campaigned for a progressive attitude among Yugoslav musicians and was particularly active in the ISCM. After some works in a late Romantic style, he adopted new techniques, from atonality to athematicism and from 12-note writing to quarter-tone music. Within his wide stylistic range there are characteristic tendencies towards Expressionism and neo-Baroque polyphony. He took as his models the music of Stravinsky and Hindemith. The expression of humour, irony and satire in his music, on the other hand, constitutes a personal trait.
Ops: Krst pri Savici [Baptism at Savica] (musical drama, 3, Osterc and G. Šilih, after F. Prešeren), 1921, radio broadcast, 3 Jan 1961; Krog s kredo [The Chalk Circle] (5, M. Skrbinšek, after Klabund, trans. O. Župančič), 1928–9, unperf.; Saloma [Salome] (minute op-parody, 1, Osterc), 1930; Medea (1, Osterc, after Euripides), 1930, Ljubljana, 27 Feb 1932; Dandin v vicah [Dandin in Purgatory] (grotesque op, 1, Osterc, after Molière and H. Sachs), 1930, Ljubljana, 27 Feb 1932
Ballets: Iz Satanovega dnevnika [From Satan’s Diary] (3, Osterc), 1924; Maska rdeče smrti [The Masque of the Red Death] (ballet pantomime, 1, after E.A. Poe), 1930; Illuzijez (ballet pantomime, 3, 8 scenes, Osterc), 1933–41
Vocal: Usta so mi bila nema [My Lips were Silent], 1v, pf, 1924; Belokranjske uspavanke [Bela Krajina Lullabies], 1v, pf, 1925; Sonce v zavesah [Sun in the Curtains], 1925; 8 Chaplinovih anekdot [Chaplin Anecdotes], 1v, 11 insts, 1927; Requiem, B, 15 insts, 1928; Ave Maria, S, A, 3 wind, 1929; 4 Gradnik Poems, A, str qt, 1929; Magnificat, chorus, pf 4 hands, 1934; other choral works
Principal publisher: Društvo Slovenskih Skladateljev
A.Rijavec: ‘Slavko Osterc und die stilistische Situation seiner Zeit’, GfMKB: Bonn 1970, 547–9
A.Rijavec: Kompozicijski stavek komornih instrumentalnih del Slavka Osterca [Compositional technique in the instrumental chamber works of Slavko Osterc] (Ljubljana, 1972)
K.Bedina: ‘Ausgangspunkte der musikalischen Poetik und Prosa von Slavko Osterc’, Soobstoj avantgard, ed. A. Erjavec (Ljubljana, 1986), 12–23
K. Bedina, ed.: Zbornik ponatisov o zivljenju in delu Slavka Osterca [Anthology of reprints on the life and work of Slavko Osterc] (Ljublijana, 1995)
Glasba med obema vojnama in Slavko Osterc/Musik zwischen beiden Weltkriegen und Slavko Osterc: Ljubljana, 1995, 64–75
M.Lipovšek: ‘Melodika v Osterčevem kompozicijskem stavku’ [Melody in Osterc’s compositional technique], MZ, xxxi (1995), 43–6
J.Sivec: ‘Bibliografija o Slavku Ostercu’, MZ, xxxi (1995), 91–128
ANDREJ RIJAVEC/KATARINA BEDINA
Ostermaier [Ostermayer, Ostermeier], Andreas
(b Torgau, c1560; d Kassel, bur. 17 April 1621). German ?composer, music copyist and musician. As a boy he may have known Johann Walter, who was living at Torgau at the time. From 1585 to 1588 he was a member of the Kapelle of the Bishop of Olomouc and may well have been vice-Kapellmeister. From 1590 to 1593 he was a tenor in the Hofkapelle of Margrave Georg Friedrich of Brandenburg-Ansbach and later, until 1595, an instrumentalist in the Hofkapelle at Wolfenbüttel. In 1595, principally through the intervention of the Kassel Kapellmeister, Georg Otto (who was also a native of Torgau), he moved to Kassel as an instrumentalist in the Hofkapelle of Moritz, Landgrave of Hessen-Kassel. He was appointed vice-Kapellmeister and copyist in 1599 after Hans Leo Hassler had turned down the position. In this post he was one of the teachers of the young Schütz. His retirement in 1618 or 1619 was almost certainly linked with Otto's death in November 1618; that he did not succeed him was probably due simply to his age. During his last years he was the proprietor of an inn at Kassel. He is scarcely known as a composer. A Te Deum and a Cantio sacra said to have been by him were once known at Darmstadt (the latter was destroyed in D-DS during World War II). According to Zulauf a four-part Magnificat per universos 8 tonos of 1594 used to exist (in D-Kl), but this was probably identical with the four-part Canticum beatae Mariae of 1599 (in D-WH), which has been shown to be a copy by Ostermaier of a work by Otto. Ostermaier's work as a copyist is more significant. It can be seen in two carefully written choirbooks in the Luther Room of the Stadtkirche at Schmalkalden, one of the residences of the Landgraves of Hessen-Kassel; they contain mainly music of the Venetian school from about 1600 and works by Aichinger and Hassler.
E.Zulauf: Beiträge zur Geschichte der landgräflich-hessischen Hofkapelle zu Cassel bis auf die Zeit Moritz des Gelehrten (Kassel, 1902)
G.Kraft: ‘Die Chorbücher der Lutherstube zu Schmalkalden’, ZMw, xii (1929–30), 510–11; xiii (1930–31), 97–8
G.Schmidt: Die Musik am Hofe des Markgrafen von Brandenburg-Ansbach vom ausgehenden Mittelalter bis 1806 (Kassel, 1956), 33
C.Engelbrecht: Die Kasseler Hofkapelle im 17. Jahrhundert (Kassel, 1958), 59f, 66
M.Ruhnke: Beiträge zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert (Berlin, 1963)
E.Noack: Musikgeschichte Darmstadts vom Mittelalter bis zur Goethezeit (Mainz, 1967)